All posts by Renette

Broadway and Jazz in So You Think You Can Dance

Whenever I watch So You Think You Can Dance on YouTube (I’m usually out on Saturday nights while it’s being aired on cable), I’m more interested in watching the hip-hop or even krump routines compared to the other genres. But after seeing these two performances, I’ve now included jazz and Broadway among my favorites. Here’s Sabra Johnson and Neil Haskell in their jazz performance to “Sweet Dreams (Are Made of This),” choreographed by Mandy Moore. The song incidentally reminds me of an ice cream commercial that was popular when I was a kid.

Here’s my favorite couple Chelsie Hightower and Mark Kanemura in their steamy Broadway performance to the song “I’m a Woman,” choreographed by Tyce Diorio.

George Sampson on Britain’s Got Talent

A few weeks ago, my boss told me about Paul Potts, the guy who won this show called Britain’s Got Talent. The show sounded familiar, but I never actually watched it before. I thought I’d check it out in YouTube, like Joy did, but I, uh, got a bit bored. That’s when I noticed under “Related Videos” something that caught my eye – something about a 13-year-old streetdancer.

I wasn’t expecting much from this kid because he seemed too young to be a decent streetdancer and breakdancer. I guess I forgot that Adam Sevani from Step Up 2 was only 15 when he made the movie. He actually caught me (and obviously, the judges as well) by surprise when he started dancing, because he looked so shy at first. Anyway, here’s his audition last 2007. I think he was really adorable in this video.

I found out later while checking out his other videos that he didn’t make it to the semi-finals even though Simon Cowell fought for him. It’s a good thing I guess because it made him really determined to train harder and come back the next year.

Since he didn’t come from a rich family, he would literally dance in the streets to raise money for lessons and travel expenses. In his re-audition in 2008, he said he was “twice as nervous” but George showed everyone he was twice as good. You’d see his big improvement both as a dancer and performer (watch his facial expressions) in this video.

This time, he got into the semi-finals, where he performed probably one of the most creative dance routines I’ve ever seen. Rain is always interesting, and was a bit reminiscent of the final dance in Step Up 2. As George Sampson said, “It doesn’t get any better than that.”

For the finals, he was supposed to do another routine to a Bee Gees song, but an hour before the live show he decided to redo his popular “Singing in the Rain” performance. It’s amazing how he can make it even more amazing than it was before. Watch how both relaxed and intense he is. You can really feel that his heart is into his dancing, and he’s giving it all he’s got.

After dancing like that and raising the bar even higher, it’s no surprise that he won Britain’s Got Talent 2008. His dancing is amazing, his attitude is inspiring, and his accent is so bloody endearing!

 

Note: Photo on the top is from www.dailymail.co.uk

On the BBC’s Prince Caspian and Dawn Treader

Like I mentioned in my previous entry, I’ve had the complete VCD collection of the BBC adaptation of The Chronicles of Narnia for 3 years now but I have only attempted to watch it once. I gave up after a few minutes because I was creeped out by the talking beasts – which were actually people wearing animal costumes, until friends from The Lion’s Call forum mentioned how they liked it, especially The Silver Chair. So I dug out my old VCD’s and watched SC, and liked it a lot.

Tonight, having nothing better to do (and not having cable connection at the moment for some reason), I thought I’d watch Prince Caspian and The Voyage of the Dawn Treader, which was meshed to one movie. My major problem is that I can’t find the last disc, so I couldn’t finish watching it. But still, here are my comments:

COMMENTS ON THE CAST

There’s something about Richard Dempsey’s portrayal as PETER PEVENSIE that I really liked. He was younger than I thought Peter would be from the book, but he has a certain kingliness and nobility about him that I could really imagine him as the High King.

Sophie Cook as SUSAN PEVENSIE had only a very short role in the film, and I don’t remember much about it.

Jonathan Scott as EDMUND PEVENSIE was okay, though he looked nearly Peter’s age.

I didn’t like Sophie Wilcox as LUCY PEVENSIE that much, because she didn’t quite capture the innocence and pureness of heart that Georgie Henley was able to portray in the Walt Disney-Walden Media version.

