by D.W. Lundberg

Friday, December 14, 2012


There's been a strange confluence of movie trailer releases over the past week, as if studios are already vying to one-up each other for Most Anticipated Film of 2013. I honestly can't remember the last time so many big-budget previews came out around the same time; has it now become like the Oscars, where you're forced to submit your entries before the new year rolls around in order to qualify? (FYI, you can expect most of these to debut in theaters along with The Hobbit today.)

That's not to say the movies themselves look like a waste; if anything, they're equally enticing in their own way, depending on your preference for genres. Thanks to The Avengers and The Dark Knight Rises last summer, audiences are primed, I think, to accept nothing less than perfection from their next potential Hollywood blockbuster. And these latest don't look to disappoint.

Saturday, December 8, 2012


Part Four of our Burton/Schumacher retrospective, in which we take a visual tour of the 1989-97 series' special (and not-so-special) pleasures.

One truism about comic books - or any serialized form of entertainment - is that they're always in flux. Readership dwindles, tastes splinter off and mature, and publishing houses find themselves in a constant struggle to stay one step ahead of the public - to remain pertinent, say, or keep current with the ever-changing media climate. It's why we have so many iterations, spin-offs and incarnations of the same old titles: to please any number of fans at any given moment.

Tuesday, November 27, 2012


Part Three of our Burton/Schumacher retrospective, in which we take a visual tour of the 1989-97 series' special (and not-so-special) pleasures.

The first thing you should know about Batman Forever is that Tim Burton and Joel Schumacher are friends. Or mutual acquaintances, at least, depending on the stories you read. So when Schumacher was handed the reins to Warner Bros' lucrative Bat-franchise, he immediately sought Burton's approval. Burton met with the director and screenwriters Lee Batchler and Janet Scott Batchler to discuss the tone of the film, and while this may be the extent to which Burton was involved (he's listed as a "producer" in the credits), it's safe to say he gave them his blessing.

Friday, November 16, 2012


My continuing foray into Disney's fifty official Animated Classics. As always, don't hesitate to share your thoughts/memories/complaints in the comments section below. Links to previous entries have also been included below.

Title: Atlantis: The Lost Empire (2001)

The Plot: A linguistics expert and a ragtag team of mercenaries embark on a mission to discover the lost city of Atlantis.

The Songs: "Where The Dream Takes You" (End Title)

Thursday, November 8, 2012


My continuing foray into Disney's fifty official Animated Classics. As always, don't hesitate to share your thoughts/memories/complaints in the comments section below. Links to previous entries have also been included below.

Title: The Emperor's New Groove (2000; suggested by Hans Christian Andersen's fairy tale The Emperor's New Clothes)

The Plot: The teen-aged emperor of the Inca Empire must learn humility when he's magically turned into a llama and banished from his kingdom.

The Songs: "Perfect World," "My Funny Friend And Me" (End Title)

Thursday, November 1, 2012


That flat-topped square head. The electrodes that stick out on the sides of his neck like the positive/negative terminals on a car battery. Those tromping, stomping platform boots. At one glance, the monster of James Whale's moody, melancholy Frankenstein (1931) will be instantly recognizable among horror movie aficionados, film history buffs, and to anyone even vaguely aware of the existence of movies. The makeup design by Jack Pierce has become so iconic (it is currently under copyright by Universal Pictures until 2026), and Boris Karloff's performance as the woe begotten creature so definitive, it hardly matters that the character bears little resemblance to Mary Shelley's original novel.

Conjured up by 18-year-old Mary Wollstonecraft Godwin during the summer of 1816 (on a dare from George Gordon Byron and future husband Percy Shelley), Frankenstein; or, The Modern Prometheus, tells the story of Victor Frankenstein, a scientist whose experiments with human tissue result in a living, breathing monstrosity (which he promptly denounces). In the book, Frankenstein's creation is limber, literate and capable of intelligent speech; he exacts a horrific, painstaking revenge. This will no doubt come as a shock to anyone who grew up on a steady diet of Franken Berries, Abbott and Costello, or the "Monster Mash," in which the monster is depicted as lumbering, dim-witted and/or mute. (To be fair, the 1931 film is based on play adaptation by Peggy Webling, rather than the novel itself. Victor's name is changed to Henry, and the creature is named after its master, though it does retain the ability to speak.) Whale's version still managed to horrify audiences, with its unflinching sequences of grave robbery and murder.

