Happy Feet Wikipedia. Happy Feet is a 2. Australian American computer animatedmusicalfamilycomedy film directed, produced, and co written by George Miller. Home Movie Film Conversion. FotoBridges Movie FilmtoDigital and VideoToDigital Packages include inspection, cleaning, standard repairs, professional highquality. Home Movie Depot converts all formats of film to DVD, or to digital files you can edit at home. Fast turnaround, great prices, rigorous quality checks. Mumbles son, Erik, is struggling to realize his talents in the Emperor Penguin world. Meanwhile, Mumble and his family and friends discover a new threat their home. The MIDI Movie Theme Songs is growing to include more movie themes both in the MP3 and of course the MIDI format, which this site was founded on. This truly fun and. PPqdy_YYJc/T0uzBc3PZhI/AAAAAAAAAgo/4NFqONQx4kI/s800/Back_3d_happy_feet_2_bluray_DVD_combo.jpg' alt='Movie Dvd Happy Feet ' title='Movie Dvd Happy Feet ' />Happy Feet. Rated G. Review by David Stratton. Yak Movie Divx on this page. Mumble is an Emperor Penguin who is different from the others instead of singing like the rest of them he just. It stars Elijah Wood, Robin Williams, Brittany Murphy, Hugh Jackman, Nicole Kidman, Hugo Weaving, and E. G. Daily. It was produced at Sydney based visual effects and animation studio. Animal Logic for Warner Bros., Village Roadshow Pictures, and Kingdom Feature Productions and was released in North American theaters on November 1. It is the first animated film produced by Kennedy Miller in association with Animal Logic. Though primarily an animated film, the film does incorporate motion capture of live action humans in certain scenes. The film was simultaneously released in both conventional theatres and in IMAX 2. D format. 3 The studio had hinted that a future IMAX 3. D release was a possibility. However, Warner Bros., the films production company, was on too tight a budget to release Happy Feet in IMAX digital 3. D. 4Happy Feet received generally positive reviews from critics, and won the Academy Award for Best Animated Feature, a first for Warner Bros., as well as the BAFTA Award for Best Animated Film. It was nominated for the Annie Award for Best Animated Feature and the Saturn Award for Best Animated Film. A sequel, Happy Feet Two, was released into theaters November 1. Plot. Every emperor penguin sings a unique song called a heartsong to attract a mate. If the male penguins heartsong matches the females song, the two penguins mate. Norma Jean, a female penguin, falls for Memphis, a male penguin and they become mates. They lay an egg, which is left in Memphis care, while Norma Jean leaves with the other females to fish. While the males struggle through the harsh winter, Memphis briefly drops the egg. As a result, Mumble is unable to sing, but he can tap dance instead. Nevertheless, he is enamored with Gloria, a female penguin who is regarded as the most talented of her age. One day, Mumble encounters a group of hostile skua, with a leader who is tagged with a yellow band, which he says is from an alien abduction. Mumble narrowly escapes the hungry birds by falling into a crevice. Now a young adult, Mumble is frequently ridiculed by the elders. After escaping from a leopard seal attack, Mumble befriends a group of Adelie penguins called the Amigos, who embrace Mumbles dance moves and assimilate him into their group. After seeing a hidden human excavator in an avalanche, they opt to ask Lovelace, a rockhopper penguin, about its origin. Lovelace has the plastic rings of a six pack entangled around his neck, which he claims have been bestowed upon him by mystic beings. For the emperor penguins, it is mating season and Gloria is the center of attention. Ramn, one of the Amigos, attempts to help Mumble win her affection by singing a Spanish version of My Way, with Mumble lip syncing, but the plan fails. In desperation, Mumble begins tap dancing in synch with her song. She falls for him and the youthful penguins join in for singing and dancing to Boogie Wonderland. The elders are appalled by Mumbles conduct, which they see as the reason for their lean fishing season. Memphis begs Mumble to stop dancing, for his own sake, but when Mumble refuses, he is exiled, prompting him to curse revenge on the elders for their blind belief. Mumble and the Amigos return to Lovelace, only to find him being choked by the plastic rings. Lovelace confesses they were snagged on him while swimming off the forbidden shores, beyond the land of the elephant seals. Not long into their journey, they are met by Gloria, who wishes to join with Mumble as his mate. Fearing for her safety, he ridicules Gloria, driving her away. At the forbidden shore, the group finds a fishing boat. Mumble pursues it solo to the brink of exhaustion. He is eventually washed up on the shore of Australia, where he is rescued and kept at Marine World with Magellanic penguins. After a long and secluded confinement in addition to fruitlessly trying to communicate with the humans, he nearly succumbs to madness. When a girl attempts to interact with Mumble by tapping the glass, he starts dancing, which attracts a large crowd. He is released back into the wild, with a tracking device attached to his back. He returns to his colony and challenges the will of the elders. Memphis reconciles with him, just as a research team arrives, proving the claims of the existence of aliens to be true. The whole of the colony, even Noah the leader of the elders, engages in dance. The research team returns their expedition footage, prompting a worldwide debate. The