Word: aladdins
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Dates: during 1990-1999
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...more satisfying (and less flaky) than "Pocahontas," "The Hunchback of Notre Dame" is reminiscent of "Aladdin," with its spectacular cartoon architecture and lively medieval street scenes. Directors Gary Truesdale and Kirk Wise (collaborators on "Beauty and the Beast") tap into the visual power of the Notre Dame cathedral, and the film's most compelling scenes are set therein...
They could keep making zippy comedies, Xeroxing successes like Aladdin for a predictable billion-dollar gross in the theatrical and video markets. But the artists at Disney's animation unit--it should be called the ambition unit--have bigger eyes. They figure that where they go, into melodrama or political sagas, the audience will follow. With The Hunchback of Notre Dame, directors Gary Trousdale and Kirk Wise (who made Beauty and the Beast) have splashed the broody emotions of Victor Hugo's epic novel with a bold, dazzling palette. Alan Menken and Stephen Schwartz (Pocahontas) have written the largest, most...
...sign over a manhole reads mon sewer; one song rhymes Quasi with "was he" and "bourgeoisie." At times the cathedral is a theme park, with cute characters, dark scary spots and a drain pipe that Quasi uses as a giant water slide. The movie may not soar like Aladdin or roar like The Lion King, and it demands plenty of parental guidance; but it fulfills the Disney animators' dream. From a blank sheet of paper, monsters and magic emerge...
Katzenberg, who reanimated Disney by honchoing such megahits as Aladdin and The Lion King, says Disney stiffed him out of $250 million in unpaid bonuses. The high drama is Hollywood's favorite feud--between Katzenberg and Disney chairman Michael Eisner. Katzenberg stormed out in 1994 when Eisner refused to promote him to president. Last week a feisty Katzenberg was calling himself "the $250 million...
...singing about. Of all the fine scores Alan Menken has composed for Disney animated features (The Little Mermaid, Beauty and the Beast, Aladdin), this is the most complex and rhapsodic, full of swelling passages that are artfully complemented by the Disney artists' imagery of pristine streams and forests. Menken's lyricist, Stephen Schwartz of Broadway's Godspell and Pippin, has a poetic righteousness that deftly avoids propaganda. Colors of the Wind -- among the loveliest ballads composed for a Disney cartoon, and sung to fierce perfection by Judy Kuhn -- ends with the admonition, "You can own the earth, and still...