Monday, August 31, 2009

Discovering Disneynature's earth

earth, the initial offering of the Disneynature imprint, is truly a True-Life Adventure for the 21st century. It successfully marries the charm and wonder of Walt Disney's mid-20th century groundbreaking nature documentaries with current filmmaking techniques and innovations.

I unfortunately missed earth when it premiered in movie theaters this past spring. But happily, the just released Blu-ray Disc provides a in-home experience to rival just about any theatrical venue.

A joint production of Disney, Discovery Channel and the BBC, earth successfully distills footage from the acclaimed television series Planet Earth into an entertaining ninety minutes that in many ways distinctly brings to mind the film's True-Life predecessors. James Earl Jones provides a narration that is immediately reminiscent of Winston Hibler, the very memorable voice behind the original True-Life Adventure series. Like Hibler before him, Jones effectively injects enough charm and humor into his efforts to insure the interest of even the youngest of the film's viewers. By loosely following the travels of three separate mother-offspring animal sets (polar bears, humpback whales and elephants), the film provides a degree of storytelling connectivity both entertaining and necessary.

Visually, earth is spectacular to say the least. It is the perfect showcase for Blu-ray technology and high definition televisions. Especially impressive are the filmmakers' uses of aerial photography and time-lapse effects that, in a high definition presentation, are simply breathtaking.

Disc special features include a making-of feature and an interesting, but still somewhat insubstantial interactive menu screen that can be enhanced and updated by means of internet connectivity.

Though the film is essentially an abridgment of the Planet Earth series, it can effectively stand on its own merits, or otherwise serve as an introduction to that clearly more extensive production. It is a laudable beginning to the Disneynature brand and a worthy successor to Disney's True-Life Adventure legacy.

Friday, August 28, 2009

The Art Corner: "How to Draw Jiminy Cricket"


Thanks to Ken Storms for generously providing the images. Visit Ken online at:
Up next: How to Draw Donald Duck.

Tuesday, August 18, 2009

Behind the Walls of Hollywood Studios


But just not the same Hollywood Studios you may have been thinking of.

Nearly seven decades ago, Walt Disney and his talented staff of animators created a place called Hollywood Studios that served as the setting for the 1939 Donald Duck cartoon, The Autograph Hound. I have frequently noted that many of Disney’s animated shorts are windows to the popular culture of bygone days, and The Autograph Hound is very distinctly a snapshot in time of Hollywood during its golden era.

The hallmarks of this Donald Duck vignette are the numerous celebrity-inspired characters that were created to populate the fictional movie studio that Donald gate-crashes in search of autographs.

The first “celebrity” that Donald encounters within the walls of Hollywood Studios is the then well known character actor Henry Armetta. Famous for his ethnic-Italian personas, he was an almost constant presence in films during the era, appearing in thirteen films over the course of 1938-1939 alone. Next Donald encounters a mischievous Mickey Rooney who, unlike Armetta, achieved enormous fame and still enjoys a film career, now some seventy years later.
The cartoon’s only other surviving caricature is Shirley Temple. A precocious child actress, Temple was one of the brightest stars in Hollywood when The Autograph Hound was produced and released. In the 1935 movie The Little Colonel, her dancing skills were showcased when she and costar Bill “Bojangles” Robinson famously tap dance up and down a staircase. Temple is similarly dancing on stairs when Donald collides with her in The Autograph Hound.

While Shirley Temple’s fame extended far, far beyond the end of her film career, the Ritz Brothers and Sonja Henie have somewhat faded into Hollywood obscurity and are little remembered now in the 21st century. Like Temple, they were featured prominently in the short, sharing extended interactions with Donald Duck.

Al, Jimmy and Harry Ritz were a trio of brothers famous for their synchronized dancing, slapstick comedy and celebrity impersonations. They made the leap from stage and vaudeville productions to movies in the mid-1930s. They were reaching the peak of their fame at the time Autograph Hound was in production. 20th Century Fox headlined them in a number of films, starting with Life Begins in College in 1937.

Henie catapulted to fame in the late 1920s when she took the figure skating sport by storm. From her Wikipedia entry:

Henie won the first of an unprecedented ten World Figure Skating Championships in 1927 at the age of fifteen, and her first Olympic gold medal the following year. She also won six consecutive European championships. She is credited with being the first figure skater to adopt the short skirt costume in figure skating, and make use of dance choreography. Her innovative skating techniques and glamorous demeanor transformed the sport permanently and confirmed its acceptance as a legitimate sport in the Winter Olympics.

Henie signed with Fox in 1936 and starred in a string of successful films through the mid-1940s. The Autograph Hound was actually the second time that Henie was paid homage to in a Disney Cartoon. Released earlier in 1939, The Hockey Champ features an ice skating Donald Duck doing a brief impersonation of the star, complete with her trademark curly hair and long, dark eyelashes.

