Putting the Castle on the Hill

Peter Ellenshaw (1913-2007)

Above, we see Huntingdon Manor magically emerge from a drawing to 'reality' from the opening scene of Walt Disney's Story of Robin Hood and his Merrie Men (1952). Later, there are some stunning views of Nottingham Castle from the archery contest, Sherwood Forest, and much more. But how was it done?

Nottingham's Archery Contest

One of the many elements that gave Disney's live-action film such a sumptuous quality was the matte effects of Peter Ellenshaw (1913-2007). 

In the days before CGI, filmmakers relied on ‘matte painting’ as a cost-effective substitute for building sets or filming on location. Matte paintings were created by artists using paints or pastels on large sheets of glass or integrated with the live-action footage via double exposure.

A camera set up for a matte shot

Its foremost practitioner was Peter Ellenshaw, who joined Denham Studios in 1935 as an uncredited assistant to his stepfather, W. Percy Day, the inventor of matte painting on such things as Things To Come (1936) and The Thief Of Bagdad (1940).

In 1947, he created the wonderful mountain scenery for Michael Powell’s and Emeric Pressburger’s Black Narcissus. Martin Scorsese, a big fan, said that watching it was ‘like being bathed in colour.’

After Black Narcissus, Ellenshaw worked on over 30 films for Walt Disney Studios. He began working as a freelancer for Walt Disney in 1947 and became involved in making Treasure Island, the studio's first live-action movie. The great art director Carmen Dillon recommended Peter’s work to Walt for his next project in England, The Story of Robin Hood and his Merrie Men in 1952. 

The Earl of Huntingdon rides to Nottingham Castle

                                    

Above, we see Ellenshaw's beautiful artwork on glass in the scene where the Earl of Huntingdon approaches Nottingham Castle. Below, we see the original scene as the riders approach the hill before Ellenshaw applies his masterful brushwork. 

Ellenshaw did fifty-two matte paintings for The Story of Robin Hood.

        

The riders approach the hill before the painted castle

Marian in Disguise

 Walt Disney’s Story of Robin Hood and his Merrie Men has many scenes that still leave me in awe. One that I haven’t mentioned before is when Maid Marian (Joan Rice) decides to escape from Nottingham Castle disguised as a pageboy. 

Giles the pageboy, is walking down the castle steps when he notices Marian looking gloomily out from an upper corridor window. He asks why she is looking so glum? She explains that the Queen has forbidden her to leave the castle. Giles wishes that Prince John would forbid him as he feels he has had to walk as far as Jerusalem and back making trips to Nottingham. He sighs and says he is on their way now to fetch the Sheriff.

This gives Marian the idea to borrow Giles's cloak and escape from the castle to find Robin.

The images above demonstrate how art director Carmen Dillon (1908-2000) and matte artist Peter Ellenshaw (1913-2007) managed to create a sense of isolation and imprisonment amidst the castle's towering stone walls and pillars. 

The secret of Carmen Dillon's Oscar-winning success was her meticulous pre-planning and prefabrication. The grey ‘stone’ walls of Nottingham Castle were really plaster, cast in giant moulds and rigged onto movable steel scaffolding, while the forbidding curtain walls and towers, which looked as if they would defy an army, were in fact perspective cutouts. This was just one of twenty-five interior sets designed by her.

The four images in this article also demonstrate the visual beauty of this film. A lot of credit must go to legendary matte artist Peter Ellenshaw- another Disney legend, working many decades before the invention of computer-generated imagery. 

Ellenshaw's artistic skill, together with Carmen Dillon's art department created that storybook quality to the film. It is not surprising it was voted one of the best Technicolor movies ever made in Britain. Disney Magic!

The Disney Magic

Prince John watches his brother King Richard leave on Crusade

 

Prince John (Hubert Gregg) watches his brother King Richard and his Crusading army leave for the Holy Land. One of my favourite scenes from Walt Disney's Story of Robin Hood and his Merrie Men (1952). This film contained so many visual feasts! It left me sitting spellbound in my local cinema.

It is difficult to describe to the younger generation what it was like growing up in the 1950s and 1960s. Our television was in grainy black a white, with a very small screen. Hi-definition and recording a programme off of it was something yet to be invented.

So visiting a cinema was not only a treat but an immersive experience, especially if the film was in colour!