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I loved both the young PRINCE CASPIAN, played by Jean Marc Perret, and the older KING CASPIAN, played by Samuel West. First, because they got the age right. When Caspian became a king, he was only a boy, not a 27 year old man. Second, because they got his hair right. Caspian had golden curls, not raven black wavy hair. Oh well. Plus, I love how the older Caspian resembled the younger Caspian.

As I mentioned before, David Twaithes as EUSTACE SCRUBB captured the whining, irritating quality of the character.

For the minor characters, I’ve got to say I also loved MIRAZ (Robert Lang), CORIAKIN (Preston Lockwood) and best of all, the HAG (which I just found out was played by Barbara Kellerman, who also played the White Witch and the Lady of the Green Kirtle).

COMMENTS ON THE SCRIPT

Again, I must say I’m really impressed with how many direct quotes they incorporated in the dialogue. I guess the main difference is that they combined PC and VDT into pretty much one single story. As I said before, I can’t find the last CD so I don’t know how the story ends, but they thought of a pretty good way to do it. When the Pevensies get back to Narnia after the end of PC, instead of everyone going to school, Peter is going to Professor Kirke’s, Susan to the USA (uh, in a train?) and Ed and Lucy to the house of their cousin Eustace Scrubb. Of course, this leads straight to the story of VDT.

I think though that if you watch this film without reading the book, you’d be hard-pressed to understand the back-story of the Telmarines and the battle.

OTHER COMMENTS

Uh, I thought it was weird for Aslan, Susan and Lucy to watch the second Battle of Beruna rather nonchalantly from the comforts of a tall hill. And I thought the dryads (spirits of the trees) were way too creepy and ghost-like.

I sort of wished I’ve seen the BBC adaptation of The Chronicles of Narnia when I was younger. I’m sure I would have enjoyed it more, but as it is, I still love it.

Napoleon and Tabitha’s Choreography in So You Think You Can Dance

 

I first heard of Napoleon and Tabitha D’Uomo (a brilliant husband-and-wife team of choreographers) in So You Think You Can Dance when they did my all-time favorite hip-hop number in the show (more about that at the end of this post). I didn’t really think that much of them until I realized that they choreographed all of my favorite routines this season.

Here they are in reverse order of preference.

# 5 DON’T TOUCH ME by Busta Rhymes

I love this song, but mainly because it’s in one of the ACDC dance battle videos (Adam/Chu Dance Crew, star and director from Step Up 2). Anyway, I thought this was a really funny routine, and I thought Kherington did a pretty good job even though she had no hip-hop background.

# 4 LIKE YOU’LL NEVER SEE ME AGAIN by Alicia Keys

Like one of the judges said, it sort of reminds you of Ghost (starring Patrick Swayze and Demi Moore). You want them to be together, but they can’t. It is a very moving routine, mainly because of the story-line that Napoleon and Tabitha incorporate into their choreography.

# 3 NO AIR by Jordin Sparks and Chris Brown

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This is another emotional number with a sad-story line. Joshua is about to go to the war, and is saying goodbye to Katee. Katee isn’t trained in hip-hop as well, but I think she did a pretty good job.

# 2 PARTY PEOPLE by Fergie featuring Nelly

Comfort (the girl) was amazing. Mark isn’t really a hip-hop dancer, but wow. I love how he moves, and I love the steps. I love the song too, and Napoleon and Tabitha are right – the performance just makes you move and groove to the beat.

# 1 BLEEDING LOVE by Leona Lewis

This is my absolute favorite. You can’t watch this without feeling the pain of Chelsie about her workaholic and emotionally aloof husband, Mark. The performance is moving and emotional, and the audience can’t help feeling the same way. Now that’s bleeding love.

Allison and Ivan from So You Think You Can Dance

So You Think You Can Dance is one of my favorite TV shows today. I don’t get to watch it regularly (I’m usually not at home during Saturday evenings) but I try to watch the performances via YouTube. For season 2, my favorite couple was Ivan Koumaev and Allison Holker. Since they’re my favorites, I guess it comes as no surprise that my two favorite performances of the entire season were theirs – a hip-hop routine and a contemporary dance. It’s interesting because Ivan is a hip-hop dancer, and Allison is a contemporary dancer, so one of them was always in their element during both performances.

