Showing posts with label hans christian andersen. Show all posts
Showing posts with label hans christian andersen. Show all posts

Monday, December 10, 2018

Armando Gutierrez's "Little Mermaid" Movie is Now on Netflix


We've been keeping an eye on this movie since 2016, and were naturally very excited to see it pop up on our Netflix feed this weekend. From the trailer, we knew to expect a circus theme, set in Mississippi, but beyond that, many questions swarmed our mind. The biggest unknown was how strong the film's connection would be to Andersen's tale. It clearly wasn't trying to be a straightforward adaptation, but would it merely use the title for name recognition?


Here's the trailer for those who haven't seen it yet:



The movie's villain, played by Gutierrez himself

The movie starts with an animated short to provide the movie's backstory. A mermaid rescues a man  from a shipwreck and falls in love with him. She becomes human in order to be with him, but her love is not reciprocated. So far, pretty close to Andersen's version (there are also other little details directly pulled from the fairy tale). However, the goal of Andersen's mermaid is to gain a soul by winning the heart of the human prince. Here, mermaids already have souls, and this one (whose name is Elizabeth) bargains it away. When her human does not fall in love with her, the evil wizard gets to keep her soul forever.
While this is a significant difference, I think the change makes a lot of sense for the movie. After all, this is less of a retelling and more of a sequel to the original. Andersen's story has a definitive endings, leaving no reason to revisit the characters again. Gutierrez tweaks the circumstances around to give the plot a reason to continue.

Did you catch the bit about the evil wizard? Yep, this movie follows Disney's lead and adds a clear villain for our characters to battle. Sometimes it's hard to remember that there's nothing truly diabolical about Andersen's sea witch, who doesn't seem to have any agenda, unlike Disney's Ursula. Andersen's conflict stems from the Little Mermaid's circumstances. She is her worse enemy, in many ways, since the choices she make set her up for disaster. But for a 90 minute movie, it's harder to anchor the audience if you don't have a clear opponent for your heroes to fight against. So we get an evil wizard who steals Elizabeth's soul in order to grow his own power. It's a bit simplistic, but it's not a horrible choice.



So what did I think? Honestly, I found the whole package pleasant, but rather forgettable. The actors are solid, the plot doesn't have too many holes, and it's rare for me to gush about beautiful CGI, but the mermaid's tail was truly flawless and believable. I'd say it's one step above what I'd imagine a Hallmark mermaid movie to be like, but most of that step is in the production quality. 

We could be done with this review here. But there is a part of me that started analyze this Little Mermaid from a more critical angle. As a feminist, I can't stop myself from thinking about how mermaids are often objectified, treated as a symbol for male desire and fantasy. Even the darker more dangerous Sirens still embody male temptation. This movie doesn't challenge the mermaid stereotype, although one could argue that Elizabeth is more like a chaste princess in a tower rather than an unattainable temptation. Elizabeth is sweet and beautiful. She longs for freedom and love, but there's not much else to her character. In fact, the younger female protagonist, Elle (human), has more complexity to her character, but that's probably because she's too young to have a romantic plotline.  

Sidenote: Is this why Shape of Water was so revolutionary? Is is because it gender swapped the traditional roles of human and mermaid? 

Now, don't get me wrong, there is something irresistible and timeless about the whole land/sea love story. I can't deny that there's something inherently electric about characters longing for the seemingly impossible relationships. But can mermaids exist outside of this construct? I'd be curious if anyone knows of any mermaid books that really break the mold on this. Please let me know!

Tuesday, February 20, 2018

Fellini's 'Pinocchio' and Other Unfilmed Fairy Tales

                 
In the wake of the update on Disney's live-action Pinocchio getting a new director (see HERE for the quick news post), we thought it about time we finish this archived draft and give you some more Pinocchio news you might not have been aware of.

Did you know Roberto Benigni, who went from wowing the world with his film, Life is Beautiful to freaking everyone out with his Pinocchio, originally talked with Fellini about making Pinocchio, with himself (Benigni) as the lead?
   
While the Benigni Pinocchio film flopped, it did return the Italian sense of comedy to the story and there is a strong sense - or at least, various homages - to Fellini throughout. Perhaps it flopped partly because it didn't translate well to English (and the actual dubbing into English certainly did much more harm than good!) but in putting Pinocchio on film, Benigni did little more than try to remain faithful to Collodi (many would say "too faithful") and never brought a fresh filmic sensibility to the story, so that it would work in the different medium (ie. film, as opposed to the original, which was a serialized story). Fellini, though, had quite different plans for his version, which unfortunately never came to be.

