Popeye (DVD)

...thinking; how could I choose POPEYE to honor him? Well, I’m not exactly honoring him with this review, but merely mentioning that he passed away last year; yes, I know, POPEYE is considered one of his worst films. In many ways, this is director Altman’s most unorthodox film: it is not only based on a well-known comic book but it is also a musical. It marked the starring debut of Robin Williams, one of the world’s most beloved comedians, and also ...
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For the uninitiated, Popeye is a sailor with only one eye, huge muscles, a pipe (which toots like a steam whistle), and a massive speech impediment which gives his character a funny mannerism; for example, words like “infant” come out of his word like “infink,” and “mother” would come out as “mudder.” He was created in 1929 by Elzie Crisler (“E.C.” for short) Seger for the King Features Syndicate, and four years later, the comic would appear ... more

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TITLE: Popeye

RATING: ****

CAST: Robin Williams, Shelley Duvall, Ray Walston, Paul L. Smith, Paul Dooley, Richard Libertini, Donald Moffat, MacIntyre Dixon, Roberta Maxwell, Donovan Scott, Bill Irwin, Linda Hunt, Wesley Ivan Hurt, Van Dyke Parks.

DIRECTOR: Robert Altman

SCREENWRITER: Jules Fieffer

RUNNING TIME: 114 min

STUDIO: Paramount Pictures / Walt Disney Studios

RATED: PG (US) & UK (U); for comic-book style violence.

DVD AVAILABILITY: 6 GBP on Amazon; ASIN # B0002ISGAG

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INTRODUCTION: THE LATE, GREAT ALTMAN
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I’m not sure how many of you heard, though last year we lost one of our finest directors, and that would be Robert Altman, who was nominated for Best Director Oscar seven times, yet never won. Born in 1925, and starting out as a part-time actor, it would take many years before he received acclaim as a director; in fact it wasn’t until the landmark 1970 film MASH in which he would find success and praise. A blistering, bold black comedy on the Korean War, the show would inspire the long-running hit TV series with Alan Alda, Since then, he would make other great films such as NASHVILLE, THE PLAYER, and GOSFORD PARK. His last film, which would be one of his best, would be A PRARIE HOME COMPANION, his bouquet to radio storytelling, based on Garrison Keillor’s longtime show on National Public Radio.

Now I know what you all are thinking; how could I choose POPEYE to honor him? Well, I’m not exactly honoring him with this review, but merely mentioning that he passed away last year; yes, I know, POPEYE is considered one of his worst films. In many ways, this is director Altman’s most unorthodox film: it is not only based on a well-known comic book but it is also a musical. It marked the starring debut of Robin Williams, one of the world’s most beloved comedians, and also a stunning cast which, regardless of what others say, are very faithful of their comic book counterparts. Today, I’m pleased to present to you all my review on the harshly underrated and despised film POPEYE, which I think is way better than people take it for.

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HEY SEGAR, PASS THE CAN OPENER!
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For the uninitiated, Popeye is a sailor with only one eye, huge muscles, a pipe (which toots like a steam whistle), and a massive speech impediment which gives his character a funny mannerism; for example, words like “infant” come out of his word like “infink,” and “mother” would come out as “mudder.” He was created in 1929 by Elzie Crisler (“E.C.” for short) Seger for the King Features Syndicate, and four years later, the comic would appear onscreen in a number of Parmount cartoons made by Max and Dave Fleischer. Even though Seger died in 1938 at only 43 years of age, his creation would prove to become immensely popular (at one point he was considered more famous than Mickey Mouse), and cartoons still were made over a course of 20 years after his death. I’m sure many of you have seen these cartoons, which would usually have the lovable Popeye attempting to save his sweetheart Olive Oyl (who I strongly believe is anorexic) from the obese, bearded giant known as Bluto. Eventually, Popeye and Olive adopt a baby named Swee’Pea, who was sent to Popeye in the mail by an “unknown mudder.”