SEXY LOVE by Ne-Yo (choreographed by Shane Sparks)

This is a very relaxed, “no aggression” hip-hop routine. I love how Ivan makes dancing look so effortless! I love the choreography also – it’s actually my first taste of lyrical hip-hop. This is so much better than their other hip-hop dance “Turn It Up” though maybe it was because I didn’t like the choreography so much. Unfortunately, Allison wasn’t at par with Ivan, but that’s understandable because she’s not trained in this genre. “Sexy Love” was actually their last dance together, since Allison got cut afterwards.

WHY by Annie Lenox (choreographed by Tyce Diorio)

This is a very beautifully fluid contemporary dance that showed the world how much Ivan has grown as a dancer. Really, given his background in hip-hop, his popping and locking and gliding, you’d be surprised to see him pointing his toes and doing extensions. This performance was so good that they did it again during the finale.

By the way, Allison was one of the cheerleaders in High School Musical 1 and 2. I didn’t see her there though – I’d have to watch the movies again to see.

Practical People in Narnia

In The Chronicles of Narnia, a total of seven people were described as being practical, and three of them were called practical in a rather negative way.

JADIS

The children were now afraid that Jadis would have something to say to them about what had happened in the wood. As it turned out, however, she never mentioned it either then or afterwards. I think (and Digory thinks too) that her mind was of a sort which cannot remember that quiet place at all, and however often you took her there and however long you left her there, she would still know nothing about it. Now that she was left alone with the children, she took no notice of either of them. And that was like her too. In Charn she had taken no notice of Polly (till the very end) because Digory was the one she wanted to make use of. Now that she had Uncle Andrew, she took no notice of Digory. I expect most witches are like that. They are not interested in things or people unless they can use them; they are terribly practical. So there was silence in the room for a minute or two. But you could tell by the way Jadis tapped her foot on the floor that she was growing impatient. – from Chapter 6, “The Beginning of Uncle Andrew’s Troubles,” The Magician’s Nephew

From this quote about Jadis, being practical means only paying attention to someone if you wanted to use the person in one way or another. Jadis didn’t pay attention to Polly because she was using Digory. Later on, she didn’t pay attention to Digory either because she was using Uncle Andrew. She didn’t waste her time in noticing or paying attention to people who didn’t suit her purposes.

UNCLE ANDREW

We must now go back a bit and explain what the whole scene had looked like from Uncle Andrew’s point of view. It had not made at all the same impression on him as on the Cabby and the children. For what you see and hear depends a good deal on where you are standing: it also depends on what sort of person you are.

Ever since the animals had first appeared, Uncle Andrew had been shrinking further and further back into the thicket. He watched them very hard of course; but he wasn’t really interested in seeing what they were doing, only in seeing whether they were going to make a rush at him. Like the Witch, he was dreadfully practical. He simply didn’t notice that Aslan was choosing one pair out of every kind of beasts. All he saw, or thought he saw, was a lot of dangerous wild animals walking vaguely about. And he kept on wondering why the other animals didn’t run away from the big Lion. – from Chapter 9, “The Founding of Narnia,” The Magician’s Nephew

From this quote about Uncle Andrew, being practical means only paying attention to something that involves yourself and nothing more. Uncle Andrew missed the point of the entire creation (or “founding”) of Narnia simply because he was only concerned that that the animals wouldn’t attack him. He didn’t waste his time in noticing or paying attention to things that didn’t concern him directly.

ARSHEESH

Sometimes if Arsheesh was there Shasta would say, “O my Father, what is there beyond that hill?” And then if the fisherman was in a bad temper he would box Shasta’s ears and tell him to attend to his work. Or if he was in a peaceable mood he would say, “O my son, do not allow your mind to be distracted by idle questions. For one of the poets has said, `Application to business is the root of prosperity, but those who ask questions that do not concern them are steering the ship of folly towards the rock of indigence’.”

