20,000 Leagues Under the Sea

History and Review Written By Michael J. Ruhland










Michael's Movie Grade:A+
Year Released: 1954

                                                         History
In the early 1930's Disney's biggest competitor was the Fleischer Brothers studio. Their Popeye and Betty Boop cartoons equaled and often surpassed the popularity of the Disney's Mickey Mouse cartoons. So what is strange about 20,000 Leagues Under the Sea is that it was directed by Richard Fleischer, who was the son of Max Fleischer the head of that studio. This was towards the beginning of Richard's directorial career, he had mostly been doing low budget B pictures at this time, such as The Clay Pigeon, so this was a big change for him. However after this he would go on to direct such films as Tora, Tora, Tora, Soylent Green, and Conan the Destroyer. Richard Fleischer remembered being very surprised when Walt asked him to direct the film, because of who his father was. He wanted to ask his father if it was okay before he accepted Walt's offer. His dad told him that it was okay, but he said he wanted his son to tell Walt that he had a great taste in directors. Walt invited his old rival to lunch, and the two ex-rivals became good friends.

20,000 Leagues Under the Sea was the first time a live action Disney film had this big name of a cast. The cast included Kirk Douglas, Paul Lukas, James Mason, and Peter Lorre. In fact Charles Boyer was originally considered for that part that would be offered to  Paul Lucas. Kirk Douglas in fact learned to play the guitar for this film because his screen character here played guitar. Peter Lorre played a role that differed from his normal screen persona. In fact he said that the giant squid that attacked the ship, got the role that he would usually get. This was also the first Disney film to be shot in Cinemascope. After this nearly all Disney films would be in Cinemascope.

Director Richard Fleischer remembered that that 20000 Leagues Under the Sea was not an easy book to translate to film, because it did not have much in the way of a traditional story. Richard suggested that the studio give the job of writing the script to Earl Felton, who had previously worked with him on such films as The Narrow Margin and The Happy Time.

As would be excepted from a film like this getting the look just right was not easy, especially with a perfectionist like Walt Disney in charge. Much of the underwater scenes were actually shot off the coast of Nassau in the Bahamas. Though some of the more complicated scenes were shot on a sound stage with a giant tank of water. For some scenes Walt actually paid to use a water tank from Fox, and a back lot from Universal. The fight with the giant squid was especially difficult. The director remembered much trouble with the giant squid. Despite how much money was spent already making this scene, Richard and Walt deiced to save the shooting for later to figure out ways to improve it. After talking with screenwriter Earl Felton, Richard decided to have this scene take place at night during a storm, to both make the mechanics less obvious and to make the scene more exciting. It was much more expensive this way but Walt didn't care he just wanted to make a great film. Probably one of the biggest problems was that the fish would not swim in front of the camera, but they would rather go out of their way to avoid it. This was overcome by using animated fish. Also very important to this film was art director John Meehan. John Meehan had already won Academy Awards for his work on the films, The Heiress and Sunset Boulevard. His sets here were the most extravagant in a live action Disney film at this time. Also important to this film's look is cameraman Franz Planer, who had to both get used to the brand new Cinemascope and lighting on very difficult sets.

20,000 Leagues Under the Sea was the most expensive and extravagant live action Disney film made at this time, but it was also the most successful. Critics and audiences praised the film, and it made much more money than it cost. The film would also win the Academy Award for Special Effects and Color Art Direction.

An attraction based off this film was in Walt Disney World from 1971 to 1994. Set from the film could be seen in Disneyland from 1955 to 1966. The pie organ from this film can still be seen in The Haunted Mansion ride in Disneyland.

Review

Simply an incredible movie. Even today this still ranks as one of Disney's best live action films.

This film has such amazing atmosphere to it. The look of this film is excellent. The sets are simply breath taking. What is even more important these thing do not distract from the story, but rather add to it, and suck us into the world of this movie. Some of the effects may be dated today, but many of them hold up extremely well.

These characters are very compelling and complex. Captain Nemo is one of the main reasons to watch this film. His character is simply so fascinating. This is due heavily both to James Mason's acting, and a fantastic script. This is a character with so many layers, who you are both afraid of and eager to learn more about. Like the professor we are also afraid of his evilness, but in awe of the man as well. He remains one of the best characters to appear in a Disney film. In fact all the characters are quite fascinating in their own way and very well acted. Both the writing and acting in this film are near perfect.

This film is a masterpiece and remains one of Disney's best live action films.

                                                    Film Credits
Director: Richard Fleischer

Writer: Earl Felton

Based off the book 20,000 Leagues Under the Sea by Jules Verne

Cast: Kirk Douglas (Ned Land), James Mason (Captain Nemo), Peter Lorre (Conseil), Paul Lukas (Prof. Pierre Aronnax), Robert J. Wilke (First Mate of the Nautilus), Ted de Corsia  (Captain Farragut), Carleton Young (John Howard), J.M. Kerrigan (Old Billy), Percy Helton (Coach Driver), Ted Cooper (Mate), Chet Brandenburg (Sailor), John Daheim (Seaman), Jack Gargan (Reporter), Harper Goff (Minister), Fred Graham (Casey Moore), Charles Grodin (Drummer), Harry Harvey (Ticket Agent), Ray Linn Jr. (Sailor), Dayton Lummis (Reporter), Eddie Marr (Shipping Agent), Laurie Mitchell (Girlfriend), T. Monaghan (Crewman), Ron Nyman (Sailor), Gloria Pall (Girlfriend), Jack Pennick (Cannon Mate Carson), Robert Robinson (Sailor), Jack Stoney (Detective), S. Tarnell (Crewman), Herb Vigran (Reporter), Sailor Vincent (Sailor)

Producer: Walt Disney

Music: Paul J. Smith

Songwriters: Norman Gimbel, Al Hoffman

Cinematographer: Franz Planer

Editor: Elmo Williams

Production Design: Harper Goff

Art Directors: John Meehan, Harper Goff

Set Decorator:  Emile Kuri

Makeup Department: Louis Hippe, Emmy Eckhardt, Dan Greenway, Gustaf Norin, Lillian Rader

Production Managers: Fred Leahy, Frederic Leahy, Ed Ralph

Assistant Directors: Tom Connors Jr., James Curtis Havens, Russ Haverick, J. Matane

Art Directors: Bruce Bushman, Adam John Backauskas, Art Cole,Arden Cripe, J.C. Delaney, Juan Esquinta, Sandy Grace, Juan Haquinta, John Harris, John Hench, Roland Hill, De Nunsic, James Owens, Russell Ray, Freddie Stoos, Art Sweet, Karl Wiebach

Sound Department: Robert O. Cook, C.O. Slyfield, G.R. Danner

Effects: John Hench, Joshua Meador, Jim Donnelly, Lou Gray, Robert A. Mattey, Ub Iwerks, Ralph Hammeras, Charles Bovel, Marcel Delgado, Warren Wray Hamilton, Andy Lane, Fred Sersen, Albert Whitlock, Chris Mueller

Painter: Peter Ellenshaw

Camera Department: Til Gabani, Charles P. Boyle, Edward Colman, Tom Eddy, John Farrell, Jim Grady, Hadley, Paul Hill, Dick Johnson, Kauffman, James V. King, F. Bud Mautino, Morris Rosen, Charles Russell, Don Stott, Hal Swanson, Anthony Ugrin

Costume Department: Norman Martien, Harrington, Herman, Robert Martien, Robert Olivas, Ottras

                                                       Resources Used
The Disney Films by Leonard Maltin
http://www.imdb.com/title/tt0046672/?ref_=nv_sr_3
http://www.thedisneyfilms.com/search/label/20000%20Leagues%20Under%20the%20Sea
2000 Leagues Under the Sea DVD audio commentary by Richard Fleischer and Rudy Behlmer 

-Michael J. Ruhland

The Vanishing Prairie

Review and History Written By Michael J. Ruhland



























Michael's Movie Grade:C
Year Released:1954

                                              History
Right after the shooting finished on The Living Desert, shooting began on a second feature length nature documentary, to be called The Vanishing Prairie. Though The Vanishing Prairie took two years to make it was released less than a year after The Living Desert. This was because work on this film began while the other while the other was just beginning the editing process.

