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.

Final Resting Places Continued

Two years ago Christian sent me images of the final resting places of some of the people responsible for creating our favourite film, 'The Story of Robin Hood and his Merrie Men' (1952). To see that original post, please click here.

Recently Christian has kindly shared more information and pictures regarding the graves and tombs of those much-loved people.

Peter Finch as the Sheriff of Nottingham

Peter Finch is buried at the Hollywood Forever cemetery in Los Angeles, California in the U.S.A.

James Robertson Justice

James Robertson Justice (1907-1975) played an irascible Little John. He was cremated and his ashes were taken by a party of friends to Scotland. On a moor where Justice had often hawked, and along with the accompaniment of a lone piper, they created  a cairn and his ashes were interred there.

Ken Annakin

Ken Annakin, the director of 'The Story of Robin Hood' (1952) is buried in Westwood Memorial Park, Los Angeles in the U.S.A.

Walt Disney

Walt Disney (1901-1966) although uncredited, was the executive producer on his second live-action movie. He was buried at Forest Lawn Cemetery (Glendale), Glendale, Los Angeles County, California, U.S.A.

Many thanks to Christian for getting in touch.

Robin Hood's Test Shots

Over the past ten years we have made some fascinating discoveries about Walt Disney's live-action movie The Story of Robin Hood and his Merrie Men (1952). But I was beginning to think there was nothing else to surprise me, until Neil sent me these two intriguing images:

Neil says:

"I have been looking through my film memorabilia and come across these two stills which I have not taken notice of previously - I don't know why because they are very unusual and very interesting.
Richard Todd as Robin Hood is posing with his father in one of them - BUT it is not the actor Reginald Tate, who plays his father in the film - and looks like a stand-in for a pre production design set up.

The clothes are quite different to those in the film - and Richard Todd has slightly shorter hair and in these stills looks nothing like as convincing as he does in the film.

On the other picture there are three of them - Richard Todd as Robin, Someone as his father AND another stand-in for Red Gill I would guess - who was played in the film by Archie Duncan.
It could be that these men are stunt doubles as they are similar in stature to the actors.
The costumes also look wrong - and my opinion is that they were going through the options until they got it right which they did of course.
Another thing - the backdrop - I  at first,  thought this might be a real backdrop but looking further I am leaning towards a studio set picture - and I think that is what it was."

These do seem to be 'test shots', used - as Neil says - by Walt Disney's production crew on Robin Hood, for design and cinematic purposes. But it does seem unusual for the images to be released in the form of 'movie stills.' Below is how Archie Duncan as Red Gill, Richard Todd as Robin Hood and Reginald Tate as Hugh Fitzooth later appeared in the movie.

A still showing the stars and their costumes

Seeing these two experimental pictures taken during the early stages of production, reminded me of a post I did back in November 2012 about a picture I discovered of Joan Rice in a costume that was never used in the movie. It  tied-in with a  memo sent by Walt Disney to Perce Pearce and Fred Leahy regarding Joan Rice's Maid Marian costume:

“The final tests arrived the first part of the week and we looked at them. I think [Richard] Todd is wonderful, and I feel he will project a great deal of personality and do a lot for the role.Joan Rice is beautiful and charming. I think, however, she will need some help on her dialogue. I thought at times, she lacked sincerity, although one of her close-ups was very cute. I do not care much about her costume in the first scenes. It seems that women of that period always have scarves up around their chins, but I think it does something to a woman’s face. I’d like to see us avoid it, if possible, or get around it in some way or other-maybe use it in fewer scenes.When we see Miss Rice disguised as a page, this costume seemed bulky and heavy. The blouse or tunic was too long and hung too far down over her hips-it didn't show enough of her and I thought distracted from her femininity. I do believe the costume did much to set off her femininity. I think a slight showing of the hips would help a lot."

Joan Rice as Marian in a costume never used in the film

Joan Rice wearing the updated costume.

Walt Disney continued in his memo:

" ... I liked Elton Hayes as Allan-a-Dale. He has a good voice with quite an appeal. The last word I had from Larry [Watkin] was to the effect that he would be sending in a new and complete script very soon. I have been following his changes and the little thoughts I have are close to “lint-picking”, which I feel he is smoothing out in his final script, so I won’t bother about passing on my thoughts until I get his so-called final script...”

