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TopBilled’s Essentials


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#1 Jlewis

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Posted 22 July 2017 - 01:14 PM

I don't recall the next feature, MULAN, having this bit of trouble. Of course, you will refresh my memory on that one soon enough.



#2 TopBilled

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Posted 22 July 2017 - 01:07 PM

I totally forgot about the "Soul Sisters" group singing. I guess they wanted to be diversified in racial skin tones, but wound up doing the same antiquated shtick an old Hollywood studio of  the 1930s would have done: have the black performers sing a song, take a bow and leave so Joan Crawford or Shirley Temple can continue their "story".

 

Yes, these are brief musical interludes that don't have any direct impact on the story. In a way I think the soul sisters group reinforces a stereotype, because they are not diversified to include a Caucasian gospel singer or someone of mixed race. 

 

Would we expect a story about African clans to have Norwegian singers performing between main bits of action? No. So it's rather out of place.


"The truth? What good is the truth if it destroys us all..?" -- Mady Christians in ALL MY SONS (1948).


#3 Jlewis

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Posted 22 July 2017 - 12:58 PM

Most of these I just saw twice, once in theaters and once on video. There wasn't enough sticking power for me to go back to them. Yet I remember liking the visuals in this one, vaguely resembling ancient Greek pottery art with all of the flat, angular shapes. However Disney animators did this just as well in short segments made for the 1950s TV shows whenever Aesop or Socrates needed referenced by Uncle Walt. You can also see a similar (but non-Disney) "Greek" animation in this vintage 1963 Encyclopædia Britannica title: http://kids.britanni...bly/view/141940

 

I totally forgot about the "Soul Sisters" group singing. I guess they wanted to be diversified in racial skin tones, but wound up doing the same antiquated shtick an old Hollywood studio of  the 1930s would have done: have the black performers sing a song, take a bow and leave so Joan Crawford or Shirley Temple can continue their "story".



#4 TopBilled

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Posted 22 July 2017 - 12:19 PM

Essential: HERCULES (1997)

 

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HERCULES is good but doesn’t quite equal the quality of Disney’s other animated classics. Not too surprisingly it fell short of the studio’s expectations at the box office, though it still performed admirably and was an international hit. Apparently the film’s premiere could not be held in Greece, since its use of Greek myths and culture did not go over well with the country’s leaders. They regarded HERCULES not much differently than arch-villain Hades.
 

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In North America HERCULES enjoyed mostly positive reviews, though some critics were quick to point out faults. While Roger Ebert gave it a thumbs up, his partner Gene Siskel was less enthused and gave it only two out of four stars. Siskel liked James Woods’ performance as Hades. But the main problem was that some of the animation seemed cheaper looking than Disney’s previous animated features.
 

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It’s rather uneven in spots, and the music seems to run the gamut from showy Broadway style tunes to more popular-sounding gospel music. The gospel tunes feel out of place in a story about Greek gods. Perhaps the animators were confused, because their idea of gospel singing is really R&B music. Most of the numbers are catchy but nowhere near as memorable as the soundtrack selections of previous features.
 

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The cast does its best. In addition to Woods, there’s Danny DeVito– who plays Phil, a trainer of Hercules. Tate Donovan voices the title character, though I found it more interesting to learn Ricky Martin played Hercules for the Spanish market. Why couldn’t Martin have also done the Hollywood version, since he’s fluent in English?
 

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The storyline includes a romance between Hercules and a girl named Meg. The animators are drawing from the mythological stories and there’s a lot of interesting stuff to use. However, they do seem to ignore more controversial things like the fact Hercules is an illegitimate offspring of Zeus. But mostly the film gets the myths right, or at least suggests them correctly. There is so much material that could have been explored with various characters, especially the relationship between Zeus and Hades, they could have easily made a Lord of the Rings style trilogy. Maybe Disney’s editing it down is what the Greek people disliked, since the full possibilities of the stories and their cultural significance are not totally explored.

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The animators have added in countless pop culture references to make sure it all appeals to a modern audience. At one point Hades storms up to Mount Olympus and says ‘Zeusy I’m home’ in his best Desi Arnaz-inspired voice. Plus there are obvious connections to popular comic book characters. Hercules’ childhood on earth borrows heavily from Superman. And probably on some level this production draws inspiration from famous he-men like Arnold Schwarzenegger and modern day Olympic athletes. In that regard, they could have used the character of Hercules to talk about physical fitness and exercise just as much as they use the story to play up individual heroism.
 

