#Silly Simphonies
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Santa's Workshop (1932, Wilfred Jackson)
02/12/2023
Santa's Workshop is a 1932 animated short film directed by Wilfred Jackson. The film is included in the Silly Simphonies series, produced by Walt Disney, based on the character of Santa Claus.
Christmas Day is approaching and at the North Pole all the elves and Father Christmas himself are working hard to make sure everything is ready on time. It's almost Christmas now and the good man gets on the sleigh and sets off towards the homes of the world, under the backdrop of a sky full of snow and a moon that smiles at him and wishes him a good journey.
The film was included in the 1982 VHS edition of the film The Small One and in December 2001 the short film was included in the direct-to-video montage film Walt Disney's Greatest Christmas Stories, without the opening and closing credits and linked to the sequel The Night Before Christmas.
A year later a contribution of the film entitled The Night Before Christmas will be made.
#santa's workshop#short film#animation#1932#wilfred jackson#silly symphony#walt disney#santa claus#christmas#Arctic#moon#The Small One#direct to video#the night before christmas#Silly Simphonies#walt disney animation studios#mickey mouse#three little pigs#the tortoise and the hare#Three Orphan Kittens#technicolor#multiplane camera#donald duck#The Wise Little Hen#Academy Award for Best Animated Short Film#king features syndicate#dell comics#joseph barbera#william hanna#tom and jerry
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I do not know why but the mental image of Mickey Mouse cosplaying as the Pied Piper does not cease to amuse me. It’s so cute but so ironic.
Well, their Silly Simphony adaptation of The Pied Piper of Hamelin ended by portraying the Piper as right in taking the children away to live forever in a magical amusement park, "The happiest place on Earth" if you will.
That kind of joke was to be expected 80 years later.
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Has José’s smoking ever posed a problem for Don and Chito?
Hmm,,, a problem per se I don't think so. Maybe the occasional worry/chiding if José overdoes it, which he does because stress smoking (which only happens because that motherfucker is also addicted to putting himself in situations). Usually I headcanon that both José and Donald smoked when younger, Panchito was never a fan tho. I like to think José had moments of trying to quit smoking only to come back to it repeatedly. After Zico and Zeca came along tho, he managed to quit for good.
#the three caballeros#josé carioca#I really like Silly Simphonies' portrail of José's stress smoking too jdnkjs it's really funny#Like my dude you're the one creating all of these problems just stop-#ask#krueger4eva#maybe this headcanon sounds idyllic to some but well it's based on real accounts-
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They see me rollin' they hatin'
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Jane Eyre adaptation OSTs, ranked
Because I have OpinionsTM. The main criteria here is "how Jane Eyre" each of these feel, being the main trait in it how much drama, high emotion, operatic-ness and cheese they contain, how much they reflect the environment and feel of the story, independently of how much they fit the specific adaptation they were made for. Some context will be taken into account, and also how aesthetically pleasing they are, etc, but not specifically their overall match with the tone of the adaptation they belong to (mainly because that makes them really impossible to compare with each other).
Before properly beginning, I will put outside this list the OST of the 1973 BBC adaptation. As much as it is big and operatic and has a lot of gusto, it's also not an original composition for the series -it's Edgar Elgar's 'Introduction and Allegro' for Strings (Quartet and Orchestra), Op. 47, and I think that disqualifies it.
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That now out of the way, let's proceed:
7. Jane Eyre (1983) by Paul Reade.
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This one is at the bottom mostly because of how sweet and tranquil and restrained it is overall. I'd rather expect it for something like Cranford or Anne of Green Gables. There's nothing even remotely Gothic or super dramatic to it.
6. Jane Eyre (1943) by Bernard Hermann.
Bombastic, like all things Hollywood in the 40s, but also very, very, very generic. Can fit anything from Victorian Romance to Contemporary drama and a serious old-timey silly simphony cartoon.
Best tracks: Rochester, Springtime, Mr Mason, Farewell.
