legend of hiawatha movie review

The Legend of Korra Ending, Explained

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While the final episode of its predecessor was neat and full of closure, the ending of The Legend of Korra was a bit more nuanced. The final episode of the original Avatar: The Last Airbender episode was everything fans could have asked for — Aang defeats Fire Lord Ozai and peace returns to the land. The final Korra episode, however, didn't just conclude a major conflict with Kuvira's defeat at Republic City - that ending episode also had serious implications about the immediate future of the world and the characters who live in it.

Book Four: Change was all about Avatar Korra's quest to heal herself and move past trauma while Kuvira formed the oppressive Earth Empire in the ruins of the factured Earth Kingdom, a great clash that culiminated in a battle against Kuvira's colossus in Republic City. Then, in the final episode's last few minutes, a lot was set up for future storylines, with serious implications about where the world would go from there.

Kuvira's Final Attack Created the World's Third Spirit Portal

This makes republic city even more of a melting pot.

Every Character in The Legend of Korra, Ranked by Growth

The driving force behind Avatar: The Last Airbender is character development, and The Legend of Korra follows suit.

Kuvira's final attack on Republic City had more consequences than serious collateral damage from Team Avatar's clash with the colossus. The most important factor was that Kuvira's platinum titan had a spirit cannon on its right arm, powered by harvested spirit vines that launched attacks roughly similar to Vaatu's own. Kuvira meant for that to be a tool of sheer destruction, and for a time, it was. Then, when Kuvira's broken cannon went out of control, it became a tool of creation instead. Kuvira and Korra ended up in the Spirit World itself as the energy went haywire, and as Korra explained, the energy created a rift in the fabric of reality. Thus, a brand-new and clearly stable spirit portal was formed, similar to those found at the north and south poles.

This was an evolution of Korra's scheming uncle Unalaq strove for in Book Two -- the reunification of humans and spirits, creating something somewhat similar to what fans saw in Avatar Wan's flashback sequence , but more peaceful. It's true that the opening of the original two portals already helped humans and spirits co-exist, but the third portal accelerated the process. Now, Republic City has a direct and local gateway to the realm of spirits, which will no doubt allow humanity and spirits to co-exist in greater numbers. That, in turn, may lead to mutual understanding and cooperation unlike anything fans saw in Book Three. Republic City already had a spirit quarter covered in vines, but that was clearly just the beginning.

Thematically, the creation of that portal and the proliferation of spirits reinforced an existing and highly positive theme in The Legend of Korra -- the unity of many diverse people to create a richer whole in Republic City. Creating a tolerant metropolis where benders of all elements rubbed shoulders had been a grand gesture from Aang's and Zuko's time, but adding spirits to the mix was something else entirely. It was a more benevolent version of Unalaq's vision, and funnily enough, Zaheer wanted this, too. That may suggest that for all their villainy and extermism, some Korra villains did have the right idea buried in their cruelty. The truth remained that humans and spirits were meant to co-exist, but only the wise, peaceful Avatar could make it happen in a way that benefitted everyone.

Prince Wu Stepped Down to Usher in Democracy in the Earth Kingdom

Of all people, we was the one to accomplish the red lotus' goal.

Is Legend of Korra Secretly a Political Commentary in Disguise?

The Legend of Korra showcases different political ideologies through its villains, using allegory and themes to explore other forms of government.

The Legend of Korra: 10 Best Fights from Book Three, Ranked

Legend of Korra Book Three focused on the clash between Team Avatar and the Red Lotus giving fans bombastic action sequences.

Ever since the climax of Book Three, the fate of the time-honored Earth Kingdom hung in the balance, from the ravaged city of Ba Sing Se to the many member states that made up the unified kingdom. The Red Lotus aimed to topple the oppressive monarchy and allow natural law to take over, with no cities or rulers to stifle humanity, and the Red Lotus briefly achieved that goal with the assassination of Earth Queen Hou-Ting. That led to two new events: the rise of Prince Wu as the heir apprent, and the more prominent rise of Kuvira, the metalbender who vowed to unite the fractured Earth Kingdom under a new world order under her command.

Once the fledgling Earth Empire fell and Kuvira was captured, Prince Wu was once again in a position to become the Earth King, and it helped that he had done some growing up since his botched coronation day in Republic City. To Mako's and Korra's shock, however, Wu told them in the final episode that he was giving up his power for good. Humorously, he said it was to pursue his dream of becoming a singer, but the more serious answer was that Wu simply didn't support the monarchy any longer. Instead, Wu favored the former Earth Kingdom's states being independent of one another with democratically elected rulers. Wu was inspired by the elected leadership of Republic City, making his homeland the first major nation to have democratically selected leaders. That would make the Earth Kingdom a total contrast with the Water Tribe and Fire Nation.

