Announcement

Collapse
No announcement yet.

Song of the south

Collapse

Get Away Today

Collapse
This topic is closed.
X
X
 
  • Filter
  • Time
  • Show
Clear All
new posts

  • #41
    Re: Song of the south

    yeah I read the article and I don't want to see remake of Swiss Family Robinson either. It sounds like the release is indeed "inevitable" especially since Walt Disney Home video is no longer producing sequels.
    (p.s I couldn't get this thing to stop writing in italics)

    Comment


    • #42
      Re: Song of the south

      Hmm.. they are probably tired of us petitioning them. :-)
      sigpic
      I raise my Kitties right.... they only watch the finest shows.

      Comment


      • #43
        Re: Song of the south

        Originally posted by cerpin taxt View Post
        I didn't think Bobby was that bad..... Give a poor, sad, and eventually dead guy a break.
        This post led me to check Bobby Driscoll on IMDB.

        Holy crap. Guy was addicted to heroin and died in 1968 at the age of 31:

        Originally posted by imdb
        Bobby Driscoll's life was a short and sad story. Charming as a child actor, he made his mark in films like Song of the South (1946) and Treasure Island (1950). Unfortunately, as he got older and acting offers became fewer, he got involved with hard drugs, which ultimately ruined his health and reduced him to poverty. Years of drug abuse severely weakened his heart, and he died of a heart attack alone in a vacant building in New York.
        http://imdb.com/name/nm0237985/bio

        Jeez.
        Last edited by RonNYC; 12-10-2007, 08:50 PM.

        Comment


        • #44
          Re: Song of the south

          I guess I like the IDEA of song of the south better than the actual film, though I like the film okay.

          I just love trickster tales, of which Song of the South is a modern(ish) interpretation. The story of the tar baby has roots in Cherokee and Ghana legends... mixture of the story of the Hare and the story of Ananzi (and if you've read Ananzi Boys, that's even better )

          If we gave a more realistic version of the trickster tales (as told by the Native Americans, Africans, and African Slaves of the day) they would be rated R or worse with endless scenes of copulation, incest, murder, and all the other fun stuff, No way would Disney release it. ....

          Makes me wonder what people would stand for more, Old fashion stereotypes or a realistic representation full of incest? Hmmmm.... remember, when it comes to incest... it's all relative.
          St. Elizabeth, Patron Saint of Themed parks. Protect us from break downs, long lines, and used gum. Amen.

          "Dance like it hurts, love like you need money, and work when people are watching" - Dogbert




          Comment


          • #45
            Re: Song of the south

            Yeah, I had the same thought about Swiss Family Robinson when I read that. They really need to quit trying to modernize the old movies and instead just SHOW the old movies. Enough Cadet Kelly on Disney Channel, show us the classics again at least once in a while. Then they wouldn't need to "modernize" them.

            It definitely does look like they are just trying to figure out the best way to "handle" it before they release Song of the South though, doesn't it? That excites me. I really hope they do it. I don't know anything about trickster tales. Though your questions about stereotypes vs reality is very valid. Even most of the fairy tales were too dark for Disney to do without heavily altering them in places. In Cinderella, the step-mother actually cuts her daughters toes and heels off so they will fit into the slipper. The real Peter Pan has a very flippant attitude towards life and death and several times people are VERY close to serious danger.

            Our revels now are ended. These our actors, As I foretold you, were all spirits and Are melted into air, into thin air: And, like the baseless fabric of this vision, The cloud-capp'd towers, the gorgeous palaces, The solemn temples, the great globe itself, Yea, all which it inherit, shall dissolve And, like this insubstantial pageant faded, Leave not a rack behind. We are such stuff As dreams are made on, and our little life Is rounded with a sleep. mycroft16 on Twitter

            Comment


            • #46
              Re: Song of the south

              Swiss Family Robinson isn't a GREAT movie...it's a fun movie that came from a fun time in Disney's live action history. I watched it not long ago and thought it felt pretty dated, but fun. An update could be great.

              I hope they do re-release Song of the South, I do think an intro by Leonard Maltin or someone could be just the thing to give the film some context.

              Comment


              • #47
                Re: Song of the south

                They could remake SotS with Samuel L Jackson as Uncle Remus. He won't take no crap from no one.

                Sample line: "What did you just call me???"

