How do you create two Hayley Mills out of one? Well, the Disney effects experts had come up with a matte system that was far superior to anything the other studios had been using. The Sodium Matte Process was in such demand, that other production companies sought out Disney for their effects expertise.
Haley Mills was photographed with a special camera that used a lens Walt Disney had purchased from the Alexander Korda estate while in England. Supposedly, this lens was the only one of its kind. I’ll never forget the day Eustace Lycett tried to hand me the lens. You can understand why I dared not even touch this piece of optical equipment. Mr. Lycett was one of the studio’s special effects wizards, and his work can be seen in practically every Disney film of the time. He and his colleague, Ub Iwerks were masters of the process lab and created many of the Mouse Factory’s more memorable effects.
Disney effects wizards Eustace Lycett (L) and Ub Iwerks (R)
In many ways, “The Parent Trap” could have been a Disney animated cartoon. Writer / director Bud Swift clearly brought a cartoon sensibility to this live-action motion picture. Consider the casting of Ruth McDevitt and Nancy Kulp as the camp counselors. One woman was short and plump, and the other tall and slender. You could almost see them on an animator’s drawing table. Consider geeky Frank DeVol as the Scout leader getting splashed with the punch bowl, and Leo G. Carroll‘s bumbling cleric who preferred scotch on the rocks. Finally, scheming gold digger Joanna Barnes could have been Maleficent, the wicked stepmother and Cruella Deville all rolled into one. The zany gags pulled on the hapless high society lady could have easily come off the storyboard.
Walt Disney’s visits to the set of “The Parent Trap” were few and often quite brief. It was almost as if the Old Maestro knew his presence on the set might be a distraction. Though it was well known that Disney could be a “control freak” at times, he seemed to make it a point not to look over the shoulders of his film makers. Walt would arrive, chat with the cast and crew, and then be on his way. I think it was Disney’s way of offering encouragement, and letting all know he was pleased with their work.
One funny incident involved Walt grabbing director David Swift on his way to the set one afternoon. “Come in here, Bud. There’s something I want to show you,” said the boss. Though he was in the middle of making a movie, Swift followed Walt into the Animation Building. After ten minutes or so with Walt, Swift began to worry about his cast and crew waiting on Stage Two. The nervous director began to hint that maybe he should get back to work. Noticing Swift’s concern, Walt Disney said, “Don’t worry about them, Bud. I’m paying their salaries.”
Copyright 2008 Floyd Norman. All Rights Reserved
Hayley Mills was a real cutie. The little girl in “Pollyanna” had suddenly become a pre-teen, and often walked around the Disney lot with her head buried in a book. Much like another Disney princess-to-come whose name would be Belle. And yes, the young Ms. Mills was a consummate actress and I never saw her blow a line. Much like her father, the late actor John Mills, her performance was always spot on. No wonder Walt Disney was delighted.
We had a screening in 3D-11 on the third floor of the Animation Building a few months later. Swift’s movie was still only a rough cut, and final tracks hadn’t been mixed. Cleanup was needed on a good deal of the effects shots. However, Walt Disney was anxious to learn how the film would play to an audience. Even if that audience had to be his own employees.
As usual, the Old Maestro sat in the rear of the theatre and noted every laugh, giggle, and tear. Walt Disney had a hit and he knew it. He enlisted animators, Bill Justice and Xavier Atencio to design a special title sequence, and had the Sherman brothers write a new song. It was entitled “The Parent Trap,” and recorded by Annette Funicello and Tommy Sands.
Copyright 1961 Walt Disney Productions. All Rights Reserved
By the way, why the new title, and how did that change happen? Well, we all knew “Petticoats and Bluejeans” was pretty lame. So everybody at the studio submitted title ideas. The best appeared on a list, and I think we all knew the most audacious title was the one we liked the best. I never knew the man or woman who came up with “The Parent Trap,” but it seemed the perfect title for this Disney movie.
As I said before, I apologize to Walt Disney for spending so much time on “The Parent Trap” set. But doggone it, who could pass on such an opportunity? And, you gotta admit it was so much fun watching Maureen O’Hara and Brian Keith go through the turmoil of raising twin girls.
Copyright 1961 Walt Disney Productions. All Rights Reserved
Some years later, I married and became the father of – – you guessed it – – identical twin daughters. Now the double trouble became my own. So now you know you’ve only been watching “The Parent Trap” these past few years while this frazzled dad has been living it.
How’s that for Disney magic?
Did you enjoy the final installment of this “Parent Trap” series ? Well, that’s just the tip of the iceberg when it comes to the many Disney-related tales that Floyd Norman has to tell. Many of which you’ll find in the three books Floyd currently has the market. Each of which take an affectionate look back at the time that Mr. Norman has spent in Toontown.
These include Floyd’s original collection of cartoons and stories — “Faster! Cheaper! The Flip Side of the Art of Animation” (which is available for sale over at John Cawley’s cataroo.com) as well as two follow-ups to that book, “Son of Faster, Cheaper” & “How the Grinch Stole Disney.” Which you can purchase by heading over to Afrokids.com.