Aggiungi una trama nella tua linguaAn anthology of fairytales by Hans Christian Andersen: "The Little Mermaid", "The Emperor's New Clothes", "Thumbelina", and "The Garden of Paradise".An anthology of fairytales by Hans Christian Andersen: "The Little Mermaid", "The Emperor's New Clothes", "Thumbelina", and "The Garden of Paradise".An anthology of fairytales by Hans Christian Andersen: "The Little Mermaid", "The Emperor's New Clothes", "Thumbelina", and "The Garden of Paradise".
- Regia
- Sceneggiatura
- Star
Patty Duke
- Thumbelina
- (voce)
Sessue Hayakawa
- The Mole
- (voce)
Burl Ives
- Father Neptune
- (voce)
Boris Karloff
- The Rat
- (voce)
Ed Wynn
- The Emperor
- (voce)
Larry D. Mann
- Various
- (voce)
- (as Larry Mann)
Billie Mae Richards
- Various
- (voce)
- (as Billie Richards)
James Daugherty
- Various
- (voce)
Recensioni in evidenza
Fairy Tale lovers are in for a treat with this star-studded live action/animation feature film produced by the wonderful Rankin/Bass team - best known for their holiday masterpieces "Rudolph the Red-Nosed Reindeer", "Frosty the Snowman" and "Mad Monster Party", just to name a few.
The wraparound story (which is live-action) deals with a young Hans Christian Anderson struggling to find The Garden of Paradise. These parts of the movie are admittedly corny, but on his journey, we are treated to four enchanting stories, each filmed in Rankin/Bass's trademark stop-motion "Animagic". The stories are unusual in that they all end on a low note rather than a typical "Disney happy ending" - keeping true to Anderson's original tales. Included here are "The Little Mermaid", "The Emperor's New Clothes", "Thumbelina" and "The Garden of Paradise". Once again Arthur Rankin and Jules Bass have created a fantasyland of wonder and imagination filled to the brim with beautiful tunes. This movie should get 10 stars alone for getting Tallulah Bankhead to voice the sea-witch in "Little Mermaid".
Magnificent Eye-Candy!
The wraparound story (which is live-action) deals with a young Hans Christian Anderson struggling to find The Garden of Paradise. These parts of the movie are admittedly corny, but on his journey, we are treated to four enchanting stories, each filmed in Rankin/Bass's trademark stop-motion "Animagic". The stories are unusual in that they all end on a low note rather than a typical "Disney happy ending" - keeping true to Anderson's original tales. Included here are "The Little Mermaid", "The Emperor's New Clothes", "Thumbelina" and "The Garden of Paradise". Once again Arthur Rankin and Jules Bass have created a fantasyland of wonder and imagination filled to the brim with beautiful tunes. This movie should get 10 stars alone for getting Tallulah Bankhead to voice the sea-witch in "Little Mermaid".
Magnificent Eye-Candy!
Viewed this film many years ago and it always was a great film for children and adults. The cast of actors were all veterans of the screen, namely: Jack Gilford, Ray Bolger(The Tin Man from the Wizard of Oz) and Margaret Hamilton(The Wicked Witch from the Wizard of Oz) and the king of Horror, Boris Karloff (Frankenstein Monster). It also featured the voices of: Burl Ives, Tallulah Bankhead, Terry-Thomas, Victor Borge, Ed Wynn, Patty Duke and Robert Goulet. Karloff was the menacing voice of "THE RAT" in this internationally produced, live-action puppet fantasy. It is a MUST SEE to find out the complete story and ending.
Delightful musical feature with thought-provoking lessons for both children and adults alike. A magical opening with Ritchard's "Sandman" sets the tone for an equally magical adventure through the mind of Hans Christhian Anderson. A memorable all-star cast accompanied by a whimsical score (who could resist "Isn't It Cozy Here!!"??). Not as good as Rankin/Bass' classic Christmas specials, but a winner, nonetheless.
