The latest of Disney’s corporate ordered live-action remakes, Tim Burton’s “Dumbo,” benefits from the director’s trademark aesthetic, but fails to rise above its uninspired predecessors. The only inspired element of this movie of outcasts is a director who has made a career turning outcasts into empathetic characters.
Despite its “play it safe” storytelling, “Dumbo” attempts, and largely fails to build on several themes presented within the first thirty minutes. “Dumbo” opens in 1919 with Holt Farrier (Colin Farrell), a former circus equestrian performer, returning home from the war to reunite with his two kids, Milly and Joe (Nico Parker and FInley Hobbins). A shaken and hollow Holt is without an arm and his kids are unsure of how to interact with their father. The relationship between a war-scarred father and his children never develops. The scars of both Holt and his children are immediately dismissed once Dumbo enters the story.
Dumbo is undeniably Burtonian. His giant CGI eyes are overwhelmingly cute. His ears are grotesquely oversized and he lacks any idea of coordination. Dumbo preserves the PG and light-hearted identity of this movie.
The actions that unfold around Dumbo makes this movie bearable for the more demanding moviegoer. The story is an allegory of contemporary entertainment’s increasing monopolization.
Holt is employed by the Medici Brothers Circus, run by an aging and lively Max Medici (Danny Devito). The audience that the circus enjoyed before the war is no longer there. We come to find that the Spanish Influenza of 1919 devastated attendance.
Dumbo is Max’s answer to the crises. But the success of Dumbo attracts the attention of V.A. Vandevere (Michael Keaton), an ambitious and wealthy amusement park entrepreneur.
This dilemma and the sacrifice of independence of Medici Brothers Circus by Max mirrors the rise and hegemony of Disney. Disney has acquired small and large studios to an increasing degree the last decade. Their 52.4 billion acquirement of Fox Network has guaranteed their unchallenged dominance in the industry.
Burton, who himself began as a fiercely independent auteur, has seen the quality of his work dip significantly since working with larger budgets.
The energy and inspired style of his early work up to “Ed Wood,” produced artfully crafted stories. His movies were uniquely and entertainingly his. Burton’s recent work, best exemplified by “Charlie and the Chocolate Factory” and “Alice in Wonderland” is disappointingly studio.
His distinct gothic style still garners admiration, but the story is lost to the budget. Visual splendor takes the place of compelling storytelling.
Burton’s artistic demise coincides with the artistic degradation of contemporary Hollywood. Fewer, and fewer, original ideas are produced, studios, particularly Disney, have depended solely on franchises. Inspired artistic risks are minimized for the sake of guaranteed success.
For all of its flaws, it would unfair to say that “Dumbo” is without moments of enjoyment. Colin Farrell is criminally underutilized, but this allows room for Danny Devito to elevate every scene he’s in. At times, Devito’s character is heartlessly capitalistic. Devito’s talent refuses to allow his character to be disliked. The script is shallow and rarely attempts to develop a character pass their introduction, but Devito offers so much more than what the script intended.
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We observe a man entering the twilight of his life attempting to balance the strains of running a business and preserving the familial bond of his troupe. What the script lacks in scope, Devito more than compensates for though his eyes. His performance balances exuberance with disciplined compassion. Devito is second, only to Dumbo, as the heart and soul of this movie.
Michael Keaton, a Burton regular since “Beetlejuice,” is humorously menacing as V.A. Vandevere. His comical and almost inspiring demeanor conceals the greed that drives his actions. Keaton is able to convey a shallow compassion that is immediately lost when the show is threatened. Vandevere seems to be close to losing control before calmly collecting himself behind another grand idea. Keaton inspires and threatens whenever is on the screen. He gives a memorable performance in an otherwise forgettable movie.
Alan Arkin plays a small, yet satisfying role as a wealthy banker who is interested in investing in Vandemere’s amusement park. His direct and blunt deliveries injected much needed life to a movie that threatens to feel longer than its nearly two hour run time.
“Dumbo” manages to succeed on Burton’s talent as a director and sheer charm of its titular character, Dumbo. It is difficult not to worry for Dumbo as he is forced into a series of stunts. The little CGI elephant commands our empathy and occasionally evokes true emotions. Performances by Devito and Keaton compensate for the often questionable performances of their costars.
“Dumbo” is a light and fun movie that admirably serves as a warning against the industry monopolization that produced it.
Justin Schatz is a freelance reporter and photographer for the Daily Lobo. He can be contacted by email at culture@dailylobo.com or on Twitter @JustinSchatz10.