Shasta thought that beyond the hill there must be some delightful secret which his father wished to hide from him. In reality, however, the fisherman talked like this because he didn’t know what lay to the North. Neither did he care. He had a very practical mind. – from Chapter 1, “How Shasta Set Out on His Travels,” The Horse and His Boy

From this quote about Arsheesh, being practical means only paying attention to something that you already know about. He never concerned himself with the lands beyond, like the free North. He didn’t waste his time in noticing or paying attention to things that he wasn’t familar with.

Being practical isn’t all that bad though. In fact, there were four others who were mentioned as being practical, but not in the way that Jadis, Uncle Andrew and Arsheesh were.

DUFFLE AND THE STAG

Presently, however, two more practical people arrived in the little wood. One was a Red Dwarf whose name appeared to be Duffle. The other was a stag, a beautiful lordly creature with wide liquid eyes, dappled flanks and legs so thin and graceful that they looked as if you could break them with two fingers.

“Lion alive!” roared the Dwarf as soon as he had heard the news. “And if that’s so, why are we all standing still, chattering? Enemies at Anvard! News must be sent to Cair Paravel at once. The army must be called out. Narnia must go to the aid of King Lune.”

“Ah!” said the Hedgehog. “But you won’t find the High King at the Cair. He’s away to the North trouncing those giants. And talking of giants, neighbours, that puts me in mind -” 

“Who’ll take our message?” interrupted the Dwarf. “Anyone here got more speed than me?”

“I’ve got speed,” said the Stag. “What’s my message? How many Calormenes?”

“Two hundred: under Prince Rabadash. And -” But the Stag was already away – all four legs off the ground at once, and in a moment its white stern had disappeared among the remoter trees. – from Chapter 12, “Shasta in Narnia,” The Horse and His Boy

From this quote, being practical means doing what must be done. Upon learning of the coming army of Prince Rabadash, the other creatures didn’t exactly jump into action, but dawdled around chatting about it. Only Duffle, who took control of the situation, and the stag, who rushed to inform the High King, did their part in averting the danger.

SUSAN

“That’s the trouble of it,” said Trumpkin, “when most of the beasts have gone enemy and gone dumb, but there are still some of the other kind left. You never know, and you daren’t wait to see.” …

Lucy shuddered and nodded. When they had sat down she said: “Such a horrible idea has come into my head, Su.”  

“What’s that?”

“Wouldn’t it be dreadful if some day, in our own world, at home, men started going wild inside, like the animals here, and still looked like men, so that you’d never know which were which?”

 “We’ve got enough to bother about here and now in Narnia,” said the practical Susan, “without imagining things like that.” – from Chapter 9, “What Lucy Saw,” Prince Caspian

From this quote, being practical means focusing on the problem on hand. Susan didn’t want to worry about “imaginary” things – she only wanted to deal with those that are “here and now.” Perhaps that became her problem later on – when she got back to England, she only wanted to deal with the “here and now” and convinced herself that Narnia was only imaginary.

EUSTACE

“Why is it called Aslan’s table?” asked Lucy presently.

“It is set here by his bidding,” said the girl, “for those who come so far. Some call this island the World’s End, for though you can sail further, this is the beginning of the end.”

“But how does the food keep?” asked the practical Eustace.

“It is eaten, and renewed every day,” said the girl. “This you will see.” – from Chapter 13, “The Three Sleepers,” The Voyage of the Dawn Treader

From this quote, being practical means asking questions about things that don’t seem to add up logically. Eustace never lost this trait until The Last Battle, which adds charm to his character.

There is a positive and a negative side to being practical. As long as we make sure we’re not like Jadis, Uncle Andrew or Arsheesh, then being practical should be okay.

More on Lea Salonga in Cinderella 2008

As I mentioned in my previous blog entry, I saw Rodgers and Hammerstein’s Cinderella last August 10. I must admit, I only saw it because my mom wanted to, and since it was her birthday, I had to agree. Of course I’ve always wanted to see Lea Salonga perform live, but I would have preferred to see her in Les Miserables or Miss Saigon. In fact, I foolishly asked if Cinderella was the one with the song that goes “I know you, I walked with you once upon a dream…” (I found out later it was actually Disney’s Sleeping Beauty).