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HERCULES is directed by John Musker & Ron Clements. It can be streamed on Hulu.

 
 

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#5 TopBilled

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Posted 20 July 2017 - 06:17 PM

I will post my review on Saturday. Check back.

 

screen-shot-2017-06-26-at-12-37-51-pm.pn


"The truth? What good is the truth if it destroys us all..?" -- Mady Christians in ALL MY SONS (1948).


#6 TopBilled

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Posted 15 July 2017 - 08:09 PM

I saw this in theaters, then on VHS. It was better than POCAHONTAS, but obviously inferior to at least two of the famous live-action versions. At least it was different. Yeah, we didn't need all of the songs.

 

Did a check-up on Mary Wickes, our lovable nurse in NOW VOYAGER who kept Bette Davis' Charlotte from going insane with Mother (Gladys Cooper). I was surprised to learn that she was also one of the models used by animator Marc Davis to animate Cruella Da Vil back in the day.

 

It probably wasn't meant to be compared to the earlier live action versions (though that was inevitable). I read Victor Hugo's family was upset his name was not included in the film's advertising, and they criticized the studio for its over commercializing of the story.

 

Interesting about Mary Wickes. She died before she could finish voicing all the lines. So six remaining lines were done by Jane Withers, who took over in the direct-to-video sequel a few years later.


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#7 Jlewis

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Posted 15 July 2017 - 03:20 PM

I saw this in theaters, then on VHS. It was better than POCAHONTAS, but obviously inferior to at least two of the famous live-action versions. At least it was different. Yeah, we didn't need all of the songs.

 

Did a check-up on Mary Wickes, our lovable nurse in NOW VOYAGER who kept Bette Davis' Charlotte from going insane with Mother (Gladys Cooper). I was surprised to learn that she was also one of the models used by animator Marc Davis to animate Cruella Da Vil back in the day.


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#8 TopBilled

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Posted 15 July 2017 - 01:33 PM

Essential: THE HUNCHBACK OF NOTRE DAME (1996)

 

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Disney’s next animated feature was a reworking of Victor Hugo’s tale about a deformed bell ringer named Quasimodo (Tom Hulce). In the painstakingly detailed opening sequence, we learn how the gypsy orphan came to be raised by ruthless Judge Frollo (Tony Jay). Quasimodo’s name means ‘half formed’ and he is perceived by some to be a monster, not fully human. Definitely not worthy of inclusion in proper society, so he must be hidden away. A lot can be read into what the character represents historically as well as socio-culturally.
 

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Hugo’s classic story had been dramatized as a silent film with Lon Chaney Sr., and in sound versions with Charles Laughton and Anthony Quinn. Their Quasimodos were older. Disney’s casting of Tom Hulce was done to make him younger, and to sound closer to the age of 20, which is what Hugo originally intended.
 

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As in so many other animated features from this studio, themes appeal to young children, adolescents and adults. There are grand Broadway-style tunes, composed by Alan Menken. And there are comical sidekicks– though in this instance, they are not animals but lifelike gargoyles. It should be noted two of the gargoyles are named Victor and Hugo (Charles Kimbrough and Jason Alexander). A third one is named Laverne, and she’s voiced by veteran character actress Mary Wickes in her final role.
 

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In some ways the artists abandon Hugo’s vision. While they get certain key visual details correct, they move beyond the literary characterizations and recast them as archetypes that have worked in countless other Disney productions. So instead of a story about deformity, misogyny and a misunderstood outcast, we get a male Cinderella. His being confined in the bell tower for so many years is not unlike Cinderella’s containment inside her stepmother’s home.
 

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In fact Frollo is the male counterpart of the wicked stepmother. And while Cinderella longed to go to the ball and meet the prince, Quasimodo desires to go to the Festival of Fools where he will spend time with a gypsy girl named Esmeralda (Demi Moore). Quasimodo wants to leave the sanctuary of the church to join the outside world just like Cinderella did.
 

