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133-551: The New Hollywood , Hollywood Renaissance , American New Wave , or New American Cinema (not to be confused with the New American Cinema of the 1960s that was part of avant-garde underground cinema ), was a movement in American film history from the mid-1960s to the early 1980s, when a new generation of filmmakers came to prominence. They influenced the types of film produced, their production and marketing, and

266-574: A chimney sweep , escorts them home (" Chim Chim Cher-ee "). The three and Mary venture onto the rooftops, where Bert dances with other chimney sweeps (" Step in Time "). George later receives a phone call from the bank, requesting a meeting with him regarding Michael's actions. The children overhear the phone call and become concerned. Bert scolds George for neglecting Jane and Michael and advises him to spend more time with them before they grow up (" A Man Has Dreams "). Hoping to make amends, Michael gives George

399-526: A 2000 edition of the art journal Art in America . It examined structural-formalism as a conservative philosophy of filmmaking. In the 1970s, Conceptual art pushed even further. Robert Smithson , a California-based artist, made several films about his earthworks and attached projects. Yoko Ono made conceptual films. The most notorious of these is Rape, which centers on a woman's life being invaded with cameras, as she attempts to flee. Around this time,

532-633: A Hollywood Extra (1928), by Slavko Vorkapich and Robert Florey . However, much pre-war experimental film culture consisted of artists working, often in isolation, on film projects. In the early 1930s, Painter Emlen Etting (1905–1993) directed dance films that are considered experimental. Commercial artist ( Saturday Evening Post ) and illustrator Douglass Crockwell (1904–1968) made animations with blobs of paint pressed between sheets of glass in his studio at Glens Falls, New York . In Rochester, New York , medical doctor and philanthropist James Sibley Watson and Melville Webber directed The Fall of

665-468: A New Hollywood kind of movie, and it was very anti-the Old Hollywood, it was very hard-edged, violent, you know, it was not at all an Old Hollywood movie. And I didn't, I wasn't particularly aware of it. Then the following year was Bonnie and Clyde . Shadows had come out in the early '60s, so that was really the first sign of a kind of off-Hollywood movement. – Peter Bogdanovich Following

798-699: A VHS cover of Mary Poppins flying with her umbrella. The 2nd release in November 1982 has a cropped image of Mary, Bert, and the Children from the "Stepintime" roof dance fireworks scene, while the 3rd release on November 6, 1985, has a full-length picture on its cover. The 4th and final release, on October 4, 1988, as part of the Walt Disney Home Video collection, features the Penguin dance. On October 28, 1994, August 26, 1997, and March 31, 1998, it

931-656: A cinematic equivalent of the first person in literature. Brakhage 's Dog Star Man (1961–64) exemplified a shift from personal confessional to abstraction, and also evidenced a rejection of American mass culture of the time. On the other hand, Kenneth Anger added a rock sound track to his Scorpio Rising (1963) in what is sometimes said to be an anticipation of music videos , and included some camp commentary on Hollywood mythology. Jack Smith and Andy Warhol incorporated camp elements into their work, and Sitney posited Warhol's connection to structural film. Some avant-garde filmmakers moved further away from narrative. Whereas

1064-490: A continual impotence in the world, an inability to change and to create change." John Belton points to the changing demographic to even younger, more conservative audiences in the mid 1970s (50% aged 12–20) and the move to less politically subversive themes in mainstream cinema, as did Thomas Schatz, who saw the mid- to late 1970s as the decline of the art cinema movement as a significant industry force with its peak in 1974–75 with Nashville and Chinatown . Geoff King sees

1197-665: A dysfunctional family in London and employs her unique brand of lifestyle to improve the family's dynamic. Dick Van Dyke , David Tomlinson , and Glynis Johns are featured in supporting roles. The film was shot entirely at the Walt Disney Studios in Burbank, California , using painted London background scenes. Mary Poppins was released on August 27, 1964, to critical acclaim and commercial success, earning $ 44 million in theatrical rentals in its original run. It became

1330-401: A far more widespread use, while widescreen processes and technical improvements, such as CinemaScope , stereo sound, and others, such as 3-D , were invented to retain the dwindling audience and compete with television. However, these were generally unsuccessful in increasing profits. By 1957, Life magazine called the 1950s "the horrible decade" for Hollywood. It was dubbed a "New Hollywood" by

1463-572: A form of mash-up cinema that has strong socio-political undertones. Chris Marker 's La Jetée (1962) consists almost entirely of still photographs accompanied by narration, while Jonás Cuarón 's Year of the Nail (2007) uses unstaged photographs which the director took of his friends and family combined with voice acting to tell a fictional story. Other examples of films created in the 21st century with this technique are Lars von Trier 's Dogville and David Lynch 's filmography . Animated films in

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1596-441: A group of animated penguins is noted for its use of the sodium vapor process . Rather than using the more common bluescreen process to insert the actors into the animated footage, the actors were filmed against a white screen lit with sodium vapor lights, which have a yellow hue. A special camera was fitted with a prism that filtered this light to a separate reel of film, creating a highly accurate matte that could be used to isolate

1729-401: A huge debt to the photography of Edward Weston , Paul Strand , and others, and in fact celebrate illusion. Further, while many filmmakers began making rather academic "structural films" following Film Culture ' s publication of an article by P. Adams Sitney in the late 1960s, many of the filmmakers named in the article objected to the term. A critical review of the structuralists appeared in

1862-501: A large collection of films of that period were restored and re-released on DVD, titled Unseen Cinema: Early American Avant Garde Film 1894-1941 . With Slavko Vorkapich, John Hoffman made two visual tone poems, Moods of the Sea (aka Fingal's Cave , 1941) and Forest Murmurs (1947). The former film is set to Felix Mendelssohn 's Hebrides Overture and was restored in 2004 by film preservation expert David Shepard . Meshes of

1995-438: A mainstream film genre . Many of its more typical features—such as a non-narrative, impressionistic , or poetic approaches to the film's construction—define what is generally understood to be "experimental". In the 1920s, two conditions made Europe ready for the emergence of experimental film. First, the cinema matured as a medium, and highbrow resistance to the mass entertainment began to wane. Second, avant-garde movements in

2128-592: A new generation was entering the field, many of whom were students of the early avant-gardists. Leslie Thornton , Peggy Ahwesh , and Su Friedrich expanded upon the work of the structuralists, incorporating a broader range of content while maintaining a self-reflexive form. Andy Warhol , the man behind Pop Art and a variety of other oral and art forms, made over 60 films throughout the 1960s, most of them experimental. In more recent years, filmmakers such as Craig Baldwin and James O'Brien ( Hyperfutura ) have made use of stock footage married to live action narratives in

