Disney

Disney’s new Snow White is a live-action remake of the beloved 1937 classic that was cinema’s first full-length animated feature and is still regarded as Walt’s greatest masterpiece – even if fans of The Jungle Book will always have something to say about that. It stars Rachel Zegler, which set the cat among the pigeons, as she is Latino so doesn’t have ‘skin as white as snow’. However, because I’m not a stickler for ‘historical accuracy’ when it comes to fictional characters in fairy tales, this didn’t bother me. The problem with the film isn’t that it’s gone ‘woke’, it’s that it contains workaday narrative, blandly generic characters and a

Beatles lore has long held that the film Let It Be was a depressing portrait of the band falling apart. According to the same lore, that’s why Peter Jackson’s Get Back was such a revelation. Revisiting Michael Lindsay-Hogg’s footage of the group at work in January 1969, Jackson discovered there was far more joy around than anyone suspected – including the surviving Beatles. Yoko remains a darkly brooding presence (the revisionism that sees her as benign needs its own revision) All of which, it now turns out, only goes to prove the ever-reliable power of suggestion. I vaguely remember seeing Let It Be on TV in the 1970s, before it

This month marks the 100th anniversary of Walt Disney’s company. The first cartoons it was founded to produce – the animation/live-action shorts Alice Comedies – are largely forgotten, eclipsed not least by the resounding success of Mickey Mouse. Mickey Mouse grabbed much of the attention from the get-go, including that of several philosophers, sociologists and critical theorists, who perceived in him an emblem of the best and worst of the modern age. Also celebrating its 100th anniversary this year is the founding text of western Marxism, Georg Lukacs’s History and Class Consciousness. A generation of disaffected, bourgeois intellectuals, adherents of what came to be known as the Frankfurt School (100

Chevalier is a biopic of Joseph Bologne, Chevalier de Saint-Georges, whom you’ve probably never heard of, as I hadn’t. He was an 18th-century French-African virtuoso violinist and composer who wowed everyone in his day – in 1779, John Adams, then the American ambassador to France, called him ‘the most accomplished Man in Europe’ – but was erased from history and is only lately being rediscovered. Fascinating, you would think, and he was fascinating. Even a cursory look at his Wikipedia entry is thrilling. But this is not a fascinating or thrilling film. It is handsomely mounted yet strangely bland and strikes too many false notes. I was going to say

Extensive research went into the writing of this piece. First, I lay on the sofa watching Disney’s Cinderella. Then, Beauty and the Beast. Then, because I’m assiduous about these things, Frozen. The singalong version. I wish I could tell you that the sofa was a rococo number with ormolu mounts and a pink satin seat, but that would upholster the truth. My excuse – who needs one? – was the Wallace Collection’s delightful exhibition Inspiring Walt Disney: The Animation of French Decorative Arts. It’s not often that I leave a show smiling, humming and near enough twirling my way through the West End. Bibbidi-bobbidi-boo. What a clever and original exhibition

Raya and the Last Dragon has everything you might want nowadays from a major Disney film — feisty kick-ass heroine, non-white representation, a narrative that isn’t hung up on romance — but no one involved appears to have asked themselves: do we have an interesting story? Do we have any fresh ideas? Is it fun? This may please very small kiddies who don’t know any better, and there are plenty of them about, but Raya’s not a classic in the making. It’s gorgeously depicted, needless to say, but disappointingly unanimated in all other ways. While this film may please small kiddies, remember: they are not to be trusted. Ever The

Lost boys, lost women, lost civilisations, lost causes — the romantic ring of the word ‘lost’ is media gold. So when the British Museum announced last autumn that it had acquired 103 ‘lost’ drawings by Hokusai, one was tempted to take it with a large pinch of salt. How do 103 drawings by Japan’s most famous artist simply disappear? The answer is, surprisingly easily. Hokusai’s works have never commanded the sorts of prices a draughtsman of his calibre would be expected to fetch, not even in Japan. His art was designed to be affordable: in his day, you could buy a print of ‘The Great Wave’ for the price of