The mandate for “Mary Poppins Returns” came straight from Oscar-winning production designer John Myhre: It had to look “London-y,” but also “dipped in reality.” That’s because, unlike Walt Disney’s idyllic world of 1910 in the original movie, the London here took place in 1934, the era of the Depression, or “The Slump,” as the British called it.
“When I first heard the opening song, ‘Underneath the Lovely London Sky,’ I saw this as a love letter to London,” said Myhre, but with a gritty twist in accordance with director Rob Marshall’s vision of becoming much more colorful with the return of the beloved nanny (Emily Blunt).
We glimpse London coming awake out of the fog, gliding by Parliament, Big Ben, St. Paul’s Cathedral, Tower Bridge, through some parks, before making our way to the familiar Cherry Tree Lane. “And we embraced London in the winter with the gray sky,...
“When I first heard the opening song, ‘Underneath the Lovely London Sky,’ I saw this as a love letter to London,” said Myhre, but with a gritty twist in accordance with director Rob Marshall’s vision of becoming much more colorful with the return of the beloved nanny (Emily Blunt).
We glimpse London coming awake out of the fog, gliding by Parliament, Big Ben, St. Paul’s Cathedral, Tower Bridge, through some parks, before making our way to the familiar Cherry Tree Lane. “And we embraced London in the winter with the gray sky,...
- 12/10/2018
- by Bill Desowitz
- Indiewire
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