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Walt Disney Treasures - Disney Rarities [DVD5 ENG - Sub ENG] [Tntvillage.Scambioetico]



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Disney Rarities



Celebrated Shorts: 1920s - 1960s 













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Disney Rarities - Celebrated Shorts: 1920s - 1960s raccoglie cartoni dei primi 50 anni della produzione Disney, che per
qualche motivo sono meno conosciuti o sono stati meno proiettati. I cartoni qui presentati sono 31. Anche se a volte in
questi cartoni si ritrova uno stesso personaggio, essi sono stati realizzati come opere uniche, non attinenti a qualche
serie più ampia.



La caratteristica di essere opere uniche, ha fatto sì che essi non fossero proiettati come I comuni cartoni e che
quindi costituiscano delle rarità.



Il cofanetto si apre con la serie delle Alice comedies, che insieme ad alcuni cartoni “Laugh-O-Gram”,
costituiscono i primi film di cui Walt fu produttore e direttore. Si tratta cartoni realizzati nei primi tempi di quella
che sarà poi classificata come animazione. Il più vecchio dei quali fu bprodotto solo 10 anni dopo il
rpimo disegno animato “Gertie il Dinosauro” di Winsor McKay. Le Alice commedie (che hanno poco a che fare
con la storia e l’eroina di Lewis Carroll) sono indiscutibilmente ancora dotate di fascino e significato, non solo
per essere uno dei primi lavori di Walt, ma perché precorrono adeguatamente i tempi con l’animazione
inserita nel film con esseri umani, la cosiddetta live action. Molto prima dello Zio Tom o di Michael Jordan, una
giovane bambina di nome Alice (Virginia Davis) capita iin un modo di cartoni ed interagisce con animali in avventure che
sfidano le regole del mondo reale. Furono prodotte più di 50 episodi in pochi anni, molti dei quali sono ritenuti
ormai perduti, ma Disney Rarities ne raccoglie 7.



I rimanenti 24 cartoni sono stati prodotti nell’arco di 34 anni e sono quindi differenti per tipo e stile di
animazione nonchè per genere. Tra questi spiccano due cartoni vincitori di Oscar per il miglio corto di
animazione (1938: Ferdinand the Bull e 1953: Toot, Whistle, Plunk and Boom), sette che hanno ottenuto altre nominations
e molti derivati da adattamenti di fonti ben conosciute (popolari) dalla canzoni di Mamma Oca (Mother Goose nursery
rhymes) alla rievocazione storica di Paul Bunyan fino al libro della Genesi con la storia dell’Arca di Noè.
Non esite una possibilità di fare una raccolta ordinata secondo ordine cronologico, ma appaiono altri tratti
simili. In  alcuni di essi i narratori o le voci sono personaggi di spicco come Sterling Holloway.

Nonostante la diversità di lunghezza tra loro (Ben and Me (1953), Paul Bunyan (1958) e Noah's Ark (1959) sono
lunghi 16-21 minuti contro i 7-8 dei cartoni classici), tutti questi cartoni sono interessanti e belli.











In the first four years of its existence, the Walt Disney Treasures line mostly presented cartoon shorts and television
episodes belonging to an individual series that flourished during Walt Disney's lifetime.  

Tins in this double-disc, limited edition class have been devoted to essential characters (such as Mickey Mouse, Donald
Duck, Goofy, and Pluto), beloved shows (like the Davy Crockett installments of Walt's anthology series and "The
Mickey Mouse Club"), and unifying labels (the musically-inclined Silly Symphonies shorts series, cartoons from and
inspired by the years of World War II). 



That is, for the most part, again the case with this December's fifth wave, with one noteworthy exception. Disney
Rarities - Celebrated Shorts: 1920s - 1960s compiles cartoons from the five most productive decades of Walt Disney's
career as an entertainer. This set holds a diverse group of 31 short films. Though a handful of characters appear in
more than one (one personality indeed shows up in seven), and a few were created in a similar mold, the trait that is
most commonly held among this collection's animated shorts (with the exception of the aforementioned) is that they were
produced on their own, not as part of a long-running series or featuring any of the characters most readily identified
as Walt Disney's creations. 