                Comment


                • #48
                  Re: Song of the south

                  I think that the proverbial nail has been hit on the head. No one would let their kids watch accurate portrayals of the period and they condemn shows that soften or fantasize it.. So that leaves us with what choice? Just don't do any movies for children set in that time period. Which is fine I suppose going forward but it still irks me that we can't get one that's already been made.

                  By the way, I laughed till I cried when I read that post about Samuel L. Jackson
                  sigpic
                  I raise my Kitties right.... they only watch the finest shows.

                  Comment


                  • #49
                    Re: Song of the south

                    Originally posted by Queentitania19 View Post
                    By the way, I laughed till I cried when I read that post about Samuel L. Jackson
                    Here's a Photoshop I did a few months back:



                    Or this could be an option too:



                    These are the versions we will never see released by Disney.

                    Comment


                    • #50
                      Re: Song of the south

                      That's it. That will be my new tag on myspace. By the way. Isn't a refresh of Swiss Family Robinson already on the air? I think they call it LOST. ;-)
                      sigpic
                      I raise my Kitties right.... they only watch the finest shows.

                      Comment


                      • #51
                        Re: Song of the south

                        Nice Barbossa! Well done!

                        Comment


                        • #52
                          Re: Song of the south

                          Originally posted by Queentitania19 View Post
                          By the way, I laughed till I cried when I read that post about Samuel L. Jackson
                          Thank you! That was the intention.

                          Comment


                          • #53
                            Re: Song of the south

                            (originally published on SaveDisney.com - now posted at songofthe south.net)

                            http://songofthesouth.net/news/archi...indefense.html

                            In Defense of Disney's Uncle Remus...
                            By Merlin Jones

                            Walt Disney's Song of the South is one of my favorite films, and has been since I first watched it in a 1972 reissue.

                            Though the film has been labelled "insensitive" or worse... "racist"... I see it as quite the opposite: a reaffirming story of the bond between two friends that refuse to be separated by race, class, age -- a friendship that is forged and held against all odds. A tale of unity.

                            First there was the book: The author of the Uncle Remus Stories, Joel Chandler Harris, was a journalist who developed an interest in the African-American storytelling traditions and dialect as handed-down through generations of plantation workers. Adapting the oral fables of Br'er Rabbit to prose, Harris invented Uncle Remus as the teller of the tales and published a volume that, by the early 1900's, had become a standard of American children's literature.

                            These stories were dear to Walt Disney. He said at the time of the film's production, "The first books I ever read were the Uncle Remus stories. Ever since then, these stories have been my special favorites. I've just been waiting until I could develop the proper medium to bring them to the screen."

                            Here is the framing story Walt devised for his screen adaptation:

                            "Song of the South" is set in Georgia, post-Civil War reconstruction era. As the story opens, young Johnny (Bobby Driscoll) joins his mother, Miss Sally (Ruth Warrick), on an extended visit to his Grandmother's plantation (Johnny's parents are undergoing a trial marriage separation). While there, the lonely boy tries to run away to join his journalist father (Erik Rolf) in Atlanta, but is waylaid and befriended by the wise old storyteller and former slave, Uncle Remus (James Baskett). With his colorful tales of Br'er Rabbit, Br'er Fox and Br'er Bear, Remus ignites a passion in Johnny's imagination -- creating a "Laughing Place" that helps him cope with the stresses of home life. Johnny's bond with Uncle Remus soon threatens Miss Sally's authority, as she feels the fables have inspired her son to rebel against her rules and wishes. After a series of conflicts arise, in which Johnny imitates the wits of Br'er Rabbit, Uncle Remus is forbidden to tell Johnny any more stories. Feeling useless without his storytelling, Remus sadly decides to leave the only home he has ever known. When the boy cuts across a bullpen to stop his best friend from leaving the plantation, he is gravely injured. Only when Uncle Remus comes back home, Johnny's father in tow, can the storyteller's gift revive the child -- as a reunited family finds their own Laughing Place, together.

                            So what is so threatening about Walt Disney's Song of the South that has kept the film locked in a vault since its last successful theatrical reissue in 1986?