I bought the tickets pretty late, so what we got were at the row farthest from the stage. It was seriously waaaay back so that we couldn’t see their faces at the finale because Cinderella and the Prince got married at a raised platform. In fact, during the entire performance (when they weren’t in a raised platform yet), if we wanted to see their faces, we had to use an object called the “eye-max,” which was sold outside the theater for Php50.00. As the name suggests, it’s supposed to maximize your eyesight, like disposable binoculars, and it gave me a headache because my hands were shaky.

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I really, really wish I saw the 1957 movie version (starring Julie Andrews) or even the 1997 version (starring Brandy) or at least listened to the soundtrack before watching the show so that I would be more familiar with the story line and the songs. Since I haven’t seen the previous versions, the following things surprised me about the story:

1. In the fairy tale version I read when I was a kid, I don’t remember Cinderella talking that much with her stepsisters, or even her stepmother. I was surprised in this version that she not only talks with them, she even sings with them. I liked it better this way though, because it adds more chances for humorous interaction.

2. I always thought Cinderella knew from the start that her godmother was a fairy godmother. That was why I was so surprised when she kept talking about her dreams to her godmother, and I wondered why she won’t just go and ask her fairy godmother directly to turn her into a princess. It only dawned on me later that Cinderella only found out about the magical powers when her godmother made her dreams come true.

3. I’ve always assumed since I was a kid that it was the fairy godmother’s idea to turn the squash into a golden carriage, and the mice into horses, and so on. I thought she did it as a gift to Cinderella, to make up for all the injustices she had to suffer. In this version, it was Cinderella who thought and dreamed of going to the ball and all the other details. The godmother even discouraged her at the beginning, saying that it was “impossible for a plain yellow pumpkin to become a golden carriage.”

4. I was surprised why the godmother sent the soldiers who were trying on the glass slippers to the cellar, when Cinderella had left the house earlier. Didn’t she know Cinderella wasn’t there?

5. I was rather taken aback when Cinderella went to the Prince’s garden without, uh, getting caught by any guards. I suppose security was lax around castles during those times.

6. In this version, I was shocked that the Prince conversed with the “kitchen-maid” Cinderella without even recognizing that it was the “princess” he was looking for, even when she repeated lines she used when they first met. In the 1957 movie version, when the Prince saw Cinderella dressed in her ordinary clothes, he immediately recognized her and said, “I have found you at last!” or something like that. It makes more sense that way. Of course, having him not recognize her immediately got a couple of laughs from the appreciative crowd, like when:

– she was about to leave, and he shouted, “Stop! I command you!” Cinderella asked, “Why?” and he replied, “I don’t know.”

– the fairy godmother turned Cinderella to the opposite direction. She had her head down and thought she was walking away from the Prince, but since the direction got changed, she ended up walking towards the Prince, and he said in surprise, “I thought you were leaving.”

The show was really breath-taking – the costumes were very bright and colorful and exactly how I imagined fairy tale outfits would look. The backdrop and stage design were amazing – even the round door which looked a bit too much like that in Bilbo Baggins’ home in The Lord of the Rings. I also liked how some of the other dancers would be left in the stage dancing while the others were moving props around, so that there was never a dull moment on stage.

Here are some of the things I really really loved about the show:

1. When Cinderella was singing, “In My Own Little Corner” and there was a shadow play in the background. For example, when she sung “I’m a mermaid dancing upon the sea,” you could clearly see the shadow of a mermaid.

2. When the herald came out, announcing that his name was Hark. There was dead silence, until he said, “Hark, the herald,” then everyone burst out laughing.

3. When the “healthy” stepsister (I forgot her name) came out in various outfits that all made her look like a pineapple. Even her bridesmaid gown was shaped like a pineapple, which was so hilarious and added a comic touch to her already comical character.

4. When the King was complaining about how much the party was going to cost, he said something about today’s high prices, which got a sympathetic chuckle from everyone in the audience.

5. When the squash turned into a golden carriage. I kept wondering how they’d do it, and I was not disappointed. It looked very magical and was very nicely done.

