Epic Movie (Re)Watch #219 - Anastasia (1997)
Have I seen it before: Yes
Did I see it in theaters: No.
The very first few musical notes of the film’s score establish a key element which we will see throughout: a light and playful darkness which helps to accent the film. It fits the fairytale tone well, for that is what Anastasia is: a fairy tale. I’m not too familiar with Imperial Russia or the revolution which marked its end, but as I understand this film is FAR from historically accurate. I think that decision works well for the filmmakers, as making this more of a fairytale with fantasy elements allows for more room to play around (while also not being beholden to history).
Another reason the prologue works - other than setting tone - is that it establishes all the necessary backstory the film needs in a sleek and easily digestible way. We understand what happened to Anya/Anastasia, we understand Rasputin’s anger/motivations, we understand the pain that Anastasia’s grandmother will feel, we see Dimitri’s role in it all, everything comes through clearly. I like that.
2) Okay, question: Why does Rasputin only care about killing Anastasia and not her grandmother if he vowed to kill all of the Tsar’s family? Wouldn’t the grandma be a part of that equation?
3) Here is how it went the first time I saw this film:
[Music builds to a swell as we see St. Petersburg]
Me [sarcastically]: “Oh GREAT, a song about how wonderful communist Russia is.”
Lyrics: “St. Petersburg is gloomy, St. Petersburg is bleak.”
Me [after a moment]: “Oh.”
4) “A Rumor in St. Petersburg”
Whereas the prologue established the world of the past, this song establishes the environment the characters are currently in. We understand really quickly the stakes which motivate Dimitri, why he wants to get out of St. Petersburg, and just how much of a hubbub is around the rumor of Anastasia’s return. Beyond that though, the opening is an appropriate first taste of the film’s original songs. St. Petersburg is a big opening number befitting of a Broadway show (which this film now is) and is greatly enjoyable, much like the rest of the songs will be.
When it comes to the performance of Anya (I’m just going to call her Anya moving forward since that’s what the film does), the credit must go in equal parts to Meg Ryan and Liz Callaway. As her dialogue actress, Ryan is Anya’s actress the majority of the time. The actress is able to infuse her character with warmth, humor, heart, strength, resilience, and a little bit of sadness all in a captivating way that fits the character design. But Callaway must get the credit she deserves as well, for she is able to take all of the qualities Ryan gives Anya’s dialogue and match it in her singing. This is no easy task, as sometimes having two performers doing voice and song CAN be distracting. But the pair blend beautifully and are able to support the character to the her fullest.
As “A Rumor in St. Petersburg” acts to set up Dimitri’s motivations, “Journey to the Past” sets up what drives Anya. Her search for who she is, for who she was, and any family that may come with that. While that subject matter (Anya confronting the unknown) could be bleak, the song is wonderfully uplifting and inspiring. You ROOT for Anya because of it. You’re invested in her and honestly I think its the best song in the piece. I just love it.
7) I get “Frosty the Snowman” vibes from the ticket seller saying, “No exit visa, no ticket!” Is that just me?
With much less singing (and certainly less solos), John Cusack plays much more of Dimitri than Jonathan Dokuchitz. Dokuchitz contributions are crazy important and well done, something which he deserves due credit for, but it is Cusack who has the responsibility of developing Dimitri more. Cusack’s through his voice is able to expand on Dimitri’s lovable rogue quality, but when he develops into a much more caring person it seems natural. Cusack through his performance is able to blend these two aspects perfectly, showing Dimitri’s heart and vulnerability in an interesting way as the film continues.
9) “Once Upon a December”
A hauntingly beautiful number, this tune always felt befitting of a ghost story to me. As at home in Phantom of the Opera as Anastasia. This is one of the songs which best demonstrate the dark flavors this film dabbles with and it fits perfectly with the rest of the soundtrack. Its wonderful, slightly creepy, and very fascinating.
10) The chemistry is great between Anya and Dimitri, specifically when they’re bickering. Their initial bickering is wildly fun to watch and it translates into trust, love, and respect much more than some live action film couples. It’s an important aspect to nail in getting the audience behind their relationship and the filmmakers do this well.
11) Kelsey Grammer as Vlad.
I like Kelsey Grammer in most things, and this film is no exception. As both the speaking and singing voice for Vlad, the experienced actor gives the rotund figure an incredible amount of life which helps us as the audience get invested in him. I just like it.
12) Hank Azaria as Bartok.
It’s Hank Azaria for crying out loud, what more do I need to say? The veteran voice over and character actor enables the lovable henchman to steal every scene he’s in. Bartok doesn’t even interact with any of the main heroes, just Rasputin, but that alone gives him enough comedic material for Azaria’s vocals to carry us away. All in all, it is an incredibly fun and entertaining part.
13) Christopher Lloyd as Rasputin.
Back to the Future is my favorite film, so having Christopher Lloyd in anything is a treat for me. His vocals as Rasputin are INCREDIBLE! He’s playful evil, having a ton of fun in the part which means the audience has fun too. Rasputin is a brilliantly entertaining villain (especially considering he’s stuck on the sidelines for most of the movie), with the physical humor brought about by his decaying corpse leading to some gross/great comedy bits! Rasputin is one of my favorite non-Disney animated villains of all time (if not my favorite). He’s great and has an incredible villain song!
