Believe it or not, as long as the book was, there were still some Snow White-related topics that we just had to omit for lack of space. One of them was the extraordinary afterlife that Frank Churchill’s music enjoyed, long after the release of the film.
The Fairest One of All
A definitive account of the making of Walt Disney’s timeless masterpiece, Snow White and the Seven Dwarfs, lavishly illustrated and filled with behind-the-scenes detail. Traces the history of the “Snow White” tale, records the making of the film in intimate detail... Read More
In the course of researching the film adaptations of Snow White that preceded the Disney version—nearly all of them produced during the silent period—I found that Cinderella was, if anything, an even more popular silent-film subject than Snow White. Several of the Cinderella silents were, in fact, readily available for viewing and proved to be charming and intriguing in their own right. Searching them out became a new pursuit, entirely separate from my Snow White research.
On pages 237-38 of the book I related the story of the Prince’s approach to Snow White’s bier in sequence 16A, scene 3 of the film—a scene that may have been rephotographed and replaced after the film had already opened in Los Angeles and New York. At issue were the unsteady ink lines that resulted in the Prince’s wobbly action; as Roy Disney put it, the Prince seemed to “shimmy” as he walked down the path.