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60sgroove · 10 months
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Ariel, listen to me. The human world is a mess. Life under the sea is better than anything they got up there.
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marciabrady · 6 months
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it's so funny to me that the princess our culture associates fundamentally with passivity offers credos which are among the most active and powerful of any in the fairytale canon
first and foremost, cinderella communicates that we all are what we contribute.
cinderella saves the mice and fosters an environment of collaboration, harmony, and unity that's harbored by her own industrious nature. mind you, she does all of this against her stepfamily's wishes, actively defying them, and creating a counterculture in the process.
as the story team intended the animals to be a reflection of their human counterpart, notice how cinderella's kindred are uniformly hardworking, intentionally kind, and approach every situation with their best foot forward, adapting a problem-solving mindset that collectively aids them all in their shared progression toward the betterment of themselves and the world around them. take the very first scene in which we see cinderella and the culture she's created, for instance:
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everyone has a hand in the first chores of the day and they're all choosing to do it with a smile on their face. key word: choosing. because this isn't an idly happy lot whose joy is an accident of their own nature or something that's easy. their happiness is something they have to be mindful of and, in many cases, fight against themselves to achieve. because, guess what? their life is terrible. they've been reduced to living in a dusty attic room of a decaying house. many of them were saved from death by cinderella, herself, and know that if they venture too far outside of the safe quarters she's provided, or if they allow themselves to be seen in some way, they'll be back at death's doorstep. the danger and stress they live under would cause anyone to snap, or anyone to never want to get out of bed, which is why we see them looking like this in one of the most relatable openings of all time:
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i mean, cinderella canonically hits the snooze button:
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the birds literally have to force her to wake up, initially:
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and once she does wake up, she's playful and pleasant and kind, yes. but that doesn't last long- the clock immediately tries her by reminding her of the daily toil she must face in order to maintain the food and shelter that's tantamount to, not only her own survival, but that of this tiny community that she's the unofficial mayor over and continues to be responsible for. she has to sustain herself and the others she's collected around her by choosing to live life the way she does. this kindness is something she has to pay for, every day. and she physically snarls at being reminded of the hand life's dealt her:
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and you know what? that's a very human quality that everyone can identify with in some regard because it's hard, even if you are someone who loves life and the people around you, to keep going in spite of the challenges you face. being positive, plainly put, is something that's difficult and you have to keep reengaging yourself to be because it isn't a natural state for most people, and especially not people that have been treated as unkindly as cinderella. let's not forget that she lost both of her parents at a young, formative age, and from that time in her youth when, like all other children, she deserved to be supported and loved and protected, she was literally "abused, humiliated" and "forced" into being a literal "servant in her own house." she had no security- both of her parents were gone, she had no money to fall back on, no education, no means with which to leave the house, and to try to get a job in that world and environment- as unlikely as it would've been to obtain in the first place (which, again is so relatable- look at the staffing shortages and people struggling to find employment today)- would've been contingent upon references of some sort, and we all know that lady tremaine definitely would've either a) ran a smear campaign against cinderella to absolve herself and the family name of any personal fault or b) prevented cinderella from ever leaving in the first place so that no one would ever know that atrocities the tremaines forced her to endure from the time she was practically an infant.
she wakes up after barely being able to sleep, probably, due to all the daily chores she must, alone, accomplish to keep an entire estate afloat. everyone is depending on her, from the stepfamily to the mice to the grounds of her family's home itself. her body's practically aching from the lack of rest, the physical work she's forced to do every day, from sleeping on such an uncomfortable bed. the only place she feels remotely safe is in this drafty attic, which smells of fraying wood and aging artifacts and is in a constate state of decay, with weeds growing in the sides of the tower. that's not even mentioning the emotional turmoil, the ptsd, the grief, the neglect, the physical abuse she's also processing at any given moment
so, yeah, cinderella snaps. and there are times she snaps later on in the film but she always reels herself in and consciously makes the choice to never succumb to her circumstances. this is what makes cinderella extraordinary. she singlehandedly- and actively- ends the cycle of abuse through the behavior and choices she partakes in every single day.
