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lackadaisycats · 2 years

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I tried to answer this succinctly, but it turned into an essay. (Sorry.)

The Princess and the Frog was not accurate, strictly speaking, but dinging it for that would be like criticizing the Lion King for not being a realistic wildlife documentary. Accuracy wasn't really the point. Given the fantastical elements and fictional nations like “Maldonia”, I suppose we're meant to understand this as a bit removed from the real New Orleans. It's more a a jazz-flavored fairy tale than a historical fiction.

But for discussion's sake....

Is it fashion-accurate to its 1926 timeframe? Ehhh, sort of. It pays homage to 20s fashion trends with cloche hats, furs and feathery headpieces, but without fully committing to it. The waistline on almost all of Tiana's clothing is too high for the 20s, and the the shapes of her fancier costumes take a lot of liberties, or deviate wildly from the style of the period.

In the 20s, dresses (including workaday stuff) tended to have a straight up-and-down shape to it - kind of a low-waisted rectangle that de-emphasized curves instead of highlighting them. There are valid reasons to play fast and loose with that, though (something I’m definitely guilty of as well). One of those reasons is communication.

For instance, speculatively, the filmmakers wrote Tiana as a hard-working waitress and wanted her to look the part, so they made the choice to clothe her in something familiar - that gingham dress of mid-century shape that we broadly associate with diner waitresses. Actual waitress uniforms of the 20s had a fair bit of overlap with maid uniforms at the time too, and I can see why they wouldn't want to risk the confusion. It's more important to communicate clearly with the larger audience than to appease a small faction of fashion nerds who'd notice or care about the precision.

I don't think it's a case of the designers failing to do their research - I'm sure they had piles of references, and maybe even consultants - but they also had to have priorities.

With her hat and coat on, she looks a lot more 1920s-shaped.

Pretty consistently, the indication of the characteristic 1920s drop waist is there, but the approach otherwise ignores the 20s silhouette. The clothes hug the body too much. This may be about appealing to a 2000s audience, visually speaking, but also could be an animation thing. Maybe both. For practical reasons, clothes in 2d animation are usually more a sort of second skin than something that wears or behaves like realistic fabric.

These are not in the 1920s ballpark at all. Tiana's blue gown looks like your basic Disney brand invention. Strapless things would have been extremely unusual and the overall shape is far out of step. Excusable, I guess, because it's a costume in context. Charlotte looks like she’s heading for a mimosa brunch in a modern maxi dress.

Charlotte's princess dress did seem to be calling back to the ultra-wide pannier side hoops of the 18th century - something that made a reappearance for part of the 20s, albeit in much milder form called robe de style. I'm not sure if the filmmakers were alluding to that at all, really, but either way, her dress is hilarious.

They only went about halfway with the cloche hats. The 1920s cloche really encapsulated the cranium, almost entirely covered bobbed hair, and obscured much of the face from certain angles, so it's easy to see why they've been somewhat reined in for the film. Still, it ends up looking more 1930s, where the hats started to recede away from the face, evolving in the direction of the pillbox.

Similarly, Tiana's hair is not very reminiscent of the bobbed, close-to-the-cranium style of the period, but I think that could legitimately be written off as characterization. She's not at all the type of person who'd fuss about going à la mode. Not everyone bobbed and finger-waved their hair.

The clothes Prince Naveen is introduced in are very 1920s collegiate in spirit - the wide-leg oxford bags, the sleeveless pullover sweater, the flat cap, and high, stiff collar. The ukulele and banjolele were pretty trendy instruments at the time too.

Definitely some Josephine Baker vibes here. Also, the look of this whole fantasy sequence was reportedly inspired by the works of Aaron Douglas, a luminary painter of the Harlem Renaissance known for his depictions of the lives of African-Americans. (The mural is in Topeka, Kansas.)

They pretty much nailed the Art Deco. It's gorgeous. Looks somewhat inspired by the interiors of some of the Ralph Walker-designed NYC architecture, plus some French Quarter balcony flair for the final manifestation of Tiana's Place. Her dress here does resemble some gauzy mid-1920s looks, too.

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Culturally speaking...

New Orleans is an unusual place. Because some of the colonial Spanish and French laws and conventions that New Orleans evolved under persisted even after its inception into the United States; because it was such a heterogeneous hub of indigenous and immigrant peoples; and because it had a considerable population of free people of color (mostly Creole), it did not function quite like the rest of the South leading up to the Civil War, nor for a while after. Its particular coalescence of cultures made it its own unique sort of culture within the country, within the region, within the state of Louisiana even. By the early 20th century, though, regardless of the not-very-binary nature of New Orleans, Jim Crow laws were enforcing a literal black-and-white distinction, and not an evenhanded one, by far. In that aspect, the city had begun to resemble the rest of the South.

The film nods at the wealth disparity, but goes on to paint a pretty rosy picture of race and class relations at the time. Still it's not unbelievable that some people were exceptions to the rules. You could probably find a few compartments of old New Orleans society that resisted segregation or certain prejudicial norms, preferring to do things their own way. That aside, the film wasn't trying to confront these topics. Not every piece of media should have to. Sometimes breaking away from miserable period piece stereotypes is refreshing. I'm not sure it could have handled that meaningfully given the running time, narrow story focus, and intended audience, anyhow. (But you could perhaps also make a case that family films habitually underestimate younger audiences in this way.)