                            The film is still popular. Despite being the most-requested feature in the Disney library (and the second most-requested DVD on Amazon.com)... despite a projected North American home video revenue value in the hundreds of millions of dollars (with previous success on video abroad)... despite the fact that the movie inspired one of the most perpetually popular rides (Splash Mountain) in Disney's theme-park empire... despite the undying popularity of its score, including the Oscar-winning song, Zip-a-Dee-Doo-Dah... Disney's current executives have stubbornly refused to allow the film to be sold or screened domestically, even in recent times of severe financial drought (...and that goes for the soundtrack album too...).

                            Could this be a terminal case of "political in-correctness?"

                            Is this, then, a film filled with offensive, over-the-top racial stereotypes of Hollywood's Stepinfetchit era? Not really -- it features a sensitive Oscar-winning performance by James Baskett as Uncle Remus, with ample support from fellow Oscar-winner, Hattie McDaniel. Does the film hide racist messaging to seduce children? No -- The animated Br'er Rabbit stories are adapted from vital African-American oral storytelling traditions. Does the film deliberately incite hatred or violence? No -- It features a gentle message about the value of laughter and imagination. Does the movie advocate segregation or racial division? No. -- Its protagonists openly desire togetherness.

                            As film historian Leonard Maltin noted to the Los Angeles Times in 2003, "There is an incredible moment when Uncle Remus takes the boy's hand in his, and there is an insert of the white and black hands clasped together. It's the emotional climax of the movie."

                            So what is the fuss?

                            Oddly, through the years, Song of the South has been criticized most for its aesthetic "beauty." In this view, the sentimentality and nostalgia permeating the film's evocative moonlight and magnolia, its tone and Technicolor (lovingly photographed by Citizen Kane cinematographer Gregg Toland -- with animated segments vividly color-styled by Disney artist Mary Blair) taint the film as soft-pedaling the injustices of the post-war era through a rose-colored lens. The whole effort has been deemed by its critics a bit too dreamlike, palatable and perfect, with a patronizing head buried in longing for a distant, non-conflicted era that never really existed. In other words, to some, Song of the South is a pretty white lie of passive-aggressive propaganda.

                            On the film's original release in 1946, the NAACP issued the following telegram to the press:

                            "The National Association for the Advancement of Colored People recognizes in "Song of the South" remarkable artistic merit in the music and in the combination of living actors and the cartoon technique. It regrets, however, that in an effort neither to offend audiences in the north or south, the production helps to perpetuate a dangerously glorified picture of slavery. Making use of the beautiful Uncle Remus folklore, "Song of the South" unfortunately gives the impression of an idyllic master-slave relationship which is a distortion of the facts."

                            Said folklorist Patricia A. Turner: "Disney's 20th century re-creation of Harris's frame story is much more heinous than the original. The days on the plantation located in "The United States of Georgia" begin and end with unsupervised blacks singing songs about their wonderful home as they march to and from the fields." She continues, "In the world that Disney made, the Blacks sublimate their own lives in order to be better servants to the white family. If Disney had truly understood the message of the tales he animated so delightfully, he would have realized the extent of distortion of the frame story."

                            Though the idyllic tone of the film is undeniable, there one key problem with this line of criticism: The story actually doesn't involve slavery at all -- it takes place after the civil War, during reconstruction (Remus is clearly shown as free to leave the plantation if he so desires - which he does -- a key plot point in the film. The field workers' lyrics "Let the rain pour down, let the cold wind blow, gonna stay right here in the home I know" also place the setting postwar, where they have the power to make that decision).

                            Unfortunately, the Studio ignored a note from the Production Code Administration when it reviewed the script in 1944: "Be certain the frontispiece of the book mentioned establishes the date in the 1870's." ("The book" being the original concept to use a copy of Tales of Uncle Remus for the title sequence). This oversight can be addressed, should the film be reissued, with a simple subtitle over the opening scene denoting the setting. This would help clear-up any confusion that the story is set before slavery was abolished.

                            Of course, even the post-war period was no Disneyland for former slaves. There is no doubt that Song of the South is a product of its times, and reflects some of Hollywood's tired audio-visual codes and symbols of the pre-Civil Rights era (albeit in a manner far less overt than even the readily available Gone With the Wind). But this film is no Amos 'N' Andy -- no minstrel show

                            Though Ebony called Uncle Remus "an Uncle Tom - Aunt Jemima caricature," this label demeans James Baskett's sensitive onscreen performance. Intimate, nuanced and spellbinding in his storytelling, Baskett (who also performed the voice of Br'er Fox) was presented an honorary Academy Award "for his able and heartwarming characterization of Uncle Remus, friend and storyteller to the world."

