Paul J. Smith Tribute

Today is the birthday of a Disney Legend. While not particularly well-known, he is one of the very few people who had big contributions to both animated and live-action Disney films. Paul J. Smith was born on October 30th, 1906, so I thought we should celebrate some of his accomplishments! 

Smith was born in Calumet, Michigan to Joseph J. And Anna M. Smith. The family relocated to Caldwell, Idaho where his dad worked as the Band Director of the College of Idaho. Joseph was talented enough to be nicknamed by Idaho’s then-governor, Robert Smylie as “The Father of Music,” in the Boise Valley because he taught every musical instrument. The father’s talents rubbed off on all four of his sons and each went on to have careers in the music industry, including Paul, the second oldest.

Paul Smith first studied music at the College of Idaho from 1923 to 1925, and was later accepted into the Bush Conservatory in Chicago, Illinois. It was after his time there he was hired by the Walt Disney Studios as a composer for short cartoons. Smith made his Disney debut composing the score for the Mickey Mouse cartoon Thru the Mirror (1936). He composed the score for the Donald Duck cartoon Don Donald (1937) the following year, which was the debut of Donald Duck’s girlfriend, Daisy Duck (though at the time she was called Donna Duck!).

When Walt Disney officially got Snow White and the Seven Dwarfs (1937) off the ground, he knew that music would be just as crucial to the storytelling as the animation. Given Smith’s performance to date, Disney naturally he hired Smith to compose the film’s score, along with Frank Churchill and Leigh Harline to write the film’s songs, and Edward H. Plumb to provide orchestrations. “Snow White” grossed $184.9 million and Smith, Churchill, and Harline received an Oscar nomination for Best Music, Score— the film’s only nomination. Though the trio lost the award to Charles Previn for One Hundred Men and a Girl (1937), Smith and Harline collaborated together with Ned Washington on the score for Pinocchio (1940) three years later and for that film, they won the Best Original Score Oscar, an award they shared with Ned Washington. (Harline and Washington also won the Best Original Song Oscar for “When You Wish Upon a Star.”)

Throughout the ‘40s, Smith continued composing scores for shorts and features from The Fire Chief (1940) and Pluto’s Playmate (1941) to Bambi (1942) and Saludos Amigos (1943). Smith even appeared in a cameo as the violinist in the orchestra in Fantasia (1940). 1950 was a very busy year for him. It was the year he composed the scores for the beloved classic Cinderella as well as Disney’s True-Live Adventure documentary Beaver Valley, which won the Oscar for Best Short Subject, Two-Reel. Outside Disney, Smith was also known for scoring the films Glamour Girl (1948), Pecos River (1951), About Face (1952) and he scored the background music for the 6th and final season of Leave It to Beaver (1957-1963). 

Smith continued to receive Oscar Nominations for the Scores he wrote for “Amigos,” The Three Caballeros (1944) and “Cinderella.” His last nomination was for the True-Life Adventure, Perri (1957), which is about an adventurous female squirrel named Perri and her life throughout the four seasons. The following year, Smith co-wrote the title song for Disney’s The Light in the Forrest (1958) with Hazel “Gil” George and Lawrence Edward Watkin. George was known as Smith’s main collaborator as well as the Disney Studio Nurse.

Whenever she wasn’t treating anyone in her nursing role, George was working on films, collaborating with the likes of Paul Smith, George Bruns and Jimmie Dodd. With Smith, she wrote song lyrics for 20,000 Leagues Under the Sea (1954), Westward Ho, the Wagons (1956) as well as The Shaggy Dog (1959), and Pollyanna (1960). Smith and George’s collaborations helped make “20,000 Leagues,” and “Pollyanna,” beloved classics as they both won Oscars: “20,000 Leagues” for Best Art Direction and Best Special Effects and “Pollyanna” for Best Juvenile by an Actor for Hayley Mills in the title role. (Mills was the last recipient of the award!) 

Paul J. Smith died due to Alzheimer’s Disease on January 25th, 1985, at the age of 78. Nine years after his death, in 1994, he was honored as a Disney Legend. It is unfortunate that Paul J. Smith didn’t quite get all the attention he deserved throughout his career, let alone all the awards he deserved. But looking back at his music contributions, one could easily say his career was remarkable and his work set the stage for future composers to win Oscars for scoring Disney movies, i.e.: Alan Menken (The Little Mermaid (1989), Beauty and the Beast (1991)), Hans Zimmer (The Lion King (1994)), Michael Giacchino (Up (2009)), and Jon Batiste (Soul (2020)).

