In a wide-ranging, hourlong phone interview with Howard Stern, Paul McCartney described his reaction to the early cut of Peter Jackson’s forthcoming The Beatles: Get Back (2020), according to Forbes. Edited together out of new footage from fifty-four hours of film shot in January 1969 as the Beatles were working on their last released album, Let It Be, Disney will distribute the Jackson film, but the release date is up in the air due to the coronavirus pandemic. Michael Lindsay-Hogg’s own documentary, Let It Be (1970), depicts the group as a conflicted band in the middle of a breakup, but McCartney disputes this angle and hopes The Beatles: Get Back will set the record straight.
Michael Biehn has been cast in the second season of Disney+’s The Mandalorian (2019-) as a bounty hunter from the titular Din Djarin’s (Pedro Pascal) past, according to /Film. A James Camron alumnus, Biehn has starred in The Terminator (1984), Aliens (1986), as well as The Abyss (1989), in addition to action movie classics such as George P. Cosmatos’s Tombstone (1993). Giancarlo Esposito is expected to reprise his role, Rosario Dawson will play fan-favorite Ahsoka Tano, and Bill Burr, Carl Weathers, and Gina Carano are all set to return; Baby Yoda (officially called “The Child”) is back also.
After buying 20th Century Fox last year for seventy-one billion dollars, Disney will remove “Fox” from the name of this film division, which will be rebranded as “20th Century Studios” without the word “Fox” in its iconic logo, according to The Washington Post. Fox Searchlight, the prestige unit, will also be renamed “Searchlight Pictures,” while Twentieth Century Fox Television as well as Fox 21 Television Studios will retain “Fox” in their names for now. The maneuver comes as Disney’s attempt at distancing itself from Rupert Murdoch’s new Fox Corporation, which counts the Fox Broadcasting Network and Fox News among its assets.
Beginning with Ron Clements and John Musker’s The Little Mermaid (1989) and ending with Kevin Lima and Chris Buck’s Tarzan (1999), the Disney Renaissance is to Disney what the Hollywood Renaissance is to Golden Age Hollywood.
Gary Trousdale and Kirk Wise’s Beauty and the Beast (1991) may be the first animated film ever eligible for the Best Picture Academy Award, but Roger Allers and Rob Minkoff’s The Lion King (1994) is the studio’s masterstroke.
With Mike Gabriel and Eric Goldberg’s Pocahontas (1995), the overpowered media conglomerate attempts to recapture the prestige of Beauty and the Beast as well as the success of its predecessor, The Lion King, the top-grossing traditionally animated movie of all time.
Ambition paints every frame with all the colors of the wind, but ambition can also dance perilously close to pretension, and one misstep can spell disaster.
If you don’t know what to watch next, Pocahontas is available to stream on Hulu.
The animated musical romantic drama won Best Original Song for “Colors of the Wind,” and composer Alan Menken and lyricist Stephen Schwartz were honored a second time that year with the Oscar for Best Original Musical or Comedy Score.
The eponymous hero would go on to become the first Native American Disney Princess and the first woman of color to lead a cast of Disney characters.
Set in 1607, Captain John Smith (voiced by Mel Gibson) sails with the Virginia Company to the New World in search of adventure.
Once landing in Tsenacommacah, he meets and falls in love with Pocahontas (Irene Bedard, with Judy Kuhn as the singing voice), the free-spirited daughter of Chief Powhatan (Russell Means, with vocals from Jim Cummings).
But the greedy, genocidal Governor Ratcliffe (David Ogden Stiers) is obsessed with pillaging the Powhatan tribe’s land for gold, and his conquest threatens to make a tragedy out of the star-crossed lovers’ forbidden romance.
Artistic liberties are taken in almost all works of historical fiction – to quote Sir Alfred Hitchcock, “Drama is life with all the dull bits cut out” – but the sanitization and whitewashing found in Pocahontas have aged the text poorly.
The real Pocahontas was not a “magical minority,” but, rather, a child bride, and the colonizers didn’t make peace with her people after she learned how to speak English by “listening with her heart.”
As for John Smith, his “exploration” was more correctly an “invasion,” an “imperialization,” and it shouldn’t have taken a “noble savage” like Pocahontas to humanize First Nation people in his eyes (through her sexuality, no less).
This problematic, post-Kevin Costner’s Dances with Wolves (1990) white savior narrative of exotification crystallizes at its most egregious in the musical number, “Savages.”
The back-and-forth parallelism of the song conflates the white supremacy of the European settlers alongside the self-defensive resistance from the indigenous groups, drawing a false equivalency between the two that the First Americans were as intolerant as the British Empire.
Intentionalism is a critical fallacy, and Disney’s white liberal, apologistic intentions here are irrelevant.
If the true story of Pocahontas is too upsetting for their key demographic to understand without reducing the Powhatan culture to something that existed only for white men to appropriate it, then it’s a story that never should be told to children.
But, for what it is within the context of the Disney canon, Pocahontas is an epic entertainment. The soundtrack raises goosebumps, and the animation is as colorful as the signature song.
Apolitically, the love story between John Smith and Pocahontas is one of the most mature and affecting in the Disney universe, and, hey, if nothing else, Ratcliffe is shown to be more villainous than Powhatan.
If your child is too young to learn the real history behind Pocahontas, then at least take care to teach them what reel history means. The insultingly oversimplified themes of the picture will be digestible enough to entertain them, but the more harmlessly so, the better.
And as far as Disney fare goes, its family-friendliness is just as accessible for adults looking to enjoy a more grownup tale of intercultural (though largely fictionalized) romance, as it is for kids looking to sing along to some catchy tunes.
Chris Buck and Jennifer Lee’s Frozen II (2019) is projected to be Disney’s sixth billion-dollar release of 2019; the studio has already earned more than eight billion dollars globally since January, breaking the record it set in 2016, according to CNBC. The film is estimated to make anywhere between a hundred twenty million and a hundred forty million its opening weekend, having already sold the most advance tickets on Atom Tickets of all time for an animated picture. Analysts say the coming-of-age sequel will pick up not long after its parent feature leaves off, with the cast of characters leaving Arendelle to save their kingdom.
Walt Disney announced Tuesday they had hired Matt Brodlie, the director of the original film division at Netflix, to lead international content development for their forthcoming family-friendly steaming service, Disney+, according to CNBC. Under Brodlie’s leadership, Netflix released Susan Johnson’s To All the Boys I’ve Loved Before (2018) as well as Alex Richanbach’s Ibiza (2018), and it also picked up Academy Award darlings like Dee Rees’s Mudbound (2017) and Alfonso Cuarón’s Roma (2018). As part of his new position with Disney, Brodlie will arbitrate which properties need to be produced or acquired for Disney+ customers outside the United States.