The standalone nature of the selected shorts, which range from just over 6 minutes to 21 minutes apiece, has given them
less exposure than the majority of the cartoons that have made their DVD debuts as part of the Treasures or one of Buena
Vista Home Entertainment's increasingly prevalent low-priced short compilation alternatives, such as the Classic Cartoon
Favorites. While the subjects of Disney Rarities may have not been seen as widely as, say, Mickey and the Seal, Good
Scouts, or any of Goofy's "How to" shorts, they are, on the whole, quite well produced and deserving of one's
attention, both as oft-ignored chapters in Disney history and as sheer entertainment. 



The set opens with the silent Alice comedies, which, aside from a handful of short subjects, represent Walt Disney's
earliest film credits as a producer/director. These shorts came in the early days of what could be clearly classified as
animation, with the oldest one (Alice's Wonderland from 1922) released not quite ten years after Winsor McKay dazzled
audiences with his depiction of Gertie the Dinosaur. The Alice comedies (which have little explicitly to do with the
Lewis Carroll story or heroine that the names "Walt Disney" and "Alice" more immediately conjure
nowadays), while indisputably the most dated inclusions on the set, boast a reasonable amount of charm and a more
substantial amount of significance. That is not merely because they are among Walt's earliest work, but because they
offer a hybrid of animation and live action. Long before Uncle Remus and far longer before Michael Jordan, a young girl
named Alice (played in most of the shorts by Virginia Davis) wandered into a world of cartoons, to interact with animals
and engage in adventures that defied real world limitations. More than 50 Alice comedies were produced in a span of just
a few years. Many are believed to be lost these days, but Disney Rarities provides seven of them, including the debuting
short. This may seem an odd way to begin a set devoted to standalone shorts, as Alice was clearly the star character
(Walt's first) of a series (Walt's second). Furthermore, they hold far less entertainment value than the rest of
contents. Still, as the series is not likely to sustain a Treasures tine all its own anytime soon, one can hardly argue
against observing some of the first of all Disney films, if for fascinating historical value more than laughs and
giggles (though there are some of these too). 



The remaining twenty-four shorts of this two-disc set span 34 years, a number of animation styles, and a fair amount of
genres. They include a couple of Best Short Oscar winners (1938's Ferdinand the Bull and 1953's Toot, Whistle, Plunk and
Boom), seven additional nominees, and plenty of adaptations of well-known sources, from Mother Goose nursery rhymes to
the legendary tall tale of Paul Bunyan to the Book of Genesis' story of Noah's Ark. This wide-ranging collection is free
of any single formula that may mark the chronologically-released sets of irascible Donald Duck or clumsy Goofy, but
certain patterns emerge. Many tell of animals overcoming their challenges, be they physical, emotional, or a mixture of
the two. Many prominently  

feature music, either in rhyming, melodic narration or in outright performance. And many are narrated or voiced by
Disney veteran Sterling Holloway, whose unmistakable vocals gave dialogue to Dumbo's Mr. Stork (a role he reprises for
Lambert the Sheepish Lion), Alice in Wonderland's Cheshire Cat, The Jungle Book's Kaa, and good ole' Winnie the Pooh in
the '60s/'70s featurette/1977 film. 



As you move through Disney Rarities, you'll inevitably notice a trend, in which the shorts gain running time and
substance as the years went by. While few could argue that cartoons like Ferdinand and Lambert aren't just right at 7-9
minutes, those which stretch the definition of "short" such as Disc One-closer Ben and Me (1953), Paul Bunyan
(1958), and Noah's Ark (1959) feel equally satisfying at their 16-21 minute clips. The meatier of the films on this
compilation illustrate how it'd be an uphill battle for one to claim that the 6-8 minute length imposed upon a majority
of Disney's character-based shorts of the format's heyday are the best or only running time suited for
non-feature-length big screen cartoons. Indeed, many of Disney's subsequent successes in the field of shorts (such as
Pooh's debut appearances, Mickey's Christmas Carol, and The Small One) were the so-called "featurette"-length,
while Pixar Animation Studios has lately delivered true gems often in 5 minutes or less. 



