In the year 1845 Doctor John Dolittle is an eccentric physician in the English village of Puddleby. (The picturesque village of Castle Combe, Wiltshire was the prime location, although through some special effects magic this inland village in a landlocked county has somehow acquired a seaport and coastline). He finds that he has a much greater rapport with animals than he does with his human patients, so he switches to veterinary medicine instead, a field in which he enjoys great success because of his unique ability to talk to animals. The story follows his adventures in the company of his friends Matthew Mugg (an Irish cats'-meat salesman) and Tommy Stubbins (a young schoolboy) as they go in search of the Great Pink Sea Snail.
Hugh Lofting's "Doctor Dolittle" books were a great favourite of mine during my childhood, so I absolutely loved this film when my parents took the family to see it. Of course, I was then blissfully unaware that the film had been savaged by most of the critics, that it had been a box-office flop and that difficulties in production had meant that the costs massively overran the original budget. (The cost of the finished film was $17 million; only four years earlier that would have made it the most expensive film ever made). My sisters and I were not, however, alone in our love of the film; the Academy nominated it for a "Best Picture" Oscar, a nomination which at the time seemed incomprehensible to most people in the film world.
So how has "Doctor Dolittle" held up over the fifty-odd years since it was made? Well, I can now see its flaws in a way which I could not as a child, although it certainly has its good points. Rex Harrison makes an attractively charismatic hero, even though he bears little resemblance to the short, plump Dolittle of the books. As he had shown in "My Fair Lady" he was not the world's greatest singer, but as in that film he manages to stroll his way through his songs, reciting rather than singing them. The first half of the film, set against some attractively photographed Wiltshire countryside and concentrating on Dolittle's dealings with his animal friends, is still enchanting.
Bricusse's songs are something of a mixed bag. Seeing the film again recently some of them, especially "My Friend the Doctor", "I've Never Seen Anything Like It" and, of course, "Talk to the Animals", took me instantly back to the world of my childhood. Others, however, are instantly forgettable and I have difficulty recalling them even though I only saw the film a few days ago.
Even as a child I couldn't see the point of Emma Fairfax, a character created for the film and not found in Lofting's books, and I'm none the wiser now. The producers presumably invented her because they wanted a female character and thought that Polynesia the parrot, Sophie the seal and Sheila the fox didn't count, but they never really found a proper role for Emma, who veers between love-interest for Matthew and love-interest for the Doctor himself without ever coming down on one side or the other. The concentration on Emma means that Tommy, the character I really identified with as he was a boy of my own age, plays a less important role here then he does in the books.
From my adult perspective, the film really goes downhill in the second half when the main characters leave England. I have to admit that, although Lofting, an ardent pacifist and animal-rights advocate, was in other respects a man of progressive views, he was also a racist, and some of this is carried across into the Sea Star scenes. When the Doctor and his friends find the Giant Pink Sea Snail the creature seems rather disappointing, making you wonder why they went all that way just to find it. Possibly this was a figment of Lofting's imagination that works better on the printed page than it does on screen.
The film still seems to have a following today, and turns up regularly on television, but for me it is a part of my childhood that (unlike, say Disney's "Jungle Book") has not retained its magic for me as an adult. 6/10
Hugh Lofting's "Doctor Dolittle" books were a great favourite of mine during my childhood, so I absolutely loved this film when my parents took the family to see it. Of course, I was then blissfully unaware that the film had been savaged by most of the critics, that it had been a box-office flop and that difficulties in production had meant that the costs massively overran the original budget. (The cost of the finished film was $17 million; only four years earlier that would have made it the most expensive film ever made). My sisters and I were not, however, alone in our love of the film; the Academy nominated it for a "Best Picture" Oscar, a nomination which at the time seemed incomprehensible to most people in the film world.
So how has "Doctor Dolittle" held up over the fifty-odd years since it was made? Well, I can now see its flaws in a way which I could not as a child, although it certainly has its good points. Rex Harrison makes an attractively charismatic hero, even though he bears little resemblance to the short, plump Dolittle of the books. As he had shown in "My Fair Lady" he was not the world's greatest singer, but as in that film he manages to stroll his way through his songs, reciting rather than singing them. The first half of the film, set against some attractively photographed Wiltshire countryside and concentrating on Dolittle's dealings with his animal friends, is still enchanting.
Bricusse's songs are something of a mixed bag. Seeing the film again recently some of them, especially "My Friend the Doctor", "I've Never Seen Anything Like It" and, of course, "Talk to the Animals", took me instantly back to the world of my childhood. Others, however, are instantly forgettable and I have difficulty recalling them even though I only saw the film a few days ago.
Even as a child I couldn't see the point of Emma Fairfax, a character created for the film and not found in Lofting's books, and I'm none the wiser now. The producers presumably invented her because they wanted a female character and thought that Polynesia the parrot, Sophie the seal and Sheila the fox didn't count, but they never really found a proper role for Emma, who veers between love-interest for Matthew and love-interest for the Doctor himself without ever coming down on one side or the other. The concentration on Emma means that Tommy, the character I really identified with as he was a boy of my own age, plays a less important role here then he does in the books.
From my adult perspective, the film really goes downhill in the second half when the main characters leave England. I have to admit that, although Lofting, an ardent pacifist and animal-rights advocate, was in other respects a man of progressive views, he was also a racist, and some of this is carried across into the Sea Star scenes. When the Doctor and his friends find the Giant Pink Sea Snail the creature seems rather disappointing, making you wonder why they went all that way just to find it. Possibly this was a figment of Lofting's imagination that works better on the printed page than it does on screen.
The film still seems to have a following today, and turns up regularly on television, but for me it is a part of my childhood that (unlike, say Disney's "Jungle Book") has not retained its magic for me as an adult. 6/10