As a whole, Wu's decision was a wise, forward-thinking, and selfless one that proved how far he had come as a young leader. Interestingly, Wu's historic decision also helped the largly defunct Red Lotus organization achieve its goal, if only in part. Wu did not abolish all leadership, nor did he favor natural disorder, but he did end up seeing things Zaheer's way regarding monarchies. Wu didn't say as much to Mako and Korra, but the fact remains that Wu finished what Zaheer started with erasing the oppressive monarchy once and for all. It's possible that the Fire Lord and the Water Tribe chiefs would feel threatened rather than impressed by this, but there's no taking back what Wu has already decided.

Korra and Varrick Found Humble Happiness in Someone Else's Arms

True love was what they always wanted deep down.

The Avatar Cycle & Responsibilities in the Avatar Franchise, Explained

The Avatar Cycle in Avatar: The Last Airbender and The Legend of Korra has rules and traditions that are varied and unique.

While The Legend of Korra is not primarily a romance story, and the main characters have much more to think about than dating, this is still an essential way to add an emotionally resonant side to the main characters. Love has been on Korra's mind since the start, with her dating Mako and Bolin in the first two seasons until she eventually realized her true feelings for Asami Sato during the three-year time skip between Books Three and Four. Love wasn't the point of the Avatar's existence, but Korra was still human, like Aang before her, and a meaningful relationship could inspire and motivate her more than any lecture or history lesson. Just the way Aang was once empowered by Katara, Korra felt reborn as she embraced Asami as her lover. That made both young women much happier than they had been in quite some time.

In fact, the final episode concluded on that very note, with Korra and Asami chatting happily before they approached the spirit portal on a fun adventure together, almost like a first date. They held hands and faced one another as they faded into the glowing energy, making it clear that Korra's personal arc had reached its wonderful and natural end. Korra's personal life had been rather turbulent until then, from a messy love triangle to an even messier breakup with Mako, so she deserved a change of pace in that regard. Similarly, Asami broke up with Mako and put her career ahead of her love life, but the final episode suggests that Asami has finally balanced her personal and work lives. Any cartoon can can be happy for her because of that.

Another love story unfolded in that final episode, with the redeemed businessman Iknik Blackstone Varrick marrying the new love of his life, his former assistant Zhu Li Moon. When they were introduced, the two of them were unequal, with Varrick being the boss and Zhu Li humbly keeping up with him as his assistant. By Book Four, both of them had a paradigm shift, with Varrick being humbled and getting an eye-opener about the consequences of his actions. Zhu Li, meanwhile, was empowered to stand up for herself, and after a false start, Varrick accepted that fact. That allowed both of them to express their hidden amorous feelings for one another, culminating in their happy marriage near the Republic City docks. As husband and wife, they will be happy equals, meeting in the middle with newfound pespectives on their work and lives alike.

As a whole, those two love stories allowed the Korra finale to teach a heartwarming lesson about not being afraid to express one's true feelings and pursue happiness, while also depicting the positive effects of humility, a lesson that Korra and Varrick needed . Korra and Varrick didn't have a lot in common, but still, they were both action-oriented people who rarely thought about the consequences of their actions, and often got carried away by their own power. With the power and perspective of having a loving partner, Varrick and Korra both humbled themselves in the best way possible, showing some serious growth to end The Legend of Korra on an inspiring note.

The Legend of Korra

Avatar Korra fights to keep Republic City safe from the evil forces of both the physical and spiritual worlds.

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• What Is Cinema?

Even With Angelina Jolie, Maria Struggles to Hit the High Notes

In Maria, a biopic of the late, great opera singer Maria Callas that premiered here at the Venice Film Festival on Thursday, Angelina Jolie tackles her first big leading role in three years—and her first major dramatic role in far longer. She was, it seems, drawn to director Pablo Larraín ’s woozy picture of an icon in decline, perhaps because Larraín has done this before, with good results for his actors.

Maria is the third film in Larraín’s series of interior, nonlinear studies of famous women at a crossroads. Jackie follows Jacqueline Kennedy in the days immediately after the assassination of her husband. Spencer peers in on Princess Diana as she spends one last miserable weekend with then Prince Charles and his family. Larraín has developed something of a brand, an upending of biopic norms that seeks to uncover core emotional truth rather than dutifully reenact a series of events. It worked brilliantly in the strangely frightening Jackie, slightly less so in the stiflingly gloomy Spencer.