2261-429: A number experimental queer filmmakers such as G.B. Jones (a founder of the movement) in the 1990s and later Scott Treleaven , among others. With very few exceptions, Curtis Harrington among them, the artists involved in these early movements remained outside the mainstream commercial cinema and entertainment industry. A few taught occasionally, and then, starting in 1966, many became professors at universities such as

2394-681: A patriarchal gaze. Their response was to resist narrative in a way to show its fissures and inconsistencies. Chantal Akerman and Sally Potter are just two of the leading feminist filmmakers working in this mode in the 1970s. Video art emerged as a medium in this period, and feminists like Martha Rosler and Cecelia Condit took full advantage of it. In the 1980s feminist, gay and other political experimental work continued, with filmmakers like Barbara Hammer , Su Friedrich , Tracey Moffatt , Sadie Benning and Isaac Julien among others finding experimental format conducive to their questions about identity politics. The queercore movement gave rise to

2527-470: A practice inspired by European art films and classical Hollywood directors such as D. W. Griffith and Alfred Hitchcock . Films with unorthodox editing included Easy Rider ' s use of jump cuts (influenced by the works of experimental collage filmmaker Bruce Conner ) to foreshadow the climax of the movie, as well as subtler uses, such as those to reflect the feeling of frustration in Bonnie and Clyde ,

2660-530: A press. In the 1950s and early 1960s, Hollywood was dominated by musicals, historical epics, and other films that benefited from the larger screens, wider framing, and improved sound. However, audience shares continued to dwindle, and had reached alarmingly low levels by the mid-1960s. Several costly flops, including Tora! Tora! Tora! , Gene Kelly 's adaptation of Hello, Dolly! and the Julie Andrews vehicle Star! , each failed attempts to replicate

2793-420: A springboard into commercial film-making or transition into academic positions. The aim of experimental filmmaking may be to render the personal vision of an artist, or to promote interest in new technology rather than to entertain or to generate revenue, as is the case with commercial films. The term experimental film describes a range of filmmaking styles that frequently differ from, and are often opposed to,

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2926-763: Is Luis Buñuel and Salvador Dalí 's Un chien andalou (1929). Hans Richter's animated shorts, Oskar Fischinger 's abstract films, and Len Lye 's GPO films are examples of more abstract European avant-garde films. Working in France, another group of filmmakers also financed films through patronage and distributed them through cine-clubs, yet they were narrative films not tied to an avant-garde school. Film scholar David Bordwell has dubbed these French Impressionists and included Abel Gance , Jean Epstein , Marcel L'Herbier , and Dimitri Kirsanoff . These films combine narrative experimentation, rhythmic editing and camerawork, and an emphasis on character subjectivity. In 1952,

3059-477: Is a 1964 American musical fantasy comedy film directed by Robert Stevenson and produced by Walt Disney , with songs written and composed by the Sherman Brothers . The screenplay is by Bill Walsh and Don DaGradi , based on P. L. Travers 's book series Mary Poppins . The film, which combines live-action and animation, stars Julie Andrews in her feature film debut as Mary Poppins , who visits

3192-508: Is a chronological list of notable films that are generally considered to be "New Hollywood" productions. New American Cinema While some experimental films have been distributed through mainstream channels or even made within commercial studios, the vast majority have been produced on very low budgets with a minimal crew or a single person and are either self-financed or supported through small grants. Experimental filmmakers generally begin as amateurs, and some use experimental films as

3325-563: Is a watershed picture, the kind that signals a new style, a new trend." Biskind states that this review and turnaround by some critics allowed the film to be re-released, thus proving its commercial success and reflecting the move toward the New Hollywood. The impact of this film is important in understanding the rest of the American New Wave, as well as the conditions that were necessary for it. These initial successes paved

3458-559: Is considered Walt Disney's crowning live-action achievement and is the only one of his films to earn a Best Picture nomination during his lifetime. In 2013, it was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant." A biographical drama based on the making of the film, Saving Mr. Banks ,

3591-541: Is fondly remembered for the film, his attempt at a Cockney accent is considered one of the poorer accents in film history. (It was #2 in a 2003 poll by Empire magazine of the worst film accents. ) Van Dyke claimed that O'Malley "didn't do an accent any better than I did". In 2017, Van Dyke received an award for television excellence from the British Academy of Film and Television Arts (BAFTA), at which time he said, "I appreciate this opportunity to apologise to

3724-699: Is known to a relatively small number of practitioners, academics and connoisseurs, it has influenced and continues to influence cinematography , visual effects and editing . Experimental film reached mainstream audiences at world exhibitions, especially those in Montreal, Expo 67 , and Osaka, Expo 70 . The genre of music video can be seen as a commercialization of many techniques of experimental film. Title design and television advertising have also been influenced by experimental film. Many experimental filmmakers have also made feature films, and vice versa. Mary Poppins (film) Mary Poppins

3857-643: The Best Actress Award at the Golden Globes for their respective roles. Andrews also won the Oscar for Best Actress for her role (Hepburn was not nominated for it). Richard Sherman, one of the songwriters, also voiced a penguin, and one of the Pearlies. Robert Sherman provided the speaking voice of Jane Darwell because Darwell's voice was too soft to be heard in the soundtrack. He is heard saying

3990-580: The British Board of Film Classification reclassified Mary Poppins from U to a PG due to Admiral Boom's use of the word "hottentot" to refer to the dancing chimney sweeps. Mary Poppins earned $ 31 million in theatrical rentals in the United States and Canada during its initial run. It was one of the top 12 grossing films in the United States for 32 weeks. It earned rentals of $ 44 million worldwide in its initial release. The film

4123-890: The British Film Institute in London, the National Film Board of Canada and the Collective for Living Cinema. Some of the more popular film festivals, such as Ann Arbor Film Festival , the New York Film Festival 's "Views from the Avant-Garde" Side Bar, the International Film Festival Rotterdam , and Media City Film Festival prominently feature experimental works. The New York Underground Film Festival , Chicago Underground Film Festival ,

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4256-946: The Centre Pompidou in Paris often include historically significant experimental films and contemporary works. Screening series no longer in New York that featured experimental work include the Robert Beck Memorial Cinema, Ocularis and the Collective for Living Cinema . All these associations and movements have permitted the birth and development of national experimental films and schools like "body cinema" ("Écoles du corps" or "Cinéma corporel") and "post-structural" movements in France, and "structural/materialism" in England for example. Though experimental film

