My Favorite Robert Stevenson Film

Robert Stevenson is one of those invisible directors, whose work is extremely popular, but who never saw much individual acclaim. Most people have almost certainly seen one of his films, but have no idea who he is. This is because, of course, his most famous work was done with Walt Disney Pictures during the '50s and '60s. Stevenson was responsible for some of the key titles that made Disney such a successful producer of live-action films during that era. In 1977, Variety called him "the most commercially successful director in the history of films," for helming family favorites like "Mary Poppins," "The Love Bug," and "Old Yeller."

Much of Stevenson's success at Disney was due to his ability to blend fantasy and reality, to work with special effects, animated sequences, wild comedy, and grounded melodrama. His productions often required coordinating many teams of talented artists. Easily his biggest success was with "Mary Poppins," which netted him a Best Director Oscar nomination in 1961. Disney tried to duplicate the success of the film in subsequent years, eventually producing "Bedknobs and Broomsticks" with much of the same creative team seven years later. And while I always enjoyed "Mary Poppins," it was "Bedknobs and Broomsticks" that really captured my attention as a child. Critical reaction was much less enthusiastic, however, leading to over twenty minutes of the film being excised for general release - though a reconstruction of the original version was created in 1996.

"Bedknobs and Broomstick" has plenty of spectacle. There are two sections of the film where the live action actors interact with animated characters and environments. There are several elaborate special effects sequences where inanimate objects are brought to life with a magic "Substitutiary Locomotion" spell. This includes the big action climax, where suits of ancient armor are recruited to defend the British coastline from invading Nazis. The soundtrack is full of Sherman brothers songs, plus a major dance number in the "Portobello Road" segment that originally ran for ten minutes, before being significantly trimmed back. While the lead actors didn't have the star power of Julie Andrews and Dick Van Dyke, they're perfectly cast. I adore David Tomlinson and Professor Emilius Brown, a genial con-man and showman, and it's utterly astounding that this is one of Angela Lansbury's only leading screen roles.

Critics of the time pointed to the film's darker tone being a mismatch for the more earnest Disney fantasy elements and silly cartoon antics. However, I saw the film at a time when I appreciated that the children were a little older, their circumstances more unfortunate, and the dangers they faced were more harrowing. The film is set during WWII, just after the Blitz, and most of the characters are presented as working or lower class. And while a magical nanny is all well and good, learning to be a middle-aged spinster witch like Miss Price struck me as much more interesting. The film may have its more sober moments, including a tense final act when the Nazis show up, but it's never glum. The episodic structure means that the film is easily broken down into discrete adventures that showcase a broad range of tones and moods, but I found the heroes consistent and enjoyable. Lansbury and Tomlinson give such appealing performances, I was never bored when they were onscreen. And, keep in mind that they were competing with a passel of cartoon animals, magically mobilized items of clothing, and an enchanted flying bed.

The level of the craft and the attention to detail in the film is such a delight. There's the title sequence designed to look like the Bayeux Tapestry, foreshadowing the film's ending. There's the ridiculous soccer match on the Isle of Naboombu, where the animal players have so much personality and liveliness. There's the little visual gags in every sequence, from "Portobello Road" to the finale, where the empty suits of armor are chanting "Treguna Mekoides Trecorum Satis Dee" as they pummel their hapless foes. And there's the famous bedknob, which is turned into an object of wonder with a few keen sound and lighting effects.

Despite his successes, Robert Stevenson never seemed to catch the spotlight. He made nineteen films in his two decades at Disney, and was at the time one of the highest paid directors in Hollywood. I also seriously considered writing this post about Stevenson's 1943 adaptation of "Jane Eyre" with Orson Welles and Joan Fontaine, where his contributions were famously overshadowed by Welles' involvement. However, if the lack of credit bothered Stevenson, I can't find much evidence of it. Instead, he seemed to get along with everyone, greatly enjoyed making crowd-pleasers, and credited filmmaking as a team effort.

In short, he was the original Disney tentpole director, and quietly more of an influence on modern filmmaking than many of the bigger names we all know.

What I've Seen - Robert Stevenson

Jane Eyre (1943)
Old Yeller (1957)
Darby O'Gill and the Little People (1959)
The Absent-Minded Professor (1961)
In Search of the Castaways (1962)
Son of Flubber (1963)
Mary Poppins (1964)
That Darn Cat! (1965)
Blackbeard's Ghost (1968)
The Love Bug (1968)
Bedknobs and Broomsticks (1971)
Herbie Rides Again (1974)
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