My Top 10 Songs From Clements/Musker Disney Movies

This week, Disney's latest film, Moana, will be released in UK cinemas. It has already been a major success in America, making $81.1 Million in its opening weekend and getting nominated for six Annie Awards (which honour the finest animated films and TV shows).

Moana is directed by Disney veterans Ron Clements and John Musker. Their names may not be familiar to the average cinema goer, but Disney fans know them as the duo behind animated classics such as The Little Mermaid, Aladdin and The Princess and the Frog. In a directing career spanning over 30 years, Clements and Musker have directed six Disney films (not counting Moana).

One of the most iconic features of Disney's movies is their music. Clements and Musker's six Disney films are especially notable for their music, and have featured a total of 29 songs. This does not include reprises, or songs only featured in the end credits (such as "Always Know Where You Are" from Treasure Planet or "Never Knew I Needed" from The Princess and The Frog). In honour of Moana's imminent release in the UK,  I have compiled a countdown of my Top 10 favourite songs from Clements and Musker's previous movies.

There are three rules for this countdown;

1. At least one song from each of Clements and Musker's six Disney movies will be included in the Top 10.

2. If a character is the lead singer on multiple songs in the same film, only one of these will be included in the Top 10.

3. Reprises will not be included in the countdown.

Before the countdown can begin, here is a list of five Honourable Mentions:

Honourable Mentions

"Under The Sea" - The Little Mermaid (1989)

Lead Singer: Sebastian the Crab (voiced by Samuel E. Wright)

It is quite a shock that "Under the Sea" isn't included in the Top 10. It won an Oscar for "Best Original Song", and has become one of the most iconic songs from one of Disney's most iconic films. However, "Under the Sea" is merely an Honourable Mention due to my "one song per character" rule. Sebastien has two great songs, but I ultimately decided that "Kiss the Girl" would be the one appearing in my Top 10.

That said, "Under the Sea" is still a great tune in its own right. It has an catchy Calypso beat, created using Steel Pan drums, and memorable lyrics. The animation for this sequence is bright and colourful, as we get to see a wide range of fish showing off their musical abilities. Although his attempts at promoting the positives of life under the sea fail to win over Ariel, Sebastian still manages to provide us with an incredibly enjoyable anthem.

"Prince Ali" - Aladdin (1992)

Lead Singer: Genie (voiced by Robin Williams)

Another victim of the "one song per character" rule, "Prince Ali" may not be up to the standard set by "Friend Like Me", but it's still an excellent tune.

In order to convince people that Aladdin is a prince, Genie pulls out all the stops and provides a spectacular procession. "Prince Ali" provides the perfect soundtrack to this sequence. It's catchy from the beginning, and the elaborate lyrics are great fun. In addition, the tempo speeds up as Aladdin reaches the Sultan's palace, leading to a spectacular climax. The best feature of "Prince Ali" is seeing Genie show off his abilities for the outside world, as he changes into men, women, children, and even animals in order to promote Aladdin. Robin Williams provides more excellent singing, ensuring that "Prince Ali" reinforces Genie's status as Aladdin's best-loved character.

"A Whole New World" - Aladdin (1992)

Lead Singer: Aladdin (voiced by Brad Kane*), Jasmine (voiced by Lea Salonga*)

It speaks volumes about the quality of songs in Clements and Musker's Disney films that the two which won Oscars failed to make my Top 10. "A Whole New World" became a breakout song when Aladdin was released, and has been covered endlessly over the years.

However, overexposure has not entirely dimmed the sense of wonder which "A Whole New World" provides. Although Brad Kane's singing voice is not very strong, he is still good at conveying Aladdin's emotions, as he shows Jasmine his magic carpet and takes her on a very eventful date. The song also communicates Jasmine's joy at seeing the world beyond her palace, and by the end, we really get a sense that Aladdin and Jasmine are in love with each other. It's not as powerful as the songs in the Top 10, but "A Whole New World" is still a charming little number.

(*Note: I am aware that Kane and Salonga only provide the singing voices for Aladdin and Jasmine, but this article is only about the songs)

"Down In New Orleans" - The Princess and the Frog (2009)

Lead Singer: Dr John

"Down In New Orleans" is one of two songs in mentioned in this article not to be performed by a character within the film. Instead, iconic New Orleans musician Dr. John sings over a montage which shows Tiana's daily commute, and introduces us to the other central (human) characters in the movie, such as Prince Naveen and the scheming Dr. Facilier,

"Down In New Orleans" is a jaunty little song, introducing us to the old-fashioned ragtime style which defines The Princess and the Frog, and it provides accompaniment to an interesting sequence, which sets up the film's storyline effectively. However, whilst the tune effectively showcases the culture at the centre of the movie, it lacks the power and energy of the songs in the Top 10.

"When We're Human" - The Princess and the Frog (2009)

Lead Singers: Louis the Crocodile (voiced by Michael-Leon Wooley) Prince Naveen (voiced by Bruno Campos), Tiana (voiced by Anika Noni Rose)

The Princess and the Frog is full of catchy numbers which are perfectly suited to the 1920's New Orleans setting. One of the most enjoyable is "When We're Human", sang as Louis, an alligator who wants to become a star jazz musician, joins Tiana and Naveen on their quest to find Mama Odie, the only person who can return them to their human forms. In this song, Louis, Naveen and Tiana sing about their philosophies in life, and what they will do when they become human.

The best thing about "When We're Human" is the quality of the singers. Michael-Leon Wooley has a deep voice perfectly suited for Jazz, Bruno Campos effectively conveys Naveen's carefree energy, and Anika Noni Rose (more on her later) handles a pretty wordy and difficult solo section perfectly. This song could have easily made it into my Top 10, but I ultimately decided to include "Almost There" instead, as I have enough uptempo tunes in my countdown already.

With these out of the way, it's now time for the countdown to begin:

The Top 10 Songs From Clements/Musker Disney Movies

10. "The World's Greatest Criminal Mind" - The Great Mouse Detective (1986)

Lead Singer: Professor Ratigan (voiced by Vincent Price)

The first film Clements and Musker directed for Disney, The Great Mouse Detective is a tale about the rodent equivalent of Sherlock Holmes. Every Sherlock Holmes needs a Moriarty to match wits with, and Basil's arch-nemesis is Professor Ratigan, voiced by the horror icon Vincent Price.

Although The Great Mouse Detective is not a musical (As most of Clements and Musker's subsequent Disney films have been), Ratigan gets two songs, and "The World's Greatest Criminal Mind" is the most iconic of these, as it depicts Ratigan boasting about his villainous deeds whilst his henchmen sing his praises. The song works best a showcase for Price's vocal ability, as he enunciates every word with relish whilst moving up and down the vocal scale. "The Worlds Greatest Criminal Mind" is not a very sophisticated number, especially compared to the two other villain songs which will be listed later in this countdown, but it's worthy of a place in the Top 10.

9. "Almost There" - The Princess and the Frog (2009)

Lead Singer: Tiana (Voiced by Anika Noni Rose)

"Almost There" is one of two "I Want" songs listed on this countdown, in which the protagonist sings about their goals in life. Here, Tiana sings about how she is working towards her dream of owning a restaurant, and her fantasies are depicted in an art deco style animated sequence.

The song is a charming number with a strong piano hook and aspirational lyrics which are easy to relate to, but the best thing about "Almost There" is Anika Noni Rose's singing. Although she is famous for being overshadowed by Beyonce and Jennifer Hudson in the 2006 film Dreamgirls, Noni Rose proves that she is an excellent vocallist in her own right. Her soulful voice is a perfect fit for Tiana, one of Disney's most mature female leads, and she manages to convey Tiana's enthusiasm about her dreams. "Almost There" is not as edgy as other songs on this countdown, but it's a fun song to listen to, and does a great job of proving that Tiana is not your average Disney Princess.

8. "Zero To Hero" - Hercules (1997)

Lead Singers: The Muses (voiced by Lillias White, Vaneese Y. Thomas, Cheryl Freeman, LaChanze and Roz Ryan)

I initially didn't like "Zero to Hero", but this song has grown on me over the years, particularly as I've gained an increased appreciation for Gospel music. The Muses essentially serve as narrators for Hercules, and have three of the movie's six songs (they also serve as backing vocalists on another which will be mentioned later in the countdown). "Zero To Hero", which is used to soundtrack Hercules' rise to prominence, is the best of their three songs by some distance.

