Though Disney has been methodically working through its older classics of late (in what appears to be an effort to remake its entire canon) one film has instead been given the sequel treatment.
Mary Poppins Returns will add a second chapter to the 1964 film, which won five Academy Awards and starred Julie Andrews as a magical nanny who swoops in to save the dysfunctional Banks family.
Here is everything we know so far about the new film.
Who is in the cast and who are they playing?
Emily Blunt as Mary Poppins: Blunt has earned a reputation as one of the UK’s finest talents, thanks to roles in A Quiet Place and The Girl on the Train, but Mary Poppins Returns may prove to be her most ambitious role yet. Stepping into Julie Andrews’s formidable shoes, Blunt has promised to deliver a new take on the character - one that still pays tribute to Andrews’s performance, but draws more heavily from the version of Poppins we see in PL Travers’s source books. “She’s a little meaner,” Blunt teased.
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Lin-Manuel Miranda as Jack: The adult protege of Burt (played by Dick Van Dyke in the 1964 original), is not a chimney sweep this time, but a “leerie” - a person who rides around on a bicycle with a ladder to light the street lamps of London, then douses them in the morning.
Ben Whishaw as Michael: The grown-up version of Matthew Garber’s character from the 1964 film, Michael still lives in the same house on Cherry Tree Lane, and has followed in his father’s footsteps by working as a banker at the Fidelity Fiduciary Bank in London. Michael has three children, though it’s been implied his wife has recently died, putting the family in a crisis.
Emily Mortimer as Jane: The grown-up version of Karen Dotrice’s character from the 1964 film, Jane has inherited her mother’s suffragette spirit, working as a union organiser.
Julie Walters as Ellen: Employed as Michael’s housekeeper, Ellen will surely find herself involved in Mary’s antics.
From its slow-burning beginning, The Guardians develops into an epic melodrama. It’s a wartime story in which, for a change, the men are relegated to supporting roles. It follows in a tradition of French rural family sagas like Jean De Florette or Manon Des Sources. The landscapes and the changing seasons play as much of a part in the story as the main characters.
Dark River offers little such consolation. It has some lyrical and delicate moments but the mood is generally overwhelmingly bleak and lugubrious. Incest and abuse don’t leave much space for any comic interludes. This is a powerful film with a grinding intensity about it. Light relief it isn’t but Dark River still has quite an impact.
Alamy
Late on in Argentinean director Lucrecia Martel’s startling, highly original new feature, Zama, a character who has just had both his arms cut off, is advised to “shove your stumps in the sand … if you don’t bleed out, you’ll survive.” It’s a grisly, darkly humorous moment in a film that continually surprises us with both its brutality and its lyricism.
The Match Factory
The most dispiriting aspect of this otherwise enrapturing Oscar-nominated animated feature is that its storyline still seems so current. The film depicts an Afghan society in which women don’t have a face. It is set during the Taliban rule, which lasted from the mid-1990s until late 2001, but this doesn’t feel like a period piece. Seventeen years after the Taliban were ousted from power in Afghanistan following the US invasion, the plight of women in the country appears hardly to have improved.
GKIDS
Spike Lee’s work sometimes risks sensory overload. He fires off so many different ideas and storytelling styles that audiences can become bamboozled by his scattergun approach. BlacKkKlansman is one of his very best films because the digressions are as entertaining as ever but don’t get in the way of the main story.
AP
Much of the pleasure in Aardman films has always lain in their gently ironic, Alan Bennett-like humour. They take very exotic characters and subject matter but then deal with them in a matter-of-fact fashion. They make a virtue out of their own relative modesty. Early Man isn’t the flashiest animated feature that you’ll see this year but it is certainly the most likeable.
Like all of Wes Anderson’s work, Isle Of Dogs is very stylised, very offbeat and characterised by its extremely dry and often ironic humour. This Japanese-set stop-motion fable is also gorgeous to look at - packed full of intricate visual detail. It deals with some weighty themes (ethnic cleansing, fascism and corruption) but does so in an idiosyncratic fashion.
