The Daily Herald from Provo, Utah • 14

Page B6 THE HERALD, Provo, Utah, Wednesday, November 25, 1992 'Aladdin' preparations filled studios with wonders 0e 'mi- i -nil Symphony featuring pianist in concerts SALT LAKE CITY -The next Utah Symphony Classical Series concert will feature a pianist performing Beethoven's Piano Concerto No. 3. Awadagin Pratt, 1992 winner of the prestigious Naum-burg International Piano Competition, will perform with the Utah Symphony, on Nov. 27 and 28. The concerts will begin at 8 p.m.

in Symphony Hall. Tickets are $10 to $30 at the Utah Symphony box office, 533-NOTE, or at all Smith-Tix locations. If available, students with a current ID may purchase tickets for $5. The 26-year-old Pratt is a native of Pittsburgh and, in conjunction with his prize-winning performance for the Naumburg Foundation, will also perform in New York City, Boston and Los Angeles this year. Also on the program, conducted by Maestro Joseph Sil-verstein, is the Shostakovich Symphony No.

5 and the Symphony No. 4 by Stanley Funicelli. Funicelli is a local composer who has had great exposure both as a musican and teacher. His work is a short composition commissioned by the Utah Arts Festival and US West, which received its premiere performance this past June at the Utah Arts Festival. Before each concert, Sil-verstein will give a pre-concert lecture at 7:20 p.m.

The works on the program will be discussed to give concert patrons better insight into the music in order to enhance the evening's performance. character, then animators like Rick Farmelow meticulously create the movement sketches. In the next step, the clean-up artists take over. Their tools are not soap and water. Instead, with pen and ink they tidy up the rough sketches of movement sequences and, following the model of each character, make each sketch into a finished drawing, making sure the character looks the same in each frame In addition to the action, many artists work on the backgrounds, choosing colors to create the right atmosphere.

To create Agrabath, the fictional kingdom in which the story is set, Disney artists studied Persian minatures, paintings done in the Middle East between the 11th and 1 5th centuries. These small paintings, according to Art Director Bill Perkins, are basically flat patterns, filled with people, caravans, horses, banners and lots of decorative details. The dominant red, blue and yellow of the minatures became the film's color scheme. Background supervisor Kathy Altieri explained that in the paintings, blue is associated with water, a life-giving force in the desert. For this reason, the good guys are dressed in blue, like Aladdin, or simply are blue like the Genie.

Red and orange are used for the villian Jafar and his parrot Iago. Yellow is the color of the desert and the city of Agrabath. The thick and thin S-curved lines of arabic writing were also made a part of the animated characters and the backgrounds. And then the special effects artists add their magic touch. Shadows and highlights make the magic lamp look three dimensional and real enough to touch.

Light reflects from the lamp onto Aladdin's hands and his arm and hair to suggest the mysterious power in the lamp. When the characters, the action, the backgrounds and the effects have been combined by computer, the single frame is printed on film. Photo courtesy The Wall Disney Co. A magical matchmaking Genie watches as his master, Aladdin, takes Princess Jasmine on a romantic carpet ride with his monkey Abu tagging along in Walt Disney's new animated Arabian Nights fairy tale "Aladdin." The film opens locally today. working on the film.

Farmelow's work included providing transitional drawings that create movements to take the monkey from one point of action to another. He said the voices are recorded first, so the animators can create appropriate expressions and mannerisms as well as movements of walking, climbing, running, etc. Farmelow worked from a tape of the sound track which he pronounced as "splendid." Howard Ashman and Alan Menken, the songwriting team for "Mermaid" and "Beauty and the Beast," did some work on "Aladdin" while they were still working on "Mermaid." They wrote three of the songs, "Arabian Nights," "Friend Like Me," and "Prince Ali" before tackling the music for "Beauty and the Beast." Ashman died before the team could get back to work on "Aladdin," so Tony Award-winner Tim Rice About 600 animators worked on Disney film By JEAN MARSHALL Herald Correspondent GLENDALE, Calif. A walk through the Disney Animation Studio in Glendale, in August was like a visit to the Cave of Wonders wonders that would be in the studio's latest full-length animated feature "Aladdin." The bustling facility was a rabbit warren of cubicles and offices with Aladdin" sketches, drawings, and paintings tacked up in the hallways. Early ideas seen on the walls included a very young boy in the role of Aladdin, reminiscent of Mowgli Jungle Book," but the final character, credited to supervising animator Glen Keane became a teen-ager.

This change is typical of the focus of the movie. A 20-minute video of clips seen at the studio revealed the manic Robin Williams as the voice and personality of the genie. Supervised by Eric Goldberg, this pivotal character changes shape as fast as Williams slips from one impersonation to another, leaving the viewer to say, "Whoa! I didn't quite catch that." The older Ak.Jdin and the bar-age of references to popular entertainment personalities will appeal to adults while very young children will be entertained by the rapid changes without knowing or caring ho all the personalities are. Rick Farmelow, who worked on Aladdin's pet monkey Abu, said in that August interview that 95 percent of the animation was complete. Pressure was increasing as the November opening date loomed ahead of the 600 people New Disney After pioneering the golden age of animation, Disney fell victim to economic changes in the movie industry, coupled with the lack of imaginative leadership.

