Annie (1982)

★★★
Highlighted by a cheerful performance by Aileen Quinn in the starring role, Annie comes off as one of the more endearing of the post-Hollywood Golden Age musicals. Its status has taken a back seat to some better-known musicals from that time period in the late '70s and '80s. Grease has seen one wide theatrical rerelease, and Little Shop of Horrors was given due consideration when it came out on D.V.D. (including its rarely-seen alternate ending on a very limited edition D.V.D.), but Annie has since slipped under the radar screen despite its catchy songs.

One of those songs is "Tomorrow," and as the credits introduce each of the major players, Aileen's singing voice establishes her as the definitive movie Annie. She looks very much like the comic strip character, from the red hair (a wig) to the red outfit, and as the pluckiest orphan in New York City, she projects an irrepressible desire to bring good cheer to everyone in her presence. Some are seemingly immune to her ability, like orphanage owner Miss Hannigan (Carol Burnett), but the rest of the orphans look up to Annie for her strength. The movie needed an actress who could convincingly portray the kind of character who saw a silver lining on every cloud. That person is Aileen Quinn.

Annie's parents left her at Miss Hannigan's orphanage before she knew how to walk. Now 10 years old, Annie sings nightly about her hopes that her parents will return to take her back. Meanwhile, she and her fellow orphans make the best of a bad situation. Miss Hannigan is a beer-swilling hag who treats the girls like lower life forms; on cue, they must declare "We love you Miss Hannigan." Annie's monotonous world gets a welcome change when Grace Farrell (Ann Reinking) walks in to adopt an orphan for famed billionaire Oliver Warbucks (Albert Finney). This is a plan for the billionaire to improve his image, but Annie sees right through it. She's just thrilled at the opportunity to spend the week in his mansion.

When we first meet Oliver Warbucks, he is a man in love with only his money. He never had time for a family, and his adoption plan was never meant to be permanent. Once Annie enters his life, he undergoes a change in character, from money lover to caring father. Annie's personality is something that was missing from the rich man's life. He is always surrounded by servants and secretaries, but Annie's easy-going lifestyle provides him with a release from the day-to-day drudgeries of being rich. Annie doesn't worry about how unforgiving life can feel sometimes, because as she sings about tomorrow, the positive lyrics drown out all sorrows. She has seen the world through unfortunate circumstances—that of a little girl who never knew her parents—and if she can find happiness in simply being herself, so can anyone else.

Legendary director John Huston took a stab at the movie musical with this effort, and he doesn't disappoint. With his team of choreographers, Huston was able to fill the screen with activity and stage the musical numbers like breakaways from the plot. Annie's first trip to the movies, for example, turns into a Broadway presentation before the feature even starts. Among the film's other memorable songs are "It's a Hard Knock Life" and "We Got Annie."

Albert Finney doesn't appear until about 20 minutes in, but as soon as he steps onscreen, he becomes the center of attention. Annie doesn't need to change. She will always be the same girl with high spirits. Oliver Warbucks is the one who will change into a new person. We know that Oliver, or Daddy Warbucks as Annie will later call him, will adopt her, and that she will have a home that she doesn't have to clean all day. That being said, he doesn't steal the show from Annie. This is still her movie, but we're not watching in order to root for her to get a home, but to watch her do her magic on Daddy Warbucks.

In another of its frequent displays of stupidity, the Razzies nominated Annie for five "awards," all undeserving. Quinn's selection is especially inexplicable, but since she was actually nominated for a Golden Globe—a real award—we can all rest easy and know that the Razzies got it wrong. Sweeping the five Razzie nods under the carpet where they belong, I move on to recommend Annie wholeheartedly. I even prefer the movie's ending over the way the play ends, which is too abrupt and tidy. The movie instead closes with a song and dance number befitting the cheerful title character, giving her the sendoff she deserves.

© 2004 Silver Screen Reviews