If I had to write an 記事 which one of those 映画 is better, I know what the result would be. I consider 塔の上のラプンツェル the better movie because it has a cohesive story, better characters, better score, もっと見る impressive アニメーション – it just beats The Princess and the Frog in every aspect. But why is there this constant need to compare those two 映画 in the first place? I have never seen anyone comparing any of the ディズニー Princess 映画 with the one which came directly beforehand または after, unless it was for pointing out the development in animation.

I guess the reason is simple: Because all true アニメーション ファン knew that the success of those 映画 would determine in which direction the studios would go in the future. We all wanted The Princess and the Frog to succeed, because we knew that if it didn’t, it might シール the fate of traditional animation. And a lot of people were against 塔の上のラプンツェル from the get go, because it was CGI. I think that 塔の上のラプンツェル gets a lot of flak not because the movie is truly flawed (it has its flaws, but not もっと見る than any other successful and beloved ディズニー Movie has), but because its success made further ディズニー 映画 in traditional アニメーション unlikely.

People like to blame a lot of factors for The Princess and the Frog not being as successful as they wanted it to be. The marketing campaign which was mostly geared towards girls and old ディズニー Princess 映画 fans. That it hit the theatres during a bad time. A so called prejudice against traditional animation. Racism (but really wouldn’t the number of people who didn’t watch it because of the black princess be balanced out によって the people who watched it because they wanted to see one?). But if we are really honest to ourselves, than we have to admit that those are factors, but not really the reason. If The Princess and the Frog had been really good, it would have gotten もっと見る people in the theatres, due to mouth to mouth advertisements and glowing reviews. But the truth is that it didn’t convince the majority of the audience, while 塔の上のラプンツェル did. Yes, 塔の上のラプンツェル got the もっと見る successful marketing, and a lot of very misleading trailers which promised a swashbuckling adventure. What the audience got was もっと見る a panswinging princess movie, but it worked out nevertheless. If the audience hadn’t like this movie, they would have protested もっと見る about it being so different from what was shown in the advertising. It wouldn’t have been about “the advertising is misleading” but about “the advertising makes the movie better than it is”.

Those are two very ambitious movies. The Princess and the Frog was ambitious about telling a modern ディズニー Princess story – and fell short. 塔の上のラプンツェル was ambitious about reaching a new level of animation, about merging the traditional ディズニー aesthetic with CGI – and succeeded. Even the worst critics of 塔の上のラプンツェル admitted how good the story was – and that’s what everything comes down in the end, story and characters. あなた can do a beautiful animated movie with a wonderful soundtrack and some really memorable scenes, if the story doesn’t work at least in some part, it won’t be considered a good movie によって the majority of the audience (see Pocahontas). But if the very foundation of the movie, the story, holds up, the audience might not praise the movie, but it will keep it in good memory (see how beloved Robin フード still is, despite its numerous flaws). Sadly executives tend to look at the numbers and overlook that it’s not a matter of CGI または not, but a matter of making a good movie, no matter what kind of アニメーション is used.

But can we blame 塔の上のラプンツェル for that? Trying to pull this movie verbally down while at the same time defending TPatF won’t change the numbers. It won’t make the executive understand. If anything, saying the audience just didn’t appreciate TPatF enough because they overlook the great アニメーション and were unable to appreciate jazz (two of the most common arguments for the movie) just confirms the idea that the kind of アニメーション is to blame for the lack of success. The 質問 shouldn’t be if the audience didn’t appreciate what was good about TPatF (though I have to say that the praise for the アニメーション is a little bit much – it’s really good animation, but ALL ディズニー Princess 映画 succeed in this regard), it should be why the executives didn’t combine the good aspects with a similar good plot. With proper pacing, with proper motivations for the villains, with a better focus.

Don’t get me wrong: I am sure that there are a lot of people out there, who genuinely like PatF. It’s this need to compare it with 塔の上のラプンツェル which makes me weary about the motivation behind a lot of reviewers, who have decided to tackle the 映画 in their 動画 または blogs. There is a certain pattern in those reviews, the もっと見る the reviewer does like traditional animation, the もっと見る he will be inclined to concentrate on the good aspects of PatF and the bad aspects of Tangled.

And, もっと見る generally speaking, it doesn’t really say much about the quality of a movie to compare one single aspect of it. Yes, we do it all the time, doing countdowns about which Princess looks better, is the better role-model, is braver and whatever else we can come up with. It is good fun, but one shouldn’t make the mistake to believe that those aspects have anything to do with the quality of a movie as a whole.

When I read “how can あなた excuse Flynn’s womanizing but complaining about Naveen doing the same”, I just feel that the argument is missing the point. Because Eugene and Naveen are two entirely different characters. They have different backstories, different motivations, and there is a profound difference between stealing a crown to be alone and happy on an island, または marrying a woman for her money, a difference between striking a deal and then trying to trick the other party into backing out of the deal and making a deal with the intention to never hold up your side of it. The same way one aspect doesn’t make a movie, one trait is not the beginning and the end of a character.

When PatF was announced, I was as glad as everyone else that ディズニー was trying to go back to what ディズニー does best. And like so many people out there, I wanted this to be the success, I wanted it to be the comeback for traditional animation. It wasn’t to be. But that it didn’t happen has everything to do with PatF and nothing with 塔の上のラプンツェル または the audience. And we will all have to live with the knowledge that it might be a long time until ディズニー will decide to visit its roots again. Until then, we should judge every movie on its own merits.