Nottingham Castle

One of the first TV programmes I can remember watching was the Richard Greene series The Adventures of Robin Hood (1955-1959). I was also a huge fan of everything Walt Disney produced. So, when I had the chance to see Disney's live-action movie The Story of Robin Hood at my local Granada Cinema, I was buzzing with excitement. 

I saw it three times that week! 

A disguised Marian finds Alan a Dale

Disney's Story of Robin Hood inspired an interest in the outlaw's legend that has never left me. It also led to my love of history and genealogy. 

So, I started this blog as a way of making others aware of this now almost forgotten Technicolor masterpiece. 

But what made this version of the legend so special for me? 

Nottingham Archery Tournament

Where do I begin? To start with it oozes quality, in the host of actors, chosen by casting director Maud Spector. Stars like Peter Finch, Richard Todd, James Hayter, Martitia Hunt and Joan Rice- to name a few. The crews behind the camera are; legendary art director Carman Dillon and directors Ken Annakin and Alex Bryce. Also Director of Photography Guy Green, later to become co-founder of the British Society of Cinematographers.

I could go on and on.

It was Disney legend Perce Pearce who was chosen by Walt Disney to supervise and produce the film in England. It would be the last major movie to be made in Denham Studios in Buckinghamshire using some of its huge sound stages.

Friar Tuck

Perce Pearce, Richard Todd, Carmen Dillon, scriptwriter Lawrence Edward Watkin and other members of the production unit made several research visits to Nottinghamshire and its archives during the Spring of 1951. It is this close attention to detail and respect for the legend that I admire and shows in the final cut.

The five images in this article demonstrate the visual beauty of this film, they were created by the legendary matte artist Peter Ellenshaw- another Disney legend, working many decades before the invention of computer generated imagery. 

Ellenshaw's artistic skill, together with Carmen Dillon's art department created that storybook quality to the film. It is not surprising it was voted one of the best Technicolor movies ever made in Britain. Disney Magic!

 

Richard the Lionheart departs on Crusade

Hubert Gregg as Prince John watches his brother leave on Crusade

A month ago I posted about Peter Ellenshaw (1913-2007) and his amazing matte work for Walt Disney (it can be read here). The image above is a perfect example - and captures one of my favourite scenes from the movie.

As the sun sets, Hubert Gregg (1914-2004) as Prince John, watches from the turrets of Nottingham Castle as his brother King Richard I departs with his knights for the Holy Land. The background music accompanying the scene contained a Gregorian chant that I have been unable to trace.

The day I saw this, in all its Technicolor splendour on the silver screen at my local cinema, I was enthralled. And I have loved this movie ever since.

Before computer-generated-imagery, or CGI as it is called, 'matte' paintings were used. These were created by artists using paints or pastels on large sheets of glass or integrating with the live-action footage via a double exposure. Peter Ellenshaw used this technique flawlessly on more than 30 films for Walt Disney Studios. He began working as a freelancer for Walt Disney in 1947 and became involved in the making of Treasure Island, the studios first live-action movie. It was the art director Carmen Dillon (1908-2000) that recommended Peter’s work to Walt Disney, for his next project in England, ‘The Story of Robin Hood and his Merrie Men’ in 1952.

Thanks to Laurence we now know that on Robin Hood, Peter Ellenshaw actually painted 52 matte shots. A technique that impressed the film’s producer Ken Annakin so much, that in his next picture for Disney, The Sword and The Rose, he used 64 of Ellenshaw’s fine matte work.

So began Peter’s long career with the Disney Studios and a 30 year friendship with Walt Disney himself, of whom he regarded as a 'wonderful inspiration'. Ellenshaw was officially designated a 'Disney Legend' in 1993.

Ellenshaw's Matte Magic

Peter Ellenshaw

One of the many elements that gave Walt Disney's live action film The Story of Robin Hood such a sumptuous quality were the matte effects of Peter Ellenshaw (1913-2007). We have looked at the life and work of Ellenshaw before on this blog and there are now over 10 pages on the subject here. But recently Neil has sent more examples of Ellenshaw's art work.

Below is an article that appeared in The Daily Mail describing the art of matte painting:

“Before computer-generated special effects, film-makers relied on ‘matte painting’ as a cheap substitute for building sets or filming on location. Matte paintings were made by artists using paints or pastels on large sheets of glass or integrating with the live-action footage via a double exposure.

Its foremost practitioner was Peter Ellenshaw (1913-2007), who joined Denham Studios in 1935 as an uncredited assistant to his stepfather, W. Percy Day, the inventor of matte painting on such things as Things To Come (1936) and The Thief Of Bagdad (1940).