Writer-director Martin McDonagh has a host of award-winning plays behind him but his movies haven’t always lived up to his stage work. This one certainly does. It shares some of the dark and nihilistic humour found in McDonagh’s previous film, Seven Psychopaths.
In an era of wearisome poltergeist movies, haunted house stories and torture porn, A Quiet Place is a refreshingly pared-down and very original affair. Director John Krasinski relies on editing, sound effects and off-screen action to crank up the tension. We do see the creatures from time to time, sometimes even in extreme closeup. They are very grotesque, bigger versions of the polyp-like succubus which exploded out of John Hurt’s stomach in Alien. However, the most terrifying moments here come when the humans are waiting for them to appear, desperately hoping that they won’t.
Paramount Pictures
Lady Bird is one of the best American coming-of-age films since Barry Levinson’s Diner. Written and directed by Greta Gerwig, it offers an utterly winning mix of humour, poignancy and sharp-eyed social observation. Gerwig approaches her subject matter with the same tenderness and affectionate irony with which the adolescent Lady Bird regards Sacramento. Gerwig also shows Lady Bird’s heroism as the young heroine strives against the odds to become the very best version of herself she can be.
A24
If Phantom Thread is indeed Daniel Day-Lewis’s final film as an actor, he is going out on a wondrously bizarre note. This must be the oddest film in his career, one in which he gives a typically commanding but very idiosyncratic performance. Almost everything here is jarring - but generally in a very positive way.
It is not so long ago that Paul Schrader seemed to be giving up on cinema. The American writer-director (whose credits include Taxi Driver, American Gigolo and Affliction) had taken to making movies like the sour Hollywood satire The Canyons with Lindsay Lohan and the cartoonishly violent Dog Eat Dog, shot cheaply, aimed at a VOD audience. The former had a montage of closed-down movie theatres. In interviews, Schrader struck a gloomy note about the future of the industry. This is why First Reformed is so refreshing. This is not just Schrader’s best film in a very long while. It is also a re-affirmation of the director’s belief in the medium.
Rex
Oscar Wilde goes to ruin in Rupert Everett’s debut feature as director. Everett also wrote and stars in the film, giving a grandstanding performance as the Irish writer at the end of his life, after his release from prison, where he has been doing hard labour for “gross indecency”. This is a moving and surprising biopic that squeezes out every last drop of pathos from its subject matter.
BBC Films
Black Panther is not only one of the most entertaining recent superhero films but has an intelligence and a political dimension that such inchoate offerings as Suicide Squad and Justice League completely lacked. It is an action movie which touches on Pan-Africanism and which owes as much to Malcolm X as it does to Batman or Captain America.
Marvel Studios / Disney
Sicilian Ghost Story is a genre-bending affair that combines elements of teen romance, gothic psycho-drama and political thriller. It is loosely based on a true story of a boy called Giuseppe Di Matteo whose father, an ex-member of the Sicilian Mafia, turned “grass” against his erstwhile associates. The Mafia responded by kidnapping Giuseppe and keeping him in captivity for nearly 800 days.
Altitude
First Man is all about understated heroism. It’s affecting precisely because Armstrong (played with quiet intensity by Ryan Gosling) doesn’t feel the continual need to boast about his mission. The film is a tearjerker but a very subtle one.
AP
Dogman is one of the best Italian films of recent times, a modern day neo realist fable that bears comparison with the great work of Fellini, Rossellini, De Sica et al. Its main character, the dog groomer Marcello (Marcello Fonte), is a wonderful creation: loveable, vulnerable, seedy and comic all at the same time.
Curzon Artificial Eye
From its slow-burning beginning, The Guardians develops into an epic melodrama. It’s a wartime story in which, for a change, the men are relegated to supporting roles. It follows in a tradition of French rural family sagas like Jean De Florette or Manon Des Sources. The landscapes and the changing seasons play as much of a part in the story as the main characters.
Dark River offers little such consolation. It has some lyrical and delicate moments but the mood is generally overwhelmingly bleak and lugubrious. Incest and abuse don’t leave much space for any comic interludes. This is a powerful film with a grinding intensity about it. Light relief it isn’t but Dark River still has quite an impact.
