Some Hearty Laughs, But ‘Emperor’s New Groove’ Misses Its Opportunity To Be Great

Should one always get points for trying? Is it simply enough if a noticeable effort is expended? All things being equal — and considering we are in the midst of the holiday season — the answers should be “yes” and “it should.” However, at risk of being tagged a complete Grinch, I must say Disney’s latest animated feature, The Emperor’s New Groove, is a big disappointment, even though it is arguably one of the hardest working efforts from the studio in quite some time.

Years ago, back in the early stages of production, Disney had its mind set on Kingdom of the Sun, a historical tale about ancient South America that would become a sweepingly grand epic. It would feature a soundtrack of original songs by Sting (akin to Phil Collins’ Oscar-winning work on Tarzan) and would emerge as one of the greats in the Disney pantheon of animated classics. But alas, the walls came tumbling down. After allegedly three-quarters of the work had been done, Mouse House powers-that-be decided to scrap just about the whole thing — feeling it was ultimately derivative of past glories — and came up with what we now have as The Emperor’s New Groove.

Perhaps I’m just upset because all that remains of Sting’s troubles is one measly song that gets played over the closing credits, but The Emperor’s New Groove struck me as a work with some inspired moments, although it falls far short of the high mark Disney has set for itself. True, it’s not quite derivative of their recent big-screen productions, but it also plays as if the whole thing is a bit haphazard (which may not be far from the truth). If they could have taken a little more time and applied a bit more direction, The Emperor’s New Groove could have been as fun as Aladdin, the Disney film it most closely resembles in tone.

David Spade is the voice of cocky young emperor Kuzco, a self-absorbed brat who thinks nothing of building himself a new water park on a location that will displace an innocent peasant family. While his antics make him unpopular with the populace, Kuzco is even more despised by his adviser, Yzma (Eartha Kitt), who plots with her dim-witted, scene-stealing bodyguard, Kronk (Patrick Warburton), to dispatch the egocentric ruler. Their ploy to foil him goes awry however, and instead of poisoning Kuzco, they turn him into a llama whose well-being depends upon the kindness of commoner Pacha (John Goodman), the very peasant whose home is threatened by Kuzco’s selfish desires.

Admittedly, Spade’s smug persona, though trying, fits his role, but it’s still not particularly engaging. However, Kitt and Warburton are a riot and, teamed with snappily written (and even mischievously designed) characters, they emerge as the film’s enduring figures. If The Emperor’s New Groove had followed through completely with the sensibilities its characters exude, it might have had a real comedic winner. As it exists now, the movie is a mix of Spade’s sardonic humor, the manic energy of Aladdin, and the self-referential gags of Warner Bros.’ Loony Tunes with even a dash of Rocky and Bullwinkle.  Such a stew makes for some very funny moments, but also a very inconsistent mélange.

Also, returning to the issue of the lost Sting songs, wouldn’t it make sense that if any Disney cartoon were to have a soundtrack pumped full of pop music (and Lord knows I’m usually against such bloated tie-in commercialism), this would be the one?  Kuzco opens the film with an elaborate musical number, and a big deal is made about his reliance on “the groove.”  Yet after that opening set piece, the film contains nary a song or “groove” until the Sting ditty plays over the closing credits! Again, another missed occasion to lend the film a consistency it otherwise lacks.

As such, The Emperor’s New Groove, rated G, ends up a spotty enterprise with some hearty laughs, but also some truly botched opportunities.