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Okay. I know. You’re feeling kind of blue because members of the Academy didn’t show “Saving Mr. Banks” all that much love last week. There’s also a number of you out there who are really, really angry at Meryl Streep right now. Mostly because you believe that her ill-considered remarks at the National Board of Review awards gala is what wound up costing Emma Thompson a Best Actress nomination.
Meryl Streep and Emma Thompson at the 2014 Board of National Review Awards Gala
Well, look. As I already proved with last week’s “Wizard of Oz” article, I wasn’t all that thrilled with Meryl calling Walt “a hideous anti-Semite,” a “gender bigot” as well as a person who “didn’t trust women or cats.” But that said, I also don’t think that Streep’s comments at this awards dinner wound up costing Emma an Oscar nomination.
“And why is that?,” you ask. Because the dates don’t line up. To explain: Members of the Academy of Motion Picture Arts & Sciences could start voting on their choices for Oscar nominees on Friday, December 27th. Meryl gave her ill-conceived speech on the night of Tuesday, January 7th. And then voting closed for this year’s Oscar nominees on Wednesday, January 8th at 5 p.m. PT.
You get what I’m saying here? Given that there were less than 20 hours between when Ms. Streep spoke at that awards gala and when voting for this year’s Oscar nominees officially closed, it’s doubtful that Meryl’s comments about Walt could have had all that big an impact on the vote. After all, the nearly 6000 members of the Academy had already had 12 days to cast their ballots prior to this point. So it stands to reason that most members had already made up their mind about “Saving Mr. Banks” prior to the social media firestorm that erupted in the wake of Streep’s speech. Or — for that matter — the second wave of online outrage that followed when Abigail Disney jumped on Facebook & then insisted that Meryl Streep was right about her grand uncle.
Julie Andrews and Audrey Hepburn backstage at the 1965 Academy Awards in front of the Hollywood press corps. Copyright AMPAS. All rights reserved
Still, all of this talk of one actress possibly costing another an Oscar nomination reminds me of what happened back in February 1965. When the Los Angeles Times actually ran a banner headline on its front page which read “”JULIE ANDREWS CHOSEN, AUDREY HEPBURN OMITTED” on the day when the Academy Award nominations for “Mary Poppins ” & “My Fair Lady ” were announced.
Nearly a half century later, few film fans can recall the outrage that ensued when Jack L. Warner announced that — rather than Julie Andrews — he had cast Audrey Hepburn to play Eliza Doolittle in his studio’s $12 million production of “My Fair Lady” (which — at that time — made this movie musical the most expensive motion picture ever produced).
Mind you, back in June of 1961 when Warner initially snatched the screen rights for this Tony Award-winning musical away from MGM for $5.5 million, Jack was still open to the idea of hiring Julie. In “Audrey Hepburn” (Putnum Adult, October 1996) ” — Barry Paris talks about how Warner & Andrews initially spoke on the phone about this project.
Copyright Putnum Adult. All rights reserved
“I’d love to do it,” she reportedly told him. “When do we start?” Warner asked when she could come out for a screen test, to which Andrews replied, “Screen test? You’ve seen me do the part and you know I can do a good job.” He said, “Miss Andrews, you’re only known in London and New York. I have to be sure you photograph and project well. Film is a different medium.”
So sometime in 1962, Julie supposedly flew out to LA and screen-tested for the role of Eliza Doolittle. And according to Hollywood legend, this test did not go well. What exactly went wrong? Well, to be blunt, even back when she was playing this part on Broadway, Julie found portraying Eliza tremendously challenging. As Matthew Kennedy revealed in “Roadshow! The Fall of Film Musicals in the 1960s ” (Oxford University Press, January 2014), Ms. Andrews felt that …
“I never quite got that part under control.”
Julie Andrews and Rex Harrison in the original Broadway production of Lerner & Loewe’s “My Fair Lady”
Which is why Julie …
… was never costar Rex Harrison’s first choice on stage or screen. He found her wooden, and (“My Fair Lady” stage director) Moss Hart shouted insults to that effect in rehearsals.
Which is why — when Walt Disney went backstage after a performance of “Camelot ” to offer Andrews the role of “Mary Poppins” — Leonard Mosley, in “Disney’s World ” (Scarborough House, October 1990) reported that …
Julie Andrews as Queen Guinevere in Lerner & Loewe’s “Camelot”
… Julie hesitated. Though (Walt) did not realize it at the time, she had lost her nerve, particularly about starring in the movies. After her triumph on the stage opposite Rex Harrison in “My Fair Lady,” she had done a test for Warner Brothers, who proposed to make a film version of the musical, and it had turned out badly. Someone told her that she was unphotogenic. As a result, there was a strong rumor around that Warner would give the Eliza Doolittle role to Audrey Hepburn instead, and a depressed Julie had become convinced that she was not the cinematic type.
Once Walt realized why she was holding back, he called in (“Mary Poppins” producer Bill) Walsh and (the film’s director Robert) Stevenson and told them to offer the part to Julie Andrews without giving her a test. “To hell with screen tests,” he said. “I just know she’ll be good. She bubbles away inside like a stockpot. She has just the presence we need for the role.”
And over the next six months, Walt, Bill & Robert were eventually able to convince her that she could in fact be a movie star. Even so, when Andrews did finally agree to play Poppins, she did have …
Julie Andrews and Dick Van Dyke shooting the “Jolly Holiday” sequence during the first week of production on Walt Disney’s “Mary Poppins.” Copyright Disney Enterprises, Inc. All rights reserved
… one stipulation (in her contract). If Warner Brothers did change their minds and consent to star her in “My Fair Lady,” she would be allowed to drop out of “Mary Poppins.” Walt was so sure Audrey Hepburn has already been signed for the role that he agreed.
Now what Julie didn’t understand is that … Well, if Jack Warner had gotten his way, she wouldn’t have been the only member of the Broadway cast of “My Fair Lady” who had been replaced once the cameras finally began rolling on the big screen version of this acclaimed stage musical.
You see, the movie version of “My Fair Lady” was initially supposed to have been Jack Warner’s swan song to the studio that he & his brothers had formed back in 1910. Which is why — when it came to the big screen version of this acclaimed stage musical — Jack wanted to load this project up with as many movie stars as possible.
Copyright 1942 Warner Bros. All rights reserved
So for the role of Professor Henry Higgins, Warner’s first choice was Cary Grant. Likewise for Alfred P. Doolittle (i.e., Eliza’s father), Jack wanted to cast screen legend James Cagney. And as for the guttersnipe that Higgins transformed into a duchess … Well, Warner did want Audrey Hepburn. But if she wasn’t available, Jack was ready to move to his second choice. Which was Academy Award-winner Elizabeth Taylor.
There was only one problem with Jack Warner’s plan for a star-studded version of “My Fair Lady.” The stars that he wanted to cast kept saying “No.” Take — for instance — Cary Grant. As Nancy Nelson recounts in “Evenings with Cary Grant: Recollections in His Own Words and Those Who Knew Him Best ” (Citadel Press, December 2002) :
When Jack Warner asked Cary to do “My Fair Lady,” he said, “You don’t understand. My accent is cockney! I sound the way ‘Liza does at the beginning of the film. How could I play Henry Higgins?” Cary said, “Not only won’t I play Professor Higgins, but if Rex doesn’t, I won’t even see it.”
To be fair here, in the latter part of his film career, Cary Grant turned an awful lot of great roles down. He was Jack Warner’s first choice to play Professor Harold Hill in Warner’s 1962 version of “The Music Man .” And United Artists offered Cary a million dollars to play Don Quixote in their 1972 big screen version of “Man of La Mancha .” Then in 1978, Warren Beatty did everything he come think of to try & persuade Grant to end his retirement from film-making so that he could then play Mr. Jordan in “Heaven Can Wait .” But Cary said “No” to Warren as well.