Would it have been better, as in better received and a better-made film? Who's to say. The trouble with making Pinocchio 'a real boy', literally, is that the character, and his journey and stories, easily become the stuff of nightmares. the very least that can be assumed is that it would have been 'Fellini-esque' and therefore a very, very different result.
       
Here's an extract from the book I, Fellini by Federico Fellini, Charlotte Chandler (1994*), describing his love for Collodi's Pinocchio, a little of what he had hoped to do with the story (but never did) and how he felt about fairy tales in general:
A film I have always wanted to make is Collodi's Pinocchio. it would be different from the Disney version. in my Pinocchio, every time the marionette said something untrue to a woman, it would not be his nose that grew. 
When I was little, a book seemed to be something to throw at your brother... When I was eight or nine years old, I had my first happy meeting with a book that became a good friend to me throughout my life - Pinocchio. It's not just a wonderful book, but it's one of the great books. I feel that it has had an enormous influence on me. It was the beautiful pictures which first caught my attention. It was the way I wished I could draw. 
Through Pinocchio, I learned I could love a book, that a book could offer a magical experience, and this was, as it turned out, not just a book for childhood, but one that could be read forever, I have read it several times in my life since my early childhood discovery.
The end of the book is the poorest part because Carlo Collodi, as a nineteenth-century man, moralizes when the puppet becomes a boy. It is sad because, losing his marionettehood, Pinocchio loses his childhood, the marvelous life of knowing animals and magic, in return for becoming a good, conforming idiot.
 
                       
Pinocchio was born in Romagna, just like me. I wanted to make the story as Collodi intended it, with live actors, but in the spirit of the great Chiostri illustrations. When I was young, I used to practice drawing by trying to copy those drawings, but I could never achieve what Chiostri did. I had many ideas for showing Pinocchio in the Country of Toys in the film I would make. 
Fellini's self-portrait/caricature
with Ginger and Fred
I did not identify with Pinocchio, but with Gepetto. Creating Pinocchio was like making a film. I could see the relationship between Gepetto's carving out Pinocchio and my carving out a film. Gepetto was making the marionette from a piece of wood, but little did he know that soon he would not be in control. With every chip he carved away, Pinocchio was becoming more. It is exactly the way I feel when I am directing a film, as the film starts to direct me. Gepetto though he was the one in charge, but the more he carved, the further he got away from it. 
Pinocchio was one of my favorite friends. If I could have made the film, with live people as I wanted to do, I would like to have played the part of Gepetto, and there was only one perfect actor to play Pinocchio - Giulietta**. 
I have always been fascinated by the fairy tales of Charles Perrault and Hans Christian Andersen. Imagine - "Rapunzel." "The Princess and the Pea," "The Littel Mermaid"! I would love to bring those fairy tales to the screen. I have this vision of the princess there in her nightdress, so uncomfortable and unable to sleep, on top of a mountain of mattresses, not realizing that it is a pea under the bottom of the first mattress that is the cause of her distress. The scene is so developed in my mind that sometimes I feel I have already made the film. Poor romantic little mermaid who gives all for love, yet we understand, because each of us searches throughout life for love. "The Emperor's New Clothes" is such a profound concept. Fairy tales are one of the greatest expressions of man by men. Another reason I was attracted to Jung was his revealing interpretation of fairy tales as part of our subconscious history. 
Life is a combination of magic and pasta, of fantasy and of reality. Films are the magic, and pasta is the reality, or is it the other way around? I have never been very good at distinguishing between what is real and what is not..."
         
And here is another extract from an interview with Rolling Stone, titled Fellini's Language Of Dreams (referencing his ENORMOUS sketch and notebook, some of which can be seen online):
RS: Aside from the circus and the artists Of Rimini, what else influenced you creatively as a child? 
Fellini: Fairy tales. My grandmother used to tell them to me. She was a farmer, a peasant, and her stories ‑ since she lived in the country and was surrounded by animals ‑ always concerned horses, cats, owls, bats. So we grew up to respect and be very curious about them. And still today, when I eat a chicken, I'm afraid that suddenly it will become a prince once it's inside me! [Laughing] I've always had ‑and still have‑ this feeling. 
       
