Flies Supremely Without Any Strings.
Marshall’s version of one of the most beloved Disney character is practically advanced and not your usual overprotective confidant. Unlike the previous version, this one is less focused on glorifying Blunt’s stardom by putting all the work in her shoulder and instead works marvelously as a teamwork. It surely is a Disney feature from head to toe. First of all, as usual Marshall’s visual galore offers you an overwhelming dose of cinema with its meticulous art designing and jaw dropping production design. From choreography to performance, he squeezes out the best from each frame. The visual effects are a bit dodgy, but the animated musical sequence is a pure packet of delight. Frankly, if considered only the musical acts, it is a perfect ten.
From catchy songs to amazing choreography, the film flows smoothly without overstaying its welcome. Among many many musical bits, the one concerning the lanterns at night with Miranda at the helm is the perfect collaboration of everything; song, performance, choreography and visuals. And as far as the rest of the storytelling is concerned, unlike his few previous projects, Marshall has managed to keep it pragmatic. With fluent vocab and a persistent theme of staging each character as the protagonist of the scene, it is palpable to its happy-go-lucky nature.
The writing is quite balanced, all the actors gets their stand out moments. Whishaw as the victim has an amazing voice and sings expressively with Mortimer who might not have enough to invest but has tightly hold on to her role. The younger cast draws attention from the elder ones in musical sequences especially in the lantern musical act. Streep and Firth are merely their to raise the stakes of the table, their part concerns as an introduction to hold the audience whenever the storyline drops down.
Surprisingly, Miranda has a much bigger part to play, almost walking parallel-y to Blunt as a lead, his performance may be put on stand on drama for questioning but on musical acts, he is put upfront by the makers knowingly that he will impress. Blunt under the sheer pressure of filling in the shoes of Andrews, is confident and equally hilarious. One of the best gags of all is devouring her perfect-ness in the mirror that itself grows as a character. Marshall’s maturity can be pointed out in here, where he doesn’t unnecessarily offers Blunt a wider range to please the viewers, in her own contract-orial margin, she delivers unflinchingly. There is a sense of Disney-ness that saves this before falling into mediocrity lane.
The culminated sub-plots and tactics projected that hits altogether in the last act, amps up our emotions where Marshall manages to craft a live action sequence that is arguably written for an animated one. This merrily merry place does get way too sweet at times for you to swallow. And for their conflict, the very essence of Mary Poppins is it, and hence with an ironic and sarcastic note carried off effervescently by Blunt, it somehow manages to land safely; so what if with an umbrella. Mary Poppins Returns; she does, and she makes sure it matches the expectations, if not exceeds.