![]() After that, we’ve still got the Mulan remake to look forward to.Ĭomments on this piece are premoderated to ensure discussion remains on topics raised by the writer. Let’s see where Disney’s and Ritchie’s take Aladdin. By definition, fantasy locations cannot conform to reality, but they often conform to their creators’ prejudices. You could say that Aladdin was an orientalist fantasy to start with. It was set in China, although there is nothing in it to suggest its Arab narrator had actually been there. The “original” tale was recorded by an 18th-century Frenchman who heard it from a Syrian. ![]() Then again, who’s to say this fictional Agrabah can’t contain white foreigners or mixed-race people, such as the Anglo-Indian Jasmine? It’s not as though there’s a solid reference point. In a 2015 poll, 30% of Republican voters supported the US bombing of Agrabah. ![]() It is an impression that often sticks in the mind of outsiders. The new Aladdin’s Bollywood-meets-the-Middle East setting looks like the themed area of Disneyland it is destined to become. These orientalist lands take a swathe of diverse “eastern” cultures and smoosh them into something homogenous: camels, turbans, swords, sand, “mystery and enchantment” no Muslims, thanks. Like the 1932 cartoon Mickey in Arabia, in which the locals are all “sambo” caricatures: jet-black skin, giant white lips, big eyes. "I invite opinions but … I have a pretty good sense of when it's right," he said.But it is not only the casting, it’s the settings and Disney has form in this area, too. Having written more than 40 musicals Mr Menken has developed a pretty good feel for the business. ![]() Loading.īut after 50 years in the business Mr Menken has learnt a key lesson: Don't get attached to a song "And then we'll say, 'OK we're going to write that song and then once that's done … you look at that and come back about how you're going to alter the visuals'."Ī range of live action musical remakes of the original films have been coming out in recent years - and include some of the original songs - and many more are due for release, including Aladdin and The Lion King. "There are also times when I'll say, 'You know what? We need this score and this project needs this kind of song'. "In animation sometimes they'll be concentrating on a visual they really want to do and we'll be concentrating on a plot point we really want to push forward in order to support a song and there can be a little bit of creative collaboration. He said that while the composer and animators almost always collaborated well, sometimes their focus would be in different areas. " How important are the visuals?Īccording to Mr Menken, a good song should combine with good visuals to hold the film together. "And it's a collaboration again with the animators about what is actually happening. "We ask: Is it going to be a montage? Are they going to sing to each other? What are we seeing visually in it?" When it came to creating that song, Mr Menken said the music came first, then the lyrics, and then finally a discussion was had about the visuals. The musical number A Whole New World was a hit on the 1992 Aladdin cartoon and went on to win the Academy Award for best original song as well as the Grammy for song of the year. Then it's up to Mr Menken and the songwriters to work with the animation team to bring the songs to life. Once the musical dramatists have those key song ideas in place, then the script and the story board is put together.
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