And here’s a neat bit of trivia for all you Disney fans out there: When The Walt Disney Company was getting ready to launch “The Disney Sunday Night Movie” on ABC in February of 1986, Michael Eisner felt that this TV show needed a host. So who did Disney ask? Well, as you probably guessed by now, Cary Grant was on their short list. And he — of course — said “No.” But Walter Cronkite, Julie Andrews, Dick Van Dyke and even Roy E. Disney were also approached about this part. And they all said “No” as well.
But you want to know who else was asked about whether he’d be interested in playing the exact same role that Walt Disney did on “Disneyland,” “Walt Disney Presents” and “The Wonderful World of Color” ? Tom Hanks. Seriously. 26 years before he’d actually shoot a scene for “Saving Mr. Banks” where he’d then recreate a moment where Walt Disney was introducing an episode of his Sunday night television show, Hanks was actually asked to host the 1980s version of this very same anthology series. And why did Tom turn the part? At the time, Hanks thought that he was just too young to play this role.
Tom Hanks as Walt Disney in “Saving Mr. Banks.” Copyright Disney Enterprises, Inc. All rights reserved
Getting back to the casting of Warner Brothers’ version of “My Fair Lady” now … James Cagney turned down the part of Alfred P Doolittle for a variety of reasons. Chief among these was that Cagney had said he was officially retiring from film-making after working on “One, Two, Three ” with Billy Wilder back in 1961. But the other reason is that — having worked at Warner Brothers for the bulk of his career — James had had one too many run-ins with Jack. So as tempting as it might have been for this Academy Award-winning hoofer to get the chance to perform such boffo Broadway numbers as “With A Little Bit of Luck” & “Get Me to the Church on Time,” Cagney till said “No.”
So almost by default, Warner found himself having to cast the Broadway versions of Professor Henry Higgins & Alfred P. Doolittle in his big screen version of “My Fair Lady.” Which then made it all the more galling to the fans of the original stage version of this musical (who — let’s remember — had purchased over 32 million copies of the original cast recording of “My Fair Lady.” More to the point, this very same recording sat at No. 1 for nineteen consecutive weeks and was the best-selling album for the year in 1958. So there were obviously a lot of people out there who were familiar with / fond of Julie Andrew’s work) when Jack decided to cast Audrey as Eliza.
Mind you, Warner had four million rgood easons to cast Hepburn instead of Andrews. According to an survey of would-be “My Fair Lady” moviegoers that the studio had commissioned, having Julie play the part of Eliza would have bumped this production’s box office potential up by a million dollars. Whereas casting Audrey — an already established movie star in that exact same role — would have supposedly translated into a $5 million bump at the box office. So strictly working off of those box office projections, casting Hepburn instead of Andrews in “My Fair Lady” made more sense. At least as far as Jack Warner was concerned.
Copyright 1964 Warner Bros. All rights reserved
So — with considerable hoopla — Warner Brothers announced that it had cast Audrey Hepburn to play Eliza Doolittle in the movie version of “My Fair Lady.” What’s more, Audrey would be paid one million dollars to play this part, while Rex Harrison would receive just $250,000 to reprise his role as Professor Henry Higgins.
But before this 15 week shoot could get underway in August of 1963, there was the matter of Audrey Hepburn’s voice to deal with. Though she had a lovely low-toned singing voice, Hepburn simply didn’t have the range that Julie Andrews did. So — in order to do justice to Alan Jay Lerner & Frederick Loewe‘s songs — it was decided that Marni Nixon would be brought in to ghost a lot of Audrey’s numbers in this movie musical.
Now these days, most Disney fans probably know Ms. Nixon for the work she did on 1998’s “Mulan ” (where Marni provided the singing voice for Grandmother Fa, the fiesty character that animation legend June Foray then did the talking for). But back in the 1950s & 1960s, Nixon was the “Ghostess with the Mostest.” She sang for Deborah Kerr in 1956 while the film version of Rodgers & Hammerstein‘s “The King and I ” was in production. And in 1961, when Robert Wise & Jerome Robbins were shooting the movie version of “West Side Story ” all over New York City, it was Marni who got behind the mike and then did the warbling for both Natalie Wood & Rita Moreno.
“The King and I” star Deborah Kerr and her vocal ghost Marni Nixon
So as you can see, by the early 1960s, Nixon had kind of made a name for herself. She was the singer that you turned to if your star wasn’t quite up the challenge of performing all of the songs that were featured in your film. And the best part about Marni is that she was discreet. Nixob slipped in the recording studio, dubbed the necessary numbers and then stepped back into the shadows. Which guaranteed that your movie’s star would then get all sorts of accolades fore her beautiful singing voice when your film finally opened in theaters.
Mind you, if you listen close to the movie soundtrack of “My Fair Lady,” you can clearly hear some of Hepburn’s singing in this film. As André Previn (who adapted Lerner & Loewe’s score for the screen) told Barry Paris:
There’s a lot of Audrey Hepburn in “Just You Wait, ‘enry ‘Iggins,” Every time it was humanly feasible, I would cut her into the finished track. In “Loverly,” there are a couple of things, on and off in “Show Me,” we used as much as we could.
Copyright 1964 CBS. All rights reserved
And Hepburn — being the pro that she was — was very philosophical when it came to Nixon having to cover for her on “My Fair Lady.” Marni — again talking with Barry Paris — recalled working side-by-side with Audrey at that film’s recording sessions, where the actress wouldthen turn to Nixon and say:
“I know this is not good enough, I want to keep trying myself,” but (Hepburn) had to accept that (her singing) wasn’t quite what it should be.
But given that Marni had been sworn to secrecy about all of her dubbing work on “My Fair Lady,” this shouldn’t have been an issue with moviegoers. Except that — in the weeks between “Mary Poppins” ‘s world premiere on August 1964 and “My Fair Lady” ‘s world premiere in late October of that same year — word did begin to circulate in show business circles about how little singing Audrey Hepburn actually wound up doing in this Warner Brothers production.
Audrey Hepburn and Jeremy Brett performing “Show Me” in the movie version of “My Fair Lady.” Copyright 1964 Warner Bros. All rights reserved
And once word got out about Marni’s dubbing, many columnists in Hollywood used this as an excuse to attack Audrey’s performance in “My Fair Lady.” As Barry Paris recounted in his Hepburn bio:
“With Marni Mixon doing the singing,” wrote Hedda Hopper. “Audrey Hepburn gives only a half performance.” Others criticized not so much the dubbing itself as the fact that Nixon received no screen credit for it and the implication that Warner Brothers was trying to hide the truth. “I don’t know what all the fuss is about,” Jack Warner replied. “We’ve been doing it for years. We even dubbed Rin-Tin Tin.”
Which brings us back to February of 1965 when that year’s Academy Award nominees were announced. And when Hepburn’s name was nowhere to be found among that year’s Best Actress nominees, “Variety” was very straightforward as to why Audrey hadn’t gotten a nod:
Rex Harrison, Audrey Hepburn and Wilfrid-Hyde White performing “The Rain in Spain” in the movie version of “My Fair Lady.” Copyright 1964 Warner Bros. All rights reserved
“Hepburn did the acting, Marni Nixon subbed for her in the singing department and that’s what undoubtedly led to her (not getting a nomination).”
As you might expect, when word broke about Hepburn’s omission, the folks at Warner Bros. were livid. As Barry Paris reported:
Warner called (Audrey not being nominated) “outrageous” and took (her omission) as a personal affront. In typically quirky fashion, he thought it was due to the quality of Nixon’s singing and released a statement saying, “The next time we have some star-dubbing to do, we’ll hire Maria Callas.” Julie (Andrews), when tracked down by the press, said “I think that Audrey should have been nominated. I’m very sorry that she wasn’t.” Rex Harrison said the same.