And what is Popeye’s secret weapon you might be asking? Why that would be Spinach, and every time he ate an entire can, he would get superhuman strength which he would use to be on Bluto like ugly on a Baldwin brother. Once he kicked Bluto’s ass and disposed of him, then Popeye and his sweetie Olive Oyl would end up happily ever after. I know I tend to add personal experience in my reviews, though it’s not much of a secret that I was a sailor myself for 8 years; did I each spinach, though? You bet your 5 quid can-opener I did!!! I watched the Popeye cartoons as a kid, and it was during that time that I managed to catch the movie on TV one day. Unlike most kids also, I ate my vegetables; although spinach wasn’t one of my favorites, I would devour lots of carrots and asparagus. That is what I think makes Popeye unique; sure, Bugs Bunny has his carrots, but you got to love a guy that uses spinach as a steroid substitute. Parents love the message that Popeye gives to kids, and it’s true: eat your vegetables and you will be stronger and healthier.

So, what led to the film being made? Well, Paramount and King Features wanted to celebrate the 50th anniversary of the character, and they hired Pulitzer Prize- winning cartoonist Jules Feiffer to write the screenplay. He won an Oscar for an animated short in 1961, and later adapted the play “Carnal Knowledge” to the screen for director Mike Nichols. However, Feiffer also happened to be a huge fan of the comic strip, which debuted the same month and year of his birth (January 1929); director Robert Altman would come onboard and shooting would take place in Malta, in a little area called Mellieha. The film was released just before Christmas in 1980, and many critics hailed it as boring, unfunny and the worst film of the year! Yes, it’s true: our beloved sailorman was bashed and laughed at, and the movie seemed to sink into obscurity slowly after that. What happened? It’s hard to believe that the public didn’t fancy Popeye anymore. It is also hard to believe that a massive fan and cartoonist could louse up the adaptation; the film was finally released on DVD last year in the UK, after years of being obsolete.

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A STRANGER IN SWEETHAVEN
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The film opens like a 1930’s Paramount cartoon, with the classic cartoon character appearing briefly, and then we see Popeye in a small boat caught up in a sea storm; he arrives in the town of Sweethaven, which pretty much ignores him as an outsider and the taxman seems to give him some ridiculous charges simply for being there. Popeye manages to snag a room for renk at the Oyl residence, and soon meets Olive Oyl (Shelley Duvall) the demanding, skinny daughter who is set to marry the local harbormaster Bluto (Paul L. Smith), however she is beginning to have second thoughts. At first she looks at Popeye as some kind of weirdo, though while talking one night, they happened to find an abandoned baby, which someone had left for Popeye anonymously, and she begins to confide in him. Popeye decides to name the baby Swee’Pea, and when Bluto catches all three of them together, well, he gets the wrong idea and beats up Popeye to a pulp.

While Olive and Popeye become closer as a couple, he feels that the relationship is keeping him away from his original mission: searching his long lost Pappy. Popeye is convinced that he is alive, though he must deal with the town folk, who are unwilling to help. When Swee’Pea gets kidnapped by Bluto, however, Popeye realizes that he must overcome this brute in some way…and he will learn eventually from his discovered father Poopdeck Pappy (Ray Walston) that spinach is the key. There is just one problem: Popeye hates spinach and refuses to eat it!

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WILLIAMS AND DUVALL MAKE A PERFECT TEAM
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Despite all the negative criticism that has been thrown at POPEYE, I still believe it is one of the most faithful, colorful, and fun comic book movies ever made; ironically, it came out the same year as FLASH GORDON, which was trashed by critics too, though unlike the one-eyed sailor, GORDON has established a cult reputation in the years following. Still, there was one critic who actually gave POPEYE a great review, and that was Pulitzer-Prize winner Roger Ebert, who said: “POPEYE is lots of fun, and it suggests that it is possible to take the broad strokes of a comic strip and turn them into sophisticated entertainment. This movie has affection for the comic strip, and so much regard for the sailor man that it even bothers to reveal the real truth about his opinion of spinach!” I couldn’t have said it any better myself, despite all the other critics who said that the film belongs in Davy Jones’ locker.

