#Bedknobs And Broomsticks (1971)

[adventurelandia]

Bedknobs and Broomsticks (1971)

[courseyoulovemeyoudontknowme]

Bedknobs and Broomsticks (1971, Robert Stevenson)

06/02/2024

[thingsmk1120sayz]

My collage tribute to Angela Lansbury in one of my mothers favorite childhood movies Bedknobs and Broomsticks

[crashthegates]

bedknobs and broomsticks is literally the most british movie on the planet first of all the main characters go to an island nation and steal the king's heirloom/artifact/jewelry thing with 0 moral qualms when they DIDNT EVEN NEED TO FUCKING DO THAT second of all it pissed me off when i was 10 and it pisses me off now that mr brown goes off to fight in the war instead of staying home with his new wife and kids

[swim-forthemusic]

picspams: Bedknobs and Broomsticks (1971) + witchcraft

Technically a witch is always a lady, except when circumstances dictate otherwise.

[citizenscreen]

Disney's BEDKNOBS AND BROOMSTICKS premiered at Radio City Music Hall in New York City on November 11, 1971.

[dweemeister]

You must face the age of not believing Doubting everything you ever knew Until at last you start believing There's something wonderful in you

Dame Angela Lansbury, who died at her home today in Los Angeles at the age of 96, is perhaps best known today as Jessica Fletcher in the acclaimed TV series Murder, She Wrote and in the Broadway stage plays and musicals in significant parts that Hollywood never gave her. But well before that, the Irish-British transplant to America (she and her family left Britain at the height of Nazi Germany’s bombing campaign of her home nation) made her career as mostly a character actress during the Golden Age of Hollywood. She may not have been a major star billed at the top of marquees and movie posters during her time while contracted to Metro-Goldwyn-Mayer (MGM), but she would come to be a recognizable figure to audiences of multiple generations – whether she might be playing a tough saloon owner with a belter of a singing voice, a schoolteacher just making ends meet, Elvis’ mother (despite a nine-year age difference), princesses and queens, the amoral and scheming wife of a political candidate, an emotionally manipulative mother, or a teapot matriarch.

She stepped onto a movie soundstage for the first time at seventeen years of age, while making Gaslight (1944) for MGM. Because she was still technically a minor, she had to be accompanied by a social worker while working on set. Despite this, director George Cukor and her co-stars (including Ingrid Bergman) treated her as equals, all of them recognizing right away her professionality and acting ability. Perhaps producers and studio executives might not have done the same, saddling her so often with character roles, but Lansbury – by all accounts – extended that same kindness Cukor and Bergman afforded to her to so many others over the decades, leaving a legacy that goes beyond whatever personal disappointments she may have had over the more considerable roles she never got to play.

Her distinction as Hollywood royalty came later in life, as our connections of Hollywood’s Golden Age are almost all gone.

Nine of the films Angela Lansbury appeared in follow (left-right, descending):

Gaslight (1944) – directed by George Cukor; also starring Charles Boyer, Ingrid Bergman, Joseph Cotten, and Dame May Whitty

The Harvey Girls (1946) – directed by George Sidney; also starring Judy Garland, John Hodiak, Ray Bolger, Preston Foster, Virginia O’Brien, Kenny Baker, Marjorie Main, Chill Wills, Selena Royle, and Cyd Charisse

The Three Musketeers (1949) – directed by George Sidney; also starring Lana Turner, Gene Kelly, June Allyson, Van Heflin, Frank Morgan, and Vincent Price

The Court Jester (1955) – directed by Melvin Frank and Norman Panama; also starring Danny Kaye, Glynis Johns, Basil Rathbone, and Cecil Parker

The Manchurian Candidate (1962) – directed by John Frankenheimer; also starring Frank Sinatra, Laurence Harvey, and Janet Leigh

Bedknobs and Broomsticks (1971) – directed by Robert Stevenson and Ward Kimball; also starring David Tomlinson, Roddy McDowall, Sam Jaffe, John Ericson, Cindy O’Callaghan, Ian Weighill, and Roy Snart

