He is easily identified by his red Smurf hat, pants, and a shortly trimmed white beard and moustache. In the comics, 2021 cartoon series, and movies - his eyebrows are white, while in early comic book stories, the 1981 cartoon series, and Grandir avec les Schtroumpfs, his eyebrows are black. His body is blue, and most people call him Santa Claus due to vague similarities with the character; for example: Hackus from The Smurfs 2 and Victor Doyle.
Carry On Papa Movie
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Papa Smurf was responsible for transforming Smurfette from a creation of Gargamel into a real Smurf, though the method for doing so varied depending on the media: in the comic books, Papa Smurf used "plastic smurfery", while in the 1980s cartoon show, the 2011 Smurfs movie, and Smurfs: The Lost Village, he used magic.
Papa Smurf and the other adult Smurfs all have a relationship akin to father/son with Baby, but Papa is his guardian by default. He is often seen carrying Baby around, reading to him, and occasionally acting silly to entertain the infant (usually when Smurfs like Brainy aren't watching). Due to odd events, he appears to be one of the only Smurfs to have somewhat figured out that Baby has magical powers. Overall, he is very set on Baby Smurf being the one to take on his role as Papa Smurf in the future.
In the 2011 Smurfs movie, Papa Smurf is one of the few Smurfs that traveled through time to modern-day New York City. Prior to this, during the Blue Moon Festival, Papa Smurf had seen in a vision Clumsy Smurf seemingly failing to catch a dragon wand and all his little Smurfs captured in cages by Gargamel. As Papa Smurf wanted to prevent Clumsy from fulfilling this vision, he had him stay behind with Grace Winslow in the Winslow's apartment during their stay in New York City while he and the other Smurfs went with Patrick Winslow in search of a "stargazer". While the other Smurfs were mostly annoying and unhelpful with Patrick's line of work, Papa Smurf helps him find confidence in himself as a father and a husband. It was during the Smurfs' search for both a "stargazer" in FAO Schwarz and a blue moon incantation in Mr. Wong's Mystical Emporium that they encountered Gargamel, the second time where Papa Smurf was captured and strapped into a Smurf exfoliator machine that the evil wizard intends to use to extract Smurf essence from all the Smurfs. Smurfette and the other Smurfs rescued Papa Smurf from captivity, and Clumsy Smurf ended up defying what the vision foretold Papa Smurf by catching the dragon wand, blasting Gargamel with it and sending him flying into a pile of garbage bags. Near the end of the movie, Papa Smurf shows Clumsy how proud he is of him.
In the animated feature, Papa Smurf is the judge of the annual Smurfberry Hunt, who checks to see how many smurfberries his little Smurfs have collected during the harvest festival. At the time of the story, Brainy has won the contest several times, which makes Gutsy jealous as well as curious as to where Brainy is finding all the smurfberries. Upon finding Brainy's secret patch of smurfberries within Smurfy Hollow, Gutsy scares Brainy away with a fake Headless Horseman and proceeds to collect the maximum number of smurfberries he could carry in a single bucket. Papa Smurf judges Gutsy to be the winner when the contest ends, but with Suspicious Smurf wondering why Brainy didn't show up, Gutsy goes back into Smurfy Hollow to find him, only to be followed by Smurfette who discovers what he did. For the protection of his little Smurfs, Papa Smurf transforms a pet goat into the Headless Horseman to send the Smurfs scurrying home to safety quickly and to keep them from being captured by Gargamel. With that mission accomplished, Papa Smurf turns the Headless Horseman back into a goat.
On review aggregator Rotten Tomatoes, the film has an approval rating of 41% based on 124 reviews, with an average rating of 5.2/10. The website's critics consensus reads: "Mark Wahlberg is hard-working but miscast in Father Stu, an issue compounded by the way the movie fumbles its fact-based story."[33] Metacritic gave the film a weighted average score of 40 out of 100 based on 27 critics, indicating "mixed or average reviews".[34] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale, while those at PostTrak gave it a 91% positive score, with 76% saying they would definitely recommend it.[28]
What could be better this Father's Day than a movie that gives hope for those of us who may not have the perfect relationship with our dads? Henry Fonda plays the cantankerous Norman, who spends his summers at a home on Golden Pond. His estranged daughter chooses to stay with her family to mend her relationship with her father before it's too late.