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Raymond the firefly I guess is the film's Cajun representation. There's not much to say about it, except perhaps to note that Evangeline is a reference to the heroine of a Longfellow poem of the same name. The poem is an epic romance set during the expulsion of the Acadians from the eastern provinces of Canada and the northernmost reaches of the American colonies (now Maine) by the British in the mid-1700s. Many exiled Acadians gradually migrated south to francophone-friendly Louisiana, settling into the prairies and bayous, where 'Acadian' truncated into the pronunciation 'Cajun'. Evangeline - who is only finally reunited with her love when he’s on his deathbed - has become an emblem of the heartbreak, separation and faithful hope of that cultural history, and there are parishes, statues and other landmarks named after the her throughout Louisiana.

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Voodoo does have a very historical presence in New Orleans, having arrived both directly from West Africa and by way of the Haitian diaspora (where it would more properly be called Vodou). While I don't think Disney's treatment of it was especially sensitive or serious, it also wasn't the grotesquely off-base sort of thing that media of the past has been known to do. It was largely whittled down to a magical plot component, but it wasn't so fully repurposed that it didn't resemble Voodoo at all either - and that's mostly owing to the characters, because it does appear the writers pulled from history there.

It’s apparently widely held that Dr. Facilier is a Baron Samedi caricature - and likely that's true, in part - but I have the impression he's also influenced by Doctor John. Not the 20th century funk musician, but the antebellum “Voodoo King” of New Orleans. Doctor John (also called Bayou John, Jean La Ficelle, and other aliases) claimed to be a Senegalese prince. He became well known as a potion man and romance-focused prognosticator to people from all corners of society. Though highly celebrated and financially successful at his peak, he seems ultimately remembered as an exploitative villain.

To my recollection, the film sort of gingerly avoids referring to Facilier as a Voodoo practitioner directly (I think he's more generically called a witch doctor in the script?) but it does seem to imply his 'friends on the other side' are a consortium of loa. It's mostly abbreviated into nebulously evil-seeming special FX, glazing over any specificity or dimensionality, but it does also loop back around as a vehicle of moral justice. Loa are all very individualistic and multi-faceted, but they do have reciprocal rules for asking favors of them.

There's also the benevolent counterpart in Mama Odie's character. Her wearing ritual whites has a definite basis in Voodoo/Vodou practice, and her depiction as a fairy godmother-like figure isn't entirely out of step with how a mambo may have been perceived...in a very general sense. They were/are ceremonial leaders and community bastions who people would seek out for help, advice and spiritual guidance. More than just emanating matronly good vibes, though, some have wielded considerable political and economic power.

(Just my opinions here. I've done a lot of reading on the subject for research but I'm no authority with any special insider understanding of Voodoo, and I really shouldn't be relied upon as an arbiter of who has or hasn't done it justice in fiction.)

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In summary--

Culturally, I think the film is respectably informed but paints a superficially genteel picture. The set pieces are gorgeous, but the story mostly delivers a sort of veneer of New Orleanishness. And as for fashion, well, it’s the 1920s run through a Disney filter. It’s very pretty, but it’s only as proximally accurate as seemed practical.

I don’t know that any of that really matters so much as whether or not it achieved what it intended, though. As a charming yarn and as a tribute to New Orleans and the Jazz age, I think it’s mostly successful. It’s also really beautifully animated!

#princess and the frog #disney #1920s #new orleans #jazz #fashion #voodoo #vodou #history #animation #art deco

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blackleatherjacketz · 4 months

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Shadow and Sin: Chapter 1

Klaus Mikaelson x Female Reader

Summary: Having just recently moved to New Orleans, you get intimately acquainted with both Mikaelson brothers, but don't find out who they truly are until it's too late.

This Chapter: Your art is finally put on display at a local gallery, and Klaus has a vested interest in it.

Warnings: Klaus Being Klaus, No Personal Space, Alcohol, Flirting, Almost Kisses, Art Interpretation, Dark Themes

Word Count: 1.2k+

Read the rest of the story HERE

Your first art show in New Orleans isn’t nearly as extravagant as you thought it would be, despite the small jazz band in the corner and the free champagne being served at the door. The jubilant music seems to fade off into the distance as you stand just a few feet away from one of your pieces, silently stalking the patrons as they walk by and observe it, muttering amongst themselves. You try to hone in on what they’re saying about your work, about how it makes them feel, or if they’ve caught onto any messages you’ve hidden in your mixed medium on canvas. So far it’s just been a mixture of silence and solitary comments like “interesting” or “hmm” as the glass of champagne warms to room temperature in your hand.

“Which one’s yours?” A man’s eloquent voice pulls you from your anxious thoughts, forcing you to look over at his delicately handsome face as he walks toward you with a confidence that could rival royalty.

“Huh?” You take a sip of your lukewarm champagne in order to gain some liquid courage to engage with this gorgeous man who seemed to appear out of thin air.