Disney's 99th

October 16th is a very important date in the Walt Disney Company’s history. On that date, in 1923, the Disney Bros. Cartoon Studio was formed, which is what grew into the Walt Disney Company. That means today, October 16th, 2022, is the Disney Company’s 99th anniversary and their 100th anniversary will be next year. In the last century, since its founding, Disney has come a long way. Let’s explore how it grew from being called the Disney Bros. Cartoon Studio to the Walt Disney Company…

At 22 years of age, Walt Disney created Alice’s Wonderland, a short film featuring a live-action Alice (played by Virginia Davis) interacting with animated characters. He showed it to distributor Margaret Winkler, who began negotiating plans with Walt to distribute a series of “Alice Comedies.” When the deal was signed, Walt and Roy, along with a team of animators relocated to Los Angeles where they formed the Disney Bros. Cartoon Studio, set up in their uncle, Robert Disney’s garage.

The success of the “Alice Comedies” led the team to move to another location on Hyperion Avenue in the Silver Lake District of Los Angeles. It was there that Walt renamed the studio Walt Disney Studio and began work on cartoons featuring Oswald the Lucky Rabbit. When Disney lost Oswald to Universal Studios due to a contract infraction, he came up with the idea for Mickey Mouse and released Mickey’s first short, Plane Crazy in 1928. He also began work on his Silly Symphonies series in 1929 and that same year, he changed the studio’s name to Walt Disney Productions Ltd., and created subsidiaries Walt Disney Enterprising (for merchandising), Disney Film Recording Company Ltd. (for music) and Liled Realty and Investment Company (for real estate).

After the excruciating process of producing Snow White and the Seven Dwarfs (1937), each of those subsidiaries were combined to make Walt Disney Productions. The profits they received from “Snow White” ($184.9 million), provided the studio with enough money to build a new studio complex in Burbank, California, where it is located today. While at this location, they continued producing animated films: Fantasia (1940), Cinderella (1950), Peter Pan (1953), and began producing live-action films: Treasure Island (1950), 20,000 Leagues Under the Sea (1954). They also began constructing Disneyland, which opened on July 17th, 1955. The same year that they produced “Peter Pan,” they ended their distribution contract with RKO Radio Pictures, who had distributed all the animated films to that point, and formed their own distribution company, Buena Vista Film Distribution, which is now known as Walt Disney Studios Motion Pictures. 

When Walt Disney passed away on December 15th, 1966, Disney films (both animated and live-action) began losing their touch with audiences. Escape to Witch Mountain (1975) and Freaky Friday (1976) were box-office failures and though Robin Hood (1973) and The Rescuers (1977) were successful, they didn’t quite equal the success of the studio’s earlier animated hits. When Disney’s son-in-law Ron W. Miller took over as President and CEO of Walt Disney Productions, he was able to revive the studio, creating Touchstone Pictures, which gave the studio opportunities to produce more adult-oriented movies, beginning with Splash in 1984. Miller is also known for establishing the Disney Channel, as well financing the short films Vincent (1982) and Frankenweenie (1984), both of which were written and directed by Tim Burton and beginning early development on Who Framed Roger Rabbit (1988). Each of the three aforementioned films were the studio’s first uses of computer and stop-motion animation. (Fun Fact: Miller also funded Disney’s very first Broadway show, Total Abandon, which starred Richard Dreyfuss.)

On February 6th, 1986, when Frank Wells became President, the studio was split into the Walt Disney Company and Walt Disney Feature Animation. The latter oversees production on animated films, and was later renamed Walt Disney Animation Studios (when Pixar was acquired in 2006), while the former oversees production on everything else (Disney Parks, Disney Television, Disney Cruise Line, etc.)

All in all, the Disney companies have a fascinating history. The many iterations, names, combinations and re-combinations are confusing. Walt Disney always said “It was all started by a mouse,” but the literal truth is that it started before then, and was all started by a missionary men. It’s been a remarkable ride, with many achievements along the ways. And it makes sense to start celebrating that century of accomplishments now. 

     

Review: "Amsterdam"

David O. Russell is a fan favorite. From writing and directing his first feature film (Spanking the Monkey (1994) and receiving the Sundance Film Festival Audience Award) to his later films, fans love his work. He received Best Directing Oscar Nominations for The Fighter (2010), Silver Linings Playbook (2012), American Hustle (2013), as well as Screenplay Nominations for “Playbook,” and “Hustle.” It was also thanks to Russell’s guidance that Christian Bale, Melissa Leo, and Jennifer Lawrence all won Oscars (Bale and Leo won Best Supporting Actor and Actress in “Fighter,” and Lawrence won Best Actress in “Playbook.”) Russell’s highly anticipated return to movies, Amsterdam was released to theaters on October 7th, 2022. “Amsterdam,” is Russell’s first full-length movie since Joy (2015). Here’s my review:

In 1930s New York, two former war veterans, Dr. Burt Berendsen (Christian Bale) and Lawyer Harold Woodsman (John David Washington) are framed for murdering the daughter of a United States Senator. Becoming fugitives, they reunite with their female nurse friend Valerie Voze (Margot Robbie), whom they befriended while serving together in World War 1. Although the three maintain a friendship throughout the movie, it’s also clear that both men possess romantic feelings toward Valerie, though she only reciprocates feelings for Harold. As both men work at proving their innocence and uncovering the mystery behind the senator’s daughter’s murder, the mystery becomes more complicated than they ever could have imagined.