Also, when I was eight or nine, Pinocchio: The Story of a Puppet was an enormous influence. It isn't just a wonderful book, for me it's one of the great books ‑ equal to Homer's Odyssey and Kafka's The Trial. And for my generation, it was our first happy encounter with a book. When you're small, a book is something very strange that belongs to the world of adults ‑ something that has to do with school, something that takes away your freedom ‑ unless there are beautiful pictures inside. And mostly it was something you could throw at your brother when you were fighting [laughing). But ultimately, it was something that didn't belong to you. The encounter with Pinocchio was like coming upon a magical object ‑ it was a big bridge between life and culture ‑ so it had a special meaning, almost exorcistic. 
                   
Now the author, Carlo Collodi, lived in the nineteenth century, so he had to conclude the book in a certain moralistic way. It ends with the transformation of the puppet into a boy. That, however, is the least interesting, and even the saddest part of the book. But, of course, it's true that we all lose the magical, childhood, Pinocchio part of our being ‑ being in touch with animals, with the night; with mystery ...in contact with life the way it should be. And with this loss, we become good idiots, good students, good husbands, good citizens. 
Pinocchio is a marvelous book because you can read it forever ‑ when you're a child, when you're young, when you're old. It has the simplicity of the Bible and lacks all presumptuous consciousness. And, indeed, it really is a work of magic. You can open it like a book of oracles, readjust one line, and it will help you. All your doubts and problems find an answer on those pages.
                                 
We think we will never quite be able to think about Pinocchio again, without remembering Fellini and his enthusiasm. It certainly will make us look at Fellini films a little differently too.

A little sidebar on the current 'Pinocchio' news to end: it should be noted, despite all this discussion of Collodi's serial story and the difficulties of translating the Italian sensibility of those stories for a non-European understanding (or affection), the live-action version of Pinocchio coming from Disney is not a remake of Collodi's book, but of the Disney classic animated film, so it will likely be even further removed from its origin in that sense. Not that, that is necessarily a bad thing. It just makes it different. That the film will be made in this era (2018 on), with the current social US American climate, in combination with the resurgence of interest in tale origins and research (such a the wonderful  #FolkloreThursday phenomenon), means this version-to-be still has many possibilities. Though intended, at pitch time, as a straight remake of the 1940 film, it's been the 'revisioning' of the classic stories (such as 'Maleficent' and Branagh's 'Cinderella' that have been most successful across the board - critically as well as in combination with popularity) that have made the most difference to how society is now viewing these tales. It will be an interesting case study either way.

NOTE: All illustrations, apart from Fellini's self-caricature, are by Fellini'/s favorite Pinocchio illustrator, Carlo Chiostri.

* Fellini was interviewed, with it also being tape recorded for his exact words, in 1980 and the book was originally published after his death (1993) in German as Ich, Fellini. Most of the book is written/related in Fellini's words.
**Giulietta was Fellini's wife.

Wednesday, October 12, 2016

Fairy Tale Transformation Illustrations from Ivana's House of Fairy Tales

These unusual fairy tale illustrations by Ivo Matić are from Ivanas' House of Fairy Tales, which is a unique multimedia and interactive visitor's center and permanent exhibition, which celebrates fairy tales and their makers. (Located in Ogulin, Croatia) The illustrations are displayed on a tablet though a "secret spyhole" within the exhibition and are just one part of an interactive multimedia display/experience.

Our mission is to celebrate the writings of Ivana Brlić-Mažuranić and to use fairy tales to inspire a love of reading, knowledge and creative expression. By promoting the knowledge of fairy tales – a widespread literary genre – we encourage intercultural exchange and enhance the cultural and tourist prosperity of Ogulin, while actively contributing to the development of the city and improving the quality of life of its inhabitants.

The idea behind Ivana's House of Fairy Tales is part of a cultural incentive from the local Board of Tourism to encourage the perception that Ogulin is a unique, beautiful and culturally important place to visit, along with the international Ogulin Fairy-Tale Festival.
The reason it's called Ivana's House, is wonderful and easiest to explain by including some text from the official website HERE:
This idea was inspired by the fact that Ivana Brlić-Mažuranić – Croatia's foremost writer of fairy tales – was born in Ogulin. Tales of Long Ago, her most successful collection of fairy tales, bears traces of the natural beauties of Ogulin, and the intangible heritage of its tales and legends.  
...More than sixty collaborators from different areas of expertise were involved in the various phases of developing Ivana's House of Fairy Tales. Their wide range of knowledge along with a variety of their individual talents and skills makeIvana's House of Fairy Tales a prime example of an interdisciplinary and multimedia team project! The project would surely not have been so successful without the highly motivated local inhabitants, who took an active part in the various activities and showed support for the idea of turning their hometown into a homeland of fairy tales.

