After being snubbed by the royal family, a malevolent fairy places a curse on a princess which only a prince can break, along with the help of three good fairies.
After the beautiful Princess Aurora is born into royalty, everyone gathers to celebrate. Everything is perfectly fine until an unwanted guest appears, the evil fairy Maleficent. Maleficent curses the young princess and announces that she will die by pricking her finger on the spindle of a spinning wheel before sunset on her 16th birthday. Fortunately, one of the good fairies, Merryweather, changes the spell so Aurora will fall into a deep sleep instead, and the only way to wake her from her sleep is true love's kiss. Finally the day comes.Written by
Pat Conolly
Shot on a 35mm Technirama double-frame negative (which is as big as two regular Academy frames joined together) running horizontally through the animation camera, with each frame photographed three times (once with a red filter, once with a blue filter and once with a green filter). This negative was then printed on both CinemaScope-compatible anamorphic film and Super Technirama 70mm film, the first film released in Super Technirama 70. See more »
Goofs
During his revelation of the living palace he has had built for Aurora and Phillip, King Hubert places a bottle of wine at the end of the buffet table behind an elevated bowl of food, but when he and King Stefan proceed to the center to share a laugh, they separate to reveal that the bottle has disappeared from the end of the table to the center. See more »
Quotes
[first lines]
Narrator:
In a faraway land, long ago, there lived a King and his fair Queen. Many years they had longed for a child, and finally their wish was granted. A daughter was born, and they called her Aurora. Yes, they named her after the dawn, for she filled their lives with sunshine. Then a great holiday was proclaimed throughout the land, so that all of high or low estate could pay homage to the infant Princess. And our story begins on that most joyful day...
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Crazy Credits
The opening credits say Technirama, but not Super Technirama 70, which is the process it was filmed in. See more »
Alternate Versions
The 2003 Special Edition DVD release included two versions of the film: one in 1.33:1 pan-and-scan and a widescreen print formatted in a 2.35:1 aspect ratio. See more »
If there's one thing that separates the classic Disney era from it's modern efforts, then it was their ability to truly bring a fairytale to life. The moral and narrative simplicity of the fairytale formula is now portrayed somewhat cynically, with their black-and-white ethics and la-de-da princesses receiving a lampooning in the likes of Shrek (2001) and Enchanted (2007). Although this can make for clever and amusing viewing, it makes it easy to forget how beguiling these stories can be. Sleeping Beauty is one of Disney's finest, and a perfect example of how the make-believe world of witches, fairies, kings and princesses can truly enthral and fill a young heart with wonder.
King Stefan and Queen Leah welcome the birth of their daughter, Princess Aurora (Mary Costa), and invite their subjects to pay homage at their castle. The baby is thrice blessed by the three good fairies, Flora (Verna Felton), Fauna (Barbara Jo Allen) and Merryweather (Barbara Luddy), until the evil sorceress Maleficent (Eleanor Audley) gate-crashes the party. Maleficent curses the princess and announces that on her sixteenth birthday, she will prick her finger on a spinning wheel and die. The curse is dented somewhat when Merryweather intercepts, meaning that Aurora will not die, but will fall into an eternal sleep unless she receives true love's kiss.
Inspired by the Brothers Grimm's Little Briar Rose and The Sleeping Beauty by Charles Perrault, the film, under the directorial supervision of Clyde Geronimi, has some of the finest animation work ever put out by Disney. The last Disney film to use hand-inked cells, animators Marc Davis, Milt Kahl, Frank Thomas, Ollie Johnston, John Lounsbery, Wolfgang Reitherman and Eric Larson, create a beautiful world reminiscent of the colourful Medievals film that were so popular in the 1950's, when Technicolor was a-booming. The climax, which sees the horned demon Maleficent turn into a dragon, was revolutionary in it's day and is still unnervingly striking today. The romance between Aurora and her betrothed - the amusingly named Prince Phillip (Bill Shirley) - is rather unconvincing and wishy-washy, but it does little damage to a movie that is a delight from start to finish.
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If there's one thing that separates the classic Disney era from it's modern efforts, then it was their ability to truly bring a fairytale to life. The moral and narrative simplicity of the fairytale formula is now portrayed somewhat cynically, with their black-and-white ethics and la-de-da princesses receiving a lampooning in the likes of Shrek (2001) and Enchanted (2007). Although this can make for clever and amusing viewing, it makes it easy to forget how beguiling these stories can be. Sleeping Beauty is one of Disney's finest, and a perfect example of how the make-believe world of witches, fairies, kings and princesses can truly enthral and fill a young heart with wonder.
King Stefan and Queen Leah welcome the birth of their daughter, Princess Aurora (Mary Costa), and invite their subjects to pay homage at their castle. The baby is thrice blessed by the three good fairies, Flora (Verna Felton), Fauna (Barbara Jo Allen) and Merryweather (Barbara Luddy), until the evil sorceress Maleficent (Eleanor Audley) gate-crashes the party. Maleficent curses the princess and announces that on her sixteenth birthday, she will prick her finger on a spinning wheel and die. The curse is dented somewhat when Merryweather intercepts, meaning that Aurora will not die, but will fall into an eternal sleep unless she receives true love's kiss.
Inspired by the Brothers Grimm's Little Briar Rose and The Sleeping Beauty by Charles Perrault, the film, under the directorial supervision of Clyde Geronimi, has some of the finest animation work ever put out by Disney. The last Disney film to use hand-inked cells, animators Marc Davis, Milt Kahl, Frank Thomas, Ollie Johnston, John Lounsbery, Wolfgang Reitherman and Eric Larson, create a beautiful world reminiscent of the colourful Medievals film that were so popular in the 1950's, when Technicolor was a-booming. The climax, which sees the horned demon Maleficent turn into a dragon, was revolutionary in it's day and is still unnervingly striking today. The romance between Aurora and her betrothed - the amusingly named Prince Phillip (Bill Shirley) - is rather unconvincing and wishy-washy, but it does little damage to a movie that is a delight from start to finish.
www.the-wrath-of-blog.blogspot.com