![]() ![]() Jordan, who is intentionally written to have valid and understandable problems that the heroes also need to tackle. This isn’t even exclusive to just the animated division in Disney, there’s also been a push for more complex and nuanced villains across the Marvel Cinematic Universe with the popularity of certain characters like Killmonger ( Michael B. When you’re telling a very insular story about one family’s interpersonal dynamics like in Encanto, having a comical outside force would divide the interest in the audience and leave less time for the massive cast of main characters in the movie to get individual scenes to express themselves (the movie already has that problem with characters like Ravi Cabot-Conyers' Antonio disappearing from the narrative). Despite the fun of a campy Disney villain, they inherently limit the types of stories that can be told. Since the villains are already fully established and rounded it means that the story doesn’t need to be too bifurcated in its focus, it can reserve almost all of its character-developing time for the heroes of its stories. These characters enter the narrative fully formed and entirely confident in themselves, and it’s fun as an audience to see a character just reveling in their own villainy. ![]() A good example of this gap can be seen in The Little Mermaid, Ursula’s ( Pat Carroll) "Poor Unfortunate Souls" is an “I am” song, and Ariel’s ( Jodi Benson) iconic ( and almost removed) "Part Of Your World" is an “I want” song. Whether it’s Scar’s "Be Prepared," Ursula’s "Poor Unfortunate Souls," or even Gaston’s…”Gaston,” these songs are less to show what the villains want or to express some internal strife, but rather a celebration of “themselves” an egotistical monument to their own success – in musical theatre language, they’re “I am” songs as opposed to the classic hero “I want” song. What is it about these villains that gain such a great amount of audience attention? Much of it likely comes from their big personalities-these characters are most often having fun, and it’s difficult for the audience not to enjoy themselves along with the villains, especially during their iconic musical numbers. RELATED: 'Disenchanted' Remembers That Villains Are a Vital Part of Disney Movies Even in the case of less well-received movies of the time period like The Hunchback of Notre Dame and Hercules, their villains are often regarded as the highlight of the film, with Hunchback’s surprisingly mature and dark Frollo ( Tony Jay) and Hercules’ wise-cracking and hilarious Hades ( James Woods). An essential component of almost all of these renaissance era movies is that almost all of them have an iconic villain to accompany them, an often charismatic and scene-stealing character with a song to outline their evil to the audience. ![]() These films remain so successful and iconic that Disney has in recent years found a lucrative new business in remaking the films (leading to quite mixed critical reception), updating the classic Disney tradition of re-releasing their movies in cinemas every few decades. Beginning with The Little Mermaid, the decade brought new animated classics with structures inspired by musical theatre, with many additional songs and stories more focused on the struggles of the main characters rather than the comic relief around them. The movies of the “Disney renaissance” (generally regarded as lasting from 1989 to around 1999) are some of the most beloved stories that the studio has ever created, bringing the studio out of its slump and into a new brief golden age that is still well-remembered today. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |