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.

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?

 

"We have 12 Vacancies. 12 Cabins. 12 Links"

Kill Screen imagines Downton Abbey as a card based RPG. Love the artifact "pants of modernity"
Deja View a relic brochure from a time when Disney was seeking animators.
Irish Times is pissed about Streep's Oscar win and illustrates, again, that a backlash grows. But here's the interesting part...

One can think of many star actresses...who will submerge themselves in films bigger than themselves. But Streep has to be bigger than the movie, to the point where she can become, in effect, a substitute for it.

You may recall we were talking about just this fascinating issue (within the Oscar symposium). It's hardly a Streep-Only topic. What does it mean to "carry" a movie and should an actor ever be asked to? 

Rope of Silicon has "sexy" issues with Scarlett Johansson as Janet Leigh in the upcoming feature Alfred Hitchcock and the Making of Psycho (omg please change the title). So do I and the first being that Scarjo, who I enjoy, is very different than Janet Leigh in body, age and looks. She might be able to summon up the contemplative paranoia mood of Leigh but otherwise it's a huge miss if you ask me.
Guardian odd lawsuit of day. Sandra Bullock is pissed that a watch company is selling a watch by comparing it to her Blind Side look.
Coming Soon Disney must've liked the response to titling Rapunzel Tangled because their next fairy tale musical will be based on The Snow Queen and it's called Frozen. Kristen Bell, Veronica Mars herself, gets lead vocal duties.
/Film remembers Black Swan with a new behind the scenes photo gallery. I don't remember Natalie wearing this white cloak thing onstage. Have I lost my mind or just my short term memory?
ioncinema details a new "slippery nature of truth" project called True Story starring Jonah Hill and James Franco. Brad Pitt's Plan B is producing. Pitt has good taste and this sounds interesting. 
Pajiba lists the 25 biggest animated hit (adjusted for inflation). Pixar doesn't even make the top 10!
Indiewire lists films they hope show at Cannes this summer

And even though I always try to let each year's Oscars go within a week's time of the ceremony, I find myself still reading Oscar recaps since I have emerged from my cave of silence. I did like these two overviews of the ceremony from two of my favorite online peeps, The Self Styled Siren and Glenn at Stale Popcorn. So if you also share the Oscar sickness, read 'em.

Links, Fences, Songs, Brainnnnns

Free Unqualified... The Artist = Anchorman ?
SuperPunch for your next horror movie party with friends, zombie chocolates with cherry brainnnnns! 
Carpetbagger talks to Stuart Craig on the challenges of art directing Hogwarts over eight Harry Potter films 
Antagony & Ecstacy offers up a great top ten list: ten best Oscar slates ever from 2009's animated feature to 1939's best actresses and everywhere inbetween.
Senses of Cinema looks at the question of identity in Splendor in the Grass (1961) 

Flavorwire Disney Princess tattoos. Why the hell not?
Movie|Line on Clint Eastwood vs the ever-nuttier GOP after his Superbowl commercial
Towleroad  No song performances at this year's Oscars? Christ, AMPAS really needs to call me. They could've had such a watercooler live tv moment with "Man or Muppet". I explain how.

Complex the '25 Hottest Women on Horror TV shows'. Fun list with shoutouts to two of the best TV shows of all time Buffy the Vampire Slayer and Twin Peaks 
World of Wonder three things
Empire clears up that silly rumor that Harrison Ford was going to be in the Blade Runner sequel that nobody should be making to begin with shame on you Ridley Scott do you really want to turn into George Lucas I'm just saying... 

Today's Must Read
Grantland Mark Harris writes a fabulous column on Viola Davis's extraordinary gift, the Best Actress race and Hollywood's race relations.