Regardless of their running times, sources, mediums, or production years, the cartoons of Disney Rarities prove to be a
truly pleasing array of the studio's undeservedly lesser-known animated works. 











Formato Audio/Video (Audio/Video Format):



2 dvd5 NTSC

Audio: ENG

Sottottitoli (Subtitles): English for hear impaired







Contenuti:



Disco 1:



Cortometraggi



1923:  Alice's Wonderland;

1924:  Alice's Wild West Show, Alice Gets in Dutch; 

1925:  Alice's Egg Plant, Alice in the Jungle;

1926:  Alice's Murderous Mystery; 

1927:  Alice the Whaler;

1938:  Ferdinand the Bull;

1943:  Chicken Little; 

1944:  The Pelican and the Snipe;

1950:  The Brave Engineer, Morris, The Midget Moose; 

1952:  Lambert the Sheepish Lion, The Little House; 

1953:  Adventures in Music: Melody, Football: Now and Then, Adventures in Music:
Toot, Whistle, Plunk and Boom, Ben and Me 



Bonus Material: "Alice's Cartoon World: An Interview with Virginia
Davis", "From Kansas City to Hollywood: A Timeline of Disney's Silent Era"





Disco 2:





Cortometraggi



1954:  Pigs is Pigs, Social Lion; 

1956:  Hooked Bear, Jack and Old Mac, In the Bag, A Cowboy Needs a Horse; 

1957:  The Story of Anyburg, U.S.A., The Truth About Mother Goose; 

1958:  Paul Bunyan;

1959:  Noah's Ark;

1960:  Goliath II; 

1961:  The Saga of Windwagon Smith;

1962:  A Symposium on Popular Songs 



Bonus Material: Audio Commentary: "A Symposium on Popular Songs",
"A Feather in His Collar", Galleries





Tempo Totale di Riproduzione: 373 Minutes (6 ore, 13 minuti)





Various Aspect Ratios / Dolby Digital 2.0 Mono, Stereo



Subtitles: English; Closed Captioned



Originally Released Between 1923 and 1962





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DISCO 1











Il Disco 1 si apre con un’introduzione video (3:35) di Leonard Maltin. Egli ripercorre brevemente la storia di
questi cartoni e dei contenuti speciali: Maltin discute il carattere primitivo ma importantissimo delle Alice commedie e
cita alcuni punti di particolare interesse contenuti nel disco 1.



Il primo disco contiene 18 cartoni accessibili mediante elenco alfabetico e cronologico.





Disc 1 opens with a video introduction (3:35) from Treasures host Leonard Maltin. He briefly covers the shorts and
supplements comprising the set with a clear focus on the first disc. He discusses the primitive nature but importance of
the Alice comedies and mentions some other noteworthy Disc 1 pieces and their interesting traits. The introduction plays
automatically, but it can be skipped and accessed from the Main Menu as well. 



The first disc holds 18 shorts, offered individually through alphabetical and chronological listings (the former
separates the Alice comedies from the rest) or altogether as a "Play All" option that cycles through the
platter chronologically. 





I cortometraggi:





Alice's Wonderland (1923) (12:27) 



Alice's Wild West Show (1924) (12:41) 



Alice Gets in Dutch (1924) (9:49) 



Alice's Egg Plant (1925) (8:32) 

   



Alice in the Jungle (1925) (7:20) 



Alice's Mysterious Mystery (1926) (6:11) 



Alice the Whaler (1927) (6:12) 



   



Ferdinand the Bull (1938) (7:54) 



Chicken Little (1943) (8:48) 



The Pelican and the Snipe (1944) (8:39) 

   



The Brave Engineer (1950) (7:37) 



Morris, The Midget Moose (1950) (7:59) 



Lambert the Sheepish Lion (1952) (8:16) 



The Little House (1952) (8:17) 

   



Adventures in Music: Melody (1953) (10:05) 



Football Now and Then (1953) (7:28) 



Adventures in Music: Toot, Whistle, Plunk and Boom (1953) (10:16) 



Ben and Me (1953) (21:00) 









Bonus Material 



Sono presenti due Bonus.



