Dumbo: Review

Let’s start off on an honest note – the original Dumbo is not a particularly good film. It’s short, unfocused and really forgettable (and that’s before we even mention the tons of racism), but that makes it a perfect choice for a new re-imagining. Put Tim Burton in the director’s chair, and there’s so much potential for this film to go well – but does it? Well, Dumbo is just okay, nothing more and nothing less.

The story of this version of Dumbo is a massive shift away from the original

After the First World War, former circus star Holt Farrier (Colin Farrell) returns to the struggling Big Top, helmed by the boisterous Max Medici (Danny DeVito). Holt, having lost an arm in combat, is now employed to care for the elephants with his two children – specifically, the new baby Dumbo, an elephant born with oversized ears. When the circus learns that Dumbo can fly, he swiftly becomes the star attraction and brings in huge audiences. But his magical ability also catches the attention of V. A. Vandervere (Michael Keaton), an entrepreneur and theme park owner who wants to showcase Dumbo in his own venue. However, as Dumbo and his friends discover that there is hidden darkness in Vandervere’s Dreamland, the Farrier family and the Medici circus question where he truly belongs.

The story of this version of Dumbo is a massive shift away from the original (which essentially sees Dumbo planning around with a mouse and then flying in the last five minutes), with the focus instead placed on a new cast of human characters, most of whom are very thinly drawn and not too interesting. The family drama here is nothing you haven’t seen before, and it serves to relegate Dumbo to a supporting role in his own movie – a movie which, despite flinging a number of moral teachings at us, never really decides what it wants to say.

The family drama here is nothing you haven’t seen before, and it serves to relegate Dumbo to a supporting role in his own movie

For every weak human character (Alan Arkin turns in a lazy appearance as a banker and, for all the character’s importance, Nico Parker is really wooden as Holt’s daughter), there are some standout performers. Danny DeVito is wonderfully dry as Medici, and Eva Green is enchanting as a French trapeze artist. As ever, Michael Keaton steals the show as the flamboyant yet deeply sinister Vandervere, and the film noticeably picks up when he first appears after what feels like an hour (it’s worth noting, however, that it’s somewhat difficult to take lessons on the destructive powers of capitalism and corporate takeovers from Disney). The film’s supporting cast is far more interesting than the Farriers, which makes the decision to focus on them all the more confusing.

There are definite high points in Dumbo – it’s a beautiful film, with costumes and production design that feel distinctly Burton-esque yet entirely natural. Burton’s regular collaborator Danny Elfman also returns to provide the score, and it’s a fine job, with ‘Dumbo’s Theme’ a simple but striking piece. If you’re a fan of the original, he takes care to mix in musical snippets of the original, complete with a ‘Baby Mine’ sequence that is equally as tear-jerking as it was in 1941. And that’s without even mentioning Dumbo himself, an adorable and entirely-CGI creation that always feels real.

It ought to have been more whimsical or far darker, but it attempts to straddle the middle-ground between the two and never really feels satisfying

However, for a film where the magic of performance is a key element of the plot, Dumbo is strangely lacking in that same magic. Burton (who, it must be said, has made his best film for some time) brings his visual flair to proceedings, but the story never really comes alive, and the somewhat laboured plot really doesn’t do the subject matter justice. It ought to have been more whimsical or far darker, but it attempts to straddle the middle-ground between the two and never really feels satisfying. It’s like one of Vandervere’s shows – technically impressive, but lacking that bit of heart.

Despite the flaws I’ve highlighted, I really enjoyed Dumbo – my partner, however, did not, and I expect that such a mixed reaction will be a common occurrence in cinemas around the country. For every person who enjoys it, I imagine there will be another who is left feeling underwhelmed. You’ll believe an elephant can fly, but the magic in Dumbo really should’ve stretched a bit further than just that.