Death on the Nile (1978) – directed by John Guillermin; also starring Peter Ustinov, Jane Birkin, Lois Chiles, Bette Davis, Mia Farrow, Jon Finch, Olivia Hussey, I.S. Johar, George Kennedy, Simon MacCorkindale, David Niven, Maggie Smith, and Jack Warden

Beauty and the Beast (1991) – directed by Gary Trousdale and Kirk Wise; also starring Paige O’Hara, Robby Benson, Richard White, Jerry Orbach, David Ogden Stiers, Rex Everhart, Jesse Corti, and Bradley Pierce

Mary Poppins Returns (2018) – directed by Rob Marshall; also starring Emily Blunt, Lin-Manuel Miranda, Ben Whishaw, Emily Mortimer, Pixie Davies, Nathanael Saleh, Joel Dawson, Julie Walters, Meryl Streep, Colin Firth, David Warner, and Dick Van Dyke

[timelesstimesgoneby]

All Disney animals I can think of but I'm not including any Disney animated cannon or anything connect to that universe and same with Pixar because of cars universe please add anymore in the comments section

Ducktales 1987–1990

Chip 'n' Dale Rescue Rangers

1988–1990

Mickey's Christmas Carol 1983 G 26m

A Goofy Movie 1995 G 1h 18m

Mickey, Donald, Goofy: The Three Musketeers 2004 G 1h 7m

Many Adventures Of Winnie The Pooh G 1977 1h 14m

Pooh's Grand Adventure: The Search For Christopher Robin 1997 G 1h 16m

The Tigger Movie 2000 G 1h 17min

Piglet's Big Movie 2003 G 1h 29m

Winnie The Pooh: Springtime With Roo 2004 G 1h 5min

Pooh's Heffalump Movie 2005 1h 8m

Pooh's Heffalump Halloween Movie 2005 G 1h 7m

Winnie The Pooh 2011 G 1h 3min

Christopher Robin 2018 Pg 1h 43m

Dr Dolittle 1967 Nr 2h 32m

1. Ice Age 2002 Pg 81 Min

2. Robots 2005 Pg 91 Min

3 Ice Age: The Meltdown 2006 Pg 91 Min

4 Horton Hears A Who! 2008 G 86 Min

5 Ice Age: Dawn Of The Dinosaurs 2009 Pg 94 Min

6 Rio 2011 G 96 Min

7 Ice Age: Continental Drift 2012 Pg 88 Min

8 Epic 2013 Pg 102 Min

9 Rio 2 2014 G 101 Min

10 The Peanuts Movie 2015 G 88 Min

11 Ice Age: Collision Course 2016 Pg 94 Min

Alvin And The Chipmunks 2007 Pg 1h 32m

Night At The Museum: Secret Of The Tomb 2014 Pg 1h 38m

Snow Dogs 2002 Pg 1h 42m

White Fang 1991 Pg 1h 47min

White Fang 2: Myth Of The White Wolf 1994 Pg 1h 46min

The Call Of The Wild 2020 Pg 1h 40min

Iron Will (1994)