                            Karl F. Cohen, author of Forbidden Animation, notes of co-screenwriter Maurice Rapf, "He made it clear that Br'er Rabbit and the other characters in the stories who represented blacks were outsmarting the "white" characters with their brains rather than brawn."

                            In the world of the film, the black characters, while often deferent, are undeniably the wisest, kindest and most sympathetic humans in the story. The "villains" of Song of the South are white, from Johnny's self-absorbed Mother to the almost-feral white farmhand bullies - the Faver Boys (who represent Br'er Fox and Br'er Bear in the live-action story).

                            At center stage in Song of the South is Walt's thematic pre-occupation with cold adults that have forgotten their inner-child (a theme which is repeated throughout his major works, including Peter Pan, Mary Poppins, The Three Lives of Thomasina and Pollyanna), and the power of innocence and imagination (here represented by Uncle Remus) to heal the family unit.

                            But the usual conflict between child and parent takes on a far more symbolic role in this setting:

                            Bobby Driscoll's character, Johnny, the lonely protagonist to which we relate in the story, has chosen his three best friends at Grandma's postwar Georgian plantation: Uncle Remus, an aging former slave, a gifted storyteller and wizened confidante... Toby, a black worker his own age... and Ginny, poor white-trash daughter of plantation field-hands (not to mention the mongrel puppy, Teenchy, with no pedigree to his name).

                            None of these social "undesirables" are exactly what Johnny's Mother, Miss Sally, a cool and confused woman separated from her journalist husband, would select for her son's companions. Miss Sally's increasingly determined attempts to sidetrack Johnny with other rich white children, Little Lord Fauntleroy outfits and the trappings of privilege, fall on deaf ears. Johnny rejects Sally's pretensions to stand fast with his friends. His eyes do not see color, status, breeding or wealth... only the bright and wonderful souls and stories to which he is bonded.

                            What the truly colorblind Johnny shares with his friends is the gift of laughter and imagination, primal attractions that transcend societal limitations and proprieties. He is an instinctive "progressive," fighting against his Mother's unnecessary bias, fighting for tolerance, inclusion and equal standing for his pals. Johnny shares the "dream" that there is no imaginary line separating him from Uncle Remus -- and we root for him to succeed.

                            The one who has a problem here is Miss Sally, the antagonist, the character to whom we do not relate in any way, the character who is even reproached by her own Mother for trying to separate Johnny from Uncle Remus and his tales. She needs to get a clue about what is really important -- before her world crumbles as surely as The Old South. Despite her lavender and lace and detached demeanor, Sally is more destructive than the bull that mows Johnny over in the third act as he attempts to keep Uncle Remus from leaving the plantation. Perhaps that stubborn, threatening bull is her avatar.

                            Miss Sally is a mess. Her husband writes provocative (read: Yankee?) journalism, and is dedicated to his work to the exclusion of family. Mired in the trappings of class status and post-war politics, and disappointed by the disintegrating family dream, Sally has lost a vital connection to her youth. She can't see the value in Br'er Rabbit. She has stopped laughing.

                            During a trial separation, Sally transfers her anger onto her son, Johnny. His access to puppies, friends -- and especially the tales of Uncle Remus -- seem incidental to Sally's personal problems. Everyone in her world must follow the rules she understands -- especially her own flesh and blood. Sally is clinging to the past, becoming more the control freak the more Johnny resists her world of illusion. Out of frustration, she creates additional anxiety for her son by restraining his creative expression, choosing his friends, clothes and pets, projecting her own prejudices upon him... forbidding the telling of life-giving tales.

                            In his innocence, Johnny has no racial or elitist hang-ups - he only knows that Uncle Remus has opened a Technicolor pathway to imagination with his storytelling - a connection to a vivid world of relevant feelings and ideas outside of Miss Sally's preconceived notions. When Uncle Remus is forbidden to sidetrack Johnny with anymore of his stories, tragedy strikes as the boy tries to hang on to Uncle Remus and his dreams. It is only when the parents are confronted by the potential loss of their son do they realize what is truly important - finding their Laughing Place, the place they knew as children, the place they can share with Johnny as a family, together -- and together with those of other races and class distinctions. They must remember Br'er Rabbit and Uncle Remus.