                                                                                                     Walt Disney  

Special thanks to Neil for sending in those extremely rare pictures. They have given us yet another fascinating insight into the pre-production of  Walt Disney's Story of Robin Hood and his Merrie Men.

Disney's Story of Robin Hood Introduction - Part 1 and 2

Below are two YouTube clips of Walt Disney introducing The Story of Robin Hood and his Merrie Men (1952). They are sadly incomplete, but give us a rare glimpse of the great man describing his classic live-action feature. Both excerpts have been taken from the anthology series first aired 11/2/55 on ABC Television.

The Story of Robin Hood at the Box Office

The original film poster of 1952

One of the many questions I have tried to answer since starting this blog is how much did Walt Disney's Story of Robin Hood and his Merrie Men make at the box office in 1952? It has not been easy to get an accurate figure. Also, the available sources vary as to the top box office hit films of that year. Kinematograph Weekly (Saturday 31st January 1953) judged the top 15 films of 1952 (based on box office returns) as:-

1.The Greatest Show on Earth

2. Where No Vultures Fly

3. Ivanhoe

4. Angles One Five

5. Sound Barrier

6. African Queen

7. Mandy

8. The Story of Robin Hood and his Merrie Men

9. Reluctant Heroes

10. A Christmas Carol 

11. Planter's Wife

12. Son of Paleface

13. The Quiet Man

14. Sailors Beware 

15. Room for One More 

From the various lists we can assume that Disney's second live-action film was a success at the box office and for the studio.

This move by Walt Disney to make films in England had come about due to his studio's post-war funds being frozen by the British government in an attempt to revive its own film industry. Disney had considered building an animation studio here but opted to produce live-action movies instead.

We won't turn into a live-action studio, but we'll get into the live-action business. (Walt Disney)

The studio's first live-action movie Treasure Island cost $1.8 million (using up the blocked funds) and was released in July 1950. Produced and supervised by Disney, it made the studio and RKO Pictures $4 million, returning $2.2 and $2.4 million. So with this success under their belt Disney embarked on another historical adventure.

For The Story of Robin Hood and his Merrie Men Disney used just three of his American production crew, Perce Pearce (producer), Lawrence Watkin (writer), and Fred Leahy (production manager). All three of them sailed with Walt and his family on board the Queen Mary to England in January 1951 to begin planning their next live-action film. 

Walt Disney and family visiting England in 1951

In mid-January 1951 Richard Todd met Perce Pearce at the Dorchester Hotel in London and eventually accepted the role of Robin Hood. Todd also suggested James Robertson Justice as Little John to Pearce.

The Story of Robin Hood premiered on March 13th 1952 at the Leicester Square Theatre in London and according to press cuttings of the time was a huge success.

The queues outside the Leicester Square Theatre in London to see Robin Hood.

This article is taken from 'To-Days Cinema' (March 27th 1952):

Walt Disney’s Story of Robin Hood and his Merrie Men, the RKO Radio release in Technicolor starring Richard Todd with Joan Rice is keeping up its second week pressure, as evidenced by these photographs taken outside the Leicester Square Theatre, where it has been attracting spectacular business since its World Premiere on March 13^th. Part of the second week-end queues to one side of the house, with a defile waiting patiently across the other side of the street, facing that along the theatre itself.

A programe from the world premiere

My regular contributor Neil Vessey, has recently found a reference for the box office takings for Walt Disney's third live action movie The Sword and the Rose (1953).  In The Animated Man : A Life of Walt Disney (2007) the author doesn't give us a figure, but states that The Sword and the Rose exceeded the budget of Robin Hood, but only earned the studio $2.5 million - less than half of its predecessor.

Neil concludes from this, that Robin Hood must have made the Disney Studio about $5 million from its original outlay of $1.9 million dollars. 

At last, this is a breakthrough and since Neil's email to me I have been hunting for more information. At the moment all I have found is a snippet on Google Books from volume 41 of Newsweek (1953). On page 97 it has this:-

The Story of Robin Hood also made in England, was budgeted at $1,300,000 and promptly grossed a $3,000,000 return. And only a few months of the "Robin Hood" box-office potential is reflected in Disney's...  

