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Disney Aladdin Cereal No Yes No Way Try Again Toy Inside Prize

American animated musical fantasy film

Aladdin
A hand holds an oil lamp and another rubs it, and glowing dust starts coming off the lamp's nozzle. The text "Walt Disney Pictures presents: Aladdin" is atop the image, with the tagline "Imagine if you had three wishes, three hopes, three dreams and they all could come true." scrawling underneath it.

Theatrical release affiche by John Alvin
Directed by
  • John Musker
  • Ron Clements
Screenplay by
  • Ron Clements
  • John Musker
  • Ted Elliott
  • Terry Rossio
Story by
  • Burny Mattinson
  • Roger Allers
  • Daan Jippes
  • Kevin Harkey
  • Sue Nichols
  • Francis Glebas
  • Darrell Rooney
  • Larry Leker
  • James Fujii
  • Kirk Hanson
  • Kevin Lima
  • Rebecca Rees
  • David S. Smith
  • Chris Sanders
  • Brian Pimental
  • Patrick A. Ventura
Based on Aladdin and the Magic Lamp from 1 Chiliad and One Nights [a]
Produced past
  • John Musker
  • Ron Clements
Starring
  • Scott Weinger
  • Robin Williams
  • Linda Larkin
  • Jonathan Freeman
  • Frank Welker
  • Gilbert Gottfried
  • Douglas Seale
Edited by H. Lee Peterson
Music by Alan Menken

Production
companies
  • Walt Disney Pictures
  • Walt Disney Feature Animation
Distributed by Buena Vista Pictures

Release engagement
  • November 25, 1992 (1992-11-25)

Running time

 ninety minutes
Country United states of america
Language English
Budget $28 million[4]
Box office $504.1 million[four]

Aladdin is a 1992 American animated musical fantasy comedy film produced by Walt Disney Feature Blitheness and released by Walt Disney Pictures. The motion picture is the 31st Disney animated feature film and was the fourth produced during the Disney Renaissance. It was produced and directed past Ron Clements and John Musker, and is based on the Arabic folktale of the same proper noun from the K and 1 Nights. The phonation bandage features Scott Weinger, Robin Williams, Linda Larkin, Jonathan Freeman, Frank Welker, Gilbert Gottfried, and Douglas Seale. The film follows the titular Aladdin, an Arabian street urchin, who finds a magic lamp containing a genie. He disguises himself as a wealthy prince and tries to impress the Sultan and his daughter, Princess Jasmine.

Lyricist Howard Ashman first pitched the thought, and the screenplay went through three drafts earlier then-Disney Studios president Jeffrey Katzenberg agreed to its production. The animators based their designs on the work of caricaturist Al Hirschfeld, and computers were used for both finishing the artwork and creating some animated elements. The musical score was written by Alan Menken and features six songs with lyrics written by both Ashman and Sir Tim Rice, who took over afterwards Ashman'southward expiry.

Aladdin was released on November 25, 1992, to disquisitional and commercial success, condign the highest-grossing film of 1992 with an earning of over $504 million in worldwide box office acquirement. Upon release, it became the first animated feature to reach the one-half-billion-dollar mark and was the highest-grossing animated film of all time until it was surpassed by The Lion Rex (1994).

Aladdin garnered ii Academy Awards, as well as other accolades for its soundtrack, which had the first and just number from a Disney feature to earn a Grammy Award for Song of the Year, for the film's "A Whole New World", sung by Peabo Bryson and Regina Belle. The film's home video VHS release also set a sales tape and grossed about $5001000000 in the United states of america. Aladdin 's success led to diverse derived works and other fabric inspired by the motion picture, including two direct-to-video sequels, The Render of Jafar (1994) and Aladdin and the Rex of Thieves (1996); an animated television serial of the aforementioned proper noun; and a Broadway adaptation. A live-action moving-picture show accommodation directed by Guy Ritchie was released on May 24, 2019.

Plot [edit]

A merchant shows the viewers a lamp that is upwards for sale, and begins to tell a story.

Jafar, the Royal Vizier of the fictional metropolis of Agrabah, seeks a lamp hidden inside the Cavern of Wonders. He is told that only i person is worthy to enter: "the diamond in the crude," whom Jafar later identifies as Aladdin, an Agrabah street urchin. Meanwhile, Princess Jasmine of Agrabah becomes upset that the law requires her to marry a prince instead of marrying for dear. She escapes the palace, and meets Aladdin and his pet monkey, Abu, who relieve her from an aroused merchant. The palace guards then capture Aladdin on Jafar's orders. Jasmine confronts Jafar to need Aladdin's release, but he lies and says Aladdin has been executed.