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Some reviewers play up the darker aspects of the story. But Disney’s crew lightens the proceedings considerably. It’s not as sinister or brooding as it could have been. And there’s no way they would have had the guts to present a downbeat ending the way the book does, where all the main characters die. (We can guess what ‘Hamlet’ would be like if the company ever attempted an animated feature of Shakespeare’s great tragedy.) Here Disney makes sure Quasimodo and Esmeralda are not killed off though they do give Frollo a horrific death. Frollo’s death allows for an upbeat resolution, which according to the Disney formula, ensures it will be commercially successful. So when Quasimodo walks off with the crowd at the end, we feel good even if we wonder who will take over the ringing of the bells, bells, bells.
 

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THE HUNCHBACK OF NOTRE DAME is directed by Gary Trousdale & Kirk Wise. It can be streamed on Hulu.


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#9 TopBilled

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Posted 14 July 2017 - 07:54 AM

I'll be posting my review for THE HUNCHBACK OF NOTRE DAME tomorrow.

 

screen-shot-2017-07-10-at-10-35-57-pm.pn


"The truth? What good is the truth if it destroys us all..?" -- Mady Christians in ALL MY SONS (1948).


#10 Jlewis

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Posted 12 July 2017 - 02:34 PM

Not to jump the gun, but HERCULES had an even more pleasing graphic style. Post-Pixar, there was some interesting experimentation, including another FANTASIA, during that second half of the decade before DINOSAUR pushed Disney's in-house department into increasing digital territory.


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#11 TopBilled

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Posted 12 July 2017 - 02:25 PM

I think most critics and Disney fans agree that THE HUNCHBACK was a better effort because they were forced to create all new model sheets for characters. Then again, if you think about it, was there much to distinguish between the much earlier Snow White's or Cinderella's princes? I do think Aurora's Prince Philip (SLEEPING BEAUTY) was an improvement since he does a lot more in the story battling Maleficent and convincing Pop that this is the 14th century and he will marry the woman he loves. Yet his design wasn't all that different than the others.

 

What got bad by the eighties and nineties post-LITTLE MERMAID were all of the "man mountains". Everybody criticizes the Disney princesses for looking like Barbies, but the guys all look like they belong on the covers of Men's Health & Fitness.

 

Yes, they're almost too chiseled. I haven't seen HERCULES yet but will get to it after HUNCHBACK. And I expect the drawings to make him look like Mr. Universe.


"The truth? What good is the truth if it destroys us all..?" -- Mady Christians in ALL MY SONS (1948).


#12 Jlewis

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Posted 12 July 2017 - 02:10 PM

I think most critics and Disney fans agree that THE HUNCHBACK was a better effort because they were forced to create all new model sheets for characters. Then again, if you think about it, was there much to distinguish between the much earlier Snow White's or Cinderella's princes? I do think Aurora's Prince Philip (SLEEPING BEAUTY) was an improvement since he does a lot more in the story battling Maleficent and convincing Pop that this is the 14th century and he will marry the woman he loves. Yet his design wasn't all that different than the others.

 

What got bad by the eighties and nineties post-LITTLE MERMAID were all of the "man mountains". Everybody criticizes the Disney princesses for looking like Barbies, but the guys all look like they belong on the covers of Men's Health & Fitness.


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#13 TopBilled

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Posted 12 July 2017 - 01:59 PM

I think the big boo-boo with John Smith is that they recycled old model sheets as an easy way out. Here is what I added to Year in Hollywood 1995, yet to be posted:

 

with that version of John Smith, voiced by Mel Gibson, looking like a blonde version of hulky bulky Prince Eric in THE LITTLE MERMAID and the macho Gaston whom Belle tried to get away from in BEAUTY AND THE BEAST

 

Sounds plausible to me. Probably what they did. But would they admit it..?


"The truth? What good is the truth if it destroys us all..?" -- Mady Christians in ALL MY SONS (1948).


#14 Jlewis

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Posted 12 July 2017 - 01:52 PM

I think the big boo-boo with John Smith is that they recycled old model sheets as an easy way out. Here is what I added to Year in Hollywood 1995, yet to be posted:

 

with that version of John Smith, voiced by Mel Gibson, looking like a blonde version of hulky bulky Prince Eric in THE LITTLE MERMAID and the macho Gaston whom Belle tried to get away from in BEAUTY AND THE BEAST


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#15 TopBilled

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Posted 12 July 2017 - 01:31 PM

I like the graphic designs in this one, reminding me of 1950s SLEEPING BEAUTY. All flat and angular, but not exactly "UPA-ish". The forests are very impressionistic, making one nostalgic of an America without city pollution, traffic infested highways and airports and land fills. Watch this and Donald Duck in the short subject THE LITTERBUG afterward.