Eight Below 2006 Pg 2h

Secretariat (2010) Pg 2h 3m Go

We Bought A Zoo Pg 2011 2h 11m

1. The Crimson Wing: Mystery Of The Flamingos (G, 2008)

2. Oceans

2. African Cats

3. Chimpanzee (G, 2012, 1h 18m)

4. Bears (G, 2014, 1h 18m)

5. Monkey Kingdom (2015, 1h 21m)

20,000 Leagues Under The Sea (1954) G 2h 7m

Swiss Family Robinson 1960 G 2h 6min

The Absent Minded Professor 1961 Son Of Flubber

1962 1h 42m

Sammy, The Way-Out Seal 1962

The Incredible Journey 1963 G 1h 20min

A Tiger Walks G 1964 1h 31m

Moon Pilot 1962 1h 38m

Rocketman 1997 Pg 1h 35min

The Barefoot Executive 1971 G 1h 36m

Monkeys, Go Home! 1967 G 1h 41min

The Misadventures Of Merlin Jones 1964 G 1h 31 Min

The Monkey's Uncle 1965 1hr 31min

George Of The Jungle 1997 Pg 1h 32min

George Of The Jungle 2 2003 Pg 1h 27min

Charlie, The Lonesome Cougar 1967 G 1h 15min

The Adventures Of Bullwhip Griffin 1967 G 1h 48min

That Darn Cat! 1965 G 1h 56min

That Darn Cat 1997 Pg 1h 29min

The Million Dollar Duck 1971 G 1h 29min

Bedknobs And Broomsticks 1971 G 1h 35m

Snowball Express 1972 G 1h 39m

Superdad 1973 G 1h 36m

Charley And The Angel 1973 G 1h 33m

The Castaway Cowboy (1974) G

The Cat From Outer Space 1978 G 1h 44min

The Hunter And The Rockstar 1980 Nr 60 Min

Disney Classic 4 Movie Collection

Darby O'gill And The Little People 1959 1h 33m

The Gnome-Mobile 1967 1h 24m

The Happiest Millionaire 1967 2h 52m

The One And Only, Genuine, Original Family Band 1968 G 1h 50m

Kurt Russell 4 Movie Collection

The Horse In The Gray Flannel Suit 1968 G 1h 54m

The Computer Wore Tennis Shoes 1969 G 1h 31m

Now You See Him, Now You Don't G 1h 28m

Strongest Man In The World G 1h 35m

Disney Don Knotts 4-Movie Collection

The Apple Dumpling Gang 1975 G 1h 40m

Gus 1976 G 1h 36m

Hot Lead And Cold Feet 1978 G 1h 30m

The Apple Dumpling Gang Rides Again 1979 G 1h 28m

Dogs 1

The Shaggy Dog 1959

The Ugly Dachshund 1966

The Shaggy D.A. 1976

The Shaggy Dog 2006

Dogs 2

Rascal 1969

The Journey Of Natty Gann 1985

Benji The Hunted 1987

Where The Red Fern Grows 2003

[sianagrace]

Bedknobs and Broomsticks and the Beautification of War and Witchcraft: Siana’s Panel Presentation

Robert Stevenson and Ward Kimball’s 1971 fever dream of a musical combines action and animation, war and witchcraft, feminism and effemination, and a classic Disney fantasy touch. Based on the books by English children's author Mary Norton, the story follows Miss Price, the town's "crazy lady", "spinster", and secret witch, as she takes in three young siblings displaced from London during World War II. The four join with scammer/magician Emelius Browne to search for a spell that could “end the war”. Let’s take a closer look!

Narratives and Myths: The Disney-fication of Witchcraft

Stevenson and Kimball Disney-fy witchcraft through Angela Lansbury’s character, Miss Price. Storytellers throughout history often present witches as antagonists or villains: Hansel and Gretel (1812), Snow White and the Seven Dwarfs (1937), and The Sword in the Stone (1963), to name a few. Of course, by 1971, people worldwide could associate “Good Witch” with Glinda (1939), but she was not a catalyst for similarly-natured witches. Miss Price embodies a sense of normalcy and country charm that makes witchcraft seem more like a hobby rather than an all-encompassing characterization of evil. More broadly, Bedknobs and Broomsticks presents magic as realistic, providing the audience with an “anything is possible” mindset.

Depictions of Femininity and Masculinity: Just Feminist Enough

Being a witch simply slots into Miss Price’s identity: she is a single, private, middle-aged woman who lives alone in a large home fairly far from the town center. From our first encounter with her character, we can tell that she does not conform, and has no interest in conforming, to 1940s societal expectations regarding how a woman her age should present herself.

