#1973 scarlet
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Ca. 1973 - Robert Plant and Jimmy Page, with his daughter Scarlet, at Toronto Airport.
#robert plant#jimmy page#led zeppelin#scarlet page#1973#1970s#1973 scarlet#1970s scarlet#photographer
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HELPDKDKWMFIWJFIWJJDJS
#THIS SENT ME SO BAD HELP😭😭😭😭😭😭 i legit thought it was a made up name..#miss scarlet and the duke#msatd#goncharov#goncharov 1973
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Propaganda
Merle Oberon (Wuthering Heights, The Scarlet Pimpernel)—She was mixed race (born in India and her mother was Sri Lankan) and still managed to make it in the British and American film industries (by passing) despite a rough start in life and industry racism. She was the first Asian person to be nominated for any Academy Award (best actress in 1935)! She also survived a car accident in 1937 and kept on acting until 1973, despite potentially career-ending facial scars. Also, she met her third husband while they were filming a movie together in 1973 (her last movie and she still looks great!). They fell in love and got married in 1975 when she was 62 and he was 36. She died 4 years later in 1979. Iconic.
Jean Seberg (Breathless, Saint Joan)— Some of us watched À bout de souffle as a lil French undergrad and had the trajectory of our lives changed by Jean Seberg. She IS French new wave!! She is the moment!! She sadly had to work with a lot of shitty directors in her career but even so, she has this magnetic energy whenever she’s on screen. In her personal life, she was also very supportive of civil rights causes, and was even targeted/harassed by the FBI for financially supporting the Black Panther Party.
This is round 3 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.
[additional propaganda submitted under the cut.]
Merle Oberon:
Beautiful. Talented. Biracial. Also please refer to the following promo from the aforementioned A Night To Remember, in which she plays the writer George Sand:
Her performances always give off this perfect blend of of being composed, refined, and aloof while still being deeply passionate and I eat it up every time.
Linked gifset
A rare example of a WOC working in lead roles in this era (mostly because she worked very hard to pass as white and had to hide her south asian heritage sadly). She has this very regal vibe but also a simmering intensity—even holding her own as Cathy opposite Laurence Olivier as Heathcliff.
I need all the gothic fans to STAND UP for our cathy!!
She has such a unique face when it comes to old hollywood actresses - a lot of them start to melt together in my brain - but Merle has always stood out to me<3
Jean Seberg:
anyone who plays Joan of Arc is kind of hot by default tbh
she's gorgeous, she's cool, she has the original blond pixie cut
She donated a lot of her money to civil rights organizations such as the NAACP and the black panther party as well as Native American school groups, as a result of this the fbi ran a smear campaign against her and a surveillance campaign which is thought to have led to her suicide tragically.
idk if this is propaganda but the COINTELPRO and the FBI are widely blamed for her death. If the FBI was after her for supporting the Black Panther Party you know she was good
#jean seberg#merle oberon#fuck that old woman#hotvintagepoll#ladies 3#making the choice to change merle's photo of my own volition because I Know What You People Do When You See A Menswear Contestant#and need to equal the playing field here if jean's showing up in full joust mode
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One of my favorite things about the 1973 classic Goncharov is how the opening scene leans heavily on reds - deep crimsons, jeweled scarlets, even warm tones in creams, blacks, and blues. Scorsese has always been known for his use of red to indicate dynamism and danger - consider the dining scene in Goodfellas, where it appears they are having dinner in Hell - and it's interesting that we see it here, in a simple scene where Andrej is sleeping and no danger should be present.
Then, the remainder of the film is linked by the opposite color, blue. Each scene is thematically tied together by either a blue tint or the presence of something large and blue in the background (e.g. the drinks by the pool scene). As the film goes, blues are increasingly tempered with reds until we get to the red-tinted final scenes, bringing the film full circle. Also, if we compare the sound of the engine backfiring in the first scene to the sound of the gunshot in the final scene, we can see that they are actually identical, leaving one to wonder if Goncharov is instead the story of the last firing synapses of Andrej's dying mind.
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The worst part of trying to make a story/AU for despicable me is just how damn inconsistent the timeline is.
Like- ok, we clearly start with the Minions Movie taking place in 1968. I don’t think Scarlet and Herb’s ages are ever specified, but that’s not particularly important. What we do know is that Gru is 8 when he first steals the crown.
