#Pasek & Paul | Explore Tumblr posts and blogs

burningthrucelluloid · 12 days ago

Text

Christmas Carol-cember, Day 14

From muppets to ponies to lost television media, it seems A Christmas Carol fits very well into the musical genre. But obviously, a great musical is only as good as the songwriters providing the songs.

So when the writing/directing duo behind “Daddy’s Home 1 & 2,” “Hot Tub Time Machine,” and “We’re The Millers” signed a deal with Will Ferrell and Ryan Reynolds and got Apple to pony up $75 million in the bidding war, they needed songwriters who could make some bangers for their holiday musical comedy.

Enter the hottest songwriting darlings of musical theatre: Benj Patel and Justin Paul. Two guys who met at the University of Michigan with a love of musicals so strong, they wrote their own called “Edges" while completing their Bachelor of Fine Arts degrees in musical theatre. But their true accomplishment was the 2015 musical “Dear Evan Hansen” that shot them into the stratosphere of success after they won the Tony for Best Musical and Best Original Score and later won a Grammy just as Hollywood came a-knocking. They made a splash with writing the songs to 2016’s “La La Land” that earned them an Oscar win for Best Original Song before they truly became Hollywood darlings with 2017’s super hit “The Greatest Showman.” They also won a Emmy for writing songs for the Hulu show “Only Murders in the Building,” making them the newest editions to the EGOT crowd.

Naturally, when you can get these guys to write your musical, you’ve got a guaranteed success.

Right?

In the modern day, the Ghosts of Christmas Past (Sunita Mani), Present (Will Ferrell) and Yet To Come (voiced by Tracy Morgan but played by NBA star Loren G Woods) still perform the annual duty of picking out a miserly human every Christmas Eve and force them to change their ways for the betterment of mankind.

They celebrate every converted human with an elaborate music number.

youtube

And before you ask, yes, they openly acknowledge it’s weird but never explain why they do it other than “just cause."

Although the Ghost of the Present is eligible for retirement, he refuses to step down until he finds that one human he can change who will have a meaningful impact on the world. Enter Clint Briggs (Ryan Reynolds), a selfish media consultant who will do and say anything to stir the pot as well as get ahead in his career, even going so far as to tell his niece to post an unflattering video of her opponent to win class president, much to the displeasure of his Executive Vice President Kimberly (Octavia Spencer).

Realizing this guy is just what he’s looking for, he makes the pitch to his boss, Jacob Marley (Patrick Page), but is warned that Briggs is “Unredeemable.” Unwavering, the ghosts prepare to haunt Briggs, only to learn that Briggs is not too hip to just follow the traditional story beats and finds that it might not be just him that needs to make a change, forcing the Ghost of the Present to reflect on what he really wants...

All done with music numbers that the characters keep recognizing is weird that they do them.

Hope you liked that joke cause they will beat it into your head that it’s weird for there to be music numbers in a musical.

But only for the sequences with the ghosts as they establish the songs are happening within the world of the movie, whereas the music numbers amongst the living are happening inside their minds or as a metaphorical speech given at a convention.

youtube

At least I thought that was the idea until Octavia Spencer attempts a reprise of her own song near the film’s end until Ryan Reynolds cuts her off.

Taking a moment to step back let’s drop some film theory to give you an understand why this running joke bothers me so.

In the medium of film or television, there are two modes of sound that connect to the implementation of music or sound effects.

Diagetic Sound is sound that occurs within the world of the story and we can see its source. Whether it’s a baby crying, a car driving past, a conversation between two people or a vinyl record set on a record player, the sound we hear is the same sound the characters in the narrative hear.

Non-Diagetic Sound is sound that is not happening inside the world of the story. This is usually narration but it's most commonly film scores as not everyone can hear the swelling of music happening around them unless directly shown to be, such as the Walkman music from “Guardians of the Galaxy."

Musicals are a tricky act because it’s not so simple to explain whether they are one or the other. For the most part, it’s widely accepted that songs in musicals are non-diagetic. An inner monologue given out in song that represents what the characters are feeling or meant to serve a symbolic gesture behind their actions or words.

youtube

Take “Popular” from Wicked. While Galinda is having this conversation with Elphaba about giving her a makeover, we the audience can see her singing, the musical imparts the suggestion that the singing is an internal gesture that is made manifest in song for the audience to hear. The lyrics are a metaphor for the situation and the song is Galindo's internal thoughts.

Of course that’s not to say songs can’t be diagetic in a musical.

“Million Dollar Quartet” specifically makes it clear the songs performed do come from the cast as they are performing their songs within a recording studio. The songs serve both a symbolic gesture while clearly being connected to the world within the musical.

youtube

“Spirited” is trying to have it’s cake and eat it too by employing both modes to suggest the music numbers are diagetic and non-diagetic, but it seems to be at odds with itself.

It tries to play itself as funny by poking fun of itself for being a musical….while indulging in elaborate music numbers with complex choreography, colorful set pieces and big bombastic songs that feel right at home on a Broadway stage.

It’s funny once when the movie opens with a music number and a random intern openly asks why everyone is singing before he is told it's just what they do. Ryan Reynolds interrupts music numbers or makes snarky comments how he could perform an elaborate dance number, even one music number that was cut for time plays over the end credits when the joke for that scene was Marley giving Present what he wanted to avoid a music number.

Even during an emotional ballad from Will Ferrell where that same intern from the beginning whispers “What the heck is going on?” It just takes me out of the musical and whatever feeling they want out of me as it slams to a halt.

