Search
Search results
Explore Daniel Tiger's Neighborhood
Education and Entertainment
App
**2016 Parents' Choice - Gold Award** "The app is a charming and effective way to teach a wide...
Sweet Home Stories (Full)
Education and Games
App
Wake up and get ready! There are lots of things to do in Sweet Home Stories! A fun and safe...
Monkey Junior: kids learn to read English, Spanish
Education
App
Monkey Junior is currently #1 popular learn to read program with millions of happy learners and...
Daily Shopping Stories (Full)
Education and Games
App
Welcome to Daily Shopping Stories, the most exciting, fun-filled animated shopping center ever! Buy...
Terraforming Mars
8.7
Rate It
Tabletop Game
In the 2400s, mankind begins to terraform the planet Mars. Giant corporations, sponsored by the...
Boardgame TerraformThis MeeplesChoice
Bob Mann (459 KP) rated The Beatles: Eight Days A Week - The Touring Years (2016) in Movies
Sep 29, 2021
A film worth getting into your life.
Reviewing documentaries is always a bit tricky, since it is often difficult to separate the quality of the film making from your emotional attachment to the subject material. In my case, my early life was saturated with Beatlemania. Although I was only 2 year’s old in 1963 at the start of it all, I had three older siblings who ramped up the excitement so much that it permeated my young mind. I still remember being vehemently “Sssshhed” since I was making too much noise during the live and ground-breaking “All you need is Love” telecast!
Ron Howard’s film focuses on “the touring years” which as depicted were truly manic, spanning from 1963 to 1966 before then skipping forward to 1969 for their final rooftop concert. This was in a time when airline travel was not the more comfortable and smoke-free environment it is today, so these worldwide trips much have been seriously grueling, even without the adoration that reached dangerous proportions when they reached their destinations.
Howard has clearly had his research team scour the world for archive clips since – whilst sensitively skipping some of the more ‘commonly seen’ materials, like the “jewelry shaking” clip – the film shows concert action I certainly had never seen before.
The film is also nicely interlaced with celebrity cameos recalling their linkage to the Fab Four’s performances (often moving, like Whoopi Goldberg’s) and the group’s “legacy” effect on modern-day art (in Richard Curtis’s case rather less convincing). One of the most striking of these is that of Sigourney Weaver recounting her attendance as a pre-teen at the Beatle’s Rose Bowl performance in LA. There, in the newsreel footage of adoring fans, is the unmistakable face of the ‘before she was famous’ actress: at least I hope it really was her (as the clip’s timing implied) and not a lookalike, since that would be really disappointing!
Also featuring – although not enough for my liking – are Paul McCartney and Ringo Starr, recounting their feelings about the events and what happened behind the closed doors of hotel rooms or – most notably – a meat truck.
What shines through is the honesty and intelligence of Lennon and McCartney, typified by the idiotic questioning of journalists, some of who had done so little homework they didn’t even know there wasn’t a Beatle called Eric! Some of the group’s off the cuff responses were priceless: “What is the secret of your success?” asks one journo. “We don’t know” quips John. “If we knew we’d form another group and be managers.”
While the film has enormous energy in its first two thirds, it rather runs out of momentum in its final reel…. a bit like the Beatles did in fact. It also has elements of gimmickry like the smoke rising from photo cigarettes which gets a tad tiresome after the tenth occurrence.
But this is a very watchable and enjoyable rock down memory lane for 50-somethings and for any fans old and young of the Fab Four’s music. Highly Recommended. Note that the documentary itself is about 90 minutes in length, with another 30 minutes of live concert music tagged onto the end post-titles (which for travel reasons I was unfortunately unable to stay for so can’t comment on).
Ron Howard’s film focuses on “the touring years” which as depicted were truly manic, spanning from 1963 to 1966 before then skipping forward to 1969 for their final rooftop concert. This was in a time when airline travel was not the more comfortable and smoke-free environment it is today, so these worldwide trips much have been seriously grueling, even without the adoration that reached dangerous proportions when they reached their destinations.
Howard has clearly had his research team scour the world for archive clips since – whilst sensitively skipping some of the more ‘commonly seen’ materials, like the “jewelry shaking” clip – the film shows concert action I certainly had never seen before.
