Showing posts with label fairy tale blog. Show all posts
Showing posts with label fairy tale blog. Show all posts

Wednesday, April 22, 2015

Fairy Tale Hidden Treasures Blog Hop: "The Heart's Door" - A Finnish Fairy Tale

The Fairy Tale Hidden Treasures Blog-Hop, is the brainchild of Adam Hoffman over at Fairy Tale Fandom. Always up for sharing obscure fairy tales we love, Once Upon A Blog immediately signed up to be part of the fun. We are supposed to share a favorite obscure fairy tale (that very likely will NOT end up on OUAT), tell you a little about it, give you an idea of the main story, let you know where it came from and why we love it so, then tag the next treasure hunter... 

For those keeping track, yes, I did switch places with Tales Of Faerie for 'reasons'... (you'll find out why at the end).

So far the revealed tales have been:

[By the way - if you have a blog and would like to get in on the action (it doesn't need to be a fairy tale blog or storytelling blog in particular -you just need to love obscure fairy tales) then please contact Adam Hoffman HERE for details and to see if you can be included in this round.]

On to my tale treasure!
When I heard about the 'hop, I immediately knew I wanted to share a Finnish fairy tale called The Heart's Door. I also knew it would be tricky. While I have three versions in my personal library, know one else seems to know anything about this one. It's not online ANYWHERE (and boy have I hunted!) and, just to make it extra tricky, one of the books I have was reprinted in 2009 so the copyright on that version of the tale (which is the closest to 'original' that we can find in both English and Finnish) is back in force and I'm not able to transcribe it for the web without express permission.

I personally discovered this fairy tale in Neil Philip's wonderful DK book, The Illustrated Book of Fairy Tales, back in the late '90's. It took me a very long time to realize he'd re-titled this tale from Severi and Vappu, which had been sitting in my Scandinavian Folk & Fairy Tales book (edited by Claire Booss) for years. (Titles with just list names, I tend to mentally file under "epics and sagas"  - in this case, that was a big mistake and I missed out on what came to be a favorite fairy tale of mine, for years!) When I finally did realize what I'd been sitting on (and read the much longer version) I agreed with Mr. Philip: The Heart's Door is a perfect title for this fairy tale and I will always think of it that way.

Why do I love it? I'm a sucker for fairy tales with transformations. They're my favorite kind of 'wonder' in tales but The Heart's Door does it a little differently. You may recall Heidi at SurLaLune mentioning the 2009 reprint of a book called Tales from a Finnish Tupa, some time ago (a tupa is a Finnish peasant hut, complete with the all-important fireside for storytelling). To highlight what is unique about Finnish fairy tales from other European ones, she included an excerpt from the Notes on Finnish Folklore in the back of the book and I will do the same:
The heart of Finnish folk lore is magic. As Lafcadio Hearnhas so well said:
“The magic is not like anything else known by that name in European literature. The magic is entirely the magic of words. These ancient people believed in the existence of words, by the utterance of which anything might be accomplished. Instead of buying wood and hiring carpenters, you might build a house by uttering certain magical words. If you had no horse, and wanted to travel rapidly, you would make a horse for yourself out of bits of bark and old sticks by uttering over them certain magical words. But this was not all. Beings of intellect, men and women, whole armies of men, in fact, might be created in a moment by the utterance of these magical words.”
The magical words in this story allow the main character to hide inside... things - things you wouldn't normally be able to hide inside (no barrels or wash-baskets etc). It's a special sort of hiding and a special sort of transformation and I love the idea of the way this character is hidden. Most hiding in tales is to stay safe or get away from danger by diversion of camouflage, but, again, this is different. This tale also has other things I like: it has a little mystery, has motifs in common with other tales that are used very differently, but most of all it's about choices and dealing with consequences.

Because there is no text online for you to read, I've done my best to retell the story in short form. I've expanded beyond the points included in the DK version and put the emphasis back on the use of words and word-magic, but it's still much shorter than either of the other printings I have as well. I left out a lot of descriptive detail and got right to the parts that I love the most. As with all storytellers, it has my 'print' and emphasis on it, but I believe that is a storyteller's prerogative. ;)

And I've done something else: because this is all about 'hidden treasures' and my tale is also about 'hidden treasures' I have hidden another treasure within this tale for you to find... 
[For you 'pop-culturalists', think Easter egg. I did NOT make it easy... but it's definitely there... ]
Photographer & artist unknown - any information appreciated so can properly credit
[Found on fototalisman.livejournal.com]
Now, without further ado, I present to you:
The Heart’s Door
A Finnish Fairy Tale
(also known as “Severi and Vappu”)
A retelling by Gypsy Thornton

Once there was a boy named Severi who announced one spring morning that it was high time he had adventures and seek his fortune.
“What are you seeking?” people asked.
”I do not know yet,” Severi replied, “But when I find it, I’ll know then,’ he said, and waved goodbye.

