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How in the world would Walt Disney’s Animation division top “Beauty and the Beast?” And how would it top “The Little Mermaid?” Those were questions to be answered with the resounding success of 1992’s “Aladdin.”
Disney had been on a financial and critical acclaim roll after the release of “The Little Mermaid” (1989) and “Beauty and the Beast” (1991). Both films rejuvenated Disney’s classic storytelling-style shown in such classics as “Snow White and the Seven Dwarfs” (1937), “Pinocchio” (1940), and “Cinderella” (1950). Better yet, music written and composed by Howard Ashman and Alan Menken for “Mermaid” and “Beast” put the musical film genre back on the map with such songs as “Part Of Your World,” “Under The Sea” and “Beauty and the Beast.” Disney was flush with new and instantly familiar characters and songs for its theme parks and merchandising division. “Aladdin” came on the heels of “Beast.” Using comedy as its foundation, the film featured virtuoso animation, clever direction from John Musker and Ron Clements (who directed “The Little Mermaid”), and songs by the late-Howard Ashman, Alan Menken and Tim Rice. Topping “Beast” would be no small feat, as that film earned both critical and box office acclaim in 1991. The film was so beloved that it was nominated for a Best Picture Oscar, a first for an animated feature. But “Aladdin” came out a winner, surpassing the box office draw of “Beauty and the Beast.” The film had audiences “rolling in the aisles” with Robin Williams’ portrayal of the Genie (supervised by animator, Eric Goldberg). The character of Aladdin (voiced by Scott Weinger) was surrounded by a number of funny characters including the monkey, Abu, the conniving parrot, Iago (voiced by Gilbert Godfried), and the Magic Carpet. Rounding out the cast are Aladdin’s love interest, Jasmine (voiced by Linda Larkin) and the dynamically evil Jafar (voiced by Jonathan Freeman). Watching this film will give animation buffs the opportunity to study and admire the fine animation work. The film mixed a variety of animation and art styles to come up with a unique look. Though some influence from Richard Williams’ “The Thief and the Cobbler” (made from 1968 to the early 1990s) is apparently present, the crew of “Aladdin” borrowed motifs from Tex Avery cartoons, Al Hirschfeld drawings, and Arabian design. What has always struck me about the design of this film are the ruby red and aqua blue jewels on Jafar’s headpiece and Jasmine’s tiara. The colors are rich and almost three-dimensional. Cool eye candy. What is pleasing about this film, despite its departure in some people’s eyes from Disney-style, is that it’s still Disney. The film has the traditional touches many people associate with classic Disney animation. The first element is story. The story of a young boy who wants to become somebody someday. The sidekick characters are another element of Disney animation, and there are many in this film and most of them are strong characterizations. Iago is hilarious as Jafar’s henchman. Abu provides playful and often very funny moments to Aladdin’s resourceful nature. The two make a fun pair to watch on-screen as they thwart the bad guys. But perhaps the most pleasing sidekick character is the Magic Carpet. Supervising Animator Randy Cartwright, who is presented on the bonus material disc, designed one of the more clever characters in the film. Who would’ve thought that such animated personality and charm could come from a rug? The “Aladdin” DVD is a fantastic package and should find its way onto your home theatre shelf. It’s a great look back at a film made during Disney Animation’s most recent “golden age.” Bill Kallay Special thanks to Amelia McPartlon Photos: © Disney. All rights reserved. s |