and, again, this isn't something that's easy for someone who has been in survival mode for a majority of their life. but the conscious choices, active efforts, and mindful decisions cinderella makes is what frees the household from that cycle of abuse continuing. i mentioned earlier that the animals are supposed to be a parallel to their human counterparts. remember how we meet gus? he's just been caught in a trap, doesn't have anything to wear, and is literally recoiling in fear. due to his terror and his own need to defend himself out of instinct, he attempts to make himself come off as threatening as possible and is ready to pop off the minute that jaq approaches him:
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but, through cinderella's influence, she's able to give him hope once more. she treats him warmly, pairs him up with a buddy to go through life with, comes up with a name- and even a nickname- for him, gives him a community, a safe haven, and clothes him. in that short time, look at the difference she's made in his mood, his demeanor, even his approach to life:
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and it isn't just the mice cinderella's this way with. in the opening slides, we see cinderella holding an adorable puppy dog. but as the film progresses, and the narrator details the despair the family estate has fallen into, that puppy dog turns into an old, starved bloodhound who's secretly sleeping on the floor of the cold kitchen to keep from freezing to death. he has to keep even his dreams to himself so as to not be heard by the stepfamily and potentially kicked out. he openly hates lucifer but cinderella encourages him to think of lucifer's good points too, even if she can't think of any herself, to be able to continue successfully cohabiting this environment with him. and when he pounces on lucifer, deserved or not, she puts an end to this:
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because cinderella knows what will ever happen if bruno allows himself to give into his impulses, to treat others as life has treated him, to attempt to retaliate in an impossible environment when the odds are already against you. you'll harm yourself the most and perpetuate that cycle.
but, just as bruno is a reflection of cinderella, notice how gleeful lucifer is in falsely incriminating bruno, so that another being who's never wronged him will be unjustly punished and suffer:
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this is what separates cinderella from the tremaines. this is why she is the heroine and they will never be, despite how many people you see empathizing with how unfairly life must've treated them for being the "conventionally unattractive" characters in the film, or for having a single mother which to them denotes less resources, or for being awkward, or for whatever other reason of the month they're being rewritten to be the victims.
if we are the sum of our contributions, the tremaines are nothing and that is definitely a reflection of their reality. they only feel alive when they're making fun of cinderella or humiliating her by continuing that cycle of abuse they passively adhere to and never challenge. remember how we met cinderella and her friends, gathering their spirits and putting on a smile, despite how hard it is with the troubles that face them? how they look past that to work together and try to change life for the better?
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the tremaines can't be bothered to get out of bed. the truly passive, lazy characters, they grog about in dim rooms, turning around in their fine silks and ornate finery, while a being they literally enslaved is being forced to do their bidding. and they refuse to actively participate in their very charmed and privileged life. they can't even find a reason to be happy- but instead are upset when cinderella enters their room. they want to know why she's taken so long, to hurry up, to continue to wait on them, hand and foot. when she asks them how they're doing, they grumble, "as if you care." because they don't care about anyone else, so why would others care about them? and that type of apathy breeds resentment, which- in the wake of such sedentary creatures- seeks manifestation and results in destruction. the stepsisters get out of their comfortable beds only when they have the opportunity to point their finger at cinderella, to get their mother to punish her. again, they feel alive by inflicting pain on others, it's literally what gets them out of bed:
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again, as the parallel, this goes for lucifer, too:
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as cinderella nears lady tremaine's bed, her stepmother's eyes blaze with fury, hatred plain on her face:
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lady tremaine doesn't move, her hand only lifting to stroke lucifer, who has the biggest grin on his face. meanwhile, the desperation is evident in cinderella. she isn't quite defeated, because she does stick up for herself three times in the scene. but she's tired of this. she's tired of being tormented by her only family, of having the odds stacked against her even when she's doing everything in her power to live as peacefully and productively as possible, of being forced to fight a losing battle that will never result in peace but will only further prompt hatred, and division, and anger. in her expression, there's almost a plea for lady tremaine:
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it isn't until she sees cinderella's expression, she hears cinderella try to explain what happened, that she livens up. because she has the opportunity to, again, keep that cycle of abuse alive, to actively try to destroy cinderella's quality of life and to profit off the position of power she's in over cinderella. look at the difference in lady tremaine's expression in the previous cap, and in this one, when she believes she's silenced cinderella and is preparing to tear into her:
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one of the best instances through which i can further illustrate this ideology (you are what you contribute) is in a later scene, where we see the stepsisters discard their fine wares, labeling it trash and flinging the luxuries life's afforded them to scorn. it's nothing to them.