In her article “My Fair Lady: A Voice for Change”, scholar Marcie Ray notes that as America and Western Europe called in second-wave feminism, there came a filmic trend of musicals “[employing] the single girl character to depict the changing nature of (white) female sexuality” (293) as opposed to following a strict love plot. In a later section, “Eliza as the ‘Other’”, Ray discusses the tool of othering the lead female protagonist so she appears to have room for improvement, growth, and assimilation into proper society. Miss Price follows this formula, presenting palatable white femininity and feminism, but ultimately reverting to heterosexual expectations: Mr. Browne, once her anonymous professor of witchcraft, quickly becomes her love interest.

Aligning with the ongoing feminist movement at the time of this film’s production, Mr. Browne’s masculinity, and attached agency, come into question rather than being accepted as fact. His introduction in the film establishes him as a trickster, con artist, and coward. Miss Price turns him into a bunny multiple times, to which he replies “Miss Price, a word about your tactics: if I know I’m being changed into a hawk or a tiger, or something with a bit of flash, but always a fluffy white rabbit? It’s incorrigible!” This power dynamic cements Miss Price, and her playful, modern take on femininity, as the authority and lead throughout the film.

Class and Racial Subtexts: “Portobello Road”

The backdrop of World War II connects all the characters in this film through an environment devoid of abundance, and an expectation of having “less than”. Any hints of wealth or a British upper class can only be seen in what’s left behind during the height of the war rather than through individual characters.

The over ten-minute-long “Portobello Road” musical sequence demonstrates this time of unity through scarcity through color, music, and performance. The street, either through set building or editing, appears gray in itself and tinges everyone walking along the street similarly. This area of London feels communal and bustling while simultaneously being economically disadvantaged. The song, sung by all five of our lead protagonists and by the large ensemble, speaks of riches, fantasy, and possibility: the Portobello Road market is a symbol of hope, even if momentary and unfeasible.

There is little racial or ethnic subtext in this film - past, of course, the significance of WWII and all those groups ostracized, interned, and killed during the time. Portobello Road, however, curiously introduces a densely diverse enclave of London, including spotlight moments of Sikh soldiers, Scottish dancers, and Trini performers. Past their brief musical moments, we do not analyze or revisit these characters. We are, however, shown our five white protagonists interacting with these minority groups in a normalized, meaningful way: dancing, playing, and smiling alongside each other in this utopian street fair. This scene aligns more with the decade of the film’s production (late-60s and early-70s) than it does with the period in which it’s set (1940s). 

Significance to the Audience and Temporality

As briefly mentioned earlier, the character development in Bedknobs and Broomsticks is critical to ensure the comfort of 1970s audiences. Miss Price is just feminist enough, the children as just boisterous enough, Mr. Browne is just crass enough, and everyone is just poor enough. There are many things a contemporary audience can problematize about this film: Miss Price’s reverting to patriarchal expectations of marriage, love, and motherhood; the romanticization of war and, specifically, WWII; Mr. Browne’s sexist remarks about women's memories and professional capabilities. At its core, however, this is still a Disney fantasy with loveable, quirky characters, catchy musical numbers, and an entire additional animated world to fall in love with. There’s a steadfast formula that makes this film enjoyable despite its generational immobility.

Critical Discussion Questions

How do we create lovable characters whose backgrounds are classically/traditionally/stereotypically rooted in horror, antagonism, and/or villainy (ex. witches, con-artists, monsters)?

What generational differences do you see embedded in your film / what changes should/would be made in a remake?

Are love plots actually necessary to the plot of your film or other musicals? What would look different about the trajectory and public reception of the film without a love plot?

@theuncannyprofessoro

[gone2soon-rip]