5. Jane Eyre (1970) by John Williams.
It's comforting, once in a while, to know even the greatest are not very inspired sometimes.
Mind you, this still IS John Williams. The melodies are beautiful, the leitmotif carries solidly through the different pieces and morphs deliciously... but it doesn't sound like Jane Eyre. It doesn't sound like anything remotely in a zone anywhere near Jane Eyre. The tone is epic, but as in war-epic, with a dash of romance. What you'd expect for, say, a Zefirelli adaptation of a Shakespeare play?. The instrumentation, heavy on flute and a sort of harpsichord and sometimes... glockenspiel? does very little to evade that idea.
Best tracks: Trio (The Meeting), Across the Moors, Reunion.
4. Jane Eyre (2006), by Rob Lane.
This one is... fine. It's fine. It surely does have big emotions, it can do spooky and it can do joyful... but, listen, Rob Lane is an award-winner composer. We are talking of the person that composed the epic theme of Merlin. Here are some samples of his Jane Eyre score:
All except the intro an outro can be found at: https://www.roblanemusic.com/portfolio-item/jane-eyre-2006/
But you know what really puts it at the "bottom of the best" list? The... peculiar... way in which it sometimes sounds way too close to Thomas Newman's score for Little Women 1994. Maybe it is a matter of the director temping scenes with LW tunes and requiring the score to sound very similar, but even then, it's not... a good look.
Listen, for example, to this segment (it will play first "New York" from the score of Little Women 1994, then the music you hear when the servants prepare Thornfield for the arrival of the guests. The sound on the second is a bit muffled because I removed the vocals manually):
Also, this one (Learning to Forget, from LW 94, then the Rivers Family tune):
Badly done, Rob, badly done.
3. Jane Eyre (2011) by Dario Marianelli.
*gasp*
Yes, I went there and I'm not sorry. But also, this is not about dissing this score at all. It's really, really good. And truly, the difference between 3 and 2 is almost a technicality.
Declaredly, the director wanted Dario Marianelli to make this score as contrasting as possible to the one he composed for Pride &Prejudice (2005). This is in principle a good idea, because these works do feel like completely different universes. But one thing that the P&P score had going for itself, and that I see as a weakness of this one, is the distinctive character of each piece of the score; one blends into the other, and the general tone, while very atmospheric and supremely gothic, is also very restrained (it sounds contradictory, but it isn't). Which isn't very Janeeyresque at all.
Best pieces: A Thorough Education, Waiting for Mr. Rochester, The Wedding Dress.
2. Jane Eyre (1997), by Richard Harvey
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(here is my own extraction of the music from the movie itself. As such, because of vocal isolation procedures, there's distortion and quality loss, specially in the parts under dialogue, but it still gives a complete impression of the OST as a whole).
I mourn that it has never been released, because to me at least it is hauntingly beautiful and memorable. Jane's leitmotif really just captures so much about the hardship and grief mingled with hope and yearning, and high drama and struggle of the story, that even if some of the other parts of the score aren't as distinctive or memorable, it still places it near the top.
Best pieces: Jane Eyre (Main Theme), Rochester's Fire, Handshake at Sunrise.
1. Jane Eyre (1996) by Claudio Capponi and Alessio Vlad
Jane Eyre (1996) will justly loose most accuracy rankings, but the score, the score is the one thing in it that very much does feel like the novel to me.
The music for this production is distinctive and gorgeous; it’s very simply structured around three main motifs: a journey motif (very clear in Infanzia di Jane, Viaggio di Jane), a love motif with a joyful (Tema di Helen, Matrimonio di Jane) and a wistful movement (Tema di Jane, Jane e Rochester), and a dark motif with a regret (Tema di Rochester, Ritorno a Thornfield) and a danger (Incendio a Thornfield, Inverno a Lowood) movement. The score moves seamlessly from poignant and reflective to sinister to hopeful, to innocent and pastoral and back again.
Best pieces: Infanzia di Jane, Helen e Jane, Tema di Jane Eyre (reprise).
What are your favorite moments of Jane Eyre scores?