4389-468: The Freedman v. Maryland court case in 1965 and the new ratings system in 1968 (reflecting growing market segmentation) set the scene for the New Hollywood. A defining film of the New Hollywood generation was Bonnie and Clyde (1967). Produced by and starring Warren Beatty and directed by Arthur Penn , its combination of graphic violence and humor, as well as its theme of glamorous disaffected youth,

4522-821: The LA Freewaves Experimental Media Arts Festival, MIX NYC the New York Experimental Lesbian and Gay Film Festival, and Toronto's Images Festival also support this work and provide venues for films which would not otherwise be seen. There is some dispute about whether "underground" and "avant-garde" truly mean the same thing and if challenging non-traditional cinema and fine arts cinema are actually fundamentally related. Venues such as Anthology Film Archives , San Francisco Cinematheque , Pacific Film Archive in Berkeley, California , Tate Modern, London and

4655-547: The Lettrists avant-garde movement, in France, caused riots at the Cannes Film Festival , when Isidore Isou 's Traité de bave et d'éternité (also known as Venom and Eternity ) was screened. After their criticism of Charlie Chaplin at the 1952 press conference in Paris for Chaplin's Limelight , there was a split within the movement. The Ultra-Lettrists continued to cause disruptions when they announced

4788-612: The London Film-Makers' Co-op , and Canadian Filmmakers Distribution Center. Following the model of Cinema 16, experimental films have been exhibited mainly outside of commercial theaters in small film societies , microcinemas , museums , art galleries , archives and film festivals . Several other organizations, in both Europe and North America, helped develop experimental film. These included Anthology Film Archives in New York City, The Millennium Film Workshop,

4921-473: The Paramount Case (which ended block booking and ownership of theater chains by film studios) and the advent of television (where Rod Serling , John Frankenheimer , Arthur Penn , Paddy Chayefsky and Sidney Lumet worked in their earlier years), both of which severely weakened the traditional studio system , Hollywood studios initially used spectacle to retain profitability. Technicolor developed

5054-928: The State Universities of New York , Bard College , California Institute of the Arts , the Massachusetts College of Art , University of Colorado at Boulder , and the San Francisco Art Institute . Many experimental-film practitioners do not in fact possess college degrees themselves, although their showings are prestigious. Some have questioned the status of the films made in the academy, but longtime film professors such as Stan Brakhage , Ken Jacobs , Ernie Gehr , and many others, continued to refine and expand their practice while teaching. The inclusion of experimental film in film courses and standard film histories, however, has made

5187-512: The highest-grossing film of 1964 in the United States, and at the time of its release became Disney's highest-grossing film. During its theatrical lifetime, it grossed over $ 103 million worldwide. It received a total of thirteen Academy Award nominations—a record for any film released by Walt Disney Studios —including Best Picture , and won five: Best Actress for Andrews, Best Film Editing , Best Original Music Score , Best Visual Effects , and Best Original Song for " Chim Chim Cher-ee ". It

5320-683: The mythopoetic film , the structural film, the trance film and the participatory film, in order to describe the historical morphology of experimental cinema in the American avant-garde from 1943 to the 2000s. The film society and self-financing model continued over the next two decades, but by the early 1960s, a different outlook became perceptible in the work of American avant-garde filmmakers. Filmmakers like Michael Snow , Hollis Frampton , Ken Jacobs , Paul Sharits , Tony Conrad , and Ernie Gehr , are considered by P. Adams Sitney to be key models for what he calls " structural film ". Sitney says that

5453-626: The "Art in Cinema" series of experimental films at the San Francisco Museum of Modern Art , where Oskar Fischinger's films were featured in several special programs, influencing artists such as Jordan Belson and Harry Smith to make experimental animation. They set up "alternative film programs" at Black Mountain College (now defunct) and the San Francisco Art Institute . Arthur Penn taught at Black Mountain College, which points out

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5586-432: The "halcyon age" of 1970s filmmaking, that "was less revolution than business as usual, with rebel hype". She also pointed out in her New York Times article that the era's enthusiasts insist this was "when American movies grew up (or at least starred underdressed actresses); when directors did what they wanted (or at least were transformed into brands); when creativity ruled (or at least ran gloriously amok, albeit often on

5719-487: The 20th most popular sound film of the 20th century in the United Kingdom with admissions of 14 million. The film was very profitable for Disney. Made on an estimated budget of $ 4.4–6 million, it was reported by Cobbett Steinberg to be the most profitable film of 1965, earning a net profit of $ 28.5 million. Walt Disney used his huge profits from the film to purchase land in central Florida and finance

5852-507: The 21st century such as Don Hertzfeldt 's It's Such a Beautiful Day , a 2012 American comedy-drama film, and Frederick C.G. Borromeo's film debut Distortion , a 2023 non-narrative film made in RPG Maker engine, are landmark examples of experimental animated films. Laura Mulvey 's writing and filmmaking launched a flourishing of feminist filmmaking based on the idea that conventional Hollywood narrative reinforced gender norms and

5985-463: The Afternoon (1943) by Maya Deren and Alexander Hammid is an early American experimental film. It provided a model for self-financed 16 mm production and distribution, one that was soon picked up by Cinema 16 and other film societies . Just as importantly, it established an aesthetic model of what experimental cinema could do. Meshes had a dream-like feel that hearkened to Jean Cocteau and

6118-452: The Banks family's home, but a strong gust of wind magically blows them away. Jane and Michael then witness a young woman using an umbrella as a parachute to gracefully descend from the sky. The woman enters the Banks family's home and introduces herself as Mary Poppins . To George's shock, Mary is holding the children's advertisement, and the scraps have been put back together. She agrees with

6251-553: The Bs" Roger Corman while others like celebrated cinematographer Vilmos Zsigmond worked for lesser-known B movie directors like Ray Dennis Steckler , known for the 1962 Arch Hall Jr. vehicle Wild Guitar and the 1963 horror musical flick The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies . This, together with the breakdown of the Motion Picture Production Code following

6384-501: The Hollywood Golden Age, which deals with the relationship of characters and plot. He argues that plot in classical Hollywood films (and some of the earlier New Hollywood films like The Godfather ) "tended to emerge more organically as a function of the drives, desires, motivations, and goals of the central characters". However, beginning with mid-1970s, he points to a trend that "characters became plot functions". During

6517-523: The House of Usher (1928) and Lot in Sodom (1933). Harry Smith , Mary Ellen Bute , artist Joseph Cornell , and Christopher Young made several European-influenced experimental films. Smith and Bute were both influenced by Oskar Fischinger, as were many avant garde animators and filmmakers. In 1930, the magazine Experimental Cinema appeared. The editors were Lewis Jacobs and David Platt. In October 2005,

