CAME TO DENMARK
It is difficult to ascertain when the first
animated cartoons were shown in Danish cinemas. But the audience became acquainted
with this particular film genre already in the first two decades of the 20th
century. It came through the usually weekly foreign Newsreels or weekly Film
Revues. Such newsreels, which was produced by example. Gaumont and Pathé, were
included in most foreign and Danish cinema standard repertoire, and served as
part of the time news coverage. (Note 1)
A Newsreel consisted generally of various short films and began mostly with
the most significant news, ie. events that had taken place for more than a week
ago. Then came a film about any sport or athletic performance, so a nature film
and a film about the different places worth seeing in the world, and finally
ended the program with a comical film. As conclusion a film that could be a
farce with one or several of the famous film comedians, but it could very often
be a cartoon that amused both children and the young at heart.
During the two world wars were the belligerent countries newsreel films as well
as films and cartoons to a significant extent used as a propaganda service, and
the same was true to a certain extent also for the weekly Film Revue’s
cartoons. (Note
2)
In the United States there were in the 1910s and
1920s several independent production of entertainment and advertising cartoons,
but in the late 1920s and during the 1930s was such that most major American
film companies created each their own department for the production of
cartoons. There was, first and foremost, Universal Pictures, Paramount and
Columbia Pictures, but Warner Brothers, MGM and 20th Century Fox soon followed
with. (Note
3)
The short animated film that Walt Disney Studios in
Hollywood produced in the 1920s , was the oldest of the films he distributed by
Winkler Pictures and later by Universal , but after a copyright controversy in
1928 , accounted Disney contract with the film company Columbia. The contract
expired in 1932, after which Disney contracted the United Artists that had
Chaplin as co-founder and co-owner. In 1937, Disney switched to RKO , which in
the following years was the distributor of Disney short as well as long
cartoons. The first long Disney cartoons that were distributed through the
company was " Snow White and the Seven Dwarfs ." (Note 4)
As previously mentioned, the short entertainment
cartoons were already known by both the American and European audiences from
the least about 1916 and throughout the 1920s and 1930s. Many moviegoers - and
probably especially children crowd – were undoubtedly familiar with "Colonel
Heezaliar", "Farmer Al Falfa," "Krazy Kat" and "Ko
Ko the Clown" whose merits the world's moviegoers were able to see and
laugh at since the beginning of the these cartoon series began in 1914 -1917.
But the popularity applicable probably even more so in 1920s most famous
cartoon series with Felix the Cat ("Katten Felix"), which even
became a model for Walt Disney's Oswald the Lucky Rabbit ("Oswald
den lykkelige kanin") and maybe even in higher degree for his "Mickey
Mouse". The latter showed great vitality and outperformed virtually
the mentioned series, but it did in the 1930s get some competition by Max
Fleischer's "Betty Boop" and "Popeye" (“Skipper
Skræk”).
But the cartoon genre did not get seriously into Denmark or more precisely to
Copenhagen untill theaters as "Kinografen" and "Metropol"
in 1934 began to show an overall program of Disney’s animated short films. It
has not been possible to determine whether Kinografen has shown its
"Cheerful Show" before 1934 , nor whether similar shows occurred in
other Danish cities.
It
is believed that the idea to show an overall program of short Disney cartoons
was first practiced in Stockholm or Uppsala in 1933. It was a Swedish theater
director who had the good idea to gather a total of six short Disney cartoon of
Mickey Mouse series and the Silly Symphony series and show them as a one-hour
show. So far, each short of the cartoons mentioned have so far only been shown
as movie trailers for films or they were included in the weekly newsreels, but
as the Disney brothers learned that the Swedish cinema had been very successful
in showing an overall program, they realized that the idea was worth picking up
and control yourself. Walt Disney Studios was then, as later, right up to the
1970s in constant lack of money, and it was therefore necessary to exploit the
resources of the cartoons they already had in stock, as much as possible.
Kinografen’s leadership called its Disney short film
program "Kinografen’s cheerful Show," which was shown in March
1934. Metropol called its Disney short film program "Metropol's Spring
Show," and repeated from the same July the success with the annual "Metropol's
Christmas Show". Kinografen gave apparent competition, leaving
voluntarily or involuntarily for Metropol to have both a Spring Show and a
Christmas Show. The program consisted in both cases of 6 older and newer short
Disney cartoons.
"Kinografens cheerful Show," which was shown in
March 1934 contained six short Disney cartoons, of which I only have managed to
identify the following four: Babes in the Woods (" Hans and
Grete" . Silly Symphony No. 32 , 1932) , The Mail Pilot
("Mickey som pilot." Mickey Mouse series No. 56 , 1933 ) , Father
Noah 's Ark ("Noah's Ark". Silly Symphony No. 35 , 1933 ) , Lullaby
Land ( "I Drømmeland." Silly Symphony No. 38 , 1933). The two
here lacking cartoons are still not managed to identify.
It is also not possible to identify the Disney cartoons in
"Metropol's Spring Show" in 1934 included, but of the six films that
were shown in "Metropol's Christmas Show" in 1934, the five has been
identified : The Night Before Christmas ("Juleaften." Silly
Symphony No. 40, 1933), Playful Pluto ("Legesyge Trofast."
