×
You will be redirected back to your article in seconds

The Nutcracker in 3D

Owes as much to Art Spiegelman's "Maus" as it does to Tchaikovsky.

With:
Mary- Elle Fanning Uncle Albert- Nathan Lane The Rat Queen- Frances de la Tour The Rat King- John Turturro Father- Richard E. Grant Mother/Snow Fairy- Yulia Visotskaya Max- Aaron Michael Drozin The Prince- Charlie Rowe The Nutcracker- Shirley Henderson

Seemingly predicated on the idea that nothing says “the holidays” quite like the Holocaust, “The Nutcracker in 3D” owes as much to Art Spiegelman’s “Maus” as it does to Tchaikovsky. Like the traditional ballet, Andrei Konchalovsky’s musical extravaganza has its share of tinsel and snowflakes and draws from E.T.A. Hoffman’s “The Nutcracker and the Mouse King” — except here, the mice are Nazified rats, herding the people of old Vienna into labor camps. Audience bewilderment could turn to anger, given the dire contrast between the story’s seasonal associations and what Konchalovsky has fashioned from it, which is assuredly not “Merry Christmas.”

Music fans will have their own complaints: Tchaikovsky’s score, which ranks among the most beloved in the classical repertoire, has been modified into very conventional songs by Disney house lyricist Tim Rice and Konchalovsky collaborator Edward Artemiev. (They don’t stop at “The Nutcracker,” either: When the Prince, played by Charlie Rowe, sings “Life Begins Again,” auds will hear a melodic line snatched from Tchaikovsky’s Piano Concerto No. 1.) The familiarity of the music may actually be a disadvantage; the ear wants the melodies to conform to one’s memory of them, but instead they’ve been tortured into compliance with the needs of a standard movie musical.

Popular on Variety

It’s Christmas in 1920s Vienna   — someone early on acknowledges Sigmund Freud gliding by on ice skates — and Mary (Elle Fanning) is bright-eyed and expectant. Unhappy that her parents (Richard E. Grant, Yulia Visotskaya) are going out for the evening, she’s nevertheless thrilled that she and brother Max (Aaron Michael Drozin) will be babysat by their Uncle Albert — Einstein, naturally (Konchalovksy having suspended the time-space continuum). As played by Nathan Lane, Albert is a schnitzel-accented Santa Claus who brings gifts for Max and Mary, including what will become Mary’s most cherished possession — a mechanical wooden nutcracker (with the voice of Shirley Henderson).

So far so good, until it soon becomes evident the Nutcracker is involved in a battle for world domination against the Rat King (John Turturro, wearing a platinum wig he might have borrowed from Phil Spector), who is enslaving the population with his Rat Queen mother (Frances de la Tour). Turturro’s performance is too over-the-top to be taken seriously, although there are some transformation scenes in which his teeth take on nightmarish proportions that could frighten tykes. Add to this the slave-labor elements and “Metropolis”-inspired imagery, and it’s all a lot less First Noel than Third Reich.

In Spiegelman’s graphic novel, the Nazis were cats, the Jews were mice and the rats were … rats. Even still, the film’s anthropomorphic aspects seem strongly reminiscent of those in “Maus,” which, like the original “Nutcracker,” was a fairy tale with a tragic foundation. But “The Nutcracker in 3D” is too much of a burlesque to create many resounding moral echoes.

Konchalovsky, the veteran Russian helmer whose films have ranged from “Runaway Train” to “Tango and Cash” (he also co-wrote “Andrei Rublev” with Andrei Tarkovsky) has been at this project for several years, and it’s clear enough that the film has been on the shelf for a while: Fanning, who makes the proceedings far more bearable than they should be, is obviously years younger than the actress who appears in the current “Somewhere.”

The 3D isn’t much of a visual asset here, but it might have served as a commercial kickstart for a project that was unmistakably a labor of love, of the sort the French would call l’amour fou. Tech credits are mixed: The production design is first-rate but, not surprisingly, the music is inferior to the original.

The Nutcracker in 3D

U.K.-Hungary

Production: A Freestyle Releasing and Cinemarket Films (in U.S.) release of a Vnesheconombank presentation of a Nutcracker Holdings and HCC Media Group production. Produced by Andrei Konchalovsky, Paul Lowin. Executive producer, Moritz Borman. Directed by Andrei Konchalovsky. Screenplay, Konchalovsky, Chris Solimine.