André Previn and Audrey Hepburn on the cover of his “My Fair Lady” -inspired jazz album. Copyright CBS. All rights reserved
Now comes the interesting question. Which is who exactly leaked the news that Marni Nixon had ghosted most of Audrey Hepburn’s singing in “My Fair Lady” ? For decades, Nixon was the one who got the blame for this leak. As André Previn told Barry Paris:
“Marni blabbed all over town that she was going to more or less ‘save’ the movie. George Cukor (i.e. the director of the film version of ‘My Fair Lady’), who along with all of us worshipped Audrey got very angry. He (reportedly told Nixon), ‘Listen, you’re getting a lot of money for this and you’re going to get a lot of money from the recording. Why don’t you shut up about it?’ “
But to this day, Marni Nixon insisted that she wasn’t the one who let the cat out of the bag. I mean, to hear her talk about “My Fair Lady,” you’d swear that she is still …
Copyright 2006 Billboard Books. All rights reserved
… upset that people thought Audrey didn’t nominated because I did the dubbing and [that] I was purposefully trying to push that knowledge out.
Truth be told, if there was anyone who leaked that Marni was doing most of Audrey’s singing in “My Fair Lady,” it was probably one or more of Julie Andrews’ show business buddies. As Bob Paris pointed out in “Audrey Hepburn” :
No one particularly cared when Nixon (had) dubbed Deborah Kerr or Natalie Wood; but they cared when she dubbed Hepburn, considering it insult to injury of depriving Andrews of her rightful role. In any case, the beneficiary of the dubbing fracas was Julie Andrews (herself), now the highly favored Oscar nominee for her performance in … Mary Poppins.
Copyright 1990 Scarborough House. All rights reserved
And Julie … Well, she clearly enjoyed pulling Jack Warner’s chain when it came to him not casting her as Eliza Doolittle in “My Fair Lady.” Take — for example — this story that Leonard Mosley shares in “Disney’s World” :
At a celebratory dinner (following the world premiere of “Mary Poppins,” producer) Bill Walsh introduced a happy Julie Andrews to Jack Warner. “Dear Mr. Warner!” Julie gushed. “Did you know I had a clause in my Disney contract allowing me to drop out of Mary Poppins if you chose me for Eliza Doolittle? How thoughtful of you not to allow to do it and picking dear Audrey instead! I’ll never forget you for giving me this chance!”
Andrews even made a point of bringing this casting issue up again at the 1965 Academy Award ceremony. Where backstage after she’d won that year’s Best Actress Oscar, as she was chatting with reporters, Julie supposedly held the statue aloft and — with tongue firmly in cheek — was alleged to have said: “My thanks to Mr. Jack L. Warner, who made this all possible.”
(L to R) Richard M Sherman, Julie Andrews and Robert B Sherman with the Oscars that they won at the 1965 Academy Awards. Copyright AMPAS. All rights reserved
Looking back on this pivotal moment in her career nearly three decades later, Andrews had to admit that:
“I’ll never know to this day whether it was sentiment (over Audrey being cast as Eliza instead of me) that won (that Oscar) for me or whether the performance in ‘Poppins’ really did,” she said in 1993, adding with a smile, “I think it was sentiment, myself.”
It’s worth noting here that — when Rex Harrison won for his performance in “My Fair Lady” that same night — he was diplomatic as he could possibly be. First by saying that ” … I feel, in a way, that I should split (this statue) in half” so that he then could then share this professional recognition with Audrey Hepburn. But that said, recognizing that he had to do something to acknowledge Julie’s win as Best Actress, Rex closed out his remarks by admitting he had “… deep love for two fair ladies.” With the TV camera then cutting away to Julie Andrews in the audience, beaming & applauding as Harrison exited the stage.
Julie Andrews and Rex Harrison backstage at the 1965 Academy Awards with their Oscars. Copyright AMPAS. All rights reserved
Now where this gets interesting is — in the wake of all this brouhaha which erupted when Julie Andrews wasn’t cast to play Eliza Doolittle alongside Rex Harrison’s Henry Higgins — Hollywood then went into overdrive looking for projects that these performers could then co-star in. Take — for example — MGM’s musical remake of their 1939 Academy Award-winner, “Goodbye, Mr. Chips.” This production was originally envisioned as the film that would finally bring Andrews & Harrison together onscreen.
But when preproduction problems delayed the development of this MGM musical … Well, as Mark Harris revealed in his “Pictures at the Revolution: Five Movies and the Birth of the New Hollywood ” (Penguin Press, February 2008)
Copyright 1967 20th Century Fox. All rights reserved
Now where this gets even stranger is when Andrews became unavailable to do “Dolittle,” Jacobs then turned to another veteran Disney Studios performer, the then-19 years-old Hayley Mills, and offered her the part of Harrison’s love interest. Thankfully, it was eventually decided that the nearly 40 year age difference between Hayley & Rex would be just a little hard for audiences to swallow. So Mills was replaced by the then-28 year-old Samantha Eggar. Who went on play the role of Emma Fairfax in “Doctor Dolittle.”
Which isn’t to say that Julie Andrews never had anything to do with “Doctor Dolittle.” How many of you recall the stage version of this Leslie Bricusse musical which ran in London’s West End for a year back in 1998? Jim Henson’s Creature Shop created all sorts of animatronic animals for Phillip Schofield (who played the Doctor in the stage adaptation of that 20th Century Fox film) to interact with. And who precorded dialogue for Polynesia the Parrot (i.e. that wise old bird who taught Doctor Dolittle to talk to the animals)? You guessed it. Julie Andrews.
That pretty much wraps up the “Mary Poppins” / “My Fair Lady” movie story. Except for this interesting bit of video from the debut of “The Julie Andrews Hour,” a short lived variety show that began its run on ABC back on September 13, 1972. In this footage, you actually get to see Julie Andrews AND Eliza Doolittle AND Mary Poppins all together in the exact same scene. And let me blunt here: Mary & Eliza don’t exactly get along.
Anyway … Compared to what Audrey Hepburn & Julie Andrews went through back in the late Winter / early Spring of 1965, what Meryl Streep and Emma Thompson are dealing with right now is pretty much a walk in the park.
That said, I have to admit that I find it kind of intriguing that — while Thompson didn’t get a Best Actress nomination for “Saving Mr. Banks” — both Meryl Streep & Judi Dench did.
“And what’s so intriguing about that?,” you ask. Well, back in February of 2012, when The Walt Disney Company first acquired Kelly Marcel‘s screenplay for “Saving Mr. Banks,” who were the three actresses on Disney Studio’s short list for P L Travers? Emma Thompson, Meryl Streep and Judi Dench.
Judi Dench and Steve Coogan in “Philomena.” Copyright 2013 The Weinstein Company. All rights reserved
Mind you, Dame Judi (because she already physically resembled Pamela) was initially thought to have the inside track. But then someone at the Studio supposedly pointed out that Dench was only 5 foot 1 whereas Tom Hanks was 6 foot even. And given these performers’ differences in height … Well, if Walt were towering over Pamela, it might then seem as though the Company’s founder was using his physical advantage over this troublesome author to bully her into signing away the screen rights to “Mary Poppins.” Which is why Walt Disney Pictures supposedly opted to go with Emma Thompson. Who — given that she’s 5 foot 7 — would then be a better physical match for Mr. Hanks.
Anyway, that’s the story as I was told by studio insiders earlier this year.
“Build It” – How the Swiss Family Treehouse Ended up in Disneyland
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Things get built at the Disney Theme Parks – but not always for the reasons that you might think.