Mickey Mouse Series No. 65 , 1934), Gulliver Mickey ("Mickey i
Lilleputternes Land." Mickey Mouse Series No. 66 , 1934), The
Grasshopper and the Ants ("Den dovne græhoppe" . Silly Symphony
No. 42 , 1934) and The big bad Wolf
("Rødhætte, ulven og de tre små grise." Silly Symphony No. 44
, 1934). The lack of two cartoons has been a failure to identify.
Mickey Mouse became known as
the cartoon in Denmark in 1931. The series was then as full page in
"Sunday B.T." from No. 5 that year. From April 18, 1934 it could be seen as everyday
stripe in the morning newspaper "B.T." under the name " Mikkel
Mus". It is not known when the first Mickey Mouse cartoon was shown in Denmark.
See later below on data and fatum of this world famous cartoon character.
1934 debuted the character who would eventually come to
outrank or refer the good-natured, helpful, always just and moral Mickey Mouse
for second place , both as an animated cartoon character and as a cartoon
character. It is about Donald Duck (Anders And), which first appeared as
insignificant extra in The Wise Little Hen ("Den kloge lille
høne." Silly Symphony No. 45 , 1934) . But the choleric and usually always
unfortunate "movie hero", Donald Duck, we Danes first learned to know
in the "Metropol’s Spring Show" in April 1935, when he appeared in
films like Orphan's Benefit ( "Mickey som teaterdirektør."
Mickey Mouse Series No. 68 , 1934) and Mickey's Grand Opera ( "Den
magiske tophat." Mickey Mouse series No. 82, 1935) .
As a comic series began "Donald Duck" in Denmark
in the weekly magazine "Danish Family Magazine" (Dansk Familieblad)
No. 49 on 4 March 1935 , ie before the audience had the opportunity to see him
in Metropol's Spring Show 1935. Unless "The Wise Little Hen" was shown
in Kinografen’s or Metropol’s Spring or Christmas show 1934.
However, Metropol discontinued its Spring Show in 1939,
but continued each year at Christmas time with its very famous Christmas Show,
which for many years was a huge draw for the city's children and the young at
heart. Metropol's annual Christmas show came to an end only when the cinema had
to close for good in 1982. But under the name "Disney's Christmas
Show" the short film programs continued in the following years in other
theaters across the country.
The animated cartoon was really having its breakthrough as
a genre that tolerated comparison with the "real" movie, in and with
the world's first long entertainment cartoon movie, Walt Disney Productions' Snow
White and the Seven Dwarfs (1937, Feature No. 1 "Snehvide og de syv
Dværge"). This film was a formidable audience hit that very few if any
"real" films ever have generated similar to in the 20th century. The
film cost 1.7 million dollars to produce, but already at its initial appearance
(release) earned the sum of 8.5 mill. dollars.
Before its Danish premiere the Snow White movie has been
translated into Danish at Nordisk Film in Valby. Director of the Danish version
was George Schneevoigt, and they had engaged two of Danish oprettas and operas
prominent singers, operetta singer Annie Jessen, who recorded the Danish
voice and singing voice of Snow White, while the Danish Royal opera singer Marius
Jacobsen recorded the Danish voice and singing voice of the Prince.
The Danish actors who voiced the Wicked Queen, Witch or dwarfs, was none
other than Clara Pontoppidan, who placed her wonderful voice to both the Queen
and the Witch. For the dwarfs it was: Alfred Arnbak (Happy), Carl Fischer
(Bashful), Aage Foss (Sneezy), Sigurd Langberg (Grumpy), Valdemar Lund
(Sleepy), Victor Montell (Doc). One source believes, however, that Svend Bille,
Rasmus Christiansen and Albert Luther also did dwarfs voice work, but I have
not managed to verify this. (Note 5)
"Snow White and the Seven
Dwarfs" had Denmark Premiere at Palads Theatret (The Cinema Palace
Theatre) in Copenhagen on september 29,
1938. Initially was shown the short film The Old Mill (1937, "Den gamle
Mølle"), which was special in that here was for the first time shown that
Disney had used some form of multi-plane footage in some of the scenes. But Max
and Dave Fleischer had already at that time used the multiplane technique in
some of their short cartoons. (Note 6)
Since October 1923 had Disney
Bros.. Studio as the cartoon company originally was called, has been housed at
Kingswell Avenue in Hollywood. But with a growing team of people, it was
necessary to expand and in July 1925 bought the Disney Company, therefore, a
plot of Hyperion Avenue south of the large nature reservation Griffith Park,
where there initially was built a new and large building. The move took place
in February 1926 and the company changed its name to Walt Disney Studios. Here
let the Disney brothers in the years after the construction of several
buildings and outbuildings, as production increased and its staff therefore
grew. But especially during the production of "Snow White", which
lasted from 1934 to 1937, was the available space so cramped on the studio that
you might look for more space. Since it was not possible to construct more
buildings or extensions to Hyperion-lot, you had to find a different and more
comfortable ground where it would be possible to establish a new and modern
studio.
