Sleeping beauty 1959 soundtrack a cottage in the woods
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The earliest versions of the story date back to the 1300’s, but the version we now know originates from Charles Perrault’s 'Stories or Tales of Past Times, with Morals', published in 1697, adapted from a version by Giambattista Basile from 1643. She locks Phillip inside her castle on the Forbidden Mountain, but the three fairies rescue him, and after a titanic battle where Maleficent surrounds Aurora with a forest of thorns and transforms into a dragon, Phillip defeats Maleficent, awakens Aurora, and they marry, living happily ever after.Īs with 'Snow White' and 'Cinderella', the origins of the fairy tale we know as 'Sleeping Beauty' are rooted in European folklore. To make sure Aurora will never awaken, Maleficent kidnaps a young man Aurora has fallen in love with in the woods, only to discover, by an extraordinary coincidence, that the young man is Prince Phillip (Bill Shirley), the prince betrothed to Aurora at birth. Before the sun sets though, Maleficent finally completes her curse, and Aurora falls into a deep sleep. Sixteen years later, Aurora (Mary Costa) is told of her heritage, and shocked and devastated, is brought back to the castle. Merryweather dampens the curse so that she will only fall into a deep sleep instead, until true love’s kiss will break the spell, but as extra precaution, the three fairies take baby Aurora to a cottage in the woods and disguise themselves and her, foregoing magic to protect their identity from Maleficent. But before they can finish, the evil fairy Maleficent (Eleanor Audley), offended at not being invited, places a curse on Aurora, that on her sixteenth birthday, she will prick her finger on the spindle of a spinning wheel and die. Now, shall you deal with me, O Prince - and all the powers of Hell!Īt the celebration for the newly-born Princess Aurora, the three good fairies Flora (Verna Felton), Fauna (Barbara Jo Allen) and Merryweather (Barbara Luddy) come to bless the baby with gifts.
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With Sleeping Beauty, Walt Disney and his artists, who had spent decades aiming for unachievable perfection, would finally achieve it, and in the process, bring Disney animation to its knees. As he had with his only two past successes, Walt would turn to a classic fairy tale, but where 'Snow White' and 'Cinderella' were charming and intimate, this film would be enormous, on a scale never before attempted in animation. In the process it should, once and for all, firmly establish Disney animation as the finest animation studio there had ever been. The other would be a feature film that would launch a full-scale attack on UPA, something their modernist style and limited resources could never, ever hope to achieve. One tactic was to beat them at their own game, adopting a similar style to UPA with the Oscar-winning short 'Toot, Whistle, Plunk and Boom' (1953). He could not accept being shown up by, as he put it, “those commies down the river”, and was determined to win back his dominance. This was something Walt would not stand for. Critics even began to cite UPA when pointing out the inadequacies in their work. They were winning awards, garnering respect and connecting with audiences, and making Disney look old-fashioned. Magoo, more in line with post-war sensibilities than Mickey or Donald. Established by artists who had left Disney following the 1941 strike, the small company was now widely acclaimed for its strong graphic style and popular characters such as Mr.
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'Looney Tunes' cartoons, but the far more pertinent threat to Disney than Bugs Bunny and Daffy Duck was United Pictures of America (UPA). One was the madcap anarchy of the Warner Bros. By the mid-1950s, two major rivals to Walt Disney animation had stepped forward.