Coucou tout le monde. J'ai récemment lu la bande dessinée de 1959 de La Belle au Bois Dormant et je me permet de vous partager la petite histoire qui prend place juste après la fin du film. Contre toute attente, on retrouve un peu le même synopsis que dans le moyen-métrage Les Clés du Royaume du film Disney Princesses - Vis tes Rêves, où Pimprenelle laisse sa baguette à Aurore et celle-ci fait des bêtises avec.
Voici la première page et le reste en spoiler. Je suis content de voir enfin à quoi ressemble le lieu d'habitation d'origine des trois fées. ^^
Spoiler:
Kevsora, MadEye, Thumper et VanessaEsmeralda aiment ce message
Est-ce quelqu'un à déjà entendu parler de cette adaptation de la belle au bois dormant avec Louis de Funès au casting ?
Cette version est beaucoup plus fidèle au conte et ça ma fait prendre conscience que la version Disney a amélioré quelques point par rapport au conte par exemple on reproche souvent à Aurore son manque de temps d'écran pourtant on a allonger son temps d'écran comparé la princesse de cette version ( qui au passage se prénomme Belle ) qui doit avoir 3 minute de temps d'écran et 4 ligne de dialogue pareil pour la romance avec le prince dans le disney ils se sont rencontrer avant qu'aurore soit endormi la dans cette version le prince ne l'avait jamais vue ( normal ça fait quand même 100 ans qu'elle est endormi) il l'embrasse et tombe instantanément amoureux l'un de l'autre
En ce jour de Pâques, je ressuscite pour vous partager une première partie de mon dossier consacré aux personnes ayant servi de modèle aux personnages de "La Belle au Bois Dormant"
Mais, plutôt que de tout mettre d'un coup et risquer de provoquer une overdose, je vais changer de méthode et essayer d'être assidu en venant chaque semaine, afin de les proposer petit à petit.
Les photos sont rangées de façon chronologique par rapport au film, mais des approximations restent néanmoins possibles. Le nom des interprètes est entre parenthèses lorsqu'il est identifié
Séquence 8 - Boy meets girl :
Briar Rose (Kathryn Beaumont), Scarecrow :
Phillip, Briar Rose (Kathryn Beaumont) :
Briar Rose (Helene Stanley), Phillip (Ed Kemmer) :
La suite ! J'éditerai sûrement le premier message à terme, et supprimerai les autres pour ne pas altérer le sujet.
Pour Flora, Fauna et Merryweather j'ai vu les noms de Frances Bavier, Madge Blake et Spring Byington, mais je suis bien incapable de les identifier sur les photos...
Séquence 7 - Fairies plan :
Fauna, Merryweather :
Flora, Fauna, Merryweather :
Fauna, Merryweather, Flora :
Séquence 6 - Fairies try to make dress and cake for Briar Rose :
@Vladisney Merci infiniment de ce partage ! Puis-je te demander où tu as obtenu tous ces trésors ? Encore merci !
Merci Tu peux en effet, mais il est prévu que j'indique mes sources notables lorsque j'aurais terminé de tout publier, vu que certaines ne sont pas encore utilisées
Je me permets une petite parenthèse concernant cette séquence, car dans le film d'animation Maleficent reste impassible et ne manifeste pas le moindre signe de surprise, contrairement à ce que l'on peut voir sur ces photos de référence... En réalité, une scène complémentaire a finalement été tronquée :
On peut y voir Diablo, en sentinelle dans la forêt, retourner auprès de Maleficent pour l'avertir que l'homme arrivant est le prince Phillip. La confirmation, une fois capturé, est donc bel et bien une plaisante surprise... à laquelle elle a pu mettre les formes
@Vladisney Ah ah ! Entendu dans ce cas ; je saurai me montrer patient ! ^^ Merci encore de nous avoir partagé cette nouvelle série ! Je trouve véritablement fascinant de voir la manière dont le cadrage et les décors rudimentaires de ces photos laissent déjà transparaître l'esthétique géométrique que l'on retrouvera dans les décors d'Eyvind Earle.