Although "Zero to Hero" lacks the spiritual content which defines Gospel music, it succeeds in capturing the exuberance which makes the genre so fun to listen to. Gerald Scarfe's animation is an acquired taste, but the sequence which accompanies "Zero to Hero" is bright and colourful, and feels like a music video. The Muses have plenty of personality, and they help make the song feel unique, with some very creative lyrics. The second half of the "Zero to Hero" increases the energy further, and a gospel choir is added to provide a call-and-response which makes the song even catchier. Even though it lacks substance compared to other Disney songs, "Zero To Hero" is an entertaining little confection, and you might find yourself tapping your feet, or even singing along, whilst listening to it.

7. "Kiss The Girl" - The Little Mermaid (1989)

Lead Singer: Sebastian the Crab (voiced by Samuel E. Wright)

Sebastian is one of the best characters in The Little Mermaid, and one of my favourite things about him is the way in which he turns from an uptight, easily worried sidekick to a smooth and energetic showman whenever he starts singing. Though his musical abilities were showcased in "Under the Sea", I think that "Kiss the Girl" is the best of Sebastian's two songs, proving that a slower, more relaxed song can surpass an upbeat one.

"Kiss the Girl" is much slower than "Under the Sea", but retains the summery Caribbean vibe which made that song so appealing. However, it also blends the signature Steel Pan drums of Calypso music with violins and a choir, which enhance the romantic tone. The slower arrangement also allows Samuel E. Wright to show off his smooth and rich voice, and the animation accompanying the sequence is very strong, as Sebastian recruits a wide range of pond life to assist him in his efforts to persuade Prince Eric to kiss Ariel. "Kiss the Girl" stands out as a song which is both magical and romantic, and its Oscar nomination was definately deserved.

6. "I Won't Say (I'm In Love)" - Hercules (1997)

Lead Singer: Megara (voiced by Susan Egan)

A reluctant minion of hotheaded villain Hades, Megara is one of Disney's most developed female protagonists. When she is assigned to seduce Hercules, she begins to fall in love with him, in spite of her past history of heartbreak. In "I Won't Say (I'm In Love)", Megara sings about how she doesn't want to fall in love again, whilst the Muses provide backing vocals, trying to get her to accept her feelings for Hercules.

In contrast to the gospel style used for the majority of the movie's soundtrack, "I Won't Say (I'm In Love)" has the "shoop-shoop" sound typical of late 50's girl groups. However, what makes the song stand out is the insight it gives us into Megara's character. Her cynicism about relationships is easy to relate to, and it's interesting to see how she changes as she struggles to deny her feelings. When she finally lets down her defences and chooses to embrace romance again, it's an incredibly heartwarming moment. Overall, "I Won't Say (I'm In Love)" is an excellent example of a song which manages to advance a character's development whilst being entertaining in its own right.

5. "Friends on the Other Side" - The Princess and the Frog (2009)

Lead Singer: Dr. Facilier (voiced by Keith David)

Villains are often the most memorable characters in Disney movies, so it's not surprising that their songs are among the highlights of their films. The Princess and the Frog, Clements and Musker's throwback to the Disney musicals of the past, features one of Disney's best Villain Songs, "Friends on the Other Side".

Most Disney Villains Songs are essentially sales pitches, as the villain tries to persuade characters to make an unwise decision. "Friends on the Other Side" is a particularly persuasive Villain Song, as Dr. Facilier entices the cash-strapped Prince Naveen with an offer to provide him with plenty of "green", and wins over Naveen's put-upon assistant Lawrence. The percussion instrumentals and Keith David's smooth voice make Facilier's pitch seem very intriguing, even though it's clear that he's up to no good. However, when Naveen and Lawrence agree to the deal, the tempo intensifies, as the true nature of Dr. Facilier's dark magic is revealed. The song's climax is accompanied by vivid, voodoo-inspired imagery which really establishes Facilier as a powerful villain. "Friends on the Other Side" is one of the great Disney villain songs, but there are some even better ones...

4. "Poor Unfortunate Souls" - The Little Mermaid (1989)

Lead Singer: Ursula (voiced by Pat Carroll)

Out of all the Disney villains, Ursula is one of the best. With her uniquely grotesque design and Pat Carroll's forceful voice acting, she is both funny ("Body Language!") and scary (her "garden" is genuinely terrifying). However, it is her signature song, "Poor Unfortunate Souls", which demonstrates why she is amongst Disney's greatest antagonists.

In this song, Ursula tries to persuade Ariel to sell her voice for the opportunity to temporarily be turned into a human. The tentacled sea-witch is not one to do anything by halves, and her hard-sell strategy means that it is almost impossible to ignore her. The brassy melody starts slowly, but becomes increasingly fast-paced and intense as Ursula gets nearer to ensnaring Ariel. The lyrics are excellent, with the verses becoming increasingly wordy as the song progresses. Pat Carroll deserves special praise for her singing, masterfully handling the demands of the song as Ursula switches between ostentatious declarations that she's a changed woman, and asides which confirm her true nature. Ursula's flamboyant disposition and total lack of inhibitions are on full display in "Poor Unfortunate Souls", making it into the defining example of a Villain Song.

3. "Friend Like Me" - Aladdin (1992)

Lead Singer: Genie (voiced by Robin Williams)

Like the two previous songs on this countdown, "Friend Like Me" is essentially a very catchy sales pitch. This time, it is being sung by a heroic character, as Genie shows Aladdin the extent of his magical powers. However, the reason why "Friend Like Me" is such an iconic song can be summed up in two words - Robin Williams.

The legendary comedian really succeeds in bringing the Genie to life, and animation is the perfect forum for Williams's abilities, as he is not constrained by the need to tailor his act to suit a certain time or place. "Friend Like Me"  is the highlight of the Genie's introductory scene, with the uptempo song being perfectly suited to the fast-paced and colorful animation.  Throughout the sequence, Genie is always moving and always changing form, treating us to a memorable new visual with every line. The "big band" instrumentals become increasingly intense as the song proceeds towards its climax, and Robin Williams really gets to show off his vocal abilities. Not all of the lyrics work ("I'm in the mood/to help you dude" is a rather silly line), but "Friend Like Me" is such an enjoyable and energetic tune that its easy to overlook the flaws and get lost in the sheer spectacle which the Genie provides.

2. "I'm Still Here (Jim's Theme)" - Treasure Planet (2002)

Lead Singer: John Rzeznik

Treasure Planet, a sci-fi take on Treasure Island, is the only one of Clements and Musker's six Disney movies where none of the characters get to sing, but the movie features one song which is played over a montage, and that song is "I'm Still Here". Due to the rule that every Clements/Musker movie must be represented on this countdown, "I'm Still Here" was guaranteed a place in my Top 10. This would have been an embarrassment if this song was below the standards of the others on this list, but fortunately, it turns out to be a brilliant track.

"I'm Still Here" plays over a montage, depicting protagonist Jim Hawkins working under the supervision of half-human, half-cyborg John Silver. These scenes are intercut with clips showing Hawkins's childhood. "I'm Still Here"  provides a powerful soundtrack to this sequence, ensuring that it has a greater emotional impact. However, it remains an excellent song when listened to outside of Treasure Planet.

Singer John Rzeznik is famous for being the lead singer of the rock band The Goo Goo Dolls, and his rough vocals are perfectly suited to the lyrics, which are from the from the perspective of an outsider who does not fit in with the world. The drums and electric guitars provide strong backing, as the song builds to a soaring, powerful chorus and a triumphant climax. "I'm Still Here" is probably the best song to come from Disney's wilderness years in the early 2000's, when they were trying to move away from their traditional approach, and it is one of the most underrated songs in the Disney back catalogue.

1. "Part of Your World" - The Little Mermaid (1989)

Lead Singer: Ariel (voiced by Jodi Benson)

Clements and Musker's Disney movies have been full of excellent songs, but to date, none of them has been able to surpass "Part of Your World". The instant the violins kick in and Ariel sings
"Look at this stuff/ Isn't it neat? Wouldn't you think. my collection's complete?", you know that a truly special song has begun.

One of the things that makes "Part Of Your World" wonderful is Jodi Benson's singing. She may not be the best at belting out high notes, but her voice is so full of passion and emotion. When this is combined with the expressive animation, Ariel really comes to life. In addition, the lyrics make it easy to relate to Ariel in spite of her many flaws. Her primary goal is to see the human world for herself, and experience something that she's only observed from a distance. Whether we are going on holiday or seeking out the dream job, we all share the desire to learn and explore that makes Ariel stand out. In "Part of Your World", this longing for something more is conveyed wonderfully, and that's why that song has become so iconic.

"Part of Your World" deserves its status as Number One on this countdown. It is as powerful and resonant now as it was when The Little Mermaid was first released in 1989, and it will remain one of Disney's finest songs for decades to come.