Tuesday, October 23, 2012


Part Two of our Burton/Schumacher retrospective, in which we take a visual tour of the 1989-97 series' special (and not-so-special) pleasures.

It was the summer of 1989, and the hype was inescapable: backpacks, posters, video games, candy dispensers - you couldn't walk two feet without bumping into Batman paraphernalia of some kind. (According to this report, Batman merchandise earned over $500 million in retail that year.) Little did marketing pundits realize that the Caped Crusader's long-awaited return to theater screens would turn out to be such a pop culture phenomenon; Premiere magazine, in fact, in their annual summer box-office prediction issue, guessed that Batman would place 3rd - after Ghostbusters II and Indiana Jones And The Last Crusade, respectfully - in ticket sales from May to August. (Tim Burton's block-busting juggernaut wound up grossing $251.2 million in the U.S. - $54 million more than Crusade, and $138 million more than Ghostbusters.)

Standing outside the Alpine Cinema in Brooklyn with my aunt and uncle, you could feel the anticipation crackling in the air. It was midnight on June 24th (getting tickets on opening day was next to impossible) and I can tell you the crowd wasn't just there to watch a movie - they came to be part of an event, a communal experience unlike anything since the original Star Wars. That same excitement carried into the theater too. New York audiences have always been a little more... rambunctious than other places, but this was something different. They cheered when the lights went down. They cheered when the "Batman" title card came up on the screen. They hooped and hollered at the first appearance of the Batmobile. And they rose to their feet and applauded when the lights came up again.

Tuesday, October 16, 2012


As it often happens when I write for the blog, my thoughts have a nasty habit of getting away from me. Sometimes a particular format will steer me in the opposite direction, or change the particular theme, of a piece that I'm writing. Most times, the final published post will end up looking drastically different from what I originally intended. How, for instance, do I adequately express my undying affection for a certain caped crusading comic book character when the article in question is so clearly about all the behind-the- scenes politics that brought him to the screen?

The Burton/Schumacher Batmans have always held a peculiar fascination for me - not just for how much they got "right" but also for what they got so blatantly, emphatically "wrong." Story-wise, they're a mess, with almost total disregard for comic book canon. Visually, though, they are a triumph - a textbook case of style over substance. (Even Batman & Robin, for all its gaudy garishness, in never dull to look at. Especially with the sound turned off.)

Monday, October 1, 2012


He is the antithesis of Superman in almost every way: dark, brooding, prone to violence (all in the name of justice), and powered only by his sheer determination and will. He is a detective, a scientist, a master strategist and multiple martial arts expert. And his rogues' gallery - the Joker, the Riddler, Catwoman, Two-Face, Scarecrow, The Penguin, Poison Ivy, Mr. Freeze - is unprecedented among comic book heroes. Yet despite his accomplishments, despite all his formidable skills, Batman's greatest battle has always been with Hollywood itself.

Bruce Wayne and his menacing alter ego were created, in fact, as a blatant attempt to cash in on Superman's success. The brainchild of 24-year- old artist Bob Kane (with an uncredited assist from writer Bill Finger), "The Bat-Man" made his first appearance in Detective Comics #27 during May of 1939, and was an immediate hit. (National Publications - soon to be known as DC Comics - now had two popular comic book characters under their belt, having also published the monthly adventures of the Man of Steel.) A self-titled series debuted in April 1940, followed by a 15-part film serial starring Lewis Wilson in 1943, followed by a second 15-chapter serial in 1949, starring Robert Lowery as Batman and Johnny Duncan as Robin.

Batman's popularity soared during the late 1960s, when Twentieth Century Fox's high-camp Batman television series premiered in January 1966. It was a tongue-in-cheek parody of superhero tropes, produced by William Dozier and starring Adam West and Burt Ward (plus a bevy of 60's stars as "guest" villains), and it's this incarnation - for better or worse - that defined the character for the next twenty years. No longer a lone, mysterious creature of the night, Bob Kane's creation had now been reduced to a figure of fun, dancing the Batusi and POW! BOFF! and ZWAP!-ing his way through Gotham City while a bright-eyed, green-bootied Boy Wonder spouted catchphrases by his side. This reputation had ingrained itself so much into the public consciousness that Hollywood producers were literally dumbstruck at the idea of bringing Batman back to the screen.