"The Daydreamer" is not really an "animated" kiddie film; it's a pretty clever blend of live action and stop-motion puppetry from the people who gave the world "Rudolph the Red-nosed Reindeer" and "Frosty the Snowman." Inventive and ambitious, it makes use of dozens of sets and numerous characters, all of them created from scratch and painstakingly photographed one frame at a time-- something no one today (except Nick Park) would take the trouble to do.
To label this film as "embarrassingly dated" is arrogant and absurd, unless you're willing to pass the same judgment on "King Kong" or "Jason and the Argonauts." Most films are a product of their time. A few are ahead of their time, and those films set the pace for others to follow. But to condemn something from the '60s for not being "Toy Story" is unfair, just as it is unfair for an adult to condemn a movie intended for children.
Apparently an unfortunate result of computer animation is to render much of the history of filmmaking unwatchable because the special effects don't live up to today's standards. It's like kicking away the ladder that got you onto the roof. Today's effects-laden blockbusters would not have been possible--indeed, the film industry itself would not have survived the lean years when television was making inroads--had filmmakers not been willing to "go ahead and tell the story," plowing through budget and technical limitations, doing the best they could with whatever was at hand. To me, using plastic sheeting to achieve the water effects is ingenious. Obviously they couldn't use REAL water in stop-action animation. I challenge anyone to come up with a better solution using 1966 technology.
Of far more importance than technical effects, however, is the effect a film will have on its viewers. Here "The Daydreamer" succeeds brilliantly. Wholesome fare for the current generation of value-starved children, it is to be applauded for its strong ethical stance on the dangers of selfishness and the importance of obedience and loyalty. Far from our present diet of bland postmodern gruel that can come no closer to a moral principle than "have self-esteem, be tolerant and everybody wins," this film teaches that right is right and wrong is wrong, and that actions have serious and often irreversible consequences.
Lament, if you must, the inclusion of so many songs, but again, this picture is a product of its time. '60s moviegoers still had at least a fading appreciation for music--something modern audiences cannot claim (witness the death of the entire musical film genre)--and any children's feature worth its salt was expected to include a smattering of musical numbers. And while the music may be forgettable, the film itself obviously is not -- I saw it ONCE as a small child 25 years ago, and it has remained with me vividly until I saw it again yesterday.
I look forward to the time when my own daughter is old enough to enjoy it as much as I did.
To label this film as "embarrassingly dated" is arrogant and absurd, unless you're willing to pass the same judgment on "King Kong" or "Jason and the Argonauts." Most films are a product of their time. A few are ahead of their time, and those films set the pace for others to follow. But to condemn something from the '60s for not being "Toy Story" is unfair, just as it is unfair for an adult to condemn a movie intended for children.
Apparently an unfortunate result of computer animation is to render much of the history of filmmaking unwatchable because the special effects don't live up to today's standards. It's like kicking away the ladder that got you onto the roof. Today's effects-laden blockbusters would not have been possible--indeed, the film industry itself would not have survived the lean years when television was making inroads--had filmmakers not been willing to "go ahead and tell the story," plowing through budget and technical limitations, doing the best they could with whatever was at hand. To me, using plastic sheeting to achieve the water effects is ingenious. Obviously they couldn't use REAL water in stop-action animation. I challenge anyone to come up with a better solution using 1966 technology.
Of far more importance than technical effects, however, is the effect a film will have on its viewers. Here "The Daydreamer" succeeds brilliantly. Wholesome fare for the current generation of value-starved children, it is to be applauded for its strong ethical stance on the dangers of selfishness and the importance of obedience and loyalty. Far from our present diet of bland postmodern gruel that can come no closer to a moral principle than "have self-esteem, be tolerant and everybody wins," this film teaches that right is right and wrong is wrong, and that actions have serious and often irreversible consequences.
Lament, if you must, the inclusion of so many songs, but again, this picture is a product of its time. '60s moviegoers still had at least a fading appreciation for music--something modern audiences cannot claim (witness the death of the entire musical film genre)--and any children's feature worth its salt was expected to include a smattering of musical numbers. And while the music may be forgettable, the film itself obviously is not -- I saw it ONCE as a small child 25 years ago, and it has remained with me vividly until I saw it again yesterday.