14) “In the Dark of the Night”
Lloyd doesn’t song this song, instead its performed by legendary veteran of voice over work Jim Cummings (Darkwing Duck, Winnie the Pooh, Tigger, Ed from The Lion King, Ray from The Princess and the Frog, and MUCH more). Cummings KILLS IT with his vocal work, making Rasputin both fun and threatening in the number. The tune is dark, epic, and evil throughout. One of the best villain songs in animation because - more than above else - the threat just amplified considerably. We understand Rasputin is not someone to mess with and this song establishes that in a wildly entertaining way. I love it.
15) The scene which best shows Anya’s and Dimitri’s chemistry has to be when they’re on the train.
Anya: “Dimitri, do you really think I’m royalty?”
Dimitri: “You know I do.”
Anya: “Then stop bossing me around!”
Vlad: “She certainly has a mind of her own.”
Dimitri: “Yeah, I hate that in a woman.”
16) I really enjoy this film, but one of the things in it I found odd is that the main protagonists go almost completely unaware of the supernatural elements which threaten them. Not until Anya and Dimitri face Rasputin at the end are they conscious of it. If I were to change one thing in the film, it would be that.
17) I always found this little bit of dialogue funny, because Dimitri does think Anya convincing people she’s Anastasia is a lie but we as the audience know better.
Dimitri: “You don’t know if it’s a lie! What if it’s true!”
The Pygmalion elements of the film could easily have been dull filler until we reach the end, but by condensing it to a charming and fun number Anya’s evolution into Anastasia is an interesting and integral part of the story. The number is one of pure joy, life, and entertainment, speaking to the relationship this trio develops on their long journey to Paris. It holds up against the other song quite well.
19) The waltz between Anya and Dimitri is a key turning point in their relationship. It’s the most vulnerable they’ve been with each other up to this point. I like that.
There’s a nice sense of heightened reality in the dream’s visuals which (with a unique color palette) helps make it feel beyond reality. While cheerful in appearance, mixing the scenes with Newman’s score means we understand there’s danger even before we see the monsters in Anya’s head. The way the film cuts between dream and reality also works well, as the flow of the scene is never disrupted. All in all, it just works.
21) Angela Lansbury as the Dowager Empress.
Our first encounter with the Empress in modern setting shows her off as grumpy, jaded, and impatient. But what’s important is that we understand WHY she’s this way. The audience sees the tragedy in her not only through the film’s prologue but also through Lansbury’s performance. That heartache is wonderfully present throughout and when it turns to joy at finding her Anastasia the effect is wonderful. But more on that later.
22) Bernadette Peters as Sophie.
A broadway legend, Peters actually objected to Sohpie’s curvy appearance since she herself had actually lost weight. Despite this, the actress (much like Grammer with Vlad) breathes a wonderful amount of life into Sophie. It’s hard to imagine anyone performing the charming and energetic character since she just feels so natural/alive. While relegated to the third act, Sophie is definitely a memorable part of the film and Peters’ performance is an important part of that.
23) “Paris Holds The Key To Your Heart”
In terms of how the tune serves the story, it stands to set up Paris as a location much like “St Petersburg” did in the opening with its titular city. But beyond that, it allows us to juxtapose how far the characters have come. This is it, their final destination, which results in a joyous night on the town. Anya is the happiest she’s been in a while and Dimitri has grown up a lot, ready to let go the woman he cares for so she can have what she wants. Like many of the others, the tune is wildly entertaining and just takes you on this wild night in Paris wonderfully.
24) The fallout between Dimitri and Anya when she finds out his INITIAL motivations is particularly heartbreaking, largely because those are no longer his intentions. For the first time in his adult life he’s actually trying to do the right thing, which creates incredibly high stakes for him (which we see when he freaking KIDNAPS THE DOWAGER EMPRESS! Also in how he turns down the reward for finding Anya). It’s a wonderful if painful moment.
25) When the Empress first meets with Anya she’s guarded and dismissive, which makes sense. It’s self preservation at this point. But that just means it is all the more wonderful when she realizes it IS Anya, that neither of them are without family anymore, and she can finally let herself be open to happiness. (Although, it’s kinda weird that all of Anya’s memories come back at once.)
26) If I ever go to a high school reunion (which I don’t plan on doing), I gotta use this line.
Rasputin [upon seeing Anya]: “Look at what the years have done to us. You a beautiful young flower, me a rotting corpse!”
27) I talked about this a bit more in note #16, but I wish Rasputin took a more active role in the plot. That there was more interaction between him and the heroes. I really like the action of the climax, where Anya and Dimitri go at it with him, but I wish I’d had a bit more of that in the film.
Rasputin [thinking Anya died]: “Finally, the last of the Romanoffs dead!”
You know, except for her grandma.
29) I love happy endings which aren’t really endings (when they’re done like this, not so much when they’re cliffhangers).
Sophie [when she learns Anya and Dimitri eloped]: “Its a perfect ending!”
Empress: “No, it’s a perfect beginning.”
Anastasia is one of the more underrated animated films out there. It’s got all the hallmarks of a classic - great music, memorable characters, an awesome bad guy, strong voice acting, a strong story - but not nearly the following of Beauty and the Beast or Aladdin. If you haven’t yet, I would recommend putting in Anastasia.
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