Beauty and the Beast – Comparing the Trailers

Yesterday, the first full trailer for Disney’s live-action remake of Beauty and the Beast premiered on Good Morning America. It gave us a preview of how the Belle, the Beast, Lumiere, Cogsworth, Gaston and all the other classic characters from the 1991 animated film will be depicted in the new movie. Judging by this trailer, the live-action remake of Beauty and the Beast looks like it will retain many of the best aspects of the iconic original, whilst adding enough interesting new elements to stand out on its own terms.  

It is interesting to compare the trailer to the live-action remake with a trailer for the original animated film. The similarities and differences between both trailers illustrate how two films telling the same basic story are promoted in different ways.  

The Original Trailer

“Walt Disney Pictures Presents…Its All-New 30^th Full-Length Animated Motion Picture”

Like most trailers from the early 1990’s, this trailer for the original version of Beauty and the Beast uses a voice-over to explain the plot and highlight the movie’s unique features. This device has fallen out of fashion, but it makes it easier for people to understand what the movie is about and why they should see it. Linking Beauty and the Beast to all of the past Disney movies implies that the film is going to retain the sense of magic which allowed its predecessors (or most of them, anyway) to appeal to so many families. 

This trailer seems to place a lot of emphasis on the comedic aspects of the film. For example, we are shown clips of the Beast’s attempts to change his behaviour in order to please Belle, as he tries to make himself look smarter and control his messy eating habits. These amusing scenes imply that the relationship between the Beast and Belle will be an appealing “Opposites Attract” romance. They also allow viewers to connect with the Beast, as he has to try and control his beastly instincts in order to win over the beautiful girl who has arrived at his castle. The Enchanted Objects are also very prominent in the trailer, with a scene from the climax of the film where they fight Gaston’s henchmen being shown in some detail. This scene showcases many of the unique things that the Enchanted Objects are able to do, as they unite to defeat and humiliate the antagonists. The decision to highlight the movie’s funnier moments allows the trailer to appeal primarily to children, but the quality of the humour ensures that adult viewers are still interested in the movie.

The trailer also emphasises one of the best things about Beauty and the Beast – the soundtrack. The voice-over mentions the six new songs written for the film by “the Academy-Award winning composer and lyricist of The Little Mermaid”. As the songs provided by Alan Menken and Howard Ashman were among the highlights of The Little Mermaid, the decision to mention their presence suggests that Beauty and the Beast will continue with the approach that made The Little Mermaid so popular. Two of the six songs written by Menken and Ashman for Beauty and the Beast, “Something There” and “Be Our Guest”, are played during the trailer. These are both upbeat numbers, likely to stick in the head of anyone watching, and the decision to include them further emphasises the musical nature of the film. 

Overall, the trailer for the original, animated version of Beauty and the Beast focuses on the comedy and music, as these are the elements most likely to appeal to younger viewers, but it suggests that the movie will be good enough to appeal to adults as well. This marketing strategy for the animated movie paid off, as it attracted a wide range of viewers, and helped contribute to the film’s success. 

The Live-Action Trailer

In contrast to the trailer for the original animated film, the trailer for the live-action remake of Beauty and the Beast does not contain any voice-overs, suggesting that anyone who is watching it will be familiar with the story. As the original film is familiar to almost everyone watching the trailer (even children) and the simple plotline can be understood through the character’s dialogue and actions, a voice-over is now seen as an unnecessary distraction. This is an indicator that the trailer for the live-action remake is aimed at a more mature audience than the trailer for the animated film.

Whilst the trailer for the animated film emphasised the comedy and music, this one is focused on the relationship between Belle and the Beast.  A number of powerful moments from the original movie, such as Belle seeing the Beast’s face for the first time, and the Beast saving Belle from a pack of wolves, are reproduced in this trailer.  The trailer for the live-action remake suggests that the movie is aimed primarily at fans of the original, and that these people loved the animated film because they were moved by the relationship at its centre. By showing many key scenes being depicted in live-action, the trailer suggests that they will be just as important in this new form. Even when she’s being played by Emma Watson, hearing Belle say “come into the light” when the Beast arrives provides a comforting degree of familiarity which highlights the fact that this remake will be faithful to the original film.

Another appealing feature of this trailer is seeing how the characters will be translated into live-action. In addition to the scenes featuring Belle and the Beast, we see how the Enchanted Objects will look and sound in live-action. They get far less scenes than they did in the trailer for the animated movie, but this trailer is still able to show how they have been brought to life, demonstrating that they are still the same characters that were so appealing in the original film (It’s interesting to see that Ewan McGregor, who voices Lumiere, and Emma Thompson, who voices Mrs. Potts, are both trying to replicate their characters’ signature accents). We also get confirmation that Mrs. Pott’s son, Chip, will be featured in the movie. Although he was a reasonably prominent character in the animated film, this is the first time that Chip has appeared in promotional material for the remake (This is possibly because he’s not voiced by a celebrity). The Enchanted Objects are some of the most memorable characters from the original film, so the fact that they are being depicted faithfully demonstrates that the people behind the live action remake respect the most important aspects of the original movie, and will leave these intact.

However, the trailer also suggests that there will be some modifications to the storyline. For example, the scene at the beginning of the story where the Beast captures and imprisons Belle’s father Maurice, has been altered. In the animated film, Maurice got lost and ended up in the Beast’s castle by accident. In contrast, in the trailer for the live-action version, we see the Maurice trying to steal a rose from the Beast’s garden when he gets captured. This new addition comes from the original 17^th century fairy tale which inspired the animated movie. Regardless of whether those viewing the trailer are familiar with the source material or not, they will be intrigued by this change, and will wonder how it affects the rest of the story. Highlighting some of the key changes to the story demonstrates that the live-action film will have its own identity,  whilst remaining faithful to the classic fairy tale which has endured for centuries.

It is worth noting that the trailer for the live-action remake does not feature any of the songs (although the title track seems to be incorporated into the score) with just one comedic moment being shown (“You can talk!” “Well of course he can talk!”). However, this does not suggest that the music and comedy which defined the trailer for the animated film will be absent. Four new songs will be included in the film, in addition to the original six, and most of the comedy will apparently still be present. In a promotional interview after the trailer was unveiled, Emma Watson talked about how the Beast will be given a “dry English sense of humour” meaning that he will probably get a number of comedic moments, like the ones which were shown in the trailer for the animated movie.  Just as the trailer for the animated movie generally left out the more serious scenes in order to emphasise the comedy and music, the first full trailer for the live-action remake aims to provide a sense of drama and mystery, and leaves out the comedic moments in order to achieve this. However, I get the feeling that subsequent promotional material for the film will devote a bit more time to these aspects, without detracting from the epic romance at the centre of the story or spoiling too many of the finished film’s secrets.

Conclusion

Although both movies feature the same characters and story, the trailers for the original animated version of Beauty and the Beast and the live-action remake are very different. The trailer for the animated version is aimed primarily at kids, as it emphasises the music, and focuses on the comedic moments instead of the more serious ones. In contrast, the trailer for the remake is aimed at older audiences, as it pays a greater amount of attention to the romance, fantasy and action. However, both trailers succeed in making Beauty and the Beast appeal to a wide audience, as they convey a sense of mystery and wonder. This quality has made the original animated film so iconic, and it seems like the live-action remake will follow in its footsteps. 

Moana - A Selection of Articles and Interviews

In just a fortnight, Disney's latest animated film, Moana, which is based on Polynesian mythology, will finally be released in American cinemas. Early reviews of Moana, which have been published on prominent film sites such as Variety, USA Today and Empire, have generally been very positive, and it seems like the film will be yet another hit for Disney.

In this blog post, I have collected a number of articles related to various aspects of Moana. The articles have been placed in four categories, which are listed below.

Interviews With Clements and Musker

Moana is directed by Ron Clements and John Musker, the duo behind Disney classics such as The Little Mermaid and Aladdin. They have been the subject of a number of articles, and have been interviewed by several prominent websites: 

Directors John Musker and Ron Clements on Creating the World of 'Moana' — and How 'Little Mermaid' Almost Got Sunk - In this interview with Yahoo, Clements and Musker reveal why they chose to make a film based on Polynesian mythology. They also talk about how their initial pitch for The Little Mermaid was rejected - this anecdote is familiar to many Disney fans, but it's always fun to hear it. 

Explore Disney’s Latest with Moana Directors Ron Clements and John Musker - In this interview with ComingSoon.Net, Clements and Musker discuss the differences between the 2D animation of their previous films, and the CGI animation used for Moana. They also talk about how Moana aims to celebrate exploration, and praise the movie's voice cast, which includes Dwayne "The Rock" Johnson.

How Moana Closes the Gap Between Disney's Past and Present - In this article on Gizmodo, Clements and Musker talk about the process of writing Moana, which involved a "brain trust" who analysed the story at every stage and edited it extensively throughout the production process.

Moana's Directors: From Disney's Past to the Future - This article on Den of Geek discusses Clements and Musker's history working with Disney, and features them talking about how they came up with the idea for Moana.

‘Moana’ Directors Talk ‘Mad Max: Fury Road’ Influences and Taika Waititi’s Screenplay - In this interview with SlashFilm, Clements and Musker acknowledge the role which Hunt For the Wilderpeople director Taika Waititi played in developing the script for Moana. They also mention the importance of music in Polynesian culture, and promote one of the movie's highlights, an action sequence inspired by 2015's hit action movie Mad Max: Fury Road. 

The Old Hands: The directors of 'Aladdin' and 'The Little Mermaid' learn new CG tricks on 'Moana' - In this article for LA Times, Clements and Musker discuss their working relationship and their status as Disney icons who have been involved with the company since the 1970's.  

Interviews With Other Key Figures

Clements and Musker are certainly not the only figures who have helped bring Moana to life, and many of the people involved in the production process have also talked extensively about their work.

INTERVIEW: Disney Producer Osnat Shurer on Making “Moana” and Developing A Strong Female Hero - In this interview with InsideTheMagic.com, Moana's producer, Osnat Shurer, praises the fact the movie has a strong female protagonist. She also talks about some of the other characters, including the demi-god Maui and Moana's grandmother, Gramma Tala.

Lin-Manuel Miranda ‘GMA’ Interview On ‘Moana’ And ‘Hamilton’ Documentary (VIDEO) - Lin-Manuel Miranda, the man behind the Broadway sensation Hamilton, wrote the songs for Moana. In this interview, published on GossipCop, he talks about writing songs for Dwayne Johnson.

Teenager Auli'i Cravalho Dishes About Role as Disney's New Heroine, Moana: 'I'm Just Being Myself!'- Moana's titular protagonist is voiced by Auli'i Cravalho, a 14 year-old Hawaiian girl who was chosen to voice the role after an online search. In this interview with People.com, she talks about how she got the part, and reveals which Disney Princess inspires her the most. 

The Production Process

Moana has been in development for five years, and as the Gizmondo article listed above implies, this has been a very eventful period. Many articles have highlighted all the hard work which went into the movie. 

How Moana Turned A Demigod Into A Sidekick - This Entertainment Weekly article discusses how Moana was originally meant to be centered around the character of Maui, until Clements and Musker chose to use a female protagonist. It's interesting to read about how the story evolved, as various ideas were rejected or changed.

‘Moana’: 15 Things to Know About Disney’s Culturally Robust Animated Epic - This article on Collider lists a number of anecdotes about the production of Moana. It focuses primarily on the production crew and the animators, and highlights the extent to which they tried to make the settings as authentic as possible.

Take A Look Behind The Scenes of Moana and 5 Years of Cultural Research- This article on OhMyDisney shows three featurettes about the making of Moana which first appeared on Dwayne Johnson's Instagram page. Johnson is full of praise for the way in which Moana portrays his "humble, yet fierce" Polynesian heritage, and these videos place even more emphasis on the respect which Disney have for Polynesian culture.

Moana's Merchandise

In addition to discussing the making of Moana, many websites have talked about the merchandise for the movie. The merchandising campaign for Moana got off to a bad start when a Halloween costume of  Maui was withdrawn based on allegations that it encouraged racism and cultural appropriation. However, in the last couple of months, a wide variety of interesting merchandise has been produced.

Book Reviews: 4 “Moana” Movie Books for Kids and Adults - This article from Laughing Place talks about four books based on the film. The most interesting of these is "The Story of Moana", a 300-page novelisation of the film which also features a number of the Polynesian stories which inspired it. There is also a storybook which features a CD narrated by Rachel House (who voices Gramma Tala).

Hawaiian Airlines Unveils “Moana” Plane.- In order to promote Moana, Hawaiian Airlines has unveiled three custom airplanes based on the movie. These planes have images of the movie's central characters on their side. Personally, I am worried about the environmental impact that this promotion will have (even though Hawaiian Airlines are one of the more fuel-efficient American airlines), but it seems that it will tie in effectively with the movie's themes of exploration.

Moana To Be First Disney Film Translated Into Tahitian Language - One of the defining features of Moana is its depiction of Polynesian culture, which aims to be as authentic as possible. In order to highlight this, a version of the film translated into the Tahitian language will be released, Apparently, it will be the first major motion picture to be translated into this overlooked native language. 

Watch the Packaging for This Moana Doll Turn Into a Fun Accessory - This is another article from Laughing Place, discussing a Moana doll with some unique packaging. The box, designed as part of Disney's SmartPackaging Initiative, is designed to be environmentally friendly, made using 70% recycled paper and vegetable-based inks. In addition, the box can be transformed into a toy boat, which children can use for a range of Moana-themed adventures. . 

Summary 

All the articles listed above highlight the most interesting and appealing features of Moana. In addition to talking about the experienced directors and the celebrities involved in making the movie, they promote the colourful animation, the memorable characters and the detailed depiction of Polynesian culture, which look like the three most important aspects of the film. I can't wait to see Moana in the cinema, and I'm confident that all the effort put into making it will lead to an incredibly entertaining finished product. 

Fairy Tales and Social/Political Issues

Fairy tales have endured throughout the centuries due to their versatility. In spite of their seemingly simple storylines, they can be used to convey a wide range of messages and discuss a number of important issues. The themes emphasised in an adaptation of a fairy tale depend on the viewpoints of the storyteller, so it’s not surprising that some storytellers aim to use fairy tales to convey their views on a range of important social and political issues.

Fairy tales are often rooted in the oral cultures and folklore of a particular country. For example, the fairy tales collected by the Brothers Grimm played a key role in forming a German national identity. The Brothers Grimm, Jacob and Wilhelm, started their work in the early years of the 19^th Century, when many of the fiefdoms and principalities which would later form the German nation were under French occupation. The Brothers Grimm both believed that by promoting a type of German culture which could be shared by all these different areas, they could encourage a united resistance to French occupation and the future formation of a unified German state. The nationalist sentiments which helped inspire the Brothers Grimm were relatively benign, but eventually, their work became linked with more extreme forms of German nationalism. Under the Nazis, classic Brothers Grimm tales such as Snow White and Little Red Riding Hood were frequently used in propaganda, with the heroes and heroines being portrayed as model “Aryans” in line with Nazi ideals. The popularity of fairy tales amongst children, and their role in Germany’s cultural identity, made it easy for the Nazis to use these stories to highlight a vision of a racially pure Germany – A vision which would lead to the death and suffering of millions during the Holocaust and the Second World War. After the Nazis were defeated, Allied armies banned Brothers Grimm books in Germany on the basis that they would spread “pernicious, nationalistic, influences”. This decision highlights the extent to which the links between fairy tales and their national culture could prove toxic, as fairy tales were seen as encouraging the xenophobia and prejudice which the Nazis had exploited in order to seize power.

The role of Brothers Grimm fairy tales in Nazi propaganda highlights the manner in which fairy tales can be used to spread prejudice to a wide and impressionable audience. In fact, a number of Brothers Grimm stories are loaded with examples of racist and anti-Semitic stereotypes. Probably the most infamous example of this is The Jew Among Thorns, where the antagonist is a bearded Jew who is defined by his thieving ways. This perpetuates a portrayal of Jews which aligned with familiar anti-Semitic tropes, confirming the prejudices of those who listened to and read the tale. The casual racism in stories such as The Jew Among Thorns was one of the reasons why an Arizona district banned the works of the Brothers Grimm in elementary schools in one Arizona district in 1994. However, the use of racist imagery and characterisation does not only apply to Brothers Grimm stories. For example, the Portuguese fairy tale The Maid and the Negress provides a depiction of an ugly and malicious black villain which would be unacceptable today. Even Disney are not immune to allegations of racism, as many of their older movies, such as Peter Pan, have been criticised for their stereotyped depictions of Black and Native American characters. Most classic children’s stories hail from a time when prejudice was prevalent in society, so anyone who wishes to tell them today has to choose whether to stay true to the story, in spite of its most problematic aspects, or change it to reflect more enlightened views. If the offensive parts of the story are minor, then there’s no harm in editing it to remove them, but when problematic racial stereotypes are central to the narrative, the choice becomes much more complex.

Probably the most debated aspect of classic fairy tales is their treatment of female characters. Recently, the singer Alicia Keys discussed how she would not let her children watch Disney’s Snow White and the Seven Dwarves due to the fact that its portrayal of Snow White was “sexist” and “misogynist”. Her claims were based on the belief that Snow White represented an idealised portrayal of a female servant, instead of a relatable woman who happened to stay at home and clean. By depicting female characters as subordinate to males, fairy tales can make it seem like demeaning portrayals of them are normal and expected. That said, not all fairy tales promote sexist depictions of women and some fairy tales, such as Fitcher's Bird, feature strong female protagonists perfectly suited to modern demands for independent and proactive female leads. However, many iconic fairy tales, such as Cinderella, happen to feature relatively passive female protagonists defined merely by their beauty and innocence. This reflects the moralistic approach of fairy tales, where virtue is rewarded and villainy ruthlessly punished. However, as more sophisticated views of gender roles have become dominant, storytellers have to find a way of promoting positive traits in women without reducing their agency or depicting them in a stereotyped fashion.

For all the discussion of the problematic aspects of classic fairy tales, storytellers can choose to alter them to promote more progressive beliefs. Many recent Disney animated movies, such as The Little Mermaid, Beauty and the Beast and Pocahontas, have featured clear anti-prejudice messages which were not in the source material. These films teach audiences that people should not be judged based on their race (or species, in the case of The Little Mermaid) or appearance. The anti-prejudice messages used by Disney have two main purposes. First of all, they reflect the positive and idealistic worldview which has helped make their films so iconic. However, they also highlight a model for behaviour which audiences can learn from and emulate. This anti-prejudice mentality is made appealing to audiences by incorporating it into a high-quality story with relatable characters, encouraging those who enjoy the film to challenge negative stereotypes and support more enlightened views instead. Storytellers can also promote tolerance in more subtle ways. The pressure to increase diversity and representation in recent years has led to a variety of fairy tale films, such as Moana, which depict foreign cultures. Many different fairy tales and folk stories are similar to those told in other countries, something which the Brothers Grimm acknowledged when they took note of the foreign variants of their stories, including tales from Ireland and Japan. Emphasising the stories of foreign cultures can lead to a more nuanced understanding of these cultures and the people which inhabit them. As long as stories which encourage positive and respectful views of other races and nationalities are made available to a wide audience, then the viewpoints which they promote will be highly influential.

In spite of our interest in analysing fairy tales, it is possible that placing too much focus on their political and social messages dilutes the atmosphere of fantasy which helps them to stand out. One fairy tale trope which is prone to being over-analysed is the portrayal of the monarchy. For the most part, kings and queens are depicted positively (although there are a number of exceptions to this rule), and a great deal of happy endings feature the protagonist marrying into royalty. This can seem to promote the problematic message that monarchs are inherently superior to other people. However, the responsibilities of managing a kingdom are seldom mentioned. This is because discussing politics can distract from the clarity and simplicity which makes these stories appeal to a wide range of audiences. The old-fashioned fantasy nature of fairy tales was apparent as soon as they were published. Storytellers such as the Brothers Grimm and Hans Christian Andersen collected and wrote their stories in the 19^th century, when there was increasing opposition to the absolute power of the monarchy. The fact that republican sentiment continued to grow in spite of the popularity of their tales suggests that their depictions of the monarchy were accepted as fantasy with almost no bearing on contemporary political issues. This means that attempts to portray monarchy in a more modern fashion (such as an update of Cinderella from the 1970’s which ends with her setting up a labor union for maids, and emigrating to America, a country free from kings and queens) usually seem like an unnecessary distraction from the simplistic, idealised visions of the source material. Therefore, whilst storytellers can alter stories to suit their political views, they should always be aware that the most important reason for the popularity of fairy tales is their status as escapist fantasy.  

Conclusion

Fairy tales can be used to promote a wide range of viewpoints on political and social issues. In their original incarnations, these stories aimed to provide escapist entertainment whilst delivering simple but powerful moral lessons. Unfortunately, they could also reinforce racial and gender stereotypes which are unpalatable today. In the years since they were first published, fairy tales have been substantially altered to suit the contemporary social and political climate, whether this involves reinforcing an extremist ideology or sending progressive messages. The appeal of fairy tales lies in the fact that they can be changed in a variety of ways without ever losing the qualities which make them interesting. Ultimately, it’s the storyteller’s decision to choose which messages to emphasise, and the extent to which they dominate the story. However, the primary requirement for any adaptation of a fairy tale will always be to provide an engaging and appealing story which can entertain a wide audience. 

Future Fairy Tale Films #2 – Beauty and the Beast (2017)

With 2016 nearing a close, it’s time to turn our attention to the films which will be released next year. One of the most highly anticipated films of 2017 is Disney’s live-action remake of their 1991 animated classic Beauty and the Beast. The original film, based on the iconic French fairy tale (as well as Jean Cocteau’s 1946 version of it), tells the story of Belle, a young woman who helps to redeem a prince who had been turned into a Beast by a curse. It became the first animated movie to be nominated for Best Picture at the Oscars and spawned a popular stage adaptation and two straight-to-video “midquels”. Now, Disney are reviving the story in live action, aiming to emulate the success of their recent remakes of Alice in Wonderland, Cinderella and The Jungle Book. The live-action remake of Beauty and the Beast will be released in both the UK and USA on Friday 17^th March.

In May, a 90-second teaser for the film received 91.8 million views in just 24 hours. Although it told us almost nothing about the story, the images of the Beast’s castle and a brief glimpse of Emma Watson as Belle made fans incredibly excited. Last week, we got a much clearer look at Beauty and the Beast when Entertainment Weekly released nine promotional images for the film. These images gave us a glimpse into how the iconic characters created by Disney will be depicted in Live-Action:

Belle

It has been clear from the very beginning that the presence of Emma Watson as Belle is one of the remake’s main selling points. She was the first person to be cast in the film, and she was also the only person shown in the teaser. Watson is famous for playing Harry Potter’s brainy friend Hermione Granger in the Harry Potter series, and her popularity in that role makes it easy to imagine her as a Disney Princess defined by her love of reading. The casting of Emma Watson has generally been received positively, with Paige O’Hara, who voiced Belle in the original film, and Susan Egan, who played her in the stage production, both endorsing the decision to allow Watson to play Belle.

Belle’s prominence in the remake has been highlighted by the fact that the majority of the nine promotional images depict her, either in the blue and white “Peasant clothing” she wore for much of the original film, or the elegant yellow dress she wore during the iconic Ballroom dance sequence which was one of the highlights of the 1991 version. Emma Watson looks a bit plain, but that’s not a much of a problem when you’re essentially playing an 18^th Century peasant, and she also has a genuinely beautiful smile.

However, Belle should be defined by her brains and personality rather than her beauty, and the remake has made one major change to her character. Belle’s love of stories will still be her defining trait, but she is now also an inventor. She invents items to make chores such as doing the laundry easier, and uses her increased amount of free time to read. Her father, Maurice (Played by Kevin Kline) is also an inventor, as he was in the original film. In the remake, he will create music boxes modelled on exotic animals and places. This quirk looks like it will provide an additional explanation for Belle’s fascination with the world beyond her peasant village, as the music boxes remind her of “what she’s missing”. It seems that Belle will be a pretty well-developed character in this remake, and this will make it easier to root for her.

The Beast

It is a bit hard to talk about the Beast at this point, as these images represent our first proper look at the character, who will be played by Dan Stevens. The two promotional images which feature him both show him interacting with Belle in pretty smart clothing, which provides a contrast with his fur-covered body and the horns on his head. Both images appear to be taken from later in the movie (one shows him and Belle dancing, the other shows him reading in the library he gave to Belle in the original film), so it remains to be seen how he will portrayed in the early stages. Initially, Beast needs to be imposing enough for viewers to fear him, but sympathetic enough for Belle’s decision to stay with him not to be dismissed as “Stockholm Syndrome” – a ludicrous but popular criticism of their relationship in the original film. The Beast is probably the most complex character in the original film, as he changes from an aggressive person lacking compassion to a selfless and heroic individual, and I look forward to seeing how Dan Stevens handles this character arc.