It is worth noting that it was
in the studio on Hyperion Avenue that now classic short Disney cartoons as the
Mickey Mouse series and the Silly Symphony series, were created. It was also
here that produced the world's first commercial long cartoon, Snow White and
the Seven Dwarfs (1937), and here, they started the next three large cartoons,
Pinocchio (1940) Fantasia (1940) and Bambi (1942). (Note 7)
But on the basis of the
profits from the proceeds of "Snow White and the Seven Dwarfs",
Disney let from August 1938 to August 1939 start a construction of a new studio
complex on a large lot, which was located on Buena Vista Street just north of
Griffith Park in the suburb of Burbank in the North East Hollywood. This
continued the vastness production of short and long cartoons, but the loss of
the world market because of the world war and the fact that the next three long
cartoons, Pinocchio, Fantasia and Bambi at first release was not any popular
success in the domestic market, brought the company to bankruptcy because you
eventually had a debt to the Bank of America at 4.5 million. dollars. The three
films had cost respectively 2.6 million dollars, 2.2 million dollars and 1.7
million dollars to produce.
In addition came the situation
that many of the Disney employees over time had accumulated a certain
irritation, resentment and even anger over his patriarchal staff and wage
policies. They demanded higher wages, overtime pay and greater artistic
freedom, which Disney indignantly rejected, why movies employees' union, Screen
Cartoonists Guild, were drawn into the picture. This led to an approximately
five-month strike from May to September 1941 which ended with that Disney
extremely reluctantly felt obliged to let his brother Roy Disney (1893-1971),
who was the company's administrative manager and legal counsel, Gunther
Lessing, enter into an agreement with the hated unions. That said, it was only
three hundred of the studio’s total of 900 employees who directly participated
in the strike.
One result of the bitter
strike at Disney’s was that a number of artists got their dismiss or even chose
to go. Among them was Steven Bosustow (born 1911), who in 1945 created
the United Productions of America (UPA), which with several former Disney
employees in the following years would be a serious artistic and partly
economic competitor to Disney's reputation as "king of film
animation".
But
like Disney from bitter experience had long ago learned that he would never
allow the rights to his films leave him, so he realized also that it would be
better and safer for his film production, the distribution and hence rental mm.
of these, was directed by his own rental company. This company was named Buena
Vista Company, named as it is for the street or road, Buena Vista Street,
where Walt Disney Productions' studioes have been located since 1939. The
company was later as a subsidiary called Walt Disney Pictures, which
especially distributes and rents out its cartoons. (Note 8 )
However, there was another and
for a transitionary time very important American animation pioneer who did what
he could to make Disney rivaling as a producer of short as well as long
cartoons. It was Max Fleischer, who along with his brother, David Fleischer,
established himself in the cartoon industry already in 1915. Since 1916, the
brothers Fleischer produced a variety of short cartoons , starting with Out
of the Inkwell, who introduced the Koko the Clown, who was
rotoscoped on the basis of live action footage with Dave Fleischer. Koko the
Clown was surrounded by a variety of grotesque cartoon characters, of which
especially the dog Bimbo played a prominent role in the long series of
Koko cartoons that came in the years 1925-30. It was, however, soon put aside
to rotoscope Koko's movements and drew and animated them freely, such as the
case of course was also with the film's other characters.
The Rotoscope is a kind of
drawing desk with rear projection of live action filming. When projecting the footage in single images, one can model the images on the drawing desk. Drawing by Jacob Koch. © 2005 History of Danish animated Cartoons.
The dog Bimbo quickly became a
significant competitor for Koko on cinema-goers' favor, and in 1930 he received
a partner in the guise of a vampy bitch, though most of all looked like a woman
with dog ears. After appearing in several cartoons the female dog’s ears were
in 1932 changed into a pair of earrings, just as she changed her appearance and
became more slams and coy. On that occasion, she was named Betty. In
1932, Betty Boop, as she thereafter was called, her own cartoon series
which ran until 1939 and included a total of 89 short animated films, which
were immensely popular worldwide with perhaps especially the male audiences who
cheered at Betty's famous highpitched and sexy voice especially when she is as
a precursor to the later equally famous movie vamp, Marilyn Monroe, uttered her
" Boop - Oop -A- Doop " .
However, given Betty Boop fierce competition, when the
brothers Fleischer in August 1933 allowed her to introduce the then already
well-known cartoon character Popeye the Sailor, the Danish "Skipper
Skræk". The figure was since 1929 concluded in cartoonist Elzie Segar’s
comic strip Thimble Theatre in 1919 , the protagonist was originally Olive
Oyl, the Danish "Olivia" but soon was reduced to being the
girlfriend of the spinach-eating super-sailor. The series was on that occasion
renamed Thimble Theatre - Starring Popeye, later changed to simply Popeye.
Both as the comic book and cartoon series was Popeye a long and eventful life
in the newspapers and magazines and also on the silver screen and later on all
sorts of TV screens. In the brothers Fleischer’s time in the years 1933-40 were
produced a total of 35 Popeye shorts and three so-called two-reel features,
namely Popeye the Sailor meets Sindbad the Sailor (1936) Popeye meets
Ali Baba and his forty Thieves (1937) and Aladdin an his wonderful Lamp
(1939).
A few years later, the brothers Fleischer also liked to convert another
known and more serious comic hero to the cartoon character, Joe Shuster and
Jerry Siegel's Superman in 1938, which could be seen in theaters by the
end of September 1941. The films, which, like other brothers Fleischer
cartoons, was directed by Dave Fleischer, came to span an array with a total of
19 films that were produced in the years 1941-44, that is, during World War II.