He walked over bright meadows and through dark woods, sailed over great seas and survived ocean storms. He climbed up a great black cliff and down a long stone stairway, until eventually, at what he thought must be the very heart of the earth itself, he found a golden door.

He lifted his hand to knock and it swung open for him, so he stepped through. Inside was a magical world of green hills with fragrant flowers and shiny plumed birds sang among lush trees, all laden with golden fruit. In the distance, turrets of a copper castle rose into the air, shining like red gold in the sunlight. Immediately Severi set out straight toward it. There he met a strange old man with glittering white hair and very young cheeks, who asked him who he was and where he was going.

“My name is Severi,” he replied, and told him of his journey so far. “And now I am here. I do not know yet where I am going to, but when I get there, I’ll know then.”

Ka!” said the white-haired man, “Since you’ve come such a long way, why don’t you stay here with me awhile? I live in the copper castle, just beyond.”

So Severi went with the old man to live in the copper castle. When he’d been given all the good food he could eat, the old man held up a heavy ring full of keys. “Here are the keys to the castle: twenty four keys for twenty four rooms. Feel free to go into any, except for the last. If you open that twenty-fourth door, you do so at your own risk. I am not to blame for whatever may happen.”

“I understand,” said Severi, accepting the keys, but already he was quite curious.

Before long the old man set out on a journey that would take him far away and the instant Severi was alone, he began to explore.

Each door held a room of wonders, the next even better than the last: one seemed on fire, it dazzled with so much copper, while the next glittered with so much gold it hurt his eyes. Another was all ebony, another, blue sapphire, yet with each door he grew sadder and sadder until he stopped in the middle of the twenty-third room, too sad, even, to touch anything.

“Now I have seen it all. My adventures are over and done. I might as well just go back to my tupa.” He sighed, lay down right where he was, and fell asleep.


When he awoke he found the key to the twenty-fourth door clasped in his hand.

“The old man said I could enter at my own risk, “ he thought, turning it over curiously. “I will open it and find out what happens,” and he bravely turned the key in the twenty-fourth lock, then pushed open the heavy door.

Inside, sitting on a very high throne, was the loveliest girl in all the world.
“Who are you?” asked Severi.
“My name is Vappu,” said the girl. “I’ve been waiting for you a very long time.” Severi held out his hand and she put hers in his then climbed down to him.

The golden days that followed were like a dream as the two lived together in the copper castle. For a whole month, they sat by the silver stream and feasted on golden fruit with not a care in the world. One day Vappu led Severi into a deep orchard. Cool winds caressed the trees and their faces and at the center blossomed the Tree of Life. They sat beneath it, ate its fruit and drank from the sparkling brook nearby. Completely content, Severi fell into a deep sleep under the Tree. When he awoke, Vappu was gone.

“Vappu!” he called. “Vappu! Vappu!” and his calling turned to cries and his cries turned to tears, for she was nowhere within and nowhere without.

When the old man returned home he found Severi in deep misery.
“Please help me find her”, Severi begged. “I cannot live without her.”

The old man chuckled. “That’s the way it always happens when you do what you should have left undone. I warned you about that twenty-fourth door,” he said.

“I am a grown man,” Severi replied. “I make my own choices. And you did not tell me I must not enter, only that to do so, would be my own risk. ”

“That is fair,” the old man said, gently. “But have your choices made you wiser?”

“My sorrow has made me older – but yes, wiser too. Please help me find my Vappu - that is all I ask.”

The old man muttered some words of magic and there stood Vappu, radiant as a sunbeam.

“Did you miss me Severi?” she asked.

“All my happiness disappeared with you!” Severi said to her. “Please, never leave me again.”

“I will promise,” said Vapu, “But on one condition: you must hide from me where I cannot find you. Then, and then only, will I always be with you. You have three chances.”

Severi did not understand what she meant, but the old man whispered a magic charm in his ear and promised he would help.

Severi did not want to hide but knew he must try if he wanted to win her, so the first day he snuck away over the hills and whispered his charm to a rabbit running by. It stopped, let him hide inside its thumping heart then ran on, even faster than before. But Vappu quickly tracked him down.
“You are not very good at hide-and-seek Severi,” she said. “Try again.”

The next day Severi stole away into the dark heart of the forest and whispered his charm to a bear ferociously guarding its den. It stopped, let him hide inside its warm heart then growled, more ferociously than ever before. But Vappu still, somehow, tracked him down.
“I have found you Severi! You cannot hide from me. You have one last try.”