governments realize they are overfishing, leading to the banning of all Antarctic fishing. At this, the emperor penguins and the Amigos celebrate. Cast. Production. George Miller cites as an initial inspiration for the film an encounter with a grizzled old cameraman, whose father was Frank Hurley of the Shackleton expeditions, during the shooting of Mad Max 2 We were sitting in this bar, having a milkshake, and he looked across at me and said, Antarctica. Hed shot a documentary there. He said, Youve got to make a film in Antarctica. Its just like out here, in the wasteland. Its spectacular. And that always stuck in my head. Happy Feet was also partially inspired by earlier documentaries such as the BBCs Life in the Freezer. In 2. Doug Mitchell impulsively presented Warner Bros., studio president Alan Horn with an early rough draft of the films screenplay, and asked them to read it while he and Miller flew back to Australia. By the time theyd landed, Warner had decided to provide funding on the film. Production was slated to begin sometime after the completion of the fourth Mad Max film, Fury Road, but geo political complications pushed Happy Feet to the forefront in early 2. An earlier cut of the film seems to have included a large subplot regarding aliens in the extraterrestrial sense, whose presence was made gradually more and more known throughout, and who were planning to siphon off the planets resources gradually, placing the humans in the same light as the penguins. At the end, through the plight of the main character, their hand is stayed and, instead, first contact is made. This was chopped out during the last year of production, and has yet to see the light of day in a finished form, although concept art from these sequences were showcased at the Siggraph 2. The animation is invested heavily in motion capture technology, with the dance scenes acted out by human dancers. The tap dancing for Mumble in particular was provided by Savion Glover who was also co choreographer for the dance sequences. The dancers went through Penguin School to learn how to move like a penguin, and also wore head apparatus to mimic a penguins beak. Happy Feet needed an enormous group of computers, and Animal Logic worked with IBM to build a server farm with sufficient processing potential. The film took four years to make. Ben Gunsberger, Lighting Supervisor and VFX Department Supervisor, says this was partly because they needed to build new infrastructure and tools. The server farm used IBM Blade. Center framework and Blade. Center HS2. 0 blade servers, which are extremely dense separate computer units each with two Intel Xeon processors. Rendering took up 1. CPU hours over a nine month period. According to Miller, the environmental message was not a major part of the original script, but In Australia, were very, very aware of the ozone hole, he said, and Antarctica is literally the canary in the coal mine for this stuff. So it sort of had to go in that direction. This influence led to a film with a more environmental tone. Miller said, You cant tell a story about Antarctica and the penguins without giving that dimension. The film was dedicated to the memory of Nick Enright, Michael Jonson, Robby Mc. Neilly Green, and Steve Irwin. King of Jazz Wikipedia. King of Jazz is a 1. American Pre Code color film starring Paul Whiteman and his orchestra. The film title was taken from Whitemans self conferred appellation. At the time the film was made, jazz, to the general public, meant the jazz influenced syncopated dance music which was being heard everywhere on phonograph records and through radio broadcasts. In the 1. 92. 0s Whiteman signed and featured white jazz musicians including Joe Venuti and Eddie Lang both are seen and heard in the film, Bix Beiderbecke who had left before filming began, Frank Trumbauer and others. King of Jazz was filmed entirely in the early two color Technicolor process and was produced by Carl Laemmle Jr. Universal Pictures. The movie featured several songs sung on camera by the Rhythm Boys Bing Crosby, Al Rinker and Harry Barris, as well as off camera solo vocals by Crosby during the opening credits and, very briefly, during a cartoon sequence. King of Jazz still survives in a near complete color print and is not a lost film, unlike many contemporary musicals that now exist only either in incomplete form or as black and white reduction copies. In 2. 01. 3 the film was selected for preservation in the United States National Film Registry by the Library of Congress as being culturally, historically, or aesthetically significant. The filmeditKing of Jazz is a revue. There is no story, only a series of musical numbers alternating with blackouts very brief comedy sketches with abrupt punch line endings and other short introductory or linking segments. The musical numbers are diverse in character, taking a something for everyone approach to appeal to family audiences by catering to the young, the old and the middle aged in turn. The slow Bridal Veil number, featuring according to Universal the largest veil ever made, exhibits Victorian sentimentality that might best appeal to the elderly. The middle aged was courted with a tune by John Boles in a lush setting crooning It Happened in Monterey in waltz time, or in a barn with a chorus of red shirted ranch hands belting out the Song of the Dawn. The jazzy Happy Feet number was designed to appeal to younger audiences. One segment early in the film serves to introduce several of the bands virtuoso musicians yet those musicians are not credited by name. Another provides