DAME ANGELA LANSBURY (1925-Died October 11th 2022,at 96). British American actress and singer who played many film, theatre and television roles. With one of the longest careers in the entertainment industry, her career spanned over 80 years, much of it in the United States; her work also received much international attention. Upon the death of Olivia de Havilland in July 2020, Lansbury became the earliest surviving Academy Award nominee and one of the last stars from the Golden Age of Hollywood cinema.Lansbury was born to an upper-middle-class family in central London, the daughter of Irish actress Moyna Macgill and English politician Edgar Lansbury. To escape the Blitz, in 1940 she moved to the United States, there studying acting in New York City. Proceeding to Hollywood in 1942, she signed to MGM and obtained her first film roles, in Gaslight (1944) and The Picture of Dorian Gray (1945), earning her two Oscar nominations and a Golden Globe Award. She appeared in 11 further MGM films, mostly in minor roles, and after her contract ended in 1952 she began supplementing her cinematic work with theatrical appearances. Although largely seen as a B-list star during this period, her appearance in the film The Manchurian Candidate (1962) received widespread acclaim and is cited as being one of her finer performances leading her to her third Academy Award nomination. Moving into musical theatre, Lansbury finally gained stardom for playing the leading role in the Broadway musical Mame (1966), which earned her her first Tony Award and established her as a gay icon.Amid difficulties in her personal life, Lansbury moved from California to County Cork, Ireland in 1970, and continued with a variety of theatrical and cinematic appearances throughout that decade. These included leading roles in the stage musicals Gypsy, Sweeney Todd, and The King and I, as well as in the hit Disney film Bedknobs and Broomsticks (1971). Moving into television in 1984, she achieved worldwide fame as fictional writer and sleuth Jessica Fletcher in the American whodunit series Murder, She Wrote, which ran for 12 seasons until 1996, becoming one of the longest-running and most popular detective drama series in television history. Through Corymore Productions, a company that she co-owned with her husband Peter Shaw, Lansbury assumed ownership of the series and was its executive producer for the final four seasons. She also moved into voice work, contributing to animated films like Disney's Beauty and the Beast (1991) and Don Bluth's Anastasia (1997). She toured in a variety of international productions and continued to make occasional film appearances such as Nanny McPhee (2005) and Mary Poppins Returns (2018).Lansbury received an Honorary Academy Award, a Lifetime Achievement Award from the BAFTA, a Lifetime Achievement Tony Award and five additional Tony Awards, six Golden Globes, and an Olivier Award. She also was nominated for numerous other industry awards, including the Academy Award for Best Supporting Actress on three occasions, and various Primetime Emmy Awards on 18 occasions, and a Grammy Award. In 2014, Lansbury was made a Dame Commander of the Order of the British Empire by Queen Elizabeth II. Her Murder,She Wrote,co star,Ron Masak,who played the cadillac driving sheriff of Cabot Cove, Mort Metzger,died just nine days later,on October 20th.  https://en.wikipedia.org/wiki/Angela_Lansbury

[fleetling]

Angela Lansbury as Miss Eglantine Price in Bedknobs and Broomsticks (1971)

[courseyoulovemeyoudontknowme]

Bedknobs and Broomsticks (1971, Robert Stevenson)

15/01/2024

Bedknobs and Broomsticks is a 1971 film directed by Robert Stevenson. The film, which stars Angela Lansbury and David Tomlinson, was produced in mixed media by Walt Disney Productions and is based on the novels The Magic Bedkno; or, How to Become a Witch in Ten Easy Lessons (1943) and Bonfires and Broomsticks (1947) by the British writer Mary Norton.

The British government displaces children in the countryside to protect them from the bombings that the Nazi air force inflicts on London.

When a letter arrives explaining that Miss Price will not be able to have the last lesson of the witchcraft course, the woman uses the brass knob to travel to London and meet the headmaster of the school, Mr. Emelius Browne. So they go to the Portobello Road market to look for the missing part of the book - The Spells of Astoroth - but a criminal forces them to make a deal; in particular she takes them to an old bookseller, an accomplice of hers, and it turns out that he is the one who has the missing part.

The film was started by Walt Disney and his collaborators before P. L. Travers, author of Mary Poppins, gave the green light for a film based on her children's novel. After the great success of Mary Poppins in 1964, Disney pushed to have Julie Andrews in the leading role again. In fact, in Bedknobs and Broomsticks similar magic, music and animated segments appear - moreover directed by the same director Robert Stevenson - and co-starring David Tomlinson, who brilliantly played the part of Mr. Banks. For fear of being identified with the same figure and therefore making a duplicate of the same genre, Andrews refused; a few months later she changed her mind, but Angela Lansbury had already signed on for the part of the protagonist Eglantine Price.

