Tuesday, January 31, 2012

Tonight's Movie: Kiss of Death (1947)

KISS OF DEATH, the film noir especially remembered for Richard Widmark's stunning film debut as a psychotic killer, is an excellent film which also features what may be Victor Mature's career-best performance.

Mature plays Nick Bianco, a small-time hood who, having been out of work for a year, resorts to robbing a jewelry store in order to try to provide Christmas for his wife and kids. Not too smart! Three years into Nick's jail sentence, his despondent, financially strapped wife has killed herself and his two little girls are in an orphanage.

Nick decides to play ball with the Assistant District Attorney (Brian Donlevy, in a sympathetic performance) and help him nab some criminals in return for being able to visit his daughters at the orphanage. Soon thereafter Nick is paroled. He marries sweet, adoring Nettie (Coleen Gray), his children's one-time baby-sitter who has had a crush on him for years, gets a job as a bricklayer, and for a time the Biancos live a happy life raising Nick's daughters.

Things go south in a hurry when Nick is compelled to testify against extremely dangerous killer Tommy Udo (Widmark) and the jury lets Udo walk free. Nick will do absolutely anything to protect his wife and little girls, resulting in a memorable showdown with Udo.

Although Coleen Gray -- who will be 90 this fall -- had previously filmed her role in RED RIVER (1948), this was the first movie to be released in which she had more than a bit role. I was quite taken with her performance, which seems very natural and emotionally open, whether she's greeting Nick like an excited teenager or sobbing at the dining room table as Nick explains just how bad their situation is. Her acting almost has a modern feel to it that seems rather unlike other performances of the era. Her scenes with Mature are all quite gripping and among the best in the film; in fact, I went back and replayed each one after the movie had ended. I was touched by the progression of their relationship, which is depicted in what is really just a few scenes.

It's interesting to me that while this film is rightly remembered for Richard Widmark's electric, Oscar-nominated film debut as Tommy Udo, some reviews found online are a bit tepid about the rest of the film, including Mature and Gray's performances. For me, Mature and Gray make the movie; and in fact, Mature's quietly played role provides a perfect opposite to Widmark's very flashy part. The contrasting dynamic between the two actors is a part of what makes Widmark so effective. Needless to say, Widmark's giggling killer is a hard character to forget.

Victor Mature may not have had a lot of range -- he never really worked for me in musicals like MY GAL SAL (1942) or MILLION DOLLAR MERMAID (1952) -- but at the same time, in the right types of projects, he was simply terrific. He's underestimated as an actor; there's a great deal going on in his performance in terms of expressions and body language, and he has soulful eyes few could match. The love he lavishes on his little girls is quite touching, especially coming from a man with such a troubled past; Nick's own father was a criminal, but Nick finally gets his act together and turns his life around. Mature's mix of tough and tender makes the transition believable.

Speaking of body language, it's fun to carefully observe the scene where Nick visits Nettie after his release from jail. She's very excited and seems to keep herself from touching him by clasping her hands behind her back and then folding her arms over her chest. Nick, meanwhile, stands with his arms spread open. When Nettie walks past Nick to get him some dinner, he reaches for her and the emotional dam breaks.

I came across a YouTube video in which Coleen Gray discusses being cast in KISS OF DEATH and working with director Henry Hathaway. I must say I was taken aback by her interpretation of the ending and choose to view it differently. Besides, Walter Winchell voices agreement with my interpretation in the trailer!

It seems as though director Henry Hathaway could be a bit of a pill to some actors until they'd had enough. Gray describes Hathaway picking on her while they were on location filming the charming kitchen scene, to the extent that she finally fled upstairs in tears. Hathaway followed her, told her she was doing fine, and from then on they were great friends. Similarly, I've read that Richard Widmark was so exasperated by Hathaway he walked off the set at lunchtime, saying he didn't need the hassle of a movie career, but Hathaway followed him, apologized, and from then on they were friends and worked together again on later films.

KISS OF DEATH illustrates both the strengths and weaknesses of the Production Code. After Udo and Bianco are admitted into a high-security building, as they walk up the stairs Bianco asks "What's that smell?" Udo replies that it's perfume. It's quite clear to adults what sort of establishment the two men are entering, but at the same time a child wouldn't have a clue. It's so much more sophisticated than something blatant, a great example of less being more.