Crew: Camera (Deluxe color), Mike Southon; editors, Henry Richardson, Mathieu Belanger, Andy Glen; music, Edward Artemiev; lyrics, Tim Rice; choreographer, Stuart Hopps; production designer, Kevin Phipps; art director, Adam O'Neill; set decorator, Judy Farr; costume designer, Louise Stjearnsward; sound (Dolby), Alistair Crocker; sound designer, Matthew Collinge; visual effects supervisor, Nicholas Brooks; visual effects producer, Piers Hampton; special effects supervisor, Richard Van Den Bergh; line producer, Laura Julian; assistant director, Kieron Phipps; second unit director, John Stephenson; casting, Celestia Fox. Reviewed at Universal screening room, New York, Nov. 15, 2010. MPAA Rating: PG. Running time: 107 MIN.

With: Mary- Elle Fanning Uncle Albert- Nathan Lane The Rat Queen- Frances de la Tour The Rat King- John Turturro Father- Richard E. Grant Mother/Snow Fairy- Yulia Visotskaya Max- Aaron Michael Drozin The Prince- Charlie Rowe The Nutcracker- Shirley Henderson(English dialogue)

More Film

  • Chosen Ones Artwork

    The Yellow Affair Picks Up Swedish YA Sci-Fi/Thriller ‘Chosen Ones’ (EXCLUSIVE)

    GÖTEBORG, Sweden — Scandi sales shingle The Yellow Affair has added to its Göteborg lineup the Swedish series “The Chosen Ones” (“Det Utvalda”), currently playing on Swedish pubcaster SVT’s streaming service SVT Play. The short form sci-fi thriller stars a strong Swedish female cast of model-turned actress Frida Gustavsson (“Swoon”), singer/actress Amy Deasismont (“Gösta”, “My [...]

  • A still from LANCE by Marina

    'Lance': Film Review

    Late in the film “Lance,” a documentary that depicts the ascent and the crash of disgraced cyclist Lance Armstrong, the subject recalls the disappearance of his lucrative sponsorships. These deals — with a massive market value and a perhaps more important intangible value of keeping him in the public eye as a figure of rectitude [...]

  • Palm Springs

    'Palm Springs' Breaks Sundance Record for Biggest Sale Ever -- By 69 Cents

    Andy Samberg’s “Palm Springs” has just broken the record for the biggest sale in the history of the Sundance film festival — by $0.69. A joint announcement on Monday from Hulu and indie distributor Neon confirmed the existential comedy was purchased for $17,500,000.69, in a sale brokered by UTA Independent Film Group. That figure exceeds [...]

  • The Truffle Hunters

    Sundance: Sony Pictures Classics Buys 'The Truffle Hunters'

    Sony Pictures Classics has acquired worldwide rights to “The Truffle Hunters” out of the Sundance Film Festival. The pact is for $1.5 million, according to an insider. The documentary follows a handful of men in Piedmont, Italy as the search for rare and expensive white Alba truffles. It’s a lifestyle that is off-the-grid, one without [...]

  • Saweetie62nd Annual Grammy Awards, Arrivals, Los

    When 'Birds of Prey' Came Calling, 'I Passed Out,' Says Saweetie

    “Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn),” the R-rated girl gang-driven comic book actioner starring Margot Robbie and directed by Cathy Yan, bows in theaters Feb. 7 — the same date its equally female-driven soundtrack drops. And the latter even has its own trailer.  The film’s playlist includes tracks by Megan [...]

  • The Evening Hour

    'The Evening Hour': Film Review

    A small town already down on its luck receives a few fresh kicks in “The Evening Hour.” Based on Carter Sickels’ 2012 novel, this second narrative feature from director Braden King is more plot-driven than his first, 2011’s “Here,” a leisurely and slight, if pleasant, road-trip romance. Indeed, there may be a little more content [...]

  • Ntare Guma Mbaho Mwine, Zainab Jah,

    'Farewell Amor': Film Review

    There are small, telling differences in the way each of the three long-separated main characters in “Farewell Amor” remembers the day of their reunion. Standing at JFK, awkwardly clutching a bunch of flowers to give to the wife and child he has not seen in 17 years, Walter (Ntare Guma Mbaho Mwine from “The Chi”), [...]

More From Our Brands

Access exclusive content