In 1947, he created the wonderful mountain scenery for Michael Powell’s and Emeric Pressburger’s Black Narcissus. Martin Scorsese, a big fan, said that watching it was ‘like being bathed in colour.’”

***

After Black Narcissus, Ellenshaw worked on more than 30 films for Walt Disney Studios. He began working as a freelancer for Walt Disney in 1947 and became involved in the making of Treasure Island, the studios first live-action movie. It was the great art director Carmen Dillon that recommended Peter’s work to Walt Disney, for his next project in England, ‘The Story of Robin Hood and his Merrie Men’ in 1952.

Walt Disney and Peter Ellenshaw

"Peter Ellenshaw is a clever young painter,” Carmen Dillon said, “and has the backing of his father-in-law, Poppa Day, who has been doing optical tricks and mattes with Korda for many years.” Walt Disney was interested and replied, “Good! We’ll paint all the long shots of medieval Nottingham, the castle, Richard going to the Crusades, etc. on glass. They’ll be much more fun than the real thing.”

Nottingham before and after Ellenshaw's work

On Robin Hood, Peter Ellenshaw eventually painted 52 matte shots. A technique that impressed the film’s producer Ken Annakin so much, that in his next picture for Disney, The Sword and The Rose, he used 64 of Ellenshaw’s fine matte work.

So began Peter’s long career with the Disney Studios and a 30 year friendship with Walt Disney himself, of whom he regarded as a wonderful inspiration. Ellenshaw was officially designated a 'Disney Legend' in 1993.

Neil says:

"Just attaching these that you may have seen – I certainly haven’t – from The Story of Robin Hood and His Merrie Men 1952.
Some Matte Shots – before and after – that were so good I had never imagined that they were mattes at all. I am sure you will agree.
This is staggering work to me – and so impressive.

Trouble is it spoils things in a way because I always thought that the shots of Robins escape at the river scene was all a real location that I have even been to look for."

The pond becomes a river

I agree with Neil, some of the scenes I thought were 'real' locations, were in fact created by Ellenshaw. Above is a fine example. The first image is possibly one of the ponds used by Alex Bryce's second unit at Burnham Beeches. In the next shot is the same spot transformed by Peter Ellenshaw's matte magic.

Robin reaches a different riverbank

Above is another scene from Robin Hood's escape from the sheriff. This time we see the outlaw crossing the river on horseback. In the second image Ellenshaw has added a much steeper and more tree-lined bank.

Nottingham town square

In Neil's third example of Peter Ellenshaw's work (above), we are in Nottingham town square. This is the moment King Richard's ransom money is jubilantly carried off to the castle. The scene has been filmed on one of the giant sound stages in Denham Studios. But the matte process transports outside into the sunlight.

Construction of the final scene

The last series of images show the construction of the final scene of the movie. Top right is just the ground shot in which Alan a Dale walks. Around that image Peter Ellenshaw has painted trees and a beautiful sunset. And it is in this evocative closing scene the minstrel strolls off into history spreading the legend of Robin Hood.

A very big thank you to Neil Vessey for sharing these fascinating images with us. Don't forget to visit Neil's own website Films of The Fifites.

Sunset Over Sherwood Forest

Peter Ellenshaw worked on over 30 films for Walt Disney. His beautiful matte paintings created the fantasy worlds that were essential in the days before computer special effects. On Disney’s Story of Robin Hood he painted twelve matte shots-and one image in particular always stands out for me. It is the final shot in which Alan a Dale walks into the sunset playing his lute.

On my last visit to Sherwood Forest I was determined to see if I could emulate that particular image. So I waited patiently by the entrance to the Visitor Centre-camera ready. Below is my attempt at capturing that special moment in the film as the sun sets over the woodland.

Sherwood is a magical place, full of legend, natural beauty and well worth a visit. Once stepping along the winding paths, listening to the birdsong and visiting the sun dappled glades it is very easy to be transported back to the world of Robin Hood.

Below are some more pictures I have taken during my visits to what has become known as England’s heart of oak-Sherwood Forest.

Trees struck by lightening

A forest glade

Sunrise in Sherwood

 

If you would like to see more of my pictures, please visit Tony's Tripod.

Peter Ellenshaw

We have recently discussed on here the incredible talent of the matte artist Peter Ellenshaw (1913-2007).

Before computer-generated special effects, film-makers relied on ‘matte painting’ as a cheap substitute for building sets or filming on location. Matte paintings were made by artists using paints or pastels on large sheets of glass or integrating with the live-action footage via a double exposure.