Case in point: The Swiss Family Treehouse, which first opened at Disneyland Park back in November of 1962.
Swiss Family Robinson – 1960 Disney Film
Back then, Walt Disney Studios just had a hit film that was based on Johann David Wyss’ famous adventure novel of 1812. And at that time, Walt was justly proud of this project.
Okay. Walt may have been overselling things a little here.
But when Disney’s version of Swiss Family Robinson finally arrived in theaters in December of 1960, it did quite well at the box office. It was No. 4 at the box office that year, behind “Spartacus,” “Psycho,” and “Exodus.”
And one of the main reasons that this Walt Disney Productions release did so well at the box office that year was … Well, Swiss Family Robinson looked great.
It had all of this lush shot-on-location footage (Though – to be fair here – I guess we should mention that this movie’s interiors were shot over in London at Pinewood Studios). One of the sequences from this Disney film that people most fondly remember is that montage where the Robinsons salvage what they can of their wrecked ship, the Swallow, and then use that same material to construct this amazing treehouse on an uninhabited island off the shore of New Guinea.
The Swiss Family. Robinson Tree was Real
By the way, the tree that appears in this Disney film is real. John Howell – who was the art director on “Swiss Family Robinson” – was out scouting locations for this movie in 1958. He had stopped work for the day and drinking with friends at a cricket match. When – out of the corner of his eye (through a gap in the fence that surrounded this cricket pitch) – John spied this beautiful Samaan tree with a huge 200 foot-wide canopy of leaves.
It’s still there, by the way. If you ever want to journey to the town of Goldsborough on the Caribbean island of Tobago.
Success at the Movies – Helping Disneyland Attendance
Anyway … Like I said, Disney’s movie version of Swiss Family Robinson comes out in December of 1960 and does quite well at the box office (Fourth highest grossing film of the year domestically). Walt keenly remembers what happened when he last built an attraction at Disneyland that was based on a Ken Annakin film (Matterhorn Bobsleds inspired by Third Man on the Mountain). 1959 was Disneyland’s greatest year attendance-wise. Largely because so many people came out to the Park that Summer to experience Disneyland’s heavily hyped brand-new attractions – which included the Matterhorn Bobsleds.
The Matterhorn Bobsleds at Disneyland
The Matterhorn at Disneyland was largely inspired by research that the Studio did in Zermatt, Switzerland in late 1957 / early 1958 out ahead of the location shooting that was done for Third Man on the Mountain – which officially got underway in June of 1958).
There’s a famous story about the origin of the Matterhorn-at-Disneyland project. Walt was over in Switzerland for the start of shooting on Third Man on the Mountain in 1958 and evidently really liked what he saw. So be bought a postcard of the actual Matterhorn and then mailed it to Dick Irvine (who – at that time – was the Company’s lead Imagineer). Beyond Dick’s address at WDI, Walt reportedly only wrote two words on this postcard.
And those words supposedly were “Build this.”
It’s now the Spring of 1961 and attendance at Disneyland Park has actually fallen off from the previous year by 200,000 people. (You can read all about this in Walt Disney Productions’ annual report for 1961. Which was published on December 14th of that year. There’s a full scan of that annual report over on DisneyDocs.net). And Walt now wants to turn that attendance deficit around.
So what spurred Disneyland’s attendance surge in the Summer of 1959 was Walt pumping $6 million into the place for the construction of new attractions (Matterhorn Bobsleds, Submarine Voyage, & Monorail). So that’s now the plan for 1962 & 1963. Only this time around, it’ll be $7 million worth of new attractions. More to the point, since Disneyland’s 1959 expansion project was largely focused on Tomorrowland … This time around, the work will largely be focused on the other side of the Park. To be specific, Frontierland & Adventureland.
Attendance had been dropping on the Jungle River Cruise attraction because it was largely unchanged from when Disneyland Park first opened back in July of 1955.
There’s a famous story of Walt observing a Mom pulling her kid away from the entrance of the “Jungle Cruise.” Saying words to the effect “We’ve already seen that ride. We went on it the last time we went to Disneyland.” This is what then inspired Disney to develop the practice of plussing the attractions at his theme parks.
This was what led Walt to bring Marc Davis over to WED from Feature Animation in October of 1960 and effectively say “Help me make Disneyland better. Let’s look for ways to make the rides there funnier. Better staged.” This is when Marc came up with the idea for the Sacred Elephant Bathing Pool and the Africa Veldt sequences for “The Jungle Cruise.” Not to mention the Trapped Safari.
How the Trapped Safari Vignette Ended Up in “The Jungle Cruise”
Interesting story about that vignette that Marc created for “The Jungle Cruise.” It originally wasn’t supposed to be part of that ride. Guests were supposed to see it alongside the side of the tracks as they rode the Santa Fe & Disneyland Railroad from Main Street Station over to Frontierland. The Trapped Safari was basically supposed to be something that made Guests think “Ooh, I need to get over to Adventureland while I’m here at the Park and go check out that new, improved version of the Jungle River Cruise that everyone’s talking about.”
That was the original plan, anyway. But as soon as Walt saw Marc’s art for the Trapped Safari, he basically said “That’s too good a gag to waste on the people who are riding Disneyland’s train. That’s gotta go inside of the actual Jungle Cruise.” So – at Walt’s insistence – the Trapped Safari then became the tag gag for the African Veldt section of that Adventureland attraction.
In fact, Walt so loved this gag that – after the Africa Veldt section first opened at Disneyland Park in June of 1964 – he actually made the Imagineers go back in this portion of that Adventureland attraction and restage it. Build up the cave that was behind that pride of lions which was watching over that sleeping zebra so that the Trapped Safari would then have a stronger reveal. Would get a bigger reaction / stronger laugh largely because Guests now wouldn’t see the Trapped Safari until they then floated by the lion’s cave.
Draining Jungle River Cruise and Rivers of America
Anyway … Now what made this redo / expansion of the Jungle River Cruise complicated is that this Adventureland attraction shared a water system with the Rivers of America (Guests who were headed to Disneyland’s old Chicken Plantation Restaurant for lunch or dinner used to have to walk over a bridge in Frontierland. Under which flowed the water that traveled from the Jungle River Cruise into the Rivers of America).
If the Jungle Cruise was being drained for months so that the Imagineers could then install the Sacred Elephant Bathing Pool sequence in that Adventureland attraction, that meant the Rivers of America had to be drained as well.
The Rivers of America were now going to be dry for months at a time from January of 1962 through June of that same year, this is when the Imagineers decided to tackle two projects that were well below Disneyland’s waterline – which was digging out the basement space in New Orleans Square (which was originally supposed to house the walk-thru tour version of “Pirates of the Caribbean”) as well as carving out that below-grade space over at the Haunted Mansion. Which was going to be necessary for the two elevators that would then make that attraction’s “stretching room” scenes possible.
While this work was being done along the shore of the Rivers of America, over towards the entrance of Adventureland, the Imagineers were reconfiguring that restaurant that faced out towards Disneyland’s Hub. They were using the temporary closure of the Jungle Cruise to revamp that operation. Carving out the space for the Tahitian Terrace as well as the Enchanted Tiki Room.
As you can see by all of the projects that I’ve just described – this was a hugely complex addition to the Parks with lots of moving parts.
This redo of Adventureland & Frontierland (which then set the stage for Disneyland’s New Orleans Square) was moving through its final design phase – the Imagineers were startled when Walt pointed to the very center of this incredibly ambitious $7 million construction project (the very spot where Adventureland bumped up against Frontierland) and said:
“Build It” – Swiss Family Treehouse in Disneyland
It wasn’t that easy.
The Imagineers explained “But Walt. That’s the piece of land that the pipe which connects the Jungle Cruise and the Rivers of America runs through. We’d have to rip that up and then reroute that water system.”
