Sleeping Beauty

Posted on October 6, 2008 at 6:00 am

Disney’s gorgeous “Sleeping Beauty” is out in a magnificent new Diamond edition this week. This classic should be in the library of every family and every animation fan.

The King and Queen happily celebrate the birth of their daughter, Princess Aurora. The young Prince who is betrothed to the baby and three good fairies, Flora, Fauna, and Merryweather, join the celebration. But wicked Maleficent, a bad fairy, is enraged when she is not included. She arrives at the party to cast a spell on the baby Princess. When she turns 16, she will prick her finger on the spindle of a spinning wheel, and die.

The good fairies cannot remove the spell, but they change it from death to a deep sleep from which Aurora can be awakened only by love’s first kiss. The King and Queen try to protect the princess by sending her off with the good fairies to live in a tiny cottage in the woods until her sixteenth birthday is over. They cannot use their magic powers because it would lead Maleficent to the princess. Aurora (called Briar Rose) grows up. Out in the woods, she meets the Prince, and they fall in love, not knowing they are already engaged. But the fairies prepare for her birthday party and argue about whether the dress they are making for Aurora should be pink or blue, and cannot resist using their magic. Maleficent discovers where they are and is able to make Aurora prick her finger and fall into a deep sleep. Maleficent also captures the prince to make sure he cannot break the spell. After the fairies help him escape, Maleficent turns herself into a dragon to stop him. He kills the dragon and wakes Aurora with a kiss. At her birthday party, they dance, not even noticing that her dress turns from blue to pink as the fairies continue to argue about the color.

In this classic story, as in “Snow White,” a sleeping princess can only be awakened by a kiss from the prince. Psychiatrist Bruno Bettelheim and others have written extensively about the meaning of these stories, and the ways in which they symbolize the transition to adulthood and sexual awakening. Bettelheim’s theory was that such fairy tales begin to prepare children for developments they are not ready to assimilate consciously.

There is no reason to discuss this interpretation with children, of course. But it is worthwhile to talk with them about Maleficent, one of Disney’s most terrifying villains, and why her bitter jealousy makes her so obsessed with vengeance. Is that what she really wants? Isn’t she doing exactly the opposite of what is required to achieve her real goal, acceptance? Children also enjoy the little squabbles of the three good fairies, which may remind them of arguments with their siblings.

Extras on this new edition:

· Art of Evil: Generations Of Disney Villains – This legacy piece spotlights Disney’s favorite villain animator, Marc Davis and his infamous creations of characters such as Maleficent and Cruella. Throughout the piece, we will talk to modern day animators like Andreas Deja and also the new generation of Animators (Lino DiSalvo Animation Director of FROZEN) on how Marc’s designs and characters influenced what they do today.

· DisneyAnimation: ARTISTS IN MOTION (Extended Edition) – Join Walt Disney Animation Visual Development artist Brittney Lee as she goes through the process of creating a three dimensional sculpture of Maleficent, completely out of paper. In this extended edition, go deeper into Britney’s process

· Never Before Seen Deleted Scenes:
o The Fair (With Deleted Character – The Vulture) – In this version of the story, the fairies do not take the Princess to live with them in the forest. Convinced that King Stefan’s order to burn all the spinning wheels in the kingdom will not prevent Maleficent’s curse, the good fairies put a magic circle around the castle and cast a spell: “No evil thing that walks or flies or creeps or crawls can ever pass these castle walls.”
o The Curse is Fulfilled – The three good fairies have just returned Aurora to the castle and give her a crown. They leave the room to give Aurora some time alone…but Maleficent pays her a visit.
o Arrival Of Maleficent (Alternate Scene) – Maleficent arrives uninvited to the christening of the Princess Aurora.

https://www.youtube.com/watch?v=XdJpXFVunJ0&list=UU4IEmIzWf_X4lEPtGm7kgzQ

· BEAUTY-OKE “Once Upon A Dream” – Sing along to this kinetic text video of Aurora’s signature song.

· Classic DVD Bonus Features Include:
o The Sound Of Beauty: Restoring A Classic – This featurette covers the creation of the 7.1 mix of the score of Sleeping Beauty that was done for Blu-ray, using the source tapes from the original recording sessions resulting in an audio experience of superior quality with greater detail and fidelity that you have ever heard before.

o Picture Perfect: The Making Of Sleeping Beauty – Discover the behind-the-scenes magic that transformed a beloved fairy tale into a cinematic work of art. Legendary Animators, actors and film historians reveal the secrets behind Disney’s masterpiece.

o Eyvind Earle: A Man And His Art – Early in his career, renowned American Artist Eyvind Earle worked as a background painter at the Walt Disney Studio. Walt Disney liked his work so much that he entrusted him with the assignment to be the Art Director for Sleeping Beauty. This was the first time that one artist was given the responsibility for the entire look on one of Disney’s animated features. This piece follows Earle’s development as an artist and his years at the Studio.
o Audio Commentary by John Lasseter, Andreas Deja and Leonard Maltin

Dr. Horrible — This Weekend Only!