While these stars were featured in extended sequences with Donald, the bulk of the cartoon’s celebrity cameos are found in a fast paced montage near the end of the film. In a little more than thirty seconds, there is a total of twenty star caricatures that flash across the screen:Screen legends Greta Garbo and Clark Gable share a passionate embrace, despite their well known and often public statements that expressed a very clear and mutual animosity.

Mischa Auer, Joan Crawford, Groucho Marx and brother Harpo, and ventriloquist dummy Charlie McCarthy, although his right hand man Edger Bergen is noticeably absent. The pair would eventually appear in Disney's feature film Fun and Fancy Free.

Eddie Cantor, Katherine Hepburn, Slim Summerville, Irvin S. Cobb and Edward Arnold.

Hugh Herbert, Roland Young, the long-censored Stepin Fetchit, and big mouths Joe E. Brown and Martha Raye.

Three appearances are notable in the fact that the personalities are featured in roles they were famous for when the cartoon was released in 1939. Bette Davis is garbed as her character from the 1938 film Jezebel, for which she was awarded a Best Actress Oscar. Lionel Barrymore appears as his character of Dr. Gillespie from the series of Dr. Kildare movies that were then just getting underway. Lastly, Charles Boyer is in his role of Napoleon Bonaparte from the 1937 film Conquest.

One final odd and interesting detail from the cartoon--when Donald collides with a painted backdrop that ultimately bounces him toward his collision with Shirley Temple, the set is identified with a sign that reads The Road to Mandalay. This was at one time the working title of what would become the first of the famous "Road" pictures that starred Bing Crosby, Bob Hope and Dorothy Lamour. Originally offered to George Burns and Gracie Allen, and then to Fred MacMurray and Jack Oakie, it eventually evolved into The Road to Singapore and arrived in theaters in March of 1940, some six months after The Autograph Hound premiered.


Images © Walt Disney Company

This article originally appeared on 2719 Hyperion in September 2007.

Sunday, August 16, 2009

The Art Corner: "How to Draw Chip and Dale"

2719 Hyperion has happily gained some notoriety for its previous coverage of the Art Corner at Disneyland. In that regard, reader and animation art collector Ken Storms has sent us some terrific scans of a few of the How to Draw series of booklets that were once sold at the Art Corner.

First up, How to Draw Chip and Dale:


Thanks again to Ken Storms for generously providing the images. Visit Ken online at:
Up next: How to Draw Jiminy Cricket.

Sunday, July 05, 2009

Ad Astra Per Aspera

I have long celebrated and chronicled Disney-related futurism here at 2719 Hyperion. Connecting the Disney dots between the 1939 World's Fair, the Tomorrowland television episodes and ultimately Walt Disney's own vision of the future embodied in his plans for EPCOT, has been one of my more consistent passions over the past couple of decades. And it is also a passion that extends beyond Disney relevance; I continue to be fascinated and intrigued by the nostalgic futurism that became a significant part of 20th century popular culture.

So it is in these contexts that I experienced such joy and excitement upon discovering Brian Fies' wonderful graphic novel Whatever Happened to the World of Tomorrow? It was as if Fies had channeled so many of my passions--the '39 Fair, comic books, Disney and the space program, just to name a few--into 200 beautifully illustrated pages that chronicle the birth, death and potential rebirth of forward-thinking idealism.

Fies tells the story of a father and son who enthusiastically visit the 1939 New York World's Fair, and are introduced to The World of Tomorrow--television, Elektro the robot, Futurama--just to name a few of its many wonders. Buddy and Pop readily embrace the Fair's idealistic message; Buddy through the wide-eyed wonder of a child, his father through a more grounded view of the necessity of hard work and intelligence.

Fies then employs an odd yet ultimately ingenious storytelling device. Each chapter of the story takes place in a subsequent decade, progressing through the 1940s, 1950s, 1960s and 1970s. These chapters continue the story of Buddy and Pop as they witness the evolution of the World of Tomorrow, but the pair age slower than the passage of time. Buddy begins in 1939 as a young boy of ten or so, but by 1975 is still a teenager straining at the boundaries of their father-son dynamic. All the ideals, hopes and dreams of three separate generations become encapsulated in Buddy and Pop's time-displaced half century journey.

Accompanying each of these chapters is a mock comic book that features the adventures of Commander Cap Crater and his young sidekick, the Cosmic Kid. These two characters are thinly vieled four-color incarnations of Buddy and Pop, and similarly journey through the decades, with each era's comic book brilliantly reflecting that time frame's comic book culture. The publisher creatively delivers these pages via halftone-dot newsprint.

