The Black Cauldron

The Black Cauldron is a 1985 American animated adventure fantasy film produced by Walt Disney Feature Animation in association with Silver Screen Partners II and released by Walt Disney Pictures.[1] The 25th Disney animated feature film, it is loosely based on the first two books in The Chronicles of Prydain by Lloyd Alexander, a series of five novels that are, in turn, based on Welsh mythology.

Set in the mythical land of Prydain during the Early Middle Ages, the film centers on the evil Horned King who hopes to secure an ancient magical cauldron that will aid him in his desire to conquer the world. He is opposed by a young pig keeper named Taran, the young princess Eilonwy, the bard Fflewddur Fflam, and a wild creature named Gurgi who seek to destroy the cauldron, to prevent the Horned King from ruling the world.

The film is directed by Ted Berman and Richard Rich, who had directed Disney's previous animated film The Fox and the Hound in 1981, the first Disney animated film to be recorded in Dolby Stereo. It features the voices of Grant Bardsley, Susan Sheridan, Freddie Jones, Nigel Hawthorne, John Byner, and John Hurt.

It was the first Disney animated film to receive a PG rating as well as the first Disney animated film to feature computer-generated imagery.[7] The film was distributed theatrically through Buena Vista Distribution on July 24, 1985. With the budget of $44 million, it was the most expensive animated film ever made at the time. Earning $21.3 million domestically, it led to a loss for the studio, putting Walt Disney Feature Animation near bankruptcy. Due to its commercial failure, Disney did not release the film on home video until 1998.

Plot
In the land of Prydain, Taran is an "assistant pig-keeper" on the small farm of Caer Dallben, home of Dallben the Enchanter. Dallben learns that the Horned King is searching for a mystical relic known as the Black Cauldron, which is capable of creating an invincible army of undead warriors, the "Cauldron-Born". Dallben fears the Horned King may try to steal his pig Hen Wen, which has oracular powers, and use her to locate the cauldron. Dallben directs Taran to take Hen Wen to safety; unfortunately, Taran's foolish daydreaming causes Hen Wen to be captured by the Horned King's forces.

Taran follows them to the Horned King's stronghold. Along the way, he encounters the small, pestering companion Gurgi, who joins Taran on his search. Frustrated by Gurgi's antics, Taran leaves the former to sneak into the castle and rescues Hen Wen, but although Hen Wen escapes from the castle, Taran is arrested and thrown into the dungeon. A fellow captive named Princess Eilonwy frees Taran as she is trying to make her own escape. In the catacombs beneath the castle, Taran and Eilonwy discover the ancient burial chamber of a king, where Taran arms himself with the king's sword. It contains magic that allows him effectively to fight the Horned King's minions and so to fulfill his dream of heroism. Along with a third prisoner, the comical, middle-aged bard Fflewddur Fflam, they escape from the castle and are soon reunited with Gurgi. Upon discovering that Taran has escaped, the Horned King orders his goblin companion Creeper to send the Gwythaints to follow Taran and bring him back alive.

Following Hen Wen's trail, the four stumble into the underground kingdom of the Fair Folk who reveal that Hen Wen is under their protection. When the cheerful, elderly King Eidilleg reveals that he knows where the cauldron is, Taran resolves to go destroy it himself. Eilonwy, Fflewddur, and Gurgi agree to join him and Eidilleg's obnoxious right-hand man Doli is assigned to lead them to the Marshes of Morva while the Fair Folk agree to escort Hen Wen safely back to Caer Dallben. At the marshes they learn that the cauldron is held by three witches—the grasping Orddu, who acts as leader; the greedy Orgoch; and the more benevolent Orwen, who falls in love with Fflewddur at first sight, which causes a frightened Doli to abandon the group. Orddu agrees to trade the cauldron for Taran's sword, and he reluctantly agrees, although he knows that to yield it will cost his chance for heroism. Before vanishing, the witches reveal that the cauldron is indestructible, and that its power can only be broken by someone who climbs in under his own free will, which will kill him. Although Taran feels foolish for aspiring to destroy the cauldron alone, his companions show their belief in him; and it seems that Eilonwy and Taran will kiss. Suddenly, the celebration is interrupted by the Horned King's soldiers who have finally reached the marshes themselves. They seize the cauldron and arrest everyone but Gurgi, and take their prisoners back to the castle. The Horned King uses the cauldron to raise the dead and his Cauldron-born army begins to pour out into the world.