Sadly, Severi walked back to the castle. He could not think how to hide from clever Vappu.

The next day, at a hint and a wink from the old man, Severi finally decided to hide in Vappu’s own heart. He drew close to her and softly whispered his charm:

“Three times I knock at your door, dear heart, 
Let me in, heart’s jewel, let me in!”
And he vanished right before Vappu’s eyes.

Try as she might, Vappu could not find him anywhere. 

When she had looked and looked and looked some more, Severi called to her:
“Can you not find me, Golden One?”
“I cannot - where are you?” asked Vappu.
“Here in your heart,” answered Severi.
“Who led you here?”

“You, Vappu. You led me here.”
“Then my heart is yours,” said Vappu.


Severi came out of his hiding place and she held him as close as he held her.
“And now,” said Severi, “I’ve found you.”
And they lived in peace, ever after, in their copper castle, beside the silver stream, beneath the golden trees.

…………………«§ The End §»…………………


Did you find the hidden treasure in the tale? 
If you like spelunking for information and digging for gems of knowledge, then you will like this: there's a hidden page I've linked to in which I have put 
an annotated version
(And if you looked but didn't find it yet - go back and check the text carefully. It's a teeny tiny link, hidden within the text of the tale - and yes - I checked - it's there and it's working.)
When I wasn't able to find an e-text of the original for you to read, and I wasn't able to reprint the original on the blog due to copyright reasons, (I have contacted the publishers - plural - to ask for special permission but these things take time to sort out. I am still pursuing permissions as of this posting, so no e-text yet), I decided to use the opportunity to give you more information about the tale than I should sensibly put in a blog post, and send you on a treasure hunt instead. Turns out, these things take a good amount of work to put together, (!) hence the place swap. (Thanks for being understanding Adam!)
In the annotated version, you can find out more about the original form of the story, learn more Finnish words, the original wording of key phrases, tidbits on Finnish culture and mythology, and uncover links between motifs to other fairy tales around the world - some of which you know very well! 

Happy hunting!

And next up in the Fairy Tale Hidden Treasures Blog Hop is: Megan Hicks at Life, the Universe and Everything! (Hey Megan: TAG - you're it!)

Credits for images within the tale: 
1. Secret Door by Georgina Gibson
2. Fantasy Castle Wallpaper - artist unknown
3. Antique keys - photographer unknown
4. Antique door knob - photographer unknown
5. The Golden Apple Tree and Nine Peahens by Arthur Rackham
6.  From "The Princess in the Underground Kingdom" by Pavel Tatarnikov
7. A Golden Dream by Thomas Cooper Gotch
8.  Searching by Amanda Clark
9.  Bearskin Falling by Ellen Li
10. The Lover's World by Eleanor Fortescue-Brickdale 
11. Detail of Brunnhilde and Siegfried...from Rhinegold and Valkyries series by Arthur Rackham from an opera Siegfried by Richard Wagner

Monday, March 23, 2015

Let's Talk About... Maleficent-the-Movie (a very delayed conversation with Christie of "Spinning Straw Into Gold")

I have invited Christie of Spinning Straw Into Gold over to our corner of the web to talk Maleficent. That is, Maleficent-the-movie, not Maleficent-the-classic-Disney-character, and not which is actually a whole other conversation...

Gypsy: What I'm missing most about seeing the film is NOT having a conversation live with fairy tale people! I don't care if we all agree or disagree - I'd just love to have a conversation and hear everyone's thoughts. You up for digital scones and coffee? ;)

She replied:

Christie: Digital coffee--all the time, all the places! Thanks for the invite. I'm excited to talk about it with other fairy tale-ers, and maybe you'll change my mind!

While I never got around to posting a proper Part B "spoilery" review before I had to disappear for a while last year, you will get a good sense of a few of my thoughts as I "chat" with Christie (finally!).

Her review was titled "Bored to Death" so, from my notes, here's my part of the conversation, though you may want to read her post first, so you can see her POV and know what I'm referencing.

Just imagine Christie, holding her newest sleeping Prince-ling, kindly indulging me, munching on digital scones and sipping cyber coffee as I talk...


Also, you should be aware: HERE BE SPOILERS!

Thanks for the review! I'm curious what other fairy tale people think too and so here is my response (and please imagine we are sitting at a table having coffee & scones, discussing it all - my response is intended to be conversation rather than rebuttal because,really, I'm just glad we can talk fairy tales!). 