Walt said “I don’t care. Build it.”
The Imagineers then said “But Walt. If we built a Swiss Family Treehouse in the Park … Well, that then means a steep set of stairs first going up into that tree and then a second steep set of stairs coming down out of that tree. People aren’t going to like doing all of that climbing.”
Walt said “You’re wrong. Build it.”
Imagineers continued “An attraction like that’s only going to appeal to kids. And we’ve already got Tom Sawyer Island across the way.”
Walt “ Again, you’re wrong. Build it.
So that’s what the Imagineers did. Not happily, I might add. Because the concrete foundation that supported this six ton structure had to go down some 42 feet … Well, that totally screwed up the water system that previously connected Disneyland’s Jungle River Cruise to the Rivers of America.
And as for those steep sets of stairs … While work was underway on this 70-foot-tall faux tree, Walt persuaded Betty Taylor (who was playing Sue Foot Sue over at the Golden Horseshoe at that time) to come over to the Swiss Family Treehouse construction site one afternoon. Betty was wearing a dress and high heels at the time. But she & Walt put on hard hats. And then the two of them made multiple trips up & down the stairs that had already been installed in & around Disneyland’s Swiss Family Treehouse. Just so Walt could then be certain that this attraction’s stairways weren’t too steep. More importantly, that they’d also be safe for ladies who were wearing skirts & dressed in heels to use.
The Opening of Swiss Family Treehouse at Disneyland
This 70-foot-tall faux tree (with its 80 foot-wide canopy of 300,000 pink plastic leaves) opened just in time for Thanksgiving of 1962. John Mills (the male lead of Disney’s “Swiss Family Robinson” film) was on hand for the dedication of this Adventureland attraction. FYI: He brought along his daughter, Halley (As in Halley Mills, the star of Disney’s “Pollyana” and “The Parent Trap”).
There’s this great 3-minutes-and-41-second video over on YouTube that shows Walt leading the Mills family (John, Halley & Mary Mills, John’s wife) around Disneyland’s Swiss Family Treehouse in the Fall of 1962. You can see Disney proudly showing off the elaborate water wheel system at the heart of this Adventureland attraction, which send 200 gallons of water high up into that faux tree.
How Much Did it Cost to Build the Swiss Family Treehouse at Disneyland?
Disneyland spent $254,900 on the construction of that theme park’s version of Swiss Family Treehouse. Which the Imagineers (back then, anyway) felt was money wasted. Because no one was ever going to climb up the 68 steps that then led to the three rooms in this Adventureland attraction (The parents bedroom, the boys bedroom [up in the crow’s next] and then the common area / kitchen / dining room) and then the 69 steps back down to the ground.
This is where the Imagineers were wrong.
Don’t Bet Against Walt – Success of Swiss Family Treehouse
Swiss Family Treehouse quickly became one of the more popular attractions in the Park. Back then, this Adventureland attraction was a C Ticket (35 cents apiece). And since it only took three Disneyland employees to safely staff & operate the Treehouse (i.e., one person to take tickets at the entrance, a second staffer patrolling upstairs in the tree to make sure the Guests were behaving themselves / not touching the props, and then a third Cast Member down by the exit making sure that Guests aren’t sneaking up the back stairs to experience the Swiss Family Treehouse without first surrendering a C Ticket), it also became one of the more profitable attractions in the Park.
200 people up in the tree at any one time. 1200 people an hour. Killer views of New Orleans Square construction / the Jungle Cruise ride just below.
Oh, and that only appeal to kids thing? Out of every four Guests who came through the turnstile / surrounded that 35 cent C ticket, only one was a kid under 10. The other three were adults.
To be specific here: Once construction of Disneyland’s Swiss Family Treehouse was complete in the Fall of 1962, it only cost $21,000 to staff & operate annually. An additional $16,000 to maintain each year. In 1965, this Adventureland Attraction – even after taking those costs into consideration – still managed to turn a profit of $313,000.
Long story short: It was never a smart thing to bet against Walt. At least when it came to how popular an attraction would be with Guests (The Mickey Mouse Club Circus fiasco of the holiday season of 1955 being the exception, of course).
Ken Annakin – Film Director
Sadly, the Imagineers weren’t able to base any other theme park attractions on Ken Annakin movies. “Swiss Family Robinson” was the very last film that he directed for Disney Studios.
Annakin went on to direct several very popular family films in the 1960s & 1970s, among them “Those Magnificent Men in their Flying Machines” and “The New Adventures of Pippi Longstocking.” And the Walt Disney Company went out of its way to recognize Ken’s contribution to the overall success of Disney Studio & the Company’s theme parks by naming him a Disney Legend in 2002.
Sadly, Ken passed away at his home in Beverly Hills back in April of 2009 at the ripe old age of 94. Worth noting here that – in the late 1960s / early 1970s – when Walt Disney Animation Studios was fumbling around for an idea for a project to tackle after “The Aristocats” (That was the last animated feature that Walt Disney personally put into production / greenlit) – someone asks that classic question “What would Walt do?”
And in this case, the thinking was … Walt really liked those live-action movies that Ken Annakin directed for the Studio. Maybe we should look at those. So they then screened the very first movie that Ken directed for Disney, which was “The Story of Robin Hood and his Merrie Men” from 1952. And since people in Feature Animation thought that that was a pretty solid story … Well, that’s how we wound up with Disney’s animated version of “Robin Hood” in November of 1973.
New Robin Hood on Disney+?
Back in April of 2020, Disney announced that it was working on a CG version of Disney’s 1973 hand-drawn version of “Robin Hood.” Which is eventually supposed to show up on Disney+. Carlos Lopez Estrada had been signed to helm this film. Kari Granlund was writing the screenplay for this “Robin Hood” reboot. An Justin Springer, who helped get “Tron: Legacy” off the ground back in 2010, would be producing.
So the Ken Annakin corona effect lives on at Disney.
So does Disneyland’s Swiss Family Treehouse. Which – after being renamed / rethemed as the Tarzan Treehouse in June of 1999 – will revert to being the Adventureland Treehouse later this year. With a loose retheming that then allows this Disneyland attraction to become home to characters from Disney’s “Swiss Family Robinson,” “Tarzan,” and “Encanto.”
“Khrushchev at Disneyland” – The Film Walt Disney Almost Made
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Did you ever hear about … “Khrushchev at Disneyland”?
It was back in October of last year that Disney+ revealed that they were now working on a film about the creation of Disneyland.
Given that Evan Spiliotopoulos – who crafted the screenplay for the Company’s live-action reimagining of “Beauty & the Beast” (which then went on to earn $1.26 billion at the worldwide box office back in 2017) – is reportedly writing the script for this yet-to-be-titled film, I have high hopes for this movie about the making of The Happiest Place on Earth.
After all, if we go by “Saving Mr. Banks” (i.e., That 2013 Walt Disney Pictures release about the making of “Mary Poppins,” where Emma Thompson played “Poppins” author P.L. Travers and Tom Hanks turned in a masterful performance as Walt Disney), this company-of-storytellers has already proven that it can turn its own history into entertaining motion pictures.
But that said, if The Walt Disney Company is now actively looking for moments from its past that it can possibly turn into motion pictures … Well, might I suggest a moment that Walt himself might make one hell of a movie. And that’s Soviet Premier Nikita Khrushchev’s non-visit to Disneyland.
Khrushchev’s US Visit (1959)
I don’t know how many of you are familiar with the details surrounding this incident. Which occurred during Khrushchev’s 11-day trip to the US in September 1959. The Soviet Premier and his entourage arrived in Washington D.C. and — after making a brief stop at the UN in New York City — flew out to LA … And that’s when all the trouble started.
