CULTURAL MAGAZINE

Disney’ s Classic by Filmcritic

For the uninitiated, Disney’s musical rendition takes young Alice on a whirlwindturbinosa ride down a rabbit hole and into a surreal fantasy land where cats vanishsvaniscono, hareslepri have intense schedules, and the world is ruled by a playing card. Remarkably, Alice takes all this in her stride; whether potions
shrinkrestringono her or if they make her grow uncontrollably, she doesn’t seem to mind much. It's not until the Queen of Hearts shows up that things start to get dicey... what with the "Off with her head!" and all.

It's not terribly important that some of Wonderland's vignettes are short of genius. After three or four minutes, Alice is off to a new and virtually unrelated adventure (and song). There's simply not enough time to get boredannoiarsi with the occasional boring musical number
or iffyincerto character. The animation is for the most part very good: Alice is beautifully drawn, but many of the creatures have a last-second finish to them. Much of the movie feels like it's working up to the big finish in the land of the playing cards, which is nothing special by today's standards, but which looks pretty good for 1951.

Disney’ s Classic by Empire online

Lewis Carroll's episodic fantasy stories have been translated to the screen more than 20 times, but Disney's animated version arguablyprovatamente remains the best, perhaps because a cartoon is the ideal way to bring such quirkystrani, eccentrici characters to life. Uncle Walt had a mind to adapt Carroll as far back as 1933, envisioningimmaginandosi silent star Mary Pickford in the role of a live-action feature,
but didn't commencenon iniziò production until after the war. Having undergonesottoposto a draftedabbozzato screenplay by Brave New World author Aldous Huxley, whose script Walt rejected because he could only understand "every second word", Disney's Alice opened in 1951 to almost universally bad reviews. Fifty years on the movie is clearly due a reappraisalriconsiderazione. It's colourful, fun and as surreal as Disney is ever likely to get; it isn't as good as the books, but works as a cutebella, carina introduction to them. A Disney classic.

First look on Tim Burton’s film
From Usa Today

"It has been Burton-ized" is how producer Richard Zanuck describes the director's vision of the Lewis Carroll classic. Many elements are familiar, from the enigmatic Caterpillar (Alan Rickman) to the fierceferoce Jabberwock (Christopher Lee). But none has been presented in this sort of visually surreal fashion. "We finished shooting in December after only 40 days," Zanuck says. Now the live action is being mergedunita with Computer Graphic animation and motion-capture creatures, and then transferred into 3-D.
The traditional tale has been freshened with a blastraffica of girl power, courtesy of writer Linda Woolverton (Beauty and the Beast). Alice, 17, attends a party at a Victorian estatetenuta vittoriana only to find she is about to be proposed to in front of hundreds of snootypresuntuosi society types. Off she runs, following a white rabbit into a hole and ending up in Wonderland, a place she visited 10 years before yet doesn't remember.
Among those who welcome her back is the Mad Hattercappellaio matto, a part tailor-made for Johnny Depp as he collaborates with Burton for the seventh time. "This character is off his rocker," Zanuck says.

Aussieaustraliana actress Mia Wasikowska, 19, best known for HBO's In Treatmentfamosa trasmissione tv Americana, has the covetedambito, agognato title role. "There is something real, honest and sincere about her," Zanuck says. "She's not a typical Hollywood starlet."

There is the usual Burton-esque ghoulishnessmacabro, but Zanuck assures most kids can handle it. "The book itself is pretty dark," he notes. "This is for little people and people who read it when they were little 50 years ago."

Mad About the Hatter
From Vanity Fair

By the looks of the trailer, the CGI work on the film is satisfyingly vivid and hyper-real. Depp seems to have adopted the campaffettato mannerisms of a certain Captain Jack Sparrow, but shiftedha cambiato his accent from cockneyintonazione dell’est end di Londra seadoglupo di mare territory towards something rather more eccentrically upper class. It should be remembered, of course, that the actor is more than capable of fouling up an otherwise perfectly decent movie with an unnecessarily eccentric performance.

After the huge success of Batman (1989), Tim Burton might have gone the route of Hollywood action director, churningsfornando through every iconic American superhero. Instead, he has spent the last 20 years on his own candy-colored, cobwebbyintricato, a ragnatela path, inventing heartbreakingly peculiar heroes (Edward Scissorhands) and giving a macabre edge to children’s classics (Roald Dahl’s Charlie and the Chocolate Factory). It would seem inevitable that one day he’d take on Lewis Carroll’s Alice in Wonderland, last seen on film in the bland animated Disney version of 1951. Fifty-eight years later, the Cheshire Cat and the Red Queen were begging to be reimagined by the living master
of cheeky Gothgotico sfacciato.