Friday, September 21, 2012


A break from tradition here at FTTW (as if this was ever a traditional blog to begin with)...

About three years ago to the day, I'd written the introduction to a book I fully intended to finish, about Warner Bros' 1989-1997 Batman franchise and its gradual fallout with the moviegoing public. But like so many things in life, the idea sort of fell by the wayside - another unfortunate victim of my brain trying too hard to tackle too many projects at once. I'd forgotten about it until recently, as I was putting the finishing touches on our latest Franchise Face-Off, so to preface that upcoming post, I thought I'd share the introduction here, so you can fully appreciate the depths of my deepest, darkest obsessions. Think of this as a precursor to the FF-Os as you know and love them today:




I can't exactly tell you where my obsession with the Batman got its start, or how, but I'm pretty sure it started sometime inside the womb. I say this because I can't honestly recall a time when the character did not play an integral part in my life – when images of his comic book escapades didn't flood my brain on a daily basis, even to the point where I hear the faint flapping of bat wings as I drift off to sleep. (Yes, this happens.)

Friday, August 24, 2012


Now that 2012's summer movie season has ended (Lionsgate's Expendables 2, starring Sylvester Stallone, Arnold Schwarzenegger, Jean-Claude Van Damme and virtually every other 'roided 80's action star you can think of, opened to $28.6 million last weekend, and is arguably the last big-budget "event" movie until October), it's important that we look back and remember what worked, what didn't, and what lessons studio executives had better take to heart as they gear up for Summer '13. There were overachievers (Marvel's The Avengers, $617 million U.S.) and underachievers (Battleship, $65 million), breakout hits (Ted, $213 million) and outright disasters (Rock Of Ages, $38 million); there was also, bless its heart, a 47th Ice Age adventure (Continental Drift, with $150 million stateside, plus another $644 million worldwide). All of these, plus more, warrant a discussion on the modern revitalization of the Hollywood blockbuster...

Wednesday, August 8, 2012


My continuing foray into Disney's fifty official Animated Classics. As always, don't hesitate to share your thoughts/memories/complaints in the comments section below. Links to previous entries have also been included below.

Title: Dinosaur (2000)

The Plot: When a meteor collides with Earth, an Iguanodon raised by Lemurs makes the treacherous journey to the "Nesting Grounds" - a mysterious valley believed to be untouched by the devastation.

The Songs: None

Friday, August 3, 2012


It's an unwritten rule in the Lundberg home that, when the TV's on and it's time for a station break, the sound on the television must be automatically turned off. We do this for a number of reasons: One, the commercials tend to be 60% louder than the actual program we're watching (why is this?); two, with four kids running the house, the added silence isn't just welcome, but necessary to maintain our sanity; and three, 19 out of every 20 commercials tend to raise my blood pressure to dangerous levels. It's unhealthy, I suppose, to get so infuriated by your average TV commercial that I wind up yelling back at the screen like an idiot, so until we can afford some much-needed psychotherapy, that all-important "mute" button on the remote will have to do.

Monday, July 30, 2012


My continuing foray into Disney's fifty official Animated Classics. As always, don't hesitate to share your thoughts/memories/complaints in the comments section below. Links to previous entries have also been included below.

Title: Fantasia/2000 (1999)

The Plot: A series of animated segments set to classical music, performed by the Chicago Symphony Orchestra and conducted by James Levine.

The Segments: Symphony No. 5 in C minor-I, Allegro con brio (Ludwig van Beethoven), Pines Of Rome (Ottorino Respighi), Rhapsody In Blue (George Gershwin), Piano Concerto No. 2 in F Major-I, Allegro (Dmitri Shostakovich, based on The Steadfast Tin Soldier by Hans Christian Andersen), The Carnival Of The Animals, Finale (Camille Saint-Saëns), The Sorcerer's Apprentice (Paul Dukas), Pomp And Circumstance - Marches 1, 2, 3 and 4 (Edward Elgar), Firebird Suite - 1919 Version (Igor Stravinsky)

Thursday, July 19, 2012


Because there's no better way to ring in the release of The Dark Knight Rises than by talking about a competing superhero franchise from a competing motion picture studio...

