Film and Radio Guide (Oct 1945-Jun 1946)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

FILM AND RADIO GUIDE Volume XII, No. 2 36 S<^romboli has moss and bulk, a requisite of figure drawing. fr it's interesting to personalize animals. See the dynamic line direction of the arms os opposed by the legs. has said that this word, recorded, takes eight frames of film, then the animator must produce eight drawings in which the lips of the character move to form the word, plus whatever bodily actions have been decided upon by the animator, the director, or Walt Disney himself. General sound effects are charted the same way. The animators work on illuminated drawing boards, so that after one drawing is completed, another sheet can be placed on top and the new drawing be varied just enough to make the action smooth and naturallooking. Experienced animators draw the difficult and important pieces of action, their assistants follow this action, and finally, less experienced artists, called “inbetweeners,” do the finely-graded changes completing the action. As soon as a series of drawings is completed, it is photographed and returned to the animator who runs ic on his own little projection machine to see if the action is smooth. This rough test must then be approved by the director and the production supervisor. When the drawings are approved, they are sent to the inking and painting department. Here the drawings are first transferred to sheets of transparent celluloid and inked so skillfully that they lose none of the charm of !ie originals. Next, paint is applied to the reverse side. Color for each bit of the picture has previously been chosen from the 2,000 colors and shades of paint specially ground and mixed in the studio paint factory. After the celluloids are fimshed, they are sent to the camera department, where each is placed over the proper background and photographed. Here again, many technical improvements have been made. A new $75,000 multiplane camera is now used that photographs simultaneously the character and a background placed at a distance from it. Instead of being vertical, as former ones were, this camera is arranged on a crane so that it can be run into a scene or away from it. The backgrounds that can be used with this camera are twice as large as the previous ones. (Very handy when working with whales.) The operation of the camera is quite complex, requiring a detailed control sheet and a special periscope finder with which the operator can check before taking the picture. The camera is said to add both depth and vitality to the picture, MUSICAL ELEMENTS Six songs, each furthering the plot in Disney’s reconstruction of the story, feature the musical treatment of “The WondeiTul Adventures of Pinocchio.” The following synopsis indicates how the six songs are introduced and provides a basis for discussion of the interweaving of song and story. SYNOPSIS OF THE SCREEN VERSION The picture opens with little Jiminy Cricket singing a melodious ballad, “When You Wish Upon a Star.” As Jiminy completes his song, he offers to give the audience an example of a wish come true, which leads into the actual story of Pinocchio’s wonderful adventures. The story concerns a kindly old woodcarver who creates a particularly engaging puppet, which he names Pinocchio. As he finishes painting a face on Pinocchio, he tries out the marionette to see how successful it is. He winds up his music boxes and, to the tinkling tunes, he manipulates Pinocchio’s strings so that the latter does a dance, as Geppetto sings a quaint song, “Little Woodenhead.” Another song in this sequence is “Turn on the Old Music Box.” That night, the Blue Fairy gives Pinocchio life because Geppetto, who always wanted a son, has brought so much happiness to others. Jiminy Cricket, a little vagabond, becomes involved in the situation to the extent that the fairy dubs him Pinocchio’s conscience. Jiminy sings the lively song, “Give a Little Whistle,” in which he tells Pinocchio that the puppet should always whistle for the Conscience when getting into trouble. Geppetto sends Pinocchio to school, but a Fox and a Cat, a pair of slick villains, spirit him away to the rollicking tune of “Hi-diddle-dee-dee, an Actor’s Life for Me,” selling him to Stromboli, an unscrupulous puppet master. In the puppet show the little marionette sings a spirited song, “Got No Strings.” The picture ends on a joyous note, with Jiminy reprising the song, “When You Wish Upon a Star,” for the Blue Fairy has made Pinocchio a real boy because he has proven himself worthy of the honor by almost losing his life to rescue Geppetto from the villainous Monstro the Whale.