the audience with a chance to see the Rhythm Boys, already famous by sound but not sight because of their recordings and radio broadcasts, performing in a home like setting. There are novelty and comedy numbers ranging from the mildly risqu Ragamuffin Romeo, which features contortionistic dancing that provides an excuse for intimate views of frilly underwear to the humorously sadomasochistic the second chorus of I Like to Do Things for You to the simply silly Im a Fisherman. There is a line of chorus girls, practically mandatory in early musicals, but in their featured spot the novelty is that they are seated. The grand finale is the Melting Pot number, in which various immigrant groups in national costume offer brief renditions of characteristic songs from their native lands, after which they are all consigned to the American Melting Pot. Performers from some of the earlier musical numbers briefly reprise their acts while reporting for duty as fuel under the pot. Whiteman stirs the steaming stew. When the cooking is complete, everyone emerges transformed into a jazz happy American. There are a couple of early examples of the overhead views later elaborated and made famous by Busby Berkeley, but this film bears little resemblance to his films and other musicals of the later 1. It is very much a stage presentation, albeit on a very large stage, and visual interest is maintained only by changes of viewpoint. The cameras do not move. This is not because the Technicolor cameras were heavy and bulky. The cameras used for this early Technicolor process contained a single roll of film and were of nearly ordinary size and weight. King of Jazz was the nineteenth all talking motion picture filmed entirely in two color Technicolor rather than simply including color sequences. At the time, Technicolors two color process employed red and green dyes, each with a dash of other colors mixed in, but no blue dye. King of Jazz was to showcase a spectacular presentation of George Gershwins. Rhapsody in Blue, so this presented a problem. Fortunately, the green dye Technicolor used can actually appear peacock blue cyan under some conditions,3 but acceptable results in this case would require very careful handling. Art director Herman Rosse and production director John Murray Anderson came up with solutions. Tests were made of various fabrics and pigments, and by using an all gray and silver background the bluish aspect of the dye was set off to best advantage. Filters were also used to inject pale blues into the scene being filmed. The goal was to produce a finished film with pastel shades rather than bright colors. Nevertheless, as it appears in an original two color Technicolor print, the sequence might best be described as a Rhapsody in Turquoise. Later prints made from the original two component negative, which had survived, make the blues look truer and more saturated than they appeared to audiences in 1. King of Jazz marked the first film appearance of the popular crooner. Bing Crosby, who, at the time, was a member of The Rhythm Boys, the Whiteman Orchestras vocal trio. Crosby was scheduled to sing Song of the Dawn in the movie but a motor accident led to him being jailed for a time and the song was given to John Boles. Composer Ferde Grof, best known for his Grand Canyon Suite, was in his early years a well known arrangersongwriter for Whiteman. He is documented to have arranged some of the music, and may in fact have composed some of the incidental music. The film preserves a vaudeville bit by Whiteman band trombonist Wilbur Hall, who does novelty playing on violin and bicycle pump, as well as the eccentric dancing of Rubber Legs Al Norman to the tune of Happy Feet. There were at least nine different foreign language versions of the film. Reportedly, the Swedish version has at least some different music. The cartooneditThe movie included the first Technicolor animated cartoon segment, by animators Walter Lantz later famous for Woody Woodpecker and other characters and William Nolan. In this cartoon, Whiteman is hunting in darkest Africa, where he is chased by a lion which he soothes by playing a tune on a violin Music Hath Charms, played by Joe Venuti and Eddie Lang. After an elephant squirts water on a monkey in a tree, the monkey throws a coconut at the elephant. It misses and hits Whiteman on the head. The bump on his head forms into a crown. Master of Ceremonies Charles Irwin then remarks, And thats how Paul Whiteman was crowned the King of Jazz. One of the characters making a brief appearance in the cartoon is Oswald the Lucky Rabbit, the star of the Universal Studios animation department led by Lantz. A black and white sound cartoon featuring Oswald, titled My Pal Paul, also released in 1. Universal, promoted King of Jazz by including songs from the movie and a cartoon Paul Whiteman character. Some of the scenes from the animated cartoon sequence would be later re used for a later Walter Lantz Oswald Cartoon, Africa. SoundtrackeditKing of Jazz was the first feature length film to use a mostly pre recorded soundtrack made independently of the actual filming. Whiteman insisted that musical numbers featuring his orchestra should be pre recorded in order to obtain the best sound, avoiding the poor recording conditions and extraneous noises typical of a movie studio sound stage. Universal opposed the idea, but Whiteman prevailed over the reluctant studio executives. After the sound was recorded, it was played back through a loudspeaker while the scene was being filmed and the performers matched their actions to the recording.