HMWYBS: "Snow White and the Seven Dwarfs"

In the "Hit Me With Your Best Shot" series we invite everyone to choose their favorite shot from a movie and explain why. This week's film is the impossibly influential Snow White and the Seven Dwarfs (1937) which launched Disney's feature animation empire. Given that the Snow White myth is the subject of two new films Mirror Mirror (reviewed) and the upcoming Snow White and the Huntsmen (interview tease) we thought it was time to take a look way back.

So Heigh Ho Heigh Ho, it's off to work we go.

When I think of Snow White these days my first thought is no longer the movie itself but my first trip to Disney World just three years ago with friends. On the last day of the lengthy trip my friends realized I hadn't been to the part of the park that had the oldest rides, the ones that were considered more for children and it turned out to be my favorite part. My absolutely favorite ride was Peter Pan (such gorgeous dioramas) but I remember Snow White best because I was startled by the nightmarish imagery. This is for children?

In my  last two subsequent screenings of Disney's first classic, it all made sense. Snow White and the Seven Dwarfs (1937) is much more adult in its terror than modern animated films ever dare to be, raising knives and clubs at its heroine, threatening her with non-consensual heart surgery, and throwing her into a haunted forest. It repeatedly threatens her with warped and clawed hands whether they're from trees, shadows, or evil queens disguised as old crones.

So it only seemed right that the iconic shot I'm choosing as best pans diagonally down from gnarled hands to a smoother one, the fairest of them all in point of fact. 

Witch: Don't let the wish grow cold!
Snow: Ohhhh. I feel strange.
Witch: Her breath will still
Her blood congeal...

Though the entire scene is filled with implied terror this shot actually averts its gaze demurely the way the film doesn't in other scenes, unexpectedly making Snow White's poisoning by apple much scarier. Our focus here is entirely on the evil Queen's evil as it were, as her breathing and hand motions and whispering all ecstatically await Snow's demise. It's very creepy and makes Snow's collapse feel not just terrible but inevitable.

But... 

In order to live happily ever after, we close with a happier moment. My favorite shot in the film if not my choice for "best" comes in the film's very first minutes as Snow sings "♪ I'm wishing... (I'm wishing) for the one I love ♫" and listens to her own voice echoing back to her. It's an unexpected image (who thought to shoot from the well's point of view?) and it's also richly prophetic. When I see this shot I think of the movie and character echoing ever after in cinema through every princess, every "I Want" song and every fairy tale fantasy. It started everything and ripples still. 

 Heigh Hoooooooo ♫ It's Off to Blogs You Go...
In honor of Happy, Sleepy, Bashful and the like, we're giving these blogs dwarf names befitting their awesome choices for best shot. Click around to see why I chose these names.

• "Shiny" (Animation Revelation) 
• "Flirty" (Cinesnatch)
• "Fabu" (Awww, the Movies)
• "Slippery" (Antagony & Ecstacy)
• "Dainty" (Okinawa Assault)
• "Juicy" (The Tomas Experience)
• "Bitchy" (Dial P For Popcorn)
• "Dreamy" (Encore Entertainment)
• "Grumpier" (Serious Film)
• "Thirsty" (Film Actually)
• "Moody" (Pussy Goes Grrr)
• "Vanity" (The Film's The Thing)
• "Purity" (Movies Kick Ass)

Next on "Hit Me"...
April 18th Serenity (2005) and/or "Firefly" (2002)
With two Joss Whedon related movies about to hit theaters (The Avengers and Cabin in the Woods) let's look at his feature film directorial debut. If you've never seen Firefly, the series on which this is based you can substitute the tv pilot for the feature if you want (one time only!). Both are available on Instant Watch.
April 25th Raise the Red Lantern (1991)
I've been itching for Gong Li lately and rather shockingly I've never seen this major film in her career. Nominated for Best Foreign Film at the Oscars.
May 2nd Pariah (2011)
I thought we'd do something brand new on DVD (we never do that!). Mostly because I'd like more people to see this moving LGBT indie.

House at the End of the Link

Untapped New York "My Day as a Paparazzo" how New Yorkers react to celebrity sightings and how it changes when the paparazzi are involved.
Roger Ebert remembers Diary of a Lost Girl one of my very favorite silents starring Louise Brooks.
Geekscape wonders what The Avengers might have looked like had it been made in the 1980s. Michael Biehn for Steve Rogers and Cary Elwes for Tony Stark? I could deal.
Stranger Than Most names the laziest tagline ever. Oh Safe House. Try harder!

