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Unfortunately, many of the negatives were unable to be saved as they were too badly damaged by the damp conditions in which they had been living. It was claimed that this was one of the largest surviving collections from a 19 th century photographer, although how they had ended up there nobody knew. Mark Booth, archivist at the time, said the photos could be acknowledged as Graham Studios pictures, as many of the props were the same as those used on previously identified Graham photos. They spent a week clearing out the cellar and this was no small task, given that the negatives were stacked up to five feet high! The owner of the building contacted local historian Bill Gibbons, who in turn got hold of the staff at the Warwickshire County Record Office.
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This was no exaggeration either, there were anywhere between 40,000 and 50,000. It was highly unlikely that they expected to find what they did.īehind the wall were thousands upon thousands of glass plate negatives. In April 1987, builders were working on 16 Augusta Place and broke through a bricked up wall to a cellar. Bottom line? Despite the heavy Smith-focused promotion, Aladdin ultimately (and fittingly) belongs to rising stars Massoud and Scott.Warwickshire County Record Office reference CR 734/20 The action scenes are more his thing, and he even manages to include his special slow-motion shots in a few scenes. The movie's production values are high, but Ritchie isn't in his element directing a musical he's no Rob Marshall. And Smith is certainly funny, but his performance of the genie's signature song, "Friend Like Me," can't live up to Williams' kinetic, rapid-fire delivery. Kenzari is believably ruthless as the ambitious, evil Jafar, and SNL alum Nasim Pedrad is quite good as Dalia, the real - and amusingly opinionated - royal handmaiden who catches the genie's eye.Īs for Smith, whose role has been widely criticized on social media, let's just say that he's much easier to handle in disguise as Prince Ali's human adviser, rather than as the slightly off-putting blue CGI Genie. Aladdin and Jasmine's shared songs are well executed, and "A Whole New World" continues to pack an emotional punch. Scott also proves to be a fine singer, although Jasmine's new original song "Speechless" feels slightly forced (especially if you know the classic soundtrack by heart). He has a lovely chemistry with Scott's Jasmine, who's much more of a feminist here than in the animated version. With his crooked smile and earnest voice, Massoud is perfectly cast as Aladdin (although it feels like the hair department worked too hard to get that one piece of mussed fringe "just so"). Thanks to its appealing leads and a strong soundtrack, Disney's live-action remake is considerably better than expected, even if Smith's Genie isn't as memorable as Williams' original. Thanks to stars Mena Massoud (Aladdin) and Naomi Scott (Jasmine), this musical remake keeps the spirit of the original and adds a boost of female empowerment to messages about friendship, courage, integrity, and honesty. Language is very mild, with just a few insults along the lines of "street rat" characters flirt and kiss, and Genie tosses back a couple of martinis (a pipe also appears). There are chases, falls, and near deaths, as well as one confirmed fatality when villain Jafar pushes a man down a dark well. The cave crumbles and spews lava, a giant bird pursues the characters, guards are armed with weapons, and there are references to dead parents. The effects and the live-action factor make the scenes of peril and danger feel more intense than in the cartoon (although it's pretty tame for a Guy Ritchie-directed movie). Parents need to know that Aladdin is Disney's live-action adaptation of its own 1992 animated classic. As with previous remakes like Dumbo, Jungle Book, and Beauty and the Beast, there are lots of computer-generated special effects, including the quite scary Cave of Wonders and co-star Will Smith as the huge, comedic, blue-skinned Genie.
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