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"Mary Poppins (Motion picture)"
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Practically Poppins in every way : a magical carpetbag of countless wonders
Ever since 1934, when Mary Poppins descended from the skies over London into Cherry Tree Lane in the beloved book by P. L. Travers, the world has adored the enchanting adventures and peculiar wisdom of this magical nanny. For more than eight decades, Travers's staunch but charming heroine has been beloved in the pages of eight popular books-and in media-from movies to stage, and music to television, all around the world. Now Mary Poppins has come to light up cinema screens again in a magical, musical new incarnation, Mary Poppins Returns. From the Walt Disney Studios, this film is a colorful and charming new story--a sequel to the 1964 classic-featuring an all-star cast and brought to life by a stellar creative team. In Depression-era London, a now-grown Jane and Michael Banks, along with Michael's three children, are visited by the enigmatic Mary Poppins following a personal, grievous loss. She's back just in time. And through her unique magical skills and presence, plus the aid of her friend Jack, Mary helps restore for the troubled family the joy and wonder that's been lost in their lives. Every incarnation of Mary Poppins has had at least one thing in common: she's always arrived out of the blue, though the stay is for an all-too brief period of time-until the wind changes or the chain breaks-whereupon she flies away again for, as Pamela Travers put it, \"Apparently . . . nowhere.\" Practically Poppins In Every Way is a showcase of the varied creative forces that have brought Mary Poppins to life, generation after generation. It is accompanied by erudite and informative text, essays, and observations by creative luminaries such as Cameron Mackintosh, Thomas Schumacher, Gavin Lee, and John Myhre, as well as renowned Disney authorities Brian Sibley, Jim Fanning, Paula Sigman Lowery, Craig D. Barton, and Greg Ehrbar.
Book
The American musical and the performance of personal identity
The American musical has long provided an important vehicle through which writers, performers, and audiences reimagine who they are and how they might best interact with the world around them. Musicals are especially good at this because they provide not only an opportunity for us to enact dramatic versions of alternative identities, but also the material for performing such alternatives in the real world, through songs and the characters and attitudes those songs project.
eBook
New Constellations
American culture changed radically over the course of the 1960s, and the culture of Hollywood was no exception. The film industry began the decade confidently churning out epic spectacles and lavish musicals, but became flummoxed as new aesthetics and modes of production emerged, and low-budget youth pictures likeEasy Riderbecame commercial hits.New Constellations: Movie Stars of the 1960stells the story of the final glory days of the studio system and changing conceptions of stardom, considering such Hollywood icons as Elizabeth Taylor and Paul Newman alongside such hallmarks of youth culture as Mia Farrow and Dustin Hoffman. Others, like Sidney Poitier and Peter Sellers, took advantage of the developing independent and international film markets to craft truly groundbreaking screen personae. And some were simply \"famous for being famous,\" with celebrities like Zsa Zsa Gabor and Edie Sedgwick paving the way for today's reality stars.
eBook
The Princess Diary
\"[Julie] Andrews has always loved the musty atmosphere of old theaters-'the smells,' she writes, 'of paint and makeup, and grease and sweat, and most of all, of warm dust from the great drapes and the painted drops and the grubby, pockmarked stage.' Her mother and stepfather toured Britain in the dying days of vaudeville, and not long after the freakishly gifted Julie began voice lessons at the age of nine, she joined her parents in the act.\" (Newsweek) This profile of stage and screen actress Julie Andrews surveys the release of her memoir, Home, revealing little-known details in the life of the tremendously talented thespian, and profiling her ongoing acting as well as her literary expeditions with her daughter.\"[S]he's busy with her writing--particularly the children's books she does with her daughter, Emma Walton Hamilton...She's an avid reader--working her way through Churchill's writings, among other things-and of course, she'd love to make another film.\"
Magazine Article
Sing-along 'Mary Poppins' note-worthy for all ages
The book's Mary looked a bit more like Fiona Shaw (Harry Potter's Aunt Petunia) than the golden-voiced Ms. [Julie Andrews]. But Disney's \"Mary Poppins\" made Andrews a superstar in 1964, the same year she also unjustly lost her greatest stage part, Eliza Doolittle in \"My Fair Lady,\" to a dubbed Audrey Hepburn. Andrews had the sweetest of revenges: a 1964 best actress Oscar. Her crisp glowing British rose persona and wholesome sex appeal set the world on fire and blazed up even more a year later, in \"The Sound of Music.\"
Newspaper Article
Weekend Chat; Making Merry With 'Mary Poppins'