On the other hand, in the real world there's no way a pair of loving newlyweds like Nick and Nettie sleep in twin beds, a rather absurd convention which seems to have existed mainly in the movies.

The film has a great look, with terrific location shooting in New York. I love Nick and Nettie's house, which is just right, a comfortable but lower-class home they could afford, including ancient, too-loud wallpaper. The film also has plentiful noir style, including the men's wardrobes -- love the hats -- and creepy shadows. The finest noir moment is the headlights which shine on Nick and Nettie as they sit at their dining room table, a visually stunning, memorably scary couple of seconds.

Look for Karl Malden in a small role as a police investigator. Millard Mitchell is effective as a cop. Taylor Holmes is a slimy lawyer to lowlifes, and Mildred Dunnock is a woman in a wheelchair who has a most unfortunate encounter with Tommy Udo. Iris Mann plays Mature's older daughter, Connie; IMDb doesn't list a credit for the little girl who played Rosie. (2013 Update: IMDb has been updated and Marilee Grassini is credited as Rosaria.)

An intriguing bit of information is that Patricia Morison filmed a scene or scenes as Maria, Nick's first wife, but was edited out of the picture. Her name appears on some posters, along with the name of actor Robert Keith, who was also cut. Henry Brandon, who played the often-talked-about mobster Pete Rizzo, ended up on the cutting-room floor as well.

The script by Ben Hecht and Charles Lederer was based on an Oscar-nominated original story by Eleazar Lipsky. IMDb indicates Philip Dunne also did uncredited work on the script. KISS OF DEATH runs 99 minutes.

The theme music heard as the film draws to a close, and also heard in the trailer, is Alfred Newman's "Street Scene." First used in the 1931 film STREET SCENE, the music was used in at least two other Fox noir titles starring Victor Mature, I WAKE UP SCREAMING (1941) and CRY OF THE CITY (1948). It also appeared in THE DARK CORNER (1946) and HOW TO MARRY A MILLIONAIRE (1953).

KISS OF DEATH was released on DVD as Fox Film Noir No. 11. Extras include a commentary track by Alain Silver and James Ursini. It's available from Netflix.

It's also been released on VHS. It can be seen periodically on Fox Movie Channel.

Highly recommended.

Update of related links: A Birthday Tribute to Coleen Gray, A Visit With Coleen Gray, Farewell to Coleen Gray, The Victor Mature Centennial, and A Birthday Tribute to Victor Mature.

Monday, January 30, 2012

Tonight's Movie: The Second Woman (1950)

THE SECOND WOMAN is an enjoyable mystery thriller with overtones of "gothic noir," starring Robert Young and Betsy Drake.

Ellen Foster (Drake), a CPA, meets architect Jeff Cohalan (Young) while on the train to visit her aunt (Florence Bates) on the Northern California coast. Jeff has been going through a tough time after the death of his fiancee in a car wreck on the eve of their wedding; at times he's charming, while at other points he is very distant. Life grows even more difficult for Jeff as several upsetting incidents of "bad luck" continue to plague him.

Ellen, with a background in actuarial work, comes to believe the odds are impossible that Jeff is simply experiencing accidents by chance, and she sets out to discover who is causing the increasingly dangerous events before it's too late.

This is a solid film with a number of unique angles. The plot is presented in an interesting manner, starting with an apparent suicide attempt by Jeff, then spending an hour in a flashback before picking up the plot again where the movie started. The script by Mort Briskin and Robert Smith does a good job keeping the viewer guessing whether Jeff is suffering from paranoia or one of several people might be trying to do him harm, and there's an unanticipated twist near the ending, too.

Betsy Drake's character, a professional woman with bracing common sense, provides a nice contrast with the film's "spooky house" mood. So often in the "gothic noir" tradition it's the woman who is in jeopardy, but in this case, it's the hero who is in danger, from himself or an unknown assailant. Having the heroine use her business knowledge to help save the hero is a refreshing switch from the typical storyline of the era.

Perhaps the one lingering question is what exactly draws the sensible Ellen to the moody Jeff so strongly, but the heroine falling for a brooding hero is another old plot standby, so it's not too hard to accept. Young plays the role in such a way that at times it's truly difficult to decide if he's persecuted or a mental case.