                            Undeniably at the core of this simple story is the bonding and tragic separation of two simpatico souls of different races, ages and classes: Johnny and Uncle Remus. Advocacy and understanding is the lesson Miss Sally must learn when she tries to come between them -- to tragic results. In thematic subtext, segregation is the enemy, unity the goal.

                            Revisionist apologetics for a dated and decidedly politically "incorrect" film? I don't think so. No matter the film's flaws, there is much of value to be found. As Uncle Remus says of his tales, "if they don't do no good, how come they last so long?"

                            The Br'er Rabbit animated segments in particular contain some of most polished examples of personality animation at the crest of Disney's golden era, highlighted by the work of Walt's Nine Old Men. The lively cartoon story adaptation clearly benefited from the involvement of Walt himself, a modern-day Uncle Remus.

                            "It was a film he really wanted to do," Diane Disney Miller told the Los Angeles Times of her father, "My dad quoted so much from Uncle Remus' logic and philosophy."

                            I can't tell you how many times I have quoted the film - and Uncle Remus' homilies - in my own life. "You can't run away from your troubles, there ain't no place that far."... "Don't go sticking your foot somewhere it's got no business being in the first place."... "Time to use our heads instead of our foots."

                            There is gold in these simple morality lessons -- and in the celebration of the African-American folklore from which they came. Joel Chandler Harris collected the Br'er Rabbit stories after the Civil War, but he had first heard them from slaves as a child.

                            Brian Pendreigh in The Herald wrote of the original oral tales, "The characters represented the two races, with Br'er Rabbit a symbol of black ingenuity in the face of white thuggery and aggression."

                            The late Jackie Torrence was a storyteller focused on cultural lore. According to the Los Angeles Times, she disagreed with critics who consider the Uncle Remus folk tales as demeaning to African-Americans.

                            "As a teaching tool, the tales implied great morals when they told of the sly ways the slaves had outsmarted the master." Torrence, the granddaughter of slaves, told the publication Notable Black American Women, "They were warning devices and were used as signals to those who were hiding -- needing information about people who could and would help. Why do we resent them now?... Whatever the reason, we are making a grave mistake. These stories are important to the black as well as to the white heritage of America."

                            Despite the intellectual criticism Song of the South has received since its premiere, the film has undeniably connected with audiences through the generations. It always performed well at the box-office and rarely sparked protest from the general public (even in recent years when available on video in Europe and Asia). After a successful reissue in the 1956, the film was "permanently retired" in the civil rights era, only to re-emerge in 1972 as the most successful Disney reissue up to that time. It was reissued in 1980 and again in 1986 (for its 40th anniversary), also with little apparent controversy.

                            When taking into account ticket price inflation for re-releases, Song of the South's adjusted box-office gross weighs in at $288.6 million (per boxofficereport.com), making it the highest-grossing film - from any studio - that has never been released to home video in North America.

                            Yet some in Burbank's Team Disney building want to continue holding Song of the South from its many fans.

                            In 2004, Roy E. Disney commented on the film's lack of availability to SongoftheSouth.net, "I am sorry to tell you this is another reason to do our best to move Eisner out. He has been - for quite a few years now - totally against (I think AFRAID is a better word) re-releasing Song of the South, which happens to be one of my favorite of the old Disney films. A number of us have tried, for some time, to change his mind, to no avail."

                            In the meantime, left with little recourse, impatient fans search out expensive imports or bootleg copies at conventions and on the net. Must they break the law in order to view a "banned" intellectual work for themselves?

                            Film critic Roger Ebert seems to envision a future comprised of privileged elites who have special access to controversial films. In 2000, he wrote in reference to Song of the South, "I am against censorship and believe that no films or books should be burned or banned, but film school study is one thing and a general release is another." In 2004 he added, "Disney has made a corporate decision to hold Song of the South from release because of its stereotyping of some of the African-American characters, and I have expressed sympathy with that position because the film is directed primarily toward children who see films literally. I would not want to be an African-American child at a screening of the film, but I would support its screening for mature audiences."

                            A slippery slope, Roger. And who makes that decision for everyone, your thumb?