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yet, to the mice and cinderella, it isn't nothing. because, remember, the royal proclamation declared that every eligible maiden should attend. at first, the stepmother refuses to let cinderella go and even the stepsisters brush her aside with classist comments. when cinderella sticks up for herself by reminding them she's still a member of the family, and by trapping them in the language of the royal decree "every eligible maiden," lady tremaine has no choice but to consent- on the grounds that cinderella is able to make herself eligible through producing a suitable dress. because, remember, cinderella isn't seen as a person. she's seen as subhuman, someone who's reduced to wearing tatters and isn't seen as a person in the eyes of their society unless she has social indicators of wealth via her clothing, in this specific instance. drizella and anastasia never have to think about that, because they exist as people of value in their society due to their good fortune that they had no part in creating. they don't know what it's like to be laughed at, to not be considered eligible or even a person in the eyes of society the way that cinderella's lived experience has reflected since her father died. meanwhile, the tremaines are so deep in their own privilege, that they're literally waving it around like it's a rag and carelessly tossing it away. yet, what does cinderella do, with much less?
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cinderella makes do with what little she has, always to help someone else. and because of this active kindness, it changes the mindset of those around her. since she's afforded this to so many of the mice, what do they do for her in return?
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what a difference in how cinderella and the stepfamily approaches what's, essentially, the same material? and this community that cinderella has established and continually maintained and influenced comes to each other's aid, time and time again. whether it's cinderella freeing the mice from death, or giving them clothing, or allowing bruno to sleep inside unbeknownst to the stepfamily, or the mice turning into a LITERAL army and battleground in cinderella's honor:
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again, this community is just as active and vital as cinderella, herself, is. because those values i mentioned earlier, of helping one another and rising above your circumstances and working together, aren't just whimsical morals cinderella sings about. they're constant behaviors she's actively taking part in and impact the household they all share, to the point where when they help each other take action when the time is right. they're constantly conferring with one another on how to best use their community and the resources this offers to get closer to victory. (meanwhile, the stepfamily is only for themselves; anastasia and drizella literally repeatedly hit each other and compete, even to the point of giving conflicting stories to the grand duke that makes their pathetic attempt seem all the more discreditable at alleging they were the princess at the ball the night before) we see it in how cinderella and her friends accomplish their chores together, in how the mice plan to get her dress remade while she's busy, even in how cinderella's quick thinking leads to calling upon bruno, who must be awoken by the birds with an interjecting call from the horse, and how this leads to all of their escape:
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because, this community also knows when it to fight and support one another in times of battle and when the goal will bring about a victory that will ultimately reign peace; they know when it's worth it for a shared goal and the benefit of all parties involved. and the difference cinderella brought into that household is what gave them all glory and helped them, not only survive, but succeed. it isn't just the poor scullery maid we see ascend in the closing chapter of the film. we see the same bluebirds who attempted to wake her up in the beginning of the film holding her wedding veil:
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we see those same mice that she nursed from death, and clothed, and fed, and loved; the mice that risked their lives in remaking her deceased mother's dress so that cinderella might, too, have a chance to go to the ball; they're still here, cheering her on and throwing rice in blessing at the happy couple, their own clothing being upgraded to reflect that of the royal staff:
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we see that starved bloodhound and the old horse leading the royal regiment, as beautiful and shining and proud as their majestic counterparts:
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and this is the world that cinderella, as a character, offers. not a world in which multiple parties are at competition with one another over who's the prettiest, or the wealthiest, or where hatred breeds continual hatred. but she presents us a world in which everyone deserves to be seen, heard and valued; where everyone can find a community they can contribute to and have purpose in and be worthy of experiencing love, whatever you determine love to be whether it's romantic or in the form of a found family.
a world in which everyone can go to the ball:
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margotfonteyns · 4 months
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"One night after a performance of Victoria Regina, Ruth Gordon was with Helen Hayes in her dressing room. The two of them were going to a party and stood before the mirror inspecting themselves. Almost of a size, delicate and bright-eyed, they looked utterly charming but utterly unspectacular in their chaste dinner dresses. As they were leaving, Joan Crawford joined them--sleek and lovely in a white turban, dazzling diamond ear clips, and a white ermine coat that plunged in unbroken magnificence from her chin to the floor. Leading the way, Miss Crawford's blazing, ermined presence swept from the dressing room. Miss Hayes took a final look in the mirror, sighed, shrugged, and, beckoning Ruth Gordon to follow, murmured, 'Snow White and her two dwarfs.'" — Therese Lewis
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retrotvblr · 2 years
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JOAN CRAWFORD in NIGHT GALLERY — "Eyes" Air Date: November 8th, 1969 Joan Crawford starred in the made-for-television anthology horror film Night Gallery, which consisted of three supernatural tales hosted by Rod Serling (The Twilight Zone). The film would go on to serve as the pilot for the anthology television series of the same name (which ran from 1970 to 1973). The episode titled "Eyes" was written by Serling and directed by a young Steven Spielberg in his first professional job. Between scenes, Joan taught Spielberg how to burp.
