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From The Art Of Disney Costuming Heroes Villains and Spaces Between..

Heroes and Villains: The Art of the Disney Costume @ Museum of Pop Culture

“In film, television, and theater, costuming is a tremendously powerful tool for storytelling and character development,” said MoPOP Executive Director Alexis Lee. “Disney in particular is a master of the art and sets a standard for using wardrobe as a device for creative expression.”

The exhibit includes costumes from some of Hollywood’s preeminent designers, past and present, including Academy Award winners Colleen Atwood, Sandy Powell, and Tony Walton, as well as Emmy winner Ellen Mirojnick and Emmy nominees Eduardo Castro and Penny Rose.

Visitors will experience “Cinderella’s Workshop,” a gallery featuring the beloved fairy-tale character’s dresses from her numerous Disney incarnations, including 1997’s Rodgers and Hammerstein’s Cinderella; 2014’s Into the Woods; the 2015 live-action reimagining of the animated masterpiece Cinderella; and the ABC hit series Once Upon a Time.

The main gallery will be divided into three sections: “Disney Heroes,” “Disney Villains,” and “Spaces Between,” reserved for the antiheroes whose fascinating journeys make them among Disney’s most complex characters. There will also be interactive elements and plenty of chances for photo ops.

On exhibit until April 2022 at the Museum of Pop Culture

Photo credit: aslihanbiyikoglu / rentonprep

X-Men Abridged: 1964

The X-Men, those wacky mutants that have sworn to protect a world that hates and fears them, are a cultural juggernaut with a long, tangled history. Want to unravel the tapestry? Then read the Abridged X-Men!

(X-Men 3 - 8) - by Stan Lee and Jack Kirby

Fantastic Four 28

The X-Men’s sophomore year basically serves as a recruitment drive for Professor Xavier and Magneto: both our heroes and those nefarious villains try to recruit various mutants (The Blob, Namor, Unus the Untouchable), all with absolutely no success.

We also meet Magneto’s home team, the Brotherhood of Evil Mutants. (Later on, they would drop the ‘evil’, because why would Magneto call himself evil? He believes he’s doing the right thing.) The Brotherhood consists of:

An acrobatic toady;

A white-haired speedster whose entire personality is that he loves his sister;

A fashion victim with nebulously defined disaster powers;

A creepy, sexist illusionist, who is by far the most useful on this squad. He is literally the only reason Magneto briefly conquers a country.

i, too, enjoy towers of mashed potatoes (X-Men 4)

Magneto is fleshed out more: he still remains fabulously extra, but he develops an obsession with owning strongholds and/or land. In this year alone, he owns one island (1), one manor (1) and one asteroid (1). He also briefly takes over the nation of Santo Marco. Magneto also does some astral projection, because magnets can... do... that? (Just go with it.)

he is just so ridiculous <3 (X-Men 7)

magnetic intensity indeed. like toad and rogue, I would fall in love with magneto in a heartbeat (X-Men 5)

While the Toad’s and Mastermind’s loyalty to Magneto is never questioned, Pietro and Wanda, meanwhile, show plenty of reluctance in following the mutant despot. They even help the X-Men once or twice, but ultimately remain loyal to Magneto because he saved Wanda from an angry mob. (The mob is traditionalist rather than racist: They want to burn her because she is a witch, not because she’s a mutant. So it’s fine.)

However, this year does mark the first appearance of anti-mutants sentiments: a crowd attacks Hank after he saves some kid from a water tower, simply because they suspect he’s a mutant. I always thought it was Claremont who introduced this theme, but apparently, he merely expanded on something Lee started. It also introduces the conflict between Xavier’s views and Magneto’s: the hippie professor believes in peaceful coexistence, the flamboyant villain in the dominance of homo superior.

they were so mean, Warren, they even took my glasses! (X-Men 8)

It’s also the first example of Professor X opening up his home to a villain in an attempt to reform them. The Blob, petty and churlish, refuses, but I have to admit I would read the fuck out of a What If? where the Blob accepts Charles’ offer.

