CATS
UK, 2019, 110 minutes, Colour.
Francesca Hayward, Judi Dench, and, Idris Elba, Ian Mc Kellen, Jason Derullo, Naoimh Morgan, Laurie Davidson, Robbie Fairchild, Danny Collins.
Directed by Tom Hooper.
For audiences who enjoyed Cats in the theatre, here is a great opportunity to see it all in close-up. The camera roams over the fantasy set, a blend of London’s Piccadilly Circus and Trafalgar Square, the interiors of the derelict Egyptian Theatre, an opportunity to appreciate the dancing skills, to enjoy the music, to delight in the songs, many familiar, but new interpretations by the performers.
Poet TS Elliot, in whimsical mood, with his Old Possums Book of Practical Cats meets Andrew Lloyd Webber drawing on his range of musical versatility.
This reviewer was not drawn in by Cats when seeing it in the theatre over 30 years ago. Then there was the jolt, some lyrics by Old Deuteronomy (this time rendered more forcefully by Judi Dench in the role): a reprimand to those who ‘have had the experience but missed the meaning’. (And followed by some poetic ruminations on the nature of experience, on the nature of memory, on the nature of meaning.)
For audiences not immediately drawn into the world of Cats, there would be some advice at least to give it a go. After accepting this world of felines, some performance and intrigue, it may be the visuals, the look, the music, some striking performances that entice the unwilling or the suspicious.
Central to Cats is the stranger, Victoria, who comes across the group of Jellicle Cats on the night of the audition when the winner of the competition will get the prize of a new life. Victoria is played by newcomer Francesca Hayward, skilled dancing, pleasing singing, a charming look and presence. And she also gets the opportunity to sing Memories.
While we are getting sorted with which cat is which, we are treated to some incivility with Macavity, sinister, plotting, mean-minded, easily able to disappear in a puff of pink smoke (Idris Elba). There is some humour with Rebel Wilson doing a variation on her Rebel Wilson thing and then James Corden very enjoyable as the large Bustopher Jones.
But, there is the beginning of a wonderful performance by Jennifer Hudson as Grizabella, the exiled cat who had her day in the sun, went off with Macavity, abandoned, derelict in the street and hissed at by the cats. And, of course, Grizabella has her day and Jennifer Hudson’s rendition of Memories, twice, is a powerful showstopper.
The good part of the enjoyment is recognising some of the stars, some unexpected, doing their turns, especially in Ian Mc Kellen has Gus, the theatre cat, giving an enjoyable interpretation of Elliot. The audience has to wait until towards the end we Taylor Swift appears. And, surprisingly, there is Ray Winstone well-known for tough roles and thugs, bringing his rough accent and tone to the villainous Growltiger.
And, of course, there is the delight in seeing and listening to Judi Dench (aged 84 at the time), shuffling as Old Deuteronomy, encouraged by the other cats, the reigning queen of the cats in her wisdom, brought to life, moved by Grizabella, and, looking at us the audience, having the final lyrics of alert and warning.
For lovers of words, there is the increasing number of words that rhyme with cat or cats, even cats with spats!
The film was directed by Tom Hooper who won an Oscar for The King’s Speech, who had a long history in television series and went on to direct the film version of Les Miserables.
This is certainly a way of bringing musical theatre to the screen.
1. The popularity of Cats in the theatre, from the 1980s? Captured for television in the 1990s? A 21st century cinema version?
2. The music of Andrew Lord Webber, his range and popular classic status? The variety of songs and themes in Cats?
3. The lyrics by T.S. Elliot? Old possums Book of Practical Cats? Playful poems from the 1930s? Lloyd Webber’s musical version is?
4. The settings, city of London, the amalgamation of Piccadilly Circus, Trafalgar Square? The streets of Soho? The dingy atmosphere? The old Egyptian Theatre, the interiors? Performance space and design?
5. The idea of Cats, their appearances, hair, human characteristics, dance, movement, singing? The costumes? The make up? The strong criticism of this prior to the opening of the film? However, this design as a way of making the cats credible?
6. The situation, the cats in London, the Jellicle Cats, the yearly gathering, the competition, the winner? The ambitions of the candidates? The cavity and his determination to win, sinister? Victoria by contrast, coming from the outside, wanting to be accepted? The pathos of Grizabella and her being ousted from the cat community?
7. The range of songs, like a concert performance, the use of close-ups, camera movement for movement and dance? The cumulative effect?
8. The cats amongst themselves, the range of characters, their songs, dance? Audiences familiar with some of the cats: Bombalurina, Munkustrap, Rum Tum Tugger, Demeter, Skimbleshanks, Mungojerrie, Rumpleteazer. Mr Mistofelees, Jellylorum?
9. Victoria as central, the outsider, her hopes? Forlorn, befriended by the cats, the magician, her being drawn into the competition, becoming a Jellicle cat?
10. Mavcavity, his appearance, evil, scheming?
11. Grizabella, her being ousted, her singing Memories? The Reprise? The pathos, treatment by Macavity? Her being welcomed into the community?
12. Gus, the theatre cat, Ian Mc Kellen and his skills and charm?
13. Growltiger, Ray Winstone and the role, the thug, violence?
14. Old Deuteronomy, the buildup, the presence of Judi Dench, her presiding, wisdom and judgement?
15. The action, the interaction, the struggle between good and evil?
16. The ending? Grizabella and Memories, her being drawn into the community? The cumulative effect of this theatrical experience transferred to the screen?
