Jim On Film
Page 2 of 2
Remember that films like Max Keeble’s Big Move are rarely hits. They are marketed toward kids, and parents are less likely--particularly in a crowded market--to sit with their kids through a movie when they can rent it for them instead and not have to suffer themselves. Similarly, for films like Rocketman and My Favorite Martian, it is painful to sit through the preview let alone attempt to watch the movie, and their final box office gross shows this. And yet, Disney is more willing to churn out movies about flatulent astronauts than something with brains that has broader appeal.
This is not to say that Minority Report should have been produced by and released under the Disney banner; however, there is nothing to say that Sense and Sensibility, for example, could not have been a Disney movie, or, for that matter, a G- or PG- rated You’ve Got Mail or Mission Impossible. What defines a Disney film is content (G- or PG-rating), spirit, quality, and the Disney copyright. If Disney can find room in that formula for Heavyweights, then they surely can find room for a film like Emma.
As a model film, take the 1964 Hayley Mills action-adventure The Moon-Spinners. Loosely based on the edge-of-your-seat suspense novel by Mary Stewart, The Moon-Spinners is an exciting film no matter how old the viewer is. It may be a little too violent for young viewers, but to most, it would not be offensive. If the novel were to be re-adapted more closely following its plot, the film would be a PG-rated suspense film comparable to any other on the market today. But to create a film starring Kate Beckinsale and Matt Damon under the Disney banner that does not have kids or inspirational "follow your dreams" themes in it is too, in this era, outside-the-box, even though children today watch films of all ratings. But Disney does not have to follow the flow of Hollywood perception. They can shock the industry by expanding its film subject outlook and coupling that with what defines a Disney movie, thereby redefining the term family movie.
If Disney were to take this direction, which would be a return to the studio Walt Disney created, it would definitely be fighting public and Hollywood image issues; however, with their recent intelligent G- and PG-rated successes, it would not be entirely impossible for Disney to change their image. If done right, there would be some high quality films that would fall through the cracks as audiences adjusted their perceptions; however, if history repeats itself, Disney is just as likely to lose money on bad remakes starring Christina Ricci or films with people running around in bear costumes as it is on something as a departure as a faithful adaptation of Nathaniel Hawthorne’s The Scarlet Letter or Kate Chopin’s The Awakening.
Despite having created feature films for sixty-five years, only two Disney movies have been nominated for Best Picture Oscars. When Disney releases an in-house completely live-action Best Picture Academy Award contender, then they really will be redefining the meaning of the Disney movie.
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-- Jim Miles
Jim On Film is published every other Thursday.
The opinions expressed by our guest columnists, and all of our columnists, do not necessarily represent the feelings of LaughingPlace.com or any of its employees or advertisers. All speculation and rumors about the future of Disneyland and the Walt Disney Company are just that - speculation and rumors - and should be treated as such.
-- Posted August 8, 2002
Copyright Jim Miles. Licensed to LaughingPlace.com.