This year also lays a lot ground for the X-Men themselves, fleshing them out. Hank becomes loquacious and smart, Warren reaches peak himbo and Bobby establishes himself as the jokester. Scott, meanwhile, becomes a lot more emo, tormented by his uncontrollable powers and his love for Jean. She also loves him, but neither of them actually does anything about it. In other character development, Jean straightens her hair.

in 2021, I aspire to have the same confidence as Warren goddamn Worthington entering a fucking room (X-Men 4)

Meanwhile, Charles is apparently also crushing hard on Miss Grey. (Which is fortunately dropped and mostly forgotten about, because ick.) That, combined with the fact that almost every male character notes how sexy either Jean or Wanda is, really does show how badly all of this aged. I haven’t really read old Fantastic Four or the Avengers, but I do hope Sue and the Wasp have a trifle more personality than this.

don’t fret, Jean, the only competition you have to worry about is Magneto (X-Men 6)

But! Charles does other weird stuff too! In a shocking display of extreme teaching methods, Professor X pretends to have lost his powers so the X-Men can prove themselves against the Brotherhood in space. Cyclops nearly dies, but despite that, Professor X graduates his X-Men! He then leaves and puts Cyclops in charge. Solid leadership skills all around.

this is just adorable (X-Men 7)

Oh yeah, the X-Men also fight Namor and the Fantastic Four, and Iceman starts his bromance with the Human Torch. For those keeping track in the future: this is the point where the young X-Men are time-abducted for their All-New X-Men capers. (X-Men #8, to be exact.) Bobby also has an unhealthy obsession with eating icecream.

it’s 1964, do you know where your teen-age mutant hoodlums are? (X-Men 4)

Must reads: X-Men #3, the introduction of the Blob, and X-Men #4, the introduction of the Brotherhood. The rest are all variations on the same themes and... not that great.

Didn’t you take Art History? This era is characterized by cheesy, cheesy writing and the kind of art that seems better suited to a Disney comic than a superhero epic. Stan Lee tends to overexplain everything we see in the art. Despite Kirby’s style not really being my cup of tea, he does effective work and some of his spreads are actually gorgeous. Check this out.

so… daddy longlegs is not a mutant? (X-Men 3)

Best new character: The Blob. Hear me out. He is a different kind of villain than most of the villains introduced in this era: he is petty and small-minded, rather than megalomaniacal and dramatic, which makes for a nice change of pace. Then there’s the fact that he looks grotesque and that even the X-Men, who should know better, mock him and body-shame him. (Nice going, calling him ‘fatso’ while he probably even couldn’t lose weight if he tried, because, you know, it’s his mutant power). He is like a foil to the Thing: mean and selfish where the Thing tries to be heroic and rise above his circumstances. The Blob is an unhappy man who does unhappy things; some authors have realized that he’s more than just a fat joke: there’s something inherently cruel about his mutant power.

then again, Fred does call Jean a cute tomato, so maybe he deserves everything the X-Men throw at him (X-Men 3)

Most audacious retcon: Nobody seems to have a grasp on how strong Professor X and Marvel Girl are. One issue, Jean can toss around a crowd of women, the next, she can’t pick up Hank. Charles seems to be just as strong as the plot demands.

Ugliest Costume: The Scarlet Witch. Pink and red? O honey, no.

wanda, what is that headpiece (X-Men 4)

Top 5: Movies with Swords

A Top 5 filled with adventure and swashbuckling - this list considers Movies with Swords. A few qualifications, the swords must be made of metal (thus disqualifying laser swords from a certain space opera fantasy) and must be central to the plot. Just because a movie has a scene with a sword fight doesn’t earn its place on the list; rather, the sword must be integral to the story, advance the plot, or play a role in the main character’s journey. Come with me to fantastical times and consider the best films that feature swords.