Bearded as an aging homo, Jafar frees Aladdin and Abu and brings them to the cavern, ordering them to call up the lamp. After existence told to touch nothing just the lamp, Aladdin finds a magic carpet inside, and obtains the lamp. Forgetting the cave's rule, Abu grabs a jewel. Aladdin, Abu, and the carpeting rush to escape the cavern equally information technology collapses. Aladdin gives the lamp to Jafar, who throws him and Abu back into the cave, though not earlier Abu steals the lamp dorsum. Trapped, Aladdin rubs the lamp and meets the Genie who lives inside it. The Genie grants Aladdin three wishes. Aladdin tricks the Genie into freeing them all from the cave without using a wish, then uses his first wish to become a prince to woo Jasmine, and promises to utilise his third wish to free the Genie from servitude.

Jafar'due south parrot Iago suggests that he plots to become Sultan by marrying Jasmine. Aladdin, as "Prince Ali Ababwa," arrives in Agrabah with a big host, only Jasmine becomes aroused when he discusses her fate with her father, the Sultan, and Jafar without her. As a means of apologizing, Aladdin takes Jasmine on a ride on the magic rug. When she deduces his true identity by mentioning Abu, he convinces her that he only dresses as a peasant to escape the stresses of royal life. Later on Aladdin brings Jasmine home, the palace guards capture Aladdin on Jafar'due south behest and throw him into the bounding main. The Genie appears and saves Aladdin, at the price of his second wish. Aladdin returns to the palace and exposes Jafar'south evil plot. Jafar flees after spotting the lamp and thus discovering Aladdin'southward true identity.

Fearing that he will lose Jasmine if the truth is revealed, Aladdin breaks his promise and refuses to free the Genie. Iago steals the lamp, and Jafar becomes the Genie's new master. He uses his first two wishes to become Sultan and the world's most powerful sorcerer. He then exposes Aladdin's identity, exiling him, Abu, and the carpet to a frozen wasteland, though they escape. Jasmine tries to assistance Aladdin steal the lamp dorsum, but Jafar notices and overpowers the heroes with his magic. Aladdin taunts Jafar for beingness less powerful than the Genie, tricking Jafar into using his concluding wish to become an all-powerful genie himself. At present bound to his new lamp, Jafar ends upwards trapped inside it, taking Iago with him. The Genie so throws Jafar's lamp far into the desert, hoping to banish Jafar to the Cave of Wonders.

With Agrabah returned to normal, the Genie advises Aladdin to use his third wish to regain his royal title, then the law will allow him to stay with Jasmine. Aladdin instead decides to keep his hope, and frees the Genie. Realizing Aladdin'south dignity, the Sultan changes the law to allow Jasmine to marry whom she chooses. The Genie bids the grouping a fond adieu and leaves to explore the world, while Aladdin and Jasmine start their new life together.

Cast [edit]

  • Scott Weinger every bit Aladdin, a poverty-stricken but well-meaning Agrabah thief. For his audition, Weinger sent in a homemade audience tape as Aladdin with his mother playing the Genie,[5] and afterwards several callbacks found out half dozen months later that he had been bandage as the title character.[6] Aladdin's supervising animator was Glen Keane. Brad Kane provides Aladdin'due south singing voice.[7]
  • Robin Williams every bit Genie, a comedic jinnī with neat power that can only be exercised when his master wishes information technology. Clements and Musker had written the function of the Genie for Robin Williams, and, when met with resistance, created a reel of a Williams stand up-up to animation of the Genie. The directors asked Eric Goldberg, Genie'due south supervising animator, to animate the graphic symbol over one of Williams'due south old stand-upward comedy routines to pitch the thought to the actor. The resulting exam, where Williams's stand-upwardly near schizophrenia was translated into Genie growing another caput to contend with himself, made Williams "express joy his ass off" and convinced him to sign on for the function. Williams's appearance in Aladdin marks the beginning of a transition in animation to glory voice actors, rather than specifically trained voice actors in animated films.[8]
  • Linda Larkin every bit Jasmine, the princess of Agrabah, who is bored of life in the imperial palace. Larkin was chosen for the part of Jasmine nine months afterwards her audience, and had to conform, or lower, her high-pitched voice to accomplish the vox the filmmakers were looking for in the character. Jasmine's supervising animator was Marking Henn. Lea Salonga provides Jasmine's singing voice.[10]
  • Jonathan Freeman every bit Jafar, the power-hungry Grand vizier of Agrabah. Freeman was the showtime thespian cast and spent i year and ix months recording his dialogue. He after readjusted his voice after Weinger and Larkin were cast every bit he felt "Jafar had to be seen as a existent threat to Aladdin and Jasmine",[xi] every bit he was originally envisioned as an irritable character, only the directors decided that a calm villain would exist scarier. Jafar'south supervising animator was Andreas Deja, while Jafar's beggar and snake forms are animated by Kathy Zielinski.[12]
  • Frank Welker every bit Abu, Aladdin'southward kleptomaniac pet monkey with a falsetto voice. Welker also voices Jasmine's tiger Rajah and the Cave of Wonders.[12] Duncan Marjoribanks was the supervising animator for Abu, Aaron Blaise was the supervising animator for Rajah and Goldberg was the supervising animator for the Cavern of Wonders.
  • Gilbert Gottfried every bit Iago, Jafar'southward sardonic, hot-tempered parrot assistant. Although he is not anthropomorphic at all, he uses his ability to mimic speech to communicate on a human level. Will Finn was the supervising animator for Iago.
  • Douglas Seale equally the Sultan, the dim-witted just friendly ruler of Agrabah, who desperately tries to find a suitor for his daughter Jasmine. The Sultan's supervising animator was David Pruiksma.
  • Jim Cummings as Razoul, the Helm of the Guards. He and the other guards were animated by Phil Young and Chris Wahl.
  • Charlie Adler every bit Gazeem, a thief that Jafar sends into the Cave of Wonders at the beginning of the film just is trapped inside for being unworthy. Gazeem was animated by T. Daniel Hofstedt.
  • Corey Burton equally Prince Achmed, an big-headed prince whom Princess Jasmine rejects every bit a suitor.