In Contention Julian Fellowes to right Cameron's wrong on Titanic. Oh dear. Fellowes has let Downton Abbey go to his head. Aint nothing wrong with Titanic (1997) that isn't so wrong it's right.
Deja View remembers an animated bit from Who Framed Roger Rabbit (1988)
Awards Daily new images from Woody Allen's To Rome With Love. How many title-changes has this one gone through now? 
Animation Mag here's a fun one for Los Angeles based readers. There will be special one-off screenings of Snow White and The Seven Dwarves (1938) and  20,000 Leagues Under the Sea (1954) at Grauman’s Chinese Theatre next month.
Rope of Silicon first image of Jennifer Lawrence in House at the End of the Street. Elisabeth Shue co-stars (yay!) 
Vulture Star Market Jennifer Lawrence 

And speaking of... yeah yeah we'll talk about Hunger Games soon. My review will be up Sunday at some point. Stay tuned.

click to remember this house

Burtonjuice: The Disney Misfit Years

BURTONJUICE. Our Tim Burton retrospective begins now...
Every Thursday night until we can't take it  no more! 

Last week I rented the Disney documentary "Waking Sleeping Beauty" which I was curious to see again after it's strangely quiet public reception. I really enjoyed the documentary and though it ended like one big long self-aggrandizing commercial for the Magic Kingdom and all they bring to the movies, it's first hour is surprisingly frank about the downward slide of Disney animation in the 70s and 80s and the political tug of wars among the big money executives.

But let's get to the subject. Don't you always forget that Tim Burton started at Disney? I know I do. He never gets a line in this documentary but we do see him briefly twice in the behind the scenes footage while the narrator talks about the generational divide at Disney during the animation studio's near-demise in the 1980s.

Ron Miller knew that Walt's guys were retiring fast. He had to raise a new crop of animators but he was cautious about it. It was this interesting cross generational thing where you still had a few of these legendary artists who were in their 60s and approaching retirement and then a bunch of young people in their 20s who were really really exited and sort of passionate about this medium.

It was thrilling to learn from the masters but there was a feeling that somehow we could be making better films."

Burton doesn't look too happy sitting slack jawed in that tiny cubicle, but that's just his face. Surely the budding filmmaker was excited to be chasing his dreams. Even if his now ultra familiar dreams are far more Gorey lite Gothic than Disney cheerful.

Before his star ascended in the early 80s when two shorts Vincent (1982) and Frankenweenie (1984) gained him a reputation within the industry as a truly distinctive and entertaining filmmaker, he made a handful of very rarely screened shorts. I wish I'd attended the Burton exhibit recently which featured them. Have any of you seen these five?

 

The Island of Doctor Agor (1971) was his first effort at the age of 13. He played Dr Agor. Stalk of the Celery (1979) is a one punchline animated short but you can see Burtonisms especially his love for the mad scientist... though it should be said that Burton's ouevre also includes subversions of this trope, the benevolent (if still mad) scientist. Doctor of Doom (1979) has Burton crashing a party and creating a monster that he sends out to "destroy all beauty." Luau (1982) is a lengthy short that is unfortunately kind of unwatchable on YouTube but it telegraphs a bit about Burton's oddball sense of humor though it also seems a little hornier than his subsequent work. He plays a disembodied head that's the "most powerful force in the universe" and though he tries to turn people into zombies, he doesn't have much luck. At least at first... I gave up 12 minutes in but not before I understood his affinity for Ed Wood. Burton also made a version of the oft- filmed fairy tale Hansel & Gretel (1982) -- which is hard to find -- with the great production designer Rick Heinrichs as his producer. They met at Disney and kept working together.

 

Oscar winner Rick Heinrichs and Tim Burton at work on Vincent (1982)

It only took their collaboration 17 years later to win an Oscar (Heinrichs for Sleepy Hollow) though Tim Burton has famously never been nominated as Best Director. His sole personal nomination was for the animated feature Corpse Bride.

Where were we? Oscar trivia is so distracting. Oh yes, Vincent (1982). We love it. Disney, rather famously, did not. Too dark!

My favorite favorite favorite part...

He likes to experiment on his dog Abercrombie
in the hopes of creating a terrible zombie.

Vincent is just wonderful isn't it? A.

Vincent's Tim Burton's perfect woman?
Before we move on to Frankenweenie (The Original) next Thursday tell me if I'm crazy but little Vincent's hallucinated dead wife...

He knew he'd been banished to the tower of doom
where he was sentenced to spend the rest of his life.
alone with the portrait of his beautiful wife."

She looks SO familiar. A pinch of Lisa Marie? Two cups of Corpse Bride... a scoop of Helena Bonham-Carter in Alice in Wonderland? What Burton woman does this most remind you of?

What's your favorite part of Vincent? And do you think it's too easy to retroactively project meaning on to the early work of famous filmmakers?

 

"Bomb Voyage"

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"Alice" by Milt Kahl

Character sketches for "Alice in Wonderland" by Milt Kahl

These animator character sketches from Disney's Alice in Wonderland (1951) via Deja View made me titter... it's the sequence. Hee.

But aren't they great sketches?