“I’d recognize that look anywhere,” he starts, touching one of the sculptures he clearly wasn’t supposed to. “Will they like it? Will they understand it? But most importantly, will they buy it?”

“That obvious, huh?” You take another sip, letting the bubbles take their time to crinkle your nose as the rest of the carbonation slowly fizzles out.

“Painfully, I’m afraid.” That smirk of his warms into a coy smile as he takes a step toward you, his own glass of champagne nearly empty. “Yours isn’t the landscape with the sailboat, no… those waters look far too calm for you.” He stands next to you and continues to guess, letting his fresh clean scent surround you as hints of a bergamont settle into the air. “Not the still life either, you don’t strike me as someone who focuses on something as mundane as coffee and beignets.” He pauses and looks at you briefly, taking in your features. “No, a work of art from your hands has to contain something different, something much… darker.”

“And what makes you think that?” You chide in return, enjoying this little game he’s created for himself. “Maybe I love coffee and beignets.”

“Well, darling, who doesn’t? But that’s not why you became an artist, now is it?” He raises his eyebrows, giving you a chance to notice the hints of green and gold in his blue eyes.

He was good, you’ll give him that.

“My money’s on the portrait of the faceless woman drenched in blood.” His tone drops to the level of darkness he previously described as he steps behind you, his voice like butter as it melts down each vertebrae of your spine. “It’s beautiful, really; the way you captured the themes of the tortured and macabre while still maintaining an intimate beauty of the feminine experience. I’ve never seen anything quite like it.”

His change in tambre and location freezes you in place, forcing you to look at your own painting through his eyes as he hovers behind you, making you shiver with the anticipation of his intentions. The fact that you’ve allowed him to get this close so fast makes you wrestle with the idea that you may already desire this stranger based on nothing more than the words he’s chosen to speak with that velvety voice of his. Are you that subject to flattery? That desperate for validation? Longing that deeply for some level of intimate connection? Perhaps you are...

After what seems like an eternity of moral gymnastics, you no longer resist the temptation to turn toward him as he guesses correctly, noting the triumphant look on his face as your lips linger mere inches away from his. You barely notice the still breath that remains inside your lungs, expanding your rib cage for far too long as you stare at his plump lips, taking heed of the single droplet of champagne that rests on them.

“And what makes you such an expert on the feminine experience?” You manage to ask as he allows you to stare at him a little bit longer before answering your question.

“Oh, I’m not. I’m merely a curious third party who’s invested in the local artists that my charitable donations help support.” He confesses with a step back.

“You’re a benefactor?” You don’t mean to sound so judgmental, but he doesn’t exactly look like most of the ancient relics who usually pour money into the city. If you’re being honest, he looks more like one of the musicians you’d find on the street corner playing a cover of ‘Wonderwall’ on guitar for tips.

“Oh, don’t look so surprised, love, we come in all shapes and sizes.” He laughs, looking you up and down while the shock of his financial status slowly begins to wear off. “Now, tell me, was I right? Is that your painting?”

“Maybe.” You cross her arms over your chest, trying your best to resist his evident charms. “But you already knew that, being a benefactor and all; that’s cheating.”

“Cheating is such a harsh word. I merely used my astute powers of observation to put two and two together.” He casually places his hand on your shoulder with a gentle squeeze in order to keep you near. “Surely, you can’t fault me for that.”

“I suppose not.” Your heart races at his sudden touch, the gleam in his eyes barely hiding the raging fire behind them. He’s going to be trouble, you can already tell. “Do you flirt like this with every new artist you meet?”

“Just the morbidly disturbed ones that I find deeply enchanting.” His strange compliment is oddly personal, hinting that he might know a little bit more about you than he’s currently letting on.

“You think I’m morbidly disturbed?”

He gives you a knowing look.

“Oh, it’s all over the canvas, love. It doesn’t take an expert to notice the hurried brush strokes in the busy background, the aggression with which you plastered the feminist news clippings together contrasted against the time you took to purposefully pour the viscous, slow drip of blood on it until it’s nearly spilling onto the floor.” He closes the gap between you, his hand now in your hair.

You swallow hard as he fishes around in your psyche for an accurate interpretation of your work, his proximity nearly turning your insides to quicksand as his cologne dizzies you on the spot. Good god, he’s beautiful.

“You know there are other ways of releasing all that pent up rage and aggression… all that passion.” He leans in so that his lips ghost over your cheek as it blushes against his stubble. “Although they aren’t quite as lucrative as this.”

“And what would those be?” You ask coyly, eagerly daring him to show you.

But instead of going in further for a demonstration, he leans back with a satisfied grin, as if he’s already gotten everything he wants from you at that moment. He grabs a pen from a nearby table and takes your hand, writing his phone number on your palm. “Find me when you feel like it gets to be too much, when all those emotions make you feel as if you’re absolutely about to burst.”

#klaus mikaelson #klaus mikaelson x reader #klaus mikaelson imagine #the originals #joseph morgan #klaus mikaelson fan fiction #klaus mikaelson fanfic #the vampire diaries #vampires #new orleans #nola #art #painting

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