6650-576: The Living Dead , The Wild Bunch , and Easy Rider while films that failed at the box office such as New York, New York , Sorcerer , Heaven's Gate , They All Laughed and One from the Heart marked the end of the era. In fact, The Wild Angels was kind of a... it was a big success for the New Hollywood . It was Roger Corman , it was Peter Fonda , Nancy Sinatra , it was

6783-717: The Movie Brats the "cinematic version" of classic rock (to the point of roll calling Spielberg as the Beatles , Scorsese as the Velvet Underground , Coppola as Bob Dylan , Lucas as Pink Floyd , Robert Altman as Neil Young , Brian De Palma as Led Zeppelin , Bogdanovich as the Beach Boys and Hal Ashby as the Kinks ). Los Angeles Times article film critic Manohla Dargis described New Hollywood as

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6916-507: The New American Cinema was marked by an oblique take on narrative, one based on abstraction, camp and minimalism, structural filmmakers like Frampton and Snow created a highly formalist cinema that foregrounded the medium itself: the frame, projection, and most importantly, time. It has been argued that by breaking film down into bare components, they sought to create an anti-illusionist cinema, although Frampton's late works owe

7049-431: The New Hollywood consists of several different movements. The films made in this movement are stylistically characterized in that their narrative often deviated from classical norms. After the demise of the studio system and the rise of television, the commercial success of films was diminished. Successful films of the early New Hollywood era include Bonnie and Clyde , The Graduate , Rosemary's Baby , Night of

7182-407: The New Hollywood movement marked a significant shift towards independently produced and innovative works by a new wave of directors, but that this shift began to reverse itself when the commercial success of Jaws and Star Wars led to the realization by studios of the importance of blockbusters , advertising and control over production (even though the success of The Godfather was said to be

7315-619: The Surrealists, but equally seemed personal, new and American. Early works by Kenneth Anger , Stan Brakhage , Shirley Clarke , Gregory Markopoulos , Jonas Mekas , Willard Maas , Marie Menken , Curtis Harrington , Sidney Peterson , Lionel Rogosin , and Earle M. Pilgrim followed in a similar vein. Significantly, many of these filmmakers were the first students from the pioneering university film programs established in Los Angeles and New York . In 1946, Frank Stauffacher started

7448-595: The Travers collection of papers in the State Library of New South Wales , Australia. The relationship between Travers and Disney is detailed in Mary Poppins She Wrote , a biography of Travers by Valerie Lawson. The biography is the basis for two documentaries on Travers: The Real Mary Poppins and Lisa Matthews' The Shadow of Mary Poppins . Their relationship during the development of the film

7581-543: The actors from the background. This created a crisp, clean image and even allowed the partially transparent veil of Mary Poppins's costume to let through light from the background. The film received the Academy Award for Best Visual Effects in 1965 for this effect. Peter Menefee , one of the 12 dancing chimney sweeps supporting Bert, provided some insight into the film's choreography: The choreography wasn't really done until we got there and they mounted it on us. On

7714-403: The advertisement's requests but promises George that she will be firm with his children. Mary manipulates George into hiring her. Upstairs, Mary helps the children magically clean their nursery (" A Spoonful of Sugar "). While walking in a park, the trio encounters Mary's friend Bert, a jack of all trades working as a street painter . Mary transports the group into one of Bert's drawings. While

7847-448: The anti-everything cynicism... Was everything a bummer? Was everything a drag? Was every movie about some guy with problems?" In 1980, film historian/scholar Robert P. Kolker examined New Hollywood film directors in his book A Cinema of Loneliness: Penn, Kubrick, Coppola, Scorsese, Altman , and how their films influenced American society of the 1960s and 1970s. Kolker observed that "for all the challenge and adventure, their films speak to

7980-404: The bank (" The Life I Lead ") and places a newspaper advertisement for a stern, no-nonsense nanny. Jane and Michael present their own advertisement for a kind, sympathetic nanny (" The Perfect Nanny "), but George rips up their letter and throws the scraps in the fireplace. A strong wind draws the scraps up through the chimney and into the sky. The next day, several sour-faced nannies await outside

8113-488: The bank, the children meet George's boss, the elderly Mr. Dawes Sr., who advises Michael to invest his tuppence in the bank, ultimately snatching the coin out of Michael's hand (" Fidelity Fiduciary Bank "). Michael demands it back; other customers overhear the conflict, and they all begin demanding their own money back, causing a bank run . Jane and Michael flee the bank and get lost in the East End . Bert, now working as

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8246-504: The broom down. Even if it had a rubber point, you'd be all over the place. That was really hard. The film's choreographers were Dee Dee Wood and her husband Marc Breaux . Walt Disney attended the rehearsals for the rooftop scenes every day. The film features music and lyrics by brothers Richard M. Sherman and Robert B. Sherman , who took inspiration from Edwardian British music hall music. Irwin Kostal arranged and conducted

8379-419: The children ride on a carousel , Mary and Bert sing while strolling ("Jolly Holiday"). Bert and Mary then participate in a horse race , which Mary wins. Mary uses a nonsense word to describe her victory (" Supercalifragilisticexpialidocious "). When a thunderstorm dissolves Bert's drawings, the group is returned to London. While putting the children to bed, Mary sings a lullaby (" Stay Awake "). The next day,

8512-467: The construction of Walt Disney World . The film received universal acclaim from critics. Whitney Williams of Variety praised its musical sequences and Andrews' and Van Dyke's performances in particular. Time lauded the film, stating, "The sets are luxuriant, the songs lilting, the scenario witty but impeccably sentimental, and the supporting cast only a pinfeather short of perfection." Bosley Crowther , reviewing for The New York Times , described

8645-422: The contrast of that with the violence in the film: "In a sense, it is the absence of sadism — it is the violence without sadism — that throws the audience off balance at Bonnie and Clyde . The brutality that comes out of this innocence is far more shocking than the calculated brutalities of mean killers." Kael also noted the reaction of audiences to the violent climax of the movie, and the potential to empathize with

8778-499: The counterculture of the late 1960s." Easy Rider also affected the way studios looked to reach the youth market. The success of Midnight Cowboy , in spite of its "X" rating, was evidence for the interest in controversial themes at the time and also showed the weakness of the rating system and segmentation of the audience. For Peter Biskind, the new wave was foreshadowed by Bonnie and Clyde and began in earnest with Easy Rider . Biskind's book Easy Riders, Raging Bulls argues that

8911-435: The cultural field. While "experimental" covers a wide range of practice, an experimental film is often characterized by the absence of linear narrative, the use of various abstracting techniques—out-of-focus, painting or scratching on film, rapid editing—the use of asynchronous ( non-diegetic ) sound or even the absence of any sound track. The goal is often to place the viewer in a more active and more thoughtful relationship to