One of the film's interesting aspects is the very distinctive modern home owned by Robert Young's character, which has equally original interior decor. I was thus intrigued to learn that the film's production designer was Boris Leven, who was nominated for multiple Oscars over the course of his long career, winning for WEST SIDE STORY (1961). The set direction was by Jacques Mapes.

In another unique touch, the film's score is built around themes by Tschaikovsky, with additional original music by Joseph Nussbaum.

John Sutton plays a sleazy associate of Jeff's who has just divorced his wife (Jean Rogers). Sutton is adequate but a bit overdone at times, in a role Zachary Scott could have played well in his sleep.

Morris Carnovsky plays Jeff's doctor, who is also attempting to understand his mental state. The role is somewhat reminiscent of Carnovsky's role as Hedy Lamarr's doctor in DISHONORED LADY (1947).

It's nice to see Florence Bates, who so often portrayed unpleasant women, playing Ellen's kind aunt. The excellent character actor Henry O'Neill plays Jeff's boss and the father his late fiancee. Head Mouseketeer Jimmie Dodd (billed as Jimmy) has a small role offering some key evidence late in the film.

The ubiquitous Bess Flowers, who was probably in more nightclub, country club, and party scenes than anyone in movie history, can be spotted in two scenes, first at the country club dance and later sitting at John Sutton's table at the fiesta.

THE SECOND WOMAN was directed by James V. Kern. The black and white cinematography was by Hal Mohr.

This film is out on DVD from Alpha, which releases public domain films. The DVD has a couple of brief skips and occasionally the soundtrack seems a bit muffled, but it's very watchable, on the higher quality end of Alpha's releases.

It's also currently available on YouTube.

This film has also been released on VHS.

As an aside, what were they thinking with the poor illustrations of Robert Young and Betsy Drake in the poster with the black background, above and second down on the left?! What an odd pose and expressions. The poster at the very top left is much more attractive and in keeping with the spirit of the film.

The film does have an odd moment or two, such as the almost complete lack of reaction when someone is shot near the end of the movie. All in all, though, I found the movie to be a pleasant surprise, delivering 91 minutes of solid entertainment.

In Disney News...

It's been a couple months now since the last roundup of Disney news!

...The next issue of Disney Twenty-three magazine goes on sale February 14th. It features a beautiful SNOW WHITE cover celebrating 75 years of Disney animation.

...Disney historian J.B. Kaufman, author of the excellent book SOUTH OF THE BORDER WITH DISNEY, has a new book coming out later this year: THE FAIREST ONE OF ALL: THE MAKING OF WALT DISNEY'S SNOW WHITE AND THE SEVEN DWARFS. It will be published by the Walt Disney Family Foundation Press. The Walt Disney Family Museum will also be hosting an exhibit on SNOW WHITE this November.

...California Adventure featured an exhibit titled THE ART OF SNOW WHITE in 2008, and I posted some of my photos at that time.

...Coming to the Hollywood Bowl this summer: Pixar in Concert on Friday, August 3rd. The concert will include clips from Pixar films.

...There are some great new projection shows coming to It's a Small World at Disneyland: a Valentine's themed show starting on February 1st features lanterns from TANGLED and stained glass images of Disney princes and princesses, and a summer show which turns the ride facade into a giant sandcastle.

...I'm not a fan of Disney changing its dress code to allow beards. The dress code and prohibition on beards has been part of the parks' clean-cut look for at least 55 years; why change now?

...Tickets go on sale today for the latest Broadway version of a Disney musical, NEWSIES. It opens at the Nederlander Theatre on March 15th.

...Jim Korkis recently posted a good article on the history of Disneyland's Matterhorn at Storyboard, the official blog of the Walt Disney Family Museum.

...A Matterhorn movie is in the works?!

...By 2014 the Walt Disney Studios Park at Disneyland Paris will be home to a new RATATOUILLE dark ride, with a related restaurant. What could be more perfect for Disneyland Paris? The Studios park is in need of more attractions so this is good news.

...The trailer for Pixar's BRAVE (2012) has been playing before BEAUTY AND THE BEAST (1991). Love the Scottish accents! Hope it's another good one from Pixar.