With "Aladdin," the new Disney team has re-affirmed their pre-eminance in the recent renaissance of the animated feature. Following hot on the heels of "The Little Mermaid" and "Beauty and the Beast," Disney has a sure-fire winner in "Aladdin." Like its predecessors, it's built around the same successful formula: a romantic storyline, dynamic, vibrant animation and clever, lively musical numbers. Unlike the prev ious works, this one strays slightly from the classic fairy tale form to give itself more of a contemporary edge. With the tongue-in-cheek inclusion of previously established Disney characters and numerous topical references, this is one hip cartoon. The story is simple enough: Ja-lar.

trusted advisor to the doltish film has vibrant animation, contemporary edge like the previous hits "The Little Mermaid" and "Beauty and the Beast." The story of Aladdin and his magic lamp is just one of almost 200 tales to be found in "The Thousand and One Nights," which was first translated into French from Arabic in 1704. But researchers have found evidence of the Aladddin tales much earler in India, Iran and Egypt and possibly Greece. In 978 A.D. it was translated into Arabic and put into the collection of "The Thousand and One Nights." Before production on the movie begins, the story is written as a screenplay and then illustrated like a giant comic book tacked to a bulletin board to set up the key scenes. As the story is improved and revised, rejected sketches are taken off the board and new ones pinned up until the final version is approved.

The Disney artists design each physical nature of animation may prove to be the only truly worthy match to William's wild wit. Like William's Genie, once the movie is let loose, there's no turning back. The dialogue, visuals, music and songs rocket the story forward, filling it with overflowing energy and fun, fun, fun. So rapid is the pace and so abundant the allusions to other movies, characters, commercials and personalities that a second or third viewing is mandatory to catch all of the bits. While these are often geared to the adults in the audience, the visuals accompanying them are a treat for the kids.

If there is any criticism to be made of the whole, it is in the familiarities of the film. Princess Jasmine is, in form, philosophy and voice, unimaginatively reminiscent of Belle in "Beauty and the Beast." Like her spiritual sister, she is a young woman discontented at the options of traditional female roles. Likewise, Aladdin bears a Christ Superstar," "Evita" and was called in to write the lyrics to Menken's other two songs, "One Jump Ahead," and "A Whole New World." To help him visualize movements, Farmelow, who also worked on the screwball seagull Scuttle in "The Little Mermaid," referred to video tape of television specials on monkeys and he looked at the earlier tape of Disney films "Dumbo" and "The Jungle Book." Another influence was the graceful and curving lines of Arabic art, and surprisingly, the cartoon drawings of Hirschfield. The animators have to be actors as well as artists, he said, to get inside the character to imagine and create gestures suited to the animal and the mood. Work on the film begins with the story of course, and for "Aladdin," Disney chose to make another fairy tale a musical fairy tale presence at the palace re-unites him with Jafar, where a struggle for the lamp shapes the final outcome.

Despite the rather simple plot, there are numerous characters involved. Jafar has a smart-mouthed parrot named Iago. Aladdin has a side-kick monkey named Abu and an adopted carpet the characterization of which is the most memorable for an "inanimate" object since the water-toting broomsticks in "Fantasia." And, of course, there is the Genie. Robin Williams, who does the voice work, turns the Genie into a true force of nature. With a nonstop barrage of free-flowing ver-bage, William's Genie dances at the edge of overpowering the film in his every appearance.

(Some may think he crosses that line.) With humor and imagination, the Disney animators prove that they are up to the challenge of visually keeping pace with William's dialogue. Indeed, the unrestricted HI VCII Troy ly Cullison close resemblance to Prince Eric from "The Little Mermaid." The moral of the story it's best to be yourself while admirable enough, is hardly original, and only features minimally into the plot. On a purely technical note, the songs, while easily on par with the recent work of Menken and Ashman (aided here by Tim Rice), are lost in places due to the sound mixing. Many of the songs take place within the context of fightingaction, with the lyrics simply buried under the accompanying noise of the scene. It's a frustrating situation for the first-time viewer.

Undoubtedly, this will not be as much of a problem for the repeat viewer. Nitpicking annoyances aside, "Aladdin" (rated G) is a great accomplishment in the Disney trad-tion. The first of the recent animated Disney works aimed as much at adults as at youth, this one will yield surprises well into the second and third screening. Oak Crest 2600 Canyon Road Spanish Fork, Utah "30 Years of Making Occasions" OPEN THANKSGIVING DAY WE WILL BE SERVING THANKSGIVING DINNER ALONG WITH A SPECIAL MENU OPEN (THANKSjHVING) Spanish Fork ExH Miles 798-7045 On Movies Sultan, is in reality a villian. For many years he has sought the magic lamp, but, unable to enter the guarded chamber himself, he recruits the young street thief Aladdin.

When circumstances render Aladdin the master of the lamp and the attendant genie, he discovers himself now able to court the Princess Jasmine, with whom he is recently smitten. However, the law decrees that only a prince may be suitor to the princess, so Aladdin assumes a new identity his idea of what a prince should be. His Paul Pollei and Jeffrey Shumway will lead a discussion on preparing students for performance. Refeshments will be served after the meeting. All members as well as music teachers interested in joining UMTA may attend the meeting.

nan Music teachers to meet Wednesday For more detail and additional hours see the weekly TV Magazine In our Saturday edition. OREM The next meeting of the Utah Music Teachers Association, ProvoOrem Chapter, will be Thursday, Dec. 3, at 7:30 p.m. It will be conducted at Keith Jorgensen's, located at 1655 S. State in Orem.

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