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
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)
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)
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
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
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, silent movie queen Mary Pickford approached Walt Disney about making a feature film where she would play a live action Alice and would enter completely animated Wonderland. Mary Pickford had great admiration for Walt Disney's work, and she was the main force driving this planned film. In early 1933, an acquaintance of Mary's named Frank Reily suggested that Mary make an adaption of Alice in Wonderland with the aid of the Disney studio. Some of Mary's associates warned her against such an expensive venture during the midst of the great depression. Mary came to visit the studio when the project and overheard from story artist Ted Sears and composer Frank Churchill about a project in the works involving three little pigs and heard the song, Who's Afraid of the Big Bad Wolf. As well pitching her idea to Walt, she also told Walt, "If you don't make this cartoon about the pigs, I'll never speak to you again." Mary was right about this cartoon short as The Three Little Pigs (1933) became a massive success and the most popular cartoon short of the 1930's.
Despite this, Walt did not express much interest over Mary's suggestion for a live action/animated feature film. She wrote to Disney on April 26, 1933, stating that she disappointed by Walt's apparent lack of enthusiasm in that idea and that the idea would not be possible without him. She then approached Walt's concerns about money. She guaranteed that the film would make a profit similar to that of the amount of cartoon shorts that would make up a similar amount of footage. Mary even offered to pay Walt this amount over the period of production. She stated that after the cost of production was recouped that the amount she had advanced Disney would go back to her. She even offered to finance the movie herself. Eight days later Walt wrote back to her, "As I tried to explain to you on our last meeting, the apparent lack of interest on my part was due to my reluctance to work myself up into an enthusiasm which would lead to great disappointment should the deal fall through." Walt continued, "My business representatives have been awaiting word from you. They have been perfectly willing to get together with your representative at any time. But nothing has been done from your end which would indicate you seriously intended going ahead with this production. The tentative proposition which you outlined in your letter is the first definite step that you made towards working on our business proposition. I would suggest that you immediately delegate someone from your organization to get together with our business representatives and work out a mutual business arrangement. Until this is done, I do not feel justified in spending any time or thought on Alice or working myself into any enthusiasm over it. In closing I should like to say that I sincerely believe that a Pickford-Disney production of Alice would be a sensation." A month later Paramount having learned of this idea, snatched up the movie rights for Alice in Wonderland. On May 24, Mary wrote Walt from the Super Chief train that she had hopes that she could straighten out the problems that arose from Paramount having got the rights. She was unable to do this however and the project was abandoned. Paramount's Alice in Wonderland (1933) was released in late 1933. This live action movie had a cast of all-star actors hidden behind giant masks to make them resemble the book illustrations. The result left them unable to truly emote and made for a cold and stiff film adaptation. This movie ended up not only being an artistic failure but also a great disappointment at the box office. Mary would later play Alice but not on screen. She would play Alice in a stage production that started with a performance at New York's Paramount Theatre on December 22, 1933.
Though this Pickford-Disney 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 too 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 livelier 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 (best remembered as the 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 Mary Pickford: America's Sweetheart by Scott Eyman
A young boy joins a dangerous sea journey in which he befriends the pirate Long John Silver.
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
A young woman who is treated like a servant by her stepmother and stepsisters, dreams of going to a ball.
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 are 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