Walt Disney is mentioned throughout, most prominently during the 1955 chapter where Fies correctly gives the Disneyland television program its due for bringing the notion of space exploration prominently into the public eye. Disney's death, and his unrealized dream of EPCOT is mentioned in the 1975 chapter, a vignette that summarizes the cynicism and cultural failures that ultimately squelched much of the forward thinking idealism that Buddy and Pop had previously embraced. Similarly, Commander Cap Crater retires his comic book when confronted with a reality that undermines the very principles of a brave and noble journey into the future.

But Fies does not dwell on futures lost. His concluding chapter jumps to a not-too-distant future that is both idealistic and realistic, bringing Whatever Happened to the World of Tomorrow? to both a happy and satisfying conclusion.

If Disney's original EPCOT film gave you goosebumps, or if you ever emerged excited and energized after riding Spaceship Earth or Horizons at EPCOT Center, you will no doubt be similarly thrilled and motivated by Brian Fies amazing journey across the 20th century. It is a hopeful, happy vision, and one I intend to revisit many times in my own world of tomorrow.

Saturday, July 04, 2009

America on Parade


Editor's Note: To celebrate Independence Day, we thought we'd revisit this patriotic-themed post from the 2719 Hyperion Archives, originally published in July of 2007.
 
America on Parade was the centerpiece of the Bicentennial celebrations at both Disneyland and Walt Disney World in 1976. Disney World was still relatively new and the elaborate parade represented the most extensive entertainment offering the resort had brought forth up until that point.

The parade, which premiered in June of 1975 and ran until September of 1976, combined traditional Disney characters with an entirely new cast of stylized creations called the “People of America.” Numbering over 300, the “People of America” were akin to the doll-like figures of It’s a Small World, but grown up, enlarged and much more elaborate in both costume and setting. Floats were themed to a wide range of subjects, encompassing everything from the first Thanksgiving to women’s suffrage. Perhaps the most famous and notable of the floats was the large oversize rocking chair featuring Betsy Ross sewing an equally oversize American flag.

The endeavor was two years in the making and the creative talents behind it were challenged to present something that was happy and whimsical, yet did not diminish the historical significance of the Bicentennial celebration. A souvenir book on the parade described some of that early concept brainstorming:

Because of Disney's vast experience and expertise in producing entertainments on a grand scale, it was very fitting, as America came to its 200th anniversary, that Walt Disney's company take a leading role in using Disneyland and Walt Disney World as a showcase for the best that America has been and has to offer.

Thus, the long task of collecting reference material on which to create this new and exciting event began. From the outset, the project's goal was not to glorify the famous wars of America, as others had done in the past. Instead, the purpose is to present the lighter, more beautiful aspects of America, those things which have helped make it a great nation. Research on America's history, people, achievements and life-styles was conducted for nearly a year. Thousands of man-hours went into producing the basic concept for a parade... for more than a parade.

As the concept unfolded, it was decided that the parade would be far more than a historical look at our country. The moving pageantry would also recreate memorable moments, such as the first Thanksgiving, Sunday in the park, school days, and many other events. Important American creations and contributions, such as transportation achievements, and inventions like the light bulb, electric iron, and the phonograph, would also be featured. Our beloved pastimes and ways of life including sporting events, popcorn, hot dogs, ice cream, television, movies, and the circus would also become highlights of America on Parade.

The production process was equally extensive in both time and scope as this excerpt illustrates:

When both blueprints and models of the America On Parade stages and settings were completed, the Disney team brought together all the top set design manufacturers in the United States and presented them with the parade plans. These professional theatrical builders, with broad experience in building everything from elaborate floats for the New Year's Day "Tourna­ment of Roses" Parade to grandiose sets for motion pictures and Las Vegas shows, expressed great excitement about America on Parade. After construction contracts were awarded to several firms, work began from coast-to-coast—from Pacoima, California to New York City. Other stages and settings were built in Las Vegas, Nevada and cities in Florida... Orlando, Deland, and Grant.

Because two of everything had to be built for the double production in California and Florida close coordination of all shipping activities was necessary to avoid delays and mix-ups.

Before reaching their final destination, some of the stages had to travel over 3,000 miles.

One of the most interesting aspects of America on Parade was the soundtrack that was created using a restored 1890 band organ. The “Sadie Mae” was discovered in Sikeston, Missouri, and after over 1400 hours of restoration work, it was sent to a Nashville studio where the parade music was recorded. The musical arrangements for America on Parade were done by Don Dorsey, who would go on to produce the music for such theme park spectaculars as the Main Street Electrical Parade and Illuminations: Reflections of Earth. Dorsey’s contributions were especially significant, as they ultimately led to the creation of the Mickey Track computer system that synchronized the parade’s audio between floats and parade zones throughout the park.