This would be made by much of the same crew as The Living Desert. This included director James Algar, photographer Paul Kenworthy, producer Ben Sharpsteen, narrator Winston Hibler, composer Paul J. Smith and more would return to work on this film. The crew on this film being pretty much the same probably had a lot to do with how close the two movies were being made. While it would slightly change from time to time, this is mainly the crew that would work on most of the feature length nature documentaries the studio did during the Walt era. Again you may notice some of the same people who worked on Disney's animated features in the credits here. Many of these people where surprised by this decision and didn't think they could pull it off but Walt had faith in them, so they did it. This is in contrast with Disney's modern nature documentaries which feature very little to none of the same crew you would see on an animated Disney film (the exception being producer Don Han).

The Vanishing Prairie marked one of the few times Disney had any trouble with the censors. This film had a scene in which a mother buffalo gives birth. The New York Censors hated this scene. Because of this the film was actually banned in the state of New York. Walt was rightfully shocked by this decision. The idea of censoring a Disney film shocked many people and many of them complained quite a bit about this. After enough complaints, the censors reluctantly lifted the ban. A review in the New Yorker stated, "I lived through this scene and I think you will too".

Around 120,000 feet of footage was shot for this film, but only 30,000 were used. This shows perfectly how strong Walt's Demand for perfection could be.

The Vanishing Prairie was a financial success. While there was still some of the humor critics hated in The Living Desert here it was lessened. Walt learned from the critics earlier complaints, and set out to make such improvements for this film. Because of this critics were much kinder to The Vanishing Prairie. This film once again won an Academy Award for best documentary feature.

                                   

Review

The Vanishing Prairie is a film with both great virtues, and huge faults.

The photography is still magnificent, and the ending scene needs to be seen to be believed. This incredible photography is still amazing today, and is just lovely to look at.

The narration and humor may be less intrusive this time, but they still are a big problem, though there is nothing here as cringe-worthy as the dance of the scorpions. I still feel that these films would be better off either without, or with less narration. The attempts at humor are really never that funny, and easily should have been left out. Worse though is the music that plays in these scenes. I am very rarely a fan of how films sometimes accompany what is supposed to be funny with music that tries to sound silly, but rather just sounds obnoxious.

However despite these huge faults, the photography is still amazing, and awe-inspiring. This again is quite faulted, but what works definitely makes it worth a watch.

Film Credits

Director: James Algar

Writers: James Algar, Ted Sears, Jack Moffitt, Winston Hibler

Narrator:  Winston Hibler

Producers: Walt Disney, Ben Sharpsteen

Music: Paul J. Smith, Joseph Dubin, Edward H. Plumb, Al Teeter

Photography: Lloyd Beebe, Dick Borden, Herb Crisler, Murl Deusing , Warren Garst, Cleveland P. Grant, Bert Harwell, Stuart V. Jewell, Paul Kenworthy, Tom McHugh, Olin Sewall Pettingill Jr., James R. Simon

Editor: Lloyd L. Richardson

Production Management: Erwin L. Verity

Sound Department: C.O. Slyfield, Harold J. Steck

Visual Effects Artists: Ub Iwerks, Joshua Meador, Art Riley

Resources Used

The Disney Films by Leonard Maltin

http://www.imdb.com/title/tt0047642/?ref_=ttfc_fc_tt

-Michael J. Ruhland

Rob Roy: The Highland Rouge

History and Review Written By Michael J. Ruhland















Michael's Movie Grade:D
Year Released:1954

                                             History
This would be the fourth and last of Disney's British films. These were live action films made in Britain because Walt Disney had money over there that he could not spend in the U.S.. This one would star Richard Todd, who had stared in two of the previous films, The Sword and The Rose, and The Adventures of Robin Hood. The female lead would be Glynis Johns who had played Princess Mary in The Sword in the Rose. It would also be produced by Perce Pearce, who had produced the previous three Disney British films. Also working here is the painter Peter Ellenshaw, who had previously painted backgrounds for The Sword and the Rose. However not returning would be Ken Annakin, who had directed The Adventures of Robin Hood and The Sword and the Rose. Ken Annakin was originally  set to direct Rob Roy, and would have gladly done it. However the J. Artur Rank Studio where Annakin had been making the majority of his films, refused to let him work on another film for Disney. The studio was all ready to drop Annakin's contract if he refused to comply. Annakin reluctantly agreed, and a new director Harold French was given the job. Harold French was a British director, who had directed such films as Adam and Evalyn, and Encore. This would be the only Disney film, Harold French would direct.

Of note is that Rob Roy was the last Disney feature to be distributed by RKO. For their previous feature, The Living Desert, Walt had created his own production company called Buena Vista, a company that still exists today. However he still had a contract with RKO, one that Rob Roy would complete.

The Studio made certain to state that this film was an originally story and not an adaption of Sir Walter Scott's novel.

Richard Todd liked to tell the story of how soldiers of the Korean War, who belonged to the Argyll and Sutherland Highlanders infantry regiment, were used for the battle scenes. He says they used the opportunity to get back at some non-commissioned officers. Todd also liked to tell the story of how during the first battle scene filmed, he injured himself by stepping in a rabbit hole.

Rob Roy was a critical success especially in England. Financially it was not a success in the U.S., but it did better in across the sea.


                                         

Review

By all accounts this should be a great movie, but for some reason it just isn't. It is hard to believe that the people who brought us The Story of Robin Hood and his Merrie Men. and The Sword and the Rose, could make a similar film that is simply so forgettable.

This is a slow paced film, yet it never uses this slow pace to it's advantage. There is little atmosphere, or character development that wouldn't work at a faster pace. In fact the characters are all just completely forgettable. Also for a Disney film there is just a complete lack of fun. There are really only two fun scenes, and these are great, but unfortunately these are the only fun scenes in the movie. For most of the film it just drags.

To be fair this film does have some good points as well. The battle scenes are well staged. The backgrounds are lovely and the acting is good. However these attributes have the problem of being hung onto very little, and can by no means save this film. 

Overall this is one of the weakest Disney films from the Walt era, and a sad end to the great string of Disney British films.

Film Credits

Director: Harold French

Writer: Lawrence Edward Watkin

Cast: Richard Todd (Rob Roy), Glynis Johns (Helen Mary), James Robertson Justice (John Campbell), Michael Gough (Duke of Montrose), Finlay Currie (Hamish MacPherson), Jean Taylor Smith (Marget Campbell), Geoffrey Keen (Killearn),  Archie Duncan (Dugall), Russell Waters (Hugh), Marjorie Fielding (Maggie), Eric Pohlmann (King George),  Ina De La Haye (Countess von Pahlen), Michael Goodliffe (Robert Walpole), Martin Boddey (General Cadogan),  Ewen Solon (Maj. Gen. Wightman), James Sutherland (Torcal), John McEnvoy (Nabby), Ian MacNaughton (Callum), Stevenson Lang (Keith),  Charles Hubbard (Alsdair), Campbell Godley (James), Ted Follows (Douglas), Lionel Thomson (Donald), James Stuart (Ian), Lewis Schwarz (Wallace), Hugh Evans (Gordon), Abe Barker (Duncan), Jock MacKay (Neil MacCallum), Howard Douglas (Donald Urquhart), Douglas Bradley-Smith (Bookseller), May Hallatt (Ballad Hawker), Hamilton Keene (Fort Commandant), Henry Hewitt (Lord Parker), Malcolm Keen (Duke of Marlborough), Andrew Laurence (Lord Chamberlain), David Keir (Servant), Rupert Evans (Fencible), Paddy Ryan (Fencible),  Paget Hunter (Earl of Berkeley), Derek Prentice (Viscount Townshend), Middleton Woods (Lord Carleton), Frank Webster (Lord Carteret), Robert Brooks Turner (Viscount Torrington), Rolph Hutcheson (John Treby), Max Gardner (Lord Evelyn),  Kitty MacLeod (Singer),  Marietta MacLeod (Singer)