Gurgi manages to free the captives and Taran decides to cast himself into the cauldron, but Gurgi stops him and jumps into the cauldron himself. The undead army collapses. When the Horned King spots Taran at large, he infers the turn of events, says that Taran has interfered for the last time, and throws the youth toward the cauldron; however, the cauldron's magic is out of control. It consumes the Horned King in a tunnel of fire and blood, trapping him in the cauldron as well as destroying the castle, using up all its powers forever. The three witches come to recover the now-inert Black Cauldron. However, Taran has finally realized Gurgi's true friendship, and he persuades them to revive the wild thing in exchange for the cauldron, forcing him to give up his magical sword permanently. Fflewddur challenges the reluctant witches to demonstrate their powers by the revival, and upon hearing Fflewddur's remarks, the witches honor the request, restoring Gurgi back to life. After Gurgi is resurrected, he pushes Taran and Eilonwy into a kiss. The four friends then journey back to Caer Dallben where Dallben and Doli watch them in a vision created by Hen Wen, and Dallben finally praises Taran for his heroism despite the fact that he prefers to be a Pig-Boy.

Cast

 * Grant Bardsley as Taran
 * Susan Sheridan as Princess Eilonwy
 * John Byner as Gurgi and Doli
 * Nigel Hawthorne as Fflewddur Fflam
 * John Hurt as The Horned King
 * Phil Fondacaro as Creeper
 * Freddie Jones as Dallben
 * Arthur Malet as King Eidilleg
 * Eda Reiss Merin as Orddu
 * Adele Malis-Morey as Orwen
 * Billie Hayes as Orgoch
 * John Huston as Narrator

Development
Walt Disney Productions optioned Lloyd Alexander's five-volume series in 1971,[7] and pre-production work began in 1973 when the film rights to Alexander's books were finally obtained. According to Ollie Johnston, it was he and Frank Thomas that convinced the studio to produce the movie, and that if it had been done properly, it might be "as good as Snow White".[8] Because of the numerous storylines and with over thirty characters in the original series, several story artists and animators worked on the development of the film throughout the 1970s,[9] where it was originally slated for release in 1980. Veteran artist Mel Shaw created inspirational conceptual pastel sketches in which then-Disney CEO Ron W. Miller considered to be too advanced for the animators.[10]Therefore, in August 1978, the studio pushed its release date back to Christmas 1984 due to the animators' inability of animating realistic human characters; its original release date would later be assumed by The Fox and the Hound.[11]During its development limbo, one of those writers was veteran storyboard artist Vance Gerry who was chosen to create beat storyboards that would outline the plot, action, and locations. Having set up the three principal characters, Gerry adapted the Horned King into a big-bellied Viking who had a red beard, fiery temper, and wore a steel helmet with two large horns. Desiring an experienced British screenwriter to write the screenplay, the studio signed Rosemary Anne Sisson onto the project.[12]

The first director attached to the project was animator John Musker after he was proposed the job by production head Tom Wilhite. As director, Musker was assigned to expand several sequences in the first act, but they were eventually deemed too comedic. When production on The Fox and the Hound had wrapped, several feature animation directors Art Stevens, Richard Rich, Ted Berman, and Dave Michener became involved in The Black Cauldron. When Miller decided too many people were involved, he decided Stevens was not appropriate to supervise the project so he contacted Joe Hale, who was a longtime layout artist at Disney Studios, to serve as producer.[10][13][14] With Hale as producer, actual production on The Black Cauldron officially began in 1980.[9][15] He tossed out visual character artwork submitted by Tim Burton and along with The Fox and the Hound directors Richard Rich and Ted Berman, they desired a Sleeping Beauty-style approach and brought Milt Kahl out of retirement to create character designs for Taran, Eilonwy, Fflewddur Fflam, and the other principal characters. He and the story team (including two story artists David Jonas and Al Wilson that Hale brought to the project) revised the film, capsulizing the story of the first two books and making some considerable changes which led to the departure of Sisson who had creative differences with Hale and the directors.[16]Animators John Musker and Ron Clements, also citing creative differences, were removed from the project and began development on The Great Mouse Detective.[17] Displeased with Vance Gerry's concept for the Horned King, Hale turned the Horned King into a thin creature donning a hood and carrying a spectral presence with shadowed face and glowing red eyes, his role expanded into a composite villain of several characters from the books.[9] Taran and Eilonwy eventually acquired elements of the past designs and costumes of earlier Disney characters, especially the latter, who was drawn to resemble Princess Aurora.[16][18]

