From Kevin Lee’s web site, posted circa 2004. — J.R.
The following questions for Jonathan Rosenbaum were compiled by myself and esteemed colleagues at the IMDb Classic Film Board. They were e-mailed to Rosenbaum on the occasion of the release of his book ESSENTIAL CINEMA. His responses appear after each question.
Q- I was actually quite surprised when I saw that your book argued for the necessity of canons, given your previous criticism of the AFI’s top 100 lists and how it institutionalizes popular taste in much the same way as any canon does. Also, you testify to the profound affect that the Sight and Sound top 10 list had on you during your college years (as was the case for me) — but couldn’t one say that this, or any list, may be as limiting in its own way (in the perspective it espouses) as the AFI list? If the goal is to encourage people to see as many things as possible, I wonder if any canon or list alone is up to that task. Would you agree to that the problem is not in these canons or lists but in our attitudes towards them (for example, I don’t think it was the virtue of the Sight and Sound list in itself, but your attitude towards it, that made it worthwhile)?… Read more »
From the Chicago Reader (July 22, 1994). — J.R.
** THE LION KING
Directed by Roger Allers and Rob Minkoff
Written by Irene Mecchi, Jonathan Roberts, and Linda Woolverton
With the voices of Matthew Broderick, James Earl Jones, Jeremy Irons, Rowan Atkinson, Moira Kelly, Jim Cummings, Whoopi Goldberg, and Cheech Marin.
Though it’s somewhat less entertaining than The Little Mermaid, Beauty and the Beast, and Aladdin, The Lion King marks a welcome and fascinating shift in the Disney animated feature. It may be just a coincidence, but Disney’s new live-action Angels in the Outfield, a multicultural remake of a 1951 baseball fantasy, marks the same kind of racial and ethnic reorientation. I’d like to think that the widespread (and justifiable) objections raised by Middle Eastern groups to the xenophobic stereotypes in Aladdin have finally led to some rethinking by Disney executives about how to handle such ethnic material. If my hunch is correct, these changes represent not so much a kowtowing to political correctness as a more accurate reckoning of Disney’s stateside and international audience.
The issue isn’t exactly reality versus fantasy, because all Disney pictures are fantasies. In real life a white orphan isn’t likely to be adopted by a black man even if the white orphan’s best friend is a black orphan who comes along with the bargain (as in Angels in the Outfield).… Read more »