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deforest · 2 years
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ANITA EKBERG in PICKUP ALLEY — 1957, dir. John Gilling
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gavillain · 1 year
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The aesthetic of my dear friend @marciabrady
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mickeysclubhouse · 10 months
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Happy birthday! Sending you love from three good fairies ♥️💚🩵
thank you! this is so sweet 💖
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58, 45, 42 🙏🌹💌
42. favourite book(s)
For many years I've said The Rules of Attraction by Bret Easton Ellis is my favourite book (and it's also the namesake of my blog). Although I haven't read it in over a decade, and I can't imagine it having the same impact on me now as it did then, I would still consider it my favourite. It hit the perfect sweet spot between depicting the world not only as I actually saw it (and therefore validating my perception), but also how I wished it could be. More recent reads that I'd stand by as favourites are The Moth Diaries by Rachel Klein (which ticks a lot of boxes for me: private school setting, homoeroticism, themes of suicide, and explicitly gothic elements), and Last Summer by Evan Hunter, which I've raved about for years now as being a key piece of evidence in my ongoing argument that pulp can be art.
45. how you found out about your idol
I'm not sure who I would even consider an idol! It depends on what is meant by that term, I suppose. In terms of people whom I respect and whose work has meant something to me, I guess I would consider someone like Karina Longworth something of an idol (probably very cringe of me to consider a podcaster an idol, but oh well!) I think she's doing a lot to keep the legacy of Hollywood/American cinema alive in a respectful and reverent yet clear-eyed way, and her series have run the gamut of Hollywood history from the silent years through the 1990s. I enjoy her style and respect her taste (even when it doesn't match my own), and she has a chill, insightful persona that I just really vibe with. She was first brought to my attention by a shout-out she got in an Entertainment Weekly article way back in 2014, when her podcast first launched.
58. description of my best friend
We first met through a mutual friend, and immediately clicked over our love of old movies and Murder, She Wrote. She is funny and witty and smart and insightful and creative and always up for a good time. I trust her as much as I could trust anyone, and I know that she always has my back. I could tell her anything and she would do her best to understand. Our relationship is easy and relaxed, and I am very grateful to have someone like that be such a big part of my life.
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#todays #caricatureoftheday is @momccormick7 as #marciabrady #thebradybunch #crayolasponserme #artist #orlando #caricature #artistic #instaartist #artistsofinstagram #artistoninstagram #art #digitalartist #artistofinstagram #illustrationartists #artistlife #contemporaryartist #orlandoflorida #independentartist #disneyartist #disney #worldofartists #streetartist #illustrationartist #orlandofl #artforsalebyartist #evententertainment #artistoninsta #cartoonnetwork (at Disney's Contemporary Resort) https://www.instagram.com/p/CisSM3cLtI-/?igshid=NGJjMDIxMWI=
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itsmisslaceynoel · 2 years
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“Oh, my nose! I can never show my face in skewl again!” 😭 One of my favorite looks I’ve done 😝 #bradybunch #marciabrady #marciamarciamarcia #bradybunchmovie #kitsch #kitschart #pinup #retro #vintage #malibubarbie #benefitcosmetics #colourpopme #makeupforever #uniquevintage #mehronmakeup #bennye #abh #buxombabe #halloween #halloweencostume #cosplay (at Hollywood, California) https://www.instagram.com/p/Chd0dNprEtA/?igshid=NGJjMDIxMWI=
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emaratygirl · 4 months
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Happy National Princess Day ✨🩷👑
@romancemedia @theswanprincessofficial @awyeahswanprincess @disneyyandmore-blog @mickeyandcompany @ran94 @ran94creas @lolirockscreenshots-blog @petitetiaras @maidmarians @megahra @meril-tospen @marciabrady @solariansun @solariasun @bydeykun @winxclubloverbyheart @lokiprincess @summoneryuna @lavidadedaniela @philipsauroras @queentianas @queenmercurys @60sgroove @winxwiki @stellasolaris @stellasolarias @stellabrandon @miss-magix @jazzymarie1006 @disneywinx @stars-heal @winxclubsource @winx-club-gifs @win-x @francissinatra @donbluthconfessions @thumbelina-rose-blog @lavidadedaniela @capturing-kawaii @fgadfanpage @princessnostalgia @quasiimodos @effulgentpoet @amazinglyanimated @kpfun @swan-princess-spell-blog @swan-princess-odette-blog-blog @swan-lake-princess-blog @tangledaddict
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marciabrady · 1 year
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here are some sleeping beauty plot points/general details that i love and i would love to see more discussion around