Here’s where things get confusing, Minions: Rise of Gru. We can assume based off Gru that it doesn’t take place that long after the first Minions movie. It’s also clearly some time during the 70s, based off Belle Bottom’s overall design and gadgets (like her disco ball mace).
Here’s where things go off the rails in terms of piecing together a coherent timeline;
Balthazar Bratt.
Based off of the wiki for him (I know it’s not the most reliable source, but people on fandom know what they’re doing for the most part), Bratt was born 1973, making him younger than Gru. Now, that’s not necessarily the problem, until we get to the fact that his show aired from 1985 to 1987. Gru would be in his late teens at the youngest. Again, this doesn’t seem like a problem, until we bring in Dru. In Despicable Me 3, when they are infiltrating Bratt’s lair, Dru pulls one of the dolls out of a box and says “Oh, I had one of these when I was a kid.” Which seems.. odd, considering he’s Gru’s twin and would be the same age as him.
There are some other characters who were never given the explicit ages of (that I can remember), like Silas and Vector’s dad. Both make appearances in Minions: Rise of Gru, so you’d assume that they’d be much older by the trilogy, but they aren’t.
Also, does it ever say what year the trilogy movies take place in? Like- since Bratt is in his 40s, the year is at earliest 2013 and at latest 2022, which is confusing considering the technology in some scenes.
Sorry for the rant, I just haven’t seen anyone bring this up except for CinemaSins (kinda)
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A Study in Scarlet: Light in the Darkness
Yes, I know I'm rather behind at this point.
Euston is the station you would use for a trip to Liverpool; from there, ocean liners could take you to the United States or indeed many other places. Transatlantic passenger service ceased in 1973, but cruise ships still operate from there and a floating dock structure was built in 2007 to service today's huge vessels.
The "Boots" was the lowest-ranking servant whose main job was to clean boots and shoes. He may have done other duties as a hall boy in smaller households.
The modern-day Greater London area, which includes a good many places not in London at the time politically, had a population of 4.7 million people in the 1881 census, freely available online. The City of Westminster, where Baker Street is, had 513,000 residents and Tower Hamlets, which covers most of the East End 560,000. In 2021, they were around 204,000 and 310,000. My home borough of Havering had merely 16,000 and in 2021 around 262,000.
The old D-shaped handcuffs were not easy to put on a prisoner who was struggling, hence Holmes having a modern-style of spring handcuffs.
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I've never liked James Bond movies, other than like two of the Pierce Brosnan ones, and only now because of nostalgia. They're boring when chases aren't happening and too long and his gadgets are unjustifiably impossible and the villains are idiots with stupid schemes, and no one ever just shoots the bastard, leaving him to constantly get out of situations by deus ex machina or blind luck. I don't know what people want from these movies, what makes the "good" ones good or the "bad" ones bad, or why anyone is invested in any of this.
That said, I just watched what is, to me now, the one genuinely good Bond movie: 1973's Live and Let Die.
Bond fights a technologically-advanced drug-dealing voodoo pimp / Caribbean island dictaror, whose evil plan involves giving away a billion dollars of heroin for free. And this plan also involves him somehow successfully killing like 4 secret agents, plus, oh yeah, voodoo and tarot magicks are probably actually real?
This feels like white people mistakenly deciding they know enough about Black people in 1973 to make a movie about their world, and it is exactly as problematic and insane as you'd expect. And I loved every minute of it.
Such gleeful stupidity, done with such a straight face, is a beauty to behold. There is also a 10 minute sequence that is just Smokey and the Bandit, complete with a fat racist idiot Southern sheriff and incompetant Louisiana state police, who get their cars completely destroyed in slapstick comedy wrecks where people crash off ramps into bogs but no one ever gets hurt.
...Except this came out 5 years before Smokey and the Bandit, and maybe the same weekend as the similar White Lightning, so I have no idea who was stealing what from whom. I guess 1973 was just the year to start making fun of Southern law enforcement with funny car accidents.
I'm not complaining. I love this crap. It's just such a specific thing for multiple creatives to seize on at exactly the same moment. I suppose art, like voodoo, is endlessly mysterious.
I got the impression this movie is a critical pariah and was a flop, but neither is true. It made tons of money, and while people in general didn't and don't like Roger Moore as Bond, it seems most people enjoyed the frenetic weirdness going on here.
