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Peeve Farm
Breeding peeves for show, not just to keep as pets
Brian Tiemann
Silicon Valley-based purveyor of a confusing mixture of Apple punditry and political bile.

btman at grotto11 dot com

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Wednesday, February 4, 2004
12:36 - 1 1/2'th time's the charm
http://www.animated-news.com/archives/00000812.html

(top) link
Apparently the "third" Lion King movie is going to be worth watching after all.

It's not like there could be anything much worse than the second, frankly-- they'd have to hire Don Hertzfeld if they'd wanted to make Simba's Pride any worse than it was, and then it'd be intentionally bad. But evidently for TLK 1 1/2, they got back together a lot more of the original cast and crew, and they're actually taking a fairly ambitious angle in an industry that seems to be otherwise floundering its way to a messy oblivion:

It is well-known that the Disney classic The Lion King is based at least in part on Shakespeare's Hamlet. This has been thoroughly documented and is readily admitted to by the movie's creators. In fact, producer Don Hahn referred to the movie in its production phase as a sort of "Moses and Joseph meet Hamlet and Elton John in Africa." And with its tale of two young lovers from warring families falling in love it has been surmised that The Lion King II: Simba's Pride was based largely on Shakespeare's Romeo and Juliet. Once the precedent had been set that "Lion King movies" would be based on "Shakespeare plays" there was speculation as to what a third Lion King movie would be based on. Knowing that there was a play (Rosencrantz & Guildenstern Are Dead) by a modern playwright (Tom Stoppard) that just so happened to be based on the same Shakespeare play that The Lion King was based on and tells the story of Hamlet from the perspective of its title characters I wondered if a future Lion King movie could be based on that "off-Shakespeare" play. When the public got "wind" of the fact that the third Lion King movie would center on the characters Timon and Pumbaa and tell the story of the first movie all over again but from their perspective I wondered if it was just a happy coincidence but the liner notes for The Lion King 1½ confirm that it is indeed based on Rosencrantz & Guildenstern.

And it ends up being something like a mixture of Fractured Fairy Tales and MST3K that get stirred into the pot. It could well be worthwhile.

It's been my suspicion lately that The Lion King, indirectly and perversely, is what has killed Disney in all practical senses of the word. Eisner and his crew responded to TLK's mega-blockbuster success with the misguided assumption that the huge box-office and merchandising numbers were the result of a market shift, a groundswell of love for 2D features in general that needed but to be harvested, rather than the fact that the movie itself struck a unique chord with people. So they took it to mean that all future Disney features would bring in the same acclaim and mo-nay, and so they started investing like there was no tomorrow. They opened studios in Florida and Paris and Japan. They bought ABC. They expanded licensing deals everywhere. They invested so much that they ended up spending money they assumed they'd be getting from subsequent feature releases bringing in crowds on the Lion King scale.

Trouble was that by the time Pocahontas, The Hunchback of Notre Dame, and Hercules had come and gone from theaters and left breathless predictions of "Another Lion King!" withering on the vine, it was too late to pull back-- they'd overplayed their hand, and were now in way too deep. They'd overinvested, and badly. Disney'd won the lottery, bought a beach house, and then got hit with taxes.

The late 90's and early 00's saw a series of uncertain flailings by Disney, trying increasingly desperately to find some new hook, some new direction to strike out in, something-- anything-- to bring in the money and accolades to justify the post-TLK spending binge. They tried to woo the anime crowd with Atlantis. They tried the "smaller, faster, funnier" approach with The Emperor's New Groove and Lilo & Stitch, both of which showed Disney at its creative best and indeed were astonishingly good, but neither of which had the kind of universal appeal to give them a real chance. And Brother Bear, in an outing that's so nostalgically lavish, wistful under even the lightest scenes and morose and ponderous otherwise, that you can all but feel the animators weeping over the cels as they push out one last gasp for the grand old Mouse House, literally closed the book on Disney's seventy-year-old Feature Animation department. It's a fine note to end on, but it's Shakespearean in its tragedy that it had to end at all.

At least the talent lives on, though. Apparently enough people who still believe in the post-TLK dream are still hanging around, willing to give it one more shot. They're regrouping in Disney's TV Animation department (now DisneyTOON Studios), and the resistance movement may be growing.


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