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Dreamworks’
latest foray into animation is the result of an interesting
idea. Jeffrey
Katzenberg and company decided to take the best aspect of
recently successful animated films – the wisecracking sidekick
– and build a film around this scene-stealing cut-up.
And just to drive the hilarity home, the writers used two
of these class clowns as the main characters in The Road to
El Dorado. I
can picture well-dressed executives greedily rubbing their hands
together while visualizing coffers full of doubloons at the mere
thought of a film with two hammy leads.
Think of how great a movie would be with Eddie Murphy’s
Mushu (from Mulan) and Danny DeVito’s Philoctetes (from
Hercules) as the two main characters.
Okay, El
Dorado isn’t that great.
The two leads (Kevin Kline and Kenneth Branagh) are
funny, but not over-the-top enough to ruin the film.
The slick animation is on par with Dreamworks’ last
traditionally animated film, The Prince of Egypt, but the
story is much more formulaic than its predecessor.
And to top things off, the sidekick in El Dorado still
steals the show.
El Dorado
begins in 1519 Spain, where soon-to-be-legendary explorer Cortes
(Jim Cummings, the voice of Tigger and Winnie the Pooh in The
Tigger Movie) is about to set sail for the New World, which
he intends to conquer for Spain.
In addition, Cortes plans to find and plunder El Dorado,
the legendary City of Gold.
He’s a big meanie and points out that his crew was
selected more carefully “than Christ’s apostles.”
Imagine that job interview.
Meanwhile,
two lightweight hoodwinks - Miguel and Tulio (Kenneth Branagh
and Kevin Kline from Wild Wild West) - shoot craps with
loaded dice in a crowded Spanish alley.
Like Jack Dawson in Titanic, they win an unusual
pot that includes a map to the City of Gold.
Before long their deception is discovered and, during
their escape, the two men accidentally end up on Cortes’ ship.
Before they can escape, the ship is already well into its
voyage across the Atlantic.
With the help of Altivo, Cortes’ faithful horse, Miguel
and Tulio manage to procure a rowboat and steal away in the
darkness of night. With
the horse.
After rowing
around in circles for days, the trio finally reaches terra
firma. Of course,
the particular spot they land on is the precise location that
corresponds to the start point on the map to the City of Gold.
So Miguel, Tulio and Altivo make their way through the
jungle and mountains and eventually find the city, which is run
by the typical friendly fat guy (Edward James Olmos, Selena)
whose second-in-command is the typical evil skinny guy that
wants to be in charge (Armand Assante, The Odyssey).
Thanks to an
ancient legend and a healthy dose of dumb luck, the people of El
Dorado mistake Miguel and Tulio for gods.
The men want to stay just long enough to pilfer all the
gold they can carry from the trusting inhabitants, and are able
to fit in with the help of a local con woman that looks like a
porn star (Rosie Perez, It Could Happen To You).
Even though they have to hit the road before Cortes and
his men find the city, Miguel and Tulio have a hard time leaving
their new luxurious lifestyle.
If El
Dorado seems more Disney-ish to you than Egypt did,
it’s because most of the filmmakers here were pilfered from
the Mouse House. The
film’s three directors (Robert “Bibo” Bergeron, Will Finn
and Don Paul) worked on A Goofy Movie, The Hunchback
of Notre Dame and Pocahontas, respectively.
The music in El Dorado comes from the writing team
responsible for The Lion King, and features five new
songs performed by Sir Elton John.
There’s also one of those Disney animating secrets that
animates - I swear to God - a bull with a nutsack the size of
Rhode Island. If
you don’t see it, wait for the DVD.
The voice
work is fine all around. Kline and Branagh sound like they had a great time working on
this project, and Perez’s voice isn’t the screeching nasal
nightmare you’re used to hearing.
She’s much more restrained and, as a result, her voice
is quiet and – gulp – almost soothing.
Now
there’s something I never thought I would say.
1:23
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for mild adult language and slapstick violence
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