Producers: Perce Pearce, Walt Disney

Music:Cedric Thorpe Davie,  Muir Mathieson, Clifford Vaughan

Cinematographer:  Guy Green

Editor: Geoffrey Foot

Production Designer: Carmen Dillon

Art Director: Geoffrey Drake

Costume Designer: Phyllis Dalton

Production Manager: Douglas Peirce

Assistant Directors: Gordon Scott, Jeremy Summers

Sound Recordist: Les Hammond

Special Effects: George Blackwell

Paintings: Peter Ellenshaw, Albert Whitlock

Stunt Man: Paul Baxley

Resources Used

The Disney Films by Leonard Maltin

http://www.imdb.com/title/tt0046246/?ref_=rvi_tt

http://www.thedisneyfilms.com/search/label/Rob%20Roy%3A%20The%20Highland%20Rogue

Caught in the Act by Richard Todd

-Michael J. Ruhland

The Living Desert

History and Review Written By Michael J. Ruhland

Michael's Movie Grade:C
Year Released: 1953
                                                           History
One thing that has to be remembered when talking about Walt Disney was that he was a constant experimenter. One of his biggest experiments was for the Disney studio to make live-action nature documentaries. Nearly everyone but Walt felt that this was a bad idea, but Walt persisted with it anyway. This series was dubbed The True Life Adventures. The first of these films was a short called Seal Island. RKO was not sure how to distribute that film as they felt it was too short for a feature and too long for a short. However this was released and it won an academy award. That short was directed by James Algar. James Algar had been a Disney animator on films like Snow White, and had also directed The Sorcerer's Apprentice segment of Fantasia. He was initially surprised when asked to direct live action nature documentaries, but Walt saw this talent in him. He would direct many True Life Adventures, including the film we are discussing here, The Living Desert. Also to work on True Life Adventures was Ben Sharpsteen, who had directed such animated Disney classics as Pinocchio and Dumbo. He would mainly work as a producer though he did direct some True Life Adventures.

RKO didn't like the True Life Adventures from the start, and didn't want the studio to keep making them. Walt grew tired of trying to please RKO. Therefore he created the Buena Vista Distribution Company. The Living Desert along with it's accompanying short film, a delightful cartoon called Ben and Me, became the first Disney films to be distributed by the Buena Vista Distribution Company. RKO would distribute a few Disney films after this but not many. RKO would close in 1957.

A UCLA student named N. Paul Kenworthy JR. had been studying in the American desert for a doctoral thesis. For this assignment he filmed his subject. Walt saw this film and decided it's photographer and it's subject matter would both be used for the first feature length True Life Adventure. Kenworthy would not only help photograph this film but he would also photograph for the next feature length True Life Adventure, The Vanishing Prairie, and co-direct the Disney feature Perri, which was also the first and only True Life Fantasy, and featured a lot of wildlife photography. He also later helped create the snorkel camera system for Daniel Petrie's 1973 Si-Fi film, The Neptune Factor.

The Living Desert became a huge box office success, and it even received an academy award for best documentary feature. The film also won an award at the 1954 Cannes Film Festival and another award at the Berlin Film Festival. This pleased Walt greatly because he had proven all those who didn't want him to make nature documentaries wrong. However not everybody was happy with the film. Critics were upset by the film inserting comedic narration. They were even more upset by a scene where through trick photography the film makers made it look like two scorpions were doing a square dance. They felt these devices betrayed the whole purpose of a nature documentary. Walt took these criticisms to heart and tried to avoid using these or similar devices in future True Life Adventures.

The Living Desert left a big impact on film history. It helped popularize feature length nature documentaries. It also lead to many more Disney nature documentary features, many of which are still being made today.

                                                              Review
Incredible nature photography, and less than incredible narration, and comedic moments.

Again the photography is incredible. It shows us nature's great artistry very well. It also shows that even in a desert, where one doesn't except to look for beauty it can be found. Certain images in this film are breathtaking, and need to be seen by all nature lovers. It amazes me how they were even able to get some of these incredible shots.

The narration and comedy are very unfortunate. Winston Hibler's narration could have honestly just been dropped. At times it feels like a boring school lecture we have had to sit through. It is just honestly not that entertaining or informative. At other times he is telling really bad jokes. Though these are not as cringe-worthy as the scorpion square dance. It is sad that these were added to what was otherwise a really good film. The photography is excellent and the film really didn't need to add anything to it. Especially since films like Dziga Vertov's The Man with a Movie Camera, have shown that great art can be made simply out of film photography.

Disney would make better feature length nature documentaries in the future, but this was a good if faulted start.

                                     Film Credits
Director: James Algar

Writers: James Algar, Winston Hibler, Ted Sears, Jack Moffitt

Narrator: Winston Hibler

Producers: Walt Disney, Ben Sharpsteen

Music: Paul J. Smith, Edward H. Plumb

Photographers: Robert H. Crandall, Paul Kenworthy, Don Arlen, Jack Couffer, Stuart V. Jewell, Tad Nichols

Editor: Norman R. Palmer

Sound Department: C.O. Slyfield, Harold J. Steck

Special Effects: John Hench, Ub Iwerks, Joshua Meador, Art Riley


                                          Resources Used
The Disney Films By Leonard Maltin
http://www.imdb.com/title/tt0046008/?ref_=ttfc_fc_tt
http://www.thedisneyfilms.com/search/label/Living%20Desert%20%28The%29


-Michael J. Ruhland

The Sword and the Rose

History and Review Written By Michael J. Ruhland

Michael's Movie Grade:B+
Year Released: 1953


                                            History
When The Sword and the Rose began production Walt wanted to keep the same crew from The Story of Robin Hood and His Merrie Men aboard. As such this film would as be directed by Ken Annakin, produced by Perce Pearce, written by Lawrence Edward Watkin, contain art direction by Cameron Dillon and star Richard Todd. This film would once again be made in Britain, because of money Walt had over there that he could not spend in the U.S.. Director Ken Annakin and art director Cameron Dillion were flown over to the U.S. to have a meeting with Walt and talk about the film. They were amazed at how efficient Walt was at going over the scripts and storyboards. Walt knew exactly what he wanted before filming had even started. Walt had a personal impact on ever scene in the film. The crew was allowed much freedom with some of the dialog however. A reason for this freedom was because Walt could not work directly with the actors since it was being filmed in Britain. One reason Walt was so passionate about this film is that he felt with it being a live-action costume drama, this could be his chance to win a best picture Oscar, this however was not the case.

With the basis of what this film would be about Walt Disney and Ken Annakin saw much room for incorporating paintings into the film. As such many of the backgrounds are paintings by Peter Ellenshaw, who would later work with Disney on Darby O' Gill and the Little People , 2000 Leagues Under the Sea, Mary Poppins and The Absent Minded Professor. Peter Ellenshaw was living in England at this time, but he would later move to the U.S. so that he could work more for the Disney Studio. He provided over 60 paintings to this film.

The Sword and the Rose did not do well in either Britain or the U.S.. The British were unhappy with how many liberties were taken with their history, and Americans just didn't see it. It didn't fare much better with critics, and it remains one of Disney's least known works to this day.

                                                     Review
What this film lacks in historical accuracy it more than makes up for in charm and sophistication. It is a delightful love story, that deserves to be better known among Disney fans. Part of the reason I think it isn't better known is because it is low on action, and high on romance, and therefore wouldn't be as exciting to Disney's younger fans. However for Disney's older fans it is a delight to watch.

The leads, Richard Todd and Glynis Johns, have great chemistry, and you really believe they are in love. Peter Ellenshaw's paintings are quite beautiful to look at, and they complement the rest of the film perfectly. Also complementing the film perfectly is Clifton Parker's music.