The Los Angeles leg of Nikita’s nationwide tour really did get off to an awful start. By that I mean: As the Premier’s motorcade sped away from LAX, the limousines were actually pelted with tomatoes.
Then Khrushchev was taken to 20th Century Fox, where he and his family were supposed to be feted at a luncheon that featured hundreds of Hollywood’s top stars. Bob Hope, Frank Sinatra, Marilyn Monroe, Shirley MacLaine, David Niven and Maurice Chevalier were there.
Which (you’d think) would have been enough to entertain the Soviet Premier.
Not Nikita. He stood up at this luncheon and — in front of the entire Hollywood press corps — had a hissy fit. Here’s an excerpt from the remarks that Khrushchev made that afternoon:
We have come to this town where lives the cream of American art. And just imagine (that) I, a Premier, a Soviet representative, when I came here to this city, I was given a plan. A program of what I was to be shown and whom I was to meet here.
But just now I was told that I could not go to Disneyland. I asked ‘Why not? What is it? Do you have rocket-launching pads there?’ I do not know.
And just listen – just listen to what I was told – to what reason I was told. We, which means the American authorities, can not guarantee your security if you go there.
What is it? Is there an epidemic of cholera there or something? Or have gangsters taken over the place that can destroy me? Then what must I do? Commit suicide?
This is the situation I am in. Your guest. For me, this situation is inconceivable. I can not find words to explain this to my people.
Visiting the “Happiest Place on Earth”
Truth be told, the Soviet Premier was somewhat mistaken. The original itinerary for the Los Angeles leg of his U.S. tour called for just Khrushchev’s wife and children to tour the “Happiest Place on Earth,” while Nikita was scheduled to tour a housing development out in Granada Hills. But when the Russian leader learned where his family was headed, he reportedly told his State Department handlers “Well, I wanna go to Disneyland too.”
This — unfortunately — was just impossible to pull off on such short notice. Los Angeles Police Chief William Parker immediately put the kibosh on Khrushchev’s request. Citing the difficulty of providing adequate security for the Soviet Premier and his motorcade all the way out to Anaheim.
Walt Disney Interested in Khrushchev Visiting Disneyland
Now where this gets interesting is that — somewhere along the way, as US officials were preparing for Khrushchev’s arrival in America — Walt Disney was told that the Russian Premier and his family were interested in visiting Disneyland. And Walt (of course) immediately saw this official state visit as a huge opportunity to generate some publicity for his then-four-year-old theme park.
Disneyland’s PR staff envisioned creating a photo opportunity by having Walt and Khrushchev stand on the “Submarine Voyage” ‘s loading dock as all eight of the ride’s faux subs floated by. Disney’s gag writers even provided a quip for Walt to casually toss off at this photo op. As Nikita looked out at all of those subs, Disney was supposed to say: “Well, now, Mr. Khrushchev, here’s my Disneyland submarine fleet. It’s the eighth largest submarine fleet in the world.”
Walt was — of course — disappointed when he learned that, due to security concerns, only Mrs. Khrushchev and the kids would be coming out to the Park that afternoon. So imagine Disney’s delight when this firestorm of publicity suddenly rose up when the Soviet Premier was told that he wouldn’t be allowed to go to “The Happiest Place on Earth” too.
Disneyland Trip Cancelled for Nikita Khrushchev
Because — once Nitika learned that his own trip out to Anaheim had been axed — he fell into a truly foul mood. In a fit of pique, the Soviet Premier declared that — since it wasn’t safe for him to go to Disneyland — then it wasn’t safe for his wife and children to go out to Anaheim either. So their long planned Disneyland excursion got canceled ASAP.
Immediately after the luncheon broke up, Khrushchev was taken to a nearby soundstage where the Russian Premier observed the filming of a scene from a forthcoming 20th Century Fox musical, “Can Can.” But — rather than being titillated by the sight of Juliet Prowse flashing her 19th century bloomers as she performed the film’s title number — Nikita reportedly declared the whole episode “horribly decadent.” Which embarrassed State Department officials as well as offending the Soviet Premier’s Hollywood hosts.
From there, Khrushchev’s motorcade was taken to Granada Hills, where the Russian Premier was supposed to tour model homes along Sophia Avenue. But — since Nikita was still sulking about not being allowed to go to Disneyland — he refused to even get out of his limousine.
As he pouted inside the car, Khrushchev reportedly told his State Department handlers that “… putting me in a closed car and stewing me in the sun is not the right way to guarantee my safety. This (not being allowed to go to Disneyland) development causes me bitter regret. I thought I could come here as a free man.”
To add insult to injury, four Soviet newsmen (who had been assigned to cover Khrushchev’s US trip) slipped away to Anaheim for the afternoon. They spent four happy hours touring Disneyland, then told US reporters that they believed that the Russian Premier and his family would have really enjoyed the theme park.
Later that evening, Khrushchev gave a speech at a Los Angeles area hotel. But there was, understandably, very little written about whatever remarks the Soviet Premier made at that long-forgotten dinner. Given that the next day’s newspapers devoted page after page to coverage of Nikita’s very public tantrum once he learned that he was not going to be allowed to visit Disneyland.
Khrushchev and his party tried to put some distance between themselves and the Disneyland debacle by quickly boarding a train and heading up to San Francisco. From there, the Russian Premier flew off to Des Moines and eventually returned to Washington D.C. Where Nikita spent a few days at Camp David with President Eisenhower talking about Cold War-related issues.
Which (you’d think) would be how history would remember the Soviet Premier’s 1959 trip to the United States. That Khrushchev & Eisenhower actually sat down and then tried to find a solution to their Germany & Berlin problem. But (picture John Belushi saying this) N-O-O-O-o-o-o. All the US press corps could talk about is how upset Nikita seemed when he had been told that he wouldn’t be allowed to visit Disneyland.
Media Covers Khrushchev’s Disneyland Denial
Within a day or so, there were political cartoons in newspapers nationwide that made fun of the Premier’s very public tantrum. Even Bob Hope eventually got into the act. As part of his annual Christmas television special, Hope stood in front of hundreds of military personnel at a U.S. Air Force base in Nome and quipped: “Here we are in America’s 49th state, Alaska. That’s halfway between Khrushchev and Disneyland.”
And of course, all this talk about how upset the Russian Premier was about not being allowed to visit “The Happiest Place on Earth” generated tons of positive publicity for Walt’s theme park. Newspapers around the world printed article after article about this amusing international incident. Even Herman Wouk (best known as the author of “The Caine Mutiny” and “The Winds of War”) chimed in: “I really don’t blame Khrushchev for jumping up and down in a rage over missing Disneyland. There are fewer things more worth seeing in the United States or indeed anywhere in the world.”
And Walt just didn’t want this fun to end. He kept looking for ways to perpetuate the story. Which is why Disney insisted that clippings highlighting the whole Khrushchev affair be included in the official Disneyland press kit for a number of years after this incident.
Movie About Khrushchev’s “Disneyland Trip”
But as the 1950s slipped into the 1960s and Khrushchev was forced from power by Leonid Brezhnev in October 1964, this story lost some of its charm. But still Walt loved to tell the tale of Nikita’s tantrum. And Disney began to wonder: might there be a way that his company could continue to capitalize on this incident? Like perhaps by maybe making a movie that would put a comic spin on the whole “Khrushchev denied access to Disneyland” incident?
So Walt turned to his very best producer, Bill Walsh (best known these days as the guy who wrote and produced “Mary Poppins,” “The Love Bug” and “Bedknobs & Broomsticks”) and told him to create a screenplay for a live-action comedy that would then be based on this infamous incident. So Walsh got together with his long-time collaborator, Don DaGradi. And eventually the two of then crafted a script or a film they wanted to call “Khrushchev at Disneyland.”