6. When the kitchen-maid Cinderella was standing near her godmother, then walked towards the back of the carriage, and emerged seconds later dressed in a billowing gown. I was shocked, and only figured out later on that they must have put in another kitchen-maid Cinderella while Lea Salonga was hiding behind the carriage.

7. When the “horses” – who were actually dancers with horse headgears – galloped away with synchronized dance steps. It was so funny and brilliant at the same time.

8. When Cinderella was about to recite the Prince’s complete name, and he stopped her by saying, “You can call me Christopher,” and she said something like, “Oh, but I can’t call you that until after we’re married.” That was a really funny faux pas, and I could almost feel Cinderella blushing after she said it.

9. When the Prince sung “Do I love you because you’re beautiful, or are you beautiful because I love you?” That is probably the most beautiful line ever written.

At first I thought that Lea Salonga was too old to play Cinderella – a role I always imagined for someone younger. I thought it should have been about Brandy’s age when she did her version of Cinderella, although I didn’t really like that one as much as I liked the Julie Andrews or the Lea Salonga version.

So anyway, to conclude this rather lengthy piece containing my memories of the show (and some side-comments about the other versions), I have to ask myself: Did I like it because it was beautiful, or was it beautiful because I liked it?

I suppose the answer is a combination of both.

Double Lucy Quotes

I was listening to the audiobook of The Lion, the Witch and the Wardrobe today, and noticed that Lucy had two double quotes in LWW – meaning, she said a word twice (I didn’t count quotes like “Aslan, Aslan”). I also remember one double quote in The Voyage of the Dawn Treader, and since I have nothing better to do, I’m posting them here.

“I don’t care what you think, and I don’t care what you say. You can tell the Professor or you can write to Mother or you can do anything you like. I know I’ve met a Faun in there and – I wish I’d stayed there and you are all beasts, beasts.” (LWW, Chapter 5)

“Oh, how can they?” said Lucy, tears streaming down her cheeks. “The brutes, the brutes!” for now that the first shock was over the shorn face of Aslan looked to her braver, and more beautiful, and more patient than ever. (LWW, Chapter 14)

“Oh, the funnies, the funnies,” cried Lucy, bursting into laughter. “Did you make them like that?” (VDT, Chapter 11)

I have no idea if there are any more double quotes from Lucy, but I’ll be on the lookout from now on. In case you come across one, please let me know so that I can add it to my list.

Watching Lea Salonga in Cinderella 2008

To celebrate my mother’s birthday last 11 August 2008, we watched Rodgers and Hammerstein’s Cinderella along with my boyfriend, Sidney, and my grandmother, Lola Nanding, who was here for her yearly visit from Australia.

It was everybody’s first time to watch a production at the Cultural Center of the Philippines and the first time to see our very own Lea Salonga live. Sadly though, I had to leave my camera at the entrance of the CCP, so I wasn’t able to get any good photos.

Cinderella will always be a popular story, and although I like various adaptations of the rags to riches story, it’s great to see a retelling of the original story through music. I now understand why tickets are so expensive – the costumes and set designs were breathtaking! Actually, everything about it was magical – the orchestra, the choreography, the acting, the singing. It was worth every single centavo. I left the show incessantly singing, “Impossible things are happening evv-ryyy-daaaaaay!” (complete with falsetto at the end).

Funny but I never even knew before I saw Lea Salonga’s Cinderella that this was based on the 1957 movie version, starring Julie Andrews, no less – one of my favorite actresses of all time! And I thank heavens once more for YouTube because I was able to watch the entire movie and listen to the songs again.

Here are my favorite lines from Cinderella, which I got from watching the Julie Andrews version, although I remember that these were also said (or sung) in the musical.

Queen (talking about the Prince): If he’s happy, why won’t he get married?
King: If he’s happy, why should he get married?

King: (muttering the lines of the song being sung outside) The prince is giving a ball… (to his wife) You got us into this!
Queen: We had to do something to celebrate the 21st birthday of our son… (breaks out into a song) his Royal Highness… Christopher Rupert …
King (interrupting) Mazie…
Queen: Vwindemier… Vlandamier…
King: Mazie! I know all his names! I’m his father!

