While I wait for David Ehrenstein’s euphoric nomination to appear on Youtube, I’m jumping ahead to present my partner Fiona Watson’s feelgood film footage. She considered a variety of candidates, many of which Mr. Ehrenstein would approve of, I’m sure: Gene Kelly and Donald O’Connor’s rendition of Moses Supposes from SINGIN’ IN THE RAIN; Anne Miller dancing to Too Darn Hot in KISS ME KATE or Prehistoric Man in ON THE TOWN; the Marx Brothers going to war in DUCK SOUP (the scene that cures Woody Allen of depression in HANNAH AND HER SISTERS). It’s interesting how musical numbers tend to dominate the field of Cinema Euphoria. Maybe that’s why, in these troublous times, the musical is making a comeback, albeit frequently in a half-arsed fashion (Fiona: “Watching MOULIN ROUGE is like having your eyes pinned open, like the Ludovico Treatment, while someone throws glitter in them, for two hours”).
Anyhow, I was carefully monitoring Fiona’s joy-levels as she watched the clips, and the clear winner was this one:
You probably all know it, but it’s an interesting one nonetheless. Bear in mind, this isn’t about the best cinema, merely the most bliss-inducing, and that’s clearly not the same thing — but this is still a magnificent sequence. The animation of the apes is impressive, they have real weight and substance and meat on their bones, and real bones too. Unlike Jessica Rabbit they aren’t unstructured plastic excrescences, and unlike the Little Mermaid their features don’t float, unmoored, on their faces, like flotsam.
Then there’s the song. The Sherman Brothers had a few years of being able to do no wrong, with fantastic work in THE JUNGLE BOOK, CHITTY CHITTY BANG BANG and MARY POPPINS. Go listen if you don’t believe me. “Me Ole Bamboo” from CCBB is the song all of Scotland will be dancing to tonight.
Fiona and I both groove equally to the scat singing and the more coherent, yet still non sequiteur-ish interjections like “Take me home, daddy!” That always cracks me up. And the words “Not yet Balloo!” have an iconic resonance in our household.
What’s also cool is that when Fiona first saw this, as a tiny tot, she didn’t like it, was seriously freaked out by it, in fact. “I don’t like the monkey! Why are his arms so long?” she cried as she was manoevred from the auditorium. It’s one of the nice things about growing up, we can appreciate the appeal of a singing oran-outan without experiencing the primal terror than initially accompanies his every movement.
And if that’s not something to feel euphoric about, I don’t know what is.
(Euphoria #3 should be along sometime early in the new year)