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the story team did such an incredible job with fleshing out aurora while still making her feel true to the mythos from which she was derived. in every novelization i've ever read that predates the disney film, she's only ever given one line of dialogue (something like: "what is that thing that spins so merrily?") before falling asleep. disney took that same princess and successfully expanded her into a living, breathing dynamic human who is filled with everything- ethos, pathos, everything, but is also authentic to her origins. they also did a genius job at creating a basis for why love is so revered in this tale. true love conquers all, we're told, and it's indeed what keeps aurora safe from maleficent for all these years, as it's the one thing the evil fairy can't understand. yet, the fact that the princess grew up surrounded by the love from the three fairies, which instills that care in her heart, along with the fact that she grows up in isolation, so connected to the universe around her and allowing her to be introspective enough to observe the animals about her and draw a connection to the human condition and that of the consistencies of nature is so...deep and profound and develops her and makes her an evergreen character that will always represent people, for as long as we're around, because aurora's struggle is one that speaks to everyone. she isn't just some "lovesick princess" but a character that's growing up and longs to be able to find her soul's mate and to express the love in her heart in a universe where she was socially excluded and deprived of others outside of her three guardians. as humans are tribal creatures, social inclusion is one of the main pillars of wellbeing. so to take aurora, who is already an innately romantic person, and to deprive her of that just gives all the more reason why the kiss of true love really would revive her. she isn't just some princess who grows to be fifteen or sixteen, pricks her finger, and then is awakened by a prince she never meets. she is someone who was raised in love, grows up and wants to become a woman and share that love and express it with someone else. when she finds it, it's suddenly stripped from her and she's induced into a magic slumber that's meant to symbolize her transformation from girl to woman. then, she's awakened by the same love she'd thought she lost and it's just...the structure of it is genius and incredible and they retain all of the qualities about her in the fairytale and storytelling devices but they develop it so much further and round her out so well but still maintain a reverence to her source material instead of condemning it or outright changing it and i just LOVE
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i don't think enough people realized that, it wasn't until maleficent visited prince phillip in the dungeon and showed him the vision of aurora in slumber repose that he knew that aurora and briar rose were one in the same!!! like this is the moment it all clicked for him and it gave him the drive and determination to slay the dragon in her honor. he realized the woman he loved and the princess he had been betrothed to were both one and that's so important and it's just such a plot twist that, again, was so genius of the writers. it proves to us that he loves her enough to leave the kingdom for her and risk damning the princess he had been betrothed to to the curse she was under and he'd take her as she is, even if it were a peasant, but also that his love is so steadfast and true that he'd defeat a dragon for her. 10/10 and it sooo runs along the vein of the lyric "visions are seldom all they seem." this is a plot twist done RIGHT but with so much sophistication that it tends to fly under most everyone's radar because it isn't like loud
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something i love about the original princess movies is how the female characters are forever in the forefront, and the fact that this film opens with the celebration of the birth of a female child is something that's so special! instead of having to think about how female children weren't celebrated in that time, or it was a disappointment she hadn't been a son, or something of the like, the fact that the spotlight is on their daughter and the opening of the film continues this matriarchy, where all in the land praise this female birth, before the fairies are introduced as their most "honored and exalted excellencies." we need to see more worlds like this instead of pixar films where there's like not a single main female character lol
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THE FACT THAT PHILLIP WAS WILLING TO GIVE UP THE THRONE AND THE KINGDOM "for some nobody" and told his dad flat out to his face without hesitating makes me love him soooo much?? he loves aurora for who she is, not just because she was a princess to whom he had been betrothed to his entire life, and this proves how genuine his love is. it also paints how progressive and open-minded phillip was, seeming to be the first that would ever break the tradition of princes marrying princesses and opening up his country for a new type of culture and reign. love me a freak like that
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one of the biggest facets to aurora's character, and something that further develops her relationship to phillip, is how differently she reacts to her guardians when told of the betrothal. where phillip already knows, and is aware of the king and queen and how his duty is to marry their princess daughter, aurora is just finding out that she has living parents for the first time and the future of a nation rests on her shoulders. she discovers she's to be married to a prince and must give up her true love forever. again, before i hear anything about "she just met this man for two minutes in the woods, why is she crying," this is a fairytale with magic that's meant to be archetypical. in the narrative of the film, and in the universe of this world, phillip is her true love- and this is confirmed when it is his kiss that awakens her from the curse. so to leave the one true love who was meant for you, when that's all you ever wanted in the isolation you were raised in, to accept your duty and responsibility over parents you didn't even know you had and to assume the obligations of a nation you aren't even prepared for...it's