From the information available we can deduce that The Story of Robin Hood and his Merrie Men had significant success for the studio.

Using a familiar production crew and cast, Disney ventured into the legends of the misty hills of Scotland for his fourth and last live-action movie Rob Roy the Highland Rogue, which was released in October 1953. It was openly described by its director Harold French as a 'western in kilts'!  Rob Roy contained the same technical quality and outstanding acting talents of the previous three Disney live-action adventure films but it was not received as well. 

After the release of Rob Roy, Walt and his older brother Roy formed their wholly owned distribution company Buena Vista. It was up and running when Disney embarked on his next and most expensive live-action adventure film, 20,000 Leagues Under the Sea. Costing a staggering $4.5 million this would be the studio's first American-made live-action feature.

But the production in Britain of Treasure Island and Robin Hood had led the way and proved that Walt Disney's company was now not just a small studio devoted to animation.

Richard Todd in Fans' Star Library

Geoff Waite has recently sent me a very interesting little booklet from 1958. It is Fan's' Star Library No.8 and features Richard Todd. Priced at 10d the articles on Todd, cover his life story and film career up until the making of the movie Intent to Kill. It is packed with some fascinating pictures of his homelife with his wife Catherine Grant Bogle , their children and his farm.

There is some interesting detail on his second live-action film for Walt Disney, Rob Roy. But I was eager to see if there were any snippets of information on his making of Story of Robin Hood and his Merrie Men (1952). This is what I found:

"As soon as Flesh and Blood was completed, Walt Disney wanted Richard for the name role in his new picture Robin Hood. It is said that Disney chose Todd for the part after one of his own daughters returned from a cinema a confirmed Richard Todd fan-she had just seen The Hasty Heart, and she kept telling her father that this young British star had everything!

An outdoor man himself, the idea of playin the great adventurer appealed to Richard, but he didn't want to be forced to portray the outlaw as a costumed twelfth century Tarzan. He wanted to play Robin Hood as 'he' saw the great outlaw. Fortunately, Walt Disney had enough confidence in Richard to allow him his own portrayal and as we all know the picture was a tremendous success.

Robin Hood, starring our own Richard Todd, had its premiere at the Leicester Square Theatre on March 13th, 1952. It was a glittering oppening and raised a large sum of money for a worthey cause. This film has become a Classic, and will doubtless be shown for years and years.

Within four days of finishing Robin Hood, Richard flew to the South of France, to play the parrt of the incurable young gambler in Twenty Four Hours of a Woman's Life."

To read more about Richard Todd, the making of Robin Hood and the film premiere, please click on the labels.

Joan Rice

An early image of  the beautiful Joan Rice (1930-1997). She was later hand-picked by Walt Disney himself, to play the part of Maid Marian in his live-action movie the Story of Robin Hood and his Merrie Men (1952). To read more about her journey from an orphanage in Nottingham to the glamorous world of Hollywood, please click on the links.

Perce Pearce

Richard Todd, Joan Rice and Perce Pearce

This blog now contains over 640 posts, so sometimes it is hard to catch-up with comments left by readers on earlier pages. Just recently I was thrilled to discover a comment by Kath Owen on a post I did in 2011 about Disney's film director Perce Pearce (1899-1955). I wish I had seen it sooner:

"I've been looking on the Internet for any mention of my Dad's family who all seem to have worked on (or watched as a child) the filming of Robin Hood, Treasure Island and many other films made at Denham. I'll have to double check with Dad but I'm sure that my Grandmother worked as some kind of housekeeper to Perce Pearce while he was there (they lived nearby). Dad always said she met Walt Disney and now it seems she did!! Wow this is amazing! My maiden name is Owen. I'm looking for the Denham archives to see if I can find any mention of my uncles Will, Eddie and Ralph. My Dad (Allan) was too young but watched the filming and my Grandfather I think is listed as Ned he worked on the props. Dad has so many stories about that time. Everyone loved Perce Pearce."

I hope my readers and I haven't lost an opportunity to learn more about the making of those magical Disney movies here in England. So please get in contact again Kath at: disneysrobin@googlemail.com. 

We would all love to know more about your research into the work your family did at Denham Studios for Walt Disney and any other anecdotes you might have!