The Household Staff

Among the most memorable characters in Disney’s version of Beauty and the Beast are the Beast’s household staff, who have been transformed into anthropomorphized household objects as part of the curse placed on the Beast and his castle. The promotional image above gives us our first full look at the four central members of the staff – the stuffy clock Cogsworth (Voiced by Sir Ian McKellen), the motherly teapot Mrs. Potts (Voiced by Emma Thompson), the suave candelabra Lumiere (Voiced by Ewan McGregor) and the playful feather-duster Plumette (Voiced by Gugu Mbatha-Raw). There will also be other enchanted servants, such as the neurotic grand piano Cadenza (Voiced by Stanley Tucci), but they will not be introduced to viewers until closer to the release date. The choice of actors for these roles is really intriguing, with Sir Ian McKellen being especially well-suited to portray Cogsworth. Ewan McGregor is a riskier choice, particularly as he is aiming to replicate Lumiere’s signature French accent (This contrasts with McGregor’s performance in Moulin Rogue!, where he maintained his normal speaking voice in spite of the fact that this film was also set in a fantasy version of France). However, I think that he can bring the character to life effectively. Ultimately, I am excited to see how the household staff is portrayed because I can’t wait to see some of Britain’s best-loved actors bring some of Disney’s best-loved characters to life.

That said, there will be a number of challenges involved in bringing the household staff to life. The main problem with translating Beauty and the Beast into Live Action is that the change in medium will make it harder for the characters to seem expressive. In animation, many features of a character (such as their eyes) can be exaggerated in order to emphasise their personality and defining characteristics. However, in Live Action, realism is much more important, so the caricatured approach of the original film cannot be replicated. This means that there has to extra emphasis placed on the acting, directing and screenplay, as the personalities of the characters have to be developed more in order to make the characters stand out.

In spite of this issue, I think that the new designs for Lumiere, Cogsworth, Miss Potts and Plumette look very interesting. They look realistic enough to seem like household objects, but their faces and bodies are depicted with great detail, allowing their personalities to be clearly apparent. It will be interesting to see the household staff in action, and I am looking forward to seeing how they interact with Belle and the Beast.

The Villains

The promotional images give us our first look at Luke Evans’ portrayal of the original film’s self-aggrandizing villain, Gaston. Disney Villains are either over-the-top and fantastical (e.g Maleficent in Sleeping Beauty, Ursula in The Little Mermaid, Jafar in Aladdin) or unnervingly realistic (e.g Lady Tremaine in Cinderella, Judge Frollo in The Hunchback of Notre Dame, Prince Hans in Frozen), and Gaston is an interesting antagonist because he represents both types of villainy. On one hand, his extreme masculinity is often played for comedy, especially during his signature self-titled song. However, as the film progresses, Gaston’s violent and manipulative nature becomes increasingly apparent, as he is willing to resort to threats and murder in order to get what he wants. At this early stage, we don’t know exactly how Evans will balance the comedic and menacing sides of his character. However, the promotional images give us one subtle indication that Gaston will be just as narcissistic as he was in the original film. If you look closely at the photo above, it seems that the heroic pose he is providing for the villagers may be designed to emulate the image of him which appears to be painted onto the tavern ceiling.  The difference between the heroic image and the unpleasant reality will define Evans’ performance as Gaston, and provide an interesting contrast to the Beast’s redemption.

Josh Gad, who voiced Olaf the snowman in Frozen, will play Gaston’s obsequious sidekick LeFou. It will be interesting to see Gad’s goofy, bumbling approach applied to a villainous character, and his singing voice is pretty close to that of Jesse Corti, who voiced LeFou in the original film. Compared to the other characters, the role of LeFou is a pretty small part, but Josh Gad is a very good choice for the role.

Who’s Working Behind the Scenes?

As interesting as the portrayals of the main characters will be, the people working behind the scenes are equally instrumental in bringing this remake of Beauty and the Beast to life. It will be directed by Bill Condon, best known for directing the 2006 adaptation of the musical Dreamgirls, whilst the screenplay was written by Stephen Chbosky (who scripted Emma Watson’s 2012 film The Perks of Being A Wallflower) and Even Spiliotopoulos (who began his career working on Disney’s infamous straight-to-video sequels from the early 2000’s). However, the most iconic person working behind the scenes on this film is Alan Menken, who wrote the songs for the original movie. He will be working on the soundtrack for this one, which combines the old favourites (“Be Our Guest”, “Beauty and the Beast”) with some new songs co-written with Tim Rice, including one for the Beast called “Forever More”. Although none of the songs created for the stage adaptation (which include “Home” and “If I Can’t Have Her”) will be included in the new film, the soundtrack seems very impressive. As this is the first of Disney’s live-action remakes to be a full-on musical, it seems that the songs will be a highlight. Fans will be interested to see the songs from the original film sang by new actors in live-action, but the additional songs will provide a little something extra to make the forthcoming film stand out even more. 

Conclusion

The promotional images released by Entertainment Weekly have succeeded in increasing my interest in the Live-Action remake of Beauty and the Beast. We now have a better idea of how the classic characters will be brought to life by the all-star cast. With less than five months to go until the movie is released, there will undoubtedly be more trailers and images released, which I can't wait to see. I have a feeling that this will be another excellent version of Beauty and the Beast, which will be worthy of comparisons with the original classic.

What Constitutes A Fairy Tale Film?

(Note – This review features minor spoilers for the forthcoming film A Monster Calls. If you have already read my review of it, or are familiar with the novel on which it was based, the information I reveal here won’t be a problem, but if you want to go in to that movie knowing little about it, then be careful)

Introduction

For many people, the definition of a “Fairy Tale Film" is simple – it is an adaptation of a fairy tale for film or television. However, as much as I love fairy tales, it is a bit limiting to focus solely on adaptations of fairy tales, as these represent just one group of stories. You may have noticed that I’ve done articles describing films such as Kubo and the Two Strings or A Monster Calls as “Fairy Tale Films”, even though they’re not based on specific fairy tales. I think that if I were to solely focus on adaptations of stories collected by the likes of Charles Perrault and the Brothers Grimm, I would run out of articles to write pretty quickly.

Therefore, this blog relies on a wider definition of “Fairy Tale Films", which also incorporates adaptations of classic children’s stories,myths and legends, and films inspired by fairy tales in various ways. In spite of this, the blog will still be called “Fairy Tale Fanboy”, as fairy tales are my primary focus. This means that any most films (or TV series) mentioned on this blog will be referred to as “Fairy Tale Films”, even if they are not based on fairy tales. The types of film which I consider to be “Fairy Tale Films” and thus suitable for inclusion on this blog, are listed below:

Films Based on Fairy Tales

(Examples: Snow White and The Seven Dwarves (1937), La Belle et La Bete (1946), Hansel and Gretel: Witch Hunters (2013))

This category of "Fairy Tale Film" is very easy to talk about. Fairy tales are stories based on Folklore. They are usually set in a distant past of kings, queens and princesses, and involve fantastical or supernatural creatures and objects. Many of the same story-lines and tropes occur in different fairy tales told all over the world, demonstrating their universal appeal. Another great thing about fairy tales is the sheer range of  stories they tell. They can be funny, scary, or romantic, and sometimes one story can work in many genres. Therefore, any film based on a fairy tale, whether it’s child friendly or an adults-only horror film, can be included on this blog.  

However, not all fairy tales fit this definition so cleanly. Hans Christian Andersen is regarded as one of the most iconic fairy tale writers of all time, but it can be hard to say whether he can be classified as a fairy tale writer, or an author of classic children’s stories. Many of his stories (e.g The Princess and the Pea, The Wild Swans) were adapted from existing fairy tales and folk stories, but others (e.g The Steadfast Tin Soldier, The Ugly Duckling) were entirely original, and not based on any known source material. In addition, Andersen’s detailed descriptions contrast sharply with the more simplistic, story-driven approach of traditional fairy tales. That said, Andersen’s short stories have become such iconic examples of the fairy tale genre that I don’t mind regarding them as fairy tales.

Films Based on Classic Literature/Children’s Stories

(Examples: The Wizard of Oz (1939), The Jungle Book (1967), The Hunchback of Notre Dame (1996))

To put it simply, the term “Classic Literature” refers to any work of literature written before the Twentieth Century. The term is used for some more modern works, such as the Tarzan Series (Which began in 1912), but almost all the works regarded as “Classic Literature” are in the Public Domain, which means that anyone can adapt them without needing to pay copyright fees. This ensures that the stories are still incredibly popular today, as new adaptations of them surface frequently.

As a rule of thumb, the only “Classic Literature” which will be mentioned on this blog are novels aimed primarily at children, with a strong element of fantasy. This definition covers works such as The Wizard of Oz, Alice in Wonderland, and The Jungle Book. Conversely, adaptations of stories aimed at adults, such as Dracula and Frankenstein, will not be mentioned. However, there have been kid-friendly adaptations of adult stories (most notably, Disney’s 1996 take on Victor Hugo’s story The Hunchback of Notre Dame), so these will be discussed alongside the numerous versions of tales such as Pinocchio and Alice in Wonderland.