I look forward to the time when my own daughter is old enough to enjoy it as much as I did.
I've always admired the work of Arthur Rankin and Jules Bass. Very few people's Holiday Seasons would be complete without "Rudolph the Red-Nosed Reindeer," "Frosty the Snowman," et. al. Similarly, their only other feature film, 1967's "Mad Monster Party," has acquired a considerable cult following over the years, with Tim Burton and William Castle among its many admirers.
Which is what makes "The Daydreamer" such an incredible disappointment by comparison. The animation is incredibly sloppy, by comparison to their TV work during the same period. Paul O'Keefe was a repugnant little brat on the "Patty Duke Show" and he makes an even less appealing Hans Christian Anderson. Among the only bright spots in the live action cast are Ray Bolger and Margaret Hamilton, almost thirty years after "Wizard of Oz," proving themselves as talents that can shine in a broom closet. An all-star cast tries hard during the animated segments, but even they can't bring uninspired material to life. When you consider that the best part of the film is the Al Hirschfeld-designed opening credits, that's a sad commentary.
In sum, "Daydreamer" is the only blot on Rankin and Bass' otherwise distinguished careers, and long-time fans, like myself, can forgive them this one transgression.
Which is what makes "The Daydreamer" such an incredible disappointment by comparison. The animation is incredibly sloppy, by comparison to their TV work during the same period. Paul O'Keefe was a repugnant little brat on the "Patty Duke Show" and he makes an even less appealing Hans Christian Anderson. Among the only bright spots in the live action cast are Ray Bolger and Margaret Hamilton, almost thirty years after "Wizard of Oz," proving themselves as talents that can shine in a broom closet. An all-star cast tries hard during the animated segments, but even they can't bring uninspired material to life. When you consider that the best part of the film is the Al Hirschfeld-designed opening credits, that's a sad commentary.
In sum, "Daydreamer" is the only blot on Rankin and Bass' otherwise distinguished careers, and long-time fans, like myself, can forgive them this one transgression.
Lo sapevi?
- QuizAlso a reunion for Ray Bolger and Margaret Hamilton, who played the Scarecrow and the Wicked Witch of the West respectively in Il mago di Oz (1939).
- BlooperWith the second set of opening cast credits shown during the live action sequence, it is stated the actors' name are listed in alphabetical order. However, Sessue Hayakawa is placed before Margaret Hamilton.
- Citazioni
Thumbelina: Your size has nothing to do with your real happiness. As long as you're with the people you love and who love you, as long as you can accept yourself for what you really are... that's happiness.
- Curiosità sui creditiContrary to Hollywood convention (and DGA rules), the credit for director Jules Bass appears second to last in the opening credits, just before the credit for writer/producer Arthur Rankin.
- Colonne sonoreDaydreamer
Music by Maury Laws & Jules Bass
Lyrics by Maury Laws & Jules Bass
Performed by Robert Goulet
Original sound track and score on Columbia Records
[Played over opening title and credits]
I più visti
Accedi per valutare e creare un elenco di titoli salvati per ottenere consigli personalizzati
- How long is The Daydreamer?Powered by Alexa
Dettagli
- Data di uscita
- Paesi di origine
- Lingua
- Celebre anche come
- El soñador aventurero
- Luoghi delle riprese
- Flushing Meadows Corona Park, Queens, New York, Stati Uniti(1964 New York World's Fair "Belgian Village Pavilion" as Odense, Denmark)
- Azienda produttrice
- Vedi altri crediti dell’azienda su IMDbPro
- Tempo di esecuzione1 ora 41 minuti
- Mix di suoni
- Proporzioni
- 1.37 : 1
Contribuisci a questa pagina
Suggerisci una modifica o aggiungi i contenuti mancanti
Divario superiore
By what name was The Daydreamer (1966) officially released in Canada in English?
Rispondi