Aladdin and the power of the live-action


Published on May 23, 2019


With the release of Aladdin in these days in the halls – and with the other two-three live action coming this year alone – arises the question: Why do we continue to see these live action? And because Disney continues to produce them?

Us viewers seek spasmodically to try the magic we felt as children, when we consumed the VHS Disney that our parents dilingentemente we bought. The “phenomenon” is a symptom of the general spasmodic desire to return – at least with the mind and the heart – “when it was better” just as the reboot/revival series and nostalgic as Stranger Things continue to be presenting to us anew the stories, atmospheres, typical of the years ’80/’90. The most radical chic among us, looking for maybe a new reinterpretation of a classic that already have these adaptations for flesh-and-bones cartoon. Those who have become parents, maybe have them use it as a tool to accompany the cartoon themselves to introduce the children to the classics of his childhood.

Thanks to the powerful – and studiatissime – advertising campaigns, the “phenomenon” has become like the proverbial cat chasing its tail. Disney continues to produce, despite a lot of criticism, because the spectators for the reasons mentioned above continue to go to them by the sparks at the box office, and the paying public continue to go see them because they continue to be produced. Symptom-free for many – press included – to a poverty of ideas, if added to the sequel in the pipeline in recent years, instead of stories, brand new, you might even see this choice as a “adapt” to the times – and therefore to the revival, and the like of the other major movie and television.

We then make the point about all the live-action products so far in this “new wave” and on their liking by the public and the press in the next page.

It all began in 2010 with Alice in Wonderland adaptation by Tim Burton classic of the same name in 1951, which was halfway between a sequel and a reboot. Different is the key to reading in 2014, Maleficent by Robert Stromberg, from the point of view of the bad of Sleeping beauty (1959) Maleficent here played by Angelina Jolie; in the wake of the tv series once upon a time and the motto, “Evil isn't born, it's made”. Both were successes at the box office much to lead to the creation of two sequels, but they were pretty massacred by the critics. Unanimous, instead, re-reading the classic in the 2015 Cinderella by Kenneth Branagh (Marvel/Disney has also directed Thor, let's not forget) of the classic of the same name of 1950. In 2016 it is the turn of the first makeover powerfully in CGI with The Jungle Book by Jon Favreau (who directed the Marvel/Disney the first two Iron Man which started the MCU and is left as an interpreter of the Happy); potently in CGI because the only interpreter of flesh and bones is Neel Sethi in the role of Mogwli, surrounded by a super cast of voice actors to give a voice to the animals the protagonists. Especially appreciated because before re-reading dark/adult, and with a finish that is totally different from that of the cartoon of 1967.

2016 is also the year of the first of the two sequels above-named, Alice Through the looking glass, from the book of the same name the sequel to Carroll, directed by James Bobin that back all of the original cast, who sins of the poverty of ideas, staging, and characterization of the characters in addition to trying awkwardly to bring forward the discourse of feminist Burton's Alice in Wonderland and that we will see not only The beauty and the Beast, but also in Aladdin. 2017 is the time of the other live-action most awaited after Cinderella, as the original of 1992 is one of the most beloved. We are talking about de beauty and The Beast, Bill Condon, Dan Stevens and Emma Watson, who revisits as the most classic of musicals. To do this, follow Christopher Robin, 2018 on the author of the saga of Winnie the Pooh starring Ewan McGregor and directed by Marc Forster, in the wake of Neverland, which was dedicated to the inventor of Peter Pan, and The return of Mary Poppins, the sequel/reboot of the live action of 1964 by Rob Marshall, with Emily Blunt and Lin-Manuel Miranda, but lacks the magic that had characterized the first film with Julie Andrews and Dick Van Dyke.

Do not forget the parentheses of 2013 when Disney released Saving Mr. Banks, a film about the origins of the film and the battle for the rights that Walt Disney has had to face with the writer of the book, P. L. Travers, directed by John Lee Hancock with Tom Hanks and Emma Thompson. And not even the one in 2016 with The invisible dragon the remake the most adventurous part of David Lowery's film, Elliott the invisible dragon (1977), both based on a short story of S. S. Field and Seton I. Miller. Even if in these cases we speak of the live action taken from live action.

Thus, we arrive at the current year, 2019, that has seen the Dumbo without too much of the glory and the invective of the Tim Burton classic from 1941, and, indeed, Aladdin, in Italian cinemas from may 22, directed by Guy Ritchie with Mena Massoud, Naomi Scott and Will Smith, the classic of 1992.

For the live action-to-be are coming this year, The Lion King (21 August) by the classic of 1994, again directed by Favreau (who will direct a sequel to The Jungle Book) that this time he will have to contend with all of the characters are animals is completely in CGI (then a live-action sui generis and of a misnomer if we want to); the other is a sequel dictated by the box office, Maleficent: Evil Lady (17 October), directed by Joachim Rønning (Pirates of the Caribbean) with the original cast returns along with new entries such as Michelle Pfeiffer; and the Lady and the Tramp from the classic 1955 and directed by Charlie Bean for the new streaming service Disney+ arriving in November. For the year 2020 were already announced adaptations of Mulan (which will be the most expensive of those produced so far), and Cruella, again from the point of view of the villain of the story Cruella De vil (given that the live-action de the charge of The 101 there is already been with the two films with Glenn Close in the 1996 and 2000).

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