Indian in the Cupboard, The (1995)

reviewed by
James Berardinelli


                           THE INDIAN IN THE CUPBOARD
                       A film review by James Berardinelli
                        Copyright 1995 James Berardinelli
RATING (0 TO 10):  8.0 
United States, 1995 
U.S. Availability: general release 7/14/95 
Running Length: 1:37 
MPAA Classification: PG (Mild violence) 
Theatrical Aspect Ratio: 1.85:1 

Cast: Hal Scardino, Litefoot, Lindsay Crouse, Richard Jenkins, Rishi Bhat, David Keith Director: Frank Oz Producers: Kathleen Kennedy, Frank Marshall, and Jane Startz Screenplay: Melissa Mathison based on the book by Lynne Reid Banks Cinematography: Russell Carpenter Music: Randy Edelman U.S. Distributor: Paramount Pictures

Without exception, THE INDIAN IN THE CUPBOARD is the best family film to come along thus far in 1995, topping such notables as POCAHONTAS and THE LITTLE PRINCESS. Based on the popular book by Lynne Reid Banks and scripted by ET writer Melissa Mathison, the movie teaches lessons without preaching, and focuses on the magic of relationships rather than that of special effects. This leads to a production as affecting for adults as for children.

Omri, played with charm and enthusiasm by Hal Scardino, is an average nine-year old with a very unusual cupboard in his room. Whenever he places a figurine in it, turns the key in the lock, then opens the door, a living, breathing, four-inch high creature emerges. Omri's first transformation is the Onondaga warrior Little Bear (Litefoot), whose reaction upon seeing the "giant" boy is a mixture of awe and fear. Gradually, however, Little Bear realizes that his caretaker is no god, and Omri learns that his newfound friend is a human being, not just a plaything.

As THE INDIAN IN THE CUPBOARD progresses, other things get animated, including a cranky Texas cowboy (David Keith), a wartime British medic, Darth Vader, and Robocop. The visual effects that mix four-foot actors with their miniature companions are effective, but not ostentatious, and the lack of flash keeps the focus on the characters and their story. Suspension of disbelief in THE INDIAN IN THE CUPBOARD is surprisingly easy.

This film is about friendships, responsibility, and ethics. The bond between Omri and Little Bear illustrates that, regardless of size, shape, or race, any friendship is a rare and special thing. Thirteen years ago, ET taught the same lesson to that summer's movie audiences. THE INDIAN IN THE CUPBOARD also enforces the truth that everyone -- even a child -- must be responsible for his or her actions. When Omri begins capriciously to give life to figurines, Little Bear reprimands him: "You should not use magic that you do not understand." This prefaces a tragic epiphany for the young boy.

Frank Oz, a director who always seeks original and challenging projects (one of his past successes was LITTLE SHOP OF HORRORS), brings an uplifting sense of fun to this film. THE INDIAN IN THE CUPBOARD moves along at a nearly-perfect pace: slowly enough to capture the nuances of the characters' relationships, but quickly enough to avoid stagnation. Hopefully, the double-edged classification of being a "family feature" will not destroy THE INDIAN IN THE CUPBOARD's chances at the box office. It deserves a better fate than that normally reserved for similar fare because, ultimately, this movie is not only about magic -- it is magical.

- James Berardinelli (jberardinell@delphi.com)


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