Maria is the thinnest of the three, psychologically facile and overly mannered. There is something arbitrary, unspecific about the film. With a few details removed, Maria could be about any grand diva, this blurry picture of a woman swanning through the final week of her life. Larraín and screenwriter Steven Knight don’t convince us of the iconography; they shoot past artful abstraction and land in the realm of vagueness.

This could partly be blamed on their choice of subject. Callas, who died at 53 in 1977, was certainly a legend of the opera world, renowned around the globe. She suffered her fair share of tragedies and tabloid scandals. But she does not engender the same sort of international fascination associated with Jackie and Diana, such enduring emblems of glamour and privilege darkened by cruel twists of fate. I’d imagine that most audience members will walk into Maria with fewer preconceived notions, less readiness to fill in the gaps in Larraín’s portraiture. His particular trick proves less effective when it isn’t subverting or complicating long-held ideas about a person.

What biographical information the film does contain is clunkily delivered. In black-and-white flashback, we learn that Callas was essentially pimped out by her own mother during the Second World War, a trauma that this version of Callas never recovers from. That’s compelling pathology, but Larraín doesn’t linger on it. He’s more interested in Callas’s affair with Aristotle Onassis ( Haluk Bilginer ), which would eventually be undone by Onassis’s marriage to Jackie Kennedy. (Perhaps Larraín is quite deliberately looping back on himself.) The film trusts we will feel the grand drama of this tortured romance, but such swells of emotion never arrive. Similarly undercooked and overly telegraphed are Callas’s hallucinatory musings about life, art, and career, given to an imagined interviewer played by Kodi Smit-McPhee. There is little insight to be found in these interludes, coy and generic as they are.

Still, Jolie brings some life to this programmatic exercise. She murmurs and laments in a pleasing midcentury accent, one that doesn’t sound much like the real Callas’s but is a nifty bit of transformation anyway. Jolie keenly renders Callas’s regret and wounded pride, which flicker across her face as she tries to keep her head held as high as a prima donna’s should be. She doesn’t push as far into inner depths as Natalie Portman did in Jackie, but that’s not exactly being asked of Jolie here. In some ways she is meant only to be a physical manifestation of the music—recordings of Callas that play throughout the film, sometimes mixed in with Jolie’s own singing. Jolie struggles in these scenes, never quite convincing us that these huge notes and plaintive lilts are actually coming from her. Whether that’s a problem with Jolie’s performance or the postproduction sound-matching process, the film suffers for it. These moments of Callas lost in song, or struggling through it, are the tentpoles of Maria, but they prove pretty wobbly.

The uncanny-valley singing is representative of the fussy artifice of Maria as a whole. Our admiration for the ardor Larraín feels for these oft-misunderstood women, figures battered and ennobled by the forces of money and history, begins to curdle. With Spencer and especially with Maria, the director seems less like he is reaching for understanding and more like he is bending his subjects’ legacies toward his preferred style—as if he has been merely searching for tragic women of the past to send wandering around his luxe, prefabricated haunted houses.

I still prefer his mode of biography to the standard varietal—at least in these sorts of films, there is some attempt to grapple with the ineffable. But should Larraín continue this project, it might serve him well to adjust the approach. Perhaps he could turn his focus to characters like the ones sensitively played by Pierfrancesco Favino and Alba Rohrwacher in Maria, a doting butler and cook who tend to their ailing employer with the care of concerned family members. Through their quiet and despairing presence, Maria hits on something stirring, the idea that these two individuals might be the last people on earth who truly know this dying star. It’s only in their eyes that we catch the glimmering reflection of something Maria otherwise denies us: a woman in full.

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Angelia Jolie is on song in this classy biopic showing opera diva Maria Callas in her last days

Time Out says

It might seem strange to say about an actress who emerged like a supernova, won an Oscar for Girl, Interrupted (1999), was nominated for Changeling (2008), and brought Lara Croft to life, that Angelina Jolie’s on-screen career has never quite hit the expected heights. With this musical biopic, though, she’s finally landed a role that will have audiences talking about her acting again. Directed by Chilean filmmaker Pablo Larraín, Maria casts her as American-Greek opera legend Maria Callas, a woman trying to rekindle former glories whose personal life, including a failed relationship with world famous socialite Aristotle Onassis, is cannon fodder for the world's tabloids. It wouldn't be wildly off-beam to call it a role Jolie has spent her life preparing for.