The films were therefore naturally turned against dictators and people of the
West as well as in the East, who would fight or undermine American society and
its values.
However Fleischer brothers
also tried to compete with Disney in the feature film area, but here, they did
not have the kind of succes with the theatre public as he did. It was the Snow
White film's fairytale success that in 1938, that got Paramount to propose
Fleischer brothers to make a similar film. To this end, the company invested in
a new studio in sunny Florida, more precisely in Miami on NW Seventeenth
Street, where acquisition of a 32,000 m2 plot. It was in 1938 built around a
building at ground level, were closing around a large inner courtyard (patio).
200 employees from New York came with and settled in Miami, since it half a
year later, took the new Fleischer Studios in possession and here sat the long
cartoons in production which had been prepared while they were still in New
York.
But also at Fleischer Studios
in New York had in 1937 been experiencing a prolonged and bitter employee
strike, due to some internal negotiations for better wages and working
conditions were at an impasse. The animators had individual contracts and got
under the applicable agreements with Fleischer between 30 and 100 dollars a week
in wages, while other employees who worked in a piece system was from 15 to 27
dollars a week. It was a large group of disgruntled employees to join the
Commercial Artists 'and Designers' Union (CADU) and since 15 of these employees
were fired, said the union strike against the Fleischer Studios. The strike
lasted for six months from May to October, where the management agreed on a
treaty that gave the striking increase in salary. The non-strikers animators
were given higher wages to prevent them from joining CADU and there were also
put pressure on the employees who were not yet members of the union.
However wondered many of
Fleischer employees the fact that the Fleischer brothers, who had complained
that they could not afford to pay higher wages than they were, after all could
afford to invest the tidy sum of $ 300,000 in the new studio. But how now than
it remained with the economy, so did Max and Dave Fleischer select Jonathan
Swift's Gulliver's Travels ("Gulliver's Rejser") as the subject of
their first long cartoons, and here was one of the great need of Max's
invention in 1915: the rotoscope. First of all for the animation of the main
character Gulliver and then also to the serious characters Prince David and
Princess Glory, which of course have to move like real people. Otherwise with
the comic and grotesque figures Little King, King Bombo, the three spies Snoop,
Sneek and Snitch, and the watchman Gabby and the carrier pigeon Twinkletoes.
It took 18 months or one and a
half year to produce Gulliver's Travels, which had its world premiere December 18, 1939, and it became a great
success and a fairly good reviewer success. The film was entitled
"Gulliver's Rejse til Lilleputternes Land" Denmark Premiere, more
precisely Copenhagen Premiere, in the spring of 1940, shortly after the German
occupation, which took place on April 9
of that year.
The success of the Gulliver
movie, gave Fleischer brothers want to try to produce another long cartoons.
Its protagonist is a grasshopper, called Mr. Hoppety, and the action takes
place among grasshoppers and other insects that live just outside of New York,
but later moved into the big city. As well as the title action brought some
inspiration from Frank Capra’s movie Mr. Deeds Goes to Town (1936,
"En gentleman kommer til byen") with Gary Cooper in the lead role.
Fleischer brothers called their films for Mr. Bug Goes to Town ("Mr.
Hoppe kommer til byen"), and it premiered in December 1941. Yet despite
the film in almost every respect was technically better, including particularly
a qualitatively much better animation, better and smarter handling time and
quite modern music (by Leigh Harline) than in any of Fleischer’s other
cartoons, the Gulliver film included, was "Mr.Bug Goes to Town" both
a critic and audience flop. After Japan's devastating flying attack on the
naval base of Pearl Harbor December 7 same year, and America's subsequent
declaration of war against Japan, the Americans had been something more serious
things to think about than movies and cartoons. Consequently failed public
cinemas showing the film, which meant ultimately nothing less than an economic
disaster for the Max Fleischer Studio, which simply went bankrupt with a huge
debt and had to close in late 1942. (Note 9)
Max and Dave Fleischer's first
long cartoon, " Gulliver's Travels " was mentioned as have had
Denmark premiere in 1940, shortly after the Germans had occupied the country.
In Copenhagen it was initially shown in the Metropol Theatre, and here the film
was well received, especially by the audience, which of course mainly consisted
of children. Later the film was shown also around the province.
"Snow White" and
"Gulliver's Travels" was so far the only two long cartoons that had
been shown in Denmark before and during the German occupation of the country
from April 9, 1940 to May 4, 1945. In
contrast, it was still possible to see Disney as well as Fleischer short
cartoons in the country's cinemas, of which the former of Copenhagen mainly was
shown in conjunction with the annual " Metropol's Christmas Show " at
Metropol Theatre and the latter primarily be seen in the DSB Kino at Central
Station (Hovedbanegårdens Kino). But the cartoons that were shown during the
occupation were almost all regulars, under which so far was import ban on
recent American films and cartoons.
It was in this cinematic
'interregnum' during the period of german occupation, the Danish film as a
whole had a unique opportunity, subject to production difficulties. But from
1941 until 1944, total Danish production of feature films ascended by about
30%. It was also during this period that the creation of a new Danish film
company, Danish Paint and Animation Inc. (Dansk Farve- og Tegnefilm A / S), with
the primary aim of producing animated films, in this case primarily the long
animated feature " The Tinder Box " (“Fyrtøjet”).