9044-670: The darker elements of humanity and society within the context of the American Dream in the mid-1960s to the early 1980s, with themes that were reflective of sociocultural issues and were centered around the potential meaninglessness of pursuing the American Dream as generation upon generation was motivated to possess it. In comparison, American Eccentric Cinema does not have a distinct context, its films show characters who are very individual and their concerns are very distinctive to their own personalities. The following

9177-577: The death of cinema and showed their new hypergraphical techniques; the most notorious example is Guy Debord 's Howlings in favor of de Sade ( Hurlements en Faveur de Sade ) from 1952. The Soviet filmmakers, too, found a counterpart to modernist painting and photography in their theories of montage . The films of Dziga Vertov , Sergei Eisenstein , Lev Kuleshov , Alexander Dovzhenko , and Vsevolod Pudovkin were instrumental in providing an alternative model from that offered by classical Hollywood . While not experimental films per se, they contributed to

9310-853: The discovery of American avant-garde in 1958 with Brakhage's films and many others European and American filmmakers. From 1947 to 1963, the New York-based Cinema 16 functioned as the primary exhibitor and distributor of experimental film in the United States. Under the leadership of Amos Vogel and Marcia Vogel, Cinema 16 flourished as a nonprofit membership society committed to the exhibition of documentary, avant-garde, scientific, educational, and performance films to ever-increasing audiences. In 1962, Jonas Mekas and about 20 other film makers founded The Film-Makers' Cooperative in New York City. Soon similar artists cooperatives were formed in other places: Canyon Cinema in San Francisco,

9443-451: The family out to fly it. At the park, the family encounters Mr. Dawes Sr.'s son, Mr. Dawes Jr., who reveals that his father died laughing at the joke (" Let's Go Fly a Kite "). Mr. Dawes Jr. says his father had never been happier and gratefully rehires (and promotes) George. Mary watches the family and decides her work is done. As Mary flies away, Bert looks up and says, "Goodbye, Mary Poppins. Don't stay away too long." The film's main basis

9576-472: The film Ballet Mécanique (1924), which has been described as Dadaist , Cubist , or Futurist . Duchamp created the abstract film Anémic Cinéma (1926). Alberto Cavalcanti directed Rien que les heures (1926), Walter Ruttmann directed Berlin: Symphony of a Metropolis (1927), and Dziga Vertov filmed Man with a Movie Camera (1929), experimental " city symphonies " of Paris , Berlin , and Kiev , respectively. One famous experimental film

9709-468: The film as a "most wonderful, cheering movie … for the visual and aural felicities they have added to this sparkling color film—the enchantments of a beautiful production, some deliciously animated sequences, some exciting and nimble dancing and a spinning musical score—make it the nicest entertainment that has opened at the Music Hall this year." For The Hollywood Reporter , James Powers applauded

9842-410: The film language of the avant-garde. Italy had a historically difficult relationship with its avant-garde scene, although, the birth of cinema coincided with the emerging of Italian Futurism . Potentially the new medium of cinema was a perfect match for the concerns of futurism, a renowned for promoting new aesthetics, motion, and modes of perception. Especially, given the futurist fascination with

9975-506: The film's development, suggesting the setting be changed from the 1930s to the Edwardian era . Pre-production and music creation took about two years. Travers was an adviser to the production, even being billed as the film's Consultant. However, she disapproved of the dilution of the harsher aspects of Mary Poppins' character, felt ambivalent about the music, and hated the use of animation so much that she ruled out any further adaptations of

10108-473: The film's period setting, was inspired by the Martin Scorsese classics Taxi Driver and The King of Comedy while Alexander Payne 's 2023 film The Holdovers took inspiration from Ashby's works. American Eccentric Cinema has been noted as influenced by this era. Both traditions have similar themes and narratives of existentialism and the need for human interaction. New Hollywood focuses on

10241-430: The film. At least through the 1960s, and to some extent after, many experimental films took an oppositional stance toward mainstream culture. Most experimental films are made on very low budgets, self-financed or financed through small grants, with a minimal crew or, often a crew of only one person, the filmmaker. Some critics have argued that much experimental film is no longer in fact "experimental" but has in fact become

10374-431: The first day of filming, the first thing we shot is the very last thing you see – where we're all dancing down the street at the end. That was hard because, although we had worked for almost a month and a half with the brooms and everything, we'd been working on a plywood floor. And all of a sudden, we get out and we're on a cobblestone street and there's supposed to be four of us tumbling right next to each other, and you put

10507-427: The futurists were amongst the first avant-garde filmmakers group devoted to the potential of the image, praising motion and aiming towards an anti-narrative aesthetic. As an example, Marinetti's quote: "The cinema is an autonomous art. The cinema must therefore never copy the stage. The cinema, being essentially visual, must above all fulfil the evolution of painting, detach itself from reality, from photography, from

10640-599: The gang of criminals in terms of their naiveté and innocence reflecting a change in expectations of American cinema. The cover story in Time magazine in December 1967, celebrated the movie and innovation in American New Wave cinema. This influential article by Stefan Kanfer claimed that Bonnie and Clyde represented a "New Cinema" through its blurred genre lines, and disregard for honored aspects of plot and motivation, and that "In both conception and execution, Bonnie and Clyde

10773-481: The graceful and solemn..." As exemplified in the quote, the image is the real subject, not the story or the acting, an approach and attitude that remain true for the whole history of experimental filmmaking. Anton Giulio Bragaglia is undoubtedly the most known filmmaker from the futurist movement. The United States had some avant-garde films before World War II , such as Manhatta (1921), by Charles Sheeler and Paul Strand , and The Life and Death of 9413:

10906-591: The height of the studio system, films were made almost exclusively on set in isolated studios. The content of films was limited by the Motion Picture Production Code, and though golden-age film-makers found loopholes in its rules, the discussion of more taboo content through film was effectively prevented. The shift towards a "new realism" was made possible when the Motion Picture Association of America film rating system

11039-404: The key elements of structural film are a fixed camera position, flicker effect, re-photography off screen, and loop printing. Artist Bruce Conner created early examples such as A Movie (1958) and Cosmic Ray (1962). As Sitney has pointed out, in the work of Stan Brakhage and other American experimentalists of early period, film is used to express the individual consciousness of the maker,

11172-523: The later Mary Poppins novels. She objected to a number of elements that made it into the film. Rather than original songs, she wanted the soundtrack to feature known standards of the Edwardian period in which the story is set. However, due to contract stipulations citing that he had final cut privilege on the finished print, Disney overruled her. Much of the Travers–Disney correspondence is part of

