Le meilleur DISNEY

La planète au trésor

Le topic qui parle en majorité de la planète au trésor
Vous faites plaisir les gars

La haut et wallie
Pure Disney Pinocchio incroyable les détails dans l'atelier pour un dessin animé qui a 80 ans

J'ai oublié de mettre Tarzan dans ma liste des meilleurs Disney...

Sleeping Beauty is an adaptation of Charles Perrault fantasy tale of the same name. It tells the story of Princess Aurora, born to King Stefan and Queen Lea and the recipient of a curse from the wicked Maleficient who destin the baby to prick her finger on the needle of a spinning wheel on her 16th birthday. then die. The curse leads the kingdom to hide the child having her life with 3 fairy godmothers unaware of both her true identity and her betrothal to Prince Philip whose marriage will unite the kingdoms. But of course destiny bring the 2 star crossed lovers together and pushes Aurora toward her fate which both Philip and the fairies fight to prevent. A lot of elements of the classic fairy tale are here. It's the quality of animation and the astounding visual aesthetics which make Sleeping Beauty such unforgettable piece of Disney. From the path of early inception of the story in 1951 to Sleeping Beauty's eventual release on January 29 th 1959 is a long and arduous one filled with script rewrites, directors change and multiple shifts in artistic directions spearheaded by Walt Disney in the last animated film that would be largely influenced by the studio founder, the fairy tale was supervised by 3 supervising directors, Wilfried Jackson who left the project due to a heart attack, Erick Larsen who started as a sequence director in charge of Aurora's forrest dance with Prince Philip. And finally Clyde Geronimo who saw the film to completion after Larson's dismissal. It's in addition to sequence directors Wolfgang Way Thurman who oversaw the dragon battle final. And Les Clark in charge of the opening sequence of baby princess Aurora's presentation. Beyond these 2 animation heads, Sleeping Beauty also had 7 contributing writers and 5 directing animators.
The process was shepherded and often complicated by Walt Disney's involvement, leading to many chances in leadership and shifting story elements. However these many chances were in a pursuit of a singular vision, the culmination of the many animated features created in the years prior. In addition the film is presented with anamorphic widescreen, the second ever for Disney following 1955's Lady and the Tramp, with Sleeping Beauty presented in a supertech neurona 70 millimeter prints which took animation filmed in 35 millimeter technirama and optically unscrews and enlarged the film to 70 millimeter for an aspect ratio of 2.5 5 to 1. Consider the stark contrast of Sleeping Beauty and and Lady and the Tramp compared to every Disney film which came before and in the 2 decades of film that came after which were all presented in the 1.35 to 1 Academy ratio. And you can see these 2 stories feel like exceptionnal achievement in the history of animation. Due to the massive budget of Sleeping Beauty It wouldn't be until 1985 and " the Black Cauldron " that Disney would return to super technorama, settling on standard widescreen presentation from then. The resuult of Sleeping Beauty's representation is an expansively widescreen framing that encapsulates both characters and audience in a fantasy world that would allow foregrounds background and action to be showcased at every second. We can see the specific advantages of the ratio in Aurora and Philip forest dance. where the Disney team as the couple gracefully valse along in a still frame. It allows the audience to capture their intricate movements, their stunning reflections in the water and the delicate framing created by the forest around them without cutting to these individual elements.
Likewise, the massive walls within the castle and the enormous forest of thorns that plays as the setting for the film's climatic showdown are allowed to be expansive, feeling like breathing and living worlds instead of incidental background. The result is a fantasy setting that is just as important and iconic as the characters that live in it. It's complemented by George Bruns adaptation of Tchaikovsky's Sleeping Beauty ballet, a gorgeous and safety score punctuated by the enchanting once upon a dream. These results show Sleepy Beauty not to be the result of an inspiration and experimentation but rather as the culmination of many years of growth and experience within the studio. While Walt Disney was both busy in the development of television and Disneyland at the time of the creation of the film, it's clear from the experiences relayed by the many involved with the film's development that the studio head was heavily invested in Sleeping Beauty's formation. The entire film feel crafted to showcase and meditate on this glorious art, largely avoiding the comedic subplots of most Disney films both before and after in an effort to stay focused on the main narrative. This is why Sleeping Beauty is one of the most serious yet slowest Disney films of the studio's early decades. While numerous artists are involved, the source of the iconic look and feel of Sleeping Beuaty can be found in Eyvind Earle. The art style of Sleeping Beauty finds its roots in the unicorn tapestries, a serie of 7 pieces of medieval arts, housed at the Met cloister which were brought to the attention of Walt Disney by story artist John Hench and given initial life in the sketches of Kay Nielson. Earle built off these ideas in the following years and infused the art with a Renaissance style, taking an extremely detailed approach to the world which can be seen in the bark of the forest. Trees divots of castle wall stones and hanging drapes that add a softness to this fantasy world.
Walt was committed to Earle's modernist interpretation of medieval settings, instruction all the artists involved into the creation of the film to match his approach in their character design and color choices. Particulary, Marc Davis found inspiration in Earle's style when he created the models for Aurora and Maleficient. However the difficulties coming from Earle's designs not only led to a slow creative process but caused numerous fights behind the scenes. When Earle left the studio in 1958, the supervising director softened his background art to fit a more classic Disney style. The opening book pages of the film showcases a simplistic flattened style that is more highly evocative of early Renaissance. The film animation quickly establishes a large depth of field both foreground and background shift within the frame contrasting movements of characters with a vaste surrounding geography. The world is gorgeously lit with shifting lightning sources including the demonic glow of Maleficient herself. That meticulous and seemless blend of static background with moving animation cells avoid the obvious mismatch of cell and frame that often come with lwoer budget animations. Earle's blend of modernist style and medieval setting built the look of Sleeping Beauty literally from the ground up. with Disney insisting that his characters animators compose their subjects in a manner that suited the world they inhabited. It's a more formal and mannered approach to character animation than what we can see in malleable and highly expressive design seen in the film's before and after. Even after the characters are heightened as the fairy godmothers are typically set within the boundaries of real human movement. Disney also insisted on filming live action sequences for his animators. Helen Stanley previously acted as a character model for Cinderella before modeling for Aurora. But the match of animation to real life was far more extensive for Sleeping Beauty.

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