Anyway, I will - weirdly - say that while I understand exactly where you're coming from and that I think many of your criticisms are valid, I don't really agree overall. As my seven year old said to me today "..it's not the REAL Sleeping Beauty story, just one idea about it.." While I too was very disappointed Maleficent didn't turn into a dragon herself (I immediately wrote out three different and valid ways that could still have happened within that premise and context), if you didn't know she was "supposed" to turn into a dragon it wouldn't have been as irksome. In fact, it may have made perfect sense that it happened the way it did.

That said - I totally get where you're coming from with the boredom. It didn't help that it started with a completely unnecessary Narrator, as well as far too early in the actual story. (I've learned to give Hollywood movies about 20 minutes of unnecessary prologue/filler before they get to the real thing - ridiculous, but there you go.) Disney (these days) tends to not trust it's audiences so over explains or over simplifies and leaves out a lot of subtlety as a result. That said, in this case, seeing many of the critic reviews, I have to wonder if that isn't justified. The movie - by itself and separate from Sleeping Beauty (of Disney or fairy tale) generally succeeds. Considering, too, it was a first time Director I would have to say, if it had been my film, I would have been happier than not. However I do get the serious sense that scenes were cut *much* shorter than they should have been, and that too much time was given to the wrong things like flying scenes (nice, but we got it, thanks) as well as unnecessary prologues. 
                     
I'm still a little astonished at the lack of understanding that critics in general have shown about the old world and belief of faerie, which was a very large part of the "world building" and premise. (Much of the 'lore' of the movie premise was based off 'olde worlde' views of Faerie and specifically Spenser's The Faerie Queene). Perhaps my Australian & UK leanings skewed me toward having this as a normal part of my fairy tales and stories but Faerie was a formidable unknown world/dimension that scared many common people, or at least, they had a very healthy respect for it. While I think stating that it was set in Scotland was unnecessary, (too specific!) it did also make it clear (to my viewing group anyway) that this was a peoples that lived uneasily alongside the border of fairy, whose lives contained many little rituals and offerings/petitions to (rarely seen) faeries, so that their human lives wouldn't be beset with additional bad luck from the Fae. Perhaps this is one of the big mistakes made: that it was assumed people would automatically know this - but it turns out they don't. 
                     
I discovered, interestingly, and after the fact of seeing the movie, that one of the two novel retellings, includes an additional (!) prologue scene that is all about a shepherd and his son leaving a fairy offering from their lunch to keep the wee folk happy. The set up in the book is clear and sets the stage for conflict, uneasiness, wariness and mistrust on both sides, as well as extreme measures by faeries who don't tend to temper their responses but are either for or against you.* 
Another interesting thing that I sort of got a sense about in the movie but not very clearly, is that in both novels, the 3 faeries ask for asylum from Faerie (essentially they betray and abandon their home and fellow folk) for the comforts and seeming growing power of the human king. In the movie I really believe they are *intended* to be shown as caricatures as BOTH what people think fairies are (small, pixie-dust laden, 'helpful' etc) AND also what we really don't want them to be (selfish, capricious, lacking a soul and unreliable). Everything from the way they were designed, to their dialogue to their motivations and focus during the movie suggested these are the sorts of fairies you DON'T want to be allied with. This, however, seems completely lost on most folk, which would say the Director did a bad job of communicating the most basic thing about them. The whole point was that, thank goodness! Aurora's godmother/s were NOT these awful fairies at all.
I have to say I liked the thorns around Faerie. It was for protection rather than to be used as a weapon - which again works better with what earlier versions of Sleeping Beauty had. What, again, could have been clearer is that King Stefan also surrounded his castle with iron thorns (missing a clear visual for that Mr. Director!) and plated it in iron so it was toxic to the fae (yes - giant plot hole for the good fairies getting in at the end but anyway...). There were parallel set ups all through the movie but some just weren't very clear. The wings, too, were bound in iron and glass, and they only moved when Aurora reached out to them (which is supposed to be a huge metaphor and it's an excellent one. They also end up saving each other which is great from the usually-passive Sleeping Beauty criticism as well).




Diaval said a lot without using actual words, which I think was also the point. Though he started as a willing slave for Maleficent there's no way, especially in that era & setting, that a master would let their slave talk and behave toward them that way if they didn't have some sort of friendship and respect for them. When the final facing of Stefan arrived and she told him it wasn't his fight, basically freeing him of his slave status (another shift toward good for her) he essentially said: "You idiot -  don't you know by now that you're not alone any more?" It was subtle but it humanized her a lot and gave us a male/female relationship that developed without any sexual tension (the scene with them flying together - both free - at the end was great, and perhaps should have been the final one, but I digress..)