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Coin give off huge Nightmare Before Christmas and Coraline vibes, would they be a stop motion fan?
Oooh of course! :3 He is already an animation fan, specially the Silly Simphonies/Happy Harmonies/ Merrie Melodies series. I can imagine him doing stop motion movies in his room skdjsjahs
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@irreplaceable-ecstasyy @rollingthunder06
@theimpossiblescheme
Some of the different encarnations of Hades in Pop Culture:
1º Goddess of the Spring (1934)
2º Hercules: the Legendary Journeys (1995-99) and Xena the Warrior Princess (1995-2001)
3º Disney’s Hercules (1997)
4º Saint Seiya: Hades Saga (2002-08)
5º Saint Seiya: The Lost Canvas (2009-2011)
6º Hadestown (2016)
#disney#animation#silly simphonies#disney's hercules#hercules the legendary journeys#xena the warrior princess#saint seiya#saint seiya: hades saga#saint seiya: the lost canvas#hadestown#theater#musicals#fantasy#greek mithology
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“The Goddess of Spring,” released November 3, 1934.
#The Goddess of Spring#1934#Disney#Animated#Short Film#Greek Mythology#Persephone#Hades#Silly Simphonies#Thirties#2/5
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El Terrible Toreador (1929)
#Animation#reletable#cartoon#disney#silly#toreador#old#vintage#terrible#screencaps#mood#macabre#Silly Simphonies
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Ministry - Every Day Is Halloween and Hell's Bells
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Stitch: The Ugly Duckling
They didn't like him because he was different, and he didn't understand what he had done wrong, he just wanted to be part of where he thought he belonged. But he had to search until find his place and his correct beings, because our place is not always where we begin our life, we have to live, suffer and explore, to realize that we are not ugly ducks, but swans.
When I was a kid, at home we had a Beta tape with many Silly Simphonies, one of those was The Ugly Duckling, there was not a single time I could see that shortfilm without crying, and even nowadays, if I try to watch that film on YouTube and watch it, I can't help it.
https://youtu.be/UrHr5ykvE_o
Stitch, for more mainstream than he is, he's an ugly duckling in many ways, in his own universe and in this our world as well.
And for many reasons he's one of my favorite Disney characters. (Not only because cute)
("Lilo & Stitch" is the only movie, any other kind of sequel are just weird fanfics, but those never happened)
Digital. Photoshop.
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Promt 1: Hades and Persephone watching the Disney Silly Simphony The Goddess of Spring and Reacting to It.
i love this prompt so so much thank you!
__________________
”I’m sorry why is this thing in my parlor, Hades?”
When Hades told her he had something to show her she wasn’t expecting it to be a fucking television set. They both despised them, yet here sat one in the middle of her parlor. This one looked different than the one Hermes had up top though.
”You said Hermes sent you a film and told us to watch it. That it was about us.” Hades answered calmly, curling his arms around her waist. “Yes, a roll of film. Last I checked ya can’t watch that on a television.” She pecked a kiss to her husband’s cheek. Her man confused her sometimes.
”This one does.” She raised a brow at him. You’d never think it but gods her man was an extremist when it came to his electricity and inventions. “You mean you had the shades build an entire new brand of set just for one night’s use?” She hated the idea of him putting even more work on his shades for something they wouldn’t even use.
”Ya could say it that way.” He than frowned, probably noticing her own. “Lover, I just wanted to do somethin’ nice for ya.” The way he spoke, his gentle kiss on her brow, gods how was she supposed to be mad at him.
”Fine. I’ll go get the film.” She left and waltzed into the kitchen where she’d left the film and than walked back. The sight of her husband fiddling with the television set made her smile almost as big as the grin he wore. She may hate them, but his deep love for his machines was enough to make her tolerate them. Anything to see that rare smile on his face. He didn’t smile much anymore. Neither did she really, but they had their good days. Their good winters.
”I have it.” Persephone said softly and he looked up at her. “I’ll take it.” She handed over the roll of film and briefly eyed the liquor cart in the corner of the room, but she didn’t want to take the chance of screwing up their night no matter how much she craved it.