...Disney's THE SNOW QUEEN project is back on track after being put on hold a couple of years ago; it's gone through the same name change process as TANGLED (2010) and will now be called simply FROZEN. Can't have a title that skews to girls, you see! Unfortunately plans for a hand-drawn 2D cartoon, in the vein of THE PRINCESS AND THE FROG (2009), have been scrapped in favor of 3D computer graphics.

...Registration for the next MouseAdventure event opens tomorrow, January 31st, at 9:00 a.m. The March 11th event will be called "MouseAdventure Card Games," and this year the Basic Division game will take place in Downtown Disney as well as Disneyland. Gulp! Our family's team, Skippers in De Nile, plans to participate again.

...In December Disney confirmed last summer's rumor that Ghirardelli is coming to Disney's California Adventure, moving into the site of the former Mission Tortilla factory. The new location will feature a soda fountain and chocolate shop.

...Disneyland is celebrating "One More Disney Day" by remaining open 'round the clock on Leap Day, February 29, 2012.

...As I mentioned at the end of my review of BEAUTY AND THE BEAST (1991), I'm looking forward to seeing LADY AND THE TRAMP (1955) next weekend at the Disney-operated El Capitan Theatre on Hollywood Boulevard. This will be our first visit to the El Capitan, as well as our first opportunity to see LADY AND THE TRAMP on a big screen.

Sunday, January 29, 2012

Around the Blogosphere This Week

Miscellaneous bits of news and fun stuff from around the Internet...

...Tom Selleck's next JESSE STONE TV-movie, BENEFIT OF THE DOUBT (2012), will be shown on CBS May 20th. Selleck cowrote the screenplay. I need to catch up on seeing the last couple Stone films!

...The New York Post published an interesting interview with Turner Classic Movies programmer Charlie Tabesh today.

...Speaking of TCM, at Immortal Ephemera Cliff has thoughts on the station's annual Oscar month, and he also breaks down by decade the films TCM is showing early this year. I found the results of his tally interesting.

...Cliff also recently reviewed Robert Montgomery in PICCADILLY JIM (1936), a film I reviewed last summer. I always enjoy reading more about Robert Montgomery films!

...At Classic Movies, KC shares thoughts on Robert Montgomery and Joan Crawford in LETTY LYNTON (1932), one of my favorite pre-Codes. Let's hope that Warner Archive succeeds in untangling the legal issues so it can at last be widely seen, in a good print.

...At Dear Old Hollywood, Robby checks out the locations of WHO'S BEEN SLEEPING IN MY BED? (1963). I especially loved the shots of Market Basket, a grocery store I remember from my early childhood. The blue Van De Kamp's bakery sign hanging over the door brings back memories.

...And over in England, Matthew finds a location from Ealing comedies at Movietone News. He shares some terrific photos.

...Debbie Reynolds gave her ONE FOR THE MONEY (2012) co-star Katherine Heigl a new perspective on what constitutes a long, hard day on a movie set.

...Colin shares thoughts on the Randolph Scott-Budd Boetticher Western WESTBOUND (1958) at Riding the High Country, and there's a good discussion which follows in the comments. I liked it. It's available in a boxed set of Randolph Scott Westerns from Warner Archive.

...TRANSATLANTIC (1931), starring Edmund Lowe and Myrna Loy, sounds quite interesting. Read more about it at Where Danger Lives.

...Raquelle recently reviewed James Garner and Eva Marie Saint in GRAND PRIX (1966) at Out of the Past. Racing fans will want to check out her series on other racing films of the late '60s and early '70s.

...Sometimes I enjoy Roger Ebert, and other times we sharply part company. His recent column on DOWNTON ABBEY made me smile.

...Here's a great recipe for molasses cookies published by the L.A. Times. It originates from Milk in Los Angeles.

...Slow-Cooker Brunswick Stew, from Cook's Country, looks good too!

...Why is the first season of L.A. LAW out on Region 2 DVD but not available on DVD or even streaming in the U.S.?

...Restaurants strategize how to deal with their customers' ever-present cell phones. I was amused by the term "reciprocell."

...Reese Witherspoon's new movie, THIS MEANS WAR (2012), is due out on Valentine's Day. It was going to receive an R rating, which would have limited the film's potential audience, but the studio made edits and it's now rated PG-13. That change sounds good to me; I've had my fill of rated R dialogue for a while after seeing THE DESCENDANTS (2011) and CONTRABAND (2012) in recent weeks. I shared a link for the THIS MEANS WAR trailer last fall.