Its foremost practitioner was Peter Ellenshaw who joined Denham Studios in 1935 as an uncredited assistant to his stepfather, W. Percy Day, the inventor of matte painting on such things as Things To Come (1936) and The Thief Of Bagdad (1940).

In 1947, he created the wonderful mountain scenery for Michael Powell’s and Emeric Pressburger’s Black Narcissus. Martin Scorsese, a big fan, said that watching it was ‘like being bathed in colour.’

After Black Narcissus, Ellenshaw worked on more than 30 films for Walt Disney Studios. He began working as a freelancer for Walt Disney in 1947 and became involved in the making of Treasure Island, the studios first live-action movie. It was the great art director Carmen Dillon that recommended Peter’s work to Walt Disney, for his next project in England, ‘The Story of Robin Hood and his Merrie Men’ in 1952.

On Robin Hood, Peter Ellenshaw eventually painted twelve matte shots. A technique that impressed the film’s producer, Ken Annakin so much, that in his next picture for Disney, ‘The Sword and The Rose’, he used seventy five of Ellenshaw’s fine matte work.

So began Peter’s long career with the Disney Studios and a 30 year friendship with Walt Disney himself, of whom he regarded as a wonderful inspiration. Ellenshaw was officially designated a ‘Disney Legend' in 1993.

Quite a while ago Neil wrote to me about a documentary called Ellenshaw Under Glass. which was available on YouTube that not only described the fascinating life and breath taking talent of Peter Ellenshaw, but showed the technique of matte painting.

Below are the clips from Youtube; I am sure you will find it very interesting.

Picture Strip 7 : Walt Disney's Story of Robin Hood

We have reached one of my favourite scenes in the film, when Robin and his father walk away into Sherwood Forest with Nottingham Castle perched menacingly on the hill in the background. It is Peter Ellenshaw’s magnificent artistry at its very best and Laurence has captured the image perfectly in this week’s edition of his hugely popular picture strip.

To read more about Peter Ellenshaw, the master of Matte Painting, or catch up with earlier editions of Laurence’s picture strip, please click on the relevant labels.

Peter Ellenshaw Master of 'Matte'

Above is an example of the beautiful ‘matte’ work that was used by Peter Ellenshaw for Walt Disney’s Story of Robin Hood (1952). The image was kindly sent in by Neil, from his copy of ‘Ellenshaw Under Glass’ and shows how the master of matte painting created his illusions. In the picture above from ‘Robin Hood’ (wrongly described in the book as from The Sword and The Rose) we see Queen Eleanor, Maid Marian and the Archbishop of Canterbury ride alongside the River Thames and into the Tower of London. In reality the only part of the set used, was the road in which the horses had to gallop along and some reflections in the water. The entire castle, the bridge, and the typical British sky were all painted into the final scene by Peter Ellenshaw.

An interesting article recently in The Daily Mail described the art of matte painting:

“Before computer-generated special effects, film-makers relied on ‘matte painting’ as a cheap substitute for building sets or filming on location. Matte paintings were made by artists using paints or pastels on large sheets of glass or integrating with the live-action footage via a double exposure.

Its foremost practitioner was Peter Ellenshaw (1913-2007), who joined Denham Studios in 1935 as an uncredited assistant to his stepfather, W. Percy Day, the inventor of matte painting on such things as Things To Come (1936) and The Thief Of Bagdad (1940).

In 1947, he created the wonderful mountain scenery for Michael Powell’s and Emeric Pressburger’s Black Narcissus. Martin Scorsese, a big fan, said that watching it was ‘like being bathed in colour.’”

After Black Narcissus, Ellenshaw worked on more than 30 films for Walt Disney Studios. He began working as a freelancer for Walt Disney in 1947 and became involved in the making of Treasure Island, the studios first live-action movie. It was the great art director Carmen Dillon that recommended Peter’s work to Walt Disney, for his next project in England, ‘The Story of Robin Hood and his Merrie Men’ in 1952.

“Peter Ellenshaw is a clever young painter,” Dillon said, “and has the backing of his father-in-law, Poppa Day, who has been doing optical tricks and mattes with Korda for many years.” Walt Disney was interested and replied, “Good! We’ll paint all the long shots of medieval Nottingham, the castle, Richard going to the Crusades, etc. on glass. They’ll be much more fun than the real thing.”