As previously said, it was
mostly American cartoons, especially Disney's long and short cartoons from
1930' - 60's which was the inspiration for the vast majority of contemporaries
and later European and Danish cartoon people and cartoon productions.
Therefore, here we shall round off and finish the mention of American animation
production with a brief summary of American cartoons from and long after the
war. That is to say from 1945 to the turn of the millennium.
After some turbulent years
during and after the war, when Walt Disney Productions gradually again came to
its feet economically, continued production of both long and short cartoons.
But time was running out for the production of the short animated
entertainment, and the long cartoons were eventually become so costly that it
was associated with high financial risk to produce these. An attempt was therefore with a mixture of
real movies and cartoons to make shorter production time and thereby reduce
production costs.
It began during the war with
Saludos Amigos (1943 ; "Vær hilset, Venner"), and continued with The
Three Caballeros (1944; “De tre kavallerer”). Then came the Make Mine Music (
1946: "Spil for mig" ), Song of The South (1946: “Sydens sang”), Fun
and Fancy Free (1947 ; "Bongo og Mickey og bønnestagen”), Melody Time
(1948 ; "Melody Time" ) and So Dear To My Heart ( 1948).
These films brought Disney's
international recognition, however, down on the back burner, the press as well
as the audience feared that it was the end of the actual length cartoons that
had given Disney a well-deserved reputation as the undisputed king of animated
films. But whether it was this fact that made Walt Disney and his team of
employees, to restore the restore rate is not known, but in any case, the
firm's next production was entirely a cartoon by classic Disney pattern of
Ichabod and Mr. Toad (1949), even if the film consisted of two half-hour
cartoons: The Wind in the Willows ( "Vinden i Piletræerne”) and The Legend
of Sleepy Hollow ( "Legenden om Søvnigdalen")
But from then on, Disney
turned back to the so-called feature-cartoons ever since "Snow White"
had made him and his company world known and liked by both children and adults
who are not part of cultural snobbishness.
The new era began with
Cinderella (1950; "Askepot"), which achieved a formidable success in
numerous countries. The audience just loved Cinderella and the mice, as shown
by Tim and Bom made sure that their friend could be appropriately dressed to
participate in the prince's ball at the castle.
As the prudent and venture
lustful man, Walt Disney all day had been, he realized - and perhaps especially
his brother Roy - however, the need to create one or more additional sources of
income. In 1948 he began to also produce live-action film, ie . documentaries,
and in the series "True Life Adventure", just as his company in 1950
produced his first feature film, "Treasure Island"
("Skatteøen"), after the famous and classic novel by Robert Louis
Stevenson.
The latter year Disney debuted
also with a show on TV, and in 1954 he signed contract for a weekly
"Disneyland" TV broadcasts, which gave him the opportunity to
advertise its own future long cartoons. A year later, more precisely in July
1955 opened it since so famous theme park Disneyland in Anaheim in southeastern
California. Both of TV broadcasts and the theme park got the audience an
opportunity to get acquainted with the "treasure" that Walt Disney
Productions possession of and with the string of their elders and older short
cartoons that include include "Alice in Cartoon Land" series,
"Silly Symphony" series and especially Mickey Mouse series, Donald
Duck series and the other animated short cartoon series.
Several of Disney's long
cartoons from the 1940s - 60s was nice audience successes, such as Dumbo (1948;
“Dumbo”), Cinderella (1950; "Askepot"), Peter Pan (1953 ; "Peter
Pan") , Lady and the Tramp (1955, "Lady og Vagabonden") and The
Jungle Book ( 1967, "Junglebogen"). But some films was box-related
flops. As was the case with Alice In Wonderland (1951; "Alice i
Eventyrland”) and not least, The Sleeping Beauty (1959, "Tornerose”),
which had been six years in the making. On the whole it went for years
economically not so good for the long Disney cartoons that criticism usually
spoke very little praise on, but what was worse, the audience failed,
increasingly, which of course could be measured in ticket revenue. Starting
with One hundred and One Dalmatians (1961; "Hund og hund imellem")
and the production of long cartoons continued with The Sword in the Stone
(1963, "Da kongen var knægt"). Neither of these two films were no
immediate blockbuster, which may to some extent be due to the fact that it had
gone over to a new and somewhat sketchy drawing style as the large crowd was
not nearly as endearing and charming as the style of the old films, and
therefore first had to get used to.
Better it went though with the
following long cartoons, the company produced, namely, The Jungle Book (1967,
"Junglebogen"), and also with The Aristocats (1970;
"Aristokattene"), and then tops with Robin Hood (1973). The latter
film was almost a draw, at least in Copenhagen.
Disney died on December 15, 1966 in the middle of the
production of "The Jungle Book", which was released in October 1967.
He had lost interest in cartoons and declared openly that he was "too old
for animation." His last time he concentrated his skills and effort around
the creation of his second major theme park project, Disney World in Florida.
He died, however, while it was still in the planning stage, after which his
brother Roy and other employees had to complete the project.
