Friday, 3 June 2011

Snow White Mosaic Part 4





Snow White has gone far off into the woods, and she already expressed her fears through the scary eyes and trees in the forest, but somehow a group of eyes turn out to be lovely, harmless forest animals who befriends Snow White.

It appears to be that Disney and his Story crew wanted a sequence from the previous where there was a dark setting with Snow White in the forest and how scary it was, and this time they wanted a rather more light-hearted sequence. The audience will recognize some animals in there, and they'll go "Aww" and admiring how "cute" the animals would be. 

Snow White immediately breaks down into tears after all the horror she is going through. The dark atmosphere of the forest fades away and there come a group of eyes through the darkness of the forest. The eyes appear much closer and we reveal forest animals and they are appalled, "What is this creature doing in the forest?" They approach much closer while Snow White is continuously bursting with tears. Snow White accidentally scares all the animals away as she reacts to the rabbit sniffing her. She has already been through some tough experience like the most recent one through the spooky forest, and the cold Queen stopping at nothing but to kill Snow White. She hopes that she doesn't go through any worse, but get some help from the animals and a sing-song will lighten her up.

As a result, the atmosphere lightened and the animals are very happy for her, and determined to help her find where she will stay as long as the Queen doesn't find her. This is a good sequence in which the emotions change well. Of course, there are methods and theories that singing makes people feel better, and it shows here with Snow White, as she was "white" with fear, and after breaking down from sobbing.

I have to admit that some of Snow White's dialogue written in the film just don't feel as if it matches what she is saying. It feels that every verse she writes ends up as a rhyme, for example "It's all because I was afraid, I'm so ashamed of the fuss I've made." or "What do you do when things go wrong? Oh you sing a song!" The best dialogue and the best poems don't rhyme. I know that, but I suppose Disney wanted it that way. Of course, it doesn't appear very much in the film, but suppose that this was probably one of the earliest sequences with story work finished.

Some nice animation from all the animators. This is another sequence in which Jack Campbell animates a lot of the animation. Ham Luske animates the earlier scenes of Snow White apologizing to the animals for scaring them and explaining about the depression she would be going through. While Snow White, starts singing to the little bluebird, Jack Campbell (and his assistant) Tony Rivera immediately take over the animation. I just wonder what Tony Rivera is doing, credited for a lot of Campbell scenes - could Campbell he supervising the animation and Tony "filling in the blanks", it certainly shows that Tony was Jack Campbell's key assistant on that film. In between Campbell's animation - Grim Natwick animates one scene of Snow White, and it's a pretty vital scene.

Campbell's animation of Snow White show some sophistication here, and he seemed very capable of animating the character. He certainly animates the character much more maturely and human-like than Ham Luske, some of Luske's scenes were pretty good - but not as grown up as Campbell was. It goes to show that mystery animators like Jack were very capable of animating. Funny enough, with Jack Campbell being a mystery, there is another "Jack" that is indeed a mystery - but an illustrious mystery, it's "Jack the Ripper".

The animal animators on this sequence are Eric Larson, James Algar, Milt Kahl and Bernard Garbutt. Each of those animators appear to be typecast here: Eric Larson animates mostly birds around here, and Bernard Garbutt animating a lot of deers and even the group of animators leading Snow White to a location where she could stay; Milt Kahl animating bunny rabbits or chipmunks, and Jim Algar animating chipmunks and even the turtle. Notice how every shot featuring the turtle appears to be animated by James Algar. We might see if there's other animators doing the turtle. You even notice that Ham Luske does some scenes of the animals here - Hollywood Cartoons says that Ham Luske supervised the animal animation as well as Snow White.

Eric Larson and James Algar appear to be the main animators on this sequence doing chunks of animation, with Milt Kahl and Bernard Garbutt supporting the scenes. Eric Larson handles a lot of birds and does some great animation of the little bird singing to Snow White - I wonder if this is the same bird from the previous sequence. Shot 15BBBB does excellent exaggeration of the pigeons reacting to the baby pigeon going out of tune. Besides, notice how the draft writes the scene numbers strangely starting from 15B to 15BBBBB? Is it really that normal?

Is that Max Gray animating on Shot 6, if so then I'm going to say that he did Snow White - since he worked with Ham Luske on the Huntsman. We are seeing quite a bit of uncredited folks on Snow White already - we might come across some more later.

Is it just me or is it the way that Adrianna Caselotti sings the song With a Smile and a Song that it sounds like Betty Boop a bit, or will it be me imagining things? There is an interesting part with Adrianna singing that song in Brian Sibley's interview with Adrianna in Walt's People - Volume 7. There's also an interesting video I saw on The Illusion of Life documentary (not the book) where Adrianna remembers the lines off by heart.

Scenes 1 and 3 are both done by the Multiplane camera as the draft completely labels "MULTIPLANE" on the Background data on those scenes in the draft. I can see that shot 1 was definitely used by the multiplane camera. I feel that shot 29 was also done by the multiplane camera as well.

6 comments:

Anonymous said...

really interesting. I love the depth of the analysis you go into.

Eric Noble said...

Very good. Both Ham Luske and Jack Campbell do fine animation, although Campbell and Natwick do draw Snow White to look a little older, like late teens instead of early to mid-teens. Anyway, as for the rhyming couplets, I find it kind of a nice way to lead into songs. It's a natural progression.

John V. said...

I made a post about this sequence on my blog as well. :) You can find it here: http://darmokthegreen.blogspot.com/2009/10/closer-look-at-scene-3b.html

John V. said...

Oh, and as for the rhyming couplets: this is probably a holdover from the Silly Symphony style of storytelling - remember that they used to call this "the feature symphony" at the studio while they were making it.

Steven Hartley said...

Eric - I agree with you with that Campbell and Natwick draw Snow White more older like. It's better suited. As for the "rhyming couplets", John V. makes a good point that they were used for Silly Symphonies, and that Snow White was made during that era.

A Snow White Sanctum said...

Steven-- Very nice break down and analysis of the scene and its animators. Well done!