astounding. aurora does everything right, she even leaves love behind for the good of her people and puts everyone above her own personal desires, and yet people still criticize her and say she's dependent on a man and all she cares about is love. meanwhile, phillip never receives any hate, and he's literally willing to give up the throne and the kingdom and start a war between two countries for the girl "he just met in the woods for two minutes" but he's one of the most beloved princes...it really just makes me think about how misogynistic our society still is, without even realizing it. aurora literally couldn't have done anything better, by our modern standards, but people still condemn her just because? this is definitely a discussion piece i want to hear more about and, in general, i think it would behoof us all to understand why aurora has been so demeaned culturally as a character when her actions, in and of themselves, are exactly what we say we want and would appeal to modern sensibilities
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this is a slight sidenote but i always was tickled by merryweather proclaiming, if she had it her way, maleficent would be turned into a "fat old hop-toad." i always felt like this was a nod to the original tale from which this movie was based on, where a magical frog tells the queen that her wish to be with child shall soon be granted and that it, just generally, was a very clever easter egg/allusion
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in this film, they have enough action and movement to appease the more restless demographic/traditionally "masculine" crowd, but i love how the basis of maleficent's defeat lies still in the femininity of the three good fairies. it's these elderly women that save phillip from the dungeon and arm him, not just with weapons that will kill another being and are predicated upon violence, but with symbolic weapons that are laced with truth and virtue. i think it really reminds us all how transformative these values are and how, in arming ourselves with them, we'll alone be able to navigate the road to true love (whether that be familial, platonic, or romantic love) which will be "barred by many more dangers" and how it enables us to have a sense of autonomy where we'll be able to overcome anything that's thrown our way while still retaining the core of who we are
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i wrote about this moment previously, but to piggyback off of what i wrote about phillip just above...i love how aurora is the most competent human in this world? much has been said about how the plot of sleeping beauty is essentially the fairy worlds dueling with one another and, in that, many of the mortals are somewhat...inept, to put it for lack of a better term. king stefan is unable to protect his daughter with the burning of the spinning wheels, even with all the power he harnesses within his kingdom, and the fairies are quick to see his folly. prince phillip would still be rotting in the prison had the fairies not interjected, and he would be burned to a crisp had they not sprung a final chant of magic upon his, already, enchanted sword. yet, maleficent has to hypnotize aurora for the princess to even succumb to her plan and, even then, aurora is temporarily able to snap out of the magic hypnosis she's put under. i don't think people realize how powerful that is? yes, i understand it's a minor moment, but the hesitation and the ability to counter magic while remaining totally unarmed is something that reminds me why aurora is our main character, despite what anyone else might say.
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going along with what i said above, while many are quick to point out aurora's lack of screentime, the film begins with her birth, the plot is sprung forth with every character wondering what they could do to protect her, then when she pricks her finger upon the spinning wheel, she and the entire kingdom are put to sleep. it isn't until she wakes up, that the entire kingdom does, too. she holds the key to this entire universe in a persephone like way and i just love how important it is in the narrative of the film to wake her up. she isn't just this beautiful creature who's valuable because she's pretty, because if that was the case, her being a lovely figure posed to perfection in her slumbering mode would be enough...but the people of her universe value her so much more when she's alive and active and being her own person, that it ensues a fairy war, practically. she's also involved in every single plot, even if she isn't physically present. this is her movie and no one can take that away from her. but, just to restate, the fact that there's so much emphasis in aurora being alive and well is something that's so important
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so, it's kind of a given at this point that every princess can sing, but i think the role that music plays in sleeping beauty is the most meaningful and well done? sleeping beauty makes much to do about its classical score and it skillfully combines realistic characters and storylines (like the fairies not knowing how to cook and clean, phillip being captured with no way out, the kings toasting to the impending nuptials of their offspring before getting into a quarrel centered around a misunderstanding) with the fantastical world of fantasy and opera. by giving aurora the gift of song, the narrative is creating a framework that explains her relationship to her singing voice in a way that's even more profound than that of ariel's connection with her singing. it explains why aurora sings more than she speaks and ties in perfectly with the thematic style of the operatic presence in sleeping beauty, which is that in the opera, instead of speaking about it, you sing.
