Ken Reviews: The Secrets of Disney's Haunted Mansion - May 9, 2006

Ken Reviews: The Secrets of Disney's Haunted Mansion
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by Ken Pellman (archives)
May 9, 2006
Ken reviews the new book DoomBuggies.com Presents: The Secrets of Disney's Haunted Mansion.

Ken Reviews
By Ken Pellman

DoomBuggies.com Presents: The Secrets of Disney's Haunted Mansion (purchase at the LP Store)
It is no coincidence that both the Haunted Mansion and Pirates of the Caribbean, two attractions built in the 1960s, continue to be a popular experience among Disney and theme park fans, and well-known in general pop culture. Pirates of the Caribbean has spawned a successful cinematic film series, and the Haunted Mansion – well, at least the film wasn't as ill-received as "The Country Bears". It is also no coincidence that the Haunted Mansion accommodates a seasonal overlay.

The Haunted Mansion uses a large, hidden "show building" to the house the attraction, is an experience that lasts more than the 60, 120, or 180 seconds you'll spend in so many other theme park attractions, and it gradually, completely immerses you in an alternate world that you can believe is truly a part of your world. Thanks to the work of talents who were at the top of their game, the rich, elaborate settings, memorable characters, and playful song stick with you even though you're exposed to most of them for just a moment.

Is there any hearing person who has ever experienced the Haunted Mansion who does not remember the Ghost Host - thanks to voice actor Paul Frees, or any sighted person who can forget the hitchhiking ghosts - thanks to Marc Davis, or Madame Leota – brought to life by two actresses and a clever use of technology and staging?

When the Imagineers finally got around to the final work on opening the Haunted Mansion to the living, they had been making leaps and bounds in the art of theme park design. Walt Disney had passed away in late 1966, but he'd left behind a team of frighteningly talented people who would get the Mansion open in August of 1969. Everything from the exterior approach, through the wait for the attraction, to the exit, exemplifies the handiwork of masters often flattered by attempted imitation.

It is no coincidence that the attraction has been duplicated at each of the subsequent Magic Kingdoms built around the world, save the most recent.

It is also no coincidence that there is an extensive site like DoomBuggies.com and this book dedicated to this attraction. As fun as it is, you'd be hard-pressed to create much of a book or website about California Screamin'.

As the book notes, the Haunted Mansion has a lot of crossover appeal that has helped to fuel its enduring popularity. Disney does not usually dabble in the dark or macabre, save for isolated villains who are defeated by the bright, cheery, popular, beautiful, royal heroes. For people who look forward to October 31 all year (and not because of a sweet tooth), the Haunted Mansion can easily be the best place in a Disney park. Yet, the attraction is appropriate for brave children as well, and lovers who don't mind if some college kid is watching them smooch on camera.

There is no way to evaluate this book without also mentioning The Haunted Mansion – From the Magic Kingdom to the Movies by Jason Surrell (purchase at the LP Store) . There is, unavoidably, some overlapping of the two, but then how many of us have the very same Disney song on three or more purchased albums? While the Surrell book is a slick, corporately-approved offering that promotes all four versions of the attraction and that is meant, in large part, to promote the film, Baham's book is an unauthorized, "by fans and for fans", deeply personal publication that focuses on the original attraction at Disneyland Park. I don't mean that to knock the Surrell book at all. Surrell's book is excellent and I would expect any fan of the Haunted Mansion any serious student of theme park design to have it already.

If you are really a fan of the original Haunted Mansion, Baham's book is definitely a must-have, even if you already have the Surrell book.

The cover features a tribute to - rather than a strict depiction of - Madame Leota, with a head appearing inside a crystal ball, with the ball supported by a hand. This is also a nod to the Museum of the Weird, a concept never fully realized.

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