It's amazing that Disney started out with so many people who became names themselves in the animation industry, like Carl Stalling, Huge Harman, Rudolf Ising, Isidor Freling, and Robert McKimson. The coincidence of it is almost cosmic.
I prefer Hell's Bells to Skeleton Dance but the sheer verve, imaginative ingenuity, and virtuosity of those skeletons were a creative one man coup that is rarely equalled in animation. On the other hand Hell's Bells is also a tremendous visual masterpiece. My favorite parts were when the imp ran into the jagged cave wall becoming a jagged imp. Just look at her at 3:11. And then there was that most magnificent of animated creatures, the dragon cow. Of course it wasn't all Ub Iwerks, as music director Carl Stalling was in top form too.
4:30 - Stalling would later use this music (from Felix Mendelssohn's Fingal's Cave overture) in Chuck Jones' "Inki" series, where this music would play when an odd minah bird appeared.
Even then, Carl Stalling worked wonders with music... I loved his adaptation here of "Funeral March of a Marionette" (aka the Alfred Hitchcock theme). It's a lot more fun than Disney's better-known demonic effort, the Night on Bald Mountain segment of Fantasia (awesome in its own right).
So that's how the Chernabog came into power. Faithful servant escapes the king under the mountain after his friend is eaten. Explains why most Disney dogs are on the good side, Chernabog must have eaten the bad ones in revenge.
Excellent from Stalling, but then I've always enjoyed that piece anyway. :) It's *really* a shame Disney couldn't get the rights to "Dance Macabre" for "Skeleton Dance." I know he had hoped for that one, and I'm sure Stalling would have done well with that one also...
hey dont say that if u are a devil then u well go to hell an never get out of it being an angel is better tha being a devil if u r a devil then you'll go to hell and live in it 4ever but if your an angel then you will go to paradise heaven and u will a happy life 4ever
Although his heart is certainly in the right place and the concept is certainly dark enough, the execution just just doesn't seem to make it. The characters are too simple and the score, though fitting, felt flat. It feels like a playful romp through hell rather than the bottomless woe, absolute terror, and eternal damnation that the early Fleischer Brothers made in works like Snow White, Minnie the Moocher, and (most of all) Swing You Sinners.
It's amazing that Disney started out with so many people who became names themselves in the animation industry, like Carl Stalling, Huge Harman, Rudolf Ising, Isidor Freling, and Robert McKimson. The coincidence of it is almost cosmic.
I prefer Hell's Bells to Skeleton Dance but the sheer verve, imaginative ingenuity, and virtuosity of those skeletons were a creative one man coup that is rarely equalled in animation. On the other hand Hell's Bells is also a tremendous visual masterpiece. My favorite parts were when the imp ran into the jagged cave wall becoming a jagged imp. Just look at her at 3:11. And then there was that most magnificent of animated creatures, the dragon cow. Of course it wasn't all Ub Iwerks, as music director Carl Stalling was in top form too.
gnikcohs i
I agree. This one is as equally good as the "Skeleton Dance". Is kinda of a shame that Disney doesn't even try to make dark cartoons like this anymore
🦇
1:16 the music piece "Funeral March of a Marionette" plays, which is best known as being used as Albert Hitchcock's TV series theme song.
I’m getting cuphead vibes!
4:30 - Stalling would later use this music (from Felix Mendelssohn's Fingal's Cave overture) in Chuck Jones' "Inki" series, where this music would play when an odd minah bird appeared.
played the AC/DC song off the same name over this,
surprisingly it actually fit quite well i think
3:18 - The jagged dance movements are awesome!
- TAE
Ooops, I almost forgot to include Ub Iwerks in the mix. His contribution to cinematic history is legendary.
Many of them came from Kansas City, as Disney did. Stalling was the orchestra leader in a KC theatre.
Even then, Carl Stalling worked wonders with music... I loved his adaptation here of "Funeral March of a Marionette" (aka the Alfred Hitchcock theme).
It's a lot more fun than Disney's better-known demonic effort, the Night on Bald Mountain segment of Fantasia (awesome in its own right).
The devil looks like the devil of cuphead
So that's how the Chernabog came into power. Faithful servant escapes the king under the mountain after his friend is eaten. Explains why most Disney dogs are on the good side, Chernabog must have eaten the bad ones in revenge.
1:11 - Serpent eats the bat and grows wings! =^)
- TAE
that's a very exellent question
Excellent from Stalling, but then I've always enjoyed that piece anyway. :)
It's *really* a shame Disney couldn't get the rights to "Dance Macabre" for "Skeleton Dance." I know he had hoped for that one, and I'm sure Stalling would have done well with that one also...
Oh is this song the inspiration for Eminems Alfred-Theme's backing track?
feels like Max Fleisher made this
The title of video is a ac dc song
and so i can see how devils live in hell
hey dont say that if u are a devil then u well go to hell an never get out of it being an angel is better tha being a devil if u r a devil then you'll go to hell and live in it 4ever but if your an angel then you will go to paradise heaven and u will a happy life 4ever
That made no sense dude
1:16
It seems to me that the Final Boss of Cuphead is inspired by this animation.
may all devils and demons and satans go to hell and never get out
so i can see how devils live in hell and becuse it's a very funny cartoon
and becuse it's a very funny cartoon
Back when Disney was fun instead of Lame & Gay
That's pretty messed up.
But what do you compare it with this ruclips.net/video/b756FPiLlp8/видео.html
Cup head
Bloop
What If Tattoos Came To Life…
0:15
DISNEY'S INFERNO
Although his heart is certainly in the right place and the concept is certainly dark enough, the execution just just doesn't seem to make it. The characters are too simple and the score, though fitting, felt flat. It feels like a playful romp through hell rather than the bottomless woe, absolute terror, and eternal damnation that the early Fleischer Brothers made in works like Snow White, Minnie the Moocher, and (most of all) Swing You Sinners.
I hate you.