In the Naboombu lagoon scene, the song that Angela Lansbury and David Tomlinson sing was supposed to be used for Mary Poppins, in the Magic Compass episode that took Mary and the children around the world.

The footage for Step, however, was not relocated into the film because it was incomplete, but the new edition includes several newly discovered songs, including an Angela Lansbury solo, Nobody's Problems.

In reconstructing the film, Angela Lansbury, Roddy McDowell and other actors were asked to re-dub their parts on some spoken tracks that were not restorable. Even though David Tomlinson was alive when the film was reconstructed, it was not possible for him to provide post-synchronization for Emelius Browne: so another actor was called in whose intonations, in some cases, were criticized because they did not resemble those of the Tomlinson original.

When the film was screened for the Academy following its restoration, the crowd erupted in a standing ovation after the song Nobody's Problems was performed.

After the premiere (where it was shown in the 139 minute version) the film was cut to 117 minutes.

Songs like A Step In The Right Direction and With A Flair were removed entirely, as was the subplot featuring Roddy McDowall's character, the central dance number to "Portobello Road", cut by 6 minutes, and a solo by Angela Lansbury in Nobody's Problems.

In Italy Bedknobs and Broomsticks was shown at the cinema in October 1972, a year after its release in the United States.

In the 1981 version, in addition to being cut by about 20 minutes which corresponded to the songs The Home Old Guard, The Age of Not Believing and Eglantine, the film featured a different mix.

The DVD, however, brings to light the 117 minute Italian edition (which becomes 112 due to the speeding up of PAL) restoring the lost dubbing parts starting from a 16 mm.

[pulpsandcomics2]

Bedknobs and Broomsticks movie soundtrack (1971)

[terrible-twst-oc-ideas]

The Star of Astoroth from Bedknobs and Broomsticks (1971)

Following up from last week, we have King Leonidas' prized family heirloom, the Star of Astoroth. This medallion is inscribed with the words for the Substitutiary Locomotion spell, which brings inanimate objects to life. Again, you gotta love easy Unique Magic ideas.

[historygirl93]

My favourite movies about witches (part 2)

"Bedknobs and Broomsticks" (1971): Eglantine Price, a witch apprentice, hosts in her house three siblings from London because of the war. Wanting to use her powers to save England from the N***s, Eglantine travels with the children on a magical bed to find her teacher, professor Emelius Brown. Adventures, animated animals, songs and Angela Lansbury as the main witch, adorable!

The Love Witch (2016): Elaine wants nothing more that find a man who love her. Unfortunately, everyone of her lovers dies. Is Elaine a killer? Did they kill themselves? Is a consequence of the use of magic in the matters of the heart? Watch it to find out.

"I married a Witch" (1942) : Jennifer and her father Daniel comes backs as spirits many centuries after their deaths. Determined to have their revenge, the two finds Wallace Wooley, descendant of the man who denounce them, and Jennifer decide to make him fall in love with the help of a love potion, but it's Jennifer who drink it! Can true love be stronger than witchcraft?

"Bell, Book and Candle" (1958): the witch Gillian Holroyd, on Christmas Eve, met her new neighbor Shep Henderson. After meeting Shep's fiancée, her college enemy Merle, Gillian put a love spell on the man, with the help of her aunt Queenie and her brother Nicky. But can a love born from magic have a future?

"The girl on the broomstick" (1972): a Czechoslovak movie about the young witch Saxana, who escaped from her school to the human world for 44 hours. There she befriend the teenager Honza, but even three delinquents. And a simple spell will costs her many troubles.

"The witches of Eastwick" (1987): three friends, Alexandra, Jane and Sukie, use their unknows powers to summon their "ideal men". One by one, they falls for the new man in town, the mysterious Daryl, who is also...the Devil!

[swim-forthemusic]

picspams: Bedknobs and Broomsticks (1971)

You must face the age of not believing, doubting everything you ever knew. Until at last, you start believing there's something wonderful in you!