Production [edit]

Script and development [edit]

In 1988, lyricist Howard Ashman pitched the idea of an animated musical adaptation of Aladdin. Ashman had written a 40-page film treatment remaining faithful to the plot and characters of the original story, merely envisioned as a campy 1930s-style musical with a Cab Calloway/Fats Waller-similar Genie.[xiii] Along with partner Alan Menken, Ashman conceived several songs and added Aladdin'due south friends named Babkak, Omar, and Kasim to the story.[fourteen] [15] However, the studio was dismissive of Ashman's treatment and removed the projection from development. Ashman and Menken were afterwards recruited to compose songs for Beauty and the Beast.[xvi] Linda Woolverton, who had also worked on Dazzler and the Beast, used their treatment and developed a draft with inspired elements from The Thief of Bagdad such as a villain named Jaf'far, an aged sidekick retired human thief named Abu, and a human handmaiden for the princess.[17] [18] And so, directors Ron Clements and John Musker joined the product, picking Aladdin out of three projects offered, which as well included an adaptation of Swan Lake and Male monarch of the Jungle—that somewhen became The Lion King.[19] Before Ashman's decease in March 1991, Ashman and Menken had composed "Prince Ali" and his last song, "Humiliate the Boy".[20]

Musker and Clements wrote a draft of the screenplay, and then delivered a story reel to studio chief Jeffrey Katzenberg in April 1991.[xv] Katzenberg thought the script "didn't appoint", and on a day known by the staff every bit "Black Friday," demanded that the entire story exist rewritten without rescheduling the film's November 25, 1992 release date.[21] Among the changes Katzenberg requested from Clements and Musker were to non be dependent on Ashman's vision,[14] and the removal of Aladdin'due south mother, remarking, "Eighty-vi the mother. The mom'south a zero."[22] Katzenberg also influenced in changing the plot element about Jasmine's spousal relationship, which originally had her required by law to be married by xvi, to remove the age—the Sultan merely says "your next birthday"—and go far more specific that her suitor needed to be a prince, which would as well set upward the ending where the Sultan, inspired by Aladdin'due south altruism, changes the law to make Jasmine able to ally anyone she deems worthy.[23]

Screenwriting duo Ted Elliott and Terry Rossio were brought in to rework the story,[15] and the changes they made included the removal of Aladdin's female parent, the strengthening of the character of Princess Jasmine, and the deletion of several of the Ashman-Menken songs.[24] Aladdin'due south personality was rewritten to be "a little rougher, like a immature Harrison Ford,"[15] [25] and the parrot Iago, originally conceived as an uptight British archetype, was reworked into a comic role subsequently the filmmakers saw Gilbert Gottfried in Beverly Hills Cop II, who was and then cast for the role.[26] Past October 1991, Katzenberg was satisfied with the new version of Aladdin.[13] As with Woolverton'south screenplay, several characters and plot elements were based on the 1940 version of The Thief of Bagdad,[27] [28] though the location of the picture was inverse from Baghdad to the fictional Arabian city of Agrabah.[29]

Blueprint and blitheness [edit]

A style guide, depicting above the characters, and below the geometrical shapes they follow. Notes on design, such as "High hip" for Jasmine and "Broad shoulders" for Jafar are scattered through the page. Atop the page is written "0514 – Aladdin Style"

Style guide depicting the main characters. The animators designed each grapheme based on a different geometrical shape.[30]