 

One great thing about it is that its success inspired other non-Caucasian heroines like MULAN, THE PRINCESS AND THE FROG and the more recent MOANA so that every Disney Princess in America can have a Disney character matching her skin tone. There were native Americans in past Disney features (cue song "What makes the Red Man red?" from PETER PAN) but they did better this time around by not making her say "how". (Then again, Tiger Lily is every bit as sexy playing Wendy's competition.)

 

It is not a bad movie, but I personally view this as the weakest of the nineties features.

 

My problem is that Pocahontas looks like a Barbie doll and John Smith looks like every other Prince Charming with the trendy post-1980s Man Mountain biceps.

 

One problem could also be the timing of its release, although it still did very well at the box-office. It lacked that drawing power of both THE LION KING from the year before and the first of the Pixars coming a couple months later, TOY STORY. Unlike those two features, this story meanders and there isn't much fun and excitement; the "comedy relief" going to a raccoon and a pug.

 

Yeah... it took TOO many liberties with history. We expect this in an animated cartoon that is not supposed to be viewed as a documentary. However they were trying so hard to be taken seriously, unlike Mr. Magoo in PAUL REVERE (1965). If it weren't so serious in tone, some of us wouldn't nitpick its inaccuracies.

 

Thanks for the comment. I like what you said about how Smith was rendered to look like a Prince Charming. In a way, he is overly romanticized and less historical. 

 

The impressionistic forests are fantastic. I think this film casts a different spell than the other 90s Disney animated features. They went a bit outside the proverbial box with the subject matter.


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#16 Jlewis

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Posted 10 July 2017 - 03:40 PM

I like the graphic designs in this one, reminding me of 1950s SLEEPING BEAUTY. All flat and angular, but not exactly "UPA-ish". The forests are very impressionistic, making one nostalgic of an America without city pollution, traffic infested highways and airports and land fills. Watch this and Donald Duck in the short subject THE LITTERBUG afterward.

 

One great thing about it is that its success inspired other non-Caucasian heroines like MULAN, THE PRINCESS AND THE FROG and the more recent MOANA so that every Disney Princess in America can have a Disney character matching her skin tone. There were native Americans in past Disney features (cue song "What makes the Red Man red?" from PETER PAN) but they did better this time around by not making her say "how". (Then again, Tiger Lily is every bit as sexy playing Wendy's competition.)

 

It is not a bad movie, but I personally view this as the weakest of the nineties features.

 

My problem is that Pocahontas looks like a Barbie doll and John Smith looks like every other Prince Charming with the trendy post-1980s Man Mountain biceps.

 

One problem could also be the timing of its release, although it still did very well at the box-office. It lacked that drawing power of both THE LION KING from the year before and the first of the Pixars coming a couple months later, TOY STORY. Unlike those two features, this story meanders and there isn't much fun and excitement; the "comedy relief" going to a raccoon and a pug.

 

Yeah... it took TOO many liberties with history. We expect this in an animated cartoon that is not supposed to be viewed as a documentary. However they were trying so hard to be taken seriously, unlike Mr. Magoo in PAUL REVERE (1965). If it weren't so serious in tone, some of us wouldn't nitpick its inaccuracies.


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#17 TopBilled

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Posted 08 July 2017 - 04:42 PM

Essential: POCAHONTAS (1995)

 

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At the beginning of this animated feature, there is a prologue showing Captain John Smith (voiced by Mel Gibson) as he leaves England and heads to the new world. He and his shipboard companions have dreams about finding gold, though they’re not as greedy as Governor Ratcliffe (David Ogden Stiers) who is leading the group’s expedition to Virginia.
 

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After the prologue and opening credits, there’s a lengthy sequence that establishes the title character. We see Pocahontas has been promised in marriage to a native man named Kocoum. It’s considered a good match, by her father at least. Of course, she thinks there might be another path for her, which is conveyed beautifully in the song ‘Just Around the Riverbend.’ Though the sentiments are meant to appeal to a young female audience looking to the future, I would say these feelings can apply to anyone faced with a major turning point in his or her life.
 