In addition, Disney musical veterans the Sherman Brothers wrote and composed a new song, “The Glorious Fourth,” to be the musical centerpiece of the pageant.
Much in the way that attractions like Small World and Pirates of the Caribbean were unique for presenting non-Disney character related entertainment, so was the People of America portion of America on Parade distinct and notable. With its highly stylized designs and nostalgic musical accompaniments, it remains a memorable presentation from Walt Disney World's first decade.

Thursday, June 18, 2009

Firehouse Five Fun Facts

Special to 2719 Hyperion by Jim Korkis

In the mid-1940s, a group of Walt Disney animators, artists, writers and musicians who loved jazz and collected records would gather around a phonograph at the studio during lunch breaks and play along with the records. “Then one day the phonograph broke down right in the middle of ‘Royal Garden Blues.’ Undaunted, we kept right on playing and found to our amazement that we sounded pretty good all by ourselves!” remembered band chief Ward Kimball.

Originally, the band was called the “Huggageedy 8”. Kimball explained: “That was the sound of my old Model-T Ford. Huggageddy-huggageddy-huggageddy.” Then it was called the “San Gabriel Valley Blue Blowers.” Laughed Kimball, “San Gabriel is a little town near Pasadena where I live. So if it didn’t turn out, the boys figured they’d let them come after me! But it went okay and pretty soon we began to feel like musicians.” The final name was a result of Kimball getting a 1914 American La France fire truck that took six months to clean and fix. In addition he got some red fireman shirts, white suspenders and authentic leather fire helmets for a trip with the band down to San Diego as part of an event of the California Horseless Carriage Club in 1948.

Why were they called “Firehouse Five Plus Two”? Kimball often gave coy answers but he did tell me in an interview at the Disney Institute: “Fivehouse Five was the original name and we thought it was great but in order to let people know they were going to get a seven piece band instead of five, we’d say ‘plus two!’ “

Over the course of a little over two decades, nineteen different men were members of the Firehouse Five Plus Two band at various times:

Danny Alguire (cornet)
Ralph Ball (tuba)
George Bruns (tuba)
K.O. Eckland (piano)
Eddie Forest (drums)
Harper Goff (banjo)
Jerry Hamm (drums)
Ward Kimball (trombone)
Don Kinch (trumpet/tuba)
Johnny Lucas (trumpet)
Jim MacDonald (drums)
Clarke Mallery (clarinet)
Monte Mountjoy (drums)
Bill Newman (banjo)
Ed Penner (sax/tuba)
George Probert (sax)
Dick Roberts (banjo)
Tom Sharpsteen (clarinet)
Frank Thomas (piano)

“Walt always liked music and he was very proud of us. He couldn’t get over the fact that some of the guys who worked for him as animators and artists were all of a sudden the toast of the music world. He didn’t get mad if we took some time off once in awhile but we made it a rule not to take advantage of the situation,” remarked Kimball.

The band played for Bing Crosby at his annual Pebble Beach Golf Tournament which led to four appearances on his radio show.

Television also welcomed the firemen and they appeared on the Ed Wynn Show, the Milton Berle Show, the Make Believe Ballroom and the very first Disney television special, One Hour in Wonderland in 1950. They also appeared in two feature films, Hit Parade of 1951, a B musical from Republic and Grounds for Marriage, an MGM comedy, where Van Johnson and Kathryn Grayson go to the Firehouse Club to hear the band play “Tiger Rag”.

In 1950 the band made a series of Snader Telecriptions (fillers for TV when shows ended early). These films show the band in a firehouse setting and feature Kimball and Harper Goff. They did The Lawrence Welk Show and made a memorable appearance on Bobby Troup's Stars of Jazz show in 1958.

On opening day of Disneyland on July 17, 1955, the band appeared at the firehouse on Main Street for the ceremonies. “Walt told us to wander around the park and play wherever there was a crowd. We were the first mobile band at Disneyland,” remembered Kimball in a 1984 interview.

In 1956 the band appeared on the original Mickey Mouse Club where the band joined the Mouseketeers for “I Want To Be a Fireman” and “Tiger Rag” with Mousketeer Cubby O'Brien sitting in on drums.

An animated version of the band appeared in the 1953 Goofy short How To Dance.

“Firehouse Five Plus Two At Disneyland”, recorded on July 27 and 28 of 1962 was recorded at the Golden Horseshoe in Frontierland, a regular venue for the band in the summertime. Besides the music are samples of Kimball’s announcements like: “We're going to take a 15 minute break. So you have time to go on all the Rides!” The band also took part in many of the Dixieland at Disneyland festivals, sharing the bill with the likes of greats like Louis Armstrong.

Although the band’s last official gig was an auto show at the Anaheim Convention Center in 1971, few people realize that the band did get together nine years later to make one more final appearance in the 1980 Tournament of Roses Parade where they had performed thirty years before as the first jazz band ever to be in the parade.