Very few films in life are true originals, and those that are you need to hold on to and appreciate for the bold swings they are taking in their storytelling. It is fairly safe to say a film like Bugsy Malone could never be properly remade. This is not due to any limitations in technology or changing values; it is just that trying to recreate a piece of art so delightfully odd would be a fool’s errand. English filmmaker Alan Parker (Fame, Mississippi Burning) had quite a varied filmography, but the fact that he made his feature directorial debut with this 1976 gangster musical comedy seems to be one of the oddest opening statements of which we can think. Was the film peculiar because it was merging the gangster drama with a musical? No, it was because he was doing this with a cast entirely consisting of children. This spoof took on a heightened reality that felt more in line with Robert Altman’s Popeye than The Godfather. No one would think to do this, let alone film it, but it happened and it actually works really well. While not financially successful in the US, the film is one that has endured in the social consciousness for the sheer audacity of existing.
The film tackles the oft-told stories of Prohibition era gang warfare that was associated with the likes of real-life gangsters Al Capone and Bugs Moran. Obviously, with kids involved we are not going to get some bleak, violent affair where children are getting hurt. In the world of Bugsy Malone, the worst that happens is the introduction of “splurge guns” that shoot cream at a mind-boggling pace that leaves their victims “all washed up” – there used to be such an elegance with good old-fashioned pie throwing. Through voiceover narration we get introduced to this world by speakeasy owner Fat Sam (John Cassisi), a crime boss who becomes increasingly concerned by the attacks on his establishment by his rival Dandy Dan (Martin Lev). While Fat Sam does bend the rules of the law, his establishment is one that provides great joy in the form of singing and dancing. Fat Sam wants to protect what is his, and he believes he needs Bugsy Malone (Scott Baio), an ex-boxer turned scout who is looking to keep his nose clean but keeps getting sucked into this conflict.
Of course, it is not all gang warfare in this gentle, G-rated film. Blousey Brown (Florrie Dugger), an aspiring singer, plays the young innocent who becomes romantically entangled with Bugsy. Further complicating this is Tallulah (Jodie Foster), Fat Sam’s female companion who stirs jealousy as Bugsy’s old flame. As with everything in the film, despite the “sexed-up” appearance of Foster as an alluring nightclub singer, these entanglements are incredibly tame. That the most scandalous betrayal comes in the form of a kiss on the forehead tells you something about the approach that Parker had with these kids. The aim of the game is not to exploit the youth of these performers, but indulge in the sheer creativity that one has when they are a kid and playing make-believe in the backyard. The inventive production design brings to life a living fantasy as pedal-powered automobiles and pint-sized costumes are permeating every frame. Few films have captured the imagination of children in such a thoughtful way as this film does.
We would be remiss if we did not discuss one of the most important aspects of the film: the music. The Paul Williams score and numbers play perfectly within this context from the early bouncy number “Fat Sam’s Grand Slam” to the buildup of “You Give A Little Love” that sends the film off on an emotional high. The kids are not given a chance to sing any of the songs, which is probably for the better, but they give their all to their performance physically. Foster is as captivating as any woman twice her age during the sultry “My Name Is Tallulah” with an unwavering stage and screen presence. The songs are catchy and lighthearted in a way that is very accessible. Despite the geniality of the picture, it is one prime to be quite alienating to those who are not on board with the premise from the get-go. Sure, it is a little bizarre, but it is the unique quality that you should be seeking in your filmmaking. Alan Parker poured all of his creativity into Bugsy Malone, and that type of effort should be celebrated.
Video Quality
Bugsy Malone gets a much-needed Blu-Ray upgrade with a strong 1080p transfer sourced from a remaster of the original elements. This presentation does not rank with the very best of the Paramount Presents line, but overall is very pleasing as it preserves the filmic look with proper film grain and texture throughout. The level of clarity and detail on this release is truly striking as elements of the inventive production design pop off the screen. There are very subtle details that are visible here for the first time from minute details on outfits to some of the complexities of the environments. The black levels are extremely deep and allow for true detail to come through. There are a lot of sumptuous colors in the film, but there seems to be a lack of vibrancy that you want. Skin tones are natural and lend themselves to showcasing an amazing amount of detail. Paramount has done a good job of restoring this, but some brief moments of speckling and splotches remain. Those who have been waiting for this one to be treated with the proper respect on Blu-Ray should feel this is a worthy effort.
Audio Quality
The Blu-Ray comes with a DTS-HD Master Audio 5.1 lossless soundtrack that sonically represents the film quite well. The activity focuses heavily on the front channels with the Paul Williams music occasionally making its way through the room. The music is a major part of the presentation, but it never overpowers the dialogue or other important information. There does appear to be some very minor fluctuations in fidelity in a few spots. The dialogue comes through clearly and never falls victim to any digital anomalies. Rear speakers get some occasional activity with ambient sounds, but it is not a standout in that regard. There is next to nothing in the way of low end support for this film. This track accomplishes everything it needs to do really well.
Special Features
- Give A Little Love – Paul Williams on Bugsy Malone: A six-minute piece in which the film’s composer discusses his initial reaction to the concept, the young performers, the process of composing songs for this project, his mixed feelings on having adult voices sing for the children, the film’s legacy and more.
- Filmmaker Focus – Executive Producer David Puttnam on Bugsy Malone: A nearly six-minute piece in which Puttnam discusses his relationship with director Alan Parker, the music of the film, the difficulty in selling the vision to studios, the performances of the cast, the film’s reception and legacy, and more.
- Theatrical Trailers: A two-minute trailer for Bugsy Malone is provided here. There are also trailers provided for Paper Moon, Grease and Black Beauty (1971).
Final Thoughts
Bugsy Malone is one of the more unique films to come out of the 1970s, which is saying something. Alan Parker captures a lighthearted tone that allows for humor and goodwill to flow throughout the feature just like the catchy music from Paul Williams. The young cast members do a pretty wonderful job capturing the essence of these characters without only relying on the “hey look, they are kids!” aspect of the film. Paramount Home Entertainment has released a new Blu-Ray of this one featuring a strong A/V presentation and a couple of brief extras that are worth checking out. This would be a really fun way to get children interested in different genres of cinema. Recommended
Paramount Presents Bugsy Malone is currently available to purchase on Blu-Ray.
Note: Images presented in this review are not reflective of the image quality of the Blu-Ray.
Disclaimer: Paramount Pictures Home Entertainment has supplied a copy of this disc free of charge for review purposes. All opinions in this review are the honest reactions of the author.
Dillon is most comfortable sitting around in a theatre all day watching both big budget and independent movies.
