Respond to these rapid questions in our The Emperor S New Groove quiz and we will tell you which The Emperor S New Groove character you are. Play it now.
A common objection to the term “cartoon” is that it conjures up images of a six-minute film starring Bugs Bunny rather than a film that runs for 100 minutes and grosses $200 million. I’ve gotten used to referring to them as “animated features,” but now comes Disney’s “The Emperor’s New Groove,” and the only word for it is “cartoon.” It’s a shame, because the film is fantastic. Those are kind words intended as a compliment. It is not an animated musical retelling of an archetypal fable about mermaids, lions, or courageous young Chinese girls, as is the case with “Groove.” It’s a slapstick cartoon with the attention span of Donald Duck, and it’s a lot of fun. A transparent excuse to string together the sight gags, and the characters are thrown together as well, despite the fact that they are designed to look like the actors who voice them, so we feel like we already know who they are in some ways.
For example, consider the mythical Emperor Kuzco, who reigns over a mythical kingdom somewhere in South America. Mr. Spade provides the narration, and he sounds very much like one of Spade’s other characters, a laconic, cynical wise guy who is fascinated with himself. However, in this case, the animation provides enough distance that I actually found myself enjoying Kuzco, despite the fact that his name sounds like it should be associated with a discount store.
In the early stages of the film, Kuzco makes the mistake of firing an elderly crone named Yzma (voiced by Eartha Kitt), who vows vengeance on him. Her sidekick is Kronk (voice of Patrick Warburton from “Seinfeld”), a cook who would truly like to be an evil accomplice but is unable to concentrate on the task at hand because he is distracted by his first love, which is cooking. Kronk’s genial disinterest in Yzma’s schemes is a running gag in the show, as is her attempt to whip him into a frenzy of villainy.
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Kuzco spends his days harboring ill will toward others. A village has recently been uprooted by the prince, who now has his sights set on a picturesque hilltop site for his summer palace “Kuzcotopia,” which is currently occupied by the jolly peasant Pacha (voice of John Goodman), his pregnant wife Chicha (voice of Wendie Malick), and their children. Kuzco orders them banished, but it isn’t long before Yzma slips him a potion that is intended to kill him but, due to a clerical error, instead turns him into a llama. The rest of the story revolves around Kuzco and Yzma’s relationship.
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It quickly becomes apparent to Kuzco that the life of a llama does not lend itself to being lived by an intelligent emperor, as he learns the hard way. Then he slinks away into the jungle, which is terrifying and terrifying, especially at night; and although he has always been a sucker for self-pity, he now finds real-life inspiration for his tears in the jungle. Enter Pacha, a really nice guy who helps the llama even after he discovers that the animal has been occupied by the emperor, who has been trying to force his family out of their home. Because the main character is the jerk and the sidekick is the hero, their relationship is unusual among Disney films. It continues Spade’s long-standing tradition of casting fat guys as co-stars in films.
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That’s essentially the plot, to put it mildly. Even if this were the typical uplifting Disney fable, it would be a bit shaky. However, it is not. A corner of the Disney lot appears to have been taken over by animators who just wanted to laugh a lot and wear funny hats for the duration of the film. Despite the fact that Dindal worked on the visual effects for “The Little Mermaid” and “Aladdin,” his most notable credit is the 1997 Warner Bros. animated feature “Cats Don’t Dance,” which was a critical and commercial success. However, I enjoyed it for its visual aliveness and its cheeky storytelling quality, even if it did not do well commercially, perhaps because audiences look for the Disney trademark on most animation.
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When he comes to “The Emperor’s New Groove,” he brings that same quality with him: he wants to be silly in the moment and trust the movie to take care of itself. His style has been compared to the classic Chuck Jones and Tex Avery cartoons produced by Warner Bros., in which sentimentality is avoided, wisecracks are valued, and the animators sneak social and media satire in between the gags and between the frames.
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My understanding is that “The Emperor’s New Groove” was originally intended to be a completely different kind of film: a grandiose, ambitious Disney production in the vein of “Mulan” or “Pocahontas.” According to reports, the gold vein failed to produce any gold, and some of the original footage was scrapped, while other scenes were re-tracked, and the original musical score was largely abandoned. I’m not sure what the earlier version would have been like, but this one is a zany tonic, more upbeat and funnier than the lugubrious “Dr. Seuss’ How the Grinch Stole Christmas,” which I’m sure would have been a better choice. However, even though it does not have the technical polish of a film like “Tarzan,” the film serves as a reminder that the classic cartoon look is still a popular style in its own right. Once upon a time, when the Looney Tunes trademark appeared on the screen at a kiddie matinee, the kids would all clap their hands in unison because they knew they were about to have an unmitigated good time. The film “The Emperor’s New Groove” evokes the same kind of ebullience as well.
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