This was Moore replacing Connery, who set the iconic 1960s Bond bar. Like, hostility to anything new and different was inevitable. I don't feel strongly about Connery's Bond either way, because a lot of those movies are impossibly slow and his charm doesn't redeem them. So I like Moore here. He seems like he's still figuring out how to do the character his way, but that is also inevitable. But he's drool and wry and unflappable, and any lack of charm is fine, considering the movie is far more about jumping from one ridiculous situation to another at a break-neck pace. Bond is really just along for the kooky ride, and Moore manages that.
I love the cars and the costumes. This is peak early 70s, so everything is big and bright primary colors, from the cars to the collars and neckties, to the platform shoes and afro wigs. All the suits have vests. VESTS! The villain dresses his henchmen in bright bluejeans with scarlet polo shirts tucked in. They look like Target associates went rogue. It's beautiful.
Any more analysis of the plot than I've already offered is pointless, because this is a Bond movie. So even at peak wannabe-Blaxploitation goofiness, he's still boldly walking into obvious traps, inappropriately trying to trick certainly-evil women into sleeping with him, and solving every problem with a gimmick watch and desperate flailing that somehow knocks people out.
I don't know why anyone bothers setting elaborate traps for him. Just send a guy to pick him up. He'll know exactly that you've done that and get in the car anyway. That happens twice in this movie! And the same guy is driving!
The watch in this one has an industrial-strength magnet in it, and also the face spins and acts like a tiny buzzsaw. And, fine. That's the right kind of stupid. But how the hell does all that work on tiny watch batteries? I can't forget about that, which is why Bond movies aren't for me. And it makes Bond look bad, because anyone with that watch could probably do exactly what he does. ...Except probably the thing where he uses the magnet to undo the zipper on a woman's dress. That's very specifically a Bond thing, the cheeky predator.
But he's not the only incompetent gadabout, here. Most of the story takes place in the US, and he's working with the CIA. And they are AT LEAST as bad at everything as he is. But they don't have magic watches, so I guess that's why they keep getting stabbed, and poisoned by voodoo snakes, and have to call him in, to do whatever the hell this is:
Jane Seymour is also here. She is a possibly biracial? tarot witch who has virgin powers, and is owned by the Black villain. She gets manhandled and molested all the time, especially by Bond, and his deflowering of her is a major plot point.
As I said before, there are some problematic things going on here.
But the whole affair is so earnestly cheesy and high-energy that it's hard to find fault. They were going for schlock, and they schlocked it. James gets cornered by a hundred people doing a deadly swamp voodoo ritual that involves human sacrifice and a magic robot, and after some of them charge him with machetes, he responds by blindly firing into the crowd and murdering a bunch of them. This culminates with him getting captured by the villain for like the third time, and the guy acts like all this was just part of his plan.
Then Bond wrestles with him a little near a shark tank, but kills him with a Looney Tunes device. 1960s Batman showed more restraint than this. The Austin Powers movies barely referenced this one, because it is already a parody of spy movies. It is a thing of messy, stupid brilliance.
If you don't like Bond movies, this is the Bond movie for you. Everyone can get a laugh out of this, even if they're only laughing at it.
(Also the theme is the best Bond theme ever, but everyone already knows that. It opens the movie with naked women dancing around flaming skulls. That alone probably makes it the best Bond movie.)