The love story itself is quite charming, and Princess Mary, our female lead, is a very well written character. Though the film is low on action, it does have a very exciting finale, which works all the more because, we took the time to get to know these characters well before any big action scene takes. However this finale goes by pretty fast.

Overall this is a lovely film that deserves more attention than it gets.


                                                      Film Credits
Director: Ken Annakin

Writer: Lawrence Edward Watkin

Based on the novel When Knighthood was in Flower by Charles Major

Cast: Glynis Johns (Princess Mary), Richard Todd (Charles Brandon), James Robertson Justice (King Henry), Michael Gough (Duke of Buckingham), Rosalie Crutchley (Queen Katherine), D.A. Clarke-Smith (Cardinal Wolsey), Ernest Jay (Lord Chamberlain), John Vere (Lawyer Clerk), Philip Lennard (Chaplain), Bryan Coleman (Earl of Surrey), Phillip Glasier (Royal Falconer), Jean Mercure (King Louis), Gérard Oury (Dauphin of France), Fernand Fabre (Ambassador of France), Robert Le Béal (Physician), Gaston Richer (Grand Chancellor), Helen Goss (Princess Claude), Patrick Cargill (Diplomat), Anthony Sharp (Dipomat), Caven Watson (Captain Bradhurst), Richard Molinas (Father Pierre), Hal Osmond (Costermonger), Norman Pierce (Innkeeper), Douglas Bradley-Smith (Squire), Ewen Solon (Guardsman), Rupert Evans (Bargeman), Paddy Ryan (Bargeman), Thomas Heathcote (Wrestling Second), Arthur Brander (First Mate), Russell Waters (Sailor), John Serret (Squire), Bob Simmons (Champion)

Producers: Walt Disney, Perce Pearce

Music: Clifton Parker (Composer), Muir Mathieson (Conductor), Royal Philharmonic Orchestra (Performers)

Art Director: Carmen Dillon

Assistant Art Director: Vernon Dixon

Cinematographer:  Geoffrey Unsworth

Film Editor: Gerald Thomas

Assistant Editors: Peter Boita, Charles Squires

Casting Director: Weston Drury Jr.

Costume Designer: Valles

Makeup Department: Biddy Chrystal, Geoffrey Rodway

Production Manager: Douglas Peirce

Assistant Directors: Peter Bolton, Alex Bryce, Colin M. Brewer, Peter Manley

Draughtsmen: Ernest Archer, Ron Benton, John Box, Ted Clements, Geoffrey Drake, Bruce Grimes, Stephen B. Grimes, Roger Ramsdell, Roy Walker

Sound Department: Bill Daniels, E.G. Daniels, C. Le Mesurier, Gordon K. McCallum, Dudley Messenger

Painter: Peter Ellenshaw

Assistant Painter: Albert Whitlock

Camera Department: David Harcourt, Cyril J. Knowles, John Cabrera , Steve Clayan, Bob Kindred,
George Courtney Ward

         
                                                  Resources Used
The Disney Films by Leonard Maltin
http://www.imdb.com/title/tt0046387/?ref_=ttsnd_snd_tt
http://www.thedisneyfilms.com/search/label/Sword%20and%20the%20Rose%20%28The%29


-Michael J. Ruhland

Peter Pan

History and Review Written By Michael J. Ruhland










Year Released:1953
Michael's Movie Grade:A+
 

                                             History
           Peter Pan was a film that was long in the making. Walt Disney had first tried to obtain the rights to the source material in 1935. In 1939, he would get the rights.  Walt Disney had an int rest in this story for most of his life. He even played Peter Pan in a school play. Peter Pan was one of the first ideas for a Disney feature, however due to many revisions, and the financial trouble for Disney during World War 2 (which would lead to the package features), it would become Disney's 20th feature. However you can see early work for the film in the background of The Reluctant Dragon, a Disney film released 12 years earlier.

The original idea was to start the film with a detailed retelling of Peter's backstory, but at a story meeting in 1940, Walt stated that he felt that they should get rid of this and start the story with Peter meeting the Darling children. This was done both to get the movie going and because much of Peter's backstory is unimportant to the story of the film. Another early story idea was to have Peter kidnap Wendy. Walt again decided against this as he felt it was too dark and made Peter unlikable. The early story ideas were in fact much darker in general involving Captain Hook's death, Mr. and Mrs. Darling mourning over their children which they presumed were lost  and a very creepy scene involving the children finding the pirate's treasure.

After Disney fell into financial trouble around 1941 Peter Pan was put on hold and work on the film would not resume until 1947. Part of this long break was also due to Roy Disney not thinking this film could do well at the box office. In 1949 a live-action reference film was shot. Posing for Tinkerbell in this reference film was Marget Kelly, and some sources even state that her design goes back to 1943. Either way it is near impossible for the character to actually be modeled after Marilyn Monroe as has been a persistent rumor. In 1943, Marilyn had not yet appeared in a single film, and by 1949 she had only appeared in very small roles.

An important role film holds is that this is the last Disney film for both animator Fred Moore and actor Bobby Driscoll. Fred Moore was one of the great Disney animators. He had redesigned Mickey to make him fit better into the more elaborate Disney animation of the 1930's and 40's, was the principal animator on the classic short The Three Little Pigs, the supervising animator on the Dwarfs in Snow White and Timothy in Dumbo, and animated the terrifying scene of Lampwick turning into a donkey in Pinocchio. In Peter Pan, he provided animation for the mermaids. He would die in a car crash before the film was finished. Bobby Driscoll was along with Luana Patten, one of the first two actors to have an exclusive contract with Disney, and the two were beginning of  Disney's long stream of child actors. Driscoll was a live action actor for Disney with Peter Pan being the only time he would voice an animated character for the studio. Here he would voice the title character, Peter Pan himself. Bobby was also the live action reference for the character.

This film broke most of the set rules for doing an adaption of Peter Pan. Peter was not played by a girl. Tinkerbell was not presented as a flash of light. The audience was not told to shout that they believe in Fairies. However the played by one rule. That was that Mr. Darling and Captain Hook had to be played by the same person. They were both voiced by Hans Conried here.

The film's directors would include the same three who directed Cinderella, and Alice in Wonderland. The three are Hamilton Luske, Clyde Germonimi, and Wilfred Jackson. Also directing is Jack Kinney. As a director of shorts Kinney had proven himself great at fast paced slapstick humor, making him a perfect director for Peter Pan.

All of Disney's Nine Old Men would animate on this film. Again they would be cast by character. Frank Thomas and Wolie Reitherman for Captain Hook, Ollie Johnson for Smee (a self-caricature), Marc Davis for Tinkerbell, Milt Kahl for Peter and the Darling Children, Ward Kimball for the Indians,  EiLason on M. Darling and so forth.

Peter Pan was the highest grossing film of 1953. Although some felt it strayed too far from the source material, it for the most part loved by the critics as well.

                         

 
                                                       Review
Excellent adventure film, stands out as one of the funnest Disney movies.

Peter Pan has what is possibly the best slapstick humor in any Disney feature. Everything with Hook, Smee and the crocodile is priceless. These jokes are fast well animated and most importantly very funny. The facial expressions during these scenes are just as funny as the jokes are.

Past that this is just a very likable film. Wendy is a great lead character, and again Kathrine Beaumont helps add more likability to this character, though this character is better written than Alice. The rest of the Darling family is also very likable. Hook is a great villain, both very funny and threatening. Smee is a very funny character due both to Ollie Johnson's animation and Bill Thompson's voice work. many have brought up that Peter himself can be a bit of a jerk at times, however I think this works to the film's advantage. As it gives Wendy both a message about keeping her childish side, and knowing when it's important to be grown up. Both these sides are very important and I think this film through Peter shows that perfectly. Also adding to the likability is how well the musical numbers fit into the film. There is not one musical number that is not part of the plot. They all advance the plot rather than interrupting it. Also again those familiar with Mary Blair's art will see it all over this film and love it.