The film is also nicely interlaced with celebrity cameos recalling their linkage to the Fab Four’s performances (often moving, like Whoopi Goldberg’s) and the group’s “legacy” effect on modern-day art (in Richard Curtis’s case rather less convincing). One of the most striking of these is that of Sigourney Weaver recounting her attendance as a pre-teen at the Beatle’s Rose Bowl performance in LA. There, in the newsreel footage of adoring fans, is the unmistakable face of the ‘before she was famous’ actress: at least I hope it really was her (as the clip’s timing implied) and not a lookalike, since that would be really disappointing!
Also featuring – although not enough for my liking – are Paul McCartney and Ringo Starr, recounting their feelings about the events and what happened behind the closed doors of hotel rooms or – most notably – a meat truck.
What shines through is the honesty and intelligence of Lennon and McCartney, typified by the idiotic questioning of journalists, some of who had done so little homework they didn’t even know there wasn’t a Beatle called Eric! Some of the group’s off the cuff responses were priceless: “What is the secret of your success?” asks one journo. “We don’t know” quips John. “If we knew we’d form another group and be managers.”
While the film has enormous energy in its first two thirds, it rather runs out of momentum in its final reel…. a bit like the Beatles did in fact. It also has elements of gimmickry like the smoke rising from photo cigarettes which gets a tad tiresome after the tenth occurrence.
But this is a very watchable and enjoyable rock down memory lane for 50-somethings and for any fans old and young of the Fab Four’s music. Highly Recommended. Note that the documentary itself is about 90 minutes in length, with another 30 minutes of live concert music tagged onto the end post-titles (which for travel reasons I was unfortunately unable to stay for so can’t comment on).
RəX Regent (349 KP) rated Downfall (Der Untergang) (2004) in Movies
Feb 19, 2019
The true story of the last days of NAZI Germany, focusing on Hitler and his cohorts as they sought refuge on his Berlin Bunker and is chronicled here with such honesty.
Told in a straight forward manner, we are given a portrait of not only Adolf Hitler himself, played perfectly by Bruno Ganz, who manages to humanize him without ever apologising for his heinous acts, but also those close to him. Shown through the young eyes of his final secretary, Traudl Junge (Alexandra Maria Lara), we are given a picture of what The Third Reich was to those who believed in it as well as what it had become for those who would suffer at it bloody hands.
Directed by Hirschbiegel to put us, the audience in the anterooms with these monsters, we are placed into a complex environment, edgy, atmospheric and most of all, real, as we witness noble acts of patriotism, conscience and pure, despicable horror, none less so that Magda Geobells, with the full consent of her husband, Joseph, first drugging, then murdering their six children as they slept, rather than “let them live in a world without national socialism.”
The only redeeming factors were their eventual suicides and in terms of the film, their first rate performances throughout this harrowing scene. Corinna Harfouch, who portrays Magda manages to portray this evil woman yet convey the emotion which was subdued deep beneath the surface. No small feat to allow such a fleeting glimpse of humanity during such and inhuman act.
But the same must be said Bruno Ganz, who manages to portray Hitler with such humanity; whilst showing us the true nature of his monstrosities, highlighting that the REAL monsters live among us and can seduce us at any time, any where, especially when we are vulnerable.
During one of the film’s early scenes, Hitler and Albert Speer (Heino Ferch), his Armaments Minister, discussing his vision for The Third Reich as he looks over a model of the new Germany which would be built after he won the war, a Germany without department stores, instead focusing on art, literature and culture.
Surely a noble goal, but as we all know, this cultural hub would have been built at an unacceptable cost, mainly with the blood of those who Hitler and his cohorts deemed to be inferior.
This is one of many clever methods used to convey a fair portrait of Hitler and The Third Reich. To demonstrate how bad they were, you first have to show impartiality, pointing out the good in what they do, play devil’s advocate as it were. Because whether we like it or not, evil motives are often built upon decent goals.
But as this film demonstrates, as Hitler shows his destine for anyone, even his own people, who will not give their lives for HIS vision of Germany, his Third Reich was being eaten away by a cancer of his own making, a Germany rotting from the very top.
