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Based on that highly scientific formula (meaning I just thought of it a few seconds ago), the 1941 animated Dumbo is perfect remake material – in theory, at least. Although beloved in some circles, the movie has a bare bones narrative. Clocking in at a brisk 64 minutes, there’s an adorable baby elephant as the main character, a fanciful subplot in which he learns how to fly and a heartbreaking song (“Baby Mine”) that serves as the customary Disney parent-related catastrophe.
Furthermore, there are quite a few offensive elements that don’t hold up nearly 80 years later. Circuses keeping animals in captivity isn’t a good look. Neither is a bird literally named Jim Crow who speaks in an appallingly stereotypical black dialect (“But I be don’ seen ‘bout ev’rythang, when I see an elephant fly.” Yikes.)
From that perspective, Tim Burton’s live action interpretation of Dumbo had an ideal world to reshape from the ground up with new characters and modern special effects. In execution, however, the director’s latest is yet another addition to a long line of disappointing misfires. There’s no question the guy has an eye for visually intriguing worlds. The problem is that he can’t come up with worthy narratives or compelling characters to inhabit them.
Burton’s version takes place in 1919, at the end of World War I, when struggling circus owner Max Medici (Danny DeVito) enlists veteran and former star Holt Farrier (Colin Farrell), along with his daughter Milly (Nico Parker) and son Joe (Finley Hobbins), to care for a newborn elephant whose gigantic ears make him a joke to audiences. But when they discover that Dumbo can fly, the circus makes headlines that draw the attention of businessman V.A. Vandevere (Michael Keaton).
Refusing to take no for an answer, Vandevere recruits Dumbo and his circus family for his state-of-the-art amusement park, Dreamland. Dumbo, Holt and the kids capture the heart of performers and visitors alike, until Holt learns that Vandevere isn’t what he seems.
In fairness, there were quite a few modern updates to Burton’s Dumbo that I appreciated. America is a much different place in 2019 than it was when the original Dumbo hit theaters. We value many cultural and social elements much differently now, including family, parenting, entertainment, etc. and I respect that Ehren Kruger’s screenplay attempts to bridge the morality of different eras. Some purists may be upset at the changes, but I think they’re some of the only elements of the remake that work.
However, one of those changes is setting the story in a somewhat realistic world – meaning no talking animals. If you’re going to do that, it’s crucial to replace such an endearing element with equally compelling human characters. Sadly, that’s one of the many areas where this modern Dumbo falls flat. Although Disney clearly shelled out big bucks for recognizable stars, Kruger forgot to give them interesting people to play.
Farrell does his best to give a personality to his recently widowed veteran, attempting to depict what life would be like for a soldier with PTSD – before there was a term for the condition – who returns to his pre-war life to raise kids he hasn’t seen in a while. But juxtaposed against the bland story, he comes across as blank and grouchy. DeVito is fine in a thankless role, as is Green, who at least gets to play a different kind of character than American viewers are used to seeing her portray.
On the other hand, it pains me to say this – considering he’s one of my favorite actors – but Michael Keaton is dreadfully miscast. He was clearly going for a specific type of performance, because every aspect of his character is exaggerated. However, that means he ends up looking like he’s in a totally different movie than his co-stars. Burton simply doesn’t know how to blend whatever he’s doing with the rest of the film. (Although, I must admit it is pretty cool to see a mini-Batman Returns reunion with Burton, Keaton and DeVito.)
Weirdly enough, jarring as Keaton’s performance is, his material in the film’s second half contains some bizarre, fascinating subtext. Either deliberately or inadvertently, Vandevere comes off like a twisted version of Walt Disney and Dreamland is a dark, alternate reality Magic Kingdom. (These aspects of Dumbo are also the reason the film is tonally jarring. Kids will love some heartwarming scenes, while other intense portions could frighten sensitive children in the crowd.)
As I watched the character’s evil master plan unfold, I couldn’t help but wonder how Burton and Kruger were able to convince the studio, notoriously protective of its founder’s reputation, to remake one of their classic animated films into a big budget extravaganza where Disney is the villain.
Regardless, these minor compelling elements aren’t enough to save a lackluster story and surprisingly cartoonish CGI that doesn’t blend well with the real actors. Any time one of the humans interacted with Dumbo, particularly when someone rides on his back, it broke the illusion of the film and reminded me I was watching a bunch of pixels. It’s a sensation I never experienced while watching Pete’s Dragon or The Jungle Book, so it was disappointing to encounter it here.
Dumbo will likely make a ton of money, although I imagine audience reaction will prove divisive. Nevertheless, we’ve only got a few months before remakes of Aladdin and The Lion King hit theaters and wipe Burton’s movie from our collective memory. Well, until it shows up on Disney’s new streaming service that launches later this year. Honestly, it might be a better viewing experience that way.
Dumbo is rated PG for peril/action, some thematic elements, and brief mild language.
Grade: C
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