Hades fiddled with set a bit longer but then the screen shot alive and the sofa dipped as he sat down with her. She pulled her robe closer, her sheer nightgown not much to cover her which she didn’t mind when her husband’s neons made the heat unbearable.
The movie came on and she watched intently as the strawberry blonde cartoon pranced around the screen. “Is that supposed to be me?” Hades snickered beside her and she elbowed him in the ribs. “You shut it.”
She stared at the screen as the girl danced, surrounded by birds and flowers- wait where the flowers fucking dancing? The flowers were fucking dancing.
Oh she needed wine for this.
Hades continued laughing as she stood and poured herself a generous amount of the deep red liquid. “Don’t member ya ever frolicking, lover.” Persephone shot her man a look as she sat back down.
The music changed and the ground on the screen tore up into flames. Persephone howled in laughter at the cartoon devil supposedly imitating her husband. “It’s not that funny, that is nothing like me.” He growled, only amusing her and her half drained wine more. “It’s fucking hilarious.” She cackled, patting her husband’s hand.
Then the singers began, and the air between them tensed. “I have chosen you to be my Queen,” That’s not how it happened. That was her mother’s stupid lie. The fucking story that turned her into a victim and Hades into a monster in the eyes of the mortals.
Hades didn’t steal her. It was her choice. She chose to love him. And no dumb film was going to torture them with this damn story.
Her hand was going numb with how tightly Hades was holding it. She didn’t blame him. Persephone swallowed back her wine. Winter fell on the cartoon world and then it descended into a fiery hellscape.
”Is that supposed to be the underworld?”
She snorted at her husband’s comment.The scene progressed to winter, and than back to hell. The cartoon devil gave the goddess a diamond, and she continued crying but the devil begged her to smile. A thick silence fell over them.
Why did this have to be the part that was accurate?
The rest of the film passed in silence between. The cartoon devil and goddess made the whole half half deal and she went above ground. Spring came and little cartoon birds chirped.
It wasn’t like that. She didn’t choose her shitty custody agreement. How could anyone think she’d choose to leave her husband half of the year? Unlike this cartoon neither of them had a choice in the matter.
They sat for a small while after it ended. She wanted to say something, but her throat was dry. Persephone instead moved into Hades’ arms and set her glass on the floor. She could feel Hades press a kiss to her curls.
”That movie don’t mean a damn thing lover.” Hades rumbled, just loud enough for her. “It ain’t important if that’s how the mortals who don’t know you think of us. What they think ain’t important. We know the truth that’s all that matters.”
It hurt him as much as it hurt her, she knew that. Why in hell did Hermes send them that film? Was it for a good laugh knowing it’d hurt? Or maybe it was his fucked up way of telling them to get their shit together. Whatever it was he better make it dam clear the next time she saw him
”I love you.”
”I love you too.”
#hadestown#prompt#rt answers#rt writes#persephone#hades#hades and persephone#hades/seph#hades hadestown#persephone hadestown
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@thealmightyemprex @princesssarisa @themousefromfantasyland @the-blue-fairie @faintingheroine @tamisdava2 @amalthea9 @adarkrainbow
Last night, I rewatched 1937's Snow white and the Seven Dwarfs on Disney +.
It's funny that the Dwarves are established as characters who resort to violence in case of danger the moment they get home. They show fear, but still plan to massacre the "monster" that broke into their house (before realizing it's Snow White).
When they enter the room, and Snow White is covered in the sheets, Happy asks "But where is the head?"
And then there's the subtle change that when the threat is aimed at Snow White, they don't tremble like they did when they imagined the threat was aimed at them: they behave with pure courage and determination to attack the Queen and protect Snow White.
From the vague memories I had (not helped by some comments that some friends and family made), I was bothered by some of the dwarfs (Dopey and Bashful) acting like they had crushes on Snow White. Rewatching it today, I acquired a more lenient interpretation: a detail that I didn't notice before is that when Snow White talked about being in love with the Prince, the Dwarves didn't feel jealous. On the contrary, they asked to hear more, and were moved by her dream of meeting him again.