On Robin Hood, Peter Ellenshaw eventually painted twelve matte shots. A technique that impressed the film’s producer, Ken Annakin so much, that in his next picture for Disney, ‘The Sword and The Rose’, he used seventy five of Ellenshaw’s fine matte work.

So began Peter’s long career with the Disney Studios and a 30 year friendship with Walt Disney himself, of whom he regarded as a wonderful inspiration. Ellenshaw was officially designated a ‘Disney Legend' in 1993.

 To read more about Peter Ellenshaw, Denham Studios, Carmen Dillon, Behind The Camera on this blog, please click on the relevant Label below.

Peter Ellenshaw's Magic!

These before and after shots, from the The Sword and the Rose, were sent to me by Neil. They are a perferct example of the wonderful skill of Walt Disney’s award winning matte artist and special effects designer, Peter Ellenshaw (1913-2007). Matte paintings are usually paintings made on glass, fixed to the camera. There are certain holes left in the painting so the camera can see through the glass and into the set, thus creating the illusion that the set and the painting are one and the same.

Ellenshaw’s magnificent artwork, gave a picture-book quality to Walt Disney’s live-action films, like the Story of Robin Hood, Treasure Island and Mary Poppins. It also enabled art directors, like Carmen Dillon to create scenes that could be more impressive and realistic- decades before computer technology.

Peter Ellenshaw was made an official Disney Legend in 1993.

To read more about Peter Ellenshaw and his matte work, please click on the Peter Ellenshaw label.

Peter Ellenshaw Paints Disneyland

After Peter Ellenshaw’s success with his wonderful Matte work and special effects on Walt Disney’s live action movies, such as Treasure Island, The Story of Robin Hood and Sword and the Rose - Fred Leahy, (the future production manager on 20,000 Leagues under the Sea) asked him if he would be interested in working at the Disney Studios in Hollywood.

Ellenshaw was uncertain; he later described the offer as like, ‘a risky handshake deal’ - a vague promise of work. He had to consider his wife Bobbie and his young son Harrison. But he was ambitious and work in England was becoming increasingly hard to find. So after a great deal of thought he sent a message of acceptance to Leahy, sold-up and set of by ship to America.

The journey by train to Los Angeles was a long one and on arrival, Ellenshaw took a taxi to Hollywood, mistakenly thinking that the Disney Studios were based there. They were in fact at Burbank.

Eventually he met up once again with Fred Leahy who took him to meet Walt Disney. When the legendary film producer saw him he stunned the artist with the comment, “Hi Peter! What are you doing here?”

Disney went on to explain that production on 20,000 Leagues had been held back until they had adjusted the story line. Peter Ellenshaw was in a state of shock. He had sold everything to work for Walt in America.

But Disney turned to Fred Leahy and said the ‘magic’ words, “We’ll find something.”

One of Ellenshaw’s first assignments, in his new office in the upper floor of the Animation Building, would also be one of the most historic. It would be to paint for Walt Disney a ‘conceptual rendering of something called Disneyland.’ So Ellenshaw, a former graduate of the Royal Academy of Arts, took up his paintbrush and a 40’’x 90’’ piece of fiberboard from the animation department and went about creating the first ever, full colour view of the magic kingdom.

The complete tableau was unveiled on Walt Disney’s weekly television program ‘Disneyland,’ on October 27th 1954. But Peter Ellenshaw’s iconic image was not only shown to television audiences, it was also printed on all the early postcards, souvenir booklets and used to encourage potential investors in the theme park from all around the world.
Peter Ellenshaw also contributed to many of the new theme park’s attractions, including TWA’s Rocket Ship To The Moon, X-1 Satellite View of America and the first Circle-Vision Theatre Show.

(For more on the work of Peter Ellenshaw click on the label opposite)

Peter Ellenshaw

The images above are taken from a book on the Disney artist Peter Ellenshaw, sent to me by Neil Vessey. It shows a frame from the high camera shot of Nottingham Square in The Story of Robin Hood, before and after Ellenshaw’s magical matee work. It is a fine example of not only the huge talent of this wonderful artist, but what could be achieved before the age of computer generated imagery.

Peter Ellenshaw (1913-2007)

As the leather bound story book opens, at the start of Walt Disney’s ‘Story of Robin Hood’, we see a sketch of Huntingdon Manor. The home of the Earl of Huntingdon and his beautiful daughter, Maid Marian. The drawing then magically dissolves into what we are led to believe is the ‘real manor’. A clever device which gives us our first introduction to the work of the British ‘matte’ artist Peter Ellenshaw.