Downfall is without a doubt one of the best World War 2 films which I have ever seen, delivering a compelling and immersive look behind the scenes of one of the most important defeats in modern history.
But being British and having to follow this with subtitles, which was great as watching this in its native German only adds to the experience, it can be a bit difficult to keep up with every plot machination, as we spend two and half hours reading about troop deployments, tactics and the philosophy of the Third Reich as we are presented with such atmospheric work, but if you can keep up with but the text and visuals, this is one hell of an education for those who do not know and an immersive masterpiece for those who follow WW2 history.
Told in a straight forward manner, we are given a portrait of not only Adolf Hitler himself, played perfectly by Bruno Ganz, who manages to humanize him without ever apologising for his heinous acts, but also those close to him. Shown through the young eyes of his final secretary, Traudl Junge (Alexandra Maria Lara), we are given a picture of what The Third Reich was to those who believed in it as well as what it had become for those who would suffer at it bloody hands.
Directed by Hirschbiegel to put us, the audience in the anterooms with these monsters, we are placed into a complex environment, edgy, atmospheric and most of all, real, as we witness noble acts of patriotism, conscience and pure, despicable horror, none less so that Magda Geobells, with the full consent of her husband, Joseph, first drugging, then murdering their six children as they slept, rather than “let them live in a world without national socialism.”
The only redeeming factors were their eventual suicides and in terms of the film, their first rate performances throughout this harrowing scene. Corinna Harfouch, who portrays Magda manages to portray this evil woman yet convey the emotion which was subdued deep beneath the surface. No small feat to allow such a fleeting glimpse of humanity during such and inhuman act.
But the same must be said Bruno Ganz, who manages to portray Hitler with such humanity; whilst showing us the true nature of his monstrosities, highlighting that the REAL monsters live among us and can seduce us at any time, any where, especially when we are vulnerable.
During one of the film’s early scenes, Hitler and Albert Speer (Heino Ferch), his Armaments Minister, discussing his vision for The Third Reich as he looks over a model of the new Germany which would be built after he won the war, a Germany without department stores, instead focusing on art, literature and culture.
Surely a noble goal, but as we all know, this cultural hub would have been built at an unacceptable cost, mainly with the blood of those who Hitler and his cohorts deemed to be inferior.
This is one of many clever methods used to convey a fair portrait of Hitler and The Third Reich. To demonstrate how bad they were, you first have to show impartiality, pointing out the good in what they do, play devil’s advocate as it were. Because whether we like it or not, evil motives are often built upon decent goals.
But as this film demonstrates, as Hitler shows his destine for anyone, even his own people, who will not give their lives for HIS vision of Germany, his Third Reich was being eaten away by a cancer of his own making, a Germany rotting from the very top.
Downfall is without a doubt one of the best World War 2 films which I have ever seen, delivering a compelling and immersive look behind the scenes of one of the most important defeats in modern history.
But being British and having to follow this with subtitles, which was great as watching this in its native German only adds to the experience, it can be a bit difficult to keep up with every plot machination, as we spend two and half hours reading about troop deployments, tactics and the philosophy of the Third Reich as we are presented with such atmospheric work, but if you can keep up with but the text and visuals, this is one hell of an education for those who do not know and an immersive masterpiece for those who follow WW2 history.
Sassy Brit (97 KP) rated Love, Secrets and Absolution in Books
Jun 6, 2019
Contains spoilers, click to show
I’m reviewing Love, Secrets and Absolution, by K.L. Lovely. Here are my thoughts:
^^ Told from alternative viewpoints, Love, Secrets and Absolution is an emotional story revolving around the lives of a couple, Grace and Paul, who are trying to come to terms with the stresses and strains of bringing up an autistic child. But what makes this story different is how it’s set at a time which coincides with the Nottingham miners strikes of the 80s, where pit closures and pay restraints led to unofficial strikes, job losses and violence. Harsh times to say the least. This added a new dimension to the story, and of course, more pressure for Paul, and ultimately the whole family. They were terrible times in Britain, a lot of families suffered because of it.
