# Anastasia (1997)

### reviewed by
Chad Polenz

    Anastasia

Chad'z rating: **1/2 (out of 4 = OK/average)

1997, G, 94 minutes [1 hour, 34 minutes]

[animated - lighthearted drama/fantasy/musical]

starring the voices of: Meg Ryan (Anya), John Cusack (Dimitri), Angela Lansbury (Dowager Empress Marie), Christopher Lloyd (Rasputin); written by Susan Gauthier, Bruce Graham, Bob Tzudiker, Noni White; produced and directed by Don Bluth, Gary Goldman.

Seen December 8, 1997 at 8:40 p.m. at The Glenwood Movieplex Cinemas (Oneida, NY), theater #2, by myself for free (free pass). [Theater rating: ***: good sound, picture, and seats]

One would think the animated film industry would be free of the same criticism live-action, Hollywood movies often receive, such as too many special effects and not enough story. Watching "Anastasia," it's apparent that trend has been picked up on in the last place it should be, as the film is flooded with spectacular imagery, but strung together by a weak story.

In the spirit of most animated movies intended for children, this film opens in traditional fashion by establishing all of its important aspects quickly. And like many other films of the nature, the atmosphere is a lighthearted mix of basic reality and some fantasy. The animation is beautiful, as its computer-generated enhancements give a good sense of three-dimensional realism, movement, and minute detail.

The setting takes place in 1916 Russia where we get a glamorous royal family and a nasty villain, each such obvious representatives of good and evil it's a bit surprising these labels aren't stamped on their forehead. When the villain, Rasputin (Lloyd), tries to put a curse on the Romanov royal family, a chase scene immediately ensues. But the princess Anastasia doesn't make it, and, after hitting her head while trying to catch a speeding train, suffers amnesia. Thus the heir to the throne is thought to be missing for the next 10 years.

Although the film does a fine job in establishing its basic plot, it does so through typical song-and-dance routines that could be found in almost any animated musical. We learn Anastasia wound up in an orphanage and is now named Anya (Ryan). We also learn the Dowager Empress Marie (Lansbury), has moved to Paris and is offering a reward to anyone who can find her. Of course, where's there's a reward, there's got to be con artists, and those characters are present here with Dimitri (Cusack), the likable kitchen boy, and Vladimir (Kelsey Grammar), his chubby cherubic guardian of sorts. They plan to find a girl to impersonate Anastasia and split the reward money - guess who becomes their proxy?

From this point the story plays itself out as expected: with a rivalry and unspoken attraction between Anya and Dimitri; a long road trip to make for adventures; and the villain trying to kill Anastasia even though he's dead. The problem is the screenplay is confused and inconsistent. The scenes and sub-plots between Anya and Dimitri are clever and funny, as they look, talk, and act like real people. Yet the other characters look like comic-strip caricatures and the result is a conflicting atmosphere.

Then there's Rasputin and all the silliness that comes with him. We get lots of gratuitous special effects, magic tricks, and the generic, wisecracking sidekick. But it just doesn't synthesize with the story since everything else seems so realistic in comparison. Rasputin has such little screen time we never get a sense of his motivation, he's just the token villain.

To say the film suffers an identity crisis is an understatement. The first act is told almost exclusively through song, but once the story has focus, the songs disappear and what had been a good musical becomes anything but. It's all over the map using the interaction between the main characters to create for comedy, the threat of Rasputin for wild adventure, and when they finally arrive in Paris the melodrama comes pouring in.

There seems to be a charming fairytale within "Anastasia," but it never really surfaces through the bland story. It is a bit charming, but it doesn't have the magic touch it needs.

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    (C) 1997 Chad Polenz

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