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OK but this scene of hubert's/his general plotline and character motivation that results from this is genuinely perhaps the best comedy disney's ever done? hubert is coming off of declaring war upon his best friend stefan, because he misunderstood stefan's caring for his own daughter as a snub against hubert's son. after challenging aurora's father to a duel, they quickly make up, before hubert hears phillip has arrived and rushes off to greet his son. there, the news is broken that phillip is actually in love with a peasant and that he plans to renounce the throne- which will actually cause a war- so that he can be with his beloved. hubert is convinced phillip is joking, especially as he happens to meet this mystery maiden on the date that aurora is set to come home- the most anticipated date for these past sixteen years in the kingdom- and his son is set to be a central figure in the celebration for the princess's homecoming! before he can reason with phillip, his son escapes, leaving hubert to be the one to break the news to stefan. heavy-hearted, as hubert tries to tell stefan, he keeps being interrupted by trumpets and the musical notes that are meant to accompany the princess in her debut to her country. then the fairies literally put hubert to sleep when he finally gets a chance to explain it to stefan and, when they're awoken from this fog like slumber, the first vision that greets hubert is that of his son and the princess??? the same son who said he had no interest in aurora, but was set to marry the peasant maiden. the whole thing concludes in a very charming "all's well that ends well" but i still think the whole "how am i ever going to tell stefan" dilemma, while continually being interrupted, and this king who declared war in 2 seconds flat and minced no words in being so short-tempered was suddenly at a loss for words and so hesitant and fumbling and nervous about this news his son sprung on him lol
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one of the most haunting sequences in film is the one above. the three good fairies have endeared themselves to their mortal charge, even giving up their magic for her for sixteen years. their bond is so much deeper and meaningful than it would've been otherwise, as they probably would've blessed her at the christening and then only appeared in her life intermittently, at a distance. they clearly aren't close enough to humans to know too much about their customs, and their magic always gives them away as outsiders, which indicates they were always content to live in their own fairy-world. but then they give it all up for this baby, this child, and they change their entire world for her. she is their world, to the point where their sole purpose is protecting her, until that's all they can think about for close to two decades. they would do anything they could to make her happy, to give her a fighting chance at life. they're so protective over her- and the fact that they got this close to the finish line...only to leave her alone because they want to be respectful of giving her privacy as she's still reeling and processing from all the news they sprung about her at once. they were even discussing going to king stefan and attempting to convince him to let aurora out of the arranged marriage so that she could be with the boy in the woods. and this all leads to maleficent enchanting aurora to her demise. as the fairies place her in a bed for the last time, looking upon her in her princess form, all of the time they've spent with her runs through their mind. how this isn't their little briar rose anymore, but a princess who inhabits, not the woodcutter's cottage, but king stefan's castle. someone who will never be with them the way she once was ever again and who, presently, is dead for all they know. as they look upon their lost daughter, the faint chimes and musical notes of the celebration of her homecoming is heard in the distance. i could talk about this forever but it's just such a heartbreaking and sad but also eerie mood
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in 2023, it's time king stefan gets his flowers. while, in the time period in which this film is set, it'd be totally realistic for a father to set his daughter up in an arranged marriage to further the prospects of his land, stefan displays an understanding that seems more contemporary than his counterpart, hubert. hubert doesn't think about prince phillip's feelings for a beat and concedes that the "children" are bound to fall in love with one another. meanwhile, stefan seems to display a much more well-rounded paternal instinct, even exemplifying a degree of care and concern for both aurora's emotional wellbeing and her consent. he urges hubert to calm down and remember that this might come as "quite a shock" to aurora and to not push all of these political arrangements upon his daughter before she's had a chance to react to them and digest them.
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the duality of briar rose and princess aurora is so fascinating, but also the moments in which they overlap is more enchanting still. this is a fairytale that is meant to be archetypical, and aurora's enchanted slumber is meant to be symbolic for her transition from girlhood to womanhood. briar rose, the girl, is anxious about her future, the prospect of meeting her love and settling down and getting to the next stage of her life. she loves her guardians, but is frustrated at their inability to see and treat her as anything other than a child. she goes to sleep a scared, shy, unsure teenager and wakes up as a self-assured, mature, gracious woman- the princess aurora. she's a vision, descending the staircase on the arm of her beloved, and she paints quite the picture as she gracefully curtsies to her parents, the king and queen. yet, true to the girl from the cottage, briar rose takes over. unable to contain the love she feels, she bolts forward and rushes to embraced her lost parents. i love this because, for as calm as a character as aurora is, i've always been so mesmerized by the breathless excitement with which she speaks when she returns to the cottage. this is a girl that has more love inside her than she can contain and it renders her a beacon of light. her running into the arms of her parents, instead of resenting them for giving her up, putting her in an arranged marriage, or even pausing to question whether or not she should be so warm with these figureheads of state, is such a tender moment that i don't think i've ever heard anyone speak of.