I was just about to publish some thoughts on Sony's The Amazing Spider-Man last week, starring Andrew Garfield as everyone's favorite web-slinging superhero, when I happened across my friend Drew McWeeny's (second) write-up over at, which pretty much rendered anything I had to say on the subject moot. If you don't mind a spoiler-filled discussion on the plot's more "intricate" twists and turns, then you should really give that a shot, or at least check out Drew's initial review of the movie itself, as it sums up basically everything diehard fans find so frustrating about Spidey's big-screen reboot. (What follows is a slightly modified version of my original piece.)

Wednesday, June 27, 2012


So here we are, not even two months into the summer movie season, and already studios are busy plugging their latest blockbusters scheduled for release after the summer's ended. Leave it to Hollywood, and its Lazy Susan manner of thinking, for keeping this particular gravy train rolling.

Last week, moviegoers welcomed the release of no less than three high-profile trailers - for a reboot, a prequel, and a sequel. Two of these, naturally, trade on your nostalgia for beloved returning characters, while the third assumes you've never even heard of its characters at all. Together, they give us an all-encompassing view of how to approach a potential franchise.

Monday, June 18, 2012


I happened to catch Independence Day on AMC last week (well, most of it anyway), and was shocked to re-discover how simplistic the movie plays, and how that simple-mindedness works largely in its favor. It's deliberately designed as a callback to those big-budget, star-studded disaster flicks of the 70's, only this time with aliens, and like Earthquake or The Towering Inferno, it appeals to our most basic desire to watch stuff blow up. Each individual character motivation can be summed up in six words or less (Wants His Ex-Wife Back, Wants To Be An Astronaut, Wants To Be A Better President), the special effects (mostly model work, minimal CGI) are impressive in an old-fashioned Irwin Allen sort of way, and its big emotional crescendos ("Today we celebrate... our Independence Day!") are painted in the biggest, broadest strokes. Lump them all together, and it's no wonder audiences went absolutely ape for it.

Sunday, May 20, 2012


My continuing foray into Disney's fifty official Animated Classics. As always, don't hesitate to share your thoughts/memories/complaints in the comments section below. Links to previous entries have also been included below.

Title: Tarzan (1999; based on the novel Tarzan Of The Apes by Edgar Rice Burroughs)

The Plot: An orphaned baby is adopted by gorillas in the jungles of Africa, where he learns to live as one of them.

The Songs: "Two Worlds," "You'll Be In My Heart," "Son Of Man," "Trashin' The Camp," "Strangers Like Me," "You'll Be In My Heart (Phil Collins Version)," "Two Worlds (Phil Collins Version)"

Saturday, May 12, 2012


He is easily the most iconic and recognizable of all superheroes: Why, if the red boots, cape, and blue tights don't give him away, then the red-and-yellow "S" insignia at the center of his chest most certainly will. His name has become synonymous with all things "Truth, Justice and the American Way." And few phrases in pop culture iconography bring a smile to people's faces like "Look! Up in the sky! It's a bird! It's a plane! It's Superman!" can. Born Kal-El of Krypton, and later adopting the guise of mild-mannered reporter Clark Kent, the Man of Steel would not only emerge as Earth's greatest protector – he would turn out to be the archetype for all comic book heroes to follow.

This response no doubt took even Superman's creators by surprise. Hailing from the suburbs of Cleveland, Ohio, Jerry Siegel and Joe Shuster originally envisioned their "superman" (or "Übermensch," as coined by Friedrich Nietzsche) as a bald-headed telepathic villain bent on world domination. Years later, they completely re- jiggered their concept, and in April of 1938, the character as we all know and love him debuted in Action Comics #1, which sold on newsstands for 10¢ an issue (to compare: a mint-condition copy was recently auctioned off at $2.16 million). His popularity only skyrocketed from there, selling millions of comics in multiple languages all over the world. He soon became the star of his own radio show, a string of popular Max Fleischer cartoons, two movie serials, and a weekly television series starring George Reeves. Usurpers to the throne (including Batman, Wonder Woman, Spider-Man and the Hulk) could only look on with envy.

Saturday, April 28, 2012


An addendum to last week's post, on the horrors of excessive CGI in modern blockbuster cinema.

