Magic-Olivia Newton-John, 1980 (#1), from the album Xanadu. Strange Magic-ELO (Electric Light Orchestra), 1976 (#14), from the album Ole’ ELO. Black Magic Woman-Santana, 1970 (#5), available on the album Black Magic Woman. Magic Carpet Ride-Steppenwolf, 1968 (#5), from the album Steppenwolf the Second. Do You Believe in Magic-Lovin’ Spoonful, 1965 (#9), from the album Do You Believe in Magic. Puff the Magic Dragon-Peter, Paul & Mary, 1963 (#2), from the album Moving. Shuman recorded by: The Drifters, 1960 (#14), available on the album The Very Best of the Drifters That Old Black Magic-Written by: Harold Arlen/Johnny Mercer recorded by: Glen Miller, 1943 (1# on Billboard) Margaret Whiting and the Freddie Slack Orchestra, 1943 (#10) Sammy Davis Jr., 1955 (#16) Louis Prima & Keely Smith, 1958 (#18). This word seems to have conjured up luck for these songwriters and performers all 11 songs made it into the Billboard Magazine Top 20 charts. Keeping with this idea of a common lyrical vocabulary, I found 11 songs that all use the word “magic” in their titles. This is probably a smart tactic, introducing a new song by using a familiar sentiment rarely does a song with a very strange name or lyrics gain public attention (although “Horse with No Name” and “Muskrat Love” spring to mind). I don’t think even fools will fall in love with “Strange Magic.Since the pop song was invented, its’ creators have often relied on a common and limited vocabulary in both lyrics and title (e.g., “love,” “baby,” and “yeah”). The story is primarily a string of life lessons for little ones, impossible to miss. To recap: The look of the animation has limited charm. Much action ensues, many surprising romantic fires are kindled, many more songs are sung. With the players introduced and everyone’s issues outlined, it’s the perfect time for a war. But she’s locked up in the Bog King’s dungeon. The Sugar Plum Fairy (Kristin Chenoweth) has the answer and she’s the only one who can make the potion. So is the message it’s what’s inside that counts? Or, contrary to the film’s previous reminders, is love something that can be forced on the unsuspecting with a little magic? A single primrose petal is the key ingredient needed for a love potion that, tossed like glitter in Dawn’s face, will make her fall in love with the first thing she sees. “What’s Love Got to Do With It?” you might ask (not on the soundtrack). By picking the petals off the forbidden primroses, he will anger the Bog King. Sunny’s also the first link in a very long chain reaction that is about to begin. Take Sunny (Elijah Kelley), an elf, not really fairy marriage material, but he’s sweet and has a serious crush on Dawn. Meanwhile Marianne’s younger sister Dawn (Meredith Anne Bull) is “Addicted to Love.” But please remember, because “Strange Magic” really does not want anyone to forget, it’s what’s inside that counts. 
Until she discovers he’s a jerk, calls off the wedding and swears “I’ll Never Fall in Love Again.” She’s thrilled too, eager to say her “I Do’s” to the charming prince Roland (Sam Palladio, best known as Gunnar Scott, one of the rising country stars in the ABC hit “Nashville”).
Doesn’t happen.Īs the film opens, Marianne’s dad, the Fairy King (Alfred Molina), is thrilled his daughter is getting married. When it shifts to the Dark Forest, so menacing is the look of some of the goblins, dimmer would be better. Computer-generated, its digital clarity is blinding, particularly on the light, bright Fairy Kingdom side. Abrams-directed “Episode VII - The Force Awakens.” David Berenbaum (“Elf”), Irene Mecchi (“The Lion King”) and Rydstrom wrote the screenplay, or, as I think of it, came up with words to fill the space between songs.
Supposedly Lucas was inspired by Shakespeare’s “A Midsummer Night’s Dream,” but if that’s the case something’s been seriously lost in translation - emotion, love, lyricism and laughter to start.ĭirector Gary Rydstrom, making his feature film debut, has spent much of his career designing or re-mixing the sound for big movies, including Lucas’ “Star Wars” Episodes I, II and the coming J.J. With colorful beauties on one side and beasties on the other, the endgame is set up to overcome all differences with, cue music, a “Crazy Little Thing Called Love.” Listening to “Strange Magic” - because you do find yourself listening at least as much as watching - it’s as if Lucas handed over a list of his favorite romantic pop ballads (he did choose the songs) then sketched out his story idea of a kingdom divided (Lucas gets that credit too). It plays very much like a long music video, albeit a relatively harmless, PG-rated one. The first animation feature film collaboration since Disney bought Lucasfilm in 2012 seems a contrivance at best. “Strange Magic,” the new animated musical fairy tale from the mind and the mixtape of George Lucas, is indeed strange.
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