Walt Visits Norton Disney

The world loves Walt Disney's animated movie about those adopted 101 Dalmatians, his version of the classic tale of the forsaken stepchild  Snow White and Dumbo the baby elephant who was separated from his mother. 

But not so well known is the tale of an American boy, Walter Disney, with no birth certificate. What birth record there was for a child of his name was dated 10 years before he could have been born. This niggling ambiguity about his origins and the possibility that he had been adopted were to trouble him throughout his adult life.

So in the late Forties he arrived in Lincolnshire, England, to find his purported Disney ancestors; in a small village known as Norton Disney. Although few local guide books acknowledge that "the world's favourite uncle" has roots to a Lincolnshire family.

St.Peter's Church, Norton Disney

It is possible to trace the family lineage right back to Walt’s Norman forbears who came over to Britain with the invading Norman army of William the Conqueror in 1066.
Amongst William’s soldiers were several members of the d’Isigne family, who took their name from their town of origin situated near Bayeux. One of the d’Isignes is known to have received property at Norton on the Nottinghamshire / Lincolnshire border, and established himself as a farmer and Lord of the Manor.

Disney is an anglicisation of d'Isigny. In 1834 some members of the family emigrated, first to the United States and then to Canada. Elias Disney (Walt’s Father) was born in Huron County in 1859. Elias married Flora in 1888, eventually moving to Chicago. In1901 their fourth and final child, Walter Elias Disney, was born.

This was sent in by Neil:

"[Norton Disney] is a place you'd expect to have outgrown its rather quaint guidebook description, given there are at least three separate signs diverting traffic to the village off the A46; yet the place is indeed small, with just a string of plain houses, a church and a pub.

In my view, the pub is always a good place to start, and although I was greeted in the St Vincent Arms with customary village suspicion, I found what I was looking for. Pinned above the fireplace were the cuttings I had failed to locate in Lincoln Central Library. Dated 30 July 1949, they reported the events of Walt's brief visit.

"Private and personal. Norton Disney, Lincolnshire, England. Arrived just after lunch." 

Walt Disney

Walt had scratched in his diary before strolling off to point his cine-camera around the village. The fading photographs show Walt absorbed in the search for facts about his family name. He is pictured studying the tombs and gravestones and with the vicar, leafing through reams of ancient church registers signed by past generations of Disneys. But he didn't stop for long. 

"Afraid I must pop off now - learnt that expression over here. You English are always popping places."'

Richard Todd and Walt Disney

This wonderful letter (dated 10^th December 2001) to the Daily Mail newspaper by the actor Richard Todd (1919-2009), was sent to me by our regular contributor Neil. It shows the strong bond between Walt Disney and the British actor had lasted long after he had completed his series of live-action movies for the legendary film producer. Unfortunately, I do not have the letter from Glenys Roberts that angered Richard Todd enough to make him pick up his pen. But this does show the affection that ‘Uncle Walt’ had for Toddy and his family:

Daily Mail 10^th December 2001.

"I do not recognise the Walt Disney described by Glenys Roberts (Mail). He was a close friend from 1952 to 1966, when my wife, our children and I enjoyed the kindness and good humour of a remarkable man.

Walt’s avuncular benevolence seemed to be inculcated into his entire workforce. He seemed to know the names of everyone there, whatever their position.

Walt was at his most relaxed in his own home, but his real heart was to be found in the garden: the well-groomed lawns, beds and the barn which he brought from his boyhood home in Kansas and re-erected in his garden as his model railway workshop.

My eldest son, Peter, was born soon after I finished working on my first Disney film Robin Hood and his Merrie Men, and within weeks he received a large hamper of gifts. Thereafter at each Christmas for the next 14 years, Peter received a large box of presents, each one relevant to his age and with a gift label signed with love from Uncle Walt. When our daughter Fiona arrived four years later, she had the same sort of gifts from Uncle Walt.

In 1966, the container arrived usual by ship, but this time I had to tell the children there would be no need for a letter of thanks from them. Uncle Walt had died just after these gifts had been despatched.

This was the man I knew.

Richard Todd

Grantham

Lincolnshire."

Anthony Eustrel

Anthony Eustrel played the part of the Archbishop of Canterbury in Walt Disney’s Story of Robin Hood (1952).

