El Capitan Theatre

Speeding down the Hollywood freeway, as one does, I pointed my darting black hatchback toward the El Capitan Theatre, in search of a sense of time and place, for something historic that means something, and I think I got it. 

The building stands as a monument to humanity’s ability to dream. That sentiment may be a little hyperbolic I admit, but it certainly stands as a testament to the evolution of entertainment and cinema in America. From playhouse to movie palace, its flashing tower lights and fanciful marquee, preserved-but-not-used single ticket booth out front, intricate painted carvings adorning the walls and the ceiling, right there on Hollywood Boulevard, it is as alluring as I can only imagine it was when it first opened its doors in 1926. 

It says a lot about where movies once stood and where they now stand in our minds, that this building should still exist. A single screen movie palace, it’s one of the few still left behind after the end of that golden age of American cinema we hear so much about. 

The building was carefully restored in the late 80’s to its original glory and again in the late 90’s after the Northridge earthquake, by none other than The Walt Disney Company – sometimes known for their attention to detail.   

This theater has hosted a remarkable amount of history. It’s stage has seen legends perform upon it. And when it was converted into a movie palace, Citizen Kane premiered here. It’s well worth the visit.

As guests on this little island of movie paradise smack dab in the heart of Hollywood, we were welcomed warmly by an organist sharply dressed in a cheetah print suit jacket and matching shoes, playing a medley of Disney classics. When movie time was upon us, he stood, took a bow, sat back down and played one last song as he sunk into the floor and out of sight. 

One might glance about the room to notice the costumes from the film placed and lit in the balconies on either side of the stage. 

Then, a most splendid fanfare of lights, music, and traditional painted effects unfolded before us. Glittering hand painted glow in the dark scrims depicting choreographed animals upon a city, shimmering tinsel curtains swirling and waving, glittering and filling my heart with child-like wonder – proving that it really comes down to the simple things. And then, the revelation of the screen, quickly jumping to life with projected images.      

There was also an exclusive screening of the new Disney short Far From the Tree before the feature showing. 

The Film

Contemporary Hollywood Beats

Nothing significantly innovative occurs on screen in Jungle Cruise, we follow our characters closely through a plot driven story following typical structure at an ever-quickening pace.  

The main plot line consumes most of our time, and I’d say that what subplots it did contain, were micro – adding some pressure or humor here and there, especially in the case of a surprise appearance from Paul Giamatti, playing an Italian tour-boat entrepreneur.

As a film based on an original Disneyland ride, my expectations were set at the level of a Pirates of the Caribbean film. That expectation didn’t overshadow the Jungle Cruise experience. I felt the female led, Indiana Jones-esque approach worked really well to add a distinct flavor of adventure and curiosity, and of course not without that particularly smart “Disney ” sense of humor. That being said, I suppose it is rather hard to establish oneself in this category (ride-based films?) post-pirates. 

Unique Amazon-based intrigue tied in with history-adjacent conquistadors, tribal lore and curses, an ancient sunken city, a few near death experiences, and the endearing “skippy and pants” nicknames all prove to be a lot of fun, decently interesting, and overall really quite entertaining.  

If you’re looking for an enormous eye-roll, look no further than one of Frank’s (Dwayne Johnson) terrible puns, a nice little acknowledgment of the skipper’s attitude on the Disneyland ride.

Heavy Reliance on CGI

Striking transitions are thanks to a lot of CGI work. These transitions often demonstrate the order of the natural world, for example, larger animals eating smaller animals in a chain effect. It teaches us something and brings nature to the forefront – if only for a moment. 

Other than that nice little gimmick, the heavy reliance on visual effects fell a little flat. Many of the computer generated images did not blend well with real people, props, and sets. It actually caused a little confusion at times, and popped my attention outside of the story – I became too aware I was watching a movie instead of getting swept up in the movie. 

Character effects, especially for the conquistadors, on the other hand, were really well done – seamlessly blended and believable. The sunken temple and the blossoming tree are beautiful and something to behold.

The time lapsed building of the city on the river was also very well done – realistic and beautiful.

Cultural Relevance, Disney Acknowledges a Demand

Oh no! What’s this? A woman in pants?! If ever you needed to see a period piece where a bunch of misogynistic British men clamor at the sight of a woman wearing pants who’s attempting to make change for the greater good, look no further. 

Lily’s (Emily Blunt) character works to buck the trends of Britain in the year 1916. In a way her undying defiance subverts the prevailing tide, and actually creates progress and humor, and in light of that humor, a humbling experience. We never doubt her success for a moment, because she never doubts herself for a moment, and I believe that is a strong message.  

It is also beyond refreshing to see Lily dupe a bunch of self-serving men out of one of their prized possessions to high-tail it to the Amazon to find a cure for humanity’s earthly ills. Very noble indeed.

She is a true revolutionary – she stood by her gay brother when no one else would, and in exchange, he would go by her side no matter where she needs him to go. 

MacGregor (Jack Whitehall) “assists” his sister on her mission in places she simply can’t, such as speaking in front of the Royal Society (a decidedly sexist scientific organization) in an attempt to take an arrowhead which should lead to the Tears of the Moon (a panacea in the form of flower petals). He even goes to South America against his better judgement, to see her mission through.

He later reveals, in so many words, that he would do anything for his sister because she is the only one who stood by him when no one would, due to his sexuality. Of course, he didn’t go so far as to say he is gay, but the scene is played off nicely, and that is the obvious sentiment. 

While there are some subtle stereotypes, his character is much appreciated, and demonstrates a continued effort of normalization in the mainstream psyche. Even though his coming out is cloaked in some coded language, it does prove to be a step forward for Disney, acknowledging the diversity it’s audience wants and needs.  

The character’s greatest redeeming quality perhaps being his ability to throw a punch. Thank goodness for that punch!

A Franchise in the Making?

It wouldn’t come as a surprise if this film served as a launch pad for further installments. It’s sweet and wholesome tone fulfills the imaginations of any little boy or girl who loves culture, anthropology, or archaeology and just doesn’t know it yet. I would’ve been all over this as a kid. 

Not too unlike Indiana Jones, this film comes off as a little more silly, polished, and culturally sensitive – though lacking perhaps some of those strong character distinctions that Indy or Jack Sparrow have. 

Regardless, it’s always fun to see people uncover ancient mysteries for the greater good, dupe evil Germans, and win the day with a touch of magic. 

Jungle Cruise

Director: Jaume Collet-Serra

Writers: Michael Green, Glenn Ficarra, and John Requa

Stars: Dwayne Johnson, Emily Blunt, Edgar Ramirez, Jack Whitehall, Jesse Plemmons, Paul Giamatti

Images courtesy of Walt Disney Studios Motion Pictures