"Alice's Cartoon World: An Interview with Virginia Davis" (11:30)
Maltin intervista la signora che recitò nella parte di Alice. Con una certa sorpresa, ad 80 anni dalle riprese,
la protagonista è ancora in ottima salute e rassomiglia ancora alla giovane protagonista e prima star della
produzione Disney.  Davis ricorda la produzione con basso budget dei cartoni degli anni ’20 e come fosse lavorare
con Disney, il quale spesso trasferì i set di ripresa nella casa della stessa Davis, e la scarsità di
fondi. Ella discute anche riguardo ai filmati, guardandoli ora, a 80 anni dalle riprese, ricordando il suo favorito
(Alice's Wild West Show), e ciò la separò da Disney e dal diventare il modello di riferimento ed anche la
voce di Biancaneve: un salario molto basso e la necessità di stipulare contratti. Si tratta tutto sommato di
un’affascinante retrospettiva.



"From Kansas City to Hollywood: A Timeline of Disney's Silent Era"
(8:25) Si tratta di una semplice ma ottima featurette sul percorso che ha portato Walt nell’industria del
cinema. Maltin ripercorre diversi fatti, tra presentazioni di fotografie dell’epoca: i difficili inizi a Kansas
City, l’agenzia che modernizzò le favole che egli chiamò Laugh-o-Grams, come un dentista
salvò la sua carriera, le 56 Alice comedies che vennero prodotte, la costituzione dei Disney Brothers Studio, la
sua conversione all’animazione pura e, finalmente, l’avvento di Topolino e la scoperta ed applicazione della
sincronizzazione del suono al filmato.





Bonus Material 



Though several Walt Disney Treasures of the past have been fairly light on bonus features, Disney Rarities feels as if
it lends itself to much more insight that could have been provided. Admittedly, there's not much more that could be done
with the creative talent behind most of the shorts (most of whom passed on).  

In addition, the characters and cartoons have not especially left a legacy to ponder the way Disney's enduring central
characters have, leaving their respective Treasures to cover. Still, with only five skimpy extras, a supplements
enthusiast can't help but feel shortchanged to some degree. 



"Alice's Cartoon World: An Interview with Virginia Davis" (11:30) At
least what is here is quite excellent. First up, on Disc 1, is "Alice's Cartoon World: An Interview with Virginia
Davis" (11:30) which finds Leonard Maltin leading an enthusiastic interview with the lady who portrayed the little
girl Alice in Walt's silent comedies beginning more than 80 years ago. Surprisingly, Davis is quite lively and still
bears some resemblance to the pint-sized protagonist who was qualified as "Walt's first star." She recalls the
low-budget production of the 1920s shorts and working with Walt Disney, who often filmed at her house and didn't have
enough money for retakes. She also discusses watching the films now, her favorite of the shorts (Alice's Wild West
Show), and perhaps most interestingly, what separated her from Disney and prevented her from nearly becoming both the
speaking voice and reference model for Snow White: a raw salary deal and demanding contract stipulations. Needless to
say, it's a fascinating retrospective.



"From Kansas City to Hollywood: A Timeline of Disney's Silent Era"
(8:25) Next up is "From Kansas City to Hollywood: A Timeline of Disney's Silent Era" (8:25), a simple
but very good featurette on Walt's journey into the movie industry. Leonard Maltin narrates to stills and silent
footage, covering Disney's humble beginnings at a Kansas City ad agency, the modernized fairy tales he dubbed
Laugh-o-Grams, how a dentist saved his career, the 56 silent Alice comedies he made, the formation of the Disney
Brothers Studio, his move towards pure animation, and finally, Mickey Mouse and the discovery of synchronized sound.
From the title alone, I assumed this would be a series of text screens, so even if this ultimately has the same effect,
its presentation was better than expected.