^^ Right from the beginning we see young Alfie is different to other children. The author, K. L.oveley, helps show us this, by what I thought was a highly unusual technique- giving baby and toddler versions of Alfie his own voice.
^^ I must admit at first I was thinking, this doesn’t sound like a baby. After all, very young babies are not able to communicate in such a coherent manner. However, as I read further, I saw how Alfie’s voice as a child — seeing things differently from his POV — really helped to provide a deeper look into his inner thoughts and feelings. A fresh and unique approach, which revealed his own perspective of how he didn’t fit in with other kids, even if he was unable to understand the “why” himself. Very clever. It certainly made things clearer for me and highlighted aspects of autism I may have missed otherwise.
^^ Taking the time-period into consideration, I found the portrayal of the teachers and the way they behaved cruelly and professionally towards Alfie and Grace shocking, yet realistic. Back in those days many professionals were not trained to spot differences and learning difficulties in the way they are today. To outsiders who didn’t understand what Alfie was going though and thinking, he did just look like a trouble maker. Nowadays we know better and there is an ever-growing awareness and understanding of the many different spectrums of autism.
^^ Alfie’s father, Paul, may not have won the best dad of the year award, but I felt he was a realistic representation of a man living and working in a very masculine environment, where men were largely regarded as the breadwinners of the household and job scarcity was a huge issue. He didn’t know how to handle Alfie, and in a way you can’t blame him for that. Not everyone is capable of being a really good parent, especially when their own life has turned upside down in a blink of an eye.
^^ There’s also a really good story line around a girl called Magenta, which I felt helped strengthen both Alfie and Grace’s bond. A lovely touch. As was Grace’s newfound strength and courage, which really made this story become more than just gloom and doom. Her steadfast devotion to her son is both amazing and commendable, and I enjoyed seeing how she turned her life around.
Overall: This thought-provoking book is as much about relationships, as it is autism. We see the hopes and dreams of a young family shattered by a lack of communication, misunderstandings and even betrayal. Yet, despite all the struggles and heartache this family go through, we discover the true power of love; how it can heal, comfort and carry us forward through the toughest of times. A heart-warming, memorable and most satisfying read.
^^ Told from alternative viewpoints, Love, Secrets and Absolution is an emotional story revolving around the lives of a couple, Grace and Paul, who are trying to come to terms with the stresses and strains of bringing up an autistic child. But what makes this story different is how it’s set at a time which coincides with the Nottingham miners strikes of the 80s, where pit closures and pay restraints led to unofficial strikes, job losses and violence. Harsh times to say the least. This added a new dimension to the story, and of course, more pressure for Paul, and ultimately the whole family. They were terrible times in Britain, a lot of families suffered because of it.
^^ Right from the beginning we see young Alfie is different to other children. The author, K. L.oveley, helps show us this, by what I thought was a highly unusual technique- giving baby and toddler versions of Alfie his own voice.
^^ I must admit at first I was thinking, this doesn’t sound like a baby. After all, very young babies are not able to communicate in such a coherent manner. However, as I read further, I saw how Alfie’s voice as a child — seeing things differently from his POV — really helped to provide a deeper look into his inner thoughts and feelings. A fresh and unique approach, which revealed his own perspective of how he didn’t fit in with other kids, even if he was unable to understand the “why” himself. Very clever. It certainly made things clearer for me and highlighted aspects of autism I may have missed otherwise.
^^ Taking the time-period into consideration, I found the portrayal of the teachers and the way they behaved cruelly and professionally towards Alfie and Grace shocking, yet realistic. Back in those days many professionals were not trained to spot differences and learning difficulties in the way they are today. To outsiders who didn’t understand what Alfie was going though and thinking, he did just look like a trouble maker. Nowadays we know better and there is an ever-growing awareness and understanding of the many different spectrums of autism.
^^ Alfie’s father, Paul, may not have won the best dad of the year award, but I felt he was a realistic representation of a man living and working in a very masculine environment, where men were largely regarded as the breadwinners of the household and job scarcity was a huge issue. He didn’t know how to handle Alfie, and in a way you can’t blame him for that. Not everyone is capable of being a really good parent, especially when their own life has turned upside down in a blink of an eye.