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Marvel's Short Stories That Redefined Superhero Comics
In the rich tapestry of Marvel Comics, there are epic sagas and sweeping crossovers that capture our imaginations and define the superhero genre. However, some of the most profound and enduring tales are found in the pages of shorter stories—narratives that span four issues or fewer. These concise yet impactful stories have left an indelible mark on readership, the comic book industry, and how we perceive superheroes. Let's explore how these short stories, including "Powerless," reshaped the world of Marvel Comics
1. "X-Men: Days of Future Past" (Uncanny X-Men #141-142, 1981)
"Days of Future Past" catapulted readers into a dystopian future where mutants are hunted to near extinction. This tale of time travel and the consequences of prejudice resonated deeply. It showcased the potential for comic books to address social issues, shining a spotlight on bigotry and discrimination. Its influence can be seen in subsequent X-Men stories that continue to tackle real-world problems
2. "The Kid Who Collects Spider-Man" (The Amazing Spider-Man #248, 1984)
A single-issue masterpiece, this story touched the hearts of readers worldwide. It revealed the human side of superheroes, reminding us that these characters, despite their extraordinary abilities, are grounded in humanity. "The Kid Who Collects Spider-Man" humanized the superhero genre, emphasizing the impact these icons can have on fans
3. "Vision and the Scarlet Witch" (Vision and the Scarlet Witch #1-4, 1982)
While not strictly a short story but much shorter than "Demon in a Bottle", this series explored the personal lives of two Avengers in an intimate and relatable way. It demonstrated that superheroes are not just costumes and powers but individuals with complex emotions and relationships. "Vision and the Scarlet Witch" (not The Vision and the Scarlet Witch 12 issues series) redefined the portrayal of personal lives within the superhero genre
4. "The Night Gwen Stacy Died" (The Amazing Spider-Man #121-122, 1973)
The story that started the Bronze Age! This two-issue arc forever altered the perception of superhero storytelling. The death of Gwen Stacy was a turning point, showcasing that superheroes do not always emerge victorious and unscathed. It added a layer of realism and emotional depth to Spider-Man's world
5. "The Death of Jean DeWolff" (The Spectacular Spider-Man #107-110, 1985)
A gritty murder mystery within Spider-Man's world, this story proved that superheroes can explore darker themes. It demonstrated the versatility of the genre, showing that it could tackle complex and mature subject matter
6. "God Loves, Man Kills" (Marvel Graphic Novel no. 5)
This graphic novel delved into themes of prejudice and discrimination. It elevated the X-Men beyond mere superheroics, highlighting the allegorical nature of their struggle. "God Loves, Man Kills" made it clear that comics could be a powerful platform for social commentary
7. "The Trial of Reed Richards" (Fantastic Four #262-265, 1984)
This storyline explored the legal ramifications of superhero actions. It demonstrated that superheroes are not above the law and can be held accountable for their actions. "The Trial of Reed Richards" added a layer of complexity to the superhero genre, reflecting real-world concerns
8. "Marvels" (Marvels #1-4, 1994)
This four-issue limited series takes a unique approach by exploring the lives of ordinary people in a world filled with superheroes. It delves into themes of powerlessness and how everyday individuals navigate a world where superhuman abilities are the norm. "Marvels" offers a different perspective from the eye(s) of journalist Phil Sheldon on the Marvel Universe, highlighting the challenges faced by those who can't match the extraordinary feats of superheroes
In conclusion, these short stories within the Marvel Universe have left an enduring legacy. They impacted readers by addressing real-world issues, challenged the comic book industry to embrace mature and diverse storytelling, and redefined how we perceive superheroes. These tales remind us that beneath the masks and capes, superheroes are reflections of our own humanity, and their stories can be as complex and thought-provoking as any other literary genre
Marvel's short stories have proven that superhero comics are more than just entertainment; they mirror our world and aspirations. These concise narratives have shown that profound storytelling can occur within the limited confines of a few issues. They have opened the doors for deeper exploration of characters, themes, and societal issues, and they continue to inspire creators and readers alike to push the boundaries of what superhero comics can achieve
In a genre often associated with bombastic battles and larger-than-life conflicts, these short stories are a testament to the enduring power of storytelling and the ability of comics to engage our hearts and minds. As we celebrate the impact of these narratives, we are reminded that sometimes, the most significant stories come in the smallest packages
#marvel comics#short stories#dystopia#real life drama#chris claremont#roger stern#john byrne#peter david#gerry conway#kurt busiek#alex ross#bill mantlo#crime#social issues
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The New York Dolls, Waldorf Astoria, New York City, October 31, 1973
How are you celebrating Halloween this year? I'm taking a time machine 50 years back to see the New York Dolls in the Waldorf-Astoria's Grand Ballroom. Or, rather, I'm going to watch this raw video of this legendary occasion ... it's a blast, but I'm sure nothing could compare to actually being there.