The blueprint for most characters was based on the work of caricaturist Al Hirschfeld,[31] which production designer Richard Vander Wende also considered appropriate to the theme, due to similarities to the flowing and swooping lines found in Arabic calligraphy.[23] Jafar's design was non based on Hirschfeld's piece of work because Jafar'south supervising animator, Andreas Deja, wanted the grapheme to be contrasting.[32] Each character was animated lonely, with the animators consulting each other to make scenes with interrelating characters. Since Aladdin'south animator Glen Keane was working in the California branch of Walt Disney Characteristic Animation, and Jasmine's animator Marking Henn was in the Florida i at Disney-MGM Studios, they had to frequently telephone, fax or ship designs and discs to each other.[23] The animators filmed monkeys at the San Francisco Zoo to study their movements for Abu's character. Iago's supervising animator Volition Finn tried to contain some aspects of Gottfried's appearance into Iago'south design, particularly his semi-airtight eyes and the always-appearing teeth. Some aspects of the Sultan were inspired by the Wizard of Oz, to create a bumbling authorization effigy. Andreas Deja, Jafar's supervising animator, tried to incorporate Jonathan Freeman's facial expressions and gesturing into the character.[31] Animator Randy Cartwright described working on the Magic Carpeting as challenging, since it is only a rectangular shape, that expresses itself through pantomime—"Information technology'south sort of like acting by origami".[23] Cartwright kept folding a piece of cloth while animative to see how to position the Carpet.[23] After the character animation was done, the carpeting's surface design was applied digitally.[31]

"In early screenings, we played with him existence a little flake younger, and he had a female parent in the story. [...] In pattern he became more able-bodied-looking, more than filled out, more than of a young leading man, more of a teen-hunk version than before."

–John Musker on Aladdin's early design[33]

Designed by a team led past supervising animator Glen Keane, Aladdin was initially going to be as young as xiii, and was originally made to resemble actor Michael J. Fox. During product, it was decided that the pattern was likewise boyish and wasn't "highly-seasoned enough," and so the grapheme was made 18 and redesigned to add together elements derived from actor Tom Cruise and Calvin Klein models.[33] [34]

For the scenery design, various architectural elements seen in 19th-century orientalist paintings and photographs of the Arab world were used for guidance.[35] Other inspirations for design were Disney'due south animated films from the 1940s and '50s and the 1940 film The Thief of Bagdad.[23] The coloring was washed with the computerized CAPS process, and the color motifs were called according to the personality—the protagonists use light colors such every bit blueish, the antagonists darker ones such equally red and black, and Agrabah and its palace use the neutral color yellow.[31] Calculator animation was used for some elements of the film, such every bit the tiger entrance of the Cave of Wonders and the scene where Aladdin tries to escape the collapsing cave.[31] Some of the software that was used was Pixar's RenderMan.

Musker and Clements created the Genie with Robin Williams in heed; even though Katzenberg suggested actors such as John Candy, Steve Martin, and Eddie Potato, Williams was approached and eventually accepted the role. Williams came for voice recording sessions during breaks in the shooting of 2 other films he was starring in at the fourth dimension, Hook and Toys. Unusually for an animated flick, much of Williams's dialogue was ad-libbed: for some scenes, Williams was given topics and dialogue suggestions, but immune to improvise his lines.[31] It was estimated that Williams improvised 52 characters.[36] Eric Goldberg, the supervising animator for the Genie, and then reviewed Williams'south recorded dialogue and selected the best gags and lines that his coiffure would create grapheme animation to friction match.[31]

The producers added many in-jokes and references to Disney'due south previous works in the film, such equally a "cameo appearance" from directors Clements and Musker and drawing some characters based on Disney workers.[12] Creature, Sebastian from The Piddling Mermaid, and Pinocchio make brief appearances, and the wardrobe of the Genie at the end of the picture—Goofy hat, Hawaiian shirt, and sandals—are a reference to a short film that Robin Williams did for the Disney-MGM Studios tour in the belatedly 1980s.[12]

Robin Williams'southward conflicts with the studio [edit]

Initially, Robin Williams voiced Genie under the status that his voice not be used for excessive marketing or merchandising.

In gratitude for his success with Touchstone Pictures' Expert Morning, Vietnam, Robin Williams voiced the Genie for SAG calibration pay—$75,000—instead of his asking fee of $eight meg, on condition that his name or paradigm not be used for marketing, and his (supporting) grapheme not take more than 25% of space on advertising artwork, since Williams's film Toys was scheduled for release one month after Aladdin 'due south debut. For fiscal reasons, the studio went dorsum on the deal on both counts, particularly in poster art by having the Genie in 25% of the image, merely having other major and supporting characters portrayed considerably smaller. The Disney Hyperion book Aladdin: The Making of an Animated Motion-picture show listed both of Williams'due south characters "The Peddler" and "The Genie" alee of chief characters, just was forced to refer to him only as "the actor signed to play the Genie".[34] [37] [38]

