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Direction, cinematography, acting are outstanding, but weak script
13 July 2011
Warning: Spoilers
**** includes generalized mild spoilers ****

I was anticipating a great film that builds on a great tradition, from "Nosferatu" in the 1920's through Lugosi's "Dracula" in 1931 and the genuinely faithful "Count Dracula" TV miniseries of 1977, but was disappointed because of a weak script and capricious editing.

Despite the title that seems to promise a relatively faithful adaptation of the novel, or possibly the play, by Bram Stoker, a good chunk of the material, everything that deals with Vlad the Impaler is not in the originals. This, together with altered ending, the story on board the ship, the invention of the green luminous cloud to explain Dracula's ability to enter closed rooms, leaves little basis for the claim of faithfulness.

Many of the traditional details of the Dracula story are given the briefest nod, or omitted: (1) Dracula does not ever turn into a bat (2) the business of mirrors not showing the images of vampires is not used in the story (3) the business of vampires not being able to stand daylight is very much weakened (4) the effect of showing the cross to stop the vampires is very weak (5) the business of using garlic to ward off vampires is also much weakened (6) the business of using consecrated hosts to control the vampire is also practically gone.

There are many other completely unnecessary alterations of the original: (a) the relationship of Lucy and Mina (b) the disappearance of the character of the mother (c) the death of Renfield.

The most objectionable invention is the ability of Dracula to change his appearance from the wrinkled old man to a handsome man at the peak of his virility who functions in daylight and has restaurant dates with the beautiful Mina.

Apart from that, the version I saw (two hours and some minutes) suffered from a lack of continuity exacerbated by capricious editing montages.

Summarizing, great visuals, directed with a smooth pace, very talented actors, and better than average, but somehow disappointing.
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7/10
Appealing to adults, in style reminiscent of Mr. Magoo
7 July 2011
I just saw this movie (7 July 2011) on a videotape made a number of years ago from a showing at Nickelodeon when my children were hooked on cartoons. It held my interest quite well. The dialog is funny for adults, and the dubbing was so skillful that I did not believe it was originally in French. The wording style is not childish at all, and together with the animation is reminiscent of the Mr. Magoo cartoons. I plan to see it again in a few days and take notes so I can write a proper synopsis.

By the way, the title shown in my tape is proper English, as The Adventures of Baron Munchausen.

The story line is similar to an adult movie. At a banquet for friends in his castle, the Baron tells his friends of some of his interesting adventures, and as he begins the narration it fades into the past as though it were a flashback. There are three separate narrations and at the end of each the images bring you back to the banquet hall.
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7/10
Fascinating content, style, history
4 September 2009
Warning: Spoilers
September 4, 2008, I saw this again after sixty plus years, in an Internet Archive copy that has only 50 of the original 75 minutes, and was mesmerized to realize how much of my concept of Africa is due to this movie. Rivers, canoes, safaris, multiple tribes, locusts, lions, wildebeest, giraffes, impalas, elephants, flamingoes, warthogs are all here, in the heat. The sequence on the jumping impalas was most impressive to me now, as I recall nothing like it in any other movie. The only warning to the modern viewer is that the narration, while lively and fascinatingly informative, contains comments, evaluations and comparisons that seem shockingly inappropriate. Clearly this movie had an enormous influence on movie-making, from "King Kong" through "The Living Desert" to "The Lion King". This movie is the successful ancestor of anything you see on Animal Planet and most of Discovery Channel.
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9/10
Comparisons to Disney and Orson Welles films
22 July 2009
The general plan of this film is strongly reminiscent of two films that Walt Disney made at the request of the State Department during World War II, namely SALUDOS AMIGOS and THE THREE CABALLEROS. The content here is serious and dramatic, the Disney approach is funny entertainment in cartoon form, but similarities are unmistakable.

It is also my understanding that the U.S. State Department sent Orson Welles to Brazil to make a film. Reels and Reels of film were shot, the funding fathers were not given progress reports that convinced them that anything like they wanted would ever result, and the funding was cut off. The fate of the reels and reels of Welles shot film seems quite similar to what happened to Que Viva Mexico.

As a personal evaluation and comment, I would like to add to what others have written, that I saw nothing in this film that could possibly be construed as blatant propaganda. Great films like CASABLANCA and GONE WITH THE WIND have a strong propaganda element to them, the first one, wartime "Us are Good Guys, Nazis are Bad" and the second one "Slavery and the Ku Klux Klan were the good guys, Dixie and the Old South were just wonderful". QUE VIVA Mexico has less propaganda.
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10/10
Judging the "propaganda" in this film
17 July 2009
I have two comments to make about some disparaging remarks made by other contributors: First, it is naive to condemn this film as "propaganda" -- GONE WITH THE WIND is all propaganda about how great the Old South was and how great the Ku Klux Klan was. LAWRENCE OF ARABIA is propaganda about how heroic and clever the English were and how corrupt the Turks were. DR STRANGELOVE is all propaganda, too. THE ALAMO and other John Wayne films are propaganda about how great the conquest of the West was, how heroic the ethnic cleansing against the Indians was, and how corrupt the Mexicans were. So spare me your hypocritical condemnation of this film as "Stalinist Propaganda".

Secondly, what definitions can there be for whether a film is "great" or not? I suggest the use of two criteria: (A) Is viewing the film multiple times worthwhile and interesting? (B) Does viewing the film represent a memorable life experience? With these criteria, it does not matter whether the film is "dated" or the acting is "overdone" or whether the sound is flawed or in this or that quality. I certainly find IVAN THE TERRIBLE more interesting the more times I view it. On the other hand, there are movies that I consider "great" even though I refuse to watch them ever again, because I found them unbearably sad -- recent examples are SCHINDLER'S LIST and MILLION DOLLAR BABY.
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