- Gebundene Ausgabe: 176 Seiten
- Verlag: Disney Editions (17. Juni 2014)
- Sprache: Englisch
- ISBN-10: 1423199022
- ISBN-13: 978-1423199021
- Größe und/oder Gewicht: 24,1 x 2,5 x 29,8 cm
- Durchschnittliche Kundenbewertung: 1 Kundenrezension
- Amazon Bestseller-Rang: Nr. 198.214 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
Once Upon a Dream: From Perrault's Sleeping Beauty to Disney's Maleficent (Disney Editions Deluxe (Film)) (Englisch) Gebundene Ausgabe – 17. Juni 2014
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Über den Autor und weitere Mitwirkende
Charles Solomon is an internationally respected critic and historian of animation. He has written on the subject for The New York Times, TV Guide, Newsweek, Rolling Stone, Los Angeles Times, Modern Maturity, Film Comment, and The Hollywood Reporter. His books include The Toy Story Films: An Animated Journey; Tale As Old As Time: The Art and Making of Beauty and the Beast; Disney Lost and Found; The Prince of Egypt: A New Vision in Animation; The Disney That Never Was; and Enchanted Drawings: The History of Animation, which was a New York Times Notable Book of the Year, and the first film book to be nominated for a National Book Critics' Circle Award.
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Usually when there's a release of a Disney live action movie like Tim Burton's Alice in Wonderland, Pirates of the Caribbean or even John Carter, Disney launches an art book of the film. This time it didn't make a book out of Maleficent but of Sleeping Beauty instead.
This book contains kind of a celebration or homage to the 1959 version of the story. We can witness the growth of the Sleeping Beauty tale since the Disney version and there on to the actual Maleficent version. All of this with super interesting details about the movie. We can see Aurora's model sheet, character studies among backgrounds and art studies.
Then we are transported to the recent Maleficent movie, and even though there are not enough pages an art book should have (I mean if the Maleficent part was released as a single book), it has the right amount and it turns out to be a rather complete edition.
So this book is a deluxe edition of sorts and even if you like the 1959 Sleeping Beauty and dislike the recent Maleficent, it is still a good buy. If you enjoy both of the movies well then, it's a mandatory purchase hehe and buy the book while it's fresh because it seems to be one of those editions which may latter run out.
My score for this book is:
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Charles Solomon digs deep into the origins of the Sleeping Beauty story; starting with Perrault and including information on some other rather gruesome versions. We all know that the music from the Sleeping Beauty ballet is featured prominently throughout the Disney film. But, did you know that Engelbert Humperdink, composer of the "Hansel And Gretel" opera, also wrote a largely unknown and unsung opera version of "Sleeping Beauty"?
The heart of the book is the creation of Disney's 1959 "Sleeping Beauty." For reasons which I've never completely understood, "Sleeping Beauty" has always suffered unfavorable comparisons to "Snow White." This book finally gives "Beauty" some long overdue praise. "Snow White" and "Sleeping Beauty" are similar in terms of genre, but in terms of style, they couldn't be more different. "Snow White" has a muted, watercolor, cozy color palette. "Sleeping Beauty" represented a thrilling departure from the usual "house style" of animation at Disney. "Sleeping Beauty" features a bolder use of color and design to express character and emotion. And credit for all this mostly goes to Eyvind Earle, whom Walt Disney entrusted with the styling and creative vision of "Sleeping Beauty."
"Sleeping Beauty" may lack the groundbreaking appeal of "Snow White" and the emotional pull of "Dumbo", but, artistically, there is no other Disney film like it. Every time I watch "Sleeping Beauty", I am mesmerized by the visuals and design. This book captures many of these arresting visuals in multi-page layouts and spreads, which left me mesmerized all over again. This book proves that Disney's "Sleeping Beauty" is, indeed, a work of art.
Such perfection was expensive, however. "Sleeping Beauty" was in production for nearly six years at a cost of six million dollars. If Disney continued making animated features as lush and detailed as this, the studio would be bankrupt, and it had been on the verge of bankruptcy before. So Disney quickly employed a cheaper look for the next animated feature "101 Dalmations". "Sleeping Beauty" opened to a mixed reception from critics who simply did not understand how truly special it is. "Sleeping Beauty" was ahead of its time, and time has been very good to "Sleeping Beauty." The film found a following with fantasy fans, eventually earning praise as Disney's undisputed post-war masterpiece. Fans may also appreciate the fact that while the artistic design is beyond brilliant, the story is told in simpler terms. The plot of "Sleeping Beauty" is a straightforward tale of good versus evil", free of the "comedy padding" found in "Snow White" and "Cinderella." Moreover, Disney artists had, by this time, learned how to more successfully animate human beings. The Princes in "Snow White" and "Cinderella" are mere footnotes and afterthoughts. But Prince Phillip in "Sleeping Beauty" is a strong, masculine figure who actually has to fight to free Aurora and the Kingdom. Phillip's battle with Malificent's dragon is still one of most thrilling climaxes in cinema history.
I was less interested in the final portion of the book, devoted to the "Sleeping Beauty"-inspired 2014 live action film "Malificent." "Malificent" features several striking visuals and an arresting central performance by Angelia Jolie. But "Malificent" is part of the current mania, started by the book and Broadway Musical "Wicked" and expanded to absurdly preposterous degrees in the TV Series "Once Upon A Time", of taking "evil" characters, giving them their own backstories and making them sympathetic. But should Malificent, perhaps the greatest Disney fairy-tale villainess of all time, necessarily be made nice and understood? "Malificent" misses the point that, by robbing Malificent of her Title as "The Mistress Of All Evil, Malificent is robbed of much of her appeal and allure.
Fortunately, the "Malificent" film is separate from "Sleeping Beauty. " And "Sleeping Beauty" is really what this book celebrates, a masterpiece that is one of a kind and the last of its kind.
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