REVIEW COLLECTION: Six x Seuss

(Courtesy Reddit)

WRITER’S NOTE: In honor of Dr. Seuss’ birthday this weekend, here is a look back on the six films that were adapted from his original works. Except for the last one, the following reviews were originally posted on my Instagram page @be.kerian. 

(Courtesy Columbia Pictures) 

The 5,000 Fingers of Dr. T. (1953) 

While several children’s books written by Theodore Geisel a.k.a. Dr. Seuss had been adapted into animated shorts throughout the 20th Century, none of them were made into live-action movies in the author’s lifetime. The lone exception was an original musical conceived and co-written by Geisel in the early-1950s. But it reportedly wasn’t a very good experience. 

The story of The 5,000 Fingers of Dr. T. centers on a boy named Bart Collins (a play on Bartholomew Cubbins, portrayed by Tommy Rettig), bored by piano lessons from his overbearing and strict teacher, who escapes into a surreal and sinister dream world ruled by the maniacal Dr. Terwilliker (Hans Conried, best known as the voice of Captain Hook in Walt Disney’s Peter Pan that same year). 

The film’s set and costume designs are impressive, impeccable, and grand, with clever homages to Seuss’s Hunches in Bunches, very witty lyrics (“What Marvelous Weather”), an extravagant sequence involving non-piano players in green makeup, and the centerpiece involving hundreds of child extras and wacky sounds galore. It may just have the largest and most unique piano ever constructed for a mainstream feature film. 

The story is full of moments that start but don’t seem to quite finish, as if each character is dragging from one thing to the next. While it seems to critique the roles of adults/parents and children, and portrays music playing as a chore or slave drive, 5,000 Fingers isn’t quite sure what kind of story it wants to. Much of this is due to the entire film being reportedly reworked and re-edited. Geisel subsequently refused to have Hollywood make any more live-action versions of his work, a stipulation that his widow, Audrey Geisel, kept after the author’s death in 1991. That is, until the turn of the century. (But that’s another story.) 

TRIVIAL FACT: The 2001 DVD release of 5,000 Fingers includes the 1953 UPA short, Gerald McBoing-Boing’s Symphony, a superb piece of animation that I found livelier by comparison. 

(Courtesy Universal Pictures)

How the Grinch Stole Christmas (2000) 

It was one of the most anticipated movies at the turn of the century. Not to mention one of the biggest Hollywood productions in years, with hundreds of actors in makeup and prosthetics, and sets that brought a beloved author’s iconic illustrations and characters to life. The resulting live-action version of Dr. Seuss’s How the Grinch Stole Christmas, directed by Ron Howard, is highly divisive. 

The positives, for starters, include the incredible art direction, production design, and costumes, as well as Rick Baker’s award-winning makeup for Jim Carrey’s ever-infamous curmudgeon and the many citizens of Who-ville. To be sure, the film works on its own, and it has heart (thanks to James Horner’s wondrous score, and the moving “Where Are You, Christmas?”). And even though his schtick and voice can get old at times, Carrey still delivers some clever improvised bits, fourth-wall gags, and other now-iconic moments (“5 o’clock, solve world hunger. Tell no one”). 

That being said, you can really see the hand of Hollywood all over this production. This 2000 box-office hit extends the narrative with a creepy and sad backstory for the Grinch, the addition of a love interest (and some unnecessary innuendos and subtle adult jokes), making the Whos more consumeristic, and giving Cindy Lou-Who (Taylor Momsen, in her screen debut) a larger role. Plus, the Grinch’s main heist doesn’t really begin until the last act of the film. 

Carrey himself has admitted that he regrets some of the aforementioned gags in this PG-rated family comedy, while Seuss’s widow Audrey Geisel consulted over script rewrites and input at best. She did, on the other hand, approve of Carrey’s casting and the incredible crew work behind-the-scenes. Which is why it’s a shame that the overall tone is edgy. The movie may be funny, imaginative, and heartwarming, but this big-budget spectacle ain’t got nothing on the simple cartoon. 

(Courtesy Universal Pictures/DreamWorks Pictures)

The Cat in the Hat (2003) 

I really wanted to like this movie. And there was every reason to. It was only the second live-action film adaptation of a beloved Dr. Seuss book (consisting of 220 words and 31 colorful illustrations). It starred an iconic comedic actor in the title role (Mike Myers). And its sets were impeccable and whimsical. Plus, I’m a Dr. Seuss fan at heart. Which is why this 2003 flick was so disappointing. 

Picture the most imaginative sets being treated like giant litter boxes. This may look like a Seuss story, which reimagines the classic tale of a brother and sister who, home alone on a rainy day, get visited by a mysterious and mischievous feline. But it feels and acts nothing like it. (The lone exceptions are the charming animated logos during the opening credits, and Victor Brandt’s fitting Seussian narration.) Instead, the filmmakers litter the screen with uncalled-for innuendos, mean-spirited hijinks (one sequence has the Cat cutting his tail with a meat cleaver), shameless product plugs, and lowbrow potty humor. And a disgusting gut. For a book that originally taught children how to have fun while reading, this movie is nothing more than encouraging them to misbehave. 

Myers’ non-stop riffing (an impersonation of Bert Lahr’s Cowardly Lion from The Wizard of Oz) gets old fast. Thing One and Thing Two are just creepy. The main kids, Sally and Conrad (Dakota Fanning and Spencer Breslin, respectively), aren’t even likable. And the supporting cast (including Sean Hayes as a germophobic boss and Alec Baldwin as a snooty neighbor) is lame. Only a few climactic moments work (“You don’t know when enough is enough!”). 