Alamy
Late on in Argentinean director Lucrecia Martel’s startling, highly original new feature, Zama, a character who has just had both his arms cut off, is advised to “shove your stumps in the sand … if you don’t bleed out, you’ll survive.” It’s a grisly, darkly humorous moment in a film that continually surprises us with both its brutality and its lyricism.
The Match Factory
The most dispiriting aspect of this otherwise enrapturing Oscar-nominated animated feature is that its storyline still seems so current. The film depicts an Afghan society in which women don’t have a face. It is set during the Taliban rule, which lasted from the mid-1990s until late 2001, but this doesn’t feel like a period piece. Seventeen years after the Taliban were ousted from power in Afghanistan following the US invasion, the plight of women in the country appears hardly to have improved.
GKIDS
Spike Lee’s work sometimes risks sensory overload. He fires off so many different ideas and storytelling styles that audiences can become bamboozled by his scattergun approach. BlacKkKlansman is one of his very best films because the digressions are as entertaining as ever but don’t get in the way of the main story.
AP
Much of the pleasure in Aardman films has always lain in their gently ironic, Alan Bennett-like humour. They take very exotic characters and subject matter but then deal with them in a matter-of-fact fashion. They make a virtue out of their own relative modesty. Early Man isn’t the flashiest animated feature that you’ll see this year but it is certainly the most likeable.
Like all of Wes Anderson’s work, Isle Of Dogs is very stylised, very offbeat and characterised by its extremely dry and often ironic humour. This Japanese-set stop-motion fable is also gorgeous to look at - packed full of intricate visual detail. It deals with some weighty themes (ethnic cleansing, fascism and corruption) but does so in an idiosyncratic fashion.
Writer-director Martin McDonagh has a host of award-winning plays behind him but his movies haven’t always lived up to his stage work. This one certainly does. It shares some of the dark and nihilistic humour found in McDonagh’s previous film, Seven Psychopaths.
In an era of wearisome poltergeist movies, haunted house stories and torture porn, A Quiet Place is a refreshingly pared-down and very original affair. Director John Krasinski relies on editing, sound effects and off-screen action to crank up the tension. We do see the creatures from time to time, sometimes even in extreme closeup. They are very grotesque, bigger versions of the polyp-like succubus which exploded out of John Hurt’s stomach in Alien. However, the most terrifying moments here come when the humans are waiting for them to appear, desperately hoping that they won’t.
Paramount Pictures
Lady Bird is one of the best American coming-of-age films since Barry Levinson’s Diner. Written and directed by Greta Gerwig, it offers an utterly winning mix of humour, poignancy and sharp-eyed social observation. Gerwig approaches her subject matter with the same tenderness and affectionate irony with which the adolescent Lady Bird regards Sacramento. Gerwig also shows Lady Bird’s heroism as the young heroine strives against the odds to become the very best version of herself she can be.
A24
If Phantom Thread is indeed Daniel Day-Lewis’s final film as an actor, he is going out on a wondrously bizarre note. This must be the oddest film in his career, one in which he gives a typically commanding but very idiosyncratic performance. Almost everything here is jarring - but generally in a very positive way.
It is not so long ago that Paul Schrader seemed to be giving up on cinema. The American writer-director (whose credits include Taxi Driver, American Gigolo and Affliction) had taken to making movies like the sour Hollywood satire The Canyons with Lindsay Lohan and the cartoonishly violent Dog Eat Dog, shot cheaply, aimed at a VOD audience. The former had a montage of closed-down movie theatres. In interviews, Schrader struck a gloomy note about the future of the industry. This is why First Reformed is so refreshing. This is not just Schrader’s best film in a very long while. It is also a re-affirmation of the director’s belief in the medium.
Rex
Oscar Wilde goes to ruin in Rupert Everett’s debut feature as director. Everett also wrote and stars in the film, giving a grandstanding performance as the Irish writer at the end of his life, after his release from prison, where he has been doing hard labour for “gross indecency”. This is a moving and surprising biopic that squeezes out every last drop of pathos from its subject matter.