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i will never get tired of singing the praises of the three good fairies. this film placed three older, conventionally unattractive women at the forefront- without pushing forced hetero ships on any of them- and allowed them to be bad ass (ie saving phillip from the dungeon, providing him with the tools and guidance with which to defeat maleficent, coming up with all the plots and actions that propelled the plot forward), while reminding us that love and kindness is truly the most powerful force on earth and placing an emphasis on the strength and power of femininity. the entire transition, from them being business women in the kingdom essentially (this is more in modern jargon; them being the fairies who are invited to political organizations for their contributions and not knowing anything about things like cooking or cleaning or rearing a child) to learning how to raise a baby and the film ending with them beaming over the shining achievement of their assigned charge finally being safe and happy is...it's everything. how beautifully the film focuses on them and the relationship with their adopted daughter and how that's the driving goal in all of this is something that's been unable to ever be surpassed
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60sgroove · 2 years
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Vanessa from The Little Mermaid for @marciabrady
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filminghere · 2 months
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I was tagged by @norashelley, as well as @chantalstacys and @marciabrady (on my main) to post my to share my nine favorite first watches of 2023 (I know January's almost over alksdjfa). Thank you to all three of you for tagging me! I look forward to doing this every year :). I didn't watch that many new films in 2023 and most of the ones I watched were pretty darn bad lol. These were definitely the nine I enjoyed best, in chronological order.
💖 One Way Passage (1932), dir. Tay Garnett | A super well-directed film that's very somber in a good way. Bill Powell is also probably the most charming actor I've ever seen. 💖 Top Hat (1935), dir. Mark Sandrich | I just casually watched this on an airplane because I don't usually care much for 30s musicals or the kinds of characters I see Fred Astaire usually play, but I really loved him in this. I also don't usually like misunderstandings (a huge part of the plot is one big misunderstanding), but the film handled in it in such a comedic and engaging way. 💖 Daughters Courageous (1939), dir. Michael Curtiz | Literally the perfect romance movie made for me minus the absolutely heartbreaking ending :(. 💖 Mr. Skeffington (1944), dir. Vincent Sherman | I really love watching Old Hollywood romantic melodramas haha. Bette Davis and Claude Rains never fail to entertain, and this movie was also way sadder than I expected it to be (in a good way). 💖 Mrs. Parkington (1944), dir. Tay Garnett | A historical romance story made for me :'). Greer Garson is also perfect in everything, and I was so shocked to see Walter Pidgeon play such a domineering yet likable character. He did it so well. 💖 The Picture of Dorian Gray (1945), dir. Albert Lewin | I enjoyed watching this movie more than reading the book 😅. Very well-directed. The cinematography is a work of art, and I love how so many things are conveyed visually instead of through words. 💖 Marty (1955), dir. Delbert Mann | I'd say that this is the only movie on this list that knocked me off my feet because it's so darn good. So beautifully understated and lowkey in its tone and subject and so tight in terms of acting and pacing. 💖 The Nightmare Before Christmas (1993), dir. Henry Selick | Yes, I've gone this many years of my life without ever having seen this movie in full, and it was very good! I'm very impressed with how pleasant, likable, and simple it is. I love that it doesn't try to be anything more than what it is. It's so lovely and earnest. 💖 The Most Reluctant Convert (2021), dir. Norman Stone | I don't usually like movies with long monologues or dialogue, but Max McLean is a very engaging actor, and I like the extensive use of long shots. I also really enjoyed the scenery and sets; they're very pretty.
Tagging @sonnet77, @valsemelancolique, @glamourofyesteryear, @audreytotter, and anyone who wants to do it!
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deforest · 2 years
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ANITA EKBERG in PICKUP ALLEY — 1957, dir. John Gilling
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gavillain · 8 months
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Beauty of Disney - The Romantic
A Disney aesthetic/moodboard inspired by my dear friend, @marciabrady
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