                            Should we keep children from knowing their own cultural history, their own chance to learn -- to remember -- to track society's progress or mistakes -- to keep injustice from happening again? As a society, we can't progress honestly if we hide or forget or re-imagine our collective past to make it more easily digestible (ironically, one of the accusations made against the film). And who is to ultimately decide what the "common man" can or cannot see? Forced utopianism through suppression of intellectual works is potentially far more destructive - and dangerous - than open and constructive conversation. Keeping this film locked in a vault only suppresses potent fodder for debate -- a positive early learning tool for cross-cultural understanding.

                            Though this brand of suppression is not actual government censorship -- it had just as well be. With soulless conglomerates absorbing copyrights and legally extending expiration dates in perpetuity, they become defacto censors of intellectual materials when suppressing "dated" properties from commercial exploitation to protect a corporate image.

                            US copyright laws exist only to protect those commercial rights -- If the copyright holder has truly abandoned the intent to exploit the property, rights should fall back into the public domain where we can all share the material freely. "Use it or lose it" should become our new copyright mantra.

                            Like it or not, for good or ill, Song of the South is art. And art needs to be accessible to the people, no matter its rough (or well-polished) edges. Even if one holds to the negative view of critics, then all the better the film should be widely seen, so we can talk it out together -- not hide it. Otherwise our civil liberties -- our collective freedoms of expression -- are seriously threatened.

                            But there may be a thaw on the horizon. Disney Studio chairman Dick Cook told a convention of Disney enthusiasts last year that the Company is looking at the (long-rumored) possibility of filming a historical-context-setting prelude for a potential DVD release of Song of the South, as has been the case with some of the Walt Disney Treasures releases such as On the Front Lines, a collection of Disney's WWII propaganda films.

                            Treasures host Leonard Maltin told The Star Tribune, "I very much hope that the folks at Disney will release Song of the South sometime soon, and use this same approach -- to be responsible in explaining the times it depicts and the attitudes of the period in which it was made."

                            Clarence Page, an African-American columnist for the Chicago Tribune, said in 2003, "There's a deep African tradition in Song of the South. Br'er Rabbit is an emblematic figure of African folklore, a direct descendant of the trickster who gets by on his wits. Where (political correctness) gets ridiculous is when (corporations trying to avoid controversy) just presume that if something is stereotypical, then African-Americans aren't going to like this. There is a diversity of images in the media now that reflect our diversity in real life. We can look at Song of the South with a new awareness and appreciation."

                            Indeed, a lengthy, uncut animated sequence from Song of the South, as featured in the TV special One Hour in Wonderland, showed up on the 2-disc Alice Wonderland DVD set in 2004. Could this have been a wee test for future release?

                            If so, I hope the film will be further restored before release (the original elements were preserved in recent years by loving hands). Unfortunately, the three-strip live-action segments have an exaggerated Technicolor "breathe/flicker." Fixing this up is totally possible with current technology (there is a recent program that matches the three strips together frame by frame, compensating for any changes, shrinking, contrast, decomposition, etc.) -- they just need the budget to do it.

                            (And -- we could use a remastered soundtrack CD while you're at it...).

                            No matter what is decided, the wise old storyteller will still be needed to open youthful hearts.

                            As a somewhat sheltered child sitting in an old Fox Theatre in rural California, I felt a kinship to Uncle Remus. He showed me other worlds, taught me to laugh, kept me from trying to run away. Uncle Remus was on-par with Mary Poppins and Peter Pan to me -- a magic maker, a healer, an avatar of Walt Disney -- with his wonderful animal fables and a warm twinkle in the eye, he let me know there was no separation of race, class or politics. Life was about the color of our dreams, not our skin. I wanted to be with him -- to be like him. Just like Johnny.

                            To forbid the telling of this tale -- to lose the laugher of Br'er Rabbit -- is to make Miss Sally the winner instead of Uncle Remus. Now that would be intolerable.

                            For more articles on Walt Disney's Song of the South, and how you can help encourage the film's release, visit SongoftheSouth.net.

