Published between 1982 and 1995
Fifty years ago, this year, the cinema shifted course, slightly perhaps, but nevertheless shifted, because the first American animated feature film, Snow White and the Seven Dwarfs, was produced in Hollywood, writes Robin Allan. Not only was Snow White a product of the studio system itself but it would in turn influence that system and … Read more
Allied to the narrative economy is the strength of characterisation, in particular the dwarfs and the QueenlWitch, to a lesser extent Snow White. It is this ability to create convincing characters, through graphic means, that makes the film so interesting for those of us who practise or enjoy animation today. The investment of credibility in … Read more
I am also indebted to Brian Sibley who points out the similarity of the witch to Lionel Barrymore’s villain who disguises himself as an old woman pedlar, cloak and basket to boot, in Tod Browning’s Devil Doll (1936). The melodramatic gesture and stylised movement of the silent film also have their influence on Snow White. … Read more
Albert Hurter, a German artist in the tradition of European illustration, was the graphic genius behind much of the film’s detailing. Given a free hand by Disney to produce a series of inspirational sketches, the modelling of the dwarfs’ cottage (Grumpy’s organ, the stairs, beds and woodcarving) owes much to his talent. Gustav Tenggren, a … Read more
Adriana Caselotti, the voice of Snow White, talks to Brian Sibley. Once upon a time, long ago, a great and powerful Wizard of Hollywoodland decided to create something magical called The-Worlds-First-Feature-Length-Sound-and-Colour-Animated-Cartoon-Film. But, so the legend runs, before he could do this he had first to search for and find a fairy-tale princess… There is a … Read more
Despite being the voice of the film’s central character, Adriana had no idea Snow White was going to be such an important film. She saw no rushes from the picture and never even heard a playback of her recordings. “They forgot to tell me that it was going to be a feature-length film,” she laughs, … Read more
Jeremy Clark has been to see An American Tail. He examines the plot structure and finds resonances from Shakespeare and Hitchcock to King Kong and Disney. When Don Bluth left the Disney organization, to produce his own feature films, his intention was to undertake work worthy of the standards set by Disney in the heyday … Read more
Whilst it fits in with the idea of Fievel’s growing up while separated from his parents, there is insufficient dramatic material here to furnish a workable sub-plot. Mice plotting against cats does have such potential, but the cats’ visual design lets it down. Low-life, street criminal type New York Cats seem trivial after the truly … Read more
If Bluth is good when he is borrowing from other film-makers, it must be said that he is easily their equal when exercising originality. His credits on the film include designing and storyboarding in addition to producing and directing, and it is an impressive achievement. The Cossack Cats must be mentioned again in this regard; … Read more
Animator Brian Borthwick is a rare combination of talents hiding behind a warm retiring personality, writes Ken Clark. After more than forty years in the business Brian Borthwick is an accomplished master of his craft. His modesty and dedication has endeared him to the profession at large but no more so than to his associates … Read more