Avatar : Gustaf Tenggren (1896-1970), dessin préparatoire pour Blanche Neige et les Sept Nains (1937).
Avant-dernière partie, avant le final où l'on devrait donc arriver à un total de 124 photos . Certaines sont d'ailleurs des captures de vidéo que j'ai laissées.
As part of the Multiplane Camera process, glass plates were painted by the Background Department and used to add depth and dimension to our worlds. Most plates were washed off, repainted, and reused at the time.
Brozen aime ce message
Timon Timauvais Propriétaire
Âge : 53 Messages : 12604 Localisation : sur Chronique Disney Inscription : 04/07/2007
Sources notables : Making of / Deja View / Google Arts & Culture / Van Eaton Galleries
Avec un léger petit décalage, voici normalement tout ce qu'il me restait en stock ! Certaines sources sont malheureusement mortes avec le temps, dont celle-ci où une image a été sauvée mais soit avec le bouton de navigation apparent, soit avec de faibles dimensions :
Si jamais quelqu'un de plus dégourdi que moi pouvait subtilement le faire disparaître avec une retouche... De même, si vous avez des photos supplémentaires, ou de meilleure qualité, c'est désormais à votre tour
In celebration of the 65th anniversary of Walt Disney’s cinematic triumph “Sleeping Beauty” (1959), the #WaltDisneyArchives is pulling back the curtain on the making of this beloved film. Determined to produce an animated feature like no other, Walt Disney assigned stylist Eyvind Earle (pictured here) as production designer. Earle applied a stylized approach that was unlike previous animated films by combining Gothic French, Italian, and pre-Renaissance influences with his own abstract style of realism to create the unique elegance seen in “Sleeping Beauty.” Earle was named a Disney Legend in 2015.
Walt Disney Archives a écrit:
In celebration of the 65th anniversary of Walt Disney’s cinematic triumph “Sleeping Beauty” (1959), the #WaltDisneyArchives is pulling back the curtain on the making of this beloved film. To help breathe life and realism into the film’s characters, Walt and his filmmakers enlisted live performers to play out their roles on a soundstage so animators could observe the nuances of their body movements and translate their actions into the two-dimensional realm of animation. For “Sleeping Beauty,” Helene Stanley and Ed Kemmer (pictured here) took on these roles for Princess Aurora and Prince Phillip.
Timon Timauvais Propriétaire
Âge : 53 Messages : 12604 Localisation : sur Chronique Disney Inscription : 04/07/2007
In celebration of the 65th anniversary of Walt Disney’s cinematic triumph “Sleeping Beauty” (1959), the #WaltDisneyArchives is pulling back the curtain on the making of this beloved film. Prop storybooks date back to Disney’s first animated feature, “Snow White and the Seven Dwarfs,” and are often used to introduce Disney films based on fairy tales or classic books. The ornate prop storybook which introduces “Sleeping Beauty,” with many interior illustrated pages depicting a new chapter of the story, is considered the most elaborate prop book created for a Disney animated project. The original “Sleeping Beauty” prop book is currently on display at #Disney100: The Exhibition at the Exhibition Hub Art Center in Chicago, Illinois.
“Sleeping Beauty” was released 65 years ago on this date. The day Walt Disney put the first scenes from this animated classic into production, he told sequence director (and future Disney Legend) Eric Larson, “What we want out of this is a moving illustration. I don’t care how long it takes.” With a budget that exceeded $6 million in 1959, this was Walt Disney’s most lavish and elaborate animated features to date!
The Walt Disney Company a écrit:
How Sleeping Beauty’s Storybook Helped Set Its Animation Apart 65 Years Ago
In the mid-1950s — as scaffolding rose on Disneyland and Walt Disney further became a household name for TV viewers across the country — work was underway on Walt Disney Animation Studios’ next major fairy tale: 1959’s Sleeping Beauty, which celebrates its 65th anniversary on Monday.
