Johnny Simmons

Further proof that I’m especially unreliable; I posted the last entry of Encore’s Greatest Voices in August. It’s now December and I’ve yet to give you the top 10 – until now. Excuse my general capriciousness, but here are the top 10 – finally.

There was something a little off about Susan Sarandon in Enchanted, and I still can’t put my house on it. She has a silky voice that has the potential to be unsettling, so perhaps it was the obvious villainy of her character that didn’t quite work. However, in James & the Giant Peach she uses her voice to create a character that may be evil, and then again might not be. There something especially exotic about her Miss Spider and she emerges from a varied cast of hilarious misfits as the most interesting.

                                            

If Addison DeWitt is proof of anything it’s that George Sanders can be unctuous and still appealing, and that’s essentially what Shere Khan is. There’s something chilling and yet alluring about his baritone voice, and his penchant for elongating vowels is just hilarious (but still disturbing). Shere Khan is not exactly the most rounded character, and he’s probably not the most interesting character in The Jungle Book, but Sanders voicework is still amazing.

                             

Ah, Streep. Yeah, I don’t go crazy over her every move like this guy (or this one) – or anyone really, but when she lands it – she’s phenomenal. Really, if I used to count animated performances eligible she’d have made my top 3 last year for Best Actress. There’s just something especially charming, witty and downright irresistible.

                          

In the face of Disney’s numerous villains I’m always surprised that Audley’s Maleficent is not remembered more often. Visually, she’s the most memorable to me and I have a slight hunch that every female animated villain uses her voice-work as a paradigm for their performances.

                               

Ursula is especially quotable, and especially frightening too; but she’s still also much fun. She’s still sort of pathetic in her own way, and Carroll milks it for all the delicious campiness it’s worth. A few call it their favourite, and I can’t fault them – she’s phenomenal.

                                 

Williams’ over-the-top, bipolar craziness works perfectly for the role. His name is not the in the film’s title, but the Genie’s hilarious nature is one of the most significant things about Aladdin. It takes the role of the chatty sidekick to another level and gives Williams a chance to use his voice-impersonations without being gratuitous.

                           

I always wish that Ellen would do more movies. Her off-kilter humorousness is a specific charm of hers, and like most comedians it’s found in her voice. Is Finding Nemo Pixar’s masterpiece? Maybe, though I don’t especially go crazy over it. But DeGeneres’ charm is irresistible, and she easily emerges as not only the greatest Pixar creation, character wise, but the greatest Pixar actor, voice wise.

                                

I really can’t account for how often Hercules is forgotten when one remembers Disney’s animation from the nineties and beyond. Perhaps, it’s the fact that the story has been told so often – but really, that logic seems a bit flawed – so I can’t be certain. Still, Egan’s Megan – a damsel in distress, who’s not quite a damsel but certainly is in distress, is a joy to watch/listen to. Her voice is just an octave lower than the typical Disney heroine, and with her questionable past she’s not a typical one really. It’s a shame she only gets one number, but she sells the dialogue just as wonderfully to.

I shall forever champion the brilliance that is Corpse Bride, it’s remembered for its visual brilliance, sometimes for its music but rarely for its acting which is top notch. It also happens to be my favourite HBC performance in a Burton film, which is not quite the backhanded compliment it sounds like considering some of the good things they’ve done together.

Predictable? Perhaps, but can you really blame me? Scar is the ultimate bad-guy, and perhaps it’s because I’m a stealth baddie myself (possible), but I find him too be – arguably – the most sympathetic character of the film. There’s just something poignant (even if in a clichéd way) about being the forgotten child, the eternal bridesmaid, and what not. And I’m damned if he doesn’t make even the most rote of lines resonate. (“I killed Mufasa, anyone?) So, Irons takes the crown for Encore’s Greatest Voice.

                              

So, now that I've finally revealed the list, which voices would rank at the top of your imaginary list of Greatest Voices?

Films with Multiple Mentions:

Aladdin (4): Linda Larkin (#32), Jonathan Freeman (#21), Scott Weinger (#20), Robin Williams (#5)

Beauty & the Beast (4): Angela Lansbury (#33), Robby Benson (#25), Richard White (#18), Paige O'Hara (#16)

The Lion King (3): James Earle Jones (#31), Robert Guillame (#23), Jeremy Irons (#1)

The Little Mermaid (3): Jodi Benson (#37), Samuel E. Wright (#13), Pat Carroll (#6) 

Hercules (3): Lilias White &co. (#22), James Woods (#15), Susan Egan (#3)

James & the Giant Peach (3): Richard Dreyfuss (#24), Simon Callow (#14), Susan Sarandon (#10)

