Studio Disney is not afraid to rewrite classic fairy tales and earns billions of dollars from it.
In the coming years, Disney will release game remakes of the Little Mermaid, Mulan, Dumbo, Lion King, Aladdin, Winnie the Pooh, Peter Pan, and Snow White and the Seven Dwarfs kisscartoons. It is not yet known how far they will go from the classic animated films of the studio, although the names of the directors already allow us to speculate.
For “Dumbo” meets Tim Burton, and therefore, from the history of the circus elephant calf-outcast with big ears we can expect the tone of “big fish”. It is already known that the role of the French aerialist Colette went to Eva Green, and Danny DeVito could play the Medici – the owner of a small circus, which is acquired by the owner of large circuses, the villain Vander. The game version of “Mulan” will put the New Zealand director Niki Caro – one of the few women whom the studio has entrusted the director’s chair of a large-budget project. They promise a film in the style of drum Ridley Scott, but without songs. For rent in China is better to do without extra lyrics.
The scenario of the game version of the story of Winnie the Pooh is now being rewritten by Tom McCarthy, the director of the drama “In the Spotlight”. The director of the story about the matured Christopher Robin and his new meeting with an old friend Winnie the Pooh will be the extremely diverse author Mark Forster.
Recently, an open casting was announced for Aladdin, which will be the first musical picture in Guy Ritchie’s career. Aladdin and Jasmine will play aspiring young actors, and filming will begin very soon, in July.
While the audience was waiting for the return of their favorite characters, KinoPoisk decided to remember how the history of gaming remakes began and how new films differed from animated prototypes.
The 1951 cartoon is only 75 minutes long and honestly tells the story written by Lewis Carroll. True, on her way she meets the heroes and “Alice in Wonderland” and “Alice in the Looking Glass” – the Dodo bird, the talkative truly and Tralyalya, the Cheshire cat. Of course, Alice sang with Disney, which, by the way, is quite in the spirit of the original book. In the middle of the last century, the Disney “Alice” did not find understanding among the audience and critics, becoming a box-office failure and the object of sharp criticism. Time put everything in its place: in the early 60s, Alice in Wonderland was rediscovered as a cult ribbon, in an accessible form that introduces children to the difficult problems of self-identification (if not without the help of chemical stimulants).
“Alice in Wonderland” by Tim Burton is not a remake or a new screen version. This is a free continuation of the story, in which 19-year-old Alice returns to Wonderland to discover the world is not wonderful at all, but scary, destroyed, with branded Burton spiral trees and eerie freaks that look a little like charming eccentrics from the kisscartoon. Alice can save this world by killing the dragon – at the very beginning of the film, the viewer is already aware of this. If Alice from the cartoon set off on a journey without an explicit goal and route, then the adult heroine has a specific task. The peculiar built-in spoiler hints that it is not so much the plot that is important to Burton, as the characters and what surrounds them. The greatest role of the director of the game version took the Hatter. Where in the cartoon was just episodic madman, Johnny Depp, the great influence on the plot?
If young Alice Carroll was faced with questions of growing up and searching for her place in a strange, as if turned inside out world, then the heroine Mia Vasikovskaya defends her independence. At her in the London world, the family tries to, choosing for the girl her fate. In addition, after the death of her father, Alice lost her curiosity, the power of imagination and the craving for adventure. A gloomy tale without frivolous songs, but with a red-haired Depp, was watched by tens of millions of viewers around the world who brought the studio more than a billion dollars box office. The sequel was inevitable – already without Tim Burton in the director’s chair, but with the plot even more distant from Carroll and, as a result, extremely modest (for a picture with a budget of 170 million dollars) box office results.