Will Hermes set the scene in his Love Goes To Buildings On Fire: The Waldorf-Astoria was the epitome of uptown, up-tight, upper-crust New York; whoever agreed to give the ballroom over to the Dolls and their wasted fans was either clueless or wickedly subversive. By midnight, a thousand-some freaks of various stripes were packed into the ballroom entryway, pressing against doors that were supposed to have opened at 11:00. Tempers flared, doors were smashed, and someone lit a stink bomb in the hotel lobby in protest. Security guards admitted a portion of the mob but hundreds were turned away. Arthur Bell described the scene as "Malcolm McDowell in A Clockwork Orange and Joel Grey in Cabaret by the dozens, chains and hoods, silver buttocks, scarlet breasts, dildoed noses," with old-school trannies washing down demerol capsules with swigs of whiskey.
In other words ... Happy Halloween!
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May 16th Playlist
This week’s episode features several tracks from the latest “Angel’s Share” vault release of Grateful Dead material. These tracks come from the Mars Hotel sessions. We also played some live Can music recorded in Paris in 1973, and 2 tracks from a Topic Records sampler. Both of the latter courtesy of our pals at Uncut Magazine.
Side A
Howling at the Moon-Hank Williams
Funf-Can (Live 1973 Paris)
Silence-Durutti Column
Venal Joy-Jesus and Mary Chain
Beautiful People(Stay High)-Black Keys
Side B
Unbroken Chain (Alternate Mix)-Grateful Dead
Scarlet Begonias (Take 1&2)-Grateful Dead
Ship of Fools (Alternate Mix)-Grateful Dead
China Doll (Acoustic Version)-Grateful Dead
Skydancers-Martin Simpson
Friendship-Eliza Carthy
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Charlotte Martin and Scarlet Page in a scene of Led Zeppelin's "The Song Remains the Same", ca. 1973.
The film was released in 1976.
#charlotte martin#scarlet page#1973#the song remains the same#led zeppelin#1976#1970s#1970s charlotte#1970s scarlet#1973 charlotte#1973 scarlet#model#muse#designer#artist#photographer
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Propaganda
Merle Oberon (Wuthering Heights, The Scarlet Pimpernel)—She was mixed race (born in India and her mother was Sri Lankan) and still managed to make it in the British and American film industries (by passing) despite a rough start in life and industry racism. She was the first Asian person to be nominated for any Academy Award (best actress in 1935)! She also survived a car accident in 1937 and kept on acting until 1973, despite potentially career-ending facial scars. Also, she met her third husband while they were filming a movie together in 1973 (her last movie and she still looks great!). They fell in love and got married in 1975 when she was 62 and he was 36. She died 4 years later in 1979. Iconic.
Thelma Todd (Monkey Business, Horse Feathers)— A comedy great who could go toe to toe with the Marx brothers. Watching her in horse feathers made middle school me feel things. Unfortunately, she died tragically, so I'd be careful when looking up pictures of her - there are a good number of crime scene photos mixed into the results. Overall a lovely lady 😊
This is round 2 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.
[additional propaganda submitted under the cut.]
Merle Oberon:
Beautiful. Talented. Biracial. Also please refer to the following promo from the aforementioned A Night To Remember, in which she plays the writer George Sand:
Her performances always give off this perfect blend of of being composed, refined, and aloof while still being deeply passionate and I eat it up every time.
Linked gifset
A rare example of a WOC working in lead roles in this era (mostly because she worked very hard to pass as white and had to hide her south asian heritage sadly). She has this very regal vibe but also a simmering intensity—even holding her own as Cathy opposite Laurence Olivier as Heathcliff.
I need all the gothic fans to STAND UP for our cathy!!
She has such a unique face when it comes to old hollywood actresses - a lot of them start to melt together in my brain - but Merle has always stood out to me<3
Thelma Todd:
Gifset link
Gifset link 2
She was both the beautiful and charismatic lead and a comedic star that deserves her place beside her frequent co-stars, Laurel and Hardy.
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Merle Oberon (Wuthering Heights, The Scarlet Pimpernel)—She was mixed race (born in India and her mother was Sri Lankan) and still managed to make it in the British and American film industries (by passing) despite a rough start in life and industry racism. She was the first Asian person to be nominated for any Academy Award (best actress in 1935)! She also survived a car accident in 1937 and kept on acting until 1973, despite potentially career-ending facial scars. Also, she met her third husband while they were filming a movie together in 1973 (her last movie and she still looks great!). They fell in love and got married in 1975 when she was 62 and he was 36. She died 4 years later in 1979. Iconic.