One of the things you'll notice when watching George Lucas's recent Star Wars prequels is that the guy is clearly infatuated with all the newfangled technology at his disposal. This is certainly one of the reasons why so many people tend to reject The Phantom Menace, Attack Of The Clones and Revenge Of The Sith on an intellectual level. It's the opposite of what made the original trilogy so special in the first place, when Lucas was basically forced to invent the FX that would kowtow to the stories he wanted to tell.
Especially depressing during Clones and Sith is George's insistence on using digital stuntmen to punctuate his action sequences. Long before the days of Luke Skywalker, apparently, the Jedi had the power to transform into hokey cartoon versions of themselves while doing somersaults through the air. Pretty cool, right? For someone as old- fashioned as myself, however, this is the equivalent of those Adventures Of Superman serials of the 40s, when actor Kirk Alyn would literally morph into a hand-drawn Man of Steel when flying. Which is to say, if you can't make it look right, why bother trying at all?

Thursday, April 19, 2012


Confession: I don't care much for CGI. At least not in the way most filmmakers tend to use it these days, which is too much and too often. Like any cinema tool – music, art direction, cinematography, editing, costume design, even A-list actors – special effects should always be used as a means to support a story, not as the focus of it. And it's a shame how so many people have apparently lost sight of that.

Granted, it's a tricky mix to get just right. While some directors seem to get it (Steven Spielberg, Christopher Nolan, even pre-Avatar James Cameron spring to mind), others have simply lost the ability to rely on anything else (cough-George Lucas-cough). We've come a long way since the days of Jurassic Park and Terminator 2, when CGI still had the power to shock and surprise us - to make the fantastical seem fathomable. Now that anything and everything can be accomplished via CGI, from exploding planets to spaceships to kitchen utensils to tabletops, my question is: Should it?

Thursday, April 5, 2012


An odd post today, since I'm getting irritated with myself for procrastinating so much in between my regular week/two week updates to the site. Also, it's time I started living up to that "And Other Crap" sub-description for FTWW above. So here's the first in a series of sporadic mini-posts for you to mull over/discuss/complain about/whatever while you anxiously await the bigger, better stuff.

I'm warning you now: These really won't amount to much. Just a few short sentences and a video link or two to get some things off my chest - whenever the mood strikes me. Which will hopefully be often.

Today: How about a good old-fashioned music video for your viewing pleasure? More specifically, it's "Somebody That I Used To Know," by Belgian-Australian singer-songwriter Gotye (or "Wally" to his friends), which has been climbing the charts over the last few months both here and abroad. (A Twitter post from Ashton Kutcher, of course, helped a lot.)

Sunday, March 25, 2012


In doing my research (if you want to call it research) for an upcoming project, a thought occurred to me faster than a speeding bullet: How many comic book heroes can be identified immediately by the insignias on their chests?

Indeed, these symbols/logos/trademarks or what have you all seem to act as targets for gun-wielding criminals. Be it Superman's "S" or The Flash's lightning bolt or Spider-Man's spider, they all scream, Why, hello, evil doers! Fire your bullets at this! For it is a symbol of who I am and the means by which I shall bring you to justice! (Okay, so maybe that's not exactly what they say, but you get the point.)

How would we know recognize these people if not for their insignias? How would we even know what to call them? And does it help that they're color coded?

Sunday, March 18, 2012


We now take a break from our regularly scheduled programming to bring you... James Cameron's Titanic on Facebook!

Has anybody seen this? Chances are, you probably have: As of this writing, the Titanic Facebook page has been "liked" 18,181,157 times since its debut on May 19, 2011. Eighteen million! Am I reading that right? Do that many people still care about Titanic? Sure, the thing made about a gazillion dollars when it first came out, and deservedly captured the imagination of millions of movie-goers worldwide, but still. How many people who "liked" the page were even alive when it first hit theaters 15 years ago? 

Saturday, March 10, 2012


My continuing foray into Disney's fifty official Animated Classics. As always, don't hesitate to share your thoughts/memories/complaints in the comments section below. Links to previous entries have also been included below.

Title: Mulan (1998; based on the Chinese poem The Ballad Of Mulan)

The Plot: In 3rd century China, a peasant girl disguises herself as a man and joins the Imperial Army in her father's place.

The Songs: "Honor To Us All," "Reflection," "I'll Make A Man Out Of You," "A Girl Worth Fighting For," "True To Your Heart," "Reflection (End Title)"

Saturday, March 3, 2012


Will the real Sherlock Holmes please stand up? The great thing about the original stories by Sir Arthur Conan Doyle is just how much that question is left open to interpretation. Recounted in the first-person by the estimable Dr. John H. Watson, M.D., Holmes's flatmate and partner in (solving) crime, it is next to impossible to tell what the world's "first consulting detective" might be thinking at any given moment; indeed, Watson can only stand back and observe, in awe and wonderment, as that great and fevered brain goes on about its business. If we're lucky, Holmes might even key us in on his investigative process - how, for example, he is able to deduce (correctly) a killer's age simply by the gait in his footprints. More often than not, though, we're left to ponder the evidence all on our own - not just about the mystery at hand, but also about this strange, enigmatic cipher at its center.

