In Spellbound, the charges of beastly parents are quite literal – but for the most part, this animated fantasy musical from Skydance Animation may feel familiar. That’s why when Ellian (Rachel Zegler) says that her parents are monsters, one does not get an impression that she is involved in the cliché every teenager makes. She’s being dead serious. The parents were transformed into wild giants just over nine months ago while they were taking their daily stroll in forest.
Not many of Lumbria’s subjects know of this change as, with the help of confidant Bolinar and advisor Nazara, the princess has kept her parents sequestered for most part of the year.
However, the masquerade is not feasible and thus just immediately before her 15th birthday Ellian makes a major advancement in her attempt to lift the curse.
Directed by Vicky Jenson, director of Shrek, Spellbound tells the story of Ellian whom travels across the land to save her parents. It is flashy, employing clear animation and awesomely intense sequences with close shots and certain turns — but like Luck, Skydance Animation’s first film, it feels somewhat familiar. So its main direction that reflects the story of the unexpected young person and the parent transmuted from human to animal form is similar in some way with the plots of Pixar film Brave and Mizuta Ghibli’s Spirited Away.
In an attempt to establish the thematic difference, Spellbound does so at the beginning of the film. Hynek, Martin and Miranda’s script does not reveal the reason behind the parents’ magical transformation until very late in the game – an excellent decision that very much puts the movie into action from the very first song which Zegler performs with quite a lot of energy and passion.
The number ‘tells us that King Solon and Queen Ellsmere are monstrous and how Ellian ends up being the leader of the country.
It also speaks of loneliness when young person has to look after the parents and stay positive, despite all the fail and despair.
The first act of Spellbound is filled with high jinx. Ellian and the Oracles (Nathan Lane and Tituss Burgess) looks like they have all the answers to solving the monster problem. However, they do not prove quite useful, and when the later generations of the citizenry learn the true nature of their royal leaders, all break loose. In need of a plan, Bolinar and Nazar place Ellian on the throne while they transport the monster king and queen elsewhere.
At the same time, Ellian driven by even greater desperation to help her misinterpreted family turns to the Oracles for help. It goes all around like that for sometime, at times what happens is a little ambiguous, but then enters a straight path again.
After Ellian and her monstrous parents and the rat run from the court, Spellbound follows the conventions of a road movie to the extent, introducing a few unexpected turns here and there. Most striking, or more to the point the most memorable are the visuals which have been exhibited with as much vitality as has been offered pain and sorrow.
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