The script, by Peaky Blinders creator Steven Knight, looks back over Callas’s life in the week before her death in September 1977. It opens on the day she died in her house in Paris, which, with its marble busts, antique furniture and wall-to-wall paintings, looks like a room at the V&A. Shifting back a week, Jolie depicts Callas as a reclusive figure who is addicted to prescription drugs and whose loss of that formidable vocal range forced her into an unhappy retirement four years previously. Her chef ( La Chimera ’s Alba Rohrwacher) and butler (Pierfrancesco Favino) try their best to indulge her, but everyone realises she’s losing her grip.

It’s a role Angelina Jolie has spent her life preparing for

She hears voices. One of them belongs to an imaginary journalist played by Kodi Smit-McPhee, who intermittently interviews Callas throughout the film. It’s a framing device reminiscent of 2016’s Jackie , Larraín’s biopic about the woman who would replace Callas in Onassis’s bed. It’s the type of creative liberty the director used in Spencer , his edgy portrait of Lady Di at the edge of sanity. But in a movie already full of lush montages that flit back and forth through Callas’s life, the concoction feels clunky and unnecessary. Much better are montage sequences that showcase Larraín at his most spectacular: mixing monochrome and colour images to give the veneer of an old celluloid film and show Callas at her heady peak – both on and off stage. They may occasionally represent faux history but they’re never less than great drama. One terrific scene has the soprano and JFK ( Jackie’ s Caspar Phillipson back for a second turn) bonding over their experiences as spurned lovers. 

And with Knight’s script full of juicy dialogue – ‘Book me a table at a cafe where the waiters know who I am. I’m in need of adulation’ – this enjoyable biopic offers a loving and affectionate portrait of Callas that never airbrushes her foibles. It’s likely to put Jolie front and centre in the Oscar race, too. Girl, Resurrected. 

Maria premiered at the Venice International Film Festival .

Cast and crew

• Director: Pablo Larraín
• Screenwriter: Steven Knight
• Angelina Jolie
• Valeria Golino
• Kodi Smit-McPhee
• Alba Rohrwacher
• Pierfrancesco Favino

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The Legend of Hiawatha

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Based on the 19th century classic by Henry Wadsworth Longfellow, The Legend of Hiawatha is an animated adventure that tells the story of a Native American boy who grows up to be an Ojibway chief. Along the way, Hiawatha is raised by his wise grandmother and faces many challenges throughout his life. Produced by DVD, Ltd., the film is part of a series of animated films adapted from such classics as Kidnapped, Tom Sawyer, and Westward Ho.

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Storybook Classics: The Legend of Hiawatha (1988)

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Currently you are able to watch "Storybook Classics: The Legend of Hiawatha" streaming on fuboTV or for free with ads on The Roku Channel, Crackle. It is also possible to rent "Storybook Classics: The Legend of Hiawatha" on Amazon Video online and to download it on Amazon Video.

Hiawatha is just a boy when his tribe's wise man foretells of a drought that will plague his people. As a man, Hiawatha is chosen to make a perilous journey to far- away White Mountain, where he must learn the secrets of the Great Bear in order to save his tribe from starvation. Along the way, he battles and outwits many legendary creatures of the forest, including the evil Wind Wolves who haunt the forest of night.

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For the discussion of lost media, and the searches for them.

[Partially Lost] The Legend of Hiawatha (1983)

(I’m posting the YouTube trailer link at the top of this page because the IMDB poster image is from the wrong Hiawatha cartoon, and I don’t want that as the thread thumbnail: https://youtu.be/U-w7Oja2FXo )

I’m trying to find someone who might have a copy of this obscure animated TV special: “The Legend of Hiawatha.” This is not the 1988 Australian animated version from Burbank Films, which is much easier to find and is on YouTube. This version of Hiawatha is a Canadian production from 1983, which originally aired on CBS. https://www.imdb.com/title/tt0305754/ (Even on IMDB, the main poster image is a DVD cover of the other version, the Burbank Films version. AFAIK, the version I’m looking for was never released on DVD.)