I had intended to begin this post with a description of the first scene of Disney’s ‘Story of Robin Hood’. But I then discovered the sad news of the death of the man who made the opening of this wonderful film possible, someone I greatly admired, Peter Ellenshaw. Peter sadly passed away in Santa Barbara on the 12th February 2007 aged 93.

Before film companies were able to use computers to generate their special effects, it was the movie pioneers like Peter Ellenshaw, whose artistic talent was used to create the fantastic backdrops for the studios, saving film producers the major headache of travelling around the globe, searching for exotic locations or creating impossibly huge and expensive sets.

With his paintbrush and the illusion of the matte process, Peter Ellenshaw was able to create for film production with his art work, the fantastic ‘sets’ they required. Any lover of the classic Walt Disney movies, such as Mary Poppins, Bedknobs and Broomsticks, 20,000 Leagues Under The Sea, The Love Bug and Swiss Family Robinson, or even the Disney TV shows, Davy Crockett and Zorro, will have witnessed, possibly without even realising it, the magic of Ellenshaw.

He began working as a freelancer for Walt Disney in 1947 and became involved in the making of Treasure Island, the studios first live-action movie. It was the great art director Carmen Dillon, that recommended Peter’s work to Walt Disney, for his next project in England, ‘The Story of Robin Hood’ in 1952.

“Peter Ellenshaw is a clever young painter,” she said, “and has the backing of his father-in-law, Poppa Day, who has been doing optical tricks and mattes with Korda for many years.”

Walt Disney was interested and replied, “Good! We’ll paint all the long shots of medieval Nottingham, the castle, Richard going to the Crusades, etc. on glass. They’ll be much more fun than the real thing.”

On ‘Robin Hood’, Peter Ellenshaw eventually painted twelve matte shots. A technique that impressed the film’s producer, Ken Annakin so much, that in his next picture for Disney, ‘Sword and the Rose’, he used seventy five of Ellenshaw’s fine matte work.

So began Peter’s long career with the Disney Studios and a 30 year friendship with Walt Disney himself, of whom he regarded as a wonderful inspiration. Culminating with over 34 films, designing and painting the very first map of Disneyland and being officially designated a ‘Disney Legend' in 1993.

THANK YOU FOR THE MAGIC, PETER!

© Clement of the Glen 2006-2007

Ellenshaw's Matte Work

The Magic of Ellenshaw

Walt Disney with Peter Ellenshaw

Amongst the credits for Walt Disney’s ‘Story of Robin Hood’ is the name of Peter Ellenshaw, Matte Artist. So what is a Matte Artist?

Born in Britain in 1913 Peter Ellenshaw’s artistic talents were discovered by Percy Day, a pioneering visual effects

specialist and ingenious trick photographer. 'Poppa’ Day had learned his trade and magic from the great French illusionist George Melies. Poppa took Ellenshaw under his wing and guided him not only with his painting on canvas but also on glass, for creating matte background for film.

Matte paintings are usually paintings made on glass, fixed to the camera. There are certain holes left in the painting so the camera can see through the glass and into the set, thus creating the illusion that the set and the painting are one and the same.

After a brief period with MGM, Ellenshaw was noticed by an Art Director involved in the pre-planning stages of ‘Treasure Island’ for Walt Disney. So in 1947 Ellenshaw began a partnership with the Disney organisation that would last over thirty years. He painted twelve matte shots for Robin Hood and went on to create seventy-five for Disney’s ‘Sword and the Rose.’

Peter Ellenshaw has left us with a legacy of memorable images from those Live-action films. Apart from his work in ‘The Story of Robin Hood’, who can forget the beginning of Mary Poppins as the camera pans over London at dusk and then zooms onto Mary sitting on a cloud? The atmospheric image of the masts of the ships in the harbour, from '20,000 Leagues Under the Sea’ or even his earlier work, creating the Roman cities in ‘Spartacus’.

For his 102 different evocative mattes of Edwardian London in Disney’s groundbreaking ‘Mary Poppins,’ Ellenshaw won a well deserved Academy Award and Walt Disney became a close personal friend.

“Walt,” he said,” was the dominant figure in my life for all those years. He talked to me as a father would, I cherished our relationship.”
When Disney died in 1968, Ellenshaw said that, “making movies wasn’t the same any more. I ceased to be interested in film making.”

© Clement of the Glen 2006-2007