                            Comment


                            • #54
                              Re: Song of the south

                              ^Good article

                              One thing I don't get, if Disney is so scared to release this movie, why dd they put the Tar Baby in Who Framed Roger Rabbit? Here's a screen cap, and no it is not a Photoshop, this is an actual capture I took off the DVD:



                              You can clearly see the Tar Baby when Eddie Valiant drives his car into Toontown for the first time. The Tar Baby appears out of focus because it's looking through the side window of the car. Br'er Rabbit and Br'er Bear make appearances in various parts of the movie as well.

                              Comment


                              • #55
                                Re: Song of the south

                                I like what the sign says. "Visit La brae Tar pits" LOL!!!

                                Comment


                                • #56
                                  Re: Song of the south

                                  If it comes to that. Why build a ride for it if you're going to make it so freaking forbidden!! I've wondered this ever since they put the ride in. I know so many people that have asked me where the theme from the ride came from. Of course I gasp in horror but still.
                                  sigpic
                                  I raise my Kitties right.... they only watch the finest shows.

                                  Comment


                                  • #57
                                    Re: Song of the south

                                    I've always felt the, what's the word I'm looking for, fear? displeasure? perhaps disdain? with Song of the South stems primarily from the fact that most people don't know what it is. It's the age old fear-of-the-unknown effect at work. Most of us can't get ahold of a legal copy, so most of us will never see it if Disney doesn't re-release it. That coupled with a general ignorance of the film and the fact that those of us who have seen it haven't seen it in decades, creates this aura of prejudice around the film. I've found that most people who've actually seen it, black, white or Hispanic, don't pick up any racists vibes from the film. In fact, most seem to comment on how significant the interracial relationships portrayed are, considering the time period the film was made.

                                    Then, if it's not bad enough, folks promulgate the myths surrounding it. Someone says it depicts slavery, and soon you have to keep reminding folks that it doesn't even take place during that time. Someone else will say that Remus is a racist stereotype, when in fact, it depicts a dialect of a time and of a portion of a culture. A stereotype, perhaps, but no racism implied.

                                    It puzzles me how a film steeped in a friendship that transcends race, age and life experience, and one that was filmed at a time when racial harmony was still very much an idea that America was having trouble adjusting to, that it could be branded as anything but a step forward in filmmaking and the portrayal of African Americans in film.


                                    Comment


                                    • #58
                                      Re: Song of the south

                                      Originally posted by Barbossa View Post
                                      One thing I don't get, if Disney is so scared to release this movie, why dd they put the Tar Baby in Who Framed Roger Rabbit? Here's a screen cap, and no it is not a Photoshop, this is an actual capture I took off the DVD:

                                      ...

                                      You can clearly see the Tar Baby when Eddie Valiant drives his car into Toontown for the first time. The Tar Baby appears out of focus because it's looking through the side window of the car. Br'er Rabbit and Br'er Bear make appearances in various parts of the movie as well.
                                      A point that is often unknown or over looked is that Song of the South had a rather successful [and entirely controversy free] theatrical rerelease in 1986. The third theatrical rerelease after the film's "permanent retirement" in 1970.

                                      Comment


                                      • #59
                                        Re: Song of the south

                                        oh Song of the South.

                                        I want this film released. I have a copy (not a very good one granted) and I'd STILL buy it when it gets released, just to say I bought it and support the film. I personally don't see the negative side to this film. I see it as a positive portrayal of friendship.

                                        I think the Disney company is crazy to think that any film they have or will produce will be loved by all. I'm a film minor in college, and all I have to say is that if every controversial film was locked away, there would be a serious deficit of cinema. Film is supposed to push the limits and make people think about things in new ways.


                                        Comment


                                        • #60
                                          Re: Song of the south

                                          Originally posted by aashee View Post
                                          It's a good movie, not a great movie. I think a lot of it has to do with it being a "forbidden fruit". Although is has possibly the best Disney song of all time Zip-a-dee-do-dah.
                                          As I have said many times here in various threads, it is the height of hypocrisy for Disney to essentially disallow any release of this film of video or DVD in the USA, while using portions of the soundtrack for decades.

                                          They could release the DVD...just give me the movie, and for PC effect include all special features with hours of Jesse Jackson and Al Sharpton telling us how "evil" these stories are...I can always ignore those.
                                          God, grant me the serenity to accept the things I cannot change, the courage to change the things I can, and the wisdom to know the difference.

                                          Comment

                                          Get Away Today Footer

                                          Collapse
                                          Working...
                                          X