Your concern that this movie missed the point of "there is evil and ugliness in the world, just as there is hope and unspeakable beauty" - was actually what the whole movie was about as well. They even said it out loud. It's just that instead of the evil being Maleficent, it was King Stefan who not only made poor choices (like Maleficent also did) but refused to turn away from them and look for another path (which is the big turn for M). Your last paragraph before the poem was beautiful and the perfect argument for the movie - even with it's two-dimensional villain faults. But then it can only be considered that way if you let the movie be it's own entity apart from the fairy tale and Disney's own animated movie as well. (Note: in the script Stefan originally killed the king by smothering him with a pillow when he laughed at Stefan's offering of the wings, assuming he would then succeed to the throne - that's also in the books). 
The one ridiculous thing that I agree on with everyone was just wrong, is that Maleficent's "real" name was still Maleficent. That made NO sense at all (I cannot find any way the name "Maleficent" can be seen as 'good'), and seems to be this giant oversight. She didn't even need a proper name at the start (you know how sketchy giving your real name can be anyway - people in fairy tales often let themselves be labeled by others, rather than reveal their true name - it would have worked if she hadn't said her real one) and yet she has to be introduced with that name. #justno
My other big negative note would be that THE major marketing point was just outright wrong, therefore misleading and ultimately when people are processing it, confusing: Maleficent was not "evil"  or "wicked" and never became the true definition of such. She did some terrible things, yes, but it was clear she was making poor choices from a place a serious pain. The entire point of the movie was that she didn't let herself become exactly that (while Stefan, in contrast, did.). I think this marketing ploy alone, while "delicious" and tapping into what a lot of people DID want to see, just wasn't true. (And now people are both angry about that or confused.) Again, a major point people just didn't get is that it was intended to be a family movie - for all ages - (heck, it didn't dawn on me that's what they were trying to do until Angelina Jolie said she was looking forward to being in a movie that her whole family could see - even the little ones!) and while older people and teens might LOVE a movie about someone truly wicked and permanently twisted in some way (eg Batman Origins) even to the point of seeing her get her comeuppance, to focus on that story for a family movie (especially with that person as the main character) just isn't appropriate. So they didn't. But that's not what they said they were doing either. 

So, ironically, many people were set up for disappointment.
Overall the movie had most of what it should have had, but not enough. But it also shouldn't need supplemental notes from novels in order to make it's point either. It just didn't have it in the right proportions and at times both underestimated the audience and then overestimated them. The film took risks with content and themes that even Walt himself would have been concerned about doing but as a result it resulted in being "a better film than it should have been". As we all know, children's books are harder to write than adult ones and the same goes for film, especially if you're trying to make something more than throwaway entertainment. I think the film succeeded as much as it did because of Angelina Jolie's involvement and attention to detail, as well as her phenomenal acting of the part, but with a more seasoned director I think it would have done better still.
Time will tell how this really pans out. As it stands audiences are generally in the thumbs up category while 1st critic rounds are not. 2nd critic rounds, however, are not as quick to dismiss it though. While they're not saying it's "good" in general, more and more are agreeing that for all it's (MANY!) faults, that we need more films like Maleficent, with that heart, message and progressive thinking - just done better.

Now, the important thing: "Would you like an extra scone?" ;)

Thanks for the opportunity to discuss with a fairy tale friend!

* There are whole fairy tales about fairies who were invited to a banquet but were a) given the wrong plate instead of the one they wanted of so had a tantrum and held a grudge for generations or, b) were left standing at the gate too long to be welcomed personally by the King, so got upset. [In the tale I'm thinking of specifically, this is ironic because the King has gone to great lengths to make sure ALL the faeries are invited so not a single one would get upset, but the list is so long that he hasn't even finished reading off the invites to go out before the first ones start arriving.. and causing trouble!]

Monday, February 2, 2015

And the Very Inspiring (Fairy Tale) Blogger Awards Go To...*drumroll*

Six Swans Triptych by Rovina Cai
It's awards season, and Once Upon A Blog just got handed a lovely Very Inspiring Blogger Award by lovely fantasy author, Katherine Harbour. Thank you Katherine!

Katherine Harbour is the author of the spellbinding novel Thorn Jack (a Tam Lin inspired tale) and, as a special bonus for OUABlog, has agreed to treating us to a guest chat in the near future, as we look forward to the paperback release of Thorn Jack and the upcoming sequel Briar Queen, (stay tuned!).

Today's award, however, is a way to spread love and appreciation for bloggers we are inspired by, as well as to give you a sneak peek behind the scenes of the people who write to make the blogosphere a good place to roam. To do this I get to share seven impossible things before breakfast.. wait, no seven things about me that maybe most of you don't know. Then I get to nominate up to fifteen bloggers to send you all to appreciate, who are then invited to do the same - pay it forward, pass the appreciation, and spread the awesome!

By the way, Katherine Harbour's intriguing list is HERE. (I am especially looking forward to our chat after reading it!)