Overall this is an excellent film that is simply very fun.

                                              Film Credits

 Directors: Hamilton Luske, Clyde Geronimi, Wilfred Jackson, Jack Kinney

Writers: Ted Sears, Erdman Penner, Bill Peet, Winston Hibler, Joe Rinaldi, Milt Banta, Ralph Wright, William Cottrell

Based on the play Peter Pan by J.M. Barrie

Voice Cast:  Bobby Driscoll (Peter Pan), Kathryn Beaumont (Wendy), Hans Conried (Hook, George Darling), Bill Thompson (Mr. Smee, other Pirates), Heather Angel (Mary Darling), Paul Collins (John), Tommy Luske (Michael), Candy Candido (Indian Chief), June Foray (Mermaid, Squaw), Connie Hilton (Mermaid), Margaret Kerry  (Mermaid), Johnny McGovern (Lost Boy), Jeffrey Silver (Lost Boy), Stuffy Singer (Lost Boy), Robert Ellis (Lost Boy), Tony Butala (Lost Boy), Tom Conway (Narrator)

Producer: Walt Disney

Music: Oliver Wallace

Songwriters: Sammy Fain, Sammy Cahn, Oliver Wallace, Ted Sears Winston Hibler, Erdman Penner

Sound Department: Robert O. Cook, C.O. Slyfield, Harold J. Steck

Editor: Donald Halliday

 Color Styling:  Mary Blair, John Hench, Claude Coats, Don Da Grad

Effects Animators: George Rowley, Joshua Meador, Dan MacManus, Blaine Gibson

Other Special Effects: Ub Iwerks

Layout Artists: Charles Philippi, McLaren Stewart, Tom Codrick, A. Kendall O'Connor, Hugh Hennesy, Ken Anderson, Don Griffith, Al Zinnen, Thor Putnam, Lance Nolley

Background Artists: Ralph Hulett, Ray Huffine, Art Riley, Thelma Witmer, Al Dempster, Dick Anthony, Dick Anthony, Eyvind Earle, Brice Mack, Art Landy

Supervising Animators:Milt Kahl, Frank Thomas, Wolfgang Reitherman, Ward Kimball, Ollie Johnston, Marc Davis, Eric Larson, John Lounsbery, Les Clark, Norm Ferguson

Animators: Hal Ambro, Bob Carlson, Eric Cleworth, Hugh Fraser, Jerry Hathcock, Bill Justice, Hal King, Don Lusk, Fred Moore, Cliff Nordberg, Ken O'Brien, Art Stevens, Harvey Toombs, Clair Weeks, Judge Whitaker, Marvin Woodward

                                                 Resources Used

http://www.thedisneyfilms.com/search/label/Peter%20Pan

http://www.bcdb.com/cartoon-characters/30-Peter-Pan

http://www.imdb.com/title/tt0046183/?ref_=ttfc_fc_tt

The Disney Films by Leonard Maltin

The Animated Movie Guide by Jerry Beck (contrubiting writer Martian Goodman)



-Michael J. Ruhland

The Story of Robin Hood and his Merrie Men

History and Review Written By Michael J. Ruhland

Year Released: 1952
Michael's Movie Grade:A-

                                                                         History

After making Treasure Island in Britain, the Disney Studio decided to make another live action film over in Britain. Robin Hood was chosen as the story idea, partly because it is a well known story that takes place in Britain. In fact, The Story of Robin Hood and His Merrie Men, unlike most Robin Hood films, had some scenes that were actually shot in the real Sherwood Forest. This live action Disney film would be made 21 years before the more well known animated Disney film. However this story was not new to the world of film, as there had previously been over 20 film versions of Robin Hood by that time. One of these was released just a year before this version, that version was The Tales of Robin Hood (directed by James Tinling and staring Robert Clarke). The most famous film versions of Robin Hood by this time were the 1922 version simply called Robin Hood (directed by Allan Dawn and produced, written by and staring Douglas Fairbanks), and the 1938 version The Adventures of Robin Hood (directed by Michael Curtiz and staring Errol Flynn), the later one Walt admitted he had never seen.

Robin Hood and His Merrie Men holds an important milestone in Disney history. It is the first live action Disney film to have a regular live action Disney director. All the previous Disney live action films had directors that would only work at the studio for one film, but this film's director would in the future direct more Disney films. The director would be Ken Annakin. Ken Annakin was a British director, who had previously directed such films as Trio and Quartet. In fact most of the crew on The Story of Robin Hood and His Merrie Men were in fact British, despite it being made for an American company. However unlike with Bryon Haskin (director of Treasure Island), Walt was able to spend much time talking to Annakin about the making of this film. Annakin remembered Walt telling him often about how the film should not be like any previous Robin Hood adaption, but should stand on it's own. Annakin would not only work on more Disney films in the future but also on some other British/American co-productions for other studios. These non-Disney co-productions would include films like Battle of the Bulge and  Magnificent Men in Their Flying Machines or How I Flew from London to Paris in 25 hours 11 minutes.

For the role of Maid Marian, Walt felt it should go to an actress named Joan Rice. Joan Rice had only appeared in two films before this. These films were 1951's Blackmail (directed by Marc Allégret), and One Wild Oat (directed by Charles Saunders), neither of which did she play a big role in. Not everybody working on The Story of Robin Hood and his Merrie Men liked this casting choice. Richard Todd, (who played Robin Hood) in particular, was unhappy with this feeling that the role should go to a more experienced actress. Todd would never warm up to her acting always feeling that the film would have been better with a different actress.

When the film was released it was a critical success, critics especially loving the rich environment and well written characters. Sadly I am unable to find any information on how the film did at the box office. However I will assume based on the fact that most of the cast and crew of this film would work with Disney again, despite many of them having this as their first Disney experience, it was at least a modest success, however this is an assumption and should not be taken as fact.

                                             
                                                     Review


Excellent Disney adventure film. Despite Disney's 1973 animated version being better known, this is easily the superior of two films.

These are some of the most likable versions of these characters ever put on screen. This is due both to Lawrence Edward Watkin's script and great performances from the actors. Despite Richard Todd's objections Joan Rice turns in a fine performance. As does Richard Todd, Peter Finch, and really the whole cast. This film puts a bigger emphasis on Robin and Marian's relationship than most Robin Hood films, and this relationship is handled beautifully. The two leads (despite Todd's objection to Rice being cast) have great on screen chemistry. You really buy and appreciate this romance.

This is one of Disney's best looking live action films. Guy Green's cinematography is excellent, as are the sets, and costumes. This film looks very lavish, and there is never a scene that doesn't have something great to look at. However this look does not distract you from the stories or characters. In fact it really enhances the story by giving it a great epic scope. This is especially true of the climax, which while a bit too short is very exciting, which would not work as well if the film didn't look so good.

Overall this is an excellent film that deserves much more attention than it gets.