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After this segment Pocahontas visits Grandmother Willow, a truly great character which combines elements of native American spiritualism and feminism. She speaks directly to our young heroine when she sings ‘Listen with Your Heart.’ And we can be fairly certain that Pocahontas will indeed listen with her heart and find what’s just around the river bend for her. It will not be Kocoum, but John Smith.
 

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Of course, it should be pointed out that the real-life relationship between these two might have been much different than it’s depicted in the movie. Disney tells it as a sweeping love story with history merely serving as the backdrop. The moment when Pocahontas and John Smith meet in the movie is magical. Grandmother Willow’s song gets a slight reprise on the soundtrack, and Pocahontas knows what her destiny will be. It’s powerful.
 

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From here the movie charts the continuing relationship of this unique couple, and it also presents Ratcliffe’s nearly unstoppable quest for gold. Mixed in with these main characters are the typical secondary animal figures who serve as their friends. Ratcliffe has a rascally pug named Percy.
 

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Interspersed throughout the narrative are mini-lessons on the environment, and the differences between civilized folks and savages. These ideas culminate in the Oscar-awarded song ‘Colors of the Wind.’ Broadway actress Judy Kuhn sings it in the film; and popular recording artist Vanessa Williams had a big hit with it on radio. Alan Menkin and Stephen Schwartz truly outdid themselves, and so did the Walt Disney company.
 

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POCAHONTAS is directed by Mike Gabriel & Eric Goldberg. It can be streamed on Hulu.


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#18 TopBilled

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Posted 06 July 2017 - 11:21 PM

I am so looking forward to your discussion of "The Hunchback of Notre Dame" with Thomas Hulce, because Thomas Hulce's amazing talent never achieved the stardom that it truly deserved.

 

Thanks Ray. I will be starting with POCAHONTAS this Saturday.

 

screen-shot-2017-07-06-at-9-16-40-pm.png


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#19 rayban

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Posted 30 June 2017 - 11:14 AM

 

Theme for July 2017: Disney Renaissance

 

screen-shot-2017-06-26-at-12-36-13-pm.pn

 

Saturday July 8, 2017

POCAHONTAS (1995), with Irene Bedard. Studio/production company: Walt Disney Feature Animation.

 

screen-shot-2017-06-26-at-12-36-04-pm.pn

 

Saturday July 15, 2017

THE HUNCHBACK OF NOTRE DAME (1996), with Tom Hulce. Studio/production company: Walt Disney Feature Animation.

 
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Saturday July22, 2017

HERCULES (1997), with Tate Donovan. Studio/production company: Walt Disney Feature Animation.

 

screen-shot-2017-06-26-at-12-37-43-pm.pn

 

Saturday July 29, 2017

MULAN (1998), with Ming-Na Wen. Studio/production company: Walt Disney Feature Animation.

 

I am so looking forward to your discussion of "The Hunchback of Notre Dame" with Thomas Hulce, because Thomas Hulce's amazing talent never achieved the stardom that it truly deserved.


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"I was born the day she kissed me.  I died the day she left me.  I lived a few weeks while she loved me." - Humphrey Bogart in "In A Lonely Place".


#20 TopBilled

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Posted 26 June 2017 - 02:18 PM

Theme for July 2017: Disney Renaissance

 

screen-shot-2017-06-26-at-12-36-13-pm.pn

 

Saturday July 8, 2017

POCAHONTAS (1995), with Irene Bedard. Studio/production company: Walt Disney Feature Animation.

 

screen-shot-2017-06-26-at-12-36-04-pm.pn

 

Saturday July 15, 2017

THE HUNCHBACK OF NOTRE DAME (1996), with Tom Hulce. Studio/production company: Walt Disney Feature Animation.

 
screen-shot-2017-06-26-at-12-37-51-pm.pn

 

Saturday July22, 2017

HERCULES (1997), with Tate Donovan. Studio/production company: Walt Disney Feature Animation.

 

screen-shot-2017-06-26-at-12-37-43-pm.pn

 

Saturday July 29, 2017

MULAN (1998), with Ming-Na Wen. Studio/production company: Walt Disney Feature Animation.


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