In addition to the characters, the appearance of the characters also contributes to their recognisability, says Smit. “All skin tones come along, there is always someone who looks like them. The main character has glasses and wild curls. The only one in the film who looks like a classic Disney model – slim waist, neatly wavy hair – appears bent over to go under her perfectionism.”
According to Smit, it is beautiful and noble that Disney shows a broader reflection of society in this way. “It is also really not to be underestimated how much such imaging can do.” But you have to wonder why they’re doing it, she says, pointing to the entertainment company’s commercial interests. “That’s not just from the good heart. If you can appeal to more people with your film, then they want it. The wider the palette, the better it is for Disney.”
Gateway to Movie
Film journalist Omar Larabi thinks Disney is still quite conservative in that regard. “There are a lot of animation filmmakers who have been experimenting for a long time with themes and topics that Disney is only now broaching.” The film connoisseur is pleased with the fact that the music Charm was created by Lin-Manuel Miranda, who was born in New York and has a Puerto Rican background. “Making him responsible for the songs gives you a glimpse into that community.”
Incidentally, Larabi himself was not that enthusiastic about the film, which he already saw in December. “I can We don’t talk about Bruno don’t even remember. But I do see on social media that many children love the song.”
According to him, that is also the idea behind film music: that there is a song that serves as a gateway to the film. “That phenomenon is not new. For some people it starts with the song, and then they end up with the movie.”
Curious about ‘We don’t talk about Bruno?’ Below is the YouTube version:
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