So that's when I realized: the Dwarves' love for Snow White is the idealized love of a Knight for his Lady! This love goes beyond the labels "romantic" or "platonic", "brotherly", "filial", etc... It is a transcendental love based on the intense desire to see the Lady happy and protect her from all evil!
The main difference this movie has from later Disney movies is its simplicity, specifically the fact that it does not fit into the "Three Acts in which the Protagonist Undergoes a Major Change Throughout the Narrative" format; it does not explicitly preach a moral using the protagonist as an instrument to teach the audience a lesson.
Snow White continues being the same character from the beginning to the end. And when she suffers the apple's effect, at no point does a character say "I told you so."
When it appears that she has died, the Dwarves mourn her loss, and when she is awakened by the Prince's kiss, they celebrate her resurrection.
Grumpy is the one who has an arc (admitting that he likes Snow White and stopping being misogynistic), but it's something very subtle, instead of being treated as a "theme" of the film.
I've seen some people saying the film is a longer Silly Symphony. I disagree. The focus of most Silly Simphonies was to make the movements comical to the music, with one or another piece focusing on a quieter, slower atmospheric narrative.
In Snow White and The Seven Dwarfs, the focus is not movement for movement's sake. Everything is calculated to be used to establish the characters' personalities and how they interact with each other. A Silly Simphony wouldn't stop to show a group of characters stopping to react to a story being told, or getting ready to find places to sleep.
Snow White and The Seven Dwarfs stops to show the moment sthe characters stop to breathe and how they move through everyday actions, without rushing to get to the next scene.
It's almost comparable to what Miyazaki would do decades later in his animated films.
Also, revisiting the scene of the Poisoned Apple, I was reminded of this definition of suspense by Alfred Hitchcock:
“There is a distinct difference between "suspense" and "surprise," and yet many pictures continually confuse the two. I'll explain what I mean.
We are now having a very innocent little chat. Let's suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, "Boom!" There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o'clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: "You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!"
In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story.”
Basically: the Poisoned Apple was our first bomb as children. We knew it had poison, but Snow White didn't, and in the process we were tense with the suspense of whether she would accept it or not. And when you get older, you learn to notice the character's body language: Snow White is reluctant to accept that fruit or not.
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You is you BFFS
My bFFs? OwO
they would be...
@bobapplesims the bestest sissy of being number one to my heart!! She my bffs and one I see her I'll hug her tightly and tell her she ths bffs to my heart X3!!!!
@saphir-chan22 or @van-and-the-cup-brothers bffs 10000% x3
@sagele1945bright best best best friend forever i love her x3
@nikkidrawstuff BFFS for life and she the most funniest person i know
@cool-noisydinosaur-fandoms they sweeties of all my sweet, she the coolest girl of being bffs x3
@zoethegloomygeek the cutie of being bffs x3
@anikithefox the fluffy foxy of being beautiful of being bffs x3
@saferoom45 cool guy to be bffs with him x3
@a-little-siph-simphony a special friend to my heart of being bffs x3
@unitficationfamilyandfriends the weirdest and crazy loud girl who i love being bffs with her x3
@naeeveart special to my heart, she my bffs/auntie and i love her
@alegotic-twelve im getting to know her a bit better she the queen of being silly and making me laugh with her art i love her she my bffs/mommy tumblr and i would help her when she needs it x3
@alannahablar the cutes of being sweet, cool amazing awesome of being bffs x3
@thatbloodyduckismiki the beautiful sissy I love her, she sweet, she beautiful, and she amazing at art I'm so happy being bffs with her x3
that goes for all of you guys your all my bfs
I LOVE YU ALL!!!!
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Silly Simphonies (1929)
#halloween#halloween 2018#spooky#skeleton dance#black and white#halloween animation#skeleton#owl#halloweenedit#my edit#my gif
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