The casting is not only inspired but also impossible to resist. Can you really imagine any other actor but Robin Williams in the title role? At the time, he was only known because of his wacky sitcom “Mork & Mindy,” in which he played a Martian who falls in love with a Colorado college girl. Ok, fine, maybe he is not ideal, though he still pulls off the character with glee and irreverence; his speech impediment is perfect, and he can really deliver the goofy dialogue with gusto. Only Williams could say something a line as mediocre as this and make it funny: “You’re not going to win Bluto…cause your bad! And the good always wins over the bad!” I’ve always thought Williams is a gifted comedian, and his gaspingly hilarious comic timing is what sets him apart from others; while he may not be as known as Popeye as other roles, I still think this is one of his most memorable.

I’m sure you have seen Shelley Duvall in things such as THE SHINING, ANNIE HALL and “Fairie Tale Theatre”; however, I will say to you as I’ve said it to everyone else: Duvall was literally born to play Olive Oyl. She is the perfect height, has the perfect walk, the perfect look…everything about her rings true as the character was depicted in the cartoons and comics. Plus, and I never would have guessed this, but Duvall actually sings quite well; check out the number “He Needs Me” and she really pulls off something incredible. Personally, I think that director Altman made a match made in heaven here, and even those who said they hated the movie cannot deny that they were good choices to play the leads. And to think the original choices were Dustin Hoffman and Gilda Radner?! I don’t think so!

Among the supporting roles, we have Paul L. Lester (MIDNIGHT EXPRESS) giving a brooding interpretation of Bluto, and Paul Dooley is terrific as Wimpy, who will give his soul any day for a hamburger. The legendary Ray Walston is great as Poopdack Pappy, who looks at his son as a spoiled little brat because he won’t eat Spinach. In smaller roles, you can also spot Dennis Franz as the roughhouse Spike, Donald Moffat as the Taxman, and Oscar-winner Linda Hunt (THE YEAR OF LIVING DANGEROUSLY) as the boxer’s “mudder.” Famous composer Van Dyke Parks, who does many scores for children’s films, can be seen briefly as a piano player.

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THE CREATORS OF POPEYE’S WORLD
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I guess it that it takes a certain audience to get into the spirit and sense of humor present in Jules Feiffer’s screenplay, though I truly believe that he perfectly captures E. C. Segar’s creation with energy and creativeness. The salty, slurred dialogue for Popeye’s and Poopdeck Pappy’s characters is particularly delightful, and while he writes Olive Oyl as a stuck up bitch at first, he also gives her character time to develop and turn around, attitude wise. The lack of dialogue he gives to Bluto I think was a wise choice as well, because he is better as just being a growling bastard with a mean, jealous streak. Overall, Feiffer’s affection for the comic is very evident I think in his adaptation, even though he does resort to contrived plot turns---like a subplot involving a buried treasure.

I think the other faithful element is the crew’s contribution to Sweethaven and the world of the characters. The production design by Wolf Kroeger (ERAGON, LADYHAWKE) deserves a lot of credit, as he creates Sweethaven with a wonderful old-time design and appearance, with houses and cobbled roads that look straight out of the early 20th century, Some have complained about the sets being cluttered, though I disagree; set decorator Jack Stephens (who just received an Oscar a year before for Roman Polanski’s TESS) gives a nostalgic texture the interior of the homes, as well as the boats. And Scott Bushnell’s costumes are just right, perfectly translated from the comic book pages; Olive’s dress and shoes are the best, and literary bring to mind the animated garb she wore in the cartoons. Oh yes, and Popeye’s muscles and tattoos are there intact, and while they are prosthetics, they still manage to look seamless.

Perhaps the best contribution might be Altman’s direction. At times, the film actually plays like a live-action cartoon, and he employs a lot of old-fashioned cartoonish sound effects; look at the fight scenes, in particular, like when Popeye uses another guy’s head as a virtual punching bag, or after he punches someone, you hear little birdie sounds. How could critics call this film boring when there seems to be a surprise hidden up Altman’s sleeve every second; the boxing sequence is a great set-piece because we see a style reminiscent of old cartoons and Three Stooges shorts, while at the same time belonging into Popeye’s world. First, Popeye is just watching in the audience but when Olive’s brother gets booted out, he just jumps on in with a boxing outfit and after he gets punched, he shows a disgruntled face and just makes his pipe spin around at super speed.