In the years after Disney's
death went gradually downhill with the long Disney cartoons. It was as if the
company's script writers, directors and animators had lost some of the spark
from the past. Most were eventually come well into old age, and even though new
and younger people had come, as the ancients had taught, seemed the films more
or less tame and uninspired. Over the years, had its creative people basically
tried in all genres of animation media, and the ideas and the animation was
getting routine and reused countless times, and it therefore felt a little
perplexed about what the future would and should be for the long cartoons. (Note 10)
In this critical situation
came Walt Disney Productions also again in a serious bloodletting in terms of
creative force, taking place in the late 1970s, as it was in the process of
production of the feature cartoon The Rescuers (1977; "Bernard og
Bianca"), it happened that a group of 19 people broke out from the company
and formed their own animation studio (autumn 1979). The group was led by three
second generation Disney animators by name Don Bluth, Gary Goldman and John
Pomeroy, of which the first two are also served both as producing, directing
animators and directors. Probably to some extent inspired by "The
Rescuers", produced triumvirate their first long cartoon The Secret of
Nimh (1982; "Nimh - Mrs. Brisbys hemmelige verden"), which
technically is an excellent film in the best Disney tradition, particularly in
the design and animation is concerned, but as narrative can not compare with
Disney's long cartoons. (Note 11)
Slightly better things went
with that triumvirats next long cartoon, An American Tail (1986; "Rejsen
til Amerika"), which also was produced by none other than Steven
Spielberg. This was also behind the production of the three friends long
cartoon The Land before Time (1988; "Landet for længe siden”). Both these
films were successes at the box office and later as video. Then it went in
quick succession with several long cartoons, although without great successes,
either artistically or financially. Rock-A-Doodle (1990, "Rock, rul &
hanegal"). A movie about rooster Chanticleer, without whose crowing every
morning the sun is not believed to be able to stand up, Disney had already in
1940 plans to make, A Troll in Central Park (1994; "Trolden i
parken") and All Dogs Goes to Heaven (1989, "Alle hunde ender i
himlen"). So far as we know did not all the films get theatrical release,
but was distributed only on video. This applies to Thumbelina (1994, "Tommelise",
which is a very free retelling of Hans Christian Andersen’s fairytale of the
same name).
A transition had Sullivan
Bluth Studios Ireland, later renamed Don Bluth Ireland Limited Production or
simply Don Bluth Limited, established in the tax reductions Ireland, but during
the production of The Pebble and the Penguin" (1995, "Pingvinen og
strandstenen") , went it so wrong that Don Bluth obviously did not want to
have his name in the movie. Moreover, the company went bankrupt and the three
men then returned to America, where it succeeded Don Bluth and Gary Goldman to
get the film company Twentieth Century Fox to produce their next long cartoon
Anastasia (1998 ), which was a great success both in criticism and in the
audience. This both technical and artistic quality film is based on the myth of
zar daughter Anastasia, who was alleged to have survived the execution of the
zar family in Yekaterinburg in 1918. The film is touching, dramatic, funny and
entertaining but marred by the hospitalized musical sequences, as the case is
otherwise with most of the 1990s long cartoons. Another weakness in "
Anastasia " and many of the other long cartoons whose main characters are
more or less serious human figures, is the extensive and explicit use of
so-called rotoscopy.
The Rotoscopy technique
originally developed and patented by the animated cartoon pioneer Max
Fleischer, is that you're shooting scenes with human persons in live action
(real film), then by a special technical arrangement simply delineate the
movements frame by frame. Below simplifies and adapting the animation drawings
or characters after the films more or less naturalistic shapes. This technique
is also used to some extent by Walt Disney Productions and other U.S. animation
cartoon studios .
The problem with the feature
cartoons that Don Bluth over time has produced and staged, is usually that they
as a rule put themselves on the Disney model and therefore seems non original
and derivative. This does not mean that the films are not at a high level both
technically and in entertainment, on the contrary, there is no doubt that Don
Bluth and his staff have high quality requirements for their films. But the
good will is not enough that you will be able to describe the film as original.
(Note
12)
It should be provisionally
added that some Danish animators and others who had received their education in
the Danish company Swan Productions production of the feature cartoon Valhalla
(1985), and later was employed by Don Bluth in Ireland. Here was the
opportunity to develop their talent to such an extent that many of them still
later was employed as animators in Steven Spielberg's cartoon company
DreamWorks Pictures.
After Don Bluth’s Irish
bankruptcy got several of his employees work at Walt Disney Productions and the
other probably in others of the growing number of older and newer American film
companies that have either continued or resumed production of feature cartoons.
Among those who returned to Disney, was John Pomeroy, who was directing
animator on the animated feature film Pocahontas (1994), especially on the the
character John Smith, to which actor Mel Gibson has put voice. It was also John
Pomeroy, who was directing animator on the character Clayton in the animated
feature film Tarzan (1999).
