Around the World in 80 Days/Princess Diaries 2: Royal Engagement

It’s rare when an Oscar winner for Best Picture gets remade again. Erik Lundegaard said in his review, “By my decidedly unscientific calculations — and not including TV versions — it's happened just four times: 1931's "Cimarron" (remade in 1961); 1935's "Mutiny on the Bounty" (1962 and 1984); 1948's "Hamlet" (numerous); and now 1956's "Around the World in 80 Days," which has been transformed into a Jackie Chan/Walt Disney family picture.”

In certain times, it’s not a bad decision. Lundegaard noted, “The original Oscar winner is something of a bore, more travelogue than drama, so a remake could enliven the story.” On the other hand, the story of a rich Englishman with a minority sidekick is a bit challenging nowadays.

Lundegaard said, “The new "80 Days" handles any embarrassment this might cause by making Phileas Fogg (Steve Coogan) less stiff-lipped, time-keeping Brit than hapless inventor in need of a hug, while his valet, Passepartout (Jackie Chan), is, well, Jackie Chan, the star of the picture, who plays a man with his own agenda.”

Both films begin with bank robberites, but this time the thief is actually Passepartout, who steals a jade Buddha that was originally stolen from his village in China. Lundegaard said, “He takes the valet job as a cover, and suggests the trip around the world — which comes off not as a gentleman's wager, but as a schoolyard taunting between Fogg and the evil Lord Kelvin (Jim Broadbent) — in order to make it back to China.”

The 1956 original had countless star cameos and the remake continues that tradition: Luke and Owen Wilson as Orville and Wilbur Wright, Sammo Hung as Chinese legend Wong Fe Hung. However, the strangest cameo has to be with Arnold Schwarzenegger before he went to be California’s governor as a Turkish prince, who, wearing a curly, dark Prince Valiant wig, tries to flirt with Fogg’s love interest, Monique La Roche, played by Cécil de France.

The 80 days go by quick, light and casual. Director Frank Coraci inserts everything and pushes the film forward, but loses the sense, which the original had, of what a big place the world used to be.

However, the kids won’t mind, it’s rightly silly and slapsicky, while there are huge laughs for the adults. Coogan, a star in Britain, and becoming popular in USA, is hilarious as Fogg. Sadly, de France is miscast. Lundegaard said, “Her edges are just too sharp for such a soft comedy.”

What about Jackie Chan? At 50, he can still move so much in this 2004 remake. There’s a great fight scene in his village where he picks up a small wooden bench to defend himself. Lundegaard noted, “For those who know his early films, this is like Fred Astaire picking up a top hat and cane.” You know the guy with the sword has no chance.

Now we have the 2004 sequel, “The Princess Diaries 2: Royal Engagement,” which celebrates the adulthood of a young star and the lasting likability of a mature actress. Carla Meyer said in her review, “Sure to captivate fans of Anne Hathaway and Julie Andrews, this sequel from populist director Garry Marshall, maker of "Pretty Woman" and the first "Princess Diaries," offers enough glossy good cheer to appeal to everyone.” Or at least everyone female not having sarcasm.

Princess Mia, the awkward San Francisco girl who found out she was royalty in the first movie, has graduated college and headed for Genovia, a Monaco-like kingdom ruled by her grandmother. Meyer said, “The gilded, tasteful castle and surroundings are inhabited by well-scrubbed aristocrats and commoners who appear to be one part French and several parts Hollywood back lot.”

The reunion of Mia and her grandmother gives Hathaway and Andrews to continue their loving bond from the first movie. The queen stays loving but firm in teaching Mia royal behavior. The lessons are advanced, because Mia is about to become queen after her awaiting 21^st birthday. Now a lovely, self-confident young woman, the princess is not in any way like her curly-haired clumsiness at the start of the first movie.

Meyer said, “With the Pygmalion aspects played out, Marshall and writers Shonda Rhimes and Gina Wendkos have introduced new challenges. Powdered-wig fuddy-duddies in Genovia's parliament, wary of this foreign young woman, invoke a rule requiring a queen to wed before taking the throne.” This comes to finding a man who’s the right match. Prince William, to Mia’s regret, isn’t eligible because he already is ruling a kingdom.

She quickly accepts the offer of lower British royal, played with courage by Callum Blue from Showtime’s “Dead Like Me.” The swiftness of Mia’s business with the marriage idea will send a mixed but interesting message to little girls watching the movie. She agrees to the offer out of intense want to lead a kingdom ruled by her ancestors for centuries. Hathaway plays these scenes well, showing an ambition that doesn’t fit a fairy-tale protagonist but fits a confident American girl.

That same confidence shows a problem when Marshall tries to bring back Mia’s former clumsiness for laughs. Besides a part that gives Andrews to say the funny line “A princess never chases a chicken,” these slapstick parts look forced. Hathaway is just too smooth. She’s better at intense insolence, like when Mia steps on the foot of a young Genovian prince, played by Chris Pine, who is persuading her as he plans to steal the crown with his Machiavellian uncle. John Rhys-Davies plays the uncle, and he would have twirled his mustache were it not connected to a beard.

A Disney movie like this one isn’t going to let an actor as handsome as Pine play a complete jerk. Anger starts between Mia and the Genovian, despite her engagement. The movie’s other romantic dilemma between the queen and her head of security. He wants to legalize their secret romance after she renounces the throne. Meyer said, “Andrews and Hector Elizondo, though lacking much romantic chemistry, are such pros that they render this later-life relationship believable, down to the queen's instinct to keep this devoted man, the holder of her heart, at arm's length.”

Meyer continued, “The best moments of "Royal Engagement" either explore the glamour of palace life or puncture its pomp.” The queen introduces Mia to the young woman’s giant, fully clothed closet, filled with girls’ dreams. Meyer said, “A remote control opens doors and drawers to reveal designer goodies, as well as the arrival of Mia's straight-talking best pal (Heather Matarazzo), on leave from "Berserkeley" to ground her friend in American reality.” The palace staff is good for several laughs. Meyer said, “Sophie Comet and Shea Curry bring a sense of play to a pair of maids with a balletic compulsion to curtsy.” A careless young security officer, played by Erik Bragg, shouts the leaving and entering of the queen (“The eagle has left!”).

Marshall includes in-jokes adult television fans will recognize but kids will not. Meyer said, “A line about nepotism's role in the arts is a nod to Marshall's tendency to hire his relatives, including sister Penny for his TV show "Laverne and Shirley." The maids are later called "Lenny and Squiggy." Other references play on Andrews’ career, like the queen’s announcement that she always has loved to fly. However, reminders of Andrews’ curious grace aren’t necessary when it is still so much proof.

A part where Mia hosts fellow princesses for a bachelorette-slumber party is made to showcase Andrews, who sings a duet with TV star Raven Simone. Her vocal problems everyone pointed out have left Andrews hoarse, but her voice, increased by a giant screen presence, works well enough to give the movie’s most inspiring moment.

Now that we have got those two good movies done, look out tomorrow for more fun in “Disney Live-Action Month.”