So, seven things about me you might not know:

1) I love many, many of the aspects of the Alice In Wonderland and Through the Looking Glass stories and I love the merchandising (from Disney through to indie products), but the original books disturb me
2) Despite a bunch of good reasons to feel otherwise, I still love Disneyland
3) I wish I could read German fluently so I could read the original-text German editions of Household Tales, written by The Brothers Grimm
4) I rewrote The Six Swans for animated film, including storyboarding two sequences of it, long before I ever worked in animation (no has ever seen them, nor ever will!)
5) I was an actor and writer for a Children's Theater Company for about a year, touring schools and libraries
6) I love the rain and am creatively energized by thunderstorms
7) My dearest wish since I was small was to talk to animals (completely influenced by fairy tales). This eventually led me to getting an Advanced Certificate (2 yrs pre-veterinary) in Animal Care with an emphasis on Marsupials!



Inspiring Bloggers on my personal MUST-READ list for Fairy Tale News & Thoughtful FT Discussions:
  • Kristin of Tales of Faerie (amazing armchair fairy tale scholar with awesome research skills who writes very readable informative posts, that are also very inspiring)
  • Heidi Anne Heiner of SurLaLune site and blog (fairy tale study today wouldn't be the same without her and she remains as relevant and insightful as ever)
  • Tahlia Merrill Kirk of Diamonds & Toads & editor of Timeless Tales Magazine (& OUABLog's new partner-to-be! Perhaps obviously, we think she's awesome.)
  • Adam Hoffman of Fairy Tale Fandom (a very welcome male voice in the fairy tale blogosphere - regular news and wonderful articles)
  • AFTS (Australian Fairy Tale Society) with Reilly McCarron currently leading the charge (very regular fairy tale news with an emphasis on activity in Australia)
  • Megan Reichelt of The Dark Forest (she doesn't get to blog much these days  - she's busy performing stories! - but there are many wonderful past posts to delve into, if there isn't anything new. I love her witty writing style!)


Other Inspiring Bloggers I love to visit (in alpha order):
If you have been awarded and wish to continue passing on the inspiration (there is no obligation to do this), here's what you need to do: 
- Link to the person who awarded you (me!) 
- List seven things about yourself your bloggers may not know (yet) 
- Grab the award pic and post it on your blog post for all to see 
- List - and link to - up to fifteen bloggers who inspire you and award them! (And let them know so they can get involved if they want to.)

Sunday, June 15, 2014

Article: "Fairy Tale Fathers" by Kristina Wojtaszek

Fairy tale fathers: they tend to be absent, passive, possessive, abusive, foolish or "shadows" (weak). 

But there are a few who are, perhaps, underrated with the circumstances they have to deal with and who do, ultimately, seem to care about their children (Note: the further across the globe you range, the easier it is to find decent father figures in fairy tales but the better known European fairy tales in particular, prove a tough bunch when attempting to find a decent guy!)

Author and blogger, Kristina Wojtaszek of Twice Upon A Time, posted a wonderful tribute to fathers of all kinds everywhere in her blog last year and, being Father's Day today I wanted to point you back to it. She begins:
If you want to really appreciate the father figures in your life, try reading a few fairy tales.  Fairy tales bring out the best, and worst, in every character, but the dads in fairy tales are often excessively dull, single minded, and even downright negligent.  Who can blame the stepmother for donning the pointed hat and hopping on her ill-used broom?  After all, somebody’s got to bring the plot home! 
But there are exceptions.  There are fathers who are worse than evil, like the ones who try to replace their lost wives with their own daughters (who ought to be reigning from asylums, rather than castles) or those daddy Darwin’s who cunningly pit their sons against each other in cruel, and often deadly, competitions for the throne.  But there are fairy tale fathers who’ve risen from the mire and even earned bit of our respect.  Here are three such prime padres:
Go HERE to find out whom Kristina is giving kudos to and why. 

It's lovely and heartfelt and makes you think a little harder about those fathers in fairy tales who had a lot more on their plate than average and yet still did their best to look after their families.
(from) The Frog King by Walter Crane
I would add one note: the tale of The Frog King or Iron Henry (ie The Frog Prince). This is the father of a teenager (most likely), sitting with his daughter at the dinner table and having a conversation and, with no mother in sight, there's a good chance he's a single dad too. Commendably, he insists she be careful of her word and keep her promises, even to a lowly frog (it is assumed, he has NO idea that chances of a naked prince appearing in her bedroom, were on the high side). Although I don't like how spoiled this princess appears to be in this story to start with*, I'm always on the side of this particular King who is trying to get his daughter to behave as a princess should. Plus, how can you not like a King who insists a frog be given a decent meal and cared for as promised?