Corpse Bride (2): Johnny Depp (#27), Helena Bonham Carter (#2)

The Fantastic Mr. Fox (2): Jason Schwartzman (#11), Meryl Streep (#8)

The Jungle Book (2): Phil Harris (#39), George Sanders (#9)

Sleeping Beauty (2): Barbara Luddy (#40), Eleanor Audley (#7)

Wallace & Grommit: Curse of the Were Rabbit (2): Ralph Fiennes (#46), Helena Bonham Carter (#35)

                         

Eleanor Audley: Cinderella (#42), Sleeping Beauty (#7)

Helena Bonham Carter: Wallace & Grommit: Curse of the Were Rabbit (#35), Corpse Bride (#2)

Glenn Close: Tarzan (#47), Hoodwinked (#34)

Robin Williams: Happy Feet (#44), Aladdin (#5)

He doesn’t have many big moments, and true – Aladdin may not be the most layered character (though by Disney standards he is quite nuanced), but Weinger’s affable charm, voice-wise, is a big reason for the easiness with which the film flows.

I think I need to rewatch this because I don’t LOVE it as much as I think I should…but either way Kathleen Turner’s Jessica Rabbit is too good for words. She was popping up everywhere in the eighties (one solitary Oscar nomination be damned, boo) and this was a brilliant way to the end the decade…even if it was animated.

His Gaston is one of Disney’s most interesting villains, but it’s fun to sit back and just enjoy him being a cad. His “let me through” in the opening number never fails to amuse. He’s just completely into the bravura and simultaneous stupidity of his character you can’t help but be interested. Even if you’re loathing him.

This probably seems like a surprise. Anastasia is a fairly good animated film, but Bernadette’s almost cameo of the unbearably French (compliment) Sophie and her rendition of “Paris Holds the Key” is the film’s secret weapon. She’s always had a memorable voice (a normal sized, older Kristin Chenoweth) and she delivers the peppy character and essentially steals the show.

She has the perfect voice for the almost feminist Belle (a la Susan Egan). She’s soft and emotive but she’s also strong and hard as nails. She also gets extra points for being (probably) the best Disney heroine/princess.

Another Disney villain, he is, but one that is often forgotten (just like his character). Hercules doesn’t get the credit it deserves for someone who’s essentially just a major asshole (as much as possible in a Disney film) Woods manages to make Hades ridiculously enjoyable. From the snappy one-liners to the deadpan line readings he sells it, completely.

Perfect in every way. He's a little uppity, but that's really his appeal and he just works so well with the dialogue.

Sebastian’s “Kiss the Girl” is the most scintillating number from the score, but Wright’s talent is in selling his dialogue. He’s the perfect (if reluctant) sidekick to our heroine and his relationship with Ariel and Triton present constant hilarity that is always well played.

I consider Shree II to be just a smidgen worse than its predecessor (alas the same cannot be said for further instalments). Jennifer Saunders lascivious Godmother was an important part of that. From her wicked scheming ways to her occasional moment of odd hilarity she was the best in show – and what a show…

In the larger scale he ends up becoming forgotten – because George Clooney is playing his father. But Schwartzman does something brilliant with Ash in The Fantastic Mr. Fox. It holds up as one of the funnier performances from the last year and definitely one of the most memorable voices for me.

             

Which of these ten was the surprising inclusion for you? Which was your favourite?

                  

#41#50 

The countdown continues as we near the top, I feel slightly bad that so many films have repeat entries. Then again, I can't blame myself because they're that good.

“Forgive me, Mr. Claus. I'm afraid I've made a terrible mess of your holiday. ”

Though I wouldn’t swear that The Nightmare Before Christmas is unparalleled excellence, it is a thoroughly enjoyable film and Sarandon’s protagonist is a significant portion of that. He is funny and endearing, yet maintaining his oddball status.

         

“Don't leave me! Don't leave me! I'll die without you! ”

Teri Hatch…loved her in Lois & Clark, liked her on Desperate Housewives until she turned into the hot mess that is now Susan. She’s not given credit (we don’t really get to see her stretch her legs), but her incarnation of Coraline’s mother and the Other Mother (a.k.a The Beldam) was a brilliant take on a potentially stereotypical villain. Coraline was my favourite animated film last year, and though Fanning’s work as the eponymous heroine was on point it was Hatcher’s layered and terrifying work that stuck with me for weeks after.

“But you're treating them like equals. They're sheep, they're inferior. ”

I’m sorry I couldn’t get a spot for Babe, but consider this a tribute to all the actors there. Babe is just too sweet for words, and Margolyes no-nonsense Fly is an excellent surrogate mother to the orphan pig. She’s stern, but not unloving and she does so well weighing her dedication to her husband against her that of her husband.