                                         
                                              Film Credits



Director: Ken Annakin

Writer:  Lawrence Edward Watkin

Cast: Richard Todd (Robin Hood), Joan Rice (Maid Marin), Peter Finch (Sheriff of Nottingham), James Hayter (Friar Tuck), James Robertson Justice (Little John), Martita Hunt (Queen Eleanor), Hubert Gregg (Prince John), Bill Owen (Stutely), Reginald Tate (Hugh Fitzooth), Elton Hayes (Allan-a-Dale), Anthony Eustrel ( Archbishop of Canterbury), Patrick Barr (King Richard), Anthony Forwood (Will Scarlet), Hal Osmond (Much the Miller), Michael Hordern (Scathelock), Clement McCallin (Earl of Huntingdon), Louise Hampton (Tyb), Archie Duncan (Red Gill), Julian Somers (Posse Leader), Bill Travers (Posse Member), David Davies (Forester), Ivan Craig (Merrie Man), Larry Mooney (Merrie Man), Ewen Solon (Merrie Man), John French (Merrie Man), John Stamp (Merrie Man), Nigel Neilson (Merrie Man), John Brooking (Merrie Man), Charles Perry (Merrie Man), John Martin (Merrie Man), Richard Graydon (Merrie Man), Geoffrey Lumsden (Merrie Man), Jack Taylor (Merrie Man)

Producers: Walt Disney, Perce Pearce

Music: Clifton Parker

Songwriters: Eddie Pola, George Wyle, Elton Hayes, Lawrence Edward Watkin

Cinematographer: Guy Green

Editor: Gordon Pilkington

Casting Director: Maude Spector

Art Directors: Carmen Dillon, Arthur Lawson

Costume Designers: Michael Whittaker, Yvonne Caffin

Makeup Department: Geoffrey Rodway, Vivienne Walker, Gordon Bond, Trevor Crole-Rees, Ann Fordyce, Stuart Freeborn, Eddie Knight, Wally Schneiderman, Joan White

Production Managers: F. Sherwin Green, Anthony Nelson Keys, Douglas Peirce

Assistant Directors: Peter Bolton, Basil Keys, Kip Gowans, Peter Manley, Christopher Sutton

Second Unit Director: Alex Bryce

Sound Department: Winston Ryder, Reg Barnes Heath , Peter Davies, Basil Fenton-Smith, George Paternoster, Ken Rawkins, Fred Ryan, C.C. Stevens, Pat Wheeler

Still Photographers: Frank Bellingham, Charles Trigg, George Courtney Ward

Cameraman: David Harcourt

Assistant Cameraman:  Peter Hall

Assistant Editors: Deveril Goodman, Leslie Hodgson, Richard Marden, Terry Poulton, Henry Richardson


                                                            Resources Used
The Disney Films by Leonard Maltin
http://www.imdb.com/title/tt0045197/?ref_=rvi_tt
http://www.thedisneyfilms.com/search/label/Story%20of%20Robin%20Hood%20and%20His%20Merrie%20Men%20%28The%29



-Michael J. Ruhland

Alice in Wonderland

History and Review Written By Michael J. Ruhland











Year Released: 1951
Michael's Movie Grade:B+

                                                               History
Walt Disney's first association with Alice in Wonderland, was in the 1923 short film Alice's Wonderland. This film was made before the Disney studio was formed, and was directed by Walt Disney himself, and combined live action and animation. the point of that film was to reverse what the Fleshier Brothers had been doing with their Out of the Inkwell cartoons. In those cartoons an animated Koko the Clown entered a live action world. In Alice's Wonderland a live action girl (played by Virginia Davis) entered an animated world. This would morph into Walt Disney's first cartoon series. These would be called the Alice Comedies, and 57 of these films would be made.

Also before the studio embarked on Snow White, Mary Pickford approached Walt Disney about making a feature film where she would play a live action Alice and  would enter completely animated Wonderland. Though this film was never made, the idea persisted quite a while after, and as late as 1945 the idea of making a part animated and part live action animated feature was still on Walt's mind. Actresses such as Ginger Rodgers, Lisa Davis Waltz and Disney's own Launa Patten were all considered for the role of a live action Alice. It wasn't until 1946, that it was decided to make a completely animated version with no live action.

An art director picked out for the film was a man named David S. Hall. David S. Hall was a man who had never worked for Disney before, never would again, and his work doesn't even appear in this film. This would have been Hall's only foray into animation if it had worked out. He had previously done art direction for such films as Wee Willie Winkie (staring Shirley Temple and directed by John Ford), the 1939 version of The Three Musketeers (directed by Allan Dawn, and staring The Ritz Brothers), and Charlie Chan in Reno (directed by Norman Foster (who would later direct the Davy Crockett films for Disney, along with directing some segments for the Disneyland TV show) and staring Sidney Tolar). However Hall's designs for the film resembled John Tenniel's book illustrations too closely, that they became to difficult to animate. On top of this Al Perkins (who was a writer for Disney's Reluctant Dragon) wrote the original screen play, but it was too dark for Walt's liking. So these two men were replaced, and work on the film had to go back to square one.

The much needed new look for the film was heavily influenced by the design work of Mary Blair. Walt loved her work and it set the tone not only for the visuals, but the story as well. The film would become more comedic and lighthearted and the parts that didn't fit that mold would not be included.

Probably more than any animated Disney film before this the voice cast would hugely help make these characters into who they appear as on screen. The Mad Hatter and March Hare, would fit very well into the normal screen characters for Ed Wynn and Jerry Colonna. In fact Ed Wynn improvised much of his dialogue for the watch fixing scene. Katheryn Beaumont would be both the live action model for, and the voice for Alice. Much of what Alice's personality would be would come from this actress. Katheryn Beaumont would do the Alice voice for the Alice in Wonderland Ride at Disneyland, and she is still doing the voice for things such as the Kingdom Hearts games. Alice was originally going to have a Somewhere Over the Rainbow-esque song for this film, but Katheryn had difficulty singing it and Walt worried that starting the film with a slow ballad was too risky a thing to do. So instead we got a more lively number the Katheryn felt more comfortable singing near the beginning. She was only ten years old when doing this voice and she would in fact be schooled partly on the Disney lot. Just to bring it up Janet Waldo (voice of Judy Jetson) was once considered for the voice of Alice, and even though she didn't get the part in this film, she would later voice Alice in the 1966 Hanna-Barbera TV movie  Alice in Wonderland or What's a Nice Kid Like You Doing in a Place Like This?.

This film would have the same directors as Cinderella did. These directors would be Clyde Geronimi, Wilfred Jackson, and Hamilton Luske. Again the supervising animators would be all nine of Disney's Nine Old Men, plus Norm Ferguson. Again also, supervising animators would be cast by character, such as: Marc Davis for Alice, John Lounsbery for the flowers and the Cheshire Cat, Frank Thomas for the Queen of Hearts, Ollie Johnson for the King of Hearts, Ward Kimball for The White Rabbit, Tweedledee and Tweedledum, Mad Hatter, March Hare and The Walrus, Eric Larson for Dinah and the Caterpillar, Milt Kahl for Alice's Sister, and so forth.

Sadly Alice in Wonderland lost money at the box office. Walt would blame it on the film lacking the warmth of the most popular Disney films, and believed he shouldn't have made a film based off a book that he definitely couldn't please many fans of the book.

                                                                   

                                               Review
Considering how hard of books these are to adapt, it is amazing how good this film is. It is full of great artwork, very funny slapstick humor, and complete craziness.

The design work on this film is downright amazing. Those familiar with the work of Mary Blair will notice some of her best work all over this movie. This work is not only beautiful to look at but it draws you into the madness of the film.

Alice may be underwritten compared to her book counterpart, but she is fantastically handled by both excellent animation from Marc Davis, and fantastic voice work from Kathryn Beaumont. These both give a great personality to this version of Alice, and more so than the film's writers gave her.

The humor is excellent the film is simply very funny, and great animation work just brings that to life perfectly. Which makes me wish certain really funny scenes from the books had been included. In fact as a fan of the Alice books and this film, there are so many scenes from the book I wish had been in this film, because I know Disney could have done them quite well.

The biggest fault of this film is that even though it has the most songs put into a Disney film at this point, none of the songs are as memorable as the ones from some other Disney films. However they are pleasant but not up to Disney standards.

Overall this is a great film, that does surprisingly well at adapting, this hard to adapt source material.