This is no doubt why readers have been so enthralled by Holmes's adventures over the years. Doyle published the first, A Study In Scarlet, in 1887's Beeton's Christmas Annual, and even now - four novels and 56 short stories later - we have only pieces of the character's true psychological makeup. What we do know is mostly limited to the external: Watson, upon their first meeting, describes Holmes as well over six feet tall, thin, with a "hawk-like nose" and "sharp[,] piercing" eyes. He is emotionless, distant, prone to fits of manic depression when his mind isn't busied on a case, and is a master of deductive reasoning. He will never miss a chance to remind you of this last important fact.

That's all well and good, but what about the man inside - his hopes, his dreams, his thoughts, his fears? Is there more to him than meets the eye? Or do his actions speak for themselves? Why is he so driven, so intensely focused, so difficult to identify with on a personal level? (Modern theorists attribute this behavior to Asperger's Syndrome.) He's been the subject of countless films, radio adaptations, literary spin-offs, TV series, even a Disney cartoon - each with their own personal take on the character, but sharing one common trait: Sherlock's obsessive love of the chase. And he's just as popular as ever. My, how we love a good mystery man.

Saturday, February 25, 2012


UPDATE: One word for the show last night: "Yawn." Anyone disagree? Despite an admirable effort from Mr. Crystal, watching The Artist win for Best Picture was like the surprise everyone saw coming. I admit I DVR'd the entire show just so I could fast-forward through all the stodgiest parts (Best Documentary Short Subject, anyone? "In Memorium"?), but other than Angelina Jolie's right leg, there was nothing particularly memorable about the entire night. Better luck next year, Oscars!

It's Oscar time again, dear readers! And to kick off our third annual All-Things-Oscar post here at FTWW, I thought I'd pose a question to you: How many of this year's Best Picture contenders have you actually seen? The Artist, The Descendants, Extremely Loud & Incredibly Close, The Help, Hugo, Midnight In Paris, Moneyball, The Tree Of Life, War Horse – all fine films in their own right, though hardly the types you'd find crowding up your local multiplex on weekends.

Saturday, January 21, 2012


My continuing foray into Disney's fifty official Animated Classics. As always, don't hesitate to share your thoughts/memories/complaints in the comments section below. Links to previous entries have also been included below.

Title: Hercules (1997)

The Plot: Through the machinations of Hades, Lord of the Dead, the son of Zeus is adopted on Earth, and must prove himself a hero in order to reclaim his immortality.

The Songs: "The Gospel Truth I / II / III," "Go The Distance," "One Last Hope," "Zero To Hero," "I Won't Say (I'm In Love)," "A Star Is Born," "Go The Distance (End Title)"

Saturday, January 14, 2012


My continuing foray into Disney's fifty official Animated Classics. As always, don't hesitate to share your thoughts/memories/complaints in the comments section below. Links to previous entries have also been included below.

Title: The Hunchback Of Notre Dame (1996; based on the novel by Victor Hugo)

The Plot: The deformed bell ringer of Notre Dame, orphaned as an infant and adopted by a cruel master, longs to escape the confines of his tower.

The Songs: "The Bells Of Notre Dame," "Out There," "Topsy Turvy," "God Help The Outcasts," "Heaven's Light / Hellfire," "A Guy Like You," "The Court Of Miracles," "Someday"

Friday, January 6, 2012


My continuing foray into Disney's fifty official Animated Classics. As always, don't hesitate to share your thoughts/memories/complaints in the comments section below. Links to previous entries have also been included below.

Title: Pocahontas (1995)

The Plot: The daughter of a Native American chieftain encounters English colonists in 16th- century Virginia, and falls in love with a soldier.

The Songs: "The Virginia Company," "Steady As The Beating Drum," "Just Around The Riverbend," "Listen With Your Heart," "Mine, Mine, Mine," "Colors Of The Wind," "Savages," "If I Never Knew You (Love Theme From Pocahontas)," "Colors Of The Wind (End Title)"