Source @hotvintagepoll
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Merle Oberon
Merle Oberon (born Estelle Merle O'Brien Thompson; 19 February 1911 – 23 November 1979) was a British actress who began her film career in British films as Anne Boleyn in The Private Life of Henry VIII (1933). After her success in The Scarlet Pimpernel (1934), she travelled to the United States to make films for Samuel Goldwyn. She was nominated for the Academy Award for Best Actress for her performance in The Dark Angel (1935). Oberon hid her mixed heritage out of fear of discrimination and the impact it would have had on her career.
She was perhaps best known for her portrayal of Catherine Earnshaw in the 1939 film adaptation of the novel Wuthering Heights, directed by William Wyler.
Her other notable films are These Three (1936), A Song to Remember (1945), Berlin Express (1948), and Désirée (1954).
A traffic collision in 1937 caused facial injuries that could have ended her career, but she recovered, and remained active in film and television until 1973
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Do you know if DC owns the rights to other Fawcett characters or just Captain Marvel and friends? I ask because Grant Morrison did use Bullet Man.
Alright so the tldr is they own the rights to at least some amount of the other Fawcett characters, but not necessarily all of them.
The abridged timeline of relevant events is:
1940: Captain Marvel Debuts in Whiz Comics #2.¹
1941-53: DC Comics sues Fawcett over similarities between Captain Marvel and Superman. This court battle goes on for a long time until eventually being settled in 1953.²
Late 1953: Due to both the lawsuit and a general decline in comics sales, Fawcett sells off many of its characters to Charlton Publications, and ceases producing comics for several years.²
1967: Marvel introduces their own Captain Marvel character in Marvel Super-Heroes #12, thus claiming the title/trademark. This was possible because despite DC winning the earlier court case, nobody was using Fawcett's Captain Marvel at the time.³ However, despite the trademark title belonging to Marvel, this did not mean that the previous Captain Marvel character could no longer be called Captain Marvel if used again—just that the title could not be used for his book.
1973: DC acquires the rights to Fawcett's Captain Marvel, and begins to publish stories with him & his family under the 'Shazam!' title to comply with Marvel's trademark on the 'Captain Marvel' title.⁴
1983: DC buys the rights to all of Charlton's superhero characters, and not long after in 1985 Charlton closes down.³
So it's like... DC specifically acquired the rights to the Captain Marvel family & related characters, plus characters that Fawcett had previously sold to Charlton.
From minimal cross-referencing between some of the well-established Fawcett characters and one of the DC Encyclopedias, DC seems to have utilized a decent chunk of them (I found mention/reference to Bulletman like you mentioned, Bulletgirl, Ibis the Invincible, Spy Smasher, Mister Scarlet and Pinky, and Minute-Man)⁵ but they're definitely not using every Fawcett character. It's possible that DC does/did own the rights to more Fawcett characters, but just chose not to use them.
Otherwise though, I believe that any other Fawcett characters that weren't sold to Charlton (and thus were then acquired by DC) would just be in public domain at this point due to Fawcett being defunct.
—
¹ A Complete History of American Comic Books (2008) by Shirrel Rhoades. Available free on the Internet Archive.
² The Comic Book in America: An Illustrated History (1989) by Mike Benton. Available free on the Internet Archive.
³ Comics, Between the Panels (1998) by Steve Duin. Available free on the Internet Archive.
⁴ DC Comics: A Celebration of the World's Favorite Superheroes (2003) by Les Daniels. Available free on the Internet Archive.
⁵ The DC Comics Encyclopedia: The Definitive Guide to the Characters of the DC Universe, Updated and Expanded (2008). Available free on the Internet Archive.
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TOP 10 LIVE-ACTION FAIRY TALE MOVIES
@princesssarisa @faintingheroine @the-blue-fairie @amalthea9 @angelixgutz @sabugabr @superkingofpriderock @chansondefortunio @notyouraveragejulie @giuliettaluce @solevenus
Note: this is just a list of personal favourite live-action fairy tale movies, not a list of "what are the objective best fairy tale movies".
To make the list slightly organized and consistent, i setted up some basic rules:
1° They must have been theatrically released. Direct- to-Video or Made-for-TV releases, like the Hallmark Hall of Fame series, the Muppets Fairy Tale TV specials or Rodgers and Hammerstein's Cinderella, will not be counted here.
