134 min
8
2017
USA
A week in the life of the exploited, child newspaper sellers in turn-of-the-century New York. When their publisher, Joseph Pulitzer, tries to squeeze a little more profit out of their labours, they organize a strike, only to be confronted with the Pulitzer's hard-ball tactics.
Overview
Reviews
newsiesfanatic wrote:Its very rare a Broadway musical finds its way to the big screen but with Newsies it was just destined to happen with some of the best dancing, and singing you will ever see. Newsies is has always been a 10/10 but now thanks to this professional recording its an 11 in my book
CinemaSerf wrote:I'm not usually a fan of filmed theatrical performances - especially musical theatre. The television so often fails to capture the vitality of the performances and often we are left with something rather lacking. Well, to be fair to Disney, they have managed to capture loads of the energy and dynamism of this adaptation of Harvey Fierstein's book about the strike by the newspaper delivery boys in New York in 1899. The strike itself is fairly legendary - as were the almost Oliver Twist-ian conditions under which these kids were exploited, rather than employed. Jeremy Jordan tops the bill and positively glows as the ring leader "Jack Kelly" who finally has enough of the poverty-stricken existence of his colleagues and who organises a protest that initially invites disdain, but eventually recognition from the city's great and good who all of a sudden realise that these tiny cogs are actually pretty crucial to their entire enterprise thriving or failing. He is well supported by Kara Lindsay, an enthusiastic Ben Fankhauser and Steve Blanchard as the original, if not terribly generous of spirit, "Pulitzer". Alan Menken and Jack Feldman have combined to churn out a remarkable number of memorable songs here, too - "The Bottom Line", "That's Rich" "Seize the Day" and "Kings of New York" are all amongst the toe-tappers that help get this sprightly song and dance musical up and running. The sparing set lends itself well to the television coverage, as does the careful use of lighting and the frequently ensemble approach to the presentation of the story. Stage is certainly best, but this is a close second that skips along well for 2½ hours effortlessly and enjoyably - even if you might be a bit vicariously out of breath at the end!
