Wednesday, July 02, 2008

For Further Study, #2

It is my genuine, firm belief that if all you ever do to expose yourself to culture is that culture approved of by Disney, then your world view will be far narrower than any shared by any of the artists who created the Disney product we all know and love. Disney isn't high culture, but it isn't low culture either (something I've been trying to establish here for some time now) and as such I genuinely hope to point the receptive spectator in the direction of related but challenging, exciting art which will significantly broaden the richness of the experience Disney offers. I'll be exploring books, media, music, or whatever it is that doesn't directly relate to Disney but is useful/essential to understanding Disney product.

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Hollywood was a strange place. In 1935, in the middle of the Depression, Warner Brothers Pictures was best known for outrageous musicals like Wonder Bar and Dames, James Cagney extravaganzas like (the still breakneck) Lady Killer and Picture Snatcher, and what were then congenially called "shooting gallery dramas" like the superb Public Enemy or, less glamorously, Bullets or Ballots. This was 1935, years before superb dramas like The Maltese Falcon, The Adventures of Robin Hood, Casablanca, Dark Victory or The Treasure of the Sierra Madre. To Warners' credit: Dick Powell, James Cagney, Joe E. Brown, Busby Berkley, Paul Muni, Edward G. Robinson, Micheal Curtiz, and a surprisingly intact economy through six years of the depression by cutting salaries viciously, paring costs to the bone, and producing fast, furious mass entertainment with as much sex and scandal as could be ferried past the film censors. And in 1935, this film machine was turned loose on - William Shakespeare?

Although there is literally no 21st century fair comparison, this would be akin to Burger King suddenly adding Escargo, a Waldorf-Astoria salad and the Del Monico steak to it's menu. Warner Brothers was pure working class entertainment, fast, cheap, and rude. A snappy 69 minute Warner epic in the height of the form shows your grandparents had more going on than anyone ever expected; the best Berkley musical number has more sex and psychedelia in it than any "liberated" modern picture ever could. And here, this studio, was going to film the famous Max Reinhardt production of A Midsummer Night's Dream - all singing, all dancing, all couplet reading.

The resultant picture is one of Hollywood's wackiest mixes of success and failure. Especially compared to the breakneck pace of the typical Warner product of 1935, Midsummer Night's Dream is a long, slow slog which is mired in self-importance - 150 minutes versus a more typical Warner 60, nearly a double feature by itself! Throughout the piece ballets of some description arrive to appear to be somebody's idea of High Art. Elsewhere, Dick Powell and Ross Hunter seem to be totally lost in the Bard's couplets while Olivia de Havilland perpetually looks confused.

Yet it has it's wonderful things too: Cagney and Joe E. Brown and the rest of the clowns perfectly interpret the humor of Shakespeare's working-class dolts who try to stage their own tragedy. Joe E. Brown, who famously voiced the closing line of Billy Wilder's drag comedy Some Like It Hot spends much of the final leg of the film in drag himself, rending snappy and hilarious American-style one liners from Shakespeare's gentle puns through pure force of personality. Cagney's Bottom the Weaver is unstoppable, except through the awkward mule's head he wears for a portion of the film, and Mickey Rooney as Puck is perfect. Rooney, in particular, may grate against modern sensibilities, but his Puck is an unhinged little devil with a cackling, annoying laugh and far too much energy, but Rooney, Cagney and Brown deliver Shakespeare to us rather than asking us to go to him as many other actors in the film do. Sometimes interpreting the Bard and making him relevant for modern audiences, especially in the case of his gentle comedies, requires less the gentle touch and more the sledgehammer. Warner's A Midsummer Night's Dream is the most gloriously alive Shakespeare film until Orson Welles unleashed his furious version of Othello.

And, of course, the beauty of the film. Directed by William Dieterle, with special effects by Byron Haskin and Germanic sets by Anton Grot,the film looks and feels unlike anything Hollywood has ever achieved, creating an atmosphere more convincing and less austere, but related to, the thick forests of something like Lang's Die Nibelungen. And when the forest nymphs cavort across a starry moonlit sky to the strains of Mendelssohn, conducted by Erich Wolfgang Korngold, the effect is poetry, not product.

Which brings me around to why we're talking about this accidentally great film on a Disney blog: this film is absolutely the source for Fantasia. The haunting imagery achieved by Warner - as the nymphs rise out of the mist or the retreat of the moth-fairy, carried by a bat creature into a starfield, as her arms flutter and sway in a spotlight and finally vanish - is a crazy mashup of high and low art which was essentially repeated in Fantasia, especially notably in its' "Dance of the Hours". Furthermore, this film is what British director Micheal Powell would later call a "composed film" - referring to the minute orchestration of image and music that he would perfect in his 1949 continuation of the Fantasia aesthetic, The Tales of Hoffman from Offenbach's opera. So there can be seen a line that runs through the 1935 Midsummer Night's Dream, the 1941 Fantasia and the 1949 Tales of Hoffman as a sort of "unofficial triptych".

