The original Broadway show was a popular hit because it conveyed innocence and warmth. The film version didn't do well at the box office because it lacks these important qualities.
Part of the problem is John Huston's direction. It is obvious the veteran director's heart was not in this film. He sabotages musical numbers by handling them in a cold, plodding manner. For instance, one doesn't feel for the orphans' plight when they sing "It's a Hard Knock Life" because Huston has them doing acrobatics that detract from the lyrics.
Then there is the mishandling of the songs. As a previous commentator has noted, some wonderful tunes like "We'd Like to Thank You Herbert Hoover" and "N.Y.C." have been scrapped in favor of dreary tunes like "Dumb Dog" and "Let's Go to the Movies." These new songs contribute nothing to the scenario. The remaining original Broadway songs are hampered by inferior renditions and Huston's misdirection.
The scenario is unnecessarily coarsened. The nasty orphanage head Agatha Hannigan (Carol Burnett) is transformed from the blustery harridan of Broadway to an alcoholic vamp. This type of character has no place in a family musical. Neither do orphans and maids who flash their underwear during musical numbers.
As the orphaned title character, Aileen Quinn tries hard but her acting is artificial, so one cannot feel for her. Albert Finney as Oliver Warbucks seems gruff and uptight even when expressing love toward Annie. Ann Reinking seems too cool to convey maternal warmth as Warbucks's secretary Grace Farrell and her husky singing voice is completely inappropriate. Tim Curry and Bernadette Peters as the villains Rooster Hannigan and Lily St. Regis and Geoffrey Holder as Punjab are largely wasted.
No wonder Disney decided to make their own TV version of ANNIE in 1999. Anyone who doesn't have the opportunity to see a stage production should watch the Disney version, which is truncated but captures the original show's charm and simplicity. In the meantime, it is an injustice that Columbia has decided to put the misbegotten film version on DVD while ignoring its real treasures like TWENTIETH CENTURY.
Part of the problem is John Huston's direction. It is obvious the veteran director's heart was not in this film. He sabotages musical numbers by handling them in a cold, plodding manner. For instance, one doesn't feel for the orphans' plight when they sing "It's a Hard Knock Life" because Huston has them doing acrobatics that detract from the lyrics.
Then there is the mishandling of the songs. As a previous commentator has noted, some wonderful tunes like "We'd Like to Thank You Herbert Hoover" and "N.Y.C." have been scrapped in favor of dreary tunes like "Dumb Dog" and "Let's Go to the Movies." These new songs contribute nothing to the scenario. The remaining original Broadway songs are hampered by inferior renditions and Huston's misdirection.
The scenario is unnecessarily coarsened. The nasty orphanage head Agatha Hannigan (Carol Burnett) is transformed from the blustery harridan of Broadway to an alcoholic vamp. This type of character has no place in a family musical. Neither do orphans and maids who flash their underwear during musical numbers.
As the orphaned title character, Aileen Quinn tries hard but her acting is artificial, so one cannot feel for her. Albert Finney as Oliver Warbucks seems gruff and uptight even when expressing love toward Annie. Ann Reinking seems too cool to convey maternal warmth as Warbucks's secretary Grace Farrell and her husky singing voice is completely inappropriate. Tim Curry and Bernadette Peters as the villains Rooster Hannigan and Lily St. Regis and Geoffrey Holder as Punjab are largely wasted.
No wonder Disney decided to make their own TV version of ANNIE in 1999. Anyone who doesn't have the opportunity to see a stage production should watch the Disney version, which is truncated but captures the original show's charm and simplicity. In the meantime, it is an injustice that Columbia has decided to put the misbegotten film version on DVD while ignoring its real treasures like TWENTIETH CENTURY.