We admit we are not very familiar with Ivana's fairy tales but it would seem more than just this Polish fairy tale writer's are represented at the center. We see both Grimm's and Andersen's tales represented in the illustrations as well as Japanese and Russian tales.

Although only a selection of the "porthole illustrations" showing transformation in fairy tales (the pen and ink drawings above) are available to view online (to see the others you need to visit the center), there's a description of the experience on the website and I'm including it here. (Note: I do not intend to breach any copyright but only to encourage people to visit and appreciate the project.)

The interactive and multimedia permanent exhibition is based on the principles of knowledge, creativity and the use of new technologies.  
The exhibition starts with the “Magic Forest”: a gateway into the world of Ivana Brlić-Mažuranić, a world where trees narrate episodes from Ivana's life and stories from her books, a place where clever heads and capable hands can put together a real fairy tale! 
The “Enchanted Castle Hallways” are the perfect place to “get busy with” exploring fairy tales: what are fairy tales, who writes, collects and narrates them, and what are they about – these are some of the things you can learn in the “Enchanted Hallways”, or catch a glimpse of out of the corner of your eye. 
A secret corner of the castle holds the “Magic Mirror”, which reveals the 'wondrous inner image' of all who look into it. But only those who listen carefully can get a 'monstrous' picture as a keepsake! 
The “Fireplace” is the “warm” corner of Ivana's House of Fairy Tales where you can listen to (and later attempt to recreate) fairy tales in the “Fairy-Tale Jukebox”. 
In the “Fairy-Tale Library”, visitors can find numerous books of fairy tales and about them. Special attention is given to collecting valuable first editions of fairy tales. Should you need help browsing through the Library, simply ask one of our very own Brownies – the educators of Ivana's House of Fairy Tales. 
The “Chamber of Mystery” is located in the centre of the “Enchanted Castle”. This is a multifunctional space where you can watch three educational animated films or play an interactive game. This is also the stage for theatrical productions, concerts and other events.
Doesn't it sound like a wonderful way to spend an afternoon, or better still, a great project to be part of? One of the wonderful benefits of present day technology is the collaborative possibilities as well as the multimedia and interactive options, providing new options for storytelling experiences and for preserving - and spreading the knowledge of - fairy tales.
Note: The center also has a wonderful project in progress: a database of fairy tales, which you can see the description of below. Clicking on the image will take you to it.

Monday, October 10, 2016

FREE Xlnt Hans Christian Andersen Online Course Returns Oct 24 2016 - Registration Open Now







We were thrilled to hear this course is being offered again this year! Gypsy Thornton, our Lead Fairy Tale Newshound, was able to attend the first few weeks in 2015, and reports being happily surprised at how in depth it was, while still being accessible to lay folk who enjoy fairy tale scholarship. It was regretful she was unable to continue due to health issues at the time. She plans to return to complete more, if not all, of the course this year.

One great benefit of this course is meeting hundreds (yes, hundreds) of people from around the world who are interested in fairy tales. We hope to see some of our readers  there!
Explore the fairy tale world of H.C. Andersen
- the inspiration behind The Little Mermaid and Frozen -
with this free online course.

HANS CHRISTIAN ANDERSEN'S FAIRY TALES FREE COURSE FROM FUTURE LEARN

NOTE:THIS IS A RE-POST OF AN ANNOUNCEMENT, COMBINING INFORMATION FROM THE INITIAL COURSE IN 2015 AS WELL AS THE UPCOMING ONE ON OCTOBER 24, 2016.

ABOUT THE COURSE

This free online course will introduce you to some of Hans Christian Andersen’s most popular fairy tales, share the story of the writer himself, and discuss his cross-cultural importance today, as the inspiration behind many popular books and movies.

Interpret Hans Christian Andersen’s fairy tales with experts from his birthplace

You will learn with experts from the HC Andersen Center at the University of Southern Denmark – an internationally renowned research institution located in the writer’s birthplace, Odense.
Each week, these experts will guide a discussion, analysis and interpretation of one of Hans Christian Andersen’s fairy tales, including:
  • The Tinderbox
  • The Travelling Companion
  • The Little Mermaid
  • The Snow Queen (the inspiration for Disney’s Frozen)
  • The Story of a Mother
  • The Red Shoes
New English translations of the fairy tales will be used. You can download them from thiwebsite.