Posted on July 19, 2008 at 10:30 am

Until midnight tomorrow you can watch a new three-act musical from Joss Whedon (“Buffy the Vampire Slayer,” “Firefly”) online. It is the story of Dr. Horrible (a sensational Neil Patrick Harris) and his nemesis, the very manly Captain Hammer (Nathan Fillion of “Firefly” and “Waitress”). And of course there is a girl, Felicia Day as Penny.

Mary Elizabeth Williams of Salon says:

So you’ll have to forgive me if I lapse into slavish overpraise here for Dr. Horrible’s Sing-Along Blog, the utterly brilliant singing, dancing, Web-only action-adventure you and your brothers have cooked up. I hope it doesn’t sound like hyperbole when I say that Dr. Horrible is better than kittens and sunshine and cheese. Doled in three tantalizing, quarter-hour-long nuggets (the first two went up earlier this week, the conclusion debuts July 19), “Dr. Horrible” stars an impeccably dorky Neal Patrick Harris as a would-be supervillain who pines for his lovely laundromat crush, Penny (a luminous Felicia Day), while battling nemesis and rival Captain Hammer, a musclebound jerk played with idiot bravado by “Firefly’s” Nathan Fillion. Will Horrible create his freeze ray and earn his way into the Evil League of Evil? Will he get the girl? Tuneful, hilarious and, in typical Whedon fashion, unabashedly tender, the only thing wrong with Dr. Horrible is that the damn thing isn’t a regular series.

It has already inspired responses like this one from a would-be sidekick:

After Sunday night, it will be available only on DVD, so watch it online while you can! (NOTE: Brief mature material)

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Musical Satire Shorts Superhero

Step Up 2 the Streets

Posted on July 15, 2008 at 8:00 am

step%20up%202.jpg Isn’t it too soon for a remake of “How She Move,” which came out less than a month ago? “How She Move” itself felt like a remake of all of those “You Got Served”/”Stomp the Yard”/”Save the Last Dance”/”Step Up” movies that are the 21st century version of the interchangeable series of Mickey Rooney and Judy Garland movies. Kids get together to put on a show, setting off a few romantic sparks and learning an important life lesson or two about loyalty and the importance of being yourself along the way, possibly overcoming some past loss as well.
The structure is as invariable as a sonnet. A teenage boy and girl from different backgrounds with different styles have to find a way to work together in time for the big dance competition. And they ramp up the dramatic weight of the competition with something else to prove, something more at stake, and some adult in the dancer’s life who must achieve a new understanding of how important this all is. Unlike most sequels, this does not repeat the characters from the original; it just repeats the story. The only thing that matters about the plot is that it gets out of the way of what we’re really here to see – the dance numbers. And by that standard, despite the dumbest teen dance sequel title since 1984’s “Breakin’ 2: Electric Boogaloo” and teen lingo so out of date they might as well call the dance steps “groovy,” “Step Up 2 the Streets” succeeds.
Andie (Briana Evigan, daughter of television star Greg Evigan) is the street girl whose mother died of cancer and who feels the only family she has left is her hip-hop “crew” that competes in street dance competitions. An old friend (Channing Tatum, in a brief reprise of his role in the original “Step Up”) arranges for her to audition at the Maryland School of the Arts, where her fresh moves capture the attention of Big Man on Campus Chase Collins (Robert Hoffman). Chase’s brother, the ballet dancer who runs the school, is less impressed. When her old crew kicks her out for missing rehearsals, Andie and Chase put together a new crew made up of the school’s misfits and outcasts, just in time for the big competition.
The dances are almost as electrifying as those in “How She Move,” not surprising because choreographer Hi-Hat worked on both films (she appears briefly on a scene in the subway), with additional choreography by Jamal Sims of the first “Step Up” and Dave Scott of “Stomp the Yard.” The rousing conclusion has a nice nod to Gene Kelly’s classic “Singin’ in the Rain” dance number. It is fun to watch the kids perform to a souped-up hip-hop version of “Jump Down Turn Around (Pick a Bale of Cotton)”, and the street theater “pranks” they video to become eligible for the street competition are fresh and clever.
This does not have the gritty authenticity of “How She Move” – it is a Disney film, after all – but that means that even its toughest characters and confrontations are fairly mild for a PG-13. Evigan wisely emphasizes Andie’s softer side, Hoffman has a great smile, and both feel effortlessly natural on screen. A scene at a family barbecue includes some gorgeous salsa dancing and a sweet moment with the two leads talking quietly as they sit on a tree branch. The supporting cast of young dancers is especially strong, with fine work from Danielle Polanco as Andie’s friend from home and rubber-limbed Adam G. Sevani as the kid who knows he is not the dork others assume he is. The story may be old, but these kids act – and dance – as though they are telling it for the first time.

