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The abandoned concepts for Disney's Snow White and the Seven Dwarfs would have brought much more romance into the movie. The scrapped elements would have also underlined the mutual infatuation of Snow White and the Prince more comprehensively than the final 1937 movie classic. Whether Snow White and the Prince would have met during a "Prince Buckethead" ballet (described on next page) or at the Wishing Well (as in the movie), the clear motive for their love was that they both needed to be rescued.
The extremely beautiful "Snow White's Dream Sequence" was fully completed in storyboard phase. It was to be seen while Snow White sang "Some Day My Prince Will Come" to the Dwarfs, but it was reportedly rejected by Walt Disney himself to keep the narrative more intimate. Whether the decision to omit it was correct or not, it's clear that the romantic quality of the movie would have taken major steps forward if the dream sequence had been included into the final movie. Just imagine all this in the gorgeous final animation of 1937: Snow White and the Prince meet and dance on the clouds and comical cherubic baby stars bustle around, but ultimately dark storm clouds threaten the lovers' starlit rendezvous at the end - a witty reference to the Evil Queen. (The "Two Silhouettes" ballet segment of the 1946 Disney movie Make Mine Music offers a tiny hint of how gorgeous the "Snow White Dream Sequence" could have been in final animation, apart from the rotoscoping stiff ballet dancers).
However, more important is that the dream sequence could have provided astonishing contrast for the dungeon flood to drown the chained Prince. One can only imagine what a breathtaking contrast it would have been to witness Snow White's innocent, gorgeous dream against the pure horror of the flooding dungeon - leading to the Prince's grand escape (as described on the previous page). And wouldn't the Prince's sorrow at Snow White's coffin in the final 1937 movie be so much more justified after all the horrors and the frantic search for Snow White? Also the controversial kiss would get an intriguing motive; perhaps the Prince does remember the antidote part from the Witch's soliloquy (described on page 3) - so he does not just kiss a dead girl in a glass coffin, but really tries to keep his promise to Snow White, to rescue her from the Evil Queen's dominion.
The compact happy ending - especially the way Snow White jumps into the arms of the Prince - has been the most criticized ingredient of Disney's Snow White and the Seven Dwarfs. However, the explanation for the compact ending has always existed in the 1937 movie. When the disguised Queen offers the poisoned apple for Snow White, the diabolical woman pulls another lie out of hat, telling that the apple is a "Magic Wishing Apple", fulfilling one's dreams with one bite. Snow White utters her wish about the Prince, takes a bite, collapses to the ground - and wakes up with the Prince on her side! Thus the compact ending does not need any further explanations: Snow White simply believes that the wondrous apple made her dream come true!
The "Magic Wishing Apple" lie could also be linked with the Evil Queen's alternate demise (described on the previous page) - making the old hag curse her own stupidity as she realizes that maybe some of the black magic did affect the lie to become an actual spell when Snow White uttered the wish - thus helping the Prince to escape from the dungeon and find his way to the Dwarfs' cottage. This little detail would make the Prince's escape from the flooding dungeon even more dramatic; due to the raging waters the Prince and his rescuers may have really hard time opening the manacles holding his feet - but when Snow White utters her wish that the Prince would find her and takes the deadly bite, the young man breaks free from the last chains holding him underwater.
Even though Walt Disney chose a less epic direction for the final movie, there is still plenty of extraordinary contrast of light and dark that makes the 1937 Snow White and the Seven Dwarfs a true masterpiece. Not even Disney's next animated movie, Pinocchio (1940), managed to contrast innocence, wonder and sincere fun with such real-life horrors as seen in Snow White: the heroine being nearly stabbed in the back by a sinister Huntsman, a jealous stepmother wanting to kill her own stepdaughter, the threat of Snow White being buried alive while only in sleep - and not forgetting the deep psychological content of Snow White's nightmare escape into the dark forest. The essence of these kinds of horrors, however, is not in the shock value, but in the ability to contrast the beauty and wonder of true happy endings and fairytale magic.
Walt Disney's 1937 Snow White and the Seven Dwarfs is still the best example of such great and functional contrast.
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