Sometimes living up to your dad's legacy can be a big weight to carry. The Judge follows shady lawyer Hank Palmer, caught up in the trial of his judge father who's facing hit-and-run charges. Will his defense of his father save more than just prison time, but their relationship too? If you've ever struggled to live up to dad's big shoes, this film is for you.
Every stay-at-home dad will relate to the plight of Michael Keaton's character in this John Hughes comedy as he takes over the job of caring for his three kids. From dirty diapers to neighborhood drama, this movie has it all.
Any movie starring Tom Selleck is a must-watch in our book, but this comedy was practically made for Father's Day. Enjoy the antics of three successful, single roommates as they're forced to watch over an abandoned infant left in front of their New York City loft. Although they make pretty bad babysitters, they quickly develop an attachment to the adorable little girl.
Most dads love all of the movies in the Star Wars franchise, but this installment is particularly perfect for Father's Day. Luke confronts Darth Vader and hears the iconic line that tells the truth of his past: "Luke, I am your father." Also available for streaming.
Think your old man is too old for an animated movie? Think again! This Disney classic follows an anxious clownfish on his 1,5000-mile journey across the ocean to find his young son, who was taken by scuba divers. Marlin's determination to find Nemo proves that there's nothing a father wouldn't do for his child.
An all-star cast (Steve Martin, Jason Robards, Mary Steenburgen, Diane Wiest) makes for a very funny and very moving movie about the highs (home runs! birthday parties) and lows (deadbeat dads, learning differences) that are part and parcel with raising kids.
This might seem like a mother-daughter movie, but hear us out. While Lindsay Lohan and Jamie Lee Curtis's characters are busy getting on each other's last nerve, Mark Harmon plays the voice of reason as the loving stepfather who keeps his future wife and stepdaughter from going off the deep end.
Considering the large number of adverts inundating the average consumer daily on radio, television, bill boards among many others platforms, seeking other methods to reach clients in a subtler manner than traditional marketing messages becomes imperative. One of such tool is product placement which is a method of incorporating brand into film. However, despite being an effective tool of advert, it can have a downside when it comes to advertising and capturing the audience in a subtle way. If the placement is not subtle or too obvious, it can disturb the flow of the scene and further make the audience, shift attention to the advert rather than the plot of the film. Therefore, the aim of this paper is to carry out a brand recognition analysis using the Tripartite Typology of Product Placement, in the film, Papa Benji. The primary data was collected through content analysis while the secondary data were collected from scholarly journals and books. Findings demonstrate that the use product placement in Papa Benji outweighs the plot because it is incorporated both in an implicit and explicit way using both brand and script placement. Therefore, the need for marketers and film producers to devise unique ways of grabbing the attention of the viewer without causing disturbance to the flow of the plot becomes imperative. This is to enable film producers integrate brands without over-doing product placement.
Product placement in its most basic form is not a bad thing because it is an easy way for brands to advertise their products to cut costs. If done well, it should be unnoticed by the audience. However, when the product placement takes away from the plot of the movie and becomes a distraction, it becomes an issue. Viewers should be able to watch a movie and connect to the characters on their screen without feeling a subconscious need to buy something. The objective of this paper is to explore the Tripartite Typology of Product placement in the film, Papa Benji.
Among the existing media platforms for product placement, movies are increasing in popularity when targeting a worldwide audience and advertisers consider this to be a cost-effective option to reach an international market (Yee Chan, 2016). In view of the above, one can allude that product placement in movies or TV programmes have beneficial consequences for many stakeholders, ranging from more realistic scenes for viewers through lower production costs to greater sales of the placed product.
However, the increased use of product placement causes a problem. This rests on the notion that when it comes to product placement, being subtle is key. Therefore, in cases where a brand takes a significant role in the story, viewers many realise that the brand was placed to affect their judgements. Thus, it becomes a traditional advertising message, which is the exact opposite of what marketers are trying to achieve with the use of product placement. Even more, so many products in one film can take the viewers mind out of the movie and turn their focus to the products advertised. Therefore, the aim of this paper is to carry out a brand recognition analysis of the film, Papa Benji using the Tripartite Typology of Product placement as conceptualized by Russel (1998). 2ff7e9595c
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