Test-screening and editing
Shortly before the film's initially planned 1984 theatrical release, a test screening for the rough cut of The Black Cauldron was held at the studio's private theater in Burbank, California. After the film, particularly the climactic "cauldron born" sequence, proved to be too intense and frightening for the majority of the children in the audience (most of whom fled the theater in terror before it was even finished), the newly appointed Disney studio chairman Jeffrey Katzenbergordered certain scenes from The Black Cauldron be cut, as a result of the length and the fear that their graphic nature would alienate children and family audiences.[19] Since animated films were generally edited in storyboard form using Leica reels (later known as animatics: storyboards shot sequentially and set to temporary audio tracks), producer Joe Hale objected to Katzenberg's demands. Katzenberg responded by having the film brought into an edit bay and editing the film himself.[19]

Informed of what Katzenberg was doing by Hale, Disney CEO Michael Eisnercalled Katzenberg in the editing room and convinced him to stop. Though he did what Eisner insisted, Katzenberg requested that the film be modified, and delayed its scheduled Christmas 1984 release to July 1985 so that the film could be reworked.[19]

The film was ultimately cut by twelve minutes,[20], with existing scenes rewritten and reanimated for continuity.[19] Many of the cut scenes involved extended character interactions, but other trims involve violent content, including the undead "Cauldron Born", who are used as the Horned King's army in the final act of the film. While most of the scenes were seamlessly removed from the film, the Cauldron Born sequence contains rather recognizable lapses because the removal of the scenes of the Cauldron Born mauling the henchmen, as well as one of them being dissolved by the mist, creates a jump in the film's soundtrack.[7]

Animation
Invented by David W. Spencer from the studio's still camera department,[21] the animation photo transfer process (shorten as the APT process) was first used for The Black Cauldron which would enhance the technology by which the rough animation would be processed onto celluloid. First, the rough animation would be photographed onto high-contrast litho film, and the resulting negative would be copied onto the plastic cel sheets that would transfer lines and the colors which eventually eliminated the hand-inking process.[22] But as the APT-transferred line art would fade off of the cels over time, most or all of the film was done using the xerographic process which had been in place at Disney since the late 1950s.[23] Spencer would win a technical Academy Award for this process, but the computer would soon render the APT process obsolete.[21]

The Black Cauldron is notable for being Disney's first animated feature film to incorporate computer-generated imagery in its animation for bubbles, a boat, a floating orb of light, and the cauldron itself.[24] Despite The Black Cauldron being released a year before The Great Mouse Detective, both films were in production simultaneously for some time and the computer graphics for the latter were done first. When producer Joe Hale heard about what was being done, the possibilities made him excited and he made the crew from The Great Mouse Detective project create some computer animation for his own movie. For other effects, animator Don Paul used live action footage of dry ice mists to create the steam and smoke coming out of the cauldron.[20]

Soundtrack
The Black Cauldron: Original Motion Picture Soundtrack is the soundtrack album to the film. It was composed and conducted by Elmer Bernstein and originally released in 1985.

Composition
Unlike most other Disney animated films, the film did not contain any songs. At the same time, Bernstein had just come off the success of his Academy Award-nominated score for the 1983 film Trading Places as well as the score for the 1984 film Ghostbusters. Like in the latter of the two, The Black Cauldron saw the use of the ghostly ondes Martenot to build upon the dark mood of Prydain.[25]