Disney, while not using Williams'south proper name in commercials as per the contract, used his vox for the Genie in the commercials and used the Genie grapheme to sell toys and fast food tie-ins, without having to pay Williams additional coin; Williams unhappily quipped at the time, "The but reason Mickey Mouse has three fingers is because he tin can't pick up a check." Williams explained to New York magazine that his previous Mork & Mindy merchandising was different considering, "the image is theirs. But the vocalism, that'south me; I gave them myself. When it happened, I said, 'Y'all know I don't do that.' And they [Disney] apologized; they said it was done by other people."[39] Disney attempted to assuage Williams past sending him a Pablo Picasso painting worth more $1 million at the time, but this move failed to repair the damaged relationship, as the painting was a self-portrait of the creative person as Vincent van Gogh which apparently really "clashed" with the Williams'due south wilder dwelling decor.[40] Williams refused to sign on for the 1994 direct-to-video sequel The Return of Jafar so it was Dan Castellaneta that voiced the Genie. When Jeffrey Katzenberg was replaced by Joe Roth as Walt Disney Studios chairman, Roth organized a public apology to Williams.[41] Williams would, in turn, reprise the role in the second sequel Aladdin and the Rex of Thieves in 1996.[42]

Music [edit]

The tertiary—afterwards The Footling Mermaid and Beauty and the Animate being—and final Disney film score the duo would work on, Alan Menken and Howard Ashman began writing the Academy Award-winning score together, with Tim Rice taking over as lyricist after Ashman died of AIDS-related complications function way through the production of Aladdin in early 1991.[43] Although fourteen songs were written for Aladdin, just seven are featured in the movie, three by Ashman, and 4 by Rice.[44] Composer Alan Menken and songwriters Howard Ashman and Tim Rice were praised for creating a soundtrack that is "consistently good, rivaling the best of Disney's other animated musicals from the '90s."[45] The DVD Special Edition released in 2004 includes four songs in early animation tests, and a music video of i, "Proud of Your Boy", performed by Clay Aiken,[46] which also appears on the album Disneymania 3.[47] The version of the vocal "A Whole New World" performed by Peabo Bryson and Regina Belle, which plays over the end credits, is, as of 2019[update], the only Disney song to win a Grammy Award for Vocal of the Year.

Themes [edit]

"The original story was sort of a winning the lottery kind of thing ... Like having anything you could wish for would exist the greatest thing in the globe and having it taken abroad from yous is bad, but having it dorsum is great. Nosotros didn't really want that to be the message of the motion-picture show."

–Ron Clements[23]

The filmmakers idea the moral bulletin of the original tale was inappropriate, and decided to "put a spin on it" past making the fulfillment of wishes seem like a slap-up solution, but eventually becoming a problem.[23] Some other major theme was avoiding an endeavor to exist what the person is non—both Aladdin and Jasmine get into trouble pretending to exist different people, and the Prince Ali persona fails to impress Jasmine, who simply falls for Aladdin when she finds out who he truly is.[48] Being "imprisoned" is also presented, a fate that occurs to nigh of the characters—Aladdin and Jasmine are express by their lifestyles, Genie is attached to his lamp, and Jafar to the Sultan—and is represented visually by the prison-like walls and bars of the Agrabah palace, and the scene involving caged birds which Jasmine later frees. Jasmine is also depicted as a different Disney Princess, being rebellious confronting the royal life and the social structure.[49]

Release [edit]

Box office [edit]

A big promotion campaign preceded Aladdin 's debut in theaters, with the picture show'due south trailer being attached to near Disney VHS releases (including 101 Dalmatians in April 1992 and Beauty and the Beast in October), and numerous tie-ins and licensees existence released.[50] After a limited release on November xiii, 1992,[51] Aladdin debuted in 1,131 theaters on November 25, 1992, grossing $19.2 1000000 in its opening weekend—number ii at the box office, behind Dwelling house Alone 2: Lost in New York.[52] It took eight weeks for the film to surpass Beauty and the Beast every bit the about successful animated Disney moving picture at the U.s.a. box office (surpassed by The Panthera leo King in 1994).[53] In the The states, the film held the height spot v times weekly and breaks the tape for the week between Christmas and New year'due south Eve with $32.2 million during its 22-calendar week run.[54] Aladdin was the most successful moving-picture show of 1992 grossing $217 meg in the United States and over $504 million worldwide.[4] Information technology was the biggest gross for an animated film until The King of beasts Male monarch ii years later on, and was the beginning full-length animated film to gross $200 meg in the Us and Canada.[55] Additionally, it was the first moving-picture show to cross that mark since Terminator 2: Judgment Day in 1991.[56]