Gibelwho Productions Presents Movies with Swords:

5. The Mask of Zorro

4. Pirates of the Caribbean: The Curse of the Black Pearl

3. The Princess Bride

2. Kill Bill: Vol. 1

Hero

The Mask of Zorro (1998): During the first training session with his adopted protege, the original Zorro, played by Anthony Hopkins, asks a scruffy Antonio Banderas who is holding a sword - “Do you know how to use that thing?” Banderas, who is hoping to become the new Zorro, responds “The pointy end goes into the other man.” Hopkins takes a moment to internalize how far Banderas is from the swashbuckling hero with the famed prowess for fencing; indeed, the young Banderas’ showy swinging of the sword is easily lobbed away by one swift stroke of Hopkins steady and controlled blade. Luckily a few training sequences transforms Banderas into a Zorro reborn, and when Banderas emerges in the full Zorro regalia, fighting his enemies with the true form of a warrior, we are ready to exult in his fencing skills. While the fight between Banderas and Catherine Zeta Jones doesn't hold up through today’s lens of gender dynamics, the overall comedy, drama, and athleticism of the action scenes all featuring sword choreography is pure fun to watch.

Pirates of the Caribbean: The Curse of the Black Pearl (2003): The film’s hero Will Turner is an aspiring blacksmith with a talent for making exceptionally crafted swords and the knowledge of how to use them. The opening action sequence features Orlando Bloom’s Turner and Johnny Depp’s Captain Jack Sparrow sparring in the blacksmith’s workspace - a converted barn with streaks of light illuminating the open space. The sequence opens with Sparrow threatening Turner with his trusty sword, only to have the aspiring blacksmith grab one of his completed swords to parry back. They cross blades, the music matching punctuating beats with sword clashes, and Sparrow begins to analyze the form and footwork of his opponent; Turner then displays his true abilities by throwing his sword accurately and with enough strength to lock the poor Captain inside the barn. The rest of the fight features clever stunts and humorous blocking, with each party grabbing from the voluminous store of swords to spar back and forth. The fight culminates when Captain Jack Sparrow pulls out a pistol to match Turner’s sword, leading to the blacksmith’s protest of “you cheated!” to which Sparrow reminds him - “Pirate.”

The Princess Bride (1987): Not including this classic on the list?! Inconceivable! Although this film benefits from a dose of nostalgia, it truly has one of the best sword fight scenes in the history of cinema, the sparring between Mandy Patinkin and Cary Elwes. There is no villain in the scene and the viewer’s loyalties are divided between both parties; to the untrained eye, the actors are doing great work, good form and footwork, and the banter between the two men brings a levity to the fight. Elwes, with his calm and confident form, matches Patinkin’s boyish flair; and they fight with both hands, starting off left-handed and then swapping to their right - just fun and delightful! Elwes’ final sword fight is won via a battle of words, followed by a threatening pose with his sword drawn, just enough strength left before he collapses after the villain has been restrained. Patinkin, however, does finally get his revenge with the fight that made the phrase famous - “Hello. My name is Inego Montoya. You killed my father. Prepare to die.”

Kill Bill: Vol. 1 (2003): In college I went to a double screening of Vol. 1 and Vol. 2 - shown as Quentin Tarantino intended in one installment. My inclination at the time was a preference for the second film; the first volume focused more on the action and fighting set pieces and less on the narrative, while the second gave more insight into the Bride’s character and motivations. For this list, however, the first film fits the...bill. The Bride travels to Japan to convince a retired master swordsmith to forge one more weapon so she can extract her revenge on Bill and Tarantino spends an entire scene where the master lovingly presents his work of deadly art to the Bride. She then takes his masterpiece to fight an elite group of fighters known as the Crazy 88 in an outrageous and fantastic fight scene. Uma Thurman, clad in her famous yellow tracksuit, methodically takes out various groups of fighters and Tarantino employs different cinematic techniques to highlight the different groups, including in black and white, as silhouette against a blue background, wire work fighting on a bannister, and an epic final battle in the snow. In each segment, Tarantino focuses on the sword as a beloved weapon, having his fighters pose menacingly with swords drawn, closeups framing their face next to a raised hilt. While it would actually be impossible for one woman with a single blade to defeat the overwhelming numbers of the clan, Tarantino puts in enough quick cuts, whip and clang sound effects, wildly spurting blood makeup, and shots of Uma swinging her sword dramatically to give the scene thrills. Tarantino’s reverence for the Japanese sword and Uma’s convincing pose while wielding her Hattori Hanzo ranks this flick so high on the list.