11305-461: The losses from expensive movie flops, led to innovation and risk-taking, allowing greater control by younger directors and producers. Therefore, in an attempt to capture that audience that found a connection to the "art films" of Europe, the studios hired a host of young filmmakers and allowed them to make their films with relatively little studio control. Some of whom, like actor Jack Nicholson and director Peter Bogdanovich , were mentored by "King of

11438-589: The members of BAFTA for inflicting on them the most atrocious cockney accent in the history of cinema." A chief executive of BAFTA responded, "We look forward to his acceptance speech in whatever accent he chooses on the night. We have no doubt it will be ' supercalifragilisticexpialidocious '." In a 2013 interview, Van Dyke would later state that Travers hated him and Andrews; she didn't think they were right. Filming took place between May and September 1963; post-production and animation took another eleven months. The scene in which Mary Poppins and Bert interact with

11571-842: The mid-1960s to a younger, more affluent, college-educated demographic: by the mid-1970s, 76% of all movie-goers were under 30, 64% of whom had gone to college. European films, both arthouse and commercial (especially the Commedia all'italiana , the French New Wave , the Spaghetti Western ), and Japanese cinema were making a splash in the United States – the huge market of disaffected youth seemed to find relevance and artistic meaning in movies like Michelangelo Antonioni 's Blowup , with its oblique narrative structure and full-frontal female nudity. The desperation felt by studios during this period of economic downturn, and after

11704-565: The movie a scathing review. "It is a cheap piece of bald-faced slapstick comedy," he wrote, "that treats the hideous depredations of that sleazy, moronic pair as though they were as full of fun and frolic as the jazz-age cut-ups in Thoroughly Modern Millie ..." Other notices, including those from Time and Newsweek magazines, were equally dismissive. Its portrayal of violence and ambiguity in regard to moral values, and its startling ending, divided critics. Following one of

11837-412: The narrative strategies characteristic of Hollywood films of the 1970s: Seventies cinema also dealt with masculine crises featuring flawed male characters, downbeat conclusions and pessimistic subject matters alongside hard-nosed depictions of a America reeling from tense conflicts like The Vietnam War and President Richard Nixon 's Watergate scandal . Thomas Schatz points to another difference with

11970-413: The negative reviews, Time magazine received letters from fans of the movie, and according to journalist Peter Biskind , the impact of critic Pauline Kael in her positive review of the film (October 1967, New Yorker ) led other reviewers to follow her lead and re-evaluate the film (notably Newsweek and Time ). Kael drew attention to the innocence of the characters in the film and the artistic merit of

12103-473: The only line: "Feed the birds, tuppence a bag." Disney cast Dick Van Dyke in the main supporting role of Bert after seeing his work on The Dick Van Dyke Show . After winning the role, Van Dyke lobbied to also play the senior Mr. Dawes. Disney felt he was too young for the part, but Van Dyke won him over after a screen test. Van Dyke had trouble with Bert's Cockney accent. English character actor J. Pat O'Malley provided some coaching; but although Van Dyke

12236-510: The part. Disney considered actor Stanley Holloway for the role of Admiral Boom, but it went to Reginald Owen, due to Holloway's commitment to My Fair Lady . Andrews also provided the voice in two other sections of the film: During " A Spoonful of Sugar ", she provided the whistling harmony for the robin, and she was also one of the Pearly singers during "Supercalifragilisticexpialidocious". David Tomlinson , besides playing Mr. Banks, provided

12369-436: The performances, visual effects, musical score, production design, and choreography, and commented: " Mary Poppins is a picture that is, more than most, a triumph of many individual contributions. And its special triumph is that it seems to be the work of a single, cohesive intelligence." Ann Guerin of Life criticized the creative departures from the novels, particularly the "Jolly Holiday" sequence. She noted that "[s]ome of

12502-451: The period as an interim movement in American cinema where a conjunction of forces led to a measure of freedom in filmmaking, while Todd Berliner says that 70s cinema resists the efficiency and harmony that normally characterize classical Hollywood cinema and tests the limits of Hollywood's classical model. According to author and film critic Charles Taylor ( Opening Wednesday at a Theater or Drive-In Near You ), he stated that "the 1970s remain

12635-526: The period's unusual narrative practices. The 1970s, Berliner says, marks Hollywood's most significant formal transformation since the conversion to sound film and is the defining period separating the storytelling modes of the studio era and contemporary Hollywood. New Hollywood films deviate from classical narrative norms more than Hollywood films from any other era or movement. Their narrative and stylistic devices threaten to derail an otherwise straightforward narration. Berliner argues that five principles govern

12768-399: The popular misconception in both the art world and Hollywood that the avant-garde and the commercial never meet. Another challenge to that misconception is that late in life, after their Hollywood careers had ended, both Nicholas Ray and King Vidor made avant-garde films. Film theorist P. Adams Sitney offers a concept of "visionary film", and he invented a few genre categories, including

12901-434: The practices of mainstream commercial and documentary filmmaking . Avant-garde is also used, for the films of the sort shot in the twenties in France, Germany or Russia, to describe this work, and " underground " was used in the sixties, though it has also had other connotations. Today the term "experimental cinema" prevails, because it's possible to make experimental films without the presence of any avant-garde movement in

13034-406: The precursor to the blockbuster phenomenon). Writing in 1968, critic Pauline Kael argued that the importance of The Graduate was in its social significance in relation to a new young audience, and the role of mass media, rather than any artistic aspects. Kael argued that college students identifying with The Graduate were not too different from audiences identifying with characters in dramas of

13167-483: The previous decade. She also compared this era of cinema to "tangled, bitter flowering of American letters in the 1850s". Filmmaker Quentin Tarantino identified in his 2022 book Cinema Speculation that: "regular moviegoers were becoming weary of modern American movies. The darkness, the drug use, the embrace of sensation-the violence, the sex, and the sexual violence. But even more than that, they became wear of

13300-460: The production code enabled New Hollywood films to feature anti-establishment political themes, the use of rock music, and sexual freedom deemed "counter-cultural" by the studios. The youth movement of the 1960s turned anti-heroes like Bonnie and Clyde and Cool Hand Luke into pop-culture idols, and Life magazine called the characters in Easy Rider "part of the fundamental myth central to

13433-594: The profits from the film were used to build the Walt Disney World Monorail System ; reflecting this is the MAPO (MAry POppins) safety system included on all Disney monorails. Walt Disney World's Railroad steam locomotives are also fitted with a boiler safety device marked MAPO . Never at ease with the handling of her property by Disney or the way she felt she had been treated, Travers never agreed to another Poppins/Disney adaptation. So fervent

13566-583: The right and responsibility of every actor or crew member to yell, 'Cut!' The films of New Hollywood influenced future mainstream and independent filmmakers such as Tarantino, Paul Thomas Anderson and Noah Baumbach . They also influenced both the Poliziotteschi genre films in Italy and a decade later the Cinéma du look movement in France. Todd Phillips 's 2019 DC Comics adaptation Joker , alongside

13699-627: The score. Buena Vista Records released the original soundtrack in 1964 on LP and reel-to-reel tape. Even though RCA Victor Records released a record club edition, it is considered the pivotal release for DIsney's in-house record division, selling in the millions. The songs were among the most covered by famous artists like Johnny Mathis , Louis Prima , and Ray Conniff , and even cartoon characters like The Chipmunks and The Flintstones . Mary Poppins premiered on August 27, 1964, at Grauman's Chinese Theatre in Los Angeles. The film's poster

13832-434: The sensation of speed and the dynamism of modern life. However, what is left of futurist cinema is mostly on paper, many films very lost, and other never got made. Amongst those literatures it is worth noting The Futurist Cinema (Marinetti et al., 1916), Technical Manifesto of Futurist Literature (1912), The Variety Theatre (1913), The Futurist Synthetic Theatre (1915), and The New Religion – Morality of Speed (1916). Perhaps,

13965-606: The sequences have real charm, and perhaps the kids will eat them up. But speaking as a grownup, I found a little bit went a long way." She concluded, "With a little more restraint and a little less improvement on the original, the film's many charms would have been that much better." On the review aggregator website Rotten Tomatoes , the film holds an approval rating of 97% based on 59 reviews, with an average rating of 8.4/10. The website's critics consensus reads, "A lavish modern fairy tale celebrated for its amazing special effects, catchy songs, and Julie Andrews's legendary performance in

14098-416: The studio and eventually on the audience. The new generation of Hollywood filmmakers was most importantly, from the studios' view, young, therefore able to reach the youth audience they were losing. This collective of actors, screenwriters and directors, dubbed the "New Hollywood" by the press, briefly changed the business from the producer-driven Hollywood system of the past as Todd Berliner has written about

14231-417: The studio's dime)." This era was also infamous for its excessive decadence and on-set mishaps. Incidents plaguing the behind-the-scenes of some of the horror films from this era (such as Rosemary's Baby , The Exorcist , Twilight Zone: The Movie and The Omen ) were also the subjects for the docuseries Cursed Films . Even Spielberg, who co-directed/co-produced Twilight Zone with John Landis ,

14364-878: The subjectivity of the protagonist in The Graduate and the passage of time in the famous match cut from 2001: A Space Odyssey . Also influential were the works of experimental filmmakers Arthur Lipsett , Stan Brakhage , Bruce Baillie , Jordan Belson , John Whitney , Scott Bartlett , Maya Deren and Kenneth Anger with their combinations of music and imagery and each were cited by George Lucas , Francis Ford Coppola and Martin Scorsese as influences. The New Hollywood generation of directors and screenwriters (each educated at either USC , UCLA , NYU and AFI ) such as Coppola, Lucas, Scorsese, Steven Spielberg , John Milius and Paul Schrader were sometimes jokingly labeled as "Movie Brats" or " Young Turks ". The end of

14497-475: The success of Mary Poppins , Doctor Zhivago and The Sound of Music , put great strain on the studios. By the time the Baby Boomer generation started to come of age in the 1960s, " Old Hollywood " was rapidly losing money; the studios were unsure how to react to the much-changed audience demographics. The change in the market during the period went from a middle-aged high school-educated audience in

14630-497: The third — and, to date, last — great period in American movies". Author and film critic David Thomson also shared similar sentiment to the point of dubbing the era "the decade when movies mattered". Author A.D. Jameson ( I Find Your Lack of Faith Disturbing ), on the other hand, claimed that Star Wars was New Hollywood's finest achievement that actually embodied the characteristics of the respected "serious, sophisticated adult films". Steven Hyden, writing for Grantland , called

14763-403: The title role." Metacritic , which uses a weighted average , assigned the film a score of 88 out of 100, based on 13 critics, indicating "universal acclaim". Critic Drew Casper summarized the impact of Mary Poppins in 2011: Disney was the leader, his musical fantasies mixing animation and truly marvelous f/x with real-life action for children and the child in the adult. Mary Poppins (1964)

14896-522: The trio and Bert visit Mary's odd uncle, Albert, whose uncontrollable laughter has caused him to float (" I Love to Laugh "). George becomes annoyed by the household's cheery atmosphere and threatens to fire Mary. She persuades him to take the children to his workplace. That evening, Mary sings a lullaby about a woman who sells bird food on the steps of the St. Paul's Cathedral (" Feed the Birds "). The next day at

15029-457: The tuppence. Stricken with regret, George slowly walks through London to the bank, where he is given a humiliating cashiering . Lost for words, George exclaims "Supercalifragilisticexpialidocious", tells a joke Uncle Albert had told the children, and happily walks home. When Mr. Dawes Sr. understands the joke, he floats up into the air, laughing. The next day, Mary Poppins tells the children she must leave. George mends his children's kite and takes

15162-452: The visual arts flourished. The Dadaists and Surrealists in particular took to cinema. René Clair 's Entr'acte (1924) featuring Francis Picabia , Marcel Duchamp , and Man Ray , and with music by Erik Satie , took madcap comedy into nonsequitur. Artists Hans Richter , Jean Cocteau , Marcel Duchamp, Germaine Dulac , and Viking Eggeling all contributed Dadaist/Surrealist shorts. Fernand Léger , Dudley Murphy , and Man Ray created

15295-555: The voices of Mary's talking umbrella, Admiral Boom's first mate, and numerous other voice-over parts. During the "Jolly Holiday" sequence, the three singing Cockney geese were all voiced by Marni Nixon , who regularly sang for actresses with substandard singing voices. (Nixon later provided the singing voice for Hepburn in My Fair Lady, and played one of Andrews' fellow nuns in The Sound of Music .) Andrews later beat Hepburn for

15428-431: The way for the studio to relinquish almost complete control to these innovative young filmmakers. In the mid-1970s, idiosyncratic, startling original films such as Paper Moon , Dog Day Afternoon , Chinatown , and Taxi Driver , among others, enjoyed enormous critical and commercial success. These successes by the members of the New Hollywood led each of them in turn to make more and more extravagant demands, both on

15561-401: The way major studios approached filmmaking. In New Hollywood films, the film director, rather than the studio, took on a key authorial role. The definition of "New Hollywood" varies, depending on the author, with some defining it as a movement and others as a period. The span of the period is also a subject of debate, as well as its integrity, as some authors, such as Thomas Schatz, argue that

15694-572: The work more widely known and more accessible. Beginning in 1946, Frank Stauffacher ran the "Art in Cinema" program of experimental and avant-garde films at the San Francisco Museum of Modern Art . From 1949 to 1975, the Knokke-Le-Zoute Experimental Film Festival  [ fr ] —located in Knokke-Heist , Belgium —was the most prominent festival of experimental cinema in the world. It permits

15827-498: Was a hit with audiences. The film eventually won Academy Awards for Best Supporting Actress ( Estelle Parsons ) and Best Cinematography . When Jack L. Warner , then-CEO of Warner Bros. , first saw a rough cut of Bonnie and Clyde in the summer of 1967, he hated it. Distribution executives at Warner Brothers agreed, giving the film a low-key premiere and limited release. Their strategy appeared justified when Bosley Crowther , middlebrow film critic at The New York Times , gave

15960-418: Was also dramatized in the 2013 Disney film Saving Mr. Banks . In March 1961, Disney announced that it might cast Hayley Mills and Mary Martin in the film. Julie Harris , Angela Lansbury , and Bette Davis were considered for the role of Mary and Cary Grant was Walt's favorite choice for the role of Bert; Laurence Harvey and Anthony Newley were also considered for Bert. Julie Andrews , who

16093-507: Was also shown on its 2006–2012 ABC Family airings), but the DVD included the original soundtrack as an audio option. On January 27, 2009, the film was rereleased on DVD as a 45th anniversary edition, with more language tracks and special features (though the film's "Enhanced Home Theater Mix" was not included). Walt Disney Studios Home Entertainment released it on Blu-ray as the 50th Anniversary Edition on December 10, 2013. In February 2024,

16226-470: Was also then known primarily as a producer of animated films, and had yet to produce a major live-action work. For more than 20 years, he made periodic efforts to convince Travers to release the rights, including visiting her home in Chelsea , London. He finally succeeded in 1961, although Travers demanded and obtained script-approval rights. The Sherman Brothers composed the music score and were involved in

16359-765: Was cheaper (no sets need to be built) New Hollywood filmmakers rapidly developed the taste for location shooting, resulting in a more naturalistic approach to filmmaking, especially when compared to the mostly stylized approach of classical Hollywood musicals and spectacles made to compete with television during the 1950s and early 1960s. The documentary films of D.A. Pennebaker , the Maysles Brothers and Frederick Wiseman , among others, also influenced filmmakers of this era. However, in editing, New Hollywood filmmakers adhered to realism more liberally than most of their classical Hollywood predecessors, often using editing for artistic purposes rather than for continuity alone,

16492-515: Was her dislike of the Disney adaptation, and of how she felt she had been treated during the production, that when producer Cameron Mackintosh approached her about the stage musical in the 1990s, she acquiesced on the conditions that he use only English-born writers and that no one from the film production be directly involved. On December 19, 2018, Walt Disney Pictures released the film Mary Poppins Returns . The film takes place 25 years after

16625-449: Was his plum. ... the story was elemental, even trite. But utmost sophistication (the chimney pot sequence crisply cut by Oscared "Cotton" Warburton) and high-level invention (a tea party on the ceiling, a staircase of black smoke to the city's top) characterized its handling. Mary Poppins is widely considered Walt Disney 's "crowning achievement". It was the only Disney film to receive a Best Picture nomination in his lifetime. Some of

16758-548: Was introduced and location shooting was becoming more viable. New York City was a favorite spot for this new set of filmmakers due to its gritty atmosphere. Because of breakthroughs in film technology (e.g. the Panavision Panaflex camera, introduced in 1972; the Steadicam , introduced in 1976), the New Hollywood filmmakers could shoot 35mm camera film in exteriors with relative ease. Since location shooting

16891-533: Was making her feature film acting debut after a successful stage career, was given the prime role of Mary Poppins soon after she was passed over by Jack L. Warner and replaced with Audrey Hepburn for the role of Eliza Doolittle in his screen adaptation of My Fair Lady , even though Andrews originated the role on Broadway. When Disney approached Andrews about playing Poppins, she was three months pregnant. Disney assured her that they were willing to postpone filming until she had given birth so that she could take

17024-457: Was painted by artist Paul Wenzel . Travers was not extended an invitation to the event, but managed to obtain one from a Disney executive. It was at the after-party that Richard Sherman recalled her walking up to Disney and loudly announcing that the animated sequence had to go. Disney responded, "Pamela, the ship has sailed" and walked away. Mary Poppins was released in late 1980 on VHS , Betamax, CED and LaserDisc. The first version features

17157-402: Was re-released theatrically in 1973, in honor of Walt Disney Productions' 50th anniversary, and earned an estimated additional $ 9 million in rentals in the United States and Canada. It was released once more in 1980 and grossed $ 14 million. It returned a total lifetime rental of $ 45 million in the United States and Canada to Disney from a gross of over $ 102 million. It was

17290-497: Was released on October 20, 2013. A sequel, Mary Poppins Returns , was released on December 19, 2018. In 1910, Winifred Banks returns to her home in London after a suffragette rally (" Sister Suffragette ") and learns that her children, Jane and Michael, have run away, "for the fourth time this week", which prompted their nanny to quit her job. That night, Winifred's strict and ambitious husband George returns home from his job at

17423-764: Was rereleased three times as part of the Walt Disney Masterpiece Collection. In 1998, the film became Disney's first feature film released on DVD. On July 4, 2000, it was released on VHS and DVD as part of the Gold Classic Collection. On December 14, 2004, it had a 2-disc DVD release in a Digitally Restored 40th Anniversary Edition as well as its final issue in the VHS format. The film's audio track featured an "Enhanced Home Theater Mix" consisting of updated sound effects, improved fidelity and mixing, and some enhanced music (this version

17556-431: Was so disgusted by the latter's handling of a deadly helicopter accident that resulted in the death of three actors, that he ended their friendship and publicly called for the end of New Hollywood. When approached by the press about the accident, he stated: "No movie is worth dying for. I think people are standing up much more now, than ever before, to producers and directors who ask too much. If something isn't safe, it's

17689-487: Was the first novel in the Mary Poppins series . According to the 40th Anniversary DVD release of the film in 2004, Disney's daughters fell in love with the Mary Poppins books and made Disney promise to make a film based on them. He first attempted to purchase the film rights from P. L. Travers as early as 1938, but Travers repeatedly refused; she did not believe a film version would do justice to her books. Disney

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