Mouse-fire: Mickey Mouse again on the big screen
In cinemas around the world, they began to show a new cartoon with the main Disney hero of all time – but no one noticed. Anton Dolin believes that in vain.
Mouse-fire: Mickey Mouse again on the big screen
On the screens of Russia and the world came out one of the best films of the year. About a thousand and a half copies. But you will not find reviews on it. How so? Very simple. Horse Fire (such a bizarre title was given to the film by distributors desperate to translate Get a horse!) Lasts only seven minutes and is glued as a free bonus to the beginning of the new Disney full meter Frozen. So if you are already thinking about this latest remix of The Snow Queen – lively and touching, although overloaded with stupid songs – try not to be late for the start.
Horse Fire begins like this; in a minute the heroes will fall out of a flat black and white image
The point, of course, is not in the horse, but in the mouse. The awkward horse Horace Horscollar, familiar from Walt Disney’s early works, is present on the screen, like other heroes of that time: the beautiful-looking cow Clarabel, the greasy and evil cat Pete, and the cute Minnie Mouse. However, the main thing here is the immortal Mickey, celebrating his 85th birthday with the first appearance on the big screen for many years. And even outside of it. “Horse-fire” is shot in an amazing combination technique. It begins as a black and white retro, pulled from the archives of the late Disney (in fact, the sketches for such a film were found in the papers of a genius), and then it expands, takes on color and volume. The heroes literally pierce the screen, like Pinocchio – a canvas from Papa Carlo’s closet, fall out into the hall, fill it with water and chase each other so that the viewer’s eyes widen. If you have a friend (or a child) who has never watched 3D, you can’t imagine a better initiation for this attraction.
If you wish, in seven minutes, which is breathtaking, you can find some esoteric meaning, but the main message of “Fire Horse” is extremely simple: Mickey – this is the very embodiment of cinema. He and no one else are at the origins of any technology, new products and inventions: let’s not forget that Disney used sound and color in films one of the first – and it was with the help of a cult mouse. Compared to Mickey, any arbitrarily eccentric characters in the same studio look pale. Check it out if you want, using the example of a snowman, troll or deer from Frozen.
Horse Fire is a film by Lauren McMullan, known for working on some outstanding animated series, from The Simpsons to Avatar. This is her first film work; for her, as well as for Mickey Mouse, who in recent years has been gaining in the ghetto a toothless and sugary teleclub “for the smallest”, is the long-awaited exit to the big screen, which, incidentally, took place at the main world animation festival in French Annecy. Mickey is looking for new incarnations – and along the way he finds long-wasted qualities: wit, impudence, cruelty in the fight against opponents. All this can be appreciated in yet another format. In 2013, Mickey Mouse was born again in the online series Paul Rudish, which recently began to show in Russia. This director, a world-famous grotesque master, did Dexter’s Lab and Samurai Jack, and now dared to rebrand the main Disney hero of all time.
Director Paul Rudish talks about reimagining Mickey Mouse
In one and a half dozen three-minute episodes (planned as
at least the same) the mouse travels around the world as part of the affirmation of multiculturalism – but without a hint of political correctness. Already in the first cartoon of the new series, Mickey and Donald are trying to buy a snack for their ladies walking along the wooden promenade – recalls the Underground Empire, the landscape is almost the same – but they cannot do this, because the fast food seller refuses to serve customers without pants or shirts. As you know, Mickey manages only pants, Donald – one shirt. In another series, the mouse chases after a hot dog that escaped from him in Central Park: it’s almost Gogol. In the Shanghai episode, Mickey unsuccessfully tries to photograph a sweet-looking but mischievous panda cub, in the Venetian one he can’t sing his beloved serenade in any way, in the Alpine he meets and fights the yeti. Looking forward to the promised Russian series: from the present, Mickey will begin to give a punk prayer in St. Basil’s Church or to beat, say, his ears to the paving stones of Red Square.
The most famous Mickey Mouse phenomenon at the box office happened in the 1940 Fantasy. In the episode “The Sorcerer’s Apprentice,” he pulled on the robe and cap of the weaned magician, animated hordes of brooms that nearly drowned the arrogant mouse in the process of completing the task. Today it’s finally clear that Mickey learned to conjure and swim. Even if the whole cinema goes down, it will still sail along the waves on Willy’s unsinkable steamer.