^^ There’s also a really good story line around a girl called Magenta, which I felt helped strengthen both Alfie and Grace’s bond. A lovely touch. As was Grace’s newfound strength and courage, which really made this story become more than just gloom and doom. Her steadfast devotion to her son is both amazing and commendable, and I enjoyed seeing how she turned her life around.
Overall: This thought-provoking book is as much about relationships, as it is autism. We see the hopes and dreams of a young family shattered by a lack of communication, misunderstandings and even betrayal. Yet, despite all the struggles and heartache this family go through, we discover the true power of love; how it can heal, comfort and carry us forward through the toughest of times. A heart-warming, memorable and most satisfying read.
Movie Metropolis (309 KP) rated The Hunger Games: Mockingjay - Part 1 (2014) in Movies
Jun 10, 2019
Too slow in parts
The Hunger Games series has become something of a worldwide phenomenon over the last few years, with over $1bn in takings between two films, success is a bit of an understatement.
A year after the critically acclaimed Catching Fire, director Francis Lawrence returns with the first part of Suzanne Collins’ underwhelming finale – Mockingjay, but can it continue with the series’ success and improve on the lacklustre novel?
Partially is the short answer. Lawrence continues to provide a slick environment in which the film resides and commands the best from the actors, but severe pacing issues occasionally stop the movie dead in its tracks.
Mockingjay begins just hours after the end of the second film with Jennifer Lawrence becoming a completely deflated Katniss Everdeen when she realises that Peeta wasn’t rescued with her in the arena.
She is now hiding out in District 13, along with a host of familiar faces including Elizabeth Banks’ brilliant Effie Trinket who provides the majority of the film’s comedic moments – though these are few and far between this time around. The late Philip Seymour Hoffman also returns as Plutarch Heavensbee and completely commands the screen in every scene.
However, the standout performance doesn’t belong to one of the old favourites. Julianne Moore enters the series as President Alma Coin and is a complete joy, her warm yet steely persona is engaging and mesmerising and her character promises to be even more intriguing in the next instalment.
It’s also nice to see Liam Hemsworth take on a more central role as Gale, which leaves Josh Hutcherson’s whiny Peeta very much in the background.
The film centres around the creation of numerous propaganda videos, each designed to threaten the Capitol and President Snow, played by such a convincing Donald Sutherland you actually believe he is evil, made by the rebellion to show they are fighting back.
The lack of a games for a focus point could’ve had a huge impact on this film’s popularity, but Francis Lawrence gets around the lack of them with style and flair, blending truly horrific images of war with those of running water, forests and wild animals – all the while showing us how even in the darkest of times, there is beauty in this world.
Moreover, the special effects have once again been stepped up a gear. The onslaught of the Capitol’s bombers is realised beautifully and really drives home how brutal this film can be in parts. It is the first in the series where its 12A certification may have been slightly too lenient, with images of Snow’s increasing brutality proving a shock to the system.
Unfortunately, the decision to split Collins’ last novel into two films was a controversial one which hasn’t paid off. The pacing of the film is appalling and some of the worst I’ve seen. You can fill a 2 hour runtime with as much beautiful scenery as you like, but if there isn’t enough action to counterbalance it, you end up with something that feels a little hollow.
The story simply isn’t there and we spend the majority of the film watching Katniss recoil in shock at seeing Peeta in the Capitol and wandering around the different districts aimlessly, searching for more atrocities to become angry at.
Mercifully, there is one scene towards the climax which rivals Gareth Edward’s Godzilla for the most eerily quiet and exquisitely shot action sequence of the year – see if you can spot it.
Overall, Mockingjay: Part 1 is a decent film if not quite to the standard of last year’s Catching Fire. The decision to create two films has destroyed the series’ pacing and reeks of money grabbing.
However, stunning performances from all the actors, in particular Julianne Moore and Donald Sutherland ensure that fans of the series will be dying to see the next instalment in a year’s time.
https://moviemetropolis.net/2014/11/22/too-slow-in-parts-mockingjay-part-1-review/
A year after the critically acclaimed Catching Fire, director Francis Lawrence returns with the first part of Suzanne Collins’ underwhelming finale – Mockingjay, but can it continue with the series’ success and improve on the lacklustre novel?