And of course let us not overlook the financial trick achieved in Midsummer and repeated with Fantasia: hijack a cultural institution (Reinhardt and Mendelssohn by Warner, Leopold Stokowski by Disney) to validate your culturally ambitious high-art-to-the-masses project. Both films required their creators to eat their shirt in the small towns but validated the makers' intentions. The difference is that in 1935 Warner still had Captain Blood, G-Men, Gold Diggers of 1935 and Black Fury to please the "Hix in the Stix". And in 1936 they would still have The Petrified Forest, The Singing Kid and 50 other pictures. In 1940, Disney had the esoteric Pinocchio to fall back on and the company was nearly sunk.

I'll let these three films' relationship to one another speak best in pictures. Please click to best appreciate.

Pixies in Pastorale: Midsummer Night's / Fantasia / Hoffmann

Oberon, Chernabog and Dr. Miracle: devils in the works

Fantasia / Tales of Hoffmann

Climax of Tales of Hoffmann / Salvador Dali art for Selznick International's "Spellbound" (1945)



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And here's the list so far:

A Midsummer Night's Dream, Warner Brothers Pictures 1935, Dir: William Dieterle
The Tales of Hoffman, London Pictures 1949, Dir: Michael Powell
Last Time: Tiki Modern, by Sven Kirsten, 2007 - Taschen

6 comments:

Cory Gross said...

Thank you very much for tipping me off to this 30's classic. I've said many a time that if I was only allowed one contiguous decade of films, it would be 1925-1935. If I was allowed an extra decade, 1922-1942. I don't think that the beauty, adventure, sublime horror, experimentation and dashing good fun of that time has ever really been duplicated. Considering that I love the Pre-Raphaelite and Maxfield Parrish fairy tale aesthetic (which is what brought me around to the early Disney fairy tales to begin with... well, that and the super-Goth villains), it looks like Midsummer should be worth watching!

I also agree whole-heartedly with your disclaimer paragraph. There is a whole world out there, culturally and geographically, that is worth exploring for its own sake, let alone how it inspired Disney and may be inspired by one's own love of Disney.

For me the big one is travel... Take a break from your fourth WDW trip in three years to visit a real jungle, or head out to a dude ranch in Wyoming, or a tour to European castles, or step beyond California Adventure to vist Yosemite and Hollywood, or take a train to the real Grand Canyon (those latter two are on my plate for two of my next three vacations)... But still, even sitting at home there are the original stories, ballets, operas, etc. that inspired Disney. Read Perrault and Twain and Verne, listen to Tchaikovsky, and so on. None of this is to say that the "real" version is better than the Disney version, or that the Disney version is low-culture or something, but that doing so will certainly deepen one's experience of Disney.

L'il Phoenix said...

I haven't seen "Tales of Hoffman" yet, but I have seen Powell and Pressburger's EXCELLENT fantasy-ballet film "The Red Shoes" from 1940, which has a very similar Fantasia-like aesthetic. It was also the inspiration for some of the setups in "Singin' in the Rain"
Definitely check it out. I am a big fan of British film in general, but I really like Powell and Pressburger's films.

Biblioadonis aka George said...

Interesting connections.

But, seeing as I have only seen Fantasia...

I guess I will add these to my list!

Great piece, though!

FoxxFur said...

Cory: Hope you enjoy Midsummer Night's Dream as much as I did - my boyfriend didn't like it much at all. ;) I love the silent, early sound and "golden years" of cinema - once we get out of that era my interest in film radically shifts to non-domestic product, and of course I can't leave out Night of the Hunter from the 50's, but the fun and beauty of those years of cinema is unmatched. Marvelous stuff.

I agree with your assessments on travel especially. These days I'm wishing I spent more time going around the US with my parents instead of just to Disney; I meet people who only go to Disney and every 4 months and I feel very sorry for them. They've never even driven outside of the tourist belt in Orlando usually, and I feel even sorrier for them. Of course I was young at the time I was most fixated on WDW. Now that I've found this outlet I feel I'm ready to move on in many ways.

Phoenix: I love Powell & Pressburger. Red Shoes is lovely, but Tales of Hoffman is number one - everything that can be done in film is done in that film. It should be the first film in every film class in the country. If you haven't seen A Canterbury Tale, I Know Where I'm Going or the sublime and sad Life and Death of Colonel Blimp, you're really in for a treat.

Cory Gross said...

I think one of the things that is helpful for me are that I'm interested in a relatively wide range of topics, which keeps me from going really overboard on any one of them. I'll hit certain peaks (right now it's the Ice Age and the Klondike Gold Rush... keep eyes peeled on my blog tomorrow to find out why...), but eventually my arms start flailing again and I run off to something else.

Next time I go to California, after Tokyo next year and hopefully the Grand Canyon a year or two thereafter, I still plan on doing a couple days at DL... But I've already spent enough time there on enough trips that it's time to actually venture out of California Adventure to having an adventure in California ^_^

Disneyana World said...

Your new logo is incredible.

It's one of my favorite WDW designs.