(more…)

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Musical Series/Sequel

Wall?E’s Favorite Movie: Hello Dolly

Posted on July 12, 2008 at 8:00 am

Wallâˆ™E’s curiosity about the world and capacity to feel loneliness is part of what makes him such a vivid character in Pixar’s latest hit. And nothing in the film conveys those qualities more effectively than his affection for the 1969 movie musical Hello, Dolly! It may be quaint and stylized but it perfectly suits the storyline, especially the numbers we see Wallâˆ™E watch, with the characters singing about taking chances, trying out new experiences, and falling in love.”Hello Dolly!” was not successful on its original release. It was the victim of poor timing. First, though it was filmed earlier, the release was delayed because by contract it could not be in theaters as long as the play was running on Broadway. Second, it was released in 1969, when audiences were caught up in the political and cultural turmoil of the 60’s, and it felt too big (it is over two hours long) and out of touch. There was also some hostility to the casting of the 20-something Barbra Striesand in the title role, a character who is supposed to be middle-aged, replacing the star of the play, Carol Channing. But today it is easy to be as charmed as Wallâˆ™E is by this story of four different couples taking a chance on love and the character who encourages them all and then has to learn a few lessons herself. Here are his favorite numbers: (more…)

Interview: Nina Paley of “Sita Sings the Blues”

Posted on May 31, 2008 at 8:00 am

Nina Paley, who bills herself as “America’s best-loved unknown cartoonist” is the artist/writer/director behind a smart, funny, visually stunning new animated film called “Sita Sings the Blues.” Paley’s cartoons include “Fluff” (Universal Press Syndicate), “The Hots” (King Features), and her own alternative weekly “Nina’s Adventures.” She animated and produced “Sita Sings the Blues” single-handedly on a home computer. Nina teaches at Parsons School of Design in Manhattan and is a 2006 Guggenheim Fellow.
“Sita Sings the Blues” is a multi-level presentation of the traditional Indian Ramayana saga that includes three different artistic styles, a modern-day parallel based on Paley’s own life, and the songs of 1920’s-30’s nightclub singer Annette Hanshaw. I met Paley two years ago at a reception for women film-makers. We talked briefly about her work on this film and she gave me a business card with a small drawing of Sita. I was delighted to see the film at Tribeca this year and glad to have a chance to interview Paley via email.

What first interested you in the Ramayana saga?
I was living in Triuavndrum, India, where I read it for the first time.
There are at least four different graphic styles in the way the characters in your film are
presented. How would you describe them and what does each one add to the story?
the smooth cartoony style for the Hanshaw numbers, the shadow puppets with collage characters in the background, during the unscripted dialog, the fake miniature Mughal paintings, during the scripted dialog, the expressionistic rotoscoped scene just after the
“intermission.” Each style refers to a different art tradition associated with the Ramayana, and lends itself to the shifting narrative styles as well
05.RamSitaGods.jpg
The narration of the Ramayana story feels very improvised — how did that come about?
It was improvised.
Who are the narrators?
Friends from India, see here.
Is their contradiction of each other and refinement of each other’s versions intended to match the mix of artistic styles in the visuals?
It’s very natural. They’re all from different regions of India and speak different mother tongues, and grew up on different versions of the story. So naturally they remember “the” Ramayana differently from one another. There is no one Ramayana. Their discussion makes this clear.
Why combine the Ramayana story with the modern-day parallel? In some ways, the stories are very different.
Yes, my story doesn’t involve demons, magic arrows, palace intrigue, or purity. But both stories are about heartbreak, and a peculiar relationship dynamic between a man and a woman, and that’s the aspect of both I emphasized. It’s also what they have in common with the Blues.
How did you select 1920’s chanteuse Annette Hanshaw as the singing voice of Sita?
See here.
Do you think that women directors bring a distinctive perspective and if so, how would you describe it? How would this story be different if told by a man? Or would a man not tell this story?
This story was told by me as an individual. An individual brings their individual characteristics and experience to a story. I happen to be a woman, but I’m a specific woman, not womankind in general. I can’t tell you how other women would direct a particular film, or other men. We’re all unique.
I will say that there are distinctive womens’ tellings of the Ramayana that differ greatly from mainstream (men’s) versions.
In the novel “Heartburn,” Nora Ephron said that she wrote it even though it had some material that embarrassed her because it allowed her to control the story. Would you say that is true for you with this movie? Did you find it validating or vindicating?
I found it therapeutic.
What are you working on next? More animation or will you do live-action as well?
The Muse hasn’t given me my next orders yet, which is good, because I have to be a fulltime producer for “Sita” right now.
What are the distribution plans for the film? Where can people see it?
Watch “Sita Sings the Blues” for free online.
Who are some of your influences in animation and in comics?
Everything I’ve ever seen!

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Animation Interview Musical