Alongside Martitia Hunt as Queen Eleanor, Anthony Eustrel’s character is involved in a pivotal part of the story. Together the Queen and Archbishop are faced with the task of raising the huge ransom to release the imprisoned King Richard and defeating his brother, Prince John’s evil plans. Eustrel carried off the role as the Archbishop, with extreme elegance and aplomb, like the rest of the cast of Walt Disney’s second live action production in England.

I have managed to find out very little about Eustrel’s life other than the fact he was born in London on October 12th 1902.  During his early stage career in the 1940’s he appeared at the Stratford Memorial Theatre in productions of Richard II, Taming of the Shrew and The Merchant of Venice.

His film career included:

§  Under the Red Robe (1937)

§  Second Bureau (1937)

§  The Wife of General Ling (1937)

§  Gasbags (1940)

§  The Silver Fleet (1943)

§  The Adventures of Tartu (1943)

§  Counterblast (1951)

§  The Story of Robin Hood and his Merrie Men (1952)

§  Captain John Smith and Pocahontas  (Burning Arrows) (1953)

§  King Richard and the Crusaders (1954)

§  Lady Godiva of Coventry (1955) - Prior

§  The Ten Commandments (1956) - First High Priest

§  The Unsinkable Molly Brown (1964)

§  Bednobs and Broomsticks (1971)

Anthony Eustrel also appeared in many TV series:

Climax (1951), BBC Sunday Night Theatre (1951), Schlitz Playhouse of Stars (1954-1955), Burkes Law (1964-1965), Man From Uncle (1965-1966) Batman (1966),  Get Smart (1966-1968), Hogan’s Heroes (1966-1968),  My Favourite Martian (1963-1966) (in which he played King John in one episode) and many others.

He died aged 76 on July 2nd 1979 and his ashes were interned at Woodland Hills, Los Angeles, California.

If you have any more information on the life of this wonderful actor, please get in touch.

Walt Disney's Memo

Joan Rice in an earlier page-boys outfit.

Last week we looked at how Walt Disney set up Perce Pearce and Fred Leahy to supervise the production of his early live-action movies in England. Below is an example of Disney’s concentration on the detail in a memo he sent to them during the pre-production of the Story of Robin Hood and his Merrie Men (1952):

“The final tests arrived the first part of the week and we looked at them. I think [Richard] Todd is wonderful, and I feel he will project a great deal of personality and do a lot for the role.

Joan Rice is beautiful and charming. I think, however, she will need some help on her dialogue. I thought at times, she lacked sincerity, although one of her close-ups was very cute. I do not care much about her costume in the first scenes. It seems that women of that period always have scarves up around their chins, but I think it does something to a woman’s face. I’d like to see us avoid it, if possible, or get around it in some way or other-maybe use it in fewer scenes.

When we see Miss Rice disguised as a page, this costume seemed bulky and heavy. The blouse or tunic was too long and hung too far down over her hips-it didn't show enough of her and I thought distracted from her femininity. I do believe the costume did much to set off her femininity. I think a slight showing of the hips would help a lot.

Joan Rice wearing the updated page-boys costume.

I liked Elton Hayes as Allan-a-Dale. He has a good voice with quite an appeal. The last word I had from Larry [Watkin] was to the effect that he would be sending in a new and complete script very soon. I have been following his changes and the little thoughts I have are close to “lint-picking”, which I feel he is smoothing out in his final script, so I won’t bother about passing on my thoughts until I get his so-called final script...”

This is a fascinating insight into the pre-production of the Story of Robin Hood and although we do know a little about the original ideas for the movie, I can’t help wondering what the original script was like! 

At the start of this post we see a still from the movie, showing Joan Rice as Maid Marian, in what might be the page’s costume that Disney mentions - as it was never worn in the film.

Joan Rice with Ken Annakin going over the script.

In his memo, Walt Disney describes Joan Rice’s difficulties with the dialogue. The director, Ken Annakin went into great detail in his autobiography about the problems he had with her; how he had to slavishly go over the script with her word for word. But it is worth mentioning, I believe, that this was only her second role in a movie and apart from being rushed through the ‘Rank Charm School’ a year earlier; my research has shown that she had no experience in acting beforehand.