Day 3 of Don Bluth: A Troll in Central Park
Contempt is never a pretty attitude to take. At times, it can erode critical judgment and lead to overly cynical conclusions. Used sparingly and judiciously, however, an acidic tone can be a powerful weapon in the critical arsenal. And I’m afraid that blithe dismissal is not an appropriate reaction to A Troll in Central Park. It requires radioactive intervention.
I yawned my way through Thumbelina, but found it difficult even stay focused for this movie. Its closest relatives are sugar-frosted curiosities like Teletubbies or Oogieloves. All of these properties are driven by a basic core logic: put shiny colourful things in front of children and you will win the hearts of parents and their spawn alike. Virtually nothing happens in A Troll in Central Park for its entire middle four sixths, the filmmakers being distracted by other worthy pursuits like dithering, time wasting, and pandering. Therefore, I am especially glad that I don’t do blow-by-blow commentary on these movies, since trying to do so with Troll makes it ooze an enervating sap that does to critics what the opioid poppies did to Dorothy.
Sadly, it’s also basically beneath critique in the conventional movie review sense. You could head deeper and analyze its connection to Bluth’s pet theme of pastoral vs. city life, its dull valorization of the nuclear family, and its catastrophic characterizations. And I will briefly go into all of those problems. But let it be known that I find Troll in Central Park not just Don Bluth’s worst film but probably the worst major animated feature of the 1990s, or at least the most narratively impoverished and unwatchable.
1. A Glitch in the Timeline
It’s important to note that Troll in Central Park was put into production before Thumbelina because it helps explain why this film is far less imitative of the Disney Renaissance formula. It stars a small boy in oversized clothing who grows and matures through harrowing encounters with the supernatural and discovers his innate courage. It’s also an original script taking place in the modern world despite some fairy tale trappings.
That modern setting is fairly important to the plot of the film because our lead child character, Gus, is a character archetype more suited to the 1990s than some mythical past. That archetype being the frequently-used “child with high-powered yuppie parents who doesn’t get enough love and whose family issues are healed through supernatural derring-do.” character. Cf. the Santa Clause Tim Allen comedies for another prominent and more successful example, though that story focuses more on the father than the child. Jonathan Pryce, who plays Gus’ father Alan with a reverse Dick van Dyke American accent, is basically absent from the movie. So Gus is a spoiled 90s kid with a terrible attitude who has to be taught a moral lesson by Stanley the troll and Uncle Don about…something something family and courage.
2. The Power of Dreams
Though I (accurately) describes the middle of this film as a wasteland of lollygagging and cutesy songs that accomplish nothing, they do tie into the central theme of this film, and so are not categorically useless.
Stanley’s contribution to Gus’ character development is in teaching him that as long as you believe hard enough your dreams can come true. Yes, how novel. It’s another instance of Don Bluth taking “when you wish upon a star” more seriously than he perhaps should, though in films like All Dogs and Rock-a-Doodle the spiritual elements are a bit more explicit and substantive than the banality Bluth settles for here. Perhaps the only scene in the film that works fairly well is when Gus confronts Stanley for being a passive coward and not being willing to fight for as well as believe in his dreams. Gus is more of the aggressive American type, taking more of the “God helps those who help themselveS” line on the matter, while Stanley is content to hide and carve out his own little haven.
Stanley’s not willing to take the necessary risks to save Gus’ sister Rosey (tad bit on the nose), so the fall of the villains and the renewal of Central Park and all of New York into a new Eden can only happen once Gus takes charge of the situation. The scene works because it takes the genuine character conflict between Stanley and Gus and brings those contradictions to a head, which brings out at least a little drama.Our climax is a thumb wrestling contest, though, so it still manages to conclude in an underwhelming way.
Moreover, the “power of dreams” pablum might be subject to some debate later in the film but for the preponderance of the running time Stanley is just presumed to be right that “all you gotta do is believe.” And though Dom Deluise does an OK job with his vocals, the character is actively annoying––toddlers might disagree here––and so the audience is primed to reject whatever he says so that we naturally agree with Gus when he calls out Stanley’s cowardice. Every fascinating thread this movie could have set up is squandered in favour of pandering. Bluth was legendary in the 80s for proving that children will go through almost anything during a film as long as the ending is happy enough. With all the shadows and intrigue leached out, Bluth’s saccharine appropriation of Disney’s moralizing dogma is undigestible.
Finale: Paradise Found
At the end of the film the entire city of New York is covered in a blanket of greenery radiating from Central Park. It’s the same ending to Sam and Max Hit the Road but treated as a reclamation of paradise rather than a global human catastrophe. It’s like Area X from The Southern Reach Trilogy finally encroached on Manhattan.
Edenic paradises are as Bluthian as busty chickens and evil frogs. Many of his films share an eschatological vision of this restoration of the world to a garden. Contrast the blasted landscapes of The Land Before Time with the heavenly Great Valley. Or the literal heaven of All Dogs, the Vale of the Fairies in Thumbelina, etc. etc. Personal redemption is never enough for Bluth; the world has to go with it, no matter how inconvenient it might be for people’s commutes.
I consider this final scene at the very least worth considering seriously because of how uncompromising (or maybe just unthinking) its view of the world is. Nevertheless, A Troll in Central Park is the nadir of Don Bluth’s career, financially and critically since Warner Bros. buried the film with a limited, barely-promoted release. It’s been totally and rightly forgotten, a wispy flight of sentiment that inspires righteous contempt in many, many animation fans.