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“I YAM WHAT I YAM, AND THAT IS ALL THAT I YAM!”
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While I love POPEYE for all its details, quirks and faithfulness to its source, it still has its fair share of problems, and it starts with the songs. Most of the songs by Harry Nilsson are, unfortunately, badly staged and the some of the singer’s voices are just horribly dubbed; Bluto’s singing voice is the most obvious because the character is white, though the voice sounds like it comes from an African-American! Duvall’s solo number “He Needs Me” is sweet, and I love Williams’ song-and-dance to “I Yam What I Yam,” though most of the other songs are just dull with no finesse to them whatsoever. Of course, the entire cast sings “Popeye, the Sailor Man” at the finale which is probably the best of all the songs, and Williams does some great moves while dancing to it. As a musical overall, though, POPEYE is ill-conceived and I think would have worked better without most of the songs.

Many critics thought the film was boring, and while I disagree, I do admit the film feels longer than it should be; editors John Holmes (no, not the porn star), and David Simmons should have spent more time on the cutting room floor, getting rid of some unnecessary scenes, particularly most of the songs. I’m sure they could have brought it down to a running time of an hour and a half and it would have been smoother to watch. Actually, you would probably be better off to watch the film on TV as much of the songs are eliminated to make way for commercials; try watching it but ignoring the commercials. The one other problem I have with the film involves a rubber octopus, and I’m not going to go into any more detail there.

Despite these abnormalities, however, I still love POPEYE for what it is: a fun, enjoyable adaptation of the beloved comic strip, and I encourage you all to give it a chance on DVD. Unfortunately, there are no special features, not even a theatrical trailer; however, there are English subtitles in case you are thrown off by Popeye’s dialogue.
The picture also looks pretty damn good for being over 25 years old, with most of the scratches and grain cleaned up, giving the film an overall rich quality, bringing out Giuseppe Rotunno’s nice cinematography. The DVD is available from Amazon for 6 GBP; just open up a can of spinach to eat instead of popcorn, and enjoy the movie! Thanks for reading, and have a great weekend! Chris :)

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FUNNEE LEENES FROM FIEFFER’S SKRIPK
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QUOTE #1: “You got a room for renk?” --- Robin Williams “Yes, we do…and what kind of name is that, Popeye?” --- Shelley Duvall “What kind of name is Olive Oyl…sounds like a lubricanks! Can I see me room now?” --- Robin Williams

QUOTE #2: “Bluto, Bluto, Bluto! Everyone takes advantage of my poor Bluto! And that is why I will marry him, so that they will stop talking badly about the sweetest, most humble man on the face of this Earth!” --- Shelley Duvall

QUOTE #3: “Hey runt, where did you get that pronunskiation? I bet your Pappy is as stupid as you are!” --- Dennis Franz “One thing I’ve got, is a sense of humiligration! Now maybe you swabs can pool your intelligence and sees I’m asking you for an apolisky!” --- Robin Williams

QUOTE #4: “You know, I don’t know when I’ve had this much fun and still be conskious!” --- Robin Williams

QUOTE #5: “One thing I remember about me Pap was that he used to throw me up in the air; but he never be there when I come back down. I also recall when he gave me an electric eel as a toy. Eep! Yeah, that was fun!” --- Robin Williams

QUOTE #6: “Eat your spinach you no-good infink! Eat it!” --- Ray Walston

QUOTE #7: “You was disobedient when you was two, and you are disobedient now. Spinach has kept our family strong for generations, but youse only spit it out!” --- Ray Walston

QUOTE #8: "Bluto! Even those youse larger then me, you can't wins, 'cause your bads, and the goods always wins over the bads!" --- Robin Williams

TRIVIA NOTE #1: Wesley Ivan Hurt, who played the infant Swee’Pea was actually director Altman’s own grandson; today, he is a high school teacher and has no recollection whatsoever of his only acting role.

TRIVIA NOTE #2: The minor role of Cindy, the Drudge, is played by Valerie Velardi, who was Robin William’s wife at the time; they shared a union from 1979 to 1989 and had one child.

TRIVIA NOTE #3: Incidentally, Robin Williams had to get stitches after Ray Walston threw the can of spinach on his head. 

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