Hunchback Of Notre Dame
October 9, 2010 by Post Team
Hunchback Of Notre Dame, Beauty and the Beast, the story of a cursed prince who imprisons a young woman, freely adapted from the French fairy tale Beauty and the Beast by Jeanne-Marie Le Prince de Beaumont, is a “a kind of zenith “of Menken. He was the first draft and the last full, he wrote with Ashman and remains box-office side, probably the most revered of one of Disney animation projects, and I’ve never worked on “.
Menken laughs, saying that his views may be “somewhat subjective,” but it is justified by two factors. First, it was the first animated film to receive an Oscar nomination for best film. Two, adaptation has had more incarnations than any other animated film, it became a Broadway musical (the Australian version starred Hugh Jackman as Gaston young), a television series, mini-TV series and live- action “has been reissued with an improved version and film spin-off two direct-to-video” midquels “- Beauty and the Beast: The Enchanted Christmas and Belle’s Magical World.
At that time – 1991 – Disney enjoyed a second wind as an animation company after stumbling in the 1970s and 80s with nary an animated film to compare with the pomp and popularity of the rich history of enterprise, from pre-World War II Snow White and the Seven Dwarfs, Pinocchio, Fantasia, Dumbo and Bambi to the 60 ‘and 101 Dalmatians The Jungle Book.
Until The Little Mermaid has arrived, Walt Disney Productions is a pale image of itself, but what followed was a renewal. Menken The Little Mermaid still believes “the most universally loved” their Disney movies, because it was the first and “most innocent”. It marked a new dynamic to the animation of Disney under the leadership of Jeffrey Katzenberg, who Disney would later leave to establish DreamWorks, which produced the Shrek series, with Steven Spielberg and David Geffen.
Beauty and the Beast somehow overcame The Little Mermaid, becoming one of the most acclaimed films of animation of all time. American critic Roger Ebert went on to say he was “as good as any piece of animation Disney ever made.” It was an irony itself as the story had been the primary center the spirit of Walt Disney for his success with Snow White. The story was never sentenced to complications if, until the late 80s.
Beauty and the Beast’s success is the score thanks to its rich animation, sumptuous, a simple story central reinforced with sheets of old school Disney cartoons and romance. Menken’s score adds that the film was “extremely innovative”.
“It’s really a balance between classical and pop in a way that struck a chord in our culture,” he said. The film also reveled in his novel, especially as many of his contemporaries, who could not focus on a central love story serious in their desire to attract a wider audience of the family. Notes Menken Beauty and the Beast story is “inherently very romantic.”
“There is romance in all Disney movies, but Beauty and the Beast is probably the most openly romantic one of them simply because the world it exists in and by the fact that the Beast is thus deprived of love and then along comes Belle, “he said. “It’s all about their relationship is really the essence of it.”
The members of the creative core of the film has contributed to this novel, or drama, and more evident. Ashman, Menken lyricist on the musical Little Shop of Horrors and The Little Mermaid, was diagnosed with AIDS during its development.
Menken had a sense of their production was “very special”, while working, but as he realized his creative partner did not survive, the film had a huge role in my life and throughout of my career because I knew it was the last complete work that we do together. ”
“It was very moving, there was much sadness in it, a lot of joy in it,” says Menken. “I think you can not separate the drama was happening personally artistic result. She finds herself in a way.”
Creating the partition was a clear process, says Menken, certainly not as traumatic as Aladdin (who had the idea Ashman). But nothing could conquer death Ashman six months before the film’s release. Musically, the film was a sort of peak in the Disney canon.
While the first animation films such as Dumbo, are almost silent films accompanied Symphony at the end of the century, the fusion of classic pop forms began to make music, narrative and commercial sense.
It coincided with the slow death of the cell animation for feature films that Pixar (Toy Story, Finding Nemo, Wall: E) and DreamWorks (Shrek, Madagascar, Kung Fu Panda) have captured the imagination with animation computer-generated 3-D.
“Well, it is symptomatic of a change in our culture and change in the Disney Company,” says Menken. “The 2-D animation was a clear link back to Walt and the CGI in the world [computer generated images] represents the introduction of the merger with Disney Pixar brilliance. It’s something wonderful and very moving every bit the equal of what Walt Disney created, but it’s new and it’s a very different process. ”
Respective approaches to music and song by the new animation studios are incredibly different. Pixar films reflect their tastes founder John Lasseter with folk songs or the technological underpinnings of the company with nearly geekishly intense sound audio.
Stylistically, DreamWorks Animation films are more blatant, with obvious contemporary pop songs and editing their musical modus operandi.
Old-style Disney animation, at least musically, continue to have a sustainable competitive advantage.
“Yes, that Jeffrey Katzenberg has been with DreamWorks is so admirable and wonderful, but it is different from Disney tradition,” he said. “The Disney tradition is much break in the song, which remains the fastest card that Disney has to play musically because they are the only company that submitted songs as an intrinsic part of their films dramatically.”
Menken argues no other studio even tried to compete with this heritage, unless you’re ready to return by mid-century, when the films MGM has ruled. “But it’s a completely different genre.”
Menken own kind is quite spectacular. He refuses to take the favorites of his own creation, although it has a very particular view on each.
Aladdin was the most financially successful and Pocahontas was his first collaboration with Schwartz, so it remains “very special”. He believes The Hunchback of Notre Dame to be more “artistically ambitious” and Hercules is “probably the most under-estimated.” “So they all have a certain distinction to them,” he said.
And now, he invested substantial Tangled hope, to be published early next year. The CGI animated 3-D looks solid and the two main characters, voiced by Mandy Moore and Zachary Levi Chuck, are in early teasers, comically call.
But Menken notes, apparently without apprehension though, a lot rides on the success of Tangled.
“Tangled If done well, I think there will be more animated musicals: Tangled if not doing well, I think it’ll be a while before we see more, to be honest,” he said.
“Anyway I’m fine, I work on Broadway musicals, I’m working on musicals live.
“I loved my time working on musicals and Disney must decide if God Tangled – not that I’m very religious – is a great success and I get more animated musicals, I will be delighted.
The 61-year-old New Yorker is animated, so to speak, thanks to the re-release of his film undoubtedly true classic, Beauty and the Beast, restored before a new DVD and Blu-ray version of the film.
The prodigious term is not quite encapsulating the composer Alan Menken. This Broadway next season alone, Menken scored musicals Leap of Faith and Sister Act, and his latest film, Tangled, an adaptation of Disney fairy tale Rapunzel, opens in the new year.
But this is nothing when one considers its “lost decade” in the zone “as an athlete would he, when he (and his collaborators, including Howard Ashman, Tim Rice and Stephen Schwartz) produced scores for musicals animated Walt Disney Studio. The Little Mermaid in 1989 preceded Beauty and the Beast, Aladdin, Pocahontas, The Hunchback of Notre Dame and Hercules, all made between 1991 and 1997. The first four films in this incredible series won Oscar for original song and original score, giving Menken eight Oscars, more than any other person living with others. Not that that Menken was a time when animated two-dimensional cells and abundant, beautiful scores has decided he and Schwartz were wise enough to deliver spoofery recently informed the delicious hybrid action live animation, Enchanted (2007).
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