Contrast that with “Spamalot” where the songs remind you that this is a musical, skewering itself relentlessly but never losing its identity. Such as the number “The Song That Goes Like This,” where Lancelot and the Lady of the Lake perform this duet together, all while calling out the cliche of that kind of musical number in the lyrics or pointing out their own shortcomings to hit specific keys.

youtube

It’s the anti-musical musical that still has enough respect for its audience even when it’s taking the piss out of them.

The sad thing is, all that was me speaking to what I got the most worked up about this film.

Because it’s not completely bad, there’s plenty here that’s worth giving a glowing recommendation that I was enjoying.

Ryan Reynolds still remains his usual smart-mouth self that has boosted his career since “Deadpool” but he shows impressive range as a singer (even if there were a few moments I could have sworn I heard auto-tune alteration yet on the soundtrack, there is no alteration) as well as his physicality for the complex choreography created by Emmy-nominated Chloé Arnold and her team, Ava Bernstine-Mitchell and Martha Nichols. Coupling that was Will Ferrell, clearly having understood the assignment as he too shows some impressive dance moves and singing that feels like it comes from the heart, even if some of his humor is still screaming loudly. But he balances that screaming at the top of his lungs with pathos and a well timed retort bouncing off of Ryan Reynolds humor.

What’s more, their chemistry actually works. Even when the ghosts are going through the motions of showing Briggs his past, Present sees Briggs is deeply uncomfortable having to face a traumatic moment and supports him while Briggs recognizes Present's desire to experience the world again and helps him to step out of his shell when he recognizes a connection between him and Kimberly.

And they sell it! That bromance feels genuine and if the songs weren’t part of the film, their chemistry would still carry the movie.

As for the songs themselves, they’re really good. So good it’s why I’m annoyed every time the film keeps calling itself out on them.

One main reason why Pasek and Paul are great songwriters is because they know the conventions of musical theatre and are very familiar with what appeals to people. “That Christmas Morning Feeling” is the kind of big flashy modern musical number that gets people to cheer in the cheap seats and usually shows up on Good Morning America. “Bringin’ Back Christmas” is the kind of jazzy dance number that would have been right at home in the big brass and swing musicals like Cole Porter’s “Anything Goes.” “Good Afternoon,” while on the crass side, you get the feeling the two took a lot of inspiration from the playful bounciness of the Sherman Brothers.

youtube

The songs are the highlight, even if one or two of them overstay their welcome (“Unredeemable” did that for me, as well as “Do A Little Good” though by then, I just wanted the movie to be over with). But they’re very strong and hold on their own, which is why I find it so frustrating the script has to come off as “witty” to interrupt itself with snide comments about its own songs.

I really dug the overarching modern themes of cancel culture and the online trigger outrage that is rampant and often exploited by companies for profit. Even the whole concept of the Ghosts expecting to scare people into forcing a change is taken into an interesting place as Briggs says that people don’t really change overnight, but it takes real time and effort for people to make that choice to stop being an ass. Heck, it’s not even seeing a vision of his future that really forces a change from him, he outright says that “sure, I’m gonna feel bad for a few days but then I’m gonna get over it. That’s my job.” What forces a change is the bond he builds with the Ghost of Christmas Present and his willingness to be there for him when he recognizes it’s too much.

It’s a genuinely compelling argument without dissing on Charles Dickens but making a modern point in personal growth. Changing yourself takes work, but it helps to have people to support you.

I liked that. It’s not necessarily an open embrace of Dickens nor does it reinvent the wheel, but in this age of post-irony, it clearly has put thought into itself.

Moments like that clearly show there was an effort to insert sincerity into the script. I just keep being pulled out of the narrative every time they do a music number and call attention to how odd the musical cliches are.

As I said above, a musical lives within its own logic. If your narrative is to acknowledge it and move on, fine. "Rocko's Modern World" made that joke and it's funny every time I see that gag.

youtube

But this film keeps calling attention to that cliche and it gets tiring, especially when Will Ferrell does this emotional ballad that showcases superb camerawork and choreography with people holding lights and creating patterns with it…only to be offset by some dude watching who interrupts the song with a snide comment.

I didn’t outright loathe “Spirited,” but by the time the movie was over, I was so annoyed with it, I wanted it to be done and over with so I could move on. Which is a shame because there is plenty here that is worth watching. The cast do a fantastic job, especially Ryan Reynolds who clearly knows how to build rapport with his co-stars whether they are Will Ferrell or Hugh Jackman, the songs stand on their own and are infectious ear worms.

But with a sense of self-aware snark that grinds against the sincerity the film is trying to present, it just comes off as irritatingly hollow at the wrong times. Like driving in a fancy car with superb sound quality and smooth driving but every time you hit the brakes, there’s this awful screeching sound coming from the bottom front of the car that you worry might snap the brake lines and send it careening off.

But if you’re not bothered? Hey, I say go for it, just make sure you’re not going over 50 when you do so.

“Spirited” is available for streaming on Apple TV+

Next week, we’re going to focus on a different theme; whether the story still holds weight even when the characters are aware of Charles Dickens and the cliches.

For that? I think I might call a Doctor...

#reviews #ebenezer scrooge #a christmas carol #christmas #spirited 2022 #will ferrell #octavia spencer #ryan reynolds #tracy morgan #musicals #broadway #musical theatre #benj pasek #justin paul #Pasek & Paul #greatest showman #dear evan hansen #la la land #Youtube

7 notes · View notes