                                                            Film Credits

Directors: Clyde Geronimi, Hamilton Luske, Wilfred Jackson

Writers:  Winston Hibler, Bill Peet, Joe Rinaldi, William Cottrell, Joe Grant, Del Connell, Ted Sears, Erdman Penner, Milt Banta, Dick Kelsey, Dick Huemer, Tom Oreb, John Wallbridge

Based on the books Alice's Adventures in Wonderland and Through the Looking Glass by Lewis Carol

Voices:  Kathryn Beaumont (Alice), Bill Thompson (White Rabbit, Dodo), Heather Angel (Lorina - Older Sister of Alice), Joseph Kearns (Doorknob), Ed Wynn (Mad Hatter), Jerry Colonna (March Hare), James Macdonald (Dormouse), J. Pat O'Malley (as Pat O'Malley) (Walrus, Carpenter, Tweedledum, Tweedledee), Richard Haydn (Caterpillar), Queenie Leonard (Bird in the Tree), Sterling Holloway (Cheshire Cat), Verna Felton (Queen of Hearts), Dink Trout (King of Hearts), Doris Lloyd (The Rose), Bill Lee (Card Painter), The Mellonmen (Cards), Don Barclay (Card), Larry Grey (Bill), Marni Nixon (Singing Flowers), Norma Zimmer (White Rose)

Producer: Walt Disney

Music: Oliver Wallace

Songwriters: Bob Hilliard, Sammy Fain, Don Raye, Gene de Paul, Mack David, Al Hoffman, Jerry Livingston, Oliver Wallace, Ted Sears

Production Supervisor: Ben Sharpsteen

Editor: Lloyd L. Richardson

Sound Department: Robert O. Cook, Harold J. Steck, C.O. Slyfield

Effects Animators: Josh Meador, Don MacManus, Gorge Rowley, Blaine Gibson

Special Effects: Ub Iwerks

Color Styling: Mary Blair, John Hench, Ken Anderson, Claude Coats, Don DaGradi

Layout Animators: McLaren Stewart, Tom Codrick, Charles Philippi, A. Kendall O'Connor, Hugh Hennesy, Don Griffith, Thor Putnam, Lance Nolley

Background Artists: Ray Huffine, Art Riley, Dick Anthony, Brice Mack, Thelma Witmer

Supervising Animators: Milt Kahl, Ward Kimball, Frank Thomas, Eric Larson, John Lounsbery, Ollie Johnston, Wolfgang Reitherman, Marc Davis, Les Clark, Norm Ferguson

Animators: Hal King, Judge Whitaker, Hal Ambro, Bill Justice, Phil Duncan, Bob Carlson, Don Lusk, Cliff Nordberg, Harvey Toombs, Fred Moore, Marvin Woodward, Hugh Fraser, Charles Nichols

                                                Resourses Used
http://www.bcdb.com/cartoon-characters/29-Alice-In-Wonderland
http://www.imdb.com/title/tt0043274/?ref_=rvi_tt
The Disney Films by Leonard Maltin

-Michael J. Ruhland

Treasure Island

History and Review Written by Michael J. Ruhland

Year Released: 1950
Michael's Movie Grade:B+

                                                      History
Treasure Island was the first Disney film, not to feature any animation. While Disney had made 2 live action films earlier, both of those films had some animation in them. In fact Walt had originally thought of doing this film as an animated feature, but he quickly realized he did not need any animation.

Disney films had be doing quite well in Britain, but the government did not allow the money they made over there to be spent in the U.S. Partly because of this Walt decided to make some of his studio's live action films over in Britain. So this entire film was shot over in Britain. However this brought a unique problem. Disney live action regular Bobby Driscoll was cast to play Jim Hawkins. However he could only get a three month work permit in Britain. So all of his scenes had to be shot first, and out of order. His main co-actor would be British actor Robert Newton, and he would do something quite important with his role as Long John Silver. He is often credited with creating the stereotypical pirate speech for this film. So anyone who has jokingly talked like a pirate has this film to thank.

As Disney had not yet found a regular live action director, this film again would be directed by someone who had never worked at Disney before or after. This director would be a man named Byron Haskin. Bryon Haskin had previously worked not only as a director (I Walk Alone), but also as a cinematographer (Across the Pacific, Black Fury), and a special effects man (The Roaring Twenties, All This and Heaven Too, High Sierra). As you can see from this he had already worked with some of the biggest names in Hollywood, on some great movies before this film. He would later direct a sequel film to Treasure Island, called Long John Silver, released 5 years later. Interestingly this film would not be made at Disney but for Treasure Island Pictures Pty. Ltd., a studio that made only that one film. It would also star Robert Newton as Long John Silver. Because this movie was being filmed in Britain, Walt would have less to do with this this film than ever before. Because of this Haskin had more freedom than any Disney director had before him had (except of course Walt on some of the shorts he directed himself).

Treasure Island while not one of Disney's greatest hits, did make money at the box office. The critics did pan it for taking to many liberates with the novel, but today it is considered one of the closet adaptions of the book.

                                                             Review
Possibly the best film adaption of Treasure Island. While it does lag at times, it is filled with enough truly excellent moments to more than make up for that.

Treasure Island features many moments full of great film making. F.A. Young's cinematography and the work of all those who worked on the sets are particularly great, and add much to nearly every scene. Haskin was a great choice for director. What really makes this film work is the seriousness and intensity the material is treated with. While there is nothing inappropriate for kids, there are quite a few scenes that can be quite shocking and intense, that may surprise those who just view Disney films as just sugar coated escapism. These scenes are completely gripping and would alone make this film worth watching.

Just as great is the film versions of Jim Hawkins and Long John Silver. These characters are extremely vivid and memorable, and often steal the scenes they are in. These great characterizations are achieved though both Lawrence Edward Watkin's script and the performances of Bobby Driscoll and Robert Newton. Unfortunately though the other characters are not as memorable as these two, and often times feel underdeveloped. While not boring we never feel like we truly know them.

Overall this is a great adaption of Treasure Island, and a great film in it's own right. A very well made film and a great beginning for Disney films without animation.

                                                    Film Credits

Director: Bryon Haskin

Based on the book by Robert Louis Stevenson

Writer: Lawrence Edward Watkin

Cast: Bobby Driscoll (Jim Hawkins), Robert Newton (Long John Silver), Basil Sydney (Captain Smollett), Walter Fitzgerald (Squire Trelawney), Denis O'Dea (Dr. Livesy), Finlay Currie (Capt. Billy Bones), Ralph Truman (George Merry), Geoffrey Keen (Israel Hands), Geoffrey Wilkinson (Ben Gunn), John Laurie (Blind Pew), Francis De Wolff (Black Dog), David Davies (Mr. Arrow), John Gregson (Redruth), Andrew Blackett (Gray), William Devlin (Morgan), Howard Douglas (Williams), Harry Locke (Haggott), Sam Kydd (Cady), Stephen Jack (Job), Harold Jamieson (Scully), Diarmuid Kelly (Bolen), Reginald Drummond (Vane), Gordon Mulholland (Durgin), Patrick Troughton (Roach), Jim O'Brady (Wolfe), Chris Adcock (Pike), Tom Lucas (Upson), Leo Phillips (Spotts), Eddie Moran (Bart), Bob Head (Tardy), Ken Buckle (Joyce), Paddy Brannigan (Hunter), Jack Arrow (Norton), Freddy Clark (Bray)

Producers: Perce Pearce, Walt Disney, Herbert Smith

Music: Clifton Parker

Cinematography: F. A. Young

Editor: Alan Jaggs

Production Design: Thomas N. Morahan

Costume Design: Sheila Graham

Casting: Maude Spector

Assistant Directors: Mark Evans, George Fowler, Gordon Heaver, Pat MacDonnell, David W. Orton

Makeup Department: Tony Sforzini, Vivienne Walker, R.L. Alexander, Olga Angelinetta, Gladys Atkinson, Sarah Beber, Gene Beck, Frances Dobson, Betty Dymore, Vera Franklin, Eddie Knight, Ann Morley, Alice Piper, Nora Ridgeway, Geoffrey Rodway, Grace Spellacey, Pearl Tipaldi, Sidney Turner, Joan White, Joyce Wood

Production Managers: Douglas Peirce, Fred Leahy

Art Department: Len Banks, W. Evans, R.H. Gillard, Bert Jempson, Norman Lloyd, Basil Mannin, Bill Nason, Bert Norman, M. Quick, J. Ralph, Fred Richards, W. Searle, George Smith, F. Stannard, Pat Ward, R. Wingfield, Wally Young