Outside of the United States and Canada, the film grossed $200 one thousand thousand in 1993,[57] and $250 million by Jan 1994.[58] In Europe, Aladdin defeated Jurassic Park to go the continent'southward box office leader.[59] It gear up an opening weekend record in South Africa.[sixty] By 2002, the film had grossed $287 one thousand thousand overseas and $504 million worldwide.[61] Currently, it is the 35th-highest-grossing animated movie and the 3rd-highest-grossing traditionally animated feature worldwide, behind The Lion King and The Simpsons Movie.[62] It sold an estimated 52,442,300 tickets in the U.s. and Canada,[63] where its gross is equivalent to $477,749,800 adjusted for aggrandizement in 2018.[64]

Home media [edit]

The film was first released in VHS on September 29, 1993, as office of the Walt Disney Classics line, although, information technology was not officially advertised until October 1.[65] In its beginning three days of availability, Aladdin sold 10.8 million copies,[66] setting the fastest sales record[67] and grossing about $265,000,000 (equivalent to $475,000,000 in 2020) in the Usa.[68] In less than 3 weeks, the VHS release of Aladdin sold over 16one thousand thousand units and grossed over $400,000,000 (equivalent to $720,000,000 in 2020) in the The states.[69] Upon release of the Sega Genesis video game adaptation in November, Aladdin sold nigh 30 million home video units,[66] earning over $500,000,000 (equivalent to $900,000,000 in 2020) in the United States.[70] It was the best-selling home video release up until its record was later broken by The King of beasts Rex.[71] This VHS edition entered moratorium on April 30, 1994.[72] A THX-certified widescreen LaserDisc was issued on September 21, 1994,[73] [74] [ better source needed ] and a Spanish-dubbed VHS for the American market place was released on April 14, 1995.[75] In Japan, two.twomillion home video units were sold by 1995.[76] [77]

On October 5, 2004, Aladdin was rereleased onto VHS and for the first time released onto DVD, as part of Disney'southward Platinum Edition line. The DVD release featured retouched and cleaned-upwardly blitheness, prepared for Aladdin 's planned simply ultimately cancelled IMAX reissue in 2003,[78] and a 2nd disc with bonus features. Accompanied by a $nineteen million marketing campaign,[79] the DVD sold about 3 million units in its get-go month.[lxxx] The film's soundtrack was available in its original Dolby 5.one rails or in a new Disney Enhanced Home Theater Mix.[46] The DVD went into moratorium in Jan 2008, along with its sequels.[81]

According to an insert in the Lady and the Tramp Diamond Edition release example, Aladdin was going to be released on Blu-ray Disc as a Diamond Edition in Spring 2013.[ citation needed ] Instead, Peter Pan was released on Blu-ray as a Diamond Edition on February v, 2013, to gloat its 60th anniversary.[82] A non-Diamond Edition Blu-ray was released in a few select European countries in March 2013. The Belgian edition (released without advertisements, commercials or any kind of fanfare) comes as a unmarried-disc version with its extras ported over from the Platinum Edition DVD. The same disc was released in the Uk on Apr 14, 2013.[ commendation needed ] Walt Disney Studios Dwelling house Entertainment released the picture show on a Diamond Edition Blu-ray on October 13, 2015. The film was released on Digital Hard disk on September 29, 2015.[83] [84] [85] Upon its commencement week of release on home media in the U.S., the film topped the Blu-ray Disc sales chart and debuted at number 2 at the Nielsen VideoScan First Alert nautical chart, which tracks overall disc sales behind the disaster film San Andreas.[86] The film's Blu-ray release in the United states sold 1.81meg units and grossed $39 million, as of 2017[update].[87]

Aladdin was re-released on Hard disk drive and 4K digital download on Baronial 27, 2019, with a physical media re-release on Blu-ray and Ultra HD Blu-ray on September 10, 2019, as part of the Walt Disney Signature Collection.

Reception [edit]

Critical reception [edit]

The review aggregator website Rotten Tomatoes reported that 95% of critics gave the film a positive review based on a sample of 75 reviews, with an average rating of 8.20/x. The site's consensus reads, "A highly entertaining entry in Disney'southward renaissance era, Aladdin is beautifully drawn, with near-classic songs and a cast of scene-stealing characters."[88] On Metacritic, the pic has a weighted average score of 86 out of 100 based on 25 critics, indicating "universal acclamation".[89] Audiences polled by CinemaScore gave the movie a rare "A+" grade.[xc]