Hero (2002): This tale, fashioned in the style of Rashomon, is framed around an assassin who has infiltrated the king’s palace with intent to kill, but who has a conversation with the man first, almost as a form of psychological warfare. The stories they tell are used as set pieces for the sword fighting that is highlighted in the film and each scene is a creative masterpiece in filmmaking - combining choreography, set design, costumes, editing, and color pallet to achieve striking sequences. There are too many incredible segments to highlight here, (each scene deserves individual analysis), but let us choose just one to discuss. In a flashback sequence, two assassins are shown fighting their way into the guarded palace, their intensity just plowing down the opposing army, swinging their swords with swift and relentless fury; they are clad in green robes that are in stark contrast to the black and white uniforms of the mass guards they are pushing through. When one assassin reaches the interior palace, bedecked with flowing green decorative fabric, and faces the king himself in combat, the intricate choreography begins. Each set piece is unique, but all employ the use of wire work, enabling the actors to soar, spin, and strike while in motion through the air, almost like a deadly dance. The flowing robes also add a lyrical quality to the fighting, yet there is a relentless ferocity that shows the actor’s skill in actual combat, proven by the use of long takes that pause long enough for the view to actually absorb the intense moves. As much as there are dreamlike sequences with fantastical movements, there are also really intentional clashes of blades that convey the weight and intensity of the combatants. In the end, the calligraphy of the character for the word ‘sword’ sparks the king’s final poetic speech that appeals to the assassins true understanding of an ideal warrior - which is the desire to not kill. The assassin makes his final choice and, with a shot of his sword clanging to the floor, paves the way for a united China.

Honorable Mentions:

Hook (1991): An extension of the Peter Pan story, this film tells the tale of a Peter who has grown up and forgotten his past self, who must re-discover his inner child and save his own kids from the nefarious Captain Hook. When a reluctant Peter has returned to Neverland and incites an imaginary food fight, he finally reclaims the mantle of Peter Pan when one of the Lost Boys presents him his old sword - lifting it up into the air in triumph cements his transformation back to his true self. He then takes that sword and rallies the Lost Boys to fight the pirates and rescue his children, going sword to hook with the Captain himself.

Robin Hood: Men in Tights (1993): Another Mel Brooks classic starring Cary Elwes, this time as Robin Hood in a parody of the gang in Sherwood Forest. The ultimate fight between the Sheriff of Rottingham and Robin of Loxley is high in a tower in front of the locked up (in more ways than one) Maid Marian - and the fight is a microcosm of this roaring flick - the Sheriff is outrageously evil, Robin engages in cool banter delivered with witty charm, and Marion is over the top with her nasally simpering. Another highlight of the fight is Robin’s blind companion Blinkin having a daring sword fight with a statue. Also, Patrick Stewart makes an appearance at the end as King John, with the full knight regalia that includes an awesome broad sword that he uses to bestow the Knighthood upon Robin of Loxley!

