Gonzo is contacted by his alien family through his breakfast cereal. But when the men in black kidnap him, it's up to Kermit and the gang to rescue Gonzo and help him reunite with his long-lost family.
While living the quiet life in a swamp, Kermit the Frog is approached by a Hollywood agent to audition for the chance of a lifetime. So Kermit takes this chance for his big break as he makes the journey to Hollywood. Along the way, Kermit comes across several quirky new friends including comedic Fozzie Bear, beautiful but feisty Miss Piggy, and the Great Gonzo. But Kermit must also watch out for ruthless Doc Hopper, who plans to use him as his spokesman for his frog legs food chain.Written by
The sequences where Fozzie, Kermit, Miss Piggy, and the gang cruise around in that old Studebaker seem effortless, but they were a logistical nightmare. Kermit and Piggy each required a puppeteer, Fozzie required two, they all needed monitors, and none of them could appear in the shot. So four men squeezed underneath the dashboard of the car with their video monitors to accomplish this movie magic, but the engineering didn't stop there. James Frawley told SF Gate that they also "had a little person in the back of the car, steering and driving. We had a video camera on the nose of the car so he could see where he was going." See more »
Kermit the Frog and Fozzie dance on a darkened portion of the stage at the El Sleezo Cafe. However, Doc Hopper's binoculars show Kermit's legs dancing on a lightened portion of the stage and casting a shadow. See more »
I'm Waldorf. We're here to heckle "The Muppet Movie".
Gentlemen, that's straight ahead. Private screening room D.
Yeah, they're afraid to show it in public.
[they laugh as their car proceeds forward]
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Over first few credits, Sweetums bursts out of the screen, followed by many Muppet gags See more »
A scene in which Fozzie Bear is menaced by a sailor brandishing a broken bottle was cut by the New Zealand censors as being too violent for children. See more »
We all lost something important when Jim Henson died. But his magic alone wasn't sufficient to do more than clever skits, both before and after this gem. Some fated match of director, writers, songwriters and puppeteers came together to create an underappreciated masterpiece.
Forget the kids -- this is a great work, period. Among the best story-films ever. And nowhere is the enfolding of reality and fantasy more rich than here. Naturally, you have the mix of humans (accented by celebrity cameos) and puppets. And some puppets are of humans, some of human-like animals, and some of animal-like animals. But that's just the tokens.
The real novelty comes in the story. It is a film about the making of itself, with a wonderful sequence at the end where the film is represented in cartoonish props contrasted with a `real' rainbow. Throughout, one weaves between being in the story and observing the story. Kermit (Henson's alterego) says `I hope you appreciate I'm doing my own stunts.' Think about it.
The songs, themselves self-referential, are important frosting: `why are there so many songs about rainbows?'
`Life is a movie, write your own ending, keep believing, keep pretending...' You don't get that in common fare. If you have kids, this is the most educational exposure you can give them among the kiddie offerings. There's nothing more powerful than the ability to perform abstract reasoning and the foundation of that is the play between what things are and what things represent them. Thanks and God bless you, Jim.
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