Synopsis: A tribe of cats called the Jellicles must decide yearly which one will ascend to the Heaviside Layer and come back to a new Jellicle life.
Stars: Francesca Hayward, Robbie Fairchild, Taylor Swift, Jennifer Hudson, James Corden, Ian McKellen, Idris Elba, Laurie Davidson, Mette Towley, Judi Dench, Rebel Wilson, Jason Derulo, Ray Winstone
Director: Tom Hooper
Running Length: 110 minutes
TMMM Score: (4/10)
Review: The much anticipated arrival of the long in the works big screen adaptation of the stage musical CATS is forcing many of its closeted fans out of their cozy hiding nooks. Before, we were able to slink away with our vinyl record of the London cast (or, if you’re an extra special fan like me, a coveted CD copy of the French cast with its shattering version of the hit anthem Memory) but now…now we’d have to stand up and be counted. I’ve always been and out and proud supporter of CATS the musical (and the animal), having been taken to countless tours of it growing up and even seeing it solo in its original London home, revolving seatbank and all (look it up…you don’t know what you were missing). It was glorious having those actors in wild make-up, punk wigs, leotards, and legwarmers writhing around the stage and the aisles in an athletic song and dance spectacle.
Rumors about the musical making the transition from stage to screen had been going on for so long it even became a joke in the play Six Degrees of Separation, with a charming young man conning a gaggle of socialites with promises of cameos in the upcoming film version his father was working on. Yet no one was quite able to figure out how to translate what was happening on the stage into cinematic form. Should it be entirely animated? Do you use the original costumes? Do you use real cats and just animate their mouths? A gussied up version of the stage show was filmed but, while professionally made and performed, it lacked that immediacy that gave the live experience it’s spark.
Along comes director Tom Hooper, an Oscar winner for The King’s Speech and riding high off bringing another blockbuster musical to the screen, Les Miserables. Supposedly, Hooper had a special affinity for CATS and had long wanted to bring the show to theaters and, seizing on the opportunity along with screenwriter Lee Hall (Rocketman), partnered with Universal Studios and Amblin Entertainment to finally make it happen. A star-studded cast of obvious and not-so-obvious names were gathered and using new motion capture technology were turned into dancing felines, trilling out the ear worm-y songs from Andrew Lloyd Webber based on the poems of T.S. Eliot.
It’s hard to know where to begin when talking about Hooper’s film version of CATS. A surreally bizarre journey through the backalleys of London that follows a group of cats on one special night, I guess the emotion that best describes the experience for me is uncomfortable. There’s something off-putting from the start as the overture plays introducing us to this miniature world of alley cats (known as Jellicles) that come to see new arrival Victoria (Francesca Hayward) who has been tossed aside by her owner. Guided by Munkustrap (Robbie Fairchild), Victoria is introduced to the various cats of the group, some who are competing that very evening to be chosen by Old Deuteronomy (Judi Dench, All is True) to go to the Heaviside Layer, a mystical place where Jellice cats are reborn once a year.
There’s Jennanydots (Rebel Wilson, The Hustle), a pudgy housecat and orchestrator of a Busby Berkely dance routine with mice and cockroaches, the plump and pompous Bustopher Jones (James Corden, Into the Woods) who prides himself on being the ‘stoutest of cats’, and the fast-tapping Skimbleshanks (Steven McRae) a cat toiling the days on the railway. During the night, Victoria meets the suave Rum Tum Tugger (Jason Derulo), the aging Gus (Ian McKellen, Beauty and the Beast), and the sometime magician Mr. Mistoffelees (Laurie Davidson, The Good Liar) before running afoul of the troublemaking Macvity (Idris Elba, Miss Sloane) and Bombalurina (Taylor Swift, The Lorax, turning up over an hour into the movie and not worth the wait), his henchwoman. Watching on the sidelines is Grizabella (Jennifer Hudson, Chi-Raq) a former glamour cat on a downward spiral who has been ostracized from the group.
Like the stage show, the movie is pretty much sung-through, with 23 songs to cover over 110 minutes, including a new tune written by Swift and Lloyd Webber that didn’t even make the Oscar shortlist. Most are handled with serviceable panache from the cast, though Corden manages to overplay an already exaggerated character and Wilson positively butchers her comic number with a reedy, unpleasant squeak of a voice. Derulo has fun with his song but it’s so broken up by the frantic camera work and choreography that it doesn’t show off his full range. Dench, originally cast as Grizabella in the first London production before snapping her Achilles Tendon during rehearsals, has a full circle moment here appearing as the wise, revered matriarch of the herd. The voice is shaky and breathy but manages to make sense thanks to her performance of the songs themselves. I’ve been a bit put off by the Grizabella’s getting younger and younger over the years and questioned Hudson’s casting at first but she winds up turning in the most emotionally grounded and guileless rendition of Memory I’ve heard in a long time. Perhaps the intensity is turned a little high too early, but it worked for me – transcending the strange CGI cat they’ve turned her into.
Ah, the CGI. I’ll say this. Some of the designs work better than others. Dench for instance, looks fairly convincing and it’s mostly because she’s not required to move much. Anytime there’s motion involved the effect becomes quite startling and while Hooper filmed the actors on an actual set they’ve done something in the conversion to kitty that makes it look like they’ve been Photoshopped on a background…and not convincingly so. The look of the cats are a bit strange too, some are wearing clothes while others are, I’m guessing, naked. Wilson has one scene where she’s flat on her back, legs open, scratching her inner thighs and I audibly gasped. What is this all about? What made the dancing work well on stage was the impressive choreography executed with style – in Hooper’s computer generated world the cats perform Andy Blankenbuehler’s sinewy moves with some digital assistance. That doesn’t evoke much awe.
I wonder if CATS was ever destined to be made into a good movie or if this is the best Hollywood had to offer. I definitely think the effects could have been kicked up a notch; we should be further along than what’s on display here and the best scenes in a movie with actors turned into singing CGI cats shouldn’t be when they’re standing still. Yet it’s these very moments that have stuck in my, uh, memory more than the sequences that I felt were ghastly at first watch. I wouldn’t discourage anyone from seeing this, it’s absolutely something you should see just to say you saw it…but don’t judge the show by the movie. And get that French CD if you don’t believe me!
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