Films Based on Mythology

(Examples: Hercules (1997), Kubo and the Two Strings (2016), Moana (2016))

Like fairy tales, myths and legends are stories transferred from generation to generation, with many common tropes in different parts of the world. However, whilst fairy tales are mostly entertainment, myths and legends can often be very important to a culture, and fuel its belief system.

The most iconic set of myths and legends are the Greek stories about gods such as Zeus and Hera and heroes such as Perseus and Hercules. Many myths and legends are used to explain historical events (such as the War with Troy) and natural phenomena, whilst others are used to communicate the stories of heroic figures who can serve as role models. When I put films based on myths and legends together with films based on fairy tales, the intent is to show the enduring popularity of these stories. Even when removed from the culture which created them, myths and legends have been popular for thousands of years due to their fascinating stories and compelling characters.

Films Which Incorporate Fairy Tales Into Their Narrative

(Examples: Shrek (2001), Into the Woods (2014), A Monster Calls (2016))

Most "Fairy Tale Films" are based on a single fairy tale or classic story. However, there are many films, such as Shrek and Into the Woods, which tell an original story that includes characters from a number of different fairy tales. In other films, such as A Monster Calls, fairy tales are portrayed as works of fiction, but they are important stories which impact the characters and their outlook. Both kinds of movie aim to look at the genre of fairy tales as a whole, instead of adapting a single tale.

Stories which incorporate multiple fairy tales into their narrative often aim to subvert or deconstruct the fairy tale genre. For example, A Monster Calls features two scenes where the titular monster tells the protagonist two seemingly typical fairy tales, before revealing that these stories are not as conventional as they seem. When screenwriters and directors become aware of the defining features of fairy tales, such as their reliance on moral certainties, they have an opportunity to contrast these with the conventions and expectations of the real world. This leads to powerful drama, and raises a number of thought-provoking questions about the fairy tale genre.

Fairy Tales About the Creation of Art and Stories

(Examples: Hans Christian Andersen (1952), Moulin Rouge! (2001), Hugo (2011))

On paper, it seems like history and fairy tales don’t mix. Films about historical figures generally aim to be as realistic as possible, whilst fairy tales are about the fantastical and supernatural. However, many works have provided fictional stories about real historical figures. Handled effectively, this blend of fantasy and fact (“Magical Realism”) can generate increased insight into why a renowned artist, writer or filmmaker is so iconic.

The 2001 film Moulin Rouge! paid tribute to the Bohemian culture of 1890’s France, as it combined a real-life historical setting and a portrayal of the famous painter Henri de Toulouse-Lautrec with an anachronistic soundtrack full of modern music and a story celebrating the power of love. It aimed to honour the spirit of the Bohemian artists by reflecting their focus on passion and artistic expression, which a more grounded story would have been unable to convey. A decade later, the Oscar-nominated movie Hugo paid tribute to the iconic French filmmaker George Melies (Whose short silent versions of Cinderella and Bluebeard are the first known cinematic adaptations of fairy tales) with a fictional story about a boy who befriends Melies many years after his retirement from film-making. By featuring a child protagonist who initially knows nothing about Melies’ past, Hugo aims to capture the sense of novelty and wonder which made Melies’ movies stand out at the time, and allows them to retain their appeal today. Films like Moulin Rouge! and Hugo aim to honour the real-life artists, writers and entertainers they depict by trying to emulate the tone, spirit and appeal of their output. As a result, they often use the fantasy and fairy tale elements which featured heavily in these works, meaning that, in spite of their historical subject, they can be classified as "Fairy Tale Films".

Conclusion

I’m aware that my definition of what constitutes a "Fairy Tale Film" has been heavily shaped by Disney, and their dominance over the genre, but I love the diversity of the fairy tale genre, so I’m happy to use a very loose definition of it which incorporates a wide range of work. The purpose of this blog is to review, discuss and analyse stories and films based on (or inspired by) fairy tales, myths, legends, and older children’s stories, regardless whether they are old or new, well-known or obscure. Classifying all these works as “fairy tales” may seem a bit simplistic, but it allows me to look at a greater amount of stories, whilst adhering to a common fairy tale theme. 

Celebrity Actors in Fairy Tale Films

Fairy tales have been adapted for film since 1899, when the pioneering French filmmaker George Melies made a short version of Cinderella. Since then, a number of films based on fairy tales, legends and classic children’s stories have been released. Due to the enduring popularity of the source material, many of these projects are made with the help of famous and respected actors in central roles. The use of major “stars” in a fairy tale film can make it more popular and appealing, but there is also a risk that they can undermine the project. In this article, I will look at the advantages and disadvantages of casting celebrities.

(Note: In spite of the fact that a number of famous directors, screenwriters and musicians have also done a lot of work in the fairy tale genre, this article is focused entirely on actors, in order to keep things a bit simpler.)

A Short History of “Stars” in Fairy Tale Films

Due to Disney’s influence over the fairy tale genre, this section will start by mentioning how Disney’s use of celebrity Voice Actors has changed over time. Initially, Walt Disney wanted to focus on the stories and animation, so Snow White and the Seven Dwarves did not feature any celebrities in the voice cast. However, Disney’s second film, Pinocchio, starred the prominent entertainer Cliff Edwards, who voiced Jiminy Cricket. The comedian Ed Wynn, who voiced the Mad Hatter in Disney’s 1951 take on Alice in Wonderland, is another notable example of a celebrity who appeared in an early Disney film.

In 1967, The Jungle Book featured more celebrity Voice Actors than any previous Disney film, most notably the comedian Phil Harris and the Oscar-winning actor George Sanders. In spite of this, the concept of an all-star cast in animated films only really took off in 1992, when Robin Williams voiced the Genie in Aladdin. Disney’s next film, The Lion King, was packed with star actors (including Jeremy Irons, James Earl Jones, Whoopi Goldberg and Rowan Atkinson), and since then, well-known actors ranging from Demi Moore to Dwayne Johnson have voiced central characters in Disney films. The use of star voice actors is also practised by other animation studios, especially DreamWorks, whose movies (including Shrek and Kung Fu Panda) feature experienced actors known for both serious and comedic roles.

Although the best-known fairy tale films tend to be animated, there have been many notable live-action ones as well. Early examples of fairy tale films starring Hollywood icons include 1924 film The Thief of Baghdad (Which starred Douglas Fairbanks) and the 1948 film Hans Christian Andersen (Which starred Danny Kaye). More recently, Snow White and the Huntsman enjoyed box-office success due to its all-star cast, including Charlize Theron, Kristen Stewart, and Chris Hemsworth.

For and Against – Casting Celebrities

For – It Interests the Fans and Establishes Tone

Disney’s recent focus on translating their classic animated films to live-action has annoyed those who want them to provide more original projects. However, the live-action remakes have proved immensely popular, and one important reason for this is the use of an all-star cast. The recent remake of The Jungle Book featured stars like Bill Murray, Scarlett Johansson and Idris Elba, whilst the forthcoming remake of Beauty and the Beast has an even more impressive cast, with Emma Watson playing the protagonist Belle, and Ewan McGregor, Sir Ian McKellen and Luke Evans also involved. A strong cast is an effective way of raising interest in a remake, as many fans of the original films want to know which actors would play their favourite characters. Casting a much-loved actor in a prominent role can either demonstrate an understanding of what made the character iconic in the first place, or a willingness to do something different. To use the example of The Jungle Book remake, the casting of Bill Murray as Baloo and Sir Ben Kingsley as Bagheera was based on a desire to stay faithful to how the characters were portrayed in the original film, whilst the decision to cast Scarlett Johansson as Kaa and Christopher Walken as King Louie indicated an interesting and different take on the two characters. As long as the actor is talented enough to bring the character to life, both approaches can intrigue fans and make them more likely to see the movie.

In addition, an all-star cast can help establish a distinctive approach, especially if the stars are known for their work in a certain genre of film. For example, DreamWorks 2001 fairy tale comedy Shrek featured the popular comedy actors Mike Myers, Eddie Murphy and Cameron Diaz in the three lead roles. The decision to cast them revealed that Shrek would be an energetic comedy film with an anarchic, subversive tone. The 2004 sequel Shrek 2 went even further, adding the British comedy icons John Cleese and Jennifer Saunders to the cast. These casting choices demonstrated that the Shrek films would emphasise comedy, in contrast to the more polite approach of previous animated films. The irreverent approach of the first Shrek movie spawned numerous imitators, and the presence of popular comedic actors allowed this major selling point to be apparent before the film was even released.

For – It Helps Showcase A Culture.

