It’s been 20 years since the arguably underrated Disney classic, “Hercules” made its way to the big screen. Ever since, audiences all over the world have embraced the film for its soulful, gospel take on Greek mythology. Disney commemorated the film’s 20th Anniversary with its very own panel at D23 Expo moderated by the film’s two legendary directors, John Musker and Ron Clements (“The Little Mermaid”, “Aladdin”, “Treasure Planet”).
Musker and Clements recanted their joys and process of working on the film, showing various never-before-seen clips and animatics of early sequences. Musker also displayed several photos of himself, Clements, and the animation team on various location scouts throughout Greece so that the animators could get a feel for what they would be drawing. The Directors also explained that they had shot several live-action scenes intercut with the early animatics so that the visual artists could see the human portrayal. One rather comical scene shown was a snippet of the famous Hydra battle sequence, in which an actor in a very cheaply made Hercules costume tussles with a cardboard Hydra head while Clements stood in for the role of Phil. Next, a video of the entire “Zero to Hero” number was played, with live actresses portraying the Muses intercut with the completed animated sequence.
Next, animators Eric Goldberg (Supervising Animator for “Phil”) and Ken Duncan (“Supervising Animator for “Meg”) took the stage to share stories of what it was like behind the desk. Goldberg showed some clips of early test footage of the Phil character while Duncan did the same for Meg. Duncan also displahyed a rather adorable drawing of Meg in a cast, which he had drawn for Susan Egan (Voice of “Meg”) after she broke her foot during a performance of “Beauty and the Beast” on Broadway. The icing on the cake was a speech bubble reading “That’s the last time I let Herc rub my feet!”
Egan herself was welcomed to the stage next along with Hercules himself, Tate Donovan. Donovan shared his story of getting the role and later adopting it as a “Disney calling card” of sorts after reprising the role for the prequel animated series. Donovan revealed that he originally didn’t think he was going to be cast as widely known actors such as Kiefer Sutherland and Charlie Sheen had been in the audition room with him. He was also distraught when Musker and Clements had looked away from him during his audition, not realizing that since it was a voice audition they intentionally looked away, so as not to be swayed by his physical performance. Egan also shared her audition story of how she was originally told not to audition by Alan Menken, the composer of the film. At the time, Egan had been starring as Belle in Disney’s Broadway adaptation of “Beauty and the Beast”, which Menken had also composed. Menken felt that Egan’s sweet persona wouldn’t fit the sassy character of Meg. After having difficulty casting the character, Menken finally allowed Egan to audition and she completely won over the casting team. As a proper send off to the audience, Egan closed out the panel with a live rendition of Meg’s famous number in the film, “I Won’t Say I’m In Love”.
“Mufasa: The Lion King” is a visually stunning addition to the beloved Lion King franchise, offering a fresh and emotionally resonant take on the origins of one of Disney’s most iconic characters. The film beautifully explores Mufasa’s journey, balancing heartfelt moments with touches of comedy that lighten the mood and make the story accessible to audiences of all ages. The animation is breathtaking, capturing the vibrant landscapes and lush environments of the Pride Lands, adding depth to Mufasa’s character and his relationships.
The storytelling is compelling, effectively pulling at the heartstrings while providing insights into Mufasa’s character before he becomes the legendary king. However, the setup for Scar’s betrayal feels somewhat underdeveloped, lacking the deeper motivation that could have enriched their complex brotherly relationship. This missed opportunity leaves a slight gap in understanding Scar’s actions, which could have elevated the dramatic stakes.
The musical score is impressive, featuring memorable songs that enhance the emotional impact of pivotal scenes. While there are several standout tracks, one song, in particular, resonates deeply and is sure to linger in viewers’ minds long after the credits roll. Overall, “Mufasa: The Lion King” is an amazing film and a worthy addition to the Lion King lore that manages to deliver both laughter and tears, offering a rich tapestry of storytelling that fans will appreciate.
“Kraven the Hunter,” directed by J.C. Chandor, aims to introduce a beloved Spider-Man villain to the big screen, but unfortunately, it falls short of expectations. The film suffers from noticeable issues, notably an overuse of ADR (Automated Dialogue Replacement), which detracts from the authenticity of the characters’ interactions and contributes to an uneven audio experience. This technical flaw is compounded by rough storytelling that feels disjointed and lacking in coherence, leaving viewers struggling to connect with the narrative.
Aaron Taylor-Johnson delivers a commendable performance as Kraven, showcasing the character’s gritty nature and complex motivations. His portrayal has potential, and it’s evident that he could elevate the character far beyond what is presented with a stronger script and direction. However, the absence of Spider-Man, a central figure in Kraven’s lore, leaves a void that the film struggles to fill. Without this critical connection, the plot meanders and fails to create the tension or stakes that fans of the superhero genre crave.
Additionally, including Rhino as a villain feels like a missed opportunity; he is presented more as a gag character with limited screen time, undermining any sense of threat or depth. For the average moviegoer, “Kraven the Hunter” might entertain but ultimately feels like a mediocre viewing experience. Comic book fans, however, may find disappointment in this lackluster attempt to create a solo character film. Instead of an exhilarating dive into Kraven’s world, the film presents a watered-down version, leaving audiences wishing for a more cohesive vision that honors its comic book roots.
A Year Without a Santa Claus, the 1974 stop-motion holiday classic produced by Rankin/Bass, is a heartwarming and whimsical tale that has cemented its place in holiday traditions. Based on Phyllis McGinley’s 1956 book, the story revolves around a disheartened Santa Claus who, feeling unappreciated, decides to take a year off from his Christmas duties. It’s up to Mrs. Claus and a pair of well-meaning elves, Jingle and Jangle, to reignite the Christmas spirit and show Santa the world’s unwavering belief in him.
The movie is beloved for its unforgettable characters, especially the bickering Miser Brothers, Snow Miser and Heat Miser. Their catchy, vaudeville-style musical numbers, “Snow Miser Song” and “Heat Miser Song”, are so iconic they’ve become cultural touchstones, often parodied and celebrated decades later.
Directed by Arthur Rankin Jr. and Jules Bass, the film continues the duo’s tradition of stop-motion magic, blending heartfelt storytelling with quirky humor. The voice cast, featuring Mickey Rooney as Santa and Shirley Booth as Mrs. Claus, delivers standout performances. Booth’s warm narration was her final acting role before retirement, adding a layer of poignancy to the film.
Initially released on December 10, 1974, on ABC, the special didn’t immediately achieve the legendary status of Rudolph the Red-Nosed Reindeer. However, it gained a dedicated following through annual holiday airings, nostalgic appeal, and its distinct charm.
The film’s themes of hope, unity, and rekindling joy remain timeless, making it a perennial favorite for audiences of all ages. Its blend of humor, catchy songs, and a touching message about believing in magic and goodwill ensures its enduring legacy during the holiday season.
For fans of holiday classics, A Year Without a Santa Claus is a must-watch that never fails to warm hearts and spread cheer.
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