Tim's Toons: A history of animated Marvels

Tim here. Tomorrow sees the release of Big Hero 6, the 54^th feature made by the Walt Disney Animation Studio canon, and the first time that studio has collaborated with its corporate cousins at Marvel Entertainment. The result is certainly the most prestigious animated project ever based on a Marvel comics title, but far, far from the first. In fact, Marvel superheroes have been showing up in cartoons for almost a half of a century now. I give you a tour of some of them.

The Marvel Super-Heroes (1966)
The very first Marvel TV series, airing 65 episodes in syndication. The first time I ever heard of it was about an hour ago, so I can’t begin to say if it has an kind of rabid fanbase or lingering influence on Marvel writers and artists, but it stands out in my eyes for having extraordinarily cheap animation even by ‘60s syndicated TV standards, basically just waggling still drawings underneath the camera. Seriously, watch that video.

Lasting cultural impact: None, but from now on, if I ever meet Mark Ruffalo, I’m going to chant “watch them change their very shape before your nose!” at him till he punches me in the face.

Classics and new shows alike below the jump!

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The Honoraries: Maureen O'Hara in The Hunchback of Notre Dame (1939)

In "The Honoraries" we're looking at the careers of this year's Honorary Oscar recipients (O'Hara, Miyazaki, Carriere) and the Jean Hersholt winner (Belafonte). Here's Nathaniel...

Sanctuary ! Sanctuary !

You often feel like you've seen the classics, even if you haven't. Victor Hugo published "The Hunchback of Notre Dame" 183 years ago and like most enduring classics, including Hugo's other culturally imposing masterwork "Les Miserables,"  it feels familiar even if you have no first-hand experiences with it. Hunchback, like Les Miz, has been adapted several times but has actually been musicalized more often. I regret to inform that I had never seen the 1939 RKO version starring Charles Laughton and Maureen O'Hara until now so the Disney version was my only true cinematic reference point, at first forcing comparisons where I didn't want to see anyway.

The easiest comparison to shake off was Esmeralda, since Maureen O'Hara's fresh faced  breakthrough slipping through crowds and dancing in circles with her tambourine, beats Disney's Gypsy princess voiced by Demi Moore instantaneously. [More...]

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Interview: Matthew Warchus (Pride, God of Carnage, Matilda The Musical) on Stage and Screen Transfers

Portions of this interview originally appeared in Nathaniel's column at Towleroad discussing "Pride," the year's most adorable movie. This is the full interview with additional topics, Matilda the Musical's upcoming film adaptation chief among them.

If you didn't get to cinemas these past two weekends, the year's most adorable movie is still waiting for you, eager to please. Pride has been playing New York, Los Angeles, and San Francisco but will add new cities next Friday. I expect all Film Experiencers to turn out for it! If you've read my review (aka paragraphs of me drooling on the movie) you'll know it's the true life LGBT story of a group of activists in the 1980s that stood up for striking miners during Margaret Thatcher’s bullying reign. The film is looking to be a "word of mouth" hit in miniature, but CBS Films plans to nurture it towards larger sleeper status. They'll be expanding carefully.

Two weeks back I had the opportunity to talk with the director Matthew Warchus who had just attended a pre-release screening with a "tumultous reaction" in LA. The 46 year old director, a stage veteran and Tony winner, recently replaced Kevin Spacey as the artistic director of the Old Vic so he isn't leaving the boards, he's just multi-tasking. He's already working on his follow up to Pride, a big screen adaptation of the Tony nominated hit Matilda: The Musical.

I talked to him about both projects, his stage directing skill set and how it affects his film work and how he approaches moving a property across mediums.

NATHANIEL R: You’ve done a lot of stage work before this. What do you think most prepared you for to tell this particular story and on film? 

MATTHEW WARCHUS: One great bit of preparation: I grew up in a village in the middle of nowhere in the North of England surrounded by coal mines and massively isolated. We had moved into that village so we were outsiders, wanting to to assimilate and be accepted. That gave me an understanding of how those communities work and the positives and minuses.

[Adapting musicals, sharing Pride, and more after the jump...]

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Another Lead Role for Quvenzhané Wallis

Margaret here to talk about what's new with everyone's favorite collector of puppy purses: Quvenzhané Wallis is on a roll. Her breakout performance in Beasts of the Southern Wild could have easily put her in the pantheon of one-hit wonder child actors, but the way she's been lining up projects makes that look unlikely. Now 11 years old, Little Q is two months out from the release of her first big studio film in the musical Annie which, with the Columbia promotional muscle behind it, might make her a real star. She has also just signed on to star in an adaptation of best-selling middle grade novel "Counting by 7s."

In the Holly Goldberg Sloan story, Quvenzhané will play a 12-year-old genius named Willow Chase who loses her adoptive parents in a car crash and has to push past her grief to find a new community of support. Said Quvenzhané to Deadline:

I am honored to play the role of Willow in 'Counting by 7s'. I love the message behind the story. I am excited to be a part of it and to see it come to life." 

Other upcoming projects for the busy young Oscar-nominee include voice work in an adaptation of Kahlil Gibran's The Prophet, and Fathers and Daughters, where she will star alongside Jane Fonda, Octavia Spencer, and Russell Crowe.

Even if none of these particular jobs ends up being earth-shattering, this steady work is heartening for those of us rooting for her to grow into a full-fledged acting career. At the very least we're in for some incredibly charming press tours. Is it foolish to hope that there's another Hushpuppy-level performance in her future?

Who'da man?

NYFF: Maps to the Stars, Or: Julianne Moore is God, Again

The New York Film Festival has begun. Here's Nathaniel on the latest from David Cronenberg which won Julianne Moore the Best Actress prize at Cannes earlier this year.

Let's not bury the lede. At a key moment in Maps to the Stars when the actress Havana Segrand (Julianne Moore) gets some bad news that she's more or less been expecting/dreading, she is in a Buddha pose in yoga pants. Her eyes struggle to hold back tears and her body struggles to pretend it's relaxing when she lets out a sudden wail. You think the wail will descend into Julianne Moore's familiar crying jag (You know how she loves to do). Instead the wail abruptly stops. Fans of Julianne Moore won't be able to silence their own screaming so quickly. I, for one, felt euphoric watching her. For those of us whom we have famously dubbed "actressexuals" - the word originated at this blog though it's now escaped our small pfeiff fiefdom and entered the greater internet -- major achievements from our favorite stars can feel, however absurdly, like personal triumphs. Or at least like just rewards for enduring loyalty. Especially if you've worried that the magic has dissipated with familiarity, poor career decisions, lesser roles and/or medicore films.

This year, with Maps to the Stars and Still Alice (previously reviewed), the Julianne Moore I first fell for, the actress who inspired my whole career path (newbies might not know that this site emerged from a zine I started in the 1990s with issue #1 dubbed "Julianne Moore is God," pictured left) came roaring back into full power.

Pity, then, that the movie can't quite keep up with her or harness her brilliant satirical embodiment of all that is self-absorbed, self-loathing, self-medicated, and self-serving in modern Hollywood celebrity. [More...]

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