Although this article focuses on Disney films, due to their dominance over the Fairy Tale genre, there have been many fairy tale films from a wide range of cultures. Like Hollywood films, these often use actors who are well-known internationally. La Belle et la Bete, a French adaptation of Beauty and the Beast from 2014, featured Lea Seydoux and Vincent Cassel, two French actors who are recognised around the world due to their appearances in movies such as Mission Impossible: Ghost Protocol and Black Swan. In addition to being a huge hit domestically, the presence of Seydoux and Cassel helped La Belle et la Bete get a level of exposure not associated with most French films. In Japan, the film became the first French-language movie to top the Box-Office since 2001 on its second weekend in cinemas. By the end of 2014, the film had made over $44 million worldwide, with roughly a third of this money coming from France. La Belle et la Bete is an example of a foreign film which enjoyed mainstream success outside its home country due to its use of prominent local actors who are popular with international audiences. As Seydoux and Cassel are seen as representatives of French cinema by many international viewers, their work gained attention as an example of a typically French movie which could be appreciated by viewers across the globe.

The need to provide stars who represent a certain group of people does not only apply to foreign and independent films, as mainstream studios such as Disney also need to cast prominent representatives of a foreign or minority culture when depicting it on screen. The Princess and the Frog, the first Disney film with an African-American protagonist, featured the influential African American TV personality Oprah Winfrey in a supporting role. Her endorsement of the project signalled to her fans that her culture would be depicted with respect. Another instance of Disney using star casting to showcase a minority culture is the decision to cast Dwayne Johnson in their forthcoming film Moana. Dwayne Johnson is currently the highest paid actor in the world (He made $64.5 million in 2016), but his Samoan roots do not receive enough attention (In his last animated film, 2009’s Planet 51, he had to voice a white American protagonist), so his leading role in a movie based on Polynesian folklore means that his this side of him will receive increased exposure. In addition, the well-known singer Nicole Scherzinger, who is from Hawaii, has a supporting role as Moana’s mother. Polynesian culture is generally overlooked, so seeing it represented by Johnson and Scherzinger gives it an increased level of positive publicity, as their fans will be inclined to learn more about the culture which they are showcasing.  

For – It Makes the Film Stand Out

If there is one thing which makes Aladdin such an iconic movie, it’s Robin Williams’s performance as the Genie. His fast-paced, energetic approach was a perfect fit for animation, as the Genie sang, impersonated a wide range of celebrities (both old and new) and got almost all of the best lines. Appearing in an animated film allowed Robin Williams to show off his skills in a new environment, and the fantasy setting of Aladdin meant that he was not limited by the need to tailor his approach to suit a certain time or place. By giving Robin Williams free rein, Disney ensured that his performance would be even more memorable, and this elevated the entire film.

In addition, a good fairy tale film can provide a showcase for more serious actors. When George Sanders voiced Shere Khan in The Jungle Book (1967), he became the first Oscar winner to appear in a Disney film. The fact that Sanders appeared in the film provided an indication that experienced and revered actors could be able to demonstrate their talents in an animated movie. Oscar winners who have appeared in fairy tale films since then include Jeremy Irons (The Lion King) Kevin Kline (The Hunchback of Notre Dame), Meryl Streep (Into the Woods) and Charlize Theron (Kubo and the Two Strings). The fact that these four movies were more serious than the average fairy tale film was a major selling point, so a high-quality cast was needed to convey this tone. Therefore, casting actors who have won the most prestigious award in Hollywood provided proof that these movies would aim for a darker, more sophisticated tone. As animated and fairy tale films have become more popular over the years, eminent actors have begun to appear in them with increasing frequency, and their presence has convinced adult viewers that these movies are more than simply entertainment for children.

Against – An Overreliance on Celebrity Actors Undermines Diversity

As we become increasingly aware of the diversity of the world, Children’s movies are under greater pressure to provide “representation” for foreign and minority groups. Although this fuels progressive casting and increased diversity, it also leads to greater levels of frustration if a film fails to provide the required representation. On its own terms, Kubo and the Two Strings was an excellent movie, with wonderful stop-motion animation, a memorable story with some shocking twists, and a great message. However, the film’s portrayal of Japanese culture was undermined by the lack of Japanese actors in central roles. The cast was full of talented actors (including Oscar winners Charlize Theron and Matthew McConaughey), but it would have been nice if the filmmakers had gone the extra mile and cast Japanese actors as significant characters. When you are depicting Japanese culture, and the most prominent Japanese actor in the film (George Takei) only features in a brief cameo, than it reduces the level of authenticity.

However, even if a film features a cast representing the culture portrayed, this does not end the problems. Disney’s 1995 film Pocahontas featured Native American protagonists voiced by a number of Native American actors, including Irene Bedard and Russell Means. However, the decision to cast Mel Gibson as the English settler John Smith cancelled out this progressive casting. By casting a major white celebrity as the secondary protagonist, Disney inadvertently provided the unfortunate implication that the Native American stars were not famous enough to attract viewers. In addition, Mel Gibson’s record of misogynist, racist and anti-Semitic behaviour in the years after Pocahontas was released has undermined the anti-prejudice message at the centre of the movie, and made it a lot harder to watch. Which brings me to my next point…

Against – An Unappealing Star Can Put People Off.

Mel Gibson is just one of many Hollywood celebrities whose career has been ruined by scandal. Most actors and actresses have eventful personal lives, but if an actor is involved in a particularly unpleasant incident, it can tarnish their image, and make their work seem less enjoyable. One recent example of a film affected by this problem was Alice Through the Looking Glass. In the days leading up the film’s release, Johnny Depp, who played the Mad Hatter, was accused of domestic abuse. Although this was not the only reason for the film’s underwhelming performance at the box office, Johnny Depp’s behaviour alienated a number of potential fans who might have been inclined to see the movie, and fuelled the perception that he was no longer relevant, making it much harder for the film to be marketed based on his starring role. The behaviour of a cast member has little to do with the quality of a film, but it can affect people’s reactions and make it harder to enjoy in the future.

Against – A Celebrity Actor Can Distract from the Story

In spite of the fact that Disney pioneered the use of celebrity Voice actors in animated films, they have often preferred to use more obscure actors who specialise in Musical Theatre or Voice Acting. With the exceptions of Rapunzel in Tangled (Voiced by Mandy Moore) and Anna and Elsa in Frozen (Voiced by Kristen Bell and Idina Menzel), the Disney Princesses, who are the most iconic Disney characters, have been voiced by actresses who are unfamiliar to the majority of viewers. This means that it’s a lot easier to focus on the character they portray. In animation, it’s easier to separate a voice actor from their character, but if a celebrity has a voice and persona that is too distinctive, it makes it harder to disconnect the two. This is not a problem if the character is meant to be based on the voice actor, but if that’s not the case, then it’s an annoying distraction.

A major problem with casting celebrities is the fact that celebrities often lose their fame and influence over time. This does not always affect the films which they starred in. Pinocchio and Alice in Wonderland (1951) are still popular today, even though Cliff Edwards and Ed Wynn have fallen into obscurity. However, if a film leans too heavily on a celebrity’s persona, it can date quickly. Snow White and the Huntsman was notable for starring Kristen Stewart, who was then appearing in the Twilight series, as Snow White. Stewart’s presence in the films made it clear that it was aimed at the predominantly female, teenage audience who made the Twilight movies so popular. This ensured that Snow White and the Huntsman was a box-office success, earning almost $400 million worldwide, but in the long term, Kristen Stewart lost her status as a star actress, as the Twilight movies faded from public memory. Even if she had appeared in the critically-panned sequel Huntsman: Winter’s War, I doubt that it would have done much better in the box office (Huntsman: Winters War only made $165 million worldwide). The case of Kristen Stewart illustrates the main problem with casting star actors, as If they fall out of fashion, any movie which relies too heavily on their presence can feel dated very quickly.

Conclusion

Using celebrity actors in a fairy tale film is a good way of making it appeal to a wider audience. Celebrity actors can gain the attention of filmgoers and increase their interest in a movie. They can even attract cinemagoers to films based on an unfamiliar culture. Good casting choices also help to establish a movie’s tone, and help to improve its quality. However, celebrity cast members can lead to a number of problems, as they can distract and alienate viewers. This is particularly problematic if it seems like they are being chosen for their fame rather than their suitability for the role or their talent. Overall, the decision on whether or not to cast celebrity actors is the choice of the producers and directors behind the movie. If they believe that a celebrity actor will give their movie increased exposure, then they should cast them, but an all-star cast means little in the long term unless a movie is good, and sometimes a more obscure actor can provide the quality performances required to elevate a movie. Ultimately, celebrity actors can be a major factor in the success of a fairy tale film in the short term, but memorable characters, an excellent script and a talented crew working behind the scenes are even more important, as the best fairy tale films can endure for decades, long after celebrity actors lose their relevance.