King (talking to the chef and the steward about the menu for the ball): What about the marshmallows?
Queen: Who wants marshmallows?
King: I do.
Queen: Why?
King: For toasting!

King (talking to the chef and the steward about the wine to be served at the ball): I want the wine of my country.
Queen: Hush, my dear.
King: I want the wine of my country, I want the wine of my country, I want the wine of my country. The wine of my country is… beer.
Queen (with a pointed look at the king’s protruding belly) Obviously.

Cinderella: Godmother, do dreams never, never come true?
Fairy Godmother: Well I wouldn’t say never… Just seldom.

Cinderella: Oh Godmother, what a beautiful dress!
Fairy Godmother: This old thing? I’ve had it for eight hundred and thirty-two years.

Prince (to Cinderella): Do I love you because you’re beautiful, or are you beautiful because I love you?

Prince: (holding the glass slipper) May I have your Royal Guards to send to the kingdom in search of the owner?
King: (emphatically) Of course you may!
Prince: And the Secret Service?
King: Well of course my boy! They never find out anything, but you can try.

And there’s a line from the musical (which wasn’t in the movie) that got the most reaction from the crowd:

Herald: My name is Hark… Hark the Herald.

Jumbly Quotes from The BFG

If you have no idea who the BFG is, you should check out my previous blog entry here. The BFG is a nice, jumbly giant who “kidsnatched” the orphan Sophie because she saw him by accident. She learned from him that he was not a “cannibully” giant who ate “human beans,” which apparently taste differently when they’re from different cities or countries.

“Bonecruncher says Turkish human beans has a glamourly flavour. He says Turks from Turkey is tasting of turkey.”

“I suppose they would,” Sophie said.

“Of course they would!” the Giant shouted. “Every human bean is diddly and different. Some is scrumdiddlyumptious and some is uckyslush. Greeks is all full of uckyslush. No Giants is eating Greeks, ever.”

“Why not?” Sophie asked.

“Greeks from Greece is all tasting greasy,” the Giant said….

“As I am saying,” the Giant went on, “all human beans is having different flavours. Human beans from Panama is tasting very strong of hats.”

“Why hats?” Sophie said.

“You is not very clever,” the Giant said, moving his great ears in and out. “I thought all human beans is full of brains, but your head is emptier than a bundongle….”

“The human bean,” the Giant went on, “is coming in dillions of different flavours. For instance, human beans from Wales is tasting very whooshey of fish. There is something very fishy about Wales.”

“You mean whales,” Sophie said. “Wales is something quite different.”

“Wales is whales,” the Giant said. “Don’t gobblefunk around with words. I will now give you another example. Human beans from Jersey has a most disgustable woolly tickle on the tongue,” the Giant said. “Human beans from Jersey is tasting of cardigans.”

“You mean jerseys,” Sophie said.

“You are once again gobblefunking!” the Giant shouted. “Don’t do it! This is a serious and snitching subject. May I continue.”

“Please do,” Sophie said.

“Danes from Denmark is tasting ever so much of dogs,” the Giant went on.

“Of course,” Sophie said. “They taste of great danes.”

“Wrong!” cried the Giant,  slapping his thigh. “Danes from Denmark is tasting doggy because they is tasting of labradors!”

“The what do the people of Labrador taste of?” Sophie asked.

“Danes,” the Giant cried, triumphantly. “Great danes!”

“Aren’t you getting a bit mixed up?” Sophie said.

“I is a very mixed up Giant,” the Giant said. “But I does do my best. And I is not nearly as mixed up as the other giants. I know one who gallops all the way to Wellington for his supper.”

“Wellington?” Sophie said. “Where is Wellington?”

“Your head is full of squashed flies,” the Giant said. “Wellington is in New Zealand. The human beans in Wellington has an especially scrumdiddlyumptious taste, so says the Welly-eating Giant.”

“What do the people of Wellington taste of?” Sophie asked.

“Boots,” the Giant said.

Heehee. That was a long passage (with some parts chopped off – note the ellipses I put in), but I couldn’t resist. The other quotes are a bit shorter, I promise.

“I’m not sure I quite know what that means,” Sophie said.

