Mary Poppins, P. L. Travers & ISU connections, an interview on WGLT

Thanks to Judy Valente for her delightful interview of me on WGLT about Mary Poppins as both a delightful filmJulie Andrews as Mary Poppins and P. L. Travers, author of the book and a popular children's book as well as a small, but interesting connection of ISU to P. L. Travers. Judy is such a great interviewer.

Disney's Mary Poppins film was released 50 years ago this week. As we learned in the recent Disney film Saving Mr. Banks, P. L. Travers, the author of the Mary Poppins series, was never happy with the adaptation. Pamela Travers was opinionated, but thoughtful, and certainly had a wide range of interests including Zen Buddhism and mytical Sufism. 

In the WGLT interview, Judy asks why Mary Poppins, the film, has such a long-standing appeal with both adults and children. I think that it is partly because Travers understood that children whose lives are in even a small amount of dissarray fantasize about order and everything working out. But it is also because Walt Disney understood the humor and charm of the story and could add the studio's magic to make it wonderful entertainment. Finally, the film causes adults to not only reflect back on their childhood but to consider how they are as parents; are they fulfilling their own hopes and dreams for their family?  The film is more complicated than we perhaps realized when we saw it as children, but that, in turn, makes seeing it again just as fulfilling.

Thanks, again, to Judy Valente for the opportunity to thoughtfully reflect on the delightful film as it turns 50.

Anticipating Scorsese's Hugo

Trailers for Hugo suggest the film has great possibilities for being a wonderful holiday family filmHugo (Asa Butterfield) and Isabelle (Chloë Moretz) in Hugo (2011)..  When I first heard about the film, I thought it a little unusual that Martin Scorsese would be directing Hugo and filming it in 3-D.  The book is a visual treat.  It  was the first chapter book and graphic novel to receive the Caldecott Award.  Yet, the idea of turning it into a film seemed charming, but worrisome.  Chris Van Allsberg's holiday picturebook The Polar Express became rather creepy in the film version that used high tech animation that made the characters seem less like people and more like robots.  Many teachers like this book, and film, because, perhaps, it allows them to talk about the Christmas holiday in the classroom without bringing in Christianity but still bringing in the related ethics.  On the opposite end of the religious spectrum, The Golden Compass film of 2007 based on the first book in Philip Pullman's His Dark Materials series has a haunting, dark world that is not at satisfying as the way it's described in the books. 

Ben Kingsley in Hugo.So, we'll see about how Hugo does.  The early reviews from the New York Film Festival in October are positive; looks like the film appeals to adults as well as kids. Scorsese's interview with The New York Times suggests that turning the book into a film had to be appealing for him on several levels, including the opportunity to re-create George Méliès’s glass studio. Scorsese said, "We started replicating scenes from Méliès films as best we could. ...With Méliès’s films, especially the hand-colored ones, it’s like illuminated manuscripts come alive. We shot Méliès shooting his films for five or six days. It was one of the best times I’ve had shooting a picture."

I do think that this is probably going to be a film for children 8 and up and very appealing to tweens.  The complicated storyline is not one that young children may be able to easily follow.

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Riddles and Weston Woods

Just wanted to note a few items.  In the post on April 14, I added the answer Carroll gave in 1896 to the riddle of "Why is a raven like a writing-desk?"

Also, I am reading John Cech's brilliant new book Imagination and Innovation: The Story of Weston Woods (Scholastic, 2009) in preparation for writing a review.  It's a great study of a small company that consistently wanted to make film adaptations of children's picture books that stayed true to the books.  Morton Schindel, the founder and guiding spirit of Weston Woods for the past 50 years, led a film studio devoted to making quality films for children through a process not driven primarily for profit or commercial motives.  Cech shows how Weston Woods would use the emerging media of film and television to bring great literature to the lives of millions of children. In 1953, Schindel was one of the first people to adapt children's books into the film media.  In contrast to Disney, Weston Woods films stayed true to the author's intentions, frequently using original illustrations.  Schindel was "in fact, a pioneer in the filed of 'edutainment' (a word first coined by Schindel to describe the work of the studio)" (23).  The book is richly illustrated and includes story boards of many of Weston Woods' famous adaptations including Maurice Sendak's Where the Wild Things Are (film adaptation: 1975).  The animation for Wild Things was done by Gene Deitch, who was considered by Schindel to be the " 'unsung genuis of Weston Woods' " (68).

Cech explains how Schindel got his break in 1956 when Deitch, who was producing the Tom Terrific cartoons for Captain Kangaroo, was running behind schedule.  Some of the first Weston Woods adaptations were shown on Captain Kangaroo's CBS morning television show for children.  These included film adaptations of Robert McCloskey's Make Way for Ducklings and Andy and the Lion and Marcia Brown's Stone Soup.  One film that was featured frequently was Wanda Gag's Millions of Cats.

As someone who grew up watching Captain Kangaroo and remembering these film adaptations, I found Cech's books a special pleasure.  This is essential reading for anyone interested in children's media, which should be everyone interested in children's literature.  John Cech established the importance of Weston Woods in a similar landmark books as Leonard Marcus' Golden Legacy does for Golden Books.