Partially is the short answer. Lawrence continues to provide a slick environment in which the film resides and commands the best from the actors, but severe pacing issues occasionally stop the movie dead in its tracks.
Mockingjay begins just hours after the end of the second film with Jennifer Lawrence becoming a completely deflated Katniss Everdeen when she realises that Peeta wasn’t rescued with her in the arena.
She is now hiding out in District 13, along with a host of familiar faces including Elizabeth Banks’ brilliant Effie Trinket who provides the majority of the film’s comedic moments – though these are few and far between this time around. The late Philip Seymour Hoffman also returns as Plutarch Heavensbee and completely commands the screen in every scene.
However, the standout performance doesn’t belong to one of the old favourites. Julianne Moore enters the series as President Alma Coin and is a complete joy, her warm yet steely persona is engaging and mesmerising and her character promises to be even more intriguing in the next instalment.
It’s also nice to see Liam Hemsworth take on a more central role as Gale, which leaves Josh Hutcherson’s whiny Peeta very much in the background.
The film centres around the creation of numerous propaganda videos, each designed to threaten the Capitol and President Snow, played by such a convincing Donald Sutherland you actually believe he is evil, made by the rebellion to show they are fighting back.
The lack of a games for a focus point could’ve had a huge impact on this film’s popularity, but Francis Lawrence gets around the lack of them with style and flair, blending truly horrific images of war with those of running water, forests and wild animals – all the while showing us how even in the darkest of times, there is beauty in this world.
Moreover, the special effects have once again been stepped up a gear. The onslaught of the Capitol’s bombers is realised beautifully and really drives home how brutal this film can be in parts. It is the first in the series where its 12A certification may have been slightly too lenient, with images of Snow’s increasing brutality proving a shock to the system.
Unfortunately, the decision to split Collins’ last novel into two films was a controversial one which hasn’t paid off. The pacing of the film is appalling and some of the worst I’ve seen. You can fill a 2 hour runtime with as much beautiful scenery as you like, but if there isn’t enough action to counterbalance it, you end up with something that feels a little hollow.
The story simply isn’t there and we spend the majority of the film watching Katniss recoil in shock at seeing Peeta in the Capitol and wandering around the different districts aimlessly, searching for more atrocities to become angry at.
Mercifully, there is one scene towards the climax which rivals Gareth Edward’s Godzilla for the most eerily quiet and exquisitely shot action sequence of the year – see if you can spot it.
Overall, Mockingjay: Part 1 is a decent film if not quite to the standard of last year’s Catching Fire. The decision to create two films has destroyed the series’ pacing and reeks of money grabbing.
However, stunning performances from all the actors, in particular Julianne Moore and Donald Sutherland ensure that fans of the series will be dying to see the next instalment in a year’s time.
https://moviemetropolis.net/2014/11/22/too-slow-in-parts-mockingjay-part-1-review/
This is both a very unique and fairly faithful retelling of the classic Beauty and the Beast fairytale. Hunted takes place in Russia and our main character Yeva (Beauty) is a huntress. She is headstrong, kind, caring, has a bit of a temper and can be vengeful - but overall I quite liked her character.
Like the classic tale, Beauty is the youngest of three sisters and daughter of a merchant. In some versions, she also has three brothers and her sisters are unkind - but that is not the case in this retelling. They live in a nice house until a shipping gamble costs them everything. They are forced to move to their father's old hunting cabin, which is a three-day walk from their current home. Her father used to be a hunter, but his wife believed that it was too dangerous and asked him to stop. Despite that, as a child Beauty was allowed to go hunting with her father and learned to love it. Unfortunately, as she grew her father decided that it was not the way a lady should purport herself and no longer allowed her to hunt.
After the loss of their fortune, Yeva and her family must learn to make due with less. Her father takes up hunting again and goes off to catch game for them to store for the winter. Unfortunately, when he returns he is distraught and swears that the Beast he saw when he was younger is stalking him. When he doesn't return from his second trip, Yeva sets out to find him and this is where the story adopts some significantly different elements from the original tale.
In the original, the father enters a castle and accepts his host's hospitality, but upon leaving takes a single rose for his daughter Beauty and is told he has a choice. He shall either be condemned to death for it or he must stay in the castle. While these are not the events that lead to Yeva's time in the castle, nevertheless she ends up imprisoned there. Over time, she and the Beast grow to know one another - but her treatment isn't as kind overall as the original.
I really enjoyed the tales that Yeva told while she was in captivity because they built the lore of the world and gave us a look into what the characters had grown up listening to. Although Yeva spent most of her time as the castle, I do wish that we were able to get to know the other characters like her sisters a little better. They seem very kind, but relatively one-dimensional. As a result of the Beast's curse, I don't feel like we got to know him as well as we could have. I would have loved to watch him grow and connect with him as Yeva does so that I could feel that </i>yes, they could fall in love.</i> I liked Yeva, but her dog Doe-Eyes was probably my favourite character. The dog was so cheerful and loyal that you couldn't help but love her.
The world that Yeva knows is not one we get to see very often in young adult literature. It is a melding of Russia, with its unique environment and folklore, with a more fantastical world. Yeva tells tales of the Firebird, sees a creature that is half dragon and half woman, and learns to listen to the music of that other world. The world itself reminds me a lot of the Grisha trilogy, although the plots and characters are nothing alike. I would love to experience more of the lore that built this enchanted world in the form of novellas.
I would highly recommend this to young adult/teen readers who enjoy fairytales and retellings, especially ones with a unique take on the tale that includes a lot of culture and lore.
Like the classic tale, Beauty is the youngest of three sisters and daughter of a merchant. In some versions, she also has three brothers and her sisters are unkind - but that is not the case in this retelling. They live in a nice house until a shipping gamble costs them everything. They are forced to move to their father's old hunting cabin, which is a three-day walk from their current home. Her father used to be a hunter, but his wife believed that it was too dangerous and asked him to stop. Despite that, as a child Beauty was allowed to go hunting with her father and learned to love it. Unfortunately, as she grew her father decided that it was not the way a lady should purport herself and no longer allowed her to hunt.
After the loss of their fortune, Yeva and her family must learn to make due with less. Her father takes up hunting again and goes off to catch game for them to store for the winter. Unfortunately, when he returns he is distraught and swears that the Beast he saw when he was younger is stalking him. When he doesn't return from his second trip, Yeva sets out to find him and this is where the story adopts some significantly different elements from the original tale.
In the original, the father enters a castle and accepts his host's hospitality, but upon leaving takes a single rose for his daughter Beauty and is told he has a choice. He shall either be condemned to death for it or he must stay in the castle. While these are not the events that lead to Yeva's time in the castle, nevertheless she ends up imprisoned there. Over time, she and the Beast grow to know one another - but her treatment isn't as kind overall as the original.
I really enjoyed the tales that Yeva told while she was in captivity because they built the lore of the world and gave us a look into what the characters had grown up listening to. Although Yeva spent most of her time as the castle, I do wish that we were able to get to know the other characters like her sisters a little better. They seem very kind, but relatively one-dimensional. As a result of the Beast's curse, I don't feel like we got to know him as well as we could have. I would have loved to watch him grow and connect with him as Yeva does so that I could feel that </i>yes, they could fall in love.</i> I liked Yeva, but her dog Doe-Eyes was probably my favourite character. The dog was so cheerful and loyal that you couldn't help but love her.
The world that Yeva knows is not one we get to see very often in young adult literature. It is a melding of Russia, with its unique environment and folklore, with a more fantastical world. Yeva tells tales of the Firebird, sees a creature that is half dragon and half woman, and learns to listen to the music of that other world. The world itself reminds me a lot of the Grisha trilogy, although the plots and characters are nothing alike. I would love to experience more of the lore that built this enchanted world in the form of novellas.
I would highly recommend this to young adult/teen readers who enjoy fairytales and retellings, especially ones with a unique take on the tale that includes a lot of culture and lore.