“Meanings is not important,” said the BFG. “I can’t be right all the time. Quite often I is left instead of right.”

Here’s how the BFG described the other “cannibully” giants:

“All of those man-eating giants is enormous and very fierce! They is all at least two times my wideness and double my royal highness!”

What he means (in case you didn’t quite get it) is that the other giants are twice as wide and high as he is. After all, as the BFG himself says, “Twenty-four feet is puddlenuts in Giant Country.” But don’t listen to everything he says. As he warned Sophie:

“If you listen to everything I am saying you will be getting earache.”

And speaking of ears, you may have noticed the abnormally large ears the BFG has.

“They maybe is looking a bit propsposterous to you,” the BFG said, “but you must believe me when I say they is very extra-usual ears indeed. They is not to be coughed at.”

“I’m quite sure they’re not,” Sophie said.

Big ears or not, the BFG needs to eat. Since he doesn’t want to eat “human beans,” he must settle for an “icky-poo” vegetable called the “snozzcumber.”

“If I dont, I will be nothing but skin and groans.”

“You mean skin and bones,” Sophie said.

Sophie didn’t want to taste it at first, and asked if she really had to eat the dreadful snozzcumber.

“You do unless you is wanting to become so thin you will be disappearing into a thick ear.”

“Into thin air,” Sophie said.

But even though he has to live on snozzcumber (that tastes like rotten fish and frogskins), at least the BFG has a sweet and jumbly fizzy drink called the frobscottle. Unlike our fizzy drinks however, the bubbles go down instead of go up. Upon learning of this, the BFG reacted vehemently.

“Catasterous!” cried the BFG. “Upgoing bubbles is a catasterous disastrophe!”

The problem with talking loudly with Sophie inside his cave is that the other giants became suspicious, and asked him who he was talking to, getting “suspichy” that he is keeping “human beans” as pets. The BFG tried to bluff his way out of it.

“You is welcome to go and search my cave from frack to bunt,” the BFG answered. “You can go looking into every crook and nanny. There is no human beans or stringy beans or runner beans or jelly beans or any other beans in there.”

They had a close call with the other giants, who turned out to be not only “cannibullys” (cannibals), but real bullies as well when it comes to the BFG.

“I didn’t like that,” she said.

“Phew!” said the BFG. “Phew and far between!”

Sophie later learned that the BFG was a dream-collector. He took him with her in the pale country where you can hear dreams sailing along if you have such “propsposterous” ears as the BFG.

“Where are we?” she asked.

“We is in Dream Country,” the BFG said. “This is where all dreams is beginning.”

Unfortunately, sometimes what he catches are not good dreams (or “phizzwizards”), but nightmares as well (or “trogglehumpers”).

“Oh no!” he cried. “Oh mince my maggots! Oh swipe my swoggles!”

“What’s the matter?” Sophie asked.

“It’s a trogglehumper!” he shouted. His voice was filled with fury and anguish. “Oh, save our solos!” he cried. “Deliver us from weasels! The devil is dancing on my dibbler!”

While talking about dreams, Sophie made the interesting discovery that most giants only sleep for two or three hours per day.

“When do you sleep?” Sophie asked.

“Even less,” the BFG answered. “I is sleeping only once in a blue baboon.”

After some time, Sophie asked the BFG how he learned how to write, and found out that he had a Charles Dickens novel for the past 80 years.

“I is reading it hundreds of times,” the BFG said. “And I is still reading it and teaching new words to myself and how to write them. It is the most scrumdiddlyumptious story.”

“Sophie took the book out of his hand.” “Nicholas Nickleby,” she read aloud.

“By Dahl’s Chickens,” the BFG said.

The BFG and Sophie, upon hearing that the other giants were off to England to eat schoolchildren, began to hatch an idea to stop the giants. They went to the Queen of England to ask for her help.

“Your Majester,” he said. “I is your humbug servant…. Oh Queen! Oh Monarcher! Oh, Golden Sovereign! Oh, Ruler! Oh, Ruler of Straight Lines!” 

I will not give away how the story ends, but it’s definitely worth getting a copy of The BFG.