...Yosemite is considering a plan to limit hikers on Half Dome. I've thought the current policy, which allows children on the dangerous trail, was kind of nuts for years now.

...Over at Sidewalk Crossings, Deb reviews Stewart Granger and Valerie Hobson in BLANCHE FURY (1948). It can be streamed on Netflix.

...Attention Southern Californians: On Wednesday, February 8th, UCLA will be hosting a film noir double bill of Cornel Wilde and Richard Conte in THE BIG COMBO (1955), teamed with Dick Powell and Lizabeth Scott in PITFALL (1948). The films will be shown in 35mm prints at the historic Million Dollar Theater in Downtown Los Angeles. Alan Rode, who is always a pleasure to hear speak, will be on hand. I'm hoping to attend.

...Notable Passings: Screenwriter Robert Dozier passed away at the age of 81. He was married to Diana Muldaur and was the son of producer William Dozier. One of his stepmothers was Joan Fontaine, and his stepmother of many decades was Ann Rutherford. (Via KC at Classic Movies.)...Actor James Farentino, who had a long, busy TV career, passed on at the age of 73...Emmy-winning director John Rich, who worked on many episodes of THE DICK VAN DYKE SHOW, has died at the age of 86.

Have a great week!

Tonight's Movie: Beauty and the Beast (1991) 3D Special Edition

Today I went to see the 3D Special Edition of Disney's BEAUTY AND THE BEAST. Over the last couple of decades it's been easy to take this film for granted, due in part to constant exposure to the movie as my children were growing up, but seeing it today brought home to me anew just how exceptionally good this film is. I consider it to be the gem of Disney's Second Golden Age of Animation.

BEAUTY AND THE BEAST, of course, is Disney's telling of the story of Belle (Paige O'Hara), a beautiful, bookish girl. Belle bravely agrees to live in the enchanted castle of the cursed Beast (Robby Benson) if the Beast will set her imprisoned father free.

The Beast's servants (Angela Lansbury, Jerry Orbach, and David Ogden Stiers), who were cursed to live as a teapot, candlestick, and clock, hope Belle will come to love the Beast and thus set them all free from their spell. Just when it seems their hopes will come true, boorish Gaston (Richard White), who wants Belle for himself, arrives at the castle with evil intent.

It's a simple story ("tale as old as time..."), beautifully told and expertly paced, with a brilliant, Oscar-winning score by Allan Menken and Howard Ashman. The script, voices, and animation all represent Disney in peak form. To borrow a phrase from another classic Disney musical, BEAUTY AND THE BEAST is "practically perfect in every way."

I vividly remember when we took our oldest daughter, who had just turned three, to see BEAUTY AND THE BEAST the year it opened. After the first song, "Belle," my husband and I turned and looked at each other with some amazement. It had the excitement of a big Broadway choral number, with powerful voices to match. (I had the rare chance to share our happy memories and how much I love this sequence with producer Don Hahn when I attended a screening of WAKING SLEEPING BEAUTY a couple of years ago.) Two decades later, this number still thrills me.

Perhaps it's a stretch, but the "Belle" sequence has always reminded me just a bit of the opening "Isn't It Romantic?" sequence in LOVE ME TONIGHT (1932), as various characters in a European town take part in the song and set the story moving on its way. In fact, as I think on it more, LOVE ME TONIGHT also happens to have its moments of enchantment, with the aunts working to cast a spell on Princess Jeanette (Jeanette MacDonald). And Gaston's shadow projected on a wall in BEAUTY AND THE BEAST reminds me of Maurice Chevalier's shadow on the wall in the earlier film. Perhaps this is all coincidental, but it does serve to illustrate one way that BEAUTY AND THE BEAST fits into a long tradition of excellent movie musicals.

I believe Belle is one of Disney's best animated characters, both in terms of her personality and the animation itself. Belle is no shy princess, but a girl who isn't afraid to say "no" and who doesn't hesitate to put herself on the line for those she loves. The myriad expressions which cross her face are truly remarkable; it's easy to see just what she's thinking. And her habit of pushing a strand of hair back out of her face is quite lifelike.

I remember how surprised -- even shocked -- I was when I heard that Robby Benