"Toys" remains, for me at least, the most underrated Christmas-oriented film of modern memory. The film was wrongly maligned as a shallow anti-war film, when, in fact, it was a metaphor for World War II, the war that had to be fought. It honored its pacifist roots in the breach, as it is clear the Robin Williams character is precisely the pacifist mind on display. The film's soundtrack is awesome, from the Hans Zimmer/Trevor Horn combination compositions to Tori Amos' radically ironic "Happy Workers," which appears in the early part of the film's narrative. Williams almost goes overboard, as he was wont to do in the 1990s comedic films he made. However, in this film, Williams' early, cutting, and informed wit are on display, particularly as war comes to the toy factory. There are stellar and outright amazing performances from Joan Cusack (especially Joan Cusack!), LL Cool Jay, and--Harry Potter alert!--Michael Gambon. The opening features the iconic Donald O'Connor in his last role, and O'Connor plays the role as if he, too, were literally dying before our eyes. O'Connor's kindly spirit dominates the rest of the film, without him physically being there, in a way that reminds us mostly of "Singin' in the Rain" than any of the talking horse films he did in his, again, iconic, but limited in scope film career.
This film was a joint collaboration from the great writing and directing duo of Barry Levinson and Valerie Curtain, who had wanted to make this script into a film for most of their doomed marriage. Levinson, after having had so much film success, was finally able to bring his ex-wife's and his vision to the screen--only to have the anti-sentimentalists, who have long populated what goes for film criticism in corporate media, destroy the film's reputation from the opening weekend. I remember going to see the film in Las Vegas, Nevada (we were visiting my grandparents) on or just after Christmas Day with The Wife, Cousin Steve Peckman, and his lovely bride Susan Marshall Peckman. About a third or so of the way through the film, Steve turned to me, and said (I paraphrase from my faded memory), "So why did the critics rip this film again?" I smiled, and replied, "I'm with you, Steve. I don't get it." I later did, of course.
Anyway, it took The Wife to articulate what I felt about the film, right as we were walking out the theater door to our car. I had fallen into thinking the film was a triumph of pacifism. However, The Wife said, No, it's about the fight you have to fight when you still don't want to fight. I hugged her because that is the one truly correct interpretation of the narrative arc. The film is a lot of fun, but it is fairly dark in its recognition of where the military has been going with drones, and also virtual reality glasses. The war scenes are extraordinary because the film shows the horrors of war, but with toys, without being gross or pretentious. Its anthropomorphic sensibilities with regard to the toys reminds us of our own failings and brutalities, all while saying "It's going to be okay." As I say, this is a far more profound film than whatever we were led to believe over the past nearly three decades.
Oh, one more thing: The sets and costumes are gorgeous, with a focus on primary colors in a way that seemed too forced in the Warren Beatty "Dick Tracy," but worked beautifully here. And the homage to Magritte's art style is on definite display and nearly everywhere. You so wanted to be in that factory when it was humming, eat in the commissary, and walk the grounds. You also wanted to join in with the creation of the toys.
The film is now streaming on HBO/Max as part of the stable of films, which is what reminded me of the film. I haven't checked to see if it is on any other streaming networks. If there is a chance to catch it on basic cable, it is worth the viewing. Here is the trailer, which, to me, shows they didn't know how to market this film.