In 1977 started two of the
oldest and seasoned veterans among Disney top animators preparing the
masterpiece of a book since its publication in 1981 would turn out to be
something like a "bible" for the new generations of cartoon people
worldwide. The two veteran animators name is Frank Thomas (b. 1912) and Oliver
( Ollie ) Johnston (b. 1912), and the book is titled Disney Animation. The
Illusion of Life. The following year the two gentlemen’s success with the book
Treasures of Disney Animation Art, which is mostly filled with a variety of
drawings from several short and long Disney cartoons. 1987 followed another
book by the two veterans, namely Too Funny for Words. Disney's Greatest Sight
Gags, which explains some of the best and funniest visual gags that occur in
many of Disney's short as well as long cartoons. (Note 13)
The two great animators, who
were both started working for Disney in 1935, ending their long career of to be
directing animators on The Fox and the Hound (1980; "Mads og
Mikkel"). In June 1985, they jointly organized a seminar at the Danish
Film Institute in Copenhagen, where they in a hilarious, obvious and
interesting way were talking about their work and career with Disney. The
lecture was accompanied by a series of films examples of what the two men had
drawn and animated over the years. We shall later and in a different context
hear more about what Frank Thomas and Ollie Johnston further undertook in
Copenhagen, where they had made contact with the relatively newly established
cartoon films company Swan Production A / S.
For the animation department
at Walt Disney Productions, which in the first half of the 1980s was led by
Disney's son-in-law, Ron Miller, married to Diana Miller, born Disney, was 1985
pretty devastating, both financially and artistically. It happened with the
film The Black Cauldron (1985, "Taran og den sorte gryde" ) , who had
been four years in production and in its presentation to the American film
censorship was banned for children. As a result, the company decided to
withhold the film so far, and it did not get a theatrical release, but only
video premiere in the late 1990s.
Work on "The Black
Cauldron", which was mainly carried out by a younger generation of
creative Disney people at all levels, had been so significant and long lasting
that the original cost budget was exceeded significantly. The consequences was
that the top leadership of Walt Disney Productions in the company’s very
turbulent year 1984, came in the hands of Disney's nephew, Roy Disney, Jr.,
that Ron Miller and his administrative staff was fired. The new management was
determined and planned to expand production with the stated purpose of that a
large Disney cartoon was to be premiered at least every two years. But since it
takes about 3-4 years to produce a feature cartoon they had therefore to increase the capacity and
number of employees that created the company's long cartoons. At the same time,
they left the "sanctuary" in Burbank and hired themselves instead
into rooms with among others Universal Studios, just like you rented space at
the former Max Fleischer Studios, later Paramount's old cartoon studio, Famous
Studios in Miami, Florida, which has subsequently been taken over by the film
company Metro-Goldwyn-Mayer (MGM). Intensified production was also made
possible by that they established production departments of cartoons in a
variety of countries, including in Australia, Japan and France.
After this redeployment of
Walt Disney Productions’ animation department, Walt Disney Pictures, was soon
in rapid succession with one cinema and video success after another. After
"The Black Cauldron" came following feature cartoon Basil of Baker
Street ( 1986; "Mesterdetektiven Basil Mus") and Oliver & Co.
(1987), which however, only became moderate successes. But then in 1989 came
the first in the series of Disney - feature cartoons, which were huge hits with
all sorts of audiences, and was also recognized by the criticism. It began with
The Little Mermaid (1989, "Den lille Havfrue", to say the least
freely based on Hans Christian Andersen’s fairytale of the same name). Then
followed The Rescuers Down Under (1990 , " Bernard og Bianca i
Australien"), Beauty and the Beast (1991, "Skønheden og
Udyret"), Aladdin (1992), The Lion King (1993, "Løvernes
konge"), Pocahontas (1994), The Hunchback of Notre Dame (1996;
"Klokkeren fra Notre Dame"), Hercules (1996), Mulan (1998), Tarzan
(1999), and finally, The Emperor's new Groove (2000, "Kejserens nye
flip").
As a more or less direct
result of the boom of long cartoons for several reasons was immensely popular during
the 1980'- 90's, began a series of other American film companies also to
produce long cartoons. Examples of such films include Hemdale Pictures' Little
Nemo - Adventures in Slumberland (1992 ; "Lille Nemo") by Winsor
McCays famous cartoon of the same name. Ferngully - The Last Rainforest (1993 ;
" Ferngully – Den sidste Regnskov"), Turner Pictures Inc. The
Pagemaster (1994; "Bøgernes Herre", however, begins and ends as a
live action film), Nest Entertainment's The Swan Princess (1994;
"Svaneprinsessen"), Amblin Entertainment (a Steven Spielberg company)
and Universal Pictures' Balto (1995), Warner Bros.' The Magic Sword: Quest for
Camelot " (1998; " Det magiske sværd: Søgen efter Camelot").
DreamWorks Pictures' The Prince of Egypt (1999; "Prinsen af Egypten",
ie . The Biblical Moses), later followed by a feature cartoons with biblical
motif: "Joseph. the King of Dreams" (2001 ; " Joseph. Drømmenes
konge"), DreamWorks Pictures' The Road to El Dorado (2000, “Vejen til El
Dorado"), Spirit: Stallion of the Cimarron (2002; "Spirit – Hingsten
fra Cimarron") and Sinbad: Legend of the seven Seas (2003; "Sinbad:
Legend fra de syv have").
These cartoons are each quite
excellent, technical, artistic and entertainment, but except perhaps for
"Spirit", they manage either technically or artistically to live up
to Disney or Don Bluth’s long cartoons. However, it must be said that the
stories in "Little Nemo”, "The Pagemaster", "Balto",
"Prince of Egypt", "King of Dreams", "El Dorado"
and "Spirit" are much more original, interesting and relevant than is
the case with several of Disney’s and Bluth’s long cartoons.