Most critics' praise went to Robin Williams's performance as Genie,[88] with Janet Maslin of The New York Times declaring that children "needn't know precisely what Mr. Williams is evoking to understand how funny he is",[91] and Roger Ebert commenting that Williams and animation "were born for one some other".[92] Warner Bros. Cartoons manager Chuck Jones fifty-fifty called the flick "the funniest characteristic always made."[15] Furthermore, English-Irish comedian Spike Milligan considered it to be the greatest film of all fourth dimension.[ citation needed ] James Berardinelli gave it three.five out of 4 stars, praising the "crisp visuals and wonderful song-and-trip the light fantastic numbers."[93] Peter Travers of Rolling Stone said the comedy made the picture attainable to both children and adults,[94] a vision shared with Desson Howe of The Washington Postal service, who also said "kids are still going to be entranced past the magic and run a risk."[95] Brian Lowry of Variety praised the cast of characters, describing the expressive magic carpet as "its about remarkable accomplishment" and considered that "Aladdin overcomes well-nigh story flaws thanks to sheer technical virtuosity."[96]

Some aspects of the film were widely criticized. Ed Gonzalez of Slant Magazine wrote a negative review, describing the moving-picture show as racist, ridiculous, and a "narcissistic circus act" from Robin Williams.[97] Roger Ebert, who generally praised the film in his review, considered the music junior to its predecessors The Little Mermaid and Beauty and the Fauna, and claimed Aladdin and Jasmine were "pale and routine." He criticized what he saw as the film's apply of ethnic stereotypes, writing: "Most of the Arab characters have exaggerated facial characteristics—hooked noses, glowering brows, thick lips—but Aladdin and the princess look like white American teenagers."[92]

Accolades [edit]

Aladdin as well received many accolade nominations, by and large for its music. It won two Academy Awards, Best Original Score and Best Original Song for "A Whole New World" and receiving nominations for Best Original Song ("Friend Like Me"), Best Sound Editing (Marker A. Mangini), and Best Sound (Terry Porter, Mel Metcalfe, David J. Hudson and Doc Kane).[98] At the Gilded Globes, Aladdin won Best Original Song ("A Whole New World") and Best Original Score, besides every bit a Special Achievement Award for Robin Williams, with a nomination for All-time Motion Picture show – Musical or Comedy.[99] At the Grammy Awards, the film won for Best Soundtrack Album and Best Musical Album for Children for the soundtrack, and Song of the Twelvemonth, Best Pop Functioning by a Duo or Group with Vocal, and Best Song Written Specifically for a Motion Film or for Idiot box for "A Whole New Globe",[100] with "A Whole New World" being the first and only Disney song to win Vocal of the Twelvemonth. Information technology besides received nominations for Best Song Written Specifically for a Movement Movie or for Boob tube ("Friend Similar Me") and Record of the Yr ("A Whole New Earth"). Other awards included the Annie Accolade for All-time Blithe Feature,[101] a MTV Movie Honor for Best Comedic Performance to Robin Williams,[102] Saturn Awards for Best Fantasy Film, Functioning by a Younger Actor to Scott Weinger and Supporting Actor to Robin Williams,[103] and All-time Blithe Feature by the Los Angeles Motion-picture show Critics Clan.[104]

The pic is recognized by American Film Found in these lists:

  • 2000: AFI's 100 Years...100 Laughs – Nominated[105]
  • 2004: AFI'due south 100 Years...100 Songs:[106]
    • "Friend Like Me" – Nominated
    • "A Whole New Globe" – Nominated
  • 2006: AFI's Greatest Movie Musicals – Nominated[107]

Controversies [edit]

One of the verses of the opening song "Arabian Nights" was altered post-obit complaints from the American-Arab Anti-Discrimination Committee (ADC). The lyrics were changed in July 1993 from "Where they cut off your ear if they don't similar your face" in the original release to "Where it's flat and immense and the rut is intense," with the modify first appearing on the 1993 video release.[108] The original lyric was intact on the initial CD soundtrack release, but the re-releases use the edited lyric. The Broadway accommodation also uses the edited line.[109] The rerecording has the original voice on all other lines and then a noticeably deeper voice says the edited line. The subsequent line however, "Information technology'south barbarian, but hey, it's domicile," was left intact. Amusement Weekly ranked Aladdin in a listing of the most controversial films in history, due to this incident.[110] The number has been described in reviews equally "simultaneously glamorizing and barbarizing the Arab world."[111] The ADC too complained about the portrayal of the lead characters Aladdin and Jasmine. They criticized the characters' anglicized features and Anglo-American accents, in contrast to the other characters in the film, which have foreign accents, grotesque facial features, and appear villainous or greedy.[108]

Concerns were also raised to another scene. When Aladdin is threatened past the tiger Rajah on the palace balcony, Aladdin quietly says a line that some people reported hearing as "Good teenagers, take off your clothes," [112] which they considered a subliminal reference to promiscuity. However, according to the commentary rails on the 2004 DVD, while Musker and Clements did admit Scott Weinger ad-libbed during the scene, they claimed "we did non record that, we would not record that," and said the line was "Good tiger, accept off and get..." and the discussion "tiger" is overlapped by Rajah's snarl.[113] After the give-and-take tiger, a 2d vocalisation can exist heard which has been suggested was accidentally grafted onto the soundtrack.[114] Because of the controversy, Disney edited the line by lowering the volume on current releases.