Mulan (1998): The Disney telling of the Chinese tale of a woman taking the place of her father in the army to fight the Huns was always a favorite of mine. As a child of the Nineties, it reinforced the girl power message, had awesome music, and great action. The sword plays a pivotal role at the beginning of the movie, symbolizing Mulan’s decision to abandon her traditional role in the family, save her father, and begin her journey to discover her true self. In the middle of a stormy night, Mulan draws her father’s sword, a determined face reflected in the steel, and cuts cleanly through her long hair to begin her transformation. It is a powerful moment of sacrifice for her family, as well as slicing off her old identity, one that didn’t quite fit her perfectly, and she leaves in the night to protect her family and China.

The Three Musketeers (1993): Another Disney film on the list, this time a live action adaptation of Alexander Dumas’ famous novel, one that prioritizes campy dialogue, fun action sequences, and power ballads over substance. But dang, when all four (spoiler alert) of those Musketeers are facing a collection of opponents, with their fancy blue cloaks and drawing their swords in unison, it’s just so fun! The swords here are some of most beautifully designed, with elaborate silver hilts that come with the prestige of the position being in the king’s guard. There is plenty of fencing in the film, among the musketeers themselves, between the evil cardinal’s guard, and the villainous Rochefort - and the climax of the film finds just the valiant three Musketeers facing a cadre of red clocked villains, when their fellow Musketeers, who had been disbanded by the evil cardinal, reveal themselves to stand aside them in battle. When in victory, the men hold their swords high, crossed together to show their unity (while the power ballad soars) - All for One and One for All!

Upcoming

Mulan (2020): Disney has been getting around to re-making all of their animated classics, with Mulan next up on the list. This re-make, however, is not solely based on the film from the late Nineties, although one can hear melodies from the score in the new film’s trailer, but the filmmakers have gone back to the original epic poem that inspired the animated tale. While that means an excise of Mushu (most likely for the better), it may also mean more of a focus on Fa Mulan’s journey and her fighting prowess. In the trailer, the Huns are seen galloping toward a town, doublefisting a sword and a curved scythe in their hands, overwhelmingly a dangerous threat. To face the enemy, China puts forth a call for warriors from each family, but Mulan’s family has only daughters to offer; their father takes up his sword, but knows he is incapable of carrying out his duty. Late at night, Mulan takes down the same sword, emblazoned with the characters for loyal, brave and true, and shows some skill with the blade as she makes her choice. It seems that in both the animated film and this live action re-telling, the sword plays a crucial role in Mulan’s decision to fight for her family in her father’s place. The trailer does show some glimpses of action sequences, with the sword as Mulan’s weapon of choice. Although with the release date now delayed by the spreading coronavirus, I am excited to see this film’s modern portrayal of Mulan taking up her true power and identify, with her steel by her side.

JUST ANNOUNCED: Disney’s Most Stunning Costumes Coming to D23 Expo 2019 in Brand-New Walt Disney Archives Exhibit

JUNE 4, 2019

"Our friends at theLos Angeles Timesjust shared very exciting D23 Expo news: The Walt Disney Archives will return to D23 Expo with an all-new exhibit, “Walt Disney Archives Presents Heroes and Villains: The Art of the Disney Costume.” From the classicMary Poppinsto this year’s live-action retelling ofAladdin, more than 70 costumes from 55 years of Disney movies and television shows will be on display from August 23–25 at the Anaheim Convention Center during the biennial event, presented by D23: The Official Disney Fan Club.

The main gallery will be broken into three sections: “Disney Heroes,” “Disney Villains,” and “Spaces Between,” reserved for the antiheroes whose fascinating journeys make them among Disney’s most complex characters."

Will be interesting to see who gets featured in this! Shout out to Aliaa on Twitter for sending this my way! Definitely up my alley!

Costume of The Beast from Beauty & The Beast from The Art Of Disney Costuming Heroes Villains and The Spaces Between.

Sugar Plum (Kiera Knightly) Purple dress.. The Nutcracker and the Four Realms (2018).. Costume by Jenny Beavan.

**From The Art Of The Disney Costuming: Heroes, Villains & Spaces Between..