Nominated for 13 Oscars and a winner of five, \"Mary Poppins\" is considered the crown jewel in Walt Disney's film career. Julie Andrews, who won an Oscar for her performance as Mary Poppins, stars along with Dick Van Dyke, David Tomlinson, Glynis Johns, Karen Dotrice and Matthew Garber. A: \"Mary Poppins\" is a classic. We ran \"Mary Poppins\" for a week last year with a restored print, and the reaction was incredible. I wasn't around when it played in 1964, but I imagine it played exactly the same today. It was phenomenally popular and successful, and we always knew we were going to bring it back. We had heard what they were doing with \"The Sound of Music\" [sing-along] in London. When you watch \"Mary Poppins,\" it's hard not to sing out loud. We thought it would be a fun new thing to do at the theater. Caption: PHOTO: [Lylle Breier], senior vice president of special events at Disney, says, \"When you watch 'Mary Poppins,' it's hard not to sing out loud.\"; PHOTOGRAPHER: LORI SHEPLER / Los Angeles Times; PHOTO: (Cover), \"Mary Poppins,\"; PHOTOGRAPHER: Copyright Disney Enterprises
Newspaper Article
Stop That Foolish Singing This Minute! Mary Poppins Would Be Appalled
That was the Mary Poppins who, when one of her charges tried to hug her, said, ''Kindly do not crush me, Michael! I am not a Sardine in a Tin!''; the Mary Poppins who often had a look of ''fury,'' who ''snaps,'' and ''sniffs'' and ''retorts.'' That Mary Poppins ''never wasted time being nice.'' With Mary Poppins, though, she turned that mystical conception into a domestic one, and actually made it more compelling. Mary Poppins regularly opens a door into dimensions outside ordinary space and time for the benefit of her charges: a star from the Pleiades constellation comes to Earth in the form of a girl, a statue of a Greek god comes to life to play with Jane and Michael, an ancient crone grows fingers made of barley-sugar. Mary Poppins herself seems a creature of the heavens temporarily brought to Earth. From left, Julie Andrews, Matthew Garber, Karen Dotrice and Dick Van Dyke in the 1964 film ''Mary Poppins,'' which made children of adults. (Photo by Disney); Mary Shepard's illustration of Mary Poppins with the characters Jane and Michael Banks in [Valerie Lawson]'s biography of [P. L. Travers]. (Photo by N. E. Middleton Artists' Agency, from the book ''Mary Poppins, She Wrote,'' Simon & Schuster); P. L. Travers in 1966. A devotee of W. B. Yeats in her youth, she later created the Mary Poppins books. (Photo by Associated Press)
Newspaper Article
WEEKEND JOURNAL; BEHIND THE SCENES: Julian Fellowes, Book Writer, 'Mary Poppins'
Mr. [FELLOWES], who won an Academy Award for his screenplay to Robert Altman's 2001 film \"Gosford Park,\" says he feels that with \"Mary Poppins\" he has joined the American musical tradition. And, he says, he considers that tradition one of this country's great gifts to the arts. While \"Mary Poppins\" is a product of both U.K. and American talent -- it's a co-production of Walt Disney Co. and British producer Cameron Mackintosh -- it won't lack for Broadway razzle-dazzle, Mr. Fellowes says. (Ms. Poppins arrives aerially, of course.) His initial exposure to such spectacle came in the late 1970s when he saw his first big Broadway musical, \"On the Twentieth Century,\" a show that cleverly recreated a train onstage. That special effect blew him away because British musical scenery of the time \"usually would have painted flats,\" Mr. Fellowes says.
Newspaper Article
There's Something About Mary
\"A new Broadway musical shows the dark side of our favorite nanny, and sheds light on us. Mary Poppins was always a cultural oddity. Created by P.L. Travers in a series of books begun during the Depression, she was enchanting to generations of children for her magic powers...But the Mary Poppins kids know today is different.\" (Newsweek) This article profiles the revival of an old, popular culture classic in Broadway's \"Mary Poppins.\" Details of how the production is closer to the original text, and consequently darker than its film predecessor, are provided. \"Toying with a classic can be dangerous, which is one reason why Mary Poppins's flight to the stage has been long and bumpy. Disney couldn't turn its own film into a show because the studio never bought the theatrical rights.\"
Magazine Article
Trapped inside Mary Poppins ; The creator of the nanny who dropped from the skies led a life with little magic of its own
As biographies of everyone from E. Nesbit to Charles Dodgson (Lewis Carroll) have proved, caution is wise when delving into the life of a beloved children's writer. Travers is no exception. As Valerie Lawson shows in her book Mary Poppins, She Wrote, the first complete biography of the writer, it would take more than a spoonful of sugar to sweeten Travers's childhood. Where there is clear documentation, such as her relationship with [George William Russell] and the Irish literary circle and her \"uneasy wedlock\" with the Walt Disney Studios, the book takes flight. After long coveting the rights to \"Mary Poppins,\" Disney finally got what he wanted. The deal made Travers a millionaire, but she was deeply conflicted about the movie. She harangued Disney and the writers with pages of notes about items she felt were untrue to the spirit of her books. At the premiere (which she attended, although not at Disney's invitation), the 65-year-old Travers wept. For a biographer of a woman best known for her children's books, Lawson doesn't seem knowledgeable about the field. She wrongly credits the Grimm brothers with writing both \"The Little Mermaid\" and \"The Snow Queen\" - commenting that Travers preferred their fairy tales to the \"blander saccharine whiteness\" of Hans Christian Andersen's. This isn't a major slip-up, but it's striking, as Lawson repeatedly stresses the importance Travers placed on fairy tales. Other errors include classifying \"Aladdin\" as European and calling \"Bambi\" a \"feel-good film about childhood\" (apart, one assumes, from the murder of Bambi's mother).
Newspaper Article