On recalling the pioneering work of Walt Disney in injecting into the medium of cinema the element of fantasy, we are faced with films in animation to which only limit placed is at creative level. When you run out of inspiration you killed it. For a genius like Disney it was reality with no holds barred. Cinema as art is delineation of reality by a contrived eye as much as a jaundiced liver gives an altogether view of the world. Animation does the same service to cinema as the genre of fairy tales is to literature.
Snow White and the Seven Dwarves – 1937
“I definitely feel that we cannot do the fantastic things, based on the real, unless we first know the real. This point should be brought out very clearly to all new men, and even the older men.” Disney 1935/Letters of note: How to train an animator
Before Snow White and the Seven Dwarfs, the Disney studio had been primarily involved in the production of animated shorts of which Mickey Mouse and Silly Symphonies were the staple fare. Disney was ready for bigger things he embarked on a feature with a budget that totalled ten times the cost of producing an average Silly Symphony.
Snow White and the Seven Dwarfs was to be the first full-length cell animated feature in motion picture history. Both his brother and business partner Roy Disney and his wife Lillian attempted to talk him out of it. He had to mortgage his house to help finance the film’s production, which eventually ran up a total cost of $1,488,422.74, a massive sum for a feature film in 1937, The Hollywood movie industry referred to the film derisively as “Disney’s Folly” while it was in production.
On August 9, 1934, twenty-one pages of notes—entitled “Snow White suggestions”—were compiled by staff writer Richard Creedon, suggesting the principal characters, as well as situations and ‘gags’ for the story.
As Disney had stated at the very beginning of the project, the main attraction of the story for him was the Seven Dwarfs, and their possibilities for “screwiness” and “gags”. Walt Disney had suggested from the beginning that each of the dwarfs, whose names and personalities are not stated in the original fairy tale, could have individual personalities.
Along with a focus on the characterizations and comedic possibilities of the dwarfs, Creedon’s eighteen-page outline of the story included the Queen’s attempt to kill Snow White with a poisoned comb, an element taken from the Grimms’ original story. After persuading Snow White to use the comb, the disguised Queen would have escaped alive, but the dwarfs would have arrived in time to remove it. So it had to be discarded.
It had first been thought that the dwarfs would be the main focus of the story, and many sequences were written for the seven characters. However, at a certain point, it was decided that the main thrust of the story was provided by the relationship between the Queen and Snow White. For this reason, several sequences featuring the dwarfs were cut from the film.
Even in discarding reality, art for clarity sake has no substitute but be true to itself.
Noted filmmakers such as Sergei Eisenstein and Charlie Chaplin praised Snow White and the Seven Dwarfs as a notable achievement in cinema; Eisenstein went so far as to call it the greatest film ever made. The film inspired MGM to produce its own fantasy film, The Wizard of OZ in 1939. Another animation pioneer, Max Fleischer produced Gulliver’s Travels in order to compete with Snow White. There were many clones that tried to cash in on the Snow White’s phenomenal success.
Snow White’s success led to Disney moving ahead with more feature-film productions. Walt Disney used much of the profits from Snow White and the Seven Dwarfs to finance a new $4.5 million studio in Burbank.