Faced with the peril of that archetype, Davis did the hardest job of anyone in the Best Actress category: She made the movie better — much better — without playing against it. Much of The Help is bright, candy-colored, and loud: It’s full of silly wigs and garish costumes, sitcom slapstick and shit pies, wicked old dears like Sissy Spacek, finger-snappin’ Designing Women tell-offs, and the kind of steroidal pivots from comedy to poignancy to melodrama that would shame an episode of Glee. What Davis gives the film is humanity. Aibileen is a gentle but wary woman — she’s lived long enough to know that in her world, you survive by bending, not breaking, by keeping your thoughts to yourself, by seeing and hearing everything while appearing to register very little, and by trying to apply your own sense of decency and kindness to a badly needed paying job in an often indecent and unkind world. When she’s on-screen, the hummingbird shrieks of the movie’s other characters are hushed; you’re reminded that the human toll of daily, casual racism doesn’t really get addressed by making Bryce Dallas Howard eat poo. Because Davis is a physically gifted actress who can incorporate the exhaustion and strain of being Aibileen into every motion and muscle, and also the rare performer — even in this year ofThe Artist and Max von Sydow — whose silences draw you even closer, she seems to correct The Help’s excesses without ever standing self-protectively outside it. At every turn, she un-simplifies the movie.

Nick and I keep wondering when Hollywood is going to make August Wilson's Fences (for which Viola won a Tony opposite Denzel Washington) into a movie and everyone I know who is into theater keeps wondering why this hasn't happened for Fences or really any of August Wilson's plays. So it's nice to see that subject is revived again here. Seriously what time like the present Hollywood? Get on that. How many times do we have to ask?

Cast This! Rob Marshall and "Into the Woods"

As frightening... as bewildering... as wrong as it is to say after a decade of breakthroughs (Moulin Rouge!), critical triumphs (Dancer in the Dark, Hedwig and the Angry Inch) and box office hits (Chicago, Dreamgirls, Hairspray) and problematic but Oscar nominated efforts (Nine, Sweeney Todd, Phantom of the Opera) ... the movie musical is still in trouble. It probably will be until another Vincente Minnelli or Bob Fosse arrives on the scene, someone who understands and breathes and trusts the very cinematic language of the musical. Until then we'll get bored directors detouring or novices who think it might be "fun" to try one... or Rob Marshall.

Will no young director challenge Rob Marshall as King of the Musicals?

Stage turned film director Rob Marshall was initially seen as something of a savior of the form when Chicago (2002) became a smash hit and Best Picture winner. It had been 34 years since a movie musical had had that honor. But his musical follow up Nine (2009) proved a massive flop and a target of critical derision. Though I thought it was better than it got credit for being (how could it not be given the vitriol?) in tandem with Chicago it revealed too little range and an inherent distrust of the form he had been handed, without competition, to rule; the music in both films emerged on sound stages as hallucinations or performative fantasy. His two subsequent non-musicals (Memoirs of a Geisha and Pirates of the Caribbean: On Stranger Tides) were much worse, with listless dramatics and overstuffed weightless business for plot. Nevertheless, Hollywood logic prevails. Disney, looking at the colossal gross of On Stranger Tides, has obviously forgiven Marshall for Nine's red ink and rewarded him with the reigns of the film version of a bonafide masterpiece, Stephen Sondheim's twisted fairy tale classic Into the Woods. Never mind that I could have directed On Stranger Tides (it would have been all about the mermaids and they would have drowned Captain Jack in the first half hour) and it would still have been a top grosser. In Hollywood you get credit for blockbuster grosses even if you are obviously replaceable since anyone helming a long running franchise will produce a similar size hit. Audiences are lemmings when it comes to those big franchises. 

So though I weep that Into the Woods isn't getting a world class auteur, and I shudder most of all to think of those glorious songs sung by people who can't handle the intricacies of the music -- Marshall casts for stardom first even if they can't sing and Sondheim obviously writes only for great singers who can act -- we should try and stay positive. Let's play...

Bernadette Peters leads the cast of the original INTO THE WOODS (1987)

CAST THIS!

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