This movie is a brilliantly written murder-mystery and though it is a period piece, it acknowledges issues that are still prominent in today’s society, i.e. interracial romances and fascist-minded dictators. In a sense “Amsterdam” essentially pokes fun of people who are power-hungry or close-minded about race, showing how many of our modern difficulties are not unique or different than those from nearly 100 years ago. 

Although the film is slow-paced, 134 minutes to be specific, I sincerely enjoyed its fun wit. Despite some rather gory scenes, the plot was interesting and at times, rollicking. The trio of principal actors all shared great chemistry, and I especially liked John David Washington and Margot Robbie as a couple. Christian Bale almost certainly gives an Oscar-worthy performance. A lifelong fan of Robert De Niro, I was disappointed to not see him until a little more than halfway into the movie instead of from beginning to end. But as always, he delivers on his role. 

This movie was co-produced by Russell, Bale, Tracey Landon, and Matthew Budman. In addition to Bale, Washington, and Robbie, the film supporting cast includes Chris Rock, Zoe Saldana, Mike Meyers, Michael Shannon, Taylor Swift, and Robert De Niro (who received a Best Supporting Actor Oscar Nod for “Silver Linings Playbook”). The film was edited by Jay Cassidy who received Editing Oscar Nods for “Playbook,” and “American Hustle,” and its Production Design was designed by Judy Becker who also did the Production Designing for “Hustle.” Its Cinematography was done by Emmanuel Lubezki who won three Oscars for doing the Cinematography on Gravity (2013), Birdman (or The Unexpected Virtue of Ignorance) (2014), and The Revenant (2015). 

Overall, “Amsterdam,” is an exceptional movie. Compared to the other murder mysteries released earlier this year: Death on the Nile (2022) and See How They Run (2022), “Amsterdam,” is the best and that’s primarily due to David O. Russell’s skills as a writer/director. Though let’s not forget that when Russell makes a movie, he always assembles a multi-talented cast as well.    

Review: "Hocus Pocus 2"

1993 was the year that Disney produced two beloved Halloween-themed movies. The first was Tim Burton’s The Nightmare Before Christmas—a hit and the second was Hocus Pocus—a box-office disaster! Receiving mixed-to-negative reviews and barely making money (only $8.1 million to be specific), the film was one of the Disney’s biggest catastrophes. Despite all that, the film gained cult status when released on VHS in 1994 and DVD in 2002. Blu-Ray in 2018, and Disney+ in 2019 have continued the trend. Its continuing popularity motivated Disney to create a sequel, Hocus Pocus 2, which premiered on Disney+ on September 30th, 2022. Here are my thoughts: 

The movie brings back the Sanderson sisters, explains their backstory and how it led them to be evil witches. In the process, this “second story” gives them a way to perhaps overcome the scars of living in an oppressive male-dominated society centuries before, while simultaneously passing the torch to a new generation.

This movie does a great job of showing how teenage girls can resist any paths chosen for them and to feel they have the power and self-esteem to make their own choices (spoiler alert: especially when it comes to marriage a la Winifred Sanderson). As the chorus from the Aretha Franklin/Eurythmics song says “Sisters Are Doin’ It for Themselves” they should always value their own standards and never loose track of the bond they share with their sisters and/or best friends. Hocus Pocus also introduces us to a potential new generation.

“Hocus Pocus 2,” reunites original cast members Bette Midler, Sarah Jessica Parker, Kathy Najimy, and Doug Jones; then pairs them with Emmy Winners Tony Hale (“Veep”) and Hannah Waddingham (“Ted Lasso”). The film also stars Whitney Peak, Belissa Escobedo and Lila Buckingham as the new generation of Salem teenagers. This new crew of actors is well-intentioned, but perhaps didn’t have quite the crowd-pleasing draw of the originals-maybe it will grow over time like the original.

The movie was directed by Anne Fletcher (dir. of 27 Dresses (2008) and The Proposal (2009)) and was co-written by Jen D’Angelo and original “Hocus Pocus” writer David Kirschner. The film was also executive produced by Adam Shankman who directed Hairspray (2007) of which Fletcher was associate choreographer. (Shankman is currently directing Disney’s sequel to Enchanted (2007), Disenchanted (2022) which will be released on Disney+ on November 24th).

Overall, “Hocus Pocus 2,” is an entertaining movie, though it might not necessarily be quite as good as the original. Personally, I’ve always found the first film to be entertaining but creepy, as the Sanderson sisters like to steal children’s souls and Mary Sanderson (Kathy Najimy) is known for saying the iconic line “I smell children,” but the sequel can be distinguished in the sense it makes each of the Sanderson Sisters seem more human. It acknowledges The Sandersons’ evil streak, but lets us feel compassion for them as well. They are more heroic than they are villain.