Film critic Leonard Martin believes this movie betrayed everything Dr. Seuss stood for, and that the inclusion of his name in the title was and is insulting. It was this flick that prompted Seuss’s widow, Audrey Geisel, to put an end to any future live-action movies based on her late husband’s work. And for good reason. Next, it was back to animation. 

(Courtesy 20th Century Fox)

Horton Hears a Who! (2008) 

This CGI flick from the late-2000s was hardly the first to translate a Dr. Seuss book into an animated feature. (That distinction goes to Bob Clampett’s 1942 take on “Horton Hatches the Egg”.) But “Horton Hears a Who” arguably proved that the medium was the best way to adapt Ted Geisel’s unique characters and literary worlds. 

“Horton” is a visual delight. It’s a brilliant showcase for Blue Sky Animation’s photorealistic techniques (including water and fur), walking a fine line between lifelike and cartoony. The film itself has its moments, and a terrific voice cast (Steve Carell is perfect as the Mayor of Who-ville). As only the third feature-film adaptation of Seuss’s books, it’s the most audience-friendly pick, with clever, seamless Seussian narration by Charles Osgood, and a colorful score by John Powell. 

But it has the hand of Hollywood all over it. In spite of its G-rating and accolades from critics and audiences, its tone is broad and edgy. For one thing, the Sour Kangaroo (voiced by Carol Burnett) comes across as mean and cruel. A few pop culture references feel out of place (REO Speedwagon’s “Can’t Fight This Feeling,” anybody?). And while I’m a lifelong fan of Jim Carrey, I’m not sure if he was the person to voice Horton. I’ve always pictured the delightful pachyderm as a good-natured and humble character. Carrey’s voiceover does those things, but he plays Horton as overly-excited and exaggerated. But that’s just my opinion. 

On the other hand, the way the filmmakers handle the story’s themes of faith, doubt, perseverance against all odds (even in the face of death), and integrity (biblical parallels can be drawn from them as well) are commendable and worthwhile. 

(Courtesy Universal Pictures) 

The Lorax (2012) 

Dr. Seuss books are natural fits for musicals. (Lest we forget, there was, in fact, a stage production in the early-2000s, titled Seussical, which they still need to make into a movie.) The 2012 CGI take on Geisel’s 1971 tale The Lorax (courtesy Illumination) was technically the first official feature-length Seuss musical (previous films had at least one musical segment). The songs by composer John Powell and co-writer Cinco Paul aren’t memorable, but they are intriguing, well-written, and progress the story. (The comically-dark “How Bad Can I Be” is a standout.) 

The movie features the voices of Zac Efron (as protagonist Ted), Taylor Swift (as the girl next door he tries to impress), Betty White (as an optimistic grandmother), and Danny DeVito (as the titular creature). Ed Helms voices the Once-ler, who’s given a face and a more likable personality (a significant liberty from the book) and a hillbilly-esque family. The writers even go so far as making him and the Lorax friends before all the destruction happens. 

The additional of a plastic-filled town called “Thneedville” (based on the material from the ever-popular truffula trees) is amusing, adding to the story’s commentary on commercialism, greed, and the damaging effects on nature and life. But the addition of an antagonistic business tycoon O’Hare (voiced by comedian Rob Riggle) leaves little to be desired, and reduces some of the story’s wit and creativity. (The Once-ler’s scenes as an older man work much better.) 

If I’m being honest, I truly believe Hollywood doesn’t fully understand Dr. Seuss. Sure, they get the look and character designs right. (And The Lorax has bright and gorgeous animation, to be sure.) But they feel and act like generic or lukewarm variations, which explains this movie. At least The Lorax is age-appropriate and mild enough for its target audience of children and families, with some nice messages about owning up to mistakes, and about caring and stewardship. Not bad at all. 

(Courtesy Universal Pictures)

The Grinch (2018) 

Let me be honest: I still think a great adaptation of a Dr. Seuss book is yet to be made. It would be amazing to see a visionary filmmaker that has a lot in common with the author's originality and whimsy. Say, Wes Anderson or Spike Jonze. That being said, I enjoyed the latest version of The Grinch. It's wonderfully animated. It has a terrific voice cast, including Benedict Cumberbatch as the titular "Mean One.” And it continues Illumination's reputation as a first-rate studio that specializes in fun culture and character-driven stories that audiences of any age can appreciate.

Instead of expanding the Grinch's background like they did in the live-action version, this one restrains certain elements that give enough of an idea of why the green miser chooses to "steal Christmas" from the Whos of Who-ville. It also pays homage to the Chuck Jones short with the iconic songs (and in Danny Elfman's magical score), and by portraying the Whos as sweet and not as superficial consumers. Purists may balk at the way the film modernizes the story, or the music by Pharrell Williams (who narrates) and Tyler the Creator. 

But if I've learned anything about books and movies, it's that, while they may take certain liberties, as long as the author's vision and the story's center drive everything, it's alright. For what it's worth, the characters in this version (compared with the other Seuss-related movies) aren't overly exaggerated or pointless (e.g., Cindy Lou Who is portrayed as a little girl with a single mom and two brothers). 

Stephen King once said, "Movies and books are apples and oranges. They're ‘delicious,' but they don't taste the same." The Grinch is more of a holiday treat as opposed to poetic produce. But it’s one of those rare cases where the movie works on its own. Though far from a great movie, The Grinch may currently be the best movie version of a Dr. Seuss book. It's certainly the most endearing.