2° They must be adaptations of pre existing fairy tales, be they directly collected from oral tradition like the Brothers Grimm tales, or literary tales slightly inspired by elements of oral tradition, like the works of Andersen. Movie script original stories like Labyrinth and The Dark Crystal or adaptations of fantasy novels like Alice in Wonderland, Wizard of Oz, Peter Pan and Pinocchio will not be on the list.
Now that the rules are set, let's go onto the countdown.
10° Snow White and The Three Stooges (1961)
Got the tenth place on this list because of how much i love the found family dinamic developed between Snow White, the Prince and the Three Stooges (who got the role of the Seven Dwarfs)
09° Jak se budi princezny (1977)
Princess Ruzhenka is a very outspoken and charismatic encarnation of the princess Sleeping Beauty, and because of that her and the movie she stars in has winned my hearth.
08° The Glass Slipper (1955)
This is one of the early cinematic adaptations of the Cinderella tale that experimented with turning the supernatural elements more subtle, exploring a more grounded love story between the heroine and the Prince, wich would be a very influential aproach over later adaptations. The highlight are the performances of Leslie Caron as the strong tempered but vulnerable Ella and Estelle Winwood as the unconventionally wise Mrs. Toquet.
07° La Belle et la Bete (1946)
Probably the most historically influential fairy tale movie of all time, in his masterpiece Jean Cocteau tooked what was considered a simple morality tale about a woman preparing to marriage, and turned it into a study about the minds of two complex characters in search of deep connection and their place in the world
06° Three Wishes for Cinderella (1973)
The late Libuse Safrankova brought with her performance one of the most funny, adventurous energetic and sassy encarnations of Cinderella. This is her movie, where she gets to be a scrappy maid, a confident warrior, and am elegant damsel, all at once, and i forever will be glad of finding her.
05° The Scarlet Flower (1977)
This live action film adaptation of Sergey Aksakov's take on the 'Beast and Beauty' type of story is very unique in its exploration of the russian countryside and its folklore, the plant inspired design of the Beast, and in its slow paced storytelling that invests more in the characters facial expressions and body language than in dialogue, all factors that have captivated me.
04° Zolushka (1947)
My number one favorite Cinderella live action movie. When i watch this movie and see the costume and set designs, the theatrical acting styles, the coloring work, the music, the small nods to other Perrault tales, i feel transported to my childhood, touched by how those artists joined together to bring one of my favourite storybooks to life with all emotional sincerity and no hint of irony.
03° Panna a Netvor (1978)
While Jean Cocteau set the stage for using the 'Beast and Beauty' type of tale as the basis for a cinematic psychological character study, 1978's Panna a Netvor went even deeper with the idea, choosing not to use any villain or external antagonistic force and instead completely centering the heroine and the Beast's characters as they interact in the closed space of the old castle and talk about the fears they have of their own feelings. Both get equally developed in this beautifull coming of age gothic fairy tale.
02° Donkeyskin (1970)
A loving homage to the storytelling legacy of both Charles Perrault and Jean Cocteau, this movie is the combination of a Medieval Book of Hours with the 1970s Psychodelia, wich when mixed resulted in something uniquely beautifull and colorfull.
01° The Company of Wolves (1984)
Based on Little Red Riding Hood, wich is my favorite fairy tale, i love the fact that this movie explores the fairy story at its root: the people, most of wich were working class women, who reunited their loved ones to tell them a story they learned in their dreams, and from those stories people would take different lessons about topics such as nature, spirituality, love, family, sexuality, life. Following Rosaleen's dream, where she and her Grandmother shares tales about humans turned wolves, we are invited to reflect about the roles of man and women in society and their arbitrareness, and how those roles can be subverted once we take consciousness that we all share a dark, wolf like side. All this, and more, are what makes The Company of Wolves my number favorite live action fairy-tale film adaptation.
Honorable Mentions:
Beauty and the Beast (1960)
This movie presented an interesting combination of fairy tale romance with political drama in an italian renaissance setting and a Beast who would turn human during day light, all very creative ideas that deserve to be complemented.
The Slipper and The Rose (1976)
This adaptation of the tale of Cinderella has great performances, beautifull costumes and magnificent songs by the Sherman Brothers. It was just that The Glass Slipper, wich shares the same 18th Century Setting, has personally touched me more.
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