If you have any to add to the list, feel free to share in the comments. 

And Happy Father's Day to all the father figures of all kinds who, in the words of Ms. Wojtaszek:
"... (have) contributed to the well being of children everywhere; children who would surely have floundered without a father’s care to light the dark and winding forests of their futures."
What she said. (Thank you Kristina!)

Friday, June 6, 2014

"Maleficent" - Article Round-Up Time! (mainly NOT reviews- list & summary)

I haven't had time to finish editing the plot point-and-spoiler discussion part of my Maleficent review, but along the way I've kept all these links to articles that may be of interest to people in the meantime. For the most part they're not reviews but concentrate on: 
  1.  the making of the movie (research and tech) and
  2. explore the origins of the Sleeping Beauty fairy tale.
Enjoy! (And hopefully I'll have Part B up shortly as well.)

Links that may be of interest:





HIGHLY RECOMMENDED ARTICLE! If you'd
like a brief yet fairly thorough history of Sleeping Beauty summarized in the context of the revisionist story Maleficent, read this. It'll be great to pass on to someone as well.
Excerpt:
Had many people actually been aware of the true narrative of “La Belle au bois dormant,” they probably would have considered the story line too shocking for most adults.
Consider some of the plot devices found in the original story of “Sleeping Beauty” in the days of our distant past: adultery, bigamy, murder, ogress terror, the rape of a comatose woman and even human cannibalism.
And the high point of the story? An evil crone committing suicide by throwing herself into a cauldron of boiling water filled with toads, vipers, eels and snakes.
It doesn’t take much imagination to think how the Disney focus groups would have responded to the original story early in the script process.
So how did the tale go from one as horrifyingly frightening as anything George R.R. Martin could convey in a Red Wedding scene of “Game of Thrones” to something so beloved as an animated classic that it plays on a nonstop DVD loop in today’s day-care nurseries?
To understand how the story once was told and how it came to be universally understood by most of today’s audiences, it’s important to understand a distinctive set of creative figures who affected the work throughout history -- Giambattista Basile, Charles Perrault, the Brothers Grimm and, of course, Walt Disney.




Excerpt:
Although Aurora and Maleficent are spiritual opposites, Sheppard did link the two in terms of one costume piece. The first time teenage Aurora and Maleficent meet, Fanning’s character is wearing a hooded coat that is nearly a mirror image of the cape Maleficent wore the night she lost her wings and set forth on an evil, destructive path in life. When Maleficent first met Aurora, Sheppard wanted the villainess to briefly be reminded “of the younger, innocent fairy she once was”—not the mistress of all evil that she had become. “So its very similar coloring—of course, Angelina’s was more dramatic and bigger volume. But I wanted the hood because I think it also gives Aurora this little girl look.”



Filming in the ’Enchanted Forest’ at Ashridge
for Disney’s Maleficent
Excerpt: 
The Ashridge woodland with its otherworldly trees and abundance of wildlife provided the real location for the Enchanted Forest, where Maleficent, played by Angelina Jolie lives.
Inspired by the nature-loving faery folk from the Disney film, the Maleficent trail reveals more about the wildlife that calls Ashridge home, including rare butterflies and songbirds, as well as fungi and mini-beasts.




Don't go here unless you've seen the movie. There are before and after CG scenes on the page which may ruin some first impressions.
Excerpt:
At the start of the movie we meet the young Maleficent. She flies into MPC’s full CG Fairy World environment with colourful trees, lakes and waterfalls, interacting with MPC’s hero fairies as she travels. MPC’s environment team built a library of photographic elements taken from a second-unit shoot for their human and fairy environments. These included trees, rocks and bushes. This CG environment was built in Maya, using IDV Speedtree as a basis for tree geometry. The team created 15 different types of creatures, all with their own unique characteristics and features. These ranged from the larger, humanistic mushroom fairies and ‘Wallerbogs’, to the more animalistic ‘Cheeps’, smaller delicate dew fairies and water pixies.




(Although this is a little forced, it makes some nice points too and,
really, is just a very different and refreshing way to review a movie.)
Excerpt:
Shiny objects and good things appear to us all along our leadership journeys. There’s nothing inherently bad about moving to the next level of leadership or becoming a better man. However, if you take the wrong roads to get to these places, it’s not worth it. Don’t let the next big thing change you for the worse.



Excerpt:
What was Stefan's path when you were thinking about his development?Both he and Maleficent turn corners. She makes a right choice, and he makes a wrong choice. He becomes obsessive, and that obsession drives him a little crazy. Originally the other king wanted Maleficent's death, but Stefan couldn't kill her. There's a tiny part of him who is a decent human being, but he's so driven for power and riches.