This screenplay (at least for the first 30 pages or so) pretty much follows how the real-life events played out. It recounts — in a light, breezy manner — how the Soviet leader had supposedly flown over to America to meet with President Eisenhower. But — in reality — Nikita had actually traveled all this way because what he really wanted to do was go to Disneyland.
So Khrushchev flew into Southern California, all excited that he was finally going to get his chance to visit “The Happiest Place on Earth.” Only to discover that — due to safety concerns — the State Department had canceled his trip out to Anaheim. Moviegoers were then supposed to see a slightly comic take on the Soviet Premier’s infamous tantrum at 20th Century Fox. And then …
Well, then the film morphs into your typical Walt Disney Productions live-action comedy of the 1960s. First Khrushchev is seen moping around his hotel suite in downtown Los Angeles later that evening. Then the Premier realizes that Disneyland is only 30 miles away. More importantly, that the theme park is open ’til midnight that night.
So Nikita decides that he’s going to sneak out of his hotel and somehow make his way out to Anaheim. Using a goofy disguise, he gives both his Soviet security detail as well as all of his State Department handlers the slip. Then Khrushchev somehow makes his way out to Disneyland, with all of these US & Soviet officials in hot pursuit … and hilarity ensues.
Okay. Admittedly, we’re not talking about “Lawrence of Arabia” here. Walt wasn’t really looking to make a historically accurate film based on this amusing, relatively minor international incident. Disney, Walsh, and DaGradi envisioned “Khrushchev at Disneyland” as being a film that would be very similar in tone to “That Darn Cat!” A comedy caper picture that was aimed straight at the family audience.
So — once this script was completed — how close did “Khrushchev at Disneyland” actually come to getting made? So close that Walt had already lined up an A-List actor to play the Soviet Premier. And that was Academy Award winner Peter Ustinov.
If all had gone according to plan, “Khrushchev at Disneyland” would have been Peter’s follow-up project for Disney Studios once work was completed on “Blackbeard’s Ghost.” Bill Walsh was slated to produce the picture, while the prolific Robert Stevenson would be directing.
By the fall of 1966, all of the necessary pieces were already in place. Disney Studio had a script in hand that was ready to shoot. They also had an A-List actor that was positively eager to get in front of the cameras and then do his impression of the Soviet Premier. Not only that, but Disney’s top producer was slated to ride herd on this project and the studio’s very best director would be helming this picture.
“Khrushchev at Disneyland” Movie Halts Production
So why didn’t “Khrushchev at Disneyland” get made? Well, because Walt Disney died before production could officially get underway. And given that all the studio execs that Walt had left behind were … Well … The polite term for them is “cautious corporate citizens.” The not-so-polite term is “gutless wimps.”
Anyway, these guys shied away from this project. Largely because they were concerned that there would were film fans out there who wouldn’t see the humor in “Khrushchev at Disneyland.” Their genuine fear was – because of Peter Ustinov’s sure-to-be-charming performance as Nikita Khrushchev – there were certain segments of the US population that would then accuse Walt Disney Company of corrupting America’s youth / of going soft on Communism by suggesting that – GASP ! — the Russian people were actually a lot like us. That they too like to do fun things like – say – go to Disneyland.
Of course, the real irony here is that one of the main reason that Walt really wanted his Studio to make “Kruschchev at Disneyland” was because he’d already seen that a Russians-are-people-too family comedy could succeed at the box office without controversy.
“The Russians Are Coming, The Russians Are Coming”
I’m talking – of course – about “The Russians Are Coming, The Russians Are Coming.” Which MGM had released to theaters in May of 1966 and had then gone on become the seventh highest grossing film of the year at the North American box office.
And I know for a fact that Walt was well aware of “The Russians Are Coming, The Russians Are Coming” for a couple of reasons.
- This Norman Jewison movie starred Brian Keith, who – just 5 years previous – had co-starred in Disney’s “The Parent Trap” along with Hayley Mills & Maureen O’Hara
- The year after Disney’s “Parent Trap” had been released to theaters, Jewison had directed “40 Pounds of Trouble.” Which was the first live-action film that Walt had ever allowed to be shot on location at Disneyland Park.
- For the entire Summer of 1966, “The Russians Are Coming, The Russians Are Coming” and Disney’s own “Lt. Robin Crusoe, U.S.N.” were duking it out at the North American box office. Seeing which family comedy would then go on to sell more tickets domestically. In the end, Disney came out on top. With that Dick Van Dyke movie selling $22 million worth of tickets in North America, while MGM’s Russians-are-people-too picture sold $21 million worth of tickets domestically.
This is why – when Walt made his very last trip to the Disney lot in November of 1966 – “Khrushchev at Disneyland” was very much on his mind. As far as Disney was concerned, this project was a go. Something that his Studio would start shooting in 1967 and then release to theaters the following year.
This is why Walt made a point of dropping by the set of “Blackbeard’s Ghost” that November morning. He wanted to let Peter Ustinov & Bill Walsh know how much he was looking forward to “Khrushchev at Disneyland.” And Ustinov … Well, Peter was supposedly even more excited about this back-then-soon-to-begin-shooting-movie than Walt was. Ustinov reportedly told Disney that – to insure that he look as much like the Soviet Premier as possible – this acclaimed actor was actually planning on shaving his head.
Ustinov then cracked up Walt by saying that he was thinking of basing his portrayal of Khrushchev on Peter’s mother back in England. As Disney laughed, Ustinov insisted that his Mom was a dead ringer for Nikita. “I didn’t know that your Ma was bald,” Walt replied.
Having really enjoyed his visit to the “Blackbeard’s Ghost” set, Disney then quietly excused himself and left the soundstage. Once Walt had left, Walsh and Ustinov quietly talked amongst themselves about how pale and gaunt the studio head had looked.
Of course, neither Peter or Bill knew that Walt had – just days earlier – been diagnosed with lung cancer. Or that – at this point – Disney had just weeks left to live.
And when Walt Disney died in December of 1966, “Khrushchev at Disneyland” pretty much died with him. In spite of all the preparation that had already been done on this project up until that point, Walsh and DaGradi’s script got shelved. And I’d imagine that this screenplay is now stashed away in some filing cabinet, where “Khrushchev at Disneyland” has been gathering dust for over five decades now.
Potential for “Khrushchev/Disneyland” Film
I bring up this project today … Well, for a couple of reasons.
- Disney+ has this unending appetite for new content. And wouldn’t it be cool if the Studio were to revive a project that Walt himself once wanted to make and then make that movie available to customers of the Company’s subscription streaming service.
- Given what’s going on in the Ukraine right now and how the Cold War keeps threatening to become a hot one … Well, while I am no fan of Vladimir Putin, I think that a movie which reminds us that the Russian people (NOT the Russian government, mind you. But the Russian PEOPLE) are people too … That might be a smart, hopeful message to put out in the world these days.
Making-of-Disneyland Movie on Disney+
Anyway … If the Company is looking for a follow-up for that making-of-Disneyland movie they’re prepping for Disney+ …
By the way … Interesting side note: The gentleman that Disney has tapped to direct this movie is David Gordon Green. He directed last year’s smash hit horror film, “Halloween Kills.” Which might make David seem like an odd choice to helm a film about The Happiest Place on Earth.
But then again, Gordon also executive-produces “The Righteous Gemstones.” Which is this wonderfully funny TV series about a family of televangelists who also own & operate a theme park. Which perhaps makes Mr. Green the perfect person to direct a movie about the creation of Disneyland.
Anyway … If Disney+ is looking for the perfect follow-up for their making-of-Disneyland movie, might I suggest that someone dig out a copy of “Khrushchev at Disneyland.”
