The Tigger Movie (2000)
A Movie Review by Mark O'Hara
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Full of fun, great animation and fine voice-acting, Walt Disney Pictures' THE TIGGER MOVIE is a welcome addition to the bleak theater offerings of mid-February.
Taking full advantage of the solid Winnie the Pooh franchise, the producers have added new dimensions to many of its characters. We see the most of Tigger, of course, the namesake of the movie; he is friendly towards all the inhabitants of the Hundred Acre Wood. What's charming is that this treatment creates a close friendship between Tigger and Roo, the tiny son of Kanga, and the most child-like character, besides Tigger himself.
The main plot of the film has Tigger yearning for a family of his own: it's no longer the most wonderful thing about Tiggers, that he's the only one!
At first the group of animal friends goes off on little sorties, searching for other Tiggers, as though they are convinced of their existence. Finally - and this is perfect - the friends agree to write a letter to Tigger, from his family; the pompous Owl wields the pen, and the letter is co-written, one line from each of the major characters. It's heartfelt advice, stuff like "Eat well" (Pooh-bear's contribution), "Stay safe and sound," and other sentiments, reveals much about the true and important feeling imparted by membership in a family unit. Soon the letter is on its way, and Tigger is indeed convinced that his family is real. When Tigger readies his ramshackle house for a welcoming party, his motley friends end up donning Tigger costumes and try to trick their overactive tiger-like pal. Some of the most cinematically stunning effects in any Pooh installment follow Tigger's disappointment at discovering he's been hoodwinked by his overzealous pals.
The voices are among the most engaging aspects of the movie. Jim Cummings has done Pooh's voice since 1987, emulating well the hoarse mildness of the late Sterling Holloway. Now he has assumed the duties of Tigger as well, after Disney's dismissal of the inimitable Paul Winchell. It is amazing, however, how much Cummings sounds like the persona created by Winchell. The inflections, wacky asides and "hoo-hoo" laughter is nearly dead-on.
Nine year-old Nikita Hopkins supplies the voice of Roo, an innocent and likable voice that's perfectly cast. Kanga is Kath Soucie, the ever-patient and loving mother-figure.
Peter Cullen does a nice job with the pessimistic Eeyore, an amusing droop to his voice. Owl is voiced by Andre Stojka, a nice edge of pretension to his depiction. Tom Attenborough does not get much screen time as Christopher Robin, the human owner of the "dolls" that live in the Hundred Acre Wood. And veteran actor John Hurt does a decent turn as the narrator. I liked how this incarnation preserves the 1960's narrative technique of showing a storybook, letters and words pouring off the page at times. But Hurt is not used enough to exert a strong presence in the story.
The sole carry-over from the old cast (which originated the Disney version of A. A. Milne's classic stories with the Academy Award-winning short "Winnie the Pooh and the Blustery Day" in 1968) is John Fielder as Piglet, whose voice is even more light and humble than Pooh's. Long experience has added a subtle sheen of sympathy to the voice of the friendly little pig.
Another star is the animation. Much of it was done at Disney's Japan animation center, with other parts being shared around the globe. Featured are muted colors - hues that compliment well the simple and heart-warming narrative line. The green pastel trees and stylized backgrounds are unmistakably Disney, a quaint throwback mix of the "Disneyfied" and "Classic Pooh" styles in some ways.
Music is also excellent. The original team that has done all the music for previous Poohs is back: Richard M. Sherman and brother Robert B. Sherman. The pace and lyrics and overall effect of their original songs add a good deal to the enjoyment factor. Kenny Loggins collaborated on the closing ballad, while Harry Gregson-Williams capably supplied the rest of the score.
The film is rated G, another rare and welcome element in today's viewing culture. It is very watchable for all ages, as the story moves quickly forward, not without a generous sprinkling of wit along the way. See it now with a child or without; it's one of those films you will never be sorry you sat through!
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