Sound Department: Kenneth Heeley-Ray, Geoffrey Daniels, Peter Davies, David Hildyard, Anthony J. Kay, Jack Locke, Austin Partridge

Camera Department: L. Cave-Chinn, Skeets Kelly, Stanley W. Sayer, Harry Baker, Frank Bellingham, Tom Gardner, Arthur Ibbetson, Bob Kindred, Frank Kingston, William Leach, Don Lewis, George Pink , Derek Whitehurst

Costume Department: Fred Birch, Bert Brown, Fred Pridmore

Assistant Editors: Dennis Gurney, Dennis Sawyer, Charles Squires

                                            Resources Used
http://www.imdb.com/title/tt0043067/?ref_=rvi_tt
http://www.thedisneyfilms.com/2009/12/treasure-island-1950.html
The Disney Films by Leonard Maltin

-Michael J. Ruhland

Cinderella

History and Review Written By Michael J. Ruhland













Year Released:1950
Michael's Movie Grade: A-

                                                          History
Cinderella was one of the most important films for Disney. This film remarked the return to a feature length animated story as apposed to a package film. This would be one of the greatest risks Disney would ever take. If Cinderella did not do well at the box office, than the studio would have gone bankrupt, and the Disney company would not exist today. The amount of money used to make Cinderella was staggeringly more than any of the package films or their previous two mostly live action films. Especially considering the financial failure of Pinocchio, Fantasia, and Bambi, this is a risk no other Hollywood studio would have made.

The choice for the source material was a simple one. Cinderella was in fact Walt's favorite fairy tale. In fact this 1950 version was not the first time Walt Disney had worked on a film version of Cinderella. In 1922 Walt directed a short cartoon version of Cinderella entitled Cinderella. There is very few similarities between the two films however.

The source material was also chosen because Snow White and the Seven Dwarfs had been the biggest hit the studio had had up to this time, so it was decided that a romantic fairy tale about a princess having her dreams come true would be a good idea for a return to animated feature length stories for Disney.

Cinderella plays another important role in Disney history, it was the first film that all of Disney's Nine Old Men worked on, Disney's Nine Old Men were Ward Kimball, John Lounsbery, Marc Davis, Frank Thomas, Ollie Johnson, Les Clark, Eric Larson, Wolfgang Reithman, and Milt Kahl. These were who Walt Disney personally considered the best Disney animators, and men who he felt he could put his complete trust in. Though they had all been at Disney for a while, and all have done some very important work, Cinderella marks the first time they had a worked on the same film. This is mainly due to often times multiple features would be worked on at once, so different animators were assigned different characters. As with earlier Disney feature length animated stories supervising animators would be cast by character. For instance in this film, Marc Davis and Eric Larson would be the supervising animators for Cinderella herself, Ward Kimball and John Lounsbery would be the supervising animators for the mice, along with Lucifer the cat and Bruno the dog, Milt Kahl would be in charge of the Fairy Godmother, the prince, the king and the duke, Frank Thomas would be in charge of the evil stepmother, Ollie Johnson for the ugly stepsisters, and so forth. The directing team for Cinderella was made up of Disney regulars Hamilton Luske, Wilfred Jackson, and Clyde Geronimi, who would return as the directors for Disney's next animated feature, Alice in Wonderland.

Though it had been used in earlier animated Disney films, Cinderella used much more live action reference then Disney has ever used before in an animated film. It is estimated 90% of the movie was first shot in live action before the animation begun. This was done to not only get the animation done quicker, but also cheaper, because the animators would not need to animate as many different drafts of one scene.

Like in Snow White the studio could not find a way to make the prince that interesting, because of this his part in the film was shortened, and a few scenes that revolved around him were cut from the final film.

Cinderella was just the hit Disney needed at this time, a big one. It caused a sensation and audiences had renewed the excitement they felt for Snow White. No Disney film had made as much money since Snow White, 13 years earlier. Disney was now back in the game of making animated feature length stories, something of course the studio still does to this day.

                                                                Review
Cinderella is simply a very lovely film. It is full of great film making, and great animation, but most of all it is very charming, and a great feel good movie.

The animation in the film is simply top notch. I have a particular fondness for Ward Kimball and John Lounsburry's work on Lucifer the cat. His facial expressions are simply hilarious, and bring an energy and likability to a character that could have easily been bland and one note. The scene where he is looking for Gus under the tea cups, features some of the funniest animation to ever be in a Disney film.

The film making in Cinderella is simply fantastic. The scene where Cinderella sings Sing Sweet Nightingale features some very impressive filmmaking and it ranks among one of the greatest scenes in Disney history.  The scene where Cinderella is locked in her room, brings us echos of Hitchcock, and does so brilliantly. As well the dress tearing scene marks not only one of Disney's most emotional moments, but is brilliantly staged. I could go on but this film is full of brilliant little touches that enhance the movie a lot.

However this film has some faults as well. With apologies to voices artists James McDonald,  Clint McCauley, Helen Seibert, June Sullivan, and Lucille Williams, the mice's voices can be annoying at times, and their song number is not that great. Also though an improvement over the prince in Snow White, the prince is still a bland character. However with how great the rest of the film is it is easy to forgive these minor faults.

 Overall this is simply a very lovely film, that is full of charm and beauty. 



                                                            Film Credits

Directors: Wilfred Jackson, Hamilton Luske, Clyde Geronimi

Based off the original story by Charles Perrault.

Written By: Bill Peet, Ted Sears, Homer Brightman, Ken Anderson, Erdman Penner, Winston Hibler, Harry Reeves, Joe Rinaldi

Voices: Ilene Woods (Cinderella), Eleanor Audley (Lady Tremaine), Verna Felton (Fairy Godmother), Luis Van Rooten (King, Grand Duke), James Macdonald (Gus, Jaq, Bruno), June Foray (Lucifer), William Phipps (Prince Charming), Mike Douglas (Prince Charming (Singing Voice)), Don Barclay (Doorman), Rhoda Williams (Drizella, Tremaine), Lucille Bliss (Anastasia Tremaine), Lucille Williams (Perla), Clint McCauley (Mice), Betty Lou Gerson (Narrator), Helen Seibert (Mouse), June Sullivan (Mouse)

Producer: Walt Disney

Production Supervisor: Ben Sharpsteen

Editor: Donald Halliday

Music: Paul J. Smith, Oliver Wallace

Songwriters: Mack David, Jerry Livingston, Al Hoffman

Assistant Directors: Mike Holoboff, Larry Lansburgh, Ted Sebern

Sound Department: Robert O. Cook, C.O. Slyfield, Harold J. Steck

Effects Animators: George Rowley, Josh Meador, Jack Boyd

Special Effects: Ub Iwerks

Color Styling: Mary Blair, Claude Coats, John Hench, Don DaGradi

Layout Artists: Mac Stewart, Tom Codrick, Lance Nolley, Don Griffith, A. Kendall O'Connor, Hugh Hennesy, Charles Philippi, Thor Putnam

Background Artists: Brice Mack, Ralph Hulett, Dick Anthony, Art Riley, Ray Huffine, Merle Cox, Thelma Witmer

Supervising Animator: Eric Larson, Milt Kahl, Frank Thomas, John Lounsbery, Wolfgang Reitherman, Ward Kimball, Ollie Johnston, Marc Davis, Les Clark, Norm Ferguson

Assistant Animator: Iwao Takamoto

Animators:  Don Lusk, Hugh Fraser, Fred Moore, Judge Witaker, Marvin Woodward, George Nicholas, Phil Duncan, Hal King, Harvey Toombs, Cliff Nordberg, Hal Ambro, Ken O'Brien, Edwin Aardal, Blaine Gibson, Jerry Hathcock, Dan MacManus, John McManus

                                                           Resources Used
http://www.imdb.com/title/tt0042332/?ref_=ttfc_fc_tt
http://www.bcdb.com/cartoon-characters/28-Cinderella
The Disney Films by Leonard Maltin

-Michael J. Ruhland