“Today, Sleeping Beauty is considered one of the most artistically-acclaimed and important films ever produced by the animation industry,” says Rebecca Cline, director of the Walt Disney Archives.
The movie includes memorable characters such as Sleeping Beauty herself Princess Aurora, the three Good Fairies, and the film’s villain, Maleficent, who, Cline noted, “is a masterpiece of animation design.”
“Her transformation into a magnificent dragon for an epic battle with Prince Phillip is a highlight,” she added.
To set Sleeping Beauty apart from past animated efforts, Walt wanted “the feel of a ‘moving illustration,'” Cline said.
She pointed out that Walt “gave unprecedented control of the film’s visual appearance to future Disney Legend Eyvind Earle, as both de facto art director and color stylist. The result is a film notable for its distinctive and beautiful art direction, which is instantly recognizable to Disney fans.”
Cline went on to say that Earle “chose to give the film a fantasy medieval feel.” His work on the visual identity of Sleeping Beauty includes the iconic prop storybook, which can be seen throughout the film.
The Sleeping Beauty prop storybook.
“The result is a magnificent prop storybook styled to look like a medieval illustrated manuscript including original hand-painted art and hammered brass and ‘jeweled’ cover,” said Cline. “Inside the book are multiple pages hand-painted by Eyvind, inspired by the pre-Renaissance European illustrated religious manuscripts.”
That prop book has become a “crown jewel” of the Walt Disney Archives, according to Cline.
“We felt it was very important to preserve and protect this very iconic and beloved asset,” she said.
The first page of the Sleeping Beauty prop book.
Usually “In film, props, costumes, and sets… are only needed for a short time, so they are made to look great during filming, but are not always designed or made with the care for a lasting product,” Cline said. “In the case of the Sleeping Beauty prop storybook, a plain oversized bound journal was used as a base and covered and painted to look medieval. Inside, the original art was glued onto the pages of the journal for support. Over the years the delicate book began to deteriorate due to the non-archival materials originally used and it was no longer able to be exhibited or even carefully opened for reference.”
A restored page from the Sleeping Beauty prop book. :copyright:Disney. Photo courtesy of Kristi Westberg
The storybook — as Earle designed it — has since been restored and has regular conservation checks. However, Earle’s artwork for Sleeping Beauty wasn’t only featured in the film.
“When Disneyland opened in 1955, its centerpiece was a fairytale castle, and as Sleeping Beauty was in production, Walt decided to deem it Sleeping Beauty Castle and guests fell in love with it — regularly requesting to go inside,” Cline noted. “So, in 1957, before the film even opened, the interior of the castle was crafted into a walk-through attraction where guests could experience the story of the film through beautifully crafted dioramas, including murals painted by Earle.”
One of Eyvind Earle’s murals inside Sleeping Beauty Castle.
Production elements from Sleeping Beauty were even featured in a 1958 traveling exhibition called “The Art of Animation,” which showcased the animation process and “was so beloved that following its tour, a unit of the exhibition was installed in Tomorrowland at Disneyland where it ran from 1960 to 1966 — giving guests a very special peek ‘behind the magic,’” Cline said.
The characters of Sleeping Beauty have continued to breathe life into new stories at Disney, including the popular live-action adaptation Maleficent, released in 2014, and its sequel Maleficent: Mistress of Evil in 2019.
While Sleeping Beauty fed into various parts of the company before it was even released, it’s also enmeshed itself into American culture.
Cline pointed out that “In 2019, this treasured film was selected for preservation in the U.S. National Film Registry as ‘culturally, historically, or aesthetically significant,’ but more importantly, it has enchanted millions of Disney fans who have taken it into their hearts.”
Sleeping Beauty has enchanted millions for the last 65 years.