There is a trailer on YouTube, which appeared at the end of various Family Home Entertainment VHS tapes in the same time period when they released it on tape: https://youtu.be/U-w7Oja2FXo

I actually bought the FHE VHS tape (one of those big-box releases with a clamshell case inside another cardboard box, like the early G.I. Joe and Transformers tapes) from eBay or somewhere like that about 15 years ago, but after I added it to IMDB, I got rid of the tape without backing it up to DVD. I’m still kicking myself for that, because in recent years, I have never seen any copies of the VHS pop up online, nor has anybody uploaded it to YouTube or anywhere else. (UPDATE: I did find a PicClick archive page for a past eBay listing which I missed: https://picclick.com/The-Legend-of-Hiawatha-VHS-1983-Family-Home-155043987613.html This at least gives us a picture of what the VHS cover looks like. Also, this page claims it was unsold, so if the seller didn't get rid of it some other way, maybe they still have it...)

It just seems ridiculous that this is “lost”. There’s no way this is actually lost. It’s just hiding. Someone out there has to still have a copy. Maybe even someone on this very subreddit. I just want to get this thing back out of the shadows, and I know the lost media community is good at unearthing this stuff.

Thanks to anybody for any help they can give.

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Storybook Classics: The Legend of Hiawatha (1988) Stream and Watch Online

Watch 'storybook classics: the legend of hiawatha' online.

Looking to watch ' Storybook Classics: The Legend of Hiawatha ' on your TV or mobile device at home? Searching for a streaming service to buy, rent, download, or watch the -directed movie via subscription can be confusing, so we here at Moviefone want to do the work for you. Below, you'll find a number of top-tier streaming and cable services - including rental, purchase, and subscription alternatives - along with the availability of 'Storybook Classics: The Legend of Hiawatha' on each platform when they are available. Now, before we get into all the details of how you can watch 'Storybook Classics: The Legend of Hiawatha' right now, here are some details about the Burbank Animation Studios animation flick. Released January 1st, 1988, 'Storybook Classics: The Legend of Hiawatha' stars Noga Bernstein , Ben Brennan , Ron Haddrick , Scott Higgins The movie has a runtime of about , and received a user score of 70 (out of 100) on TMDb, which put together reviews from 3 knowledgeable users. What, so now you want to know what the movie's about? Here's the plot: "Hiawatha is just a boy when his tribe's wise man foretells of a drought that will plague his people. As a man, Hiawatha is chosen to make a perilous journey to far- away White Mountain, where he must learn the secrets of the Great Bear in order to save his tribe from starvation. Along the way, he battles and outwits many legendary creatures of the forest, including the evil Wind Wolves who haunt the forest of night." 'Storybook Classics: The Legend of Hiawatha' is currently available to rent, purchase, or stream via subscription on fuboTV, Amazon Video, Kanopy, The Roku Channel, and Crackle .

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Storybook classics: the legend of hiawatha.

Hiawatha is just a boy when his tribe's wise man foretells of a drought that will plague his people. As a man, Hiawatha is chosen to make a perilous journey to far- away White Mountain, where he must learn the secrets of the Great Bear in order to save his tribe from starvation. Along the way, he battles and outwits many legendary creatures of the forest, including the evil Wind Wolves who haunt the forest of night.

Noga Bernstein Ben Brennan Ron Haddrick Scott Higgins Paul Johnstone Lloyd Morris Moya O'Sullivan Keith Scott Dan Simmonds

Producer Producer

Roz Phillips

Writer Writer

Paul Leadon

Additional Directing Add. Directing

Andrea Bresciani

Burbank Animation Studios

Australia USA

Alternative Titles

Indiánská legenda, Hiawatha, le petit indien, Hiawatha - O Indiozinho, Hiawatha

Releases by Date

01 jan 1988, releases by country.

50 mins   More at IMDb TMDb Report this page

Popular reviews

Review by K.O. Svines ★★★★

As soon as I started this, it felt very familiar. Turns out (as my brother confirmed) we had this on VHS, so I probably saw this quite a few times in the 80s.

It's a lot of fun. The music is great and it has a nice atmosphere. Hiawatha goes on a quest, and meets a lot of mythical animals, like a giant sturgeon and an enormous snake. Quick and cheap, but again, a lot of fun. The soundtrack really adds to the experience.

Review by Echo ★★★

Australian animated adaptation of the Hiawatha story from the late '80s. Decent animation quality, strong soundtrack, odd voice acting (due to a bunch of Australians trying to sound like native Americans).

The most common way of finding it is on a dollar store DVD, and for that price, why not? Not essential viewing, but it was all right.

Review by Dalek63 ★★★

I like the music, and there's some good background art.

Review by John E WordSlinger ★★★★★

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Hiawatha (1952)

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