Blitheness enthusiasts take noticed similarities betwixt Aladdin and Richard Williams'southward unfinished film The Thief and the Cobbler (also known as The Princess and the Cobbler under Allied Filmmakers and Arabian Knight under Miramax Films). These similarities include a like plot, like characters, scenes and background designs, and the antagonist Zig-Zag's resemblance in character design and mannerisms to Genie and Jafar.[115] [116] Though Aladdin was released prior to The Thief and the Cobbler, The Thief and the Cobbler initially began product much before in the 1960s, and was mired in difficulties including financial bug, copyright issues, story revisions and tardily product times caused by separate studios trying to end the film after Richard Williams was fired from the projection for lack of finished piece of work.[117] The tardily release, coupled with Miramax purchasing and re-editing the film, has sometimes resulted in The Thief and the Cobbler being labeled a rip-off of Aladdin.[116]

Legacy [edit]

Aslope its office in the Disney Renaissance, Aladdin is frequently credited as the catalyst in the ascent of casting flick stars as vocalism actors in Hollywood animated films with the success of Robin Williams's Genie performance.[118] [119] [120] [121] Entertainment writer Scott Meslow wrote that compared with the character of Aladdin, "Williams'southward Genie is the grapheme audiences responded to, and—more chiefly to Disney—its most marketable character past far", which he concludes led to the "celebrification" of later blithe films such as Shark Tale (2004) and Puss in Boots (2011).[120]

Live-activeness adaptations [edit]

Alive-action prequel spin-off [edit]

On July fifteen, 2015, the studio appear the development of a live-action comedy adventure prequel called Genies. The film was being written by Mark Swift and Damian Shannon, while Tripp Vinson was on lath to produce via his Vinson Films imprint. It was intended to serve as a lead to the live-action Aladdin picture show.[122] On Nov 8, Disney revealed it had originally planned to use Robin Williams's unused lines from the 1991–92 recording sessions for the movie, just his will prohibited the studio from using his likeness for 25 years later on his 2014 death.[123]

Live-action film [edit]

In Oct 2016, information technology was reported that Disney was developing a live-activity adaptation of Aladdin with Guy Ritchie signed on to direct the moving-picture show. John August is writing the script, which will reportedly retain the musical elements of the original moving-picture show, while Dan Lin is attached equally producer.[124] Lin revealed that they were looking for a various cast.[125] In April 2017, Will Smith entered talks to play the Genie.[126] The following month, Jade Thirlwall entered talks to portray the part of Jasmine.[ commendation needed ] Alan Menken said filming was slated to begin August 2017.[127] Production had originally been scheduled to begin in July, but was delayed due to Disney having problem finding the right people to play Aladdin and Jasmine. British actress Naomi Scott and Indian actress Tara Sutaria were being considered to play Jasmine. For the role of Aladdin, British actors Riz Ahmed and Dev Patel were initially considered, only it was after decided that a newcomer should exist cast in the role.[128] In July 2017, information technology was announced that Egyptian-Canadian actor Mena Massoud had been cast as Aladdin, Scott as Jasmine, and Smith as the Genie.[129] [130] At the 2017 D23 Expo, Menken appear that he would be co-writing new songs for the film with Academy Award winners Pasek and Paul[131] while Vanessa Taylor would re-write the script.[132] In August 2017, Marwan Kenzari, Nasim Pedrad, and Numan Acar joined the cast as Jafar, Dalia, and Hakim, respectively.[133] [134] The post-obit month, Billy Magnussen and Navid Negahban were cast as Prince Anders and the Sultan, respectively.[135] [136] Filming began on September vi, 2017, at Longcross Studios and concluded on Jan 24, 2018.[137] [138] The motion-picture show was released on May 24, 2019.[139]

See also [edit]

  • Listing of Disney animated films based on fairy tales
  • Listing of Disney theatrical animated feature films
  • Lists of animated characteristic films

Notes [edit]

  1. ^ Aladdin and the Magic Lamp was authored by Hanna Diyab,[1] [2] and was added to the One One thousand and One Nights past Antoine Galland, actualization in his French translation Les mille et une nuits.[iii]

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External links [edit]

  • Official website
  • Aladdin at IMDb
  • Aladdin at AllMovie
  • Aladdin at the Big Cartoon DataBase
  • Aladdin in folklore and popular culture, at Don Markstein's Toonopedia. Archived from the original on August 31, 2015.

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Source: https://en.wikipedia.org/wiki/Aladdin_(1992_Disney_film)