‘Hercules’ Follows Disney’s Paint-By-Numbers Formula
By now, Disney can - and often does - produce its trademark animated musical by rote.
In a long line of children’s films, ranging from the very good (“The Little Mermaid,” “Beauty and the Beast,” “Aladdin” and “The Lion King”) to the merely good (“The Hunchback of Notre Dame,” “Pocahontas” and “Hercules,” which is now available on video), Disney has streamlined its production efforts to almost paint-by-number efficiency.
Here’s the formula:
First, you produce a story, in this case the myth of the Greek demigod Hercules and his efforts to prove his worthiness to be a full god. Special note: It’s not necessary to be faithful in any way to the traditional sources (see “The Hunchback of Notre Dame” or “Pocahontas” for corroboration).
Second, mix up the story with a musical score and a handful of hummable tunes. In the case of “Hercules,” the music comes courtesy of multiple Oscar-winner Alan Menken (and this year’s collaborator David Zippel). Much of the music this time is provided by a chorus of gospel-trained soul singers.
Third, blend in a humorous sidekick or two. In “Hercules,” whose protagonist has a voice provided by Tate Donovan, that sidekick is a womanizing satyr (voice by Danny De Vito). In contrast, one of the villain’s sidekicks comes to us through the vocal talents of Bobcat Goldthwait (more on the chief bad guy later).
Fourth, add the obligatory romance. Disney’s Hercules has a thing for Meg (voice by Susan Egan) who, in the fashion of Belle (“Beauty and the Beast”), Esmerelda (“Hunchback) and Pocahontas (Irene Bedard), is no dainty girl but a full-figured and spirited woman.
“I’m a big, tough girl,” Meg says at one point, “I tie my own sandals and everything.”
Fifth, make sure the storyline emphasizes an object lesson for our protagonist. For Hercules, this means earning the right to become a full god - and then facing the choice of whether to become fully human instead. In his struggle, Herc also must learn to deal with the expectations of his father, Zeus (voice by Rip Torn).
Sixth, and finally, you add what may be the most critical element: the villain.
Villains long have been a Disney specialty, from the evil queen of “Snow White” to Jeremy Irons’ Uncle Scar of “The Lion King.” “Hercules” offers up one of the best, Zeus’ alter-ego Hades, god of the underworld. Superbly played by James Woods as a fast-talking street hustler, one whose desiccating body has the discomfiting habit of falling apart right in front of us, Hades - as sometimes is the case - is more interesting than our presumed hero.
Which points out the major problem with “Hercules.” While all the movie’s individual parts seem to fit, the overall effect is less than it should be. Maybe it’s because “Hercules” doesn’t offer us that much of a storyline (in spite of the fact that the myth upon which it is based has the character experiencing amazing adventures while completing his 12 labors).
Maybe it’s because the animation, while still state-of-the-art, just isn’t as compelling as, say, “Aladdin” or “Beauty and the Beast” (just to name two).
Maybe it’s because the character of Hercules is played as just another silly adolescent instead of the authentic hero of Greek origin.
Whatever, “Hercules” is probably Disney’s slightest animated effort since the company’s resurgence began with 1989’s “Little Mermaid.” That doesn’t make it bad by any stretch. It just makes it slight.
Check that. It makes it lite.
As in Disney lite.
*** Rated G
The week’s other major releases:
Excess Baggage ** 1/2
To attract the attention of her aloof father (Jack Thompson), a rich girl (Alicia Silverstone) fakes her own kidnapping but then gets kidnapped for real when an unknowing car thief (Benicio del Toro) steals the car in which she is hiding. Nothing more than a standard teen-type love story, in which Silverstone does a turn on her character from “Clueless,” the film is helped along by a collection of watchable actors including del Toro (“The Usual Suspects”), Harry Connick Jr. (“Memphis Belle”), Nicholas Turturro (“Homicide: Life on the Streets”) and the great Christopher Walken. Rated PG-13
G.I. Jane * 1/2
As in films past (“Disclosure,” “The Scarlet Letter”) Demi Moore plays a symbol, albeit an embattled one as she undergoes training to become a Navy SEAL. Directed by Ridley Scott, an auteur when it comes to visuals (if not storylines), this film is Hollywood’s attempt to delve into the serious issue of women and the military. In its typically schlocky way, however, Hollywood dodges reality by concentrating on watching Demi shave her head, shower and do one-handed push-ups all while attempting to both outperform her classmates and out-think her enemies. “G.I. Jane” is a classic concoction: It’s every bit as bad as you can imagine, and yet it’s great fun to watch. I am woman, hear me War. Rated R
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