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DISCO 2











L’introduzione di Leonard Maltin si focalizza sui più recenti cartoni del cofanetto, quelli che vinsero
premi, etc. 

Il Disco 2 contiene 13 cartoni sempre accessibili per ordine alfabetico e cronologico.



As is customary, Leonard Maltin returns for an automatically-played introduction on Disc 2. His focus falls upon the
more recent shorts of the set, which makes sense as they appear on Disc 2. Again, he points out some highlights of this
disc -- the films they originally played with, the awards they won, and so on -- and how cool it is they are compiled
together now on DVD. One mention Leonard makes seems to suggest that there will be an excerpt of a
"Disneyland" anthology episode ("The Titlemakers") on the stop-motion used for The Parent Trap's
opening titles (and a few of the Disc 2 shorts). Oddly, it is not actually included on the disc (though the episode can
be found in full on the original Parent Trap's two DVD appearances), but there is brief talk of it in the lone
commentary, so perhaps that's all he meant. 



Disc 2 holds 13 cartoons, which are again offered in alphabetical and chronological listings in addition to the
"Play All" option that I rarely find use for. 









I cortometraggi:







Pigs is Pigs (1954) (9:43) 



Social Lion (1954) (6:49) 



Hooked Bear (1956) (6:16) 



Jack and Old Mac (1956) (7:00) 

   



In the Bag (1956) (7:34) 



A Cowboy Needs a Horse (1956) (6:54)



The Story of Anyburg, U.S.A. (1957) (10:29) 

 



The Truth About Mother Goose (1957) (14:38) 



Paul Bunyan (1958) (16:57) 



Noah's Ark (1959) (20:48) 

   



Goliath II (1960) (15:02) 



The Saga of Windwagon Smith (1961) (13:22) 



A Symposium on Popular Songs (1962) (19:44) 



 















Bonus Features





“Audio commentary: A Symposium on Popular Songs” Maltin discute con
Richard Sherman l’evoluzione di questo cartone ed del personaggio di Pico de’ Paperis. Sherman ricorda la
sua storia personale nell’ambito musicale (il padre fu scrittore di canzoni negli anni ’20 e fornì
ispirazione per questo short) e mette nella giusta luce il rapporto tra animazione e canzoni popolari.



"A Feather in His Collar"  Un cartone del tempo di Guerra, in cui
Pluto dona quel che può alla sua comunità locale per sostenere le spese di guerra.



Galleries  Alcune gallerie contengono schizzi e disegni per alcuni degli short:
Ferdinand the Bull, The Little House, The Story of Anyburg, U.S.A, e Chicken Little. Per ogni cartone sono presenti da 4
a 14 fotografie, per un totale di 38. Sono inclusi disegni per storyboard, sfondi dipinti e fogli rappresentativi delle
varie espressioni del personaggio.





Bonus Features





“Audio commentary: A Symposium on Popular Songs” Moving onto Disc 2,
you'll find the first audio commentary on a Walt Disney Treasures tin. Maltin teams up with longtime Disney songwriter
Richard Sherman to discuss A Symposium on Popular Songs, the last cartoon on the set. Sherman recalls the evolution of
this short and the von Drake character, reveals his personal history in music (his father, a songwriter in the '20s,
provided more than a little inspiration for this short), and sheds plenty of contextual light on what is likely the film
that benefits most from such a thing, being a send-up of contemporary and then-recent fads in popular music.



"A Feather in His Collar" Also on Disc 2, is "A Feather in His
Collar", a remarkably brief wartime short, in which Pluto illustrates donating to his local community chest. The
cartoon runs just 1 minute and 20 seconds; Maltin's intro adds 22 seconds.



Galleries Finally, there are the galleries which hold artwork from just four of
the set's shorts: Ferdinand the Bull, The Little House, The Story of Anyburg, U.S.A, and Chicken Little. Each cartoon
features 4-14 stills, for 38 in total. They include story sketches, background paintings, and character model sheets. I
suppose limited resources can be blamed for such paltry offerings, but at least they provided something extra for a few
of the shorts. 









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