More to the point, someone go ask Josh Gad if he’d be willing to shave off all those curly locks so that he could then play a certain Soviet Premier.
How Mattel’s “Men in Space” Toyline Lead to the Creation of Buzz Lightyear
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Angus MacLane’s “Lightyear” is supposed to be … Well, not exactly an origin story for Buzz Lightyear, the action figure that we know from all of the “Toy Story” films. But Rather an explanation of why Andy is so excited at his birthday party in the first “Toy Story” movie when he gets that Buzz Lightyear toy.
You see, Andy’s seen the movie that this action figure was based on. Which is supposed to be this huge Summer blockbuster. Which is why Andy & his friends at that party react the way they do. As far as they’re concerned, the movie that spawned the Buzz Lightyear action figure line was the greatest film they’ve ever seen.
Of course, because I’m a nerd and an animation history buff, I can’t help but think about how Buzz Lightyear – the character from the “Toy Story” films, rather than the really-for-real space ranger that Chris Evans voices in “Lightyear” – really started out. Which honestly wasn’t supposed to be a spoof on Captain Kirk from “Star Trek” or Gil Gerad’s Buck Rogers from the TV show. But – rather – as a riff on a space-themed toy line that Mattel produced in the mid-1960s called “Men in Space” which was then built around a character called Major Matt Mason.
Now how we got to the “Men in Space” toy line is kind of convoluted. This story actually starts over 60 years ago when Mattel sent two dolls out into the world, Barbie & Chatty Cathy.
Doll’s For Boys – Mattel’s Space Action Figure
Mattel made money hand over fist from sales of these two products. Which then made Mattel’s competitors stand up and take notice. They too wanted in on this mass-produced plastic toy market. Which is what prompted Hasbro to do something bold in 1964. Which was to license a concept that Stanley Winston had been developing. Which is a military-themed doll for boys.
Hasbro’s G.I. Joe
Just so you know: The executives on the marketing side of Hasbro knew that that nomenclature – “dolls for boys” – wasn’t going to fly. Especially with the Dads of the 1960s. So this is why the phrase “action figure” came from.
Anyway, Hasbro introduces G.I. Joe, “America’s movable fighting man” (because – again – you can’t call this toy what it actually is. Which is a poseable doll for boys) in 1964. And it’s a huge hit right out of the box.
Marx “Best in the West” Cowboy Dolls
And Hasbro & Mattel’s direct competition, Marx, sees what going on with G.I. Joe and decides that … Well, we want in on the “dolls for boys” market … So they come up with the “Best of the West” line. Which is this series of G.I. Joe-sized poseable cowboy dolls. Those arrive in the marketplace in 1965 and are also hugely successful.
Mattel Introduces “Men in Space” Toyline
So now here’s Mattel. Which has cornered the market when it comes to dolls for girls with its Barbie & Chatty Cathy lines. But now that Hasbro & Marx have blazed this brave new trail – poseable dolls for boys – with their G.I. Joe & “Best of the West” action figures, Mattel wants in too.
But now that soldiers & cowboys are the exclusive property of Hasbro & Marx, Mattel has to find some sort of hook for its new “dolls for boys” line. So rather than looking back to World War II or the glory days of the America West, Mattel decides to take a chance on what’s going on in the real world at that exact moment. Which is the space race.
Which is why – just in time for the holiday buying season of 1966 – Mattel rolls out its “Men in Space” toy line. Who is headlined by Major Matt Mason an astronaut-themed action figure “ … who lives and works on the Moon.”
Major Matt Mason – Astronaut-Themed Action Figure
Now what was kind of interesting about Major Matt Mason is that the toy line that he headlined was based in reality. As in: A lot of the outfits & ride vehicles that were created for Mattel’s “Men in Space” line were direct lifts of publicity images that NASA had already put out there of space vehicles that they envisioned building once man actually made it to the moon. Which brought up some interesting copyright-related issues at that time.
Now I have to tell you that Mattel’s “Men in Space” toy line had problems right from the get-go. Instead of the sturdy 12-inch-tall poseable action figures that G.I. Joe and Marx’s “Best of the West” toys were … Major Matt Mason was half that size. Also, instead of hard plastic, Mattel used a rubber-like substance called Plastizol when it was making its “Men in Space” toys. That material was poured into a mold that had a wire armature inside.
Which wasn’t the sturdiest thing on the planet. Typically, after a few months of playing with your Major Matt Mason, the wire armature inside of this “Men in Space” action figure would break and it would then no longer be poseable.
Mind you, this was a deliberate choice on Mattel’s part. Their thinking was – by making Major Matt Mason half the size of G.I. Joe and then making this action figure out of cheaper material – … Well, that could then help them keep the cost of their “Men in Space” toy line down. Which would then – in theory, anyway – make these action figures far more affordable and make it possible for consumers to eventually purchase the entire playset.
Major Matt Mason’s Astronaut Friends
Oh, yeah. Did I forget to mention that Major Matt Mason had friends? Well, co-workers really. Sgt. Storm, Chip Davis, and Jeff Long (who was an African-American astronaut). Who could all lived & worked together with Matt inside of a three-level lunar base and then got around the moon’s surface by using space sleds and jet propulsion packs.
“Men in Space” Toy Sales
Mind you, Mattel’s “Men in Space” action figures didn’t sell nearly as well as that toy company had hoped they would over the 1966 holiday shopping season. And the thinking initially was that this was because Major Matt Mason & Co. didn’t have anyone that they could battle with. So – in much the same way that Buzz Lightyear has his evil nemesis, Emperor Zurg – the “Men in Space” team then found themselves (just in time for the 1967 holiday shopping season) dealing with evil aliens like Captain Lazer, Callisto, Scorpio and Or.
Unfortunately for Mattel, interest in the space program began to wane as the 1960s gave way to the 1970s. Which is why they decided to discontinue their “Men in Space” toy line in 1970.
Lunar Larry – The Original Buzz Lightyear
So when it comes to Buzz Lightyear, where’s the Major Matt Mason / “Men in Space” connection? Well, if you take a look back at the original concept art for Woody’s nemesis in the first “Toy Story” movie, he isn’t this G.I. Joe sized action figure. But – rather – a six-inch-tall poseable astronaut doll who (I kid you not) is called Lunar Larry.
Tom Hanks, Robert Zemeckis, & “Men in Space” Film
FYI: If all had gone according to plan back in 2011, there would have been an even stronger “Toy Story” / “Major Matt Mason” connection. This was when it was announced in the Hollywood trades that Tom Hanks (that’s right. The voice of Woody) had co-written a movie based on Mattel’s “Men in Space” toy line. Not only that, but Hanks was trying to persuade Robert Zemeckis (who Tom had worked with on “Forest Gump,” “Cast Away,” “The Polar Express,” and Disney+’s live-action “Pinocchio”) to come direct the “Major Matt Mason” – the man who lived & worked on the Moon – movie.
Wait. It gets better, Hanks himself reportedly wanted to play Major Matt Mason.
I’m not entirely sure whatever became of Tom Hanks’ “Men in Space” movie. This past February, Hanks & Zemeckis announced that they’ll be re-united with Eric Roth, the writer of “Forest Gump,” on a film adaptation of “Here.” Which is Roth’s graphic novel.
Supposedly sometime over the past 10 years, Paramount Pictures acquired the rights to make a “Men in Space” movie. Hanks is still allegedly attached as a producer for this project. But given that Tom will be turning 66 next month, I doubt that he still wants to play Major Matt Mason.
Which is kind of a shame. Given what Woody once said to Buzz in the original “Toy Story” …
… I would pay good money to see Tom Hanks play one of the original action figures: Major Matt Mason, the man who lived & worked on the Moon as part of Mattel’s “Men in Space” toy line.
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