        

“Please, there's been a mistake. I'm not dead. ”

At the moment people seem less than enthused about Depp and Burton, no point in dredging up that argument – but I do love Depp’s work as the reticent would-be groom of the eponymous corpse. It’s voicework that’s sometimes forgotten (very subtle) but I think it’s excellent, nonetheless.

       

“Well aren't you just the sweetest space toy I ever did meet! ”

Cusack always was the best thing about the Toy Story franchise, for me. Always a brilliant character actress, her take on the spirited cowgirl in the series was a thing of delight. She knew just how to get on our nerves without being overbearing.

     

“I thought I told you to come down to dinner!”

This is one that’s often forgotten. Beneath the animalistic growl Benson is doing excellent work portraying emotions in the Beast that are bubbling below the surface. His petulance, his nervousness, his ferocity – it’s all done as much through the animation as through the voicework making him just as interesting and as rounded a character as Belle.

     

“Why don't skeletons play music in church? Because they got no organs.”

James & the Giant Peach features one of the strongest animated ensembles, and Dreyfuss' corny centipede is a big part of that.

      

“Correction: I *know* your father..”

The Lion King is such an excellent film, when it’s time for laughs talk often turns to Timon and Pumba (admittedly good), but for me it’s always Guillaume’s hilarious Rafiki that does all the heavy lifting. He pops in and out (and in again) for a few short moments, but his voicework takes the film to another level. He is simultaneously annoying, perverse, wise and exasperating. Yes, we know these are animals, but we fee like we know this strange monkey.

    

As The Muses (Calliope, Terpsichore, Clio, Melpomene and Thalia

“…And that’s the Gospel Truth.”

I debated whether or not to single them out, but it didn’t make sense. The Muses are all part of the same entity. Voice by a quintet of Broadway voices they’re responsible for the narration of this underrated piece. From Ryan’s spunky soul sister to White's sophisticated headliner they all work in tandem to create some of the most entertaining Disney characters.

“You're speechless, I see. A fine quality in a wife.”

It’s probably difficult to craft a villain unlike anything we’ve seen, and all Disney villains do have that sombre voice in common. But Freeman does his own things with Jafar. He's slimy and he's almost offensive, but he sure is fun to watch.

      

Only two more rounds left? Do you have particular fondness for any of these?

I’ve always been more than a little fond of Roald Dahl, even when I was young and thought his name on the books were typographical errors. He’s one of the most inventive writers for children –and adults – and it’s not difficult to see why his films have often been adapted for the screen. Last year Wes Anderson’s wonderfully smart Fantastic Mr. Fox was a hit and we’ve seen two good adaptations of Charlie & the Chocolate Factory – but the greatest adaptation of a Dahl film is one that is often taken for granted, it’s also one of the most ingenious animated flicks I’ve ever seen. A masterpiece in my opinion was 1996's James & the Giant Peach.

                                              

James is an orphan who lives with his two hideous aunts – in nature, and in looks and when a peach in the garden grows to unbelievable proportions he experiences a wealth of magical incidents in it along with a troupe of quirky and endearing animals. I have vivid memories of seeing this as a child and if you thought Selick’s Coraline was quirky and mystifying then you should see James & the Giant Peach. The world of the peach is both alluring and terrifying. It’s a true feast for the eyes, clichéd yes, but accurate. And like all works of animation, the voice work is an essential. Susan Sarandon’s enigmatic Spider remains as a favourite of mine, it’s animated to perfection and her charming voice only amplifies the mystery of the peach, Miriam Margolyes and Richard Dreyfuss also turn in notably good (voice)work.

                         

The story is, I suppose, the usual coming of age film. James is a beleagured child and his (sometimes dormant) thirst for a change is understandable and moving in its own way. Much like Coraline it takes an otherworldy experience for the child to "find" himself, though this is certain not a cautionary tale. Thematically James & the Giant Peach is difficult to pin down. I can't be certain what message it is that Burton and Selick (or Dahl for that matter) want us to leave with. But the important of "messages" has become too much. James & the Giant Peach offers a fresh look and childhood with some incredibly witty dialogue.

                  

Selick is a connoisseur of children’s cinema and he is notorious for blending the dark with the youthful. This interpretation of James & the Giant Peach is a quintessential example of childhood. It seems bizarre on the more superficial of levels, but beneath the repulsive slugs and bugs and underneath the obvious idiocy of a travelling peach there is a whole lot of heart in this story and luckily Selick was able to translate that to the screen intact. This film would be a wonder to any child, and as we grow older and it all comes into perspective we realise that it’s also a wonderfully insightful film that’s for the child in each of us. It’s the #52 on my list of favourites.