The Disney group’s attempts to
revive the good old and world famous icons: Mickey Mouse, Donald Duck and Goofy
on film, has to our knowledge only had moderate success. It began with the
featurette Mickey's Christmas Carol ( 1983, "Mickey's julegave") was
continued including Mickey Columbus (1985; "Mickey som Columbus"),
The Prince and the Pauper (1990, "Prinsen og tiggerdrengen”), “The Three
Musketeers" (2004, "De tre Musketerer").
However , there was in the
mid-1990s a real revolution in animation technique, well, suffice to say in
film art in general. This was linked to the development of computer technology,
as with a blow posed new challenges to the world's filmmakers, both of feature
films as of cartoons. Probably the greatest pioneers in the computer-generated
animation genre is the American John Lasseter.
John Lasseter is a trained
animator at Disney, but began early in his career experimenting with computer
graphics and computer animation. After having produced several short
entertainment films in the new technique, he formed the company Pixar, which,
incidentally, has so far worked closely with Walt Disney Pictures. The
breakthrough for the computer-generated entertainment film came in with John
Lasseters Toy Story (1995), which was the beginning of a new era of
computer-generated feature length 'cartoons'.
The ambitious, enterprising
and creative Steven Spielberg had also realized the great and new possibilities
offered by the computer-generated films. He and his company, Amblin
Entertainment, had taken advantage of computer technology already in the
feature film Jurassic Park ( 1992), and with his second production company,
DreamWorks Pictures, he would of course like to be involved in the new wave.
This was especially so with the highly successful computer-generated feature
film Shrek (2001). The film was almost a draw in numerous cinemas and provided
the impetus for that was made several more films in the same technique and
genre.
The apparent success has been
the computer-generated films in part, also, and more importantly, in terms of
number of tickets sold and subsequently became a cartoon producer par
excellence, Walt Disney Pictures, to refrain from producing more dedicated and
long ‘classiscal’ cartoons, at least for now. Instead they aim at to continue
the production of computer-generated film entertainment in feature length.
Next section:
The sources for the
description of Walt Disney and his career and employees etc. has mainly been
the following literature cited in chronological order:
Robert D. Feild: The Art of
Walt Disney. The Macmillan Company. New York 1942.
Lo Duca: Le Dessin Animé. Histoire,
Esthétique, Technique. Introduction de Walt Disney. Prisma Paris 1948.
Bob Thomas: The art of
Animation. The story of the Disney Studio contribution to a new art. Walt
Disney Productions. Published by Golden Press, Inc., New York 1958.
Roger Manvell & John Halas: The
Technique of Film Animation. Focal Press, London and New York 1959.
Richard Schickel: The Disney
Version. The Life, Times, Art and Commerce of Walt Disney. Simon and
Schuster. New York 1968.
Frederik
G. Jungersen: Disney.
Det danske Filmmuseum, København 1968.
Christopher Finch: The Art of
Walt Disney. From Mickey Mouse to the Magic Kingdom. Walt
Disney Productions, Burbank, California 1973.
Leonard Maltin: The Disney
Films. The wonderful worlds created by Walt Disney. Crown
Publishers, Inc., New York 1973.
Piero Zanotti: Walt
Disney’s magic moments. Arnoldo Mondadori Editore, Milano 1973.
Bob Thomas: Walt
Disney. An American Original. Simon and Schuster. New York 1976.
Bob Thomas: The Walt
Disney Biography. New English Library / Times Mirror. London 1977.
Frank Thomas & Ollie Johnston: Disney
Animation. The Illusion of Life. Abbeville Press, Publishers. New York
1981.
Darline Geis: Walt
Disney’s Treasury of Stories from Silly Symphonies. Assistant Editor: Anne
Yarowsky. Harry N. Abrams, Inc., Publishers, New York 1981.
Frank Thomas & Ollie Johnston: Treasures
of Disney Animation Art. Preface by Robert E. Abrams. Introduction by John
Canemaker. Abbeville Press, Publishers, New York 1982.
Adrian Bailey: Walt
Disney’s World of Fantasy. Compiled and designed by Julie & Steve Ridgsway.
Everest House Publishers. New York 1982.
John Culhane: Walt
Disney’s Fantasia. Abrams Inc., New York 1983 (Genudgivet 1987).
Jakob
Stegelmann: Tegnefilmens
historie. Forlaget Stavnsager ApS 1984.
Leonard Mosley: The Real
Walt Disney. The amazing true story behind the king of animation. Futura
Publications, London 1985.
Frank Thomas & Ollie Johnston: Too
Funny for Words. Disney’s Greatest Sight Gags. Abbeville Press. Publishers.
New York 1987.
Jakob
Stegelmann: Walt
Disney. Nyt Nordisk Forlag Arnold Busk, København 1989.
Shamus Culhane: Animation.
From Script to Screen. Columbus Books Limited, London 1989.
Frank Thomas & Ollie Johnston: Walt
Disney’s Bambi. The story and the film. Stewart, Tabori & Chang, New
York 1990.
******************