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saph-y · 27 days
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Baby Tarnished first trauma 😌⚔️
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hexxalite-hecate · 4 years
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I saw CATS 2019!
I’m pretty sure no-one asked for my review, but here it is. I am a positive person and I was predisposed to like this film, but that doesn’t mean I didn’t still have issues. I’m 50/50 at the moment. Lots of stuff didn’t land for me, but other things I LOVED.
I have a lot of feelings ok.
I found the way they started the movie… slightly underwhelming? Idk how to articulate this, it’s weird. I do like the concept of Victoria being tossed away in the sack and the tribe singing the opening number as if they’re questioning her. But I felt like there wasn’t much buildup before slamming STRAIGHT into a full on dance number with a screen full of indistinguishable cat figures, which I think is why a lot of people experienced that “what the fuck is this” feeling in theatres, especially if they weren’t familiar with the show. I think it might have been more effective if they’d slowed up and used the show’s format of having characters creep onstage in ones and twos, some lingering closeups on faces, their lyrics being their introduction, instead of smashing us in the face with a homogenous chorus that’s very difficult to pick individuals from. It doesn’t help that they gave the chorus cats very little diversity in fur colour or distinguishing marks.
The CGI… oh man. I legitimately thought this wouldn’t be one of my gripes, because I can deal with a lot of uncanny valley and I have a forgiving imagination. But I wasn’t prepared for the CGI to actually look UNFINISHED. The cockroaches looked like chunky mesh files with low res textures. Their faces looked pasted on using one of those ‘Make Yourself Into Santa’s Elves!!!’ websites. I have a feeling this is going to date very badly because it already looks like it was made 20 years ago by the same people who worked on the Scorpion King.
The cats themselves were good in closeup – beautiful in fact – but it was the wide shots and background characters that the CGI seemed to struggle the most with. It felt like they just ran out of time and didn’t have the budget or the experience to realistically render over all those complex dance moves. Having said that, Victoria is full on, knock-out beautiful. I think 90% of the CGI budget went on her and it wasn’t wasted.
Something about the music bothered me. I watched a few reviews that broke it down - this one aligns most closely with my opinions - and I think this is a twofold problem. First of all, while many of the actors have good voices, there were moments where they came across as weak or wavery, and I’m not sure why. The quality of sound felt a bit flat and dead, like they’d been stuffed into a cupboard filled with soundproofing equipment. Nearly every note is cut off quickly, making even the largest numbers sound lacklustre and underwhelming – maybe it’s because I had Helen Massey’s spine-tingling rendition in mind, but Victoria’s delivery of “like a flower as the dawn is breaking” during Memory was a huge disappointment. I know they’re singing from poetry, but a lot of the time it sounded as if they were literally just reading off a sheet with very little variation in intonation (The Jellicle Ball is especially guilty of this). It is possible to recite lines of poetry without sounding monotonous.
Secondly, the actual instrumentation isn’t up to scratch in my opinion. It sounds tinny and synthy, like it was recorded in a 16 year old’s bedroom with a drum machine and an 8-track. The opening song was the worst for this, in my opinion. Like the recited lyrics, it sounds like it’s been programmed in. The tempo is samey and feels a little too fast for me. There’s no lingering notes; no emotion in the instrumentation.
The only song I really liked was Mungojerrie and Rumpleteazer’s slinky slow jazz switchup, which everyone else seemed to hate. Go figure. But I actually thought it fit these new Mungo and Rumple characters perfectly. They seemed a bit darker, a bit more dangerous. Their duet was more sultry and subtle, so the lack of reverb and big orchestrals didn’t seem out of place. It also allowed their dialects to shine without them having to shout cockney rhyming slang in each other’s faces. Idk, it worked for me. Skimble’s number was good, but I feel it was less the actual instrumentation and more the staging of the performance and talent of the dancers that made it work. Same goes for Bomba’s Macavity.
Also PHEW. I AM HERE FOR SEXYSHANKS. Glow up! When did tapdancing become sexy? DURING THIS FILM IS THE ANSWER. Also did you notice him putting on his tapshoes backstage during Gus’ song? I liked that.
Something else positive! I LOVED the choreography of the Jellicle Ball (minus the body-popping which I could really have done without). There were so many talented dancers in this production. I really liked how they did all this, like, huffing and purring? It just sounded different and raw, tense and exciting, and for the first time I believed these characters were really into this. You could hear the dancers breathing as they worked. I LOVED that.
Victoria’s dance during the Ball was beautiful. Her new solo number was pretty as well. Francesca Hayward put so much emotion into her whole performance; her face is so expressive. She was the perfect choice. It was a total joy to watch her. Honestly, for me, she and Robbie Fairchild were the stars of the show from a performance arts standpoint.
Speaking of Robbie Fairchild, something I hadn’t expected was the insane chemistry between his Munkustrap and Francesca’s Victoria. Munk comes across as infatuated with Victoria from the second he lays eyes on her. This was an interesting addition. It’s not lampshaded as clearly as Misto’s crush, but particularly in the first half, Munk reads as possessive and almost jealous (“Where have you been!?”) and he’s always finding excuses to touch her and interact with her. There are a LOT of lingering held gazes and face touches, especially in The Naming Of Cats. I kind of dig it?
Someone suggested the alternate title of this movie should be “Victoria’s hot girl summer” and I’m so here for that
I loved Judi as Old Deut. Obviously she can’t sing but as most of the voices are more low-key in this production, it didn’t seem out of place. Ian was equally fabulous as Gus; he acted his little fluffy ass off. I also loved how they portrayed Misto as admiring him and learning from him, one performing cat to another. They way Misto copied his little ‘touch wood’ ritual was adorable. I really liked this addition to the story.
I wasn’t mad at the Mistoria – I kind of shipped them as a tween before I understood Misto’s chemistry with Tugger, and Tugger was completely neutered in this production anyway (I wonder what the reason for that was). Bomba being Macavity’s lackey was a strange departure, but I’m glad they tried some new stuff – if I wanted the stage show, I’d watch the stage show. It felt weird not to see Bomba and Demeter together though. And it would have felt absolutely wrong to have Demeter as a lackey as well.
While I love Idris Elba and I love Macavity’s design (before he lost that hat and coat, that is), about halfway through he stopped working for me. I think, strangely enough, his new lines and material felt too… childish? Which seems like a ridiculous complaint for a movie about singing dancing cats. But CATS has always been a bit sexual, a bit ethereal, and Macavity’s hokey villainy seemed more at home in a Scooby Doo episode. I think it makes the movie feel a bit confused, especially for the general public who aren’t familiar with the musical. Is this movie for kids or adults? If it’s for adults, why does the villain sound like he’s one pokemon from wailing “Team Rocket’s blasting off agaaaaaaain!”? If it’s for kids, why are these cats so horny??
Although it does make me laugh when people pearl-clutch about how horny the 2019 cats are, when the 1998 orgy scene exists on Youtube for all to find.
Despite some misgivings, I actually really liked the movie and I think it will grow on me each time I see it. It will probably never replace the 1998 version for me, but why should it? The existence of one doesn’t nullify the other. There’s room for both of them. Every stage production of CATS has its own quirks and differences, so why shouldn’t this?
I think we can all agree that Jenny’s creepy zip-up skinsuit can be consigned to the mists of time, though.
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liaflowerwall · 5 years
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