On Perrault, the Brothers Grimm & Hans Christian
Andersen and how they shaped our perceptions of fairy tales.
Excerpt:
...long before they were material for children’s movies, fairy tales have been drawn into debates on the nature of literature, cultural evolution and national identity. They’ve been subjected to Freudian analysis, Jungian interpretations, feminist readings, postmodern readings, poststructuralist readings, Marxist readings… pretty much every –ism you can think of has laid a claim.
Writers from Aesop to Italo Calvino have been drawn to folk tales. And yet it’s surprisingly difficult even to pin down what we’re dealing with when talking about them. Where do we draw the line between a fairy tale and a fable, or a legend, or a myth? It doesn’t help that many stories we think of as old as the hills are actually recent creations, and others used to be told in so many wild variations that it hardly seems like there’s a single story there at all.
Three authors in particular have deeply informed our modern perception of fairy tales and folklore. Each, in their way, was tuned into the intellectual concerns of their time, as well as the concerns of kids clamoring for a story.




Excerpt:
Maleficent is a fairy, so the first challenge was that we had to give her wings. Because her character starts as a young girl, we also wanted to make sure these wings would work both proportionally with that young girl and with Angelina later on.
... Also, think about when you're simply talking, you're gesturing with your hands. We wanted those wings to have that type of quality and motion to them as well, just a natural extension of her gestures, so we knew we had to take a digital approach.
Once we came up with the design, we built a full-scale version of the wings. That served a couple of purposes. First and foremost, as a reference. As a digital artist, it's great to have something very realistic that you can model, and photograph, and really get the sense of what it will look like.
And then also for Angelina and for everyone on the set, we used them to show the mass of the wings. Fully extended, they span over 12 feet. Just having those here on set, we were able to show, "Here's what you're dealing with, and this is the kind of space that they occupy when they're fully extended."





Short but interesting article on motivations.
Excerpt:
...the original script was even darker.
"There was a version where he actually kills the King," Sharlto says. "He goes and takes Maleficent's wings and the King is like 'I meant one of my noblemen [should kill her], you're not going to be King!'"
"And then Stephan kills him, out of desperation, because he's betrayed the only person that he really loved -- and not being king is just not acceptable," says Copley.





Digital character effects explained with lots of
great videos
Excerpt:
“The character designs on this show were very fluid and required us to regularly rebuild the entire pixie articulated face on a new character design,” adds Port. “The transfer process proved so robust in the end that we could change the pixie face shape and rebuild the entire face complete with thousands of new face shapes conformed to the new bone and facial anatomy and have it seemly delivered into the animators without losing any work.” Character wardrobes were also introduced. The pixies wore complex multi-layered dynamic wardrobes made of flowers petals, hairy thistles, leaves, and twigs. These complex wardrobes required multiple dynamic free flowing cloth sims with special localised controls to look good though very dynamic actions such as flying and landing.




Although not the best title to describe the article
(because it sort of disproves it, apart from anything else) this article, rather than be a review, discusses how (recent) fairy tale films (not just Disney) have gone from being primarily child-fare to dark reduxes.
Excerpt:
The trailers teased glimpses of Sleeping Beauty's iconic villainess, accompanied by a gothic cover of "Once Upon a Dream." Gone were the 1959 animated film's Technicolor wonders, replaced with shades of blacks and blues, while Lana del Rey's vocals enveloped Mary Costa and Bill Shirley's airy duet with jazz-club smokiness. 
...This star vehicle for Angelina Jolie fits snuggly into a new ideal for fantasy films: Luring both older kids and their parents, studios raid the storybooks for classic once-upon-a-timers then singe the films' edges with PG spookiness.
And finally a (surprisingly short) list of fairy tale bloggers so far posting on Maleficent with their comments (this may be out of date by the time this posts, so please feel free to add any you know of in the comments and I will update the list & links!):


I haven't seen anyone write on Carabosse vs Maleficent from the ballet(s) - anyone want to tackle that? (Including the award winning one by New Directions, which has a whole other  - and very important take on the character.) That dark fairy (often played by a man because of the ballet tradition of character actors) has a lot of consideration by performers and directors for ballet (I was actually reminded of "her" henchmen when I saw the new raven men from the new Sleeping Beauty section of the Disney Land/World Fantasy parade that debuted this year - they looked like they were taken right out of a ballet!) and Tchaikovsky/Petipa's Sleeping Beauty has many of original notes available for good researchers to track down (I only have the Swan Lake notes, not the Sleeping Beauty ones - anyone have these?)

Part B of my Maleficent review is should appear tomorrow (or the next day as my Friday is looking a little crazy right now)...