BBC Films
Black Panther is not only one of the most entertaining recent superhero films but has an intelligence and a political dimension that such inchoate offerings as Suicide Squad and Justice League completely lacked. It is an action movie which touches on Pan-Africanism and which owes as much to Malcolm X as it does to Batman or Captain America.
Marvel Studios / Disney
Sicilian Ghost Story is a genre-bending affair that combines elements of teen romance, gothic psycho-drama and political thriller. It is loosely based on a true story of a boy called Giuseppe Di Matteo whose father, an ex-member of the Sicilian Mafia, turned “grass” against his erstwhile associates. The Mafia responded by kidnapping Giuseppe and keeping him in captivity for nearly 800 days.
Altitude
First Man is all about understated heroism. It’s affecting precisely because Armstrong (played with quiet intensity by Ryan Gosling) doesn’t feel the continual need to boast about his mission. The film is a tearjerker but a very subtle one.
AP
Dogman is one of the best Italian films of recent times, a modern day neo realist fable that bears comparison with the great work of Fellini, Rossellini, De Sica et al. Its main character, the dog groomer Marcello (Marcello Fonte), is a wonderful creation: loveable, vulnerable, seedy and comic all at the same time.
Curzon Artificial Eye
Colin Firth as William Weatherall Wilkins: The new president of Fidelity Fiduciary Bank, previously overseen by Mr Dawes Sr (played by Dick Van Dyke in the 1964 film). He’ll be the film’s villain.
Angela Lansbury as The Balloon Lady: Her character appeared in P L Travers’s original series of books.
Meryl Streep as Topsy: As a nod to the “I Love to Laugh” sequence from the original, Streep has a cameo as the owner of a shop filled with trinkets. There’s one quirk: the first Monday of every month, her entire house turns upside down.
Who is returning from the original film?
Dick Van Dyke has made a return appearance, though not as Bert. He instead stars as Mr Dawes Jr, the son of Mr Dawes Sr - another character Van Dyke played in the 1964 film - and chairman of the Fidelity Fiduciary Bank.
Why isn’t Julie Andrews in the film?
The original Mary Poppins won’t make an appearance in the sequel, as director Rob Marshall explained: “Julie was incredibly gracious, and we talked about it in a very general way but she made it clear right up front. She said, ‘This is Emily’s show, and I really want it to be Emily’s show. I don’t want it to be, ‘Oh, here comes that Mary Poppins.’ I don’t want that. I really want her to take this and run with it, because she will be brilliant.'”
The film has Andrews’s full approval, however, as Marshall added: “She had known it was in the works, then we said, ‘We’re doing it,’ and she said, ‘Oh, thank god.’ Then we said, ‘And we’re thinking of Emily Blunt,’ and she just threw her hands up in the air and said yes. I think a lot of people feel that way about Emily’s work.”
What’s the story?
The film, directed and produced by Rob Marshall, best known for Chicago and Into the Woods, brings the story forward to the era of the Great Depression, with a now grown-up Jane and Michael Banks living in their old house. After the death of Michael’s wife leaves him as a single father to three children, and throws their world into chaos, the Banks’s former nanny makes a return visit, with the help of lamplighter Jack.
While 1964’s Mary Poppins draws mainly from the first book in P L Travers’s eight-part Mary Poppins series, the sequel focuses on an original story, which draws elements from several of the books.
Blunt has said she hopes the film will be a “great unifier” for today’s troubled political times. The actor added: “This is what the world needs. You can feel the acrimony and the bitterness and here’s the opportunity for hope to reappear literally from the skies.”
Will there be songs?
Mary Poppins Returns is an all-out musical, including new songs written by Marc Shaiman and Scott Wittman, best known for the Broadway musicals Hairspray and Charlie and the Chocolate Factory, and an original score by Shaiman. There will also be dance numbers, including one which takes place on the streets of London, set to the new song “Trip a Little Light Fantastic”.
Will there be animated sequences?
The film features several sequences that, much like the original’s “Jolly Holiday” segment, place live actors into an animated world. One sequence will see Mary and the children dive into a bathtub and arrive in an underwater world, while another has them jump into a Royal Doulton bowl.
When is the film released?
Mary Poppins Returns will be released in UK cinemas on 21 December.
