In contrast to the original Nutcracker story, Four Realms involves far more moving pieces than make sense in order to keep the runtime low. By the time Clara is taking action instead of simply reacting, the film is nearly over. First the film must establish Clara’s world, then establish Drosselmeyer’s, and then establish the Realms, all while piling exposition on top of exposition to explain what’s happening and who’s who. However, what audiences receives is a film trying to do too much in too short of a time span while trying to maintain a happy tone with a grim narrative. When viewed in singular pieces, Ashleigh Powell’s script does contain all you need for an adventurous tale of awe and growth. The original story is a fairly straightforward tale of youthful adventure along the lines of Alice in Wonderland and the trailers for Four Realms suggested something more in that vein. Grant as Shiver in THE NUTCRACKER AND THE FOUR REALMS. Back L-R: Eugenio Derbez as Hawthorne and Richard E. Clara’s arrival in the Four Realms is fortuitous, for sure, but is everything as simple as it appears?įront L-R: Mackenzie Foy as Clara Stahlbaum and Keira Knightley as Super Plum. Since the egg bears the Drosselmeyer insignia, Clara goes to him for help, but what she is given is an adventure into The Four Realms, a magical place in conflict as the realms of Leaves, Snowflakes, and Sweets are embroiled in batter with the Realm of Amusements, an ally of the Mouse King. Clara’s father gives the children a gift from their mother: a dress for Louise (Ellie Bamber), a tin soldier for Fritz (Tom Sweet), and a locked egg for Clara. However, Christmas Eve also brings a regular party from her godfather Drosselmeyer (Morgan Freeman), so the Stahlbaums prepare themselves to go for the sake of tradition. However, this being the first Christmas Eve since her mother passed away, neither she nor her siblings or father are in a particularly festive mood. It’s not the pageantry or the gifts, but the time with her family. ![]() Mackenzie Foy as Clara Stahlbaum in THE NUTCRACKER AND THE FOUR REALMS.Ĭlara Stahlbaum (Mackenzie Foy) usually looks forward to Christmas. What should’ve been a slam-dunk of a holiday film when it released in November, falls under the weight of attempting too much, in too dour of a tone. What should be a glorious mix of the arts results in something far less blended, the parts sticking out as interesting pieces which don’t mesh when combined. In an attempt to bridge the two, co-directors Lasse Hallström ( Chocolat) and Joe Johnston ( Captain America: The First Avenger) take the original story, add in some familiar musical cues, incorporate a few signature ballet moments, and attach a personal element into the narrative as a means of grounding the wondrous story. ![]() Hoffman story from 1816 titled The Nutcracker and the Mouse King. In fact, it’s safe to say that more people are aware of the story in connection to ballet than to its roots as an E.T.A. The Nutcracker is a famous ballet known the world over for its delicacy and grace in performance and the beauty of Tchaikovsky’s music. In creating such a rich and expansive world, Disney’s The Nutcracker and the Four Realms will inspire a whole new generation to fall in love with a classic story.Home › Recommendation › Home Release › Disney’s “The Nutcracker and the Four Realms” is too dour for Christmas, too artificial to feel magical.ĭisney’s “The Nutcracker and the Four Realms” is too dour for Christmas, too artificial to feel magical. ![]() While the ballet’s Mother Ginger is a comical character, who parades around on stage wearing a giant hoop skirt, only for an army of her children to emerge and start dancing, the film has reimagined the character and given her new life. Her hairstyle is a pile of voluminous curls that draws its basis from Thomas Gainsborough’s portraits of the 1750s, although with a much more dishevelled appearance. Mother Ginger is dressed more like a ragtag pirate, in a tattered jacket and boots, her face cracked like a porcelain doll. The land’s regent, Mother Ginger (Helen Mirren), meanwhile, has shut herself away in a giant marionette – in a direct nod to the ballet, its skirt is a big top circus tent where several polichinelles (clowns) perform. A carousel was specially created to fit the sinister look, with 25 vintage-styled animals – including giraffes, dragons and ostriches – carved out of foam, all with terrified looks on their faces.
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