You will explore the themes of each story, and investigate how they both conform with and digress from the basic elements of the fairy tale and the folk tale.
The fairy tale genre became very popular in the period of literary history to which Hans Christian Andersen belongs, Romanticism, when childhood was discovered as an age that is important in its own right. What Hans Christian Andersen did with this genre is absolutely unique - there are no other writers of fairy tales like him.
Through the course, you will understand how Hans Christian Andersen’s authorship developed. From the rewriting of old folk tales via self-invented fairy tales to his so-called new fairy tales characterized by a modern approach.

Explore Hans Christian Andersen’s enduring, universal appeal

The majority of Hans Christian Andersen’s 157 fairy tales have been translated into at least 150 languages. They not only create a fantasy world for children, but also explore universal, sinister and more adult themes such as death, grief and loss.
Through this course, you will discover why his stories have such an enduring and universal appeal - for both children and adults.

Understand the writer’s life - from humble beginnings to global fame

Hans Christian Andersen often described himself as a “bog plant” - his roots were deeply anchored in mire and mud, but he constantly stretched up for the light of the sun.
Through the course, you will understand this analogy, reflecting on how the writer grew from humble beginnings, to achieve fame and acknowledgement as an artist in both Europe and America while he was in his prime. After his death, he became famous in Asia and all other parts of the world.


REQUIREMENTS


You will need a basic ability to read and understand Hans Christian Andersen’s fairy tales in English. Otherwise, a curiosity about and a love for the fairy tale genre is the sole prerequisite for the course.

Join the conversation on social media.

Use the hashtag #FLfairytales to join and contribute to social media conversations about this course.

(NOTE: IMAGES BY HELEN STRATTON)

Wednesday, May 14, 2014

Parody of Sofia Coppola's "The Little Mermaid" is Pretty Much Perfect

Yes, it's not even filmed yet, but that's kind of the point.
It’s got all of the Coppola quirks: the indie soundtrack, the drunken karaoke, and of course, the Chateau Marmont. Actually, that’s “Shellteau” Marmont. See you if you can spot the rest. (Source)
It should be noted, this is not meant to disparage Ms. Coppola's work in any way. She's brilliant and amazing. She also has a definable style and that's what is fun to play around with when "predicting" how this live action version of The Little Mermaid could go.  If anything, it's a loving homage disguised as a spoof by Funny or Die.

Personally, I think she's going to have more fun with the fantastic aspects and hit the history more, especially because she's not remaking the Disney film (like they are here) but going back to Andersen's version, but this approach would be fun to see as well.

Admit it, you'd watch this too.
(AnnaSophia Robb is the actress playing the part of Ariel.)

By the way, if you like the main song (Kara Leslie, The Strokes cover of "I'll Try Anything Once"), you can hear and download the extended version of it HERE

I'd kind of love it, if this song was ultimately included in the Coppola soundtrack for the movie.

Monday, January 2, 2012

Disney's "The Little Mermaid" Before Ariel (& Other Disney Takes On HCA Tales)

Isn't this just.. odd? I wonder if any of The Little Mermaid artists ever saw this?

Because Hans Christian Andersen has been in the news lately in a controversial LGBT festival intended to honor him, (click the links in the sentence if you want to read more) his tales have been on my mind more than usual.

I knew Walt Disney and some of his early artists/workers were familiar with lesser known fairy tales but I didn't realize Disney had contributed several sets of stamps themed with Hans Christian Andersen's stories, starring Mickey and the gang. (Apologies if the layout of images is weird. I cannot get Blogger to cooperate on making them stay put today.)

You can see the titles right on the stamp, in case there's any doubt as to their origin (some are a little difficult to figure out).


Interestingly, the sets don't seem to include all of the better known Andersen tales (eg Snow Queen, Little Ida's Flowers etc). There are others that seem rather, well ordinary and don't capture any of the tales magic (or use much of the trademark Disney/Mickey humor). Still, they are fun to look at when you know the tales.



 








I'm particularly pleased, though, to see The Marsh King's Daughter included among these. It's one of my favorites and has stuck with me since I was small, despite it's heavy religious tones in the second half. 



Here's Grenada stamp portrait set of Hans Christian Andersen, which isn't by Disney.


Grenada seem to hold the contract for producing Disney stamps (sorry - I have no research time at this writing to check this myself). I actually still have a Snow White stamp set from one of the theatrical releases when I was young. I like the different views of HCA here. You can see how a wealth of different stories are produced by one person when you view them like this.


There are quite a few that have been animated as shorts - either for Fantasia or as "training short films" for Disney artists. MOst are nothing like these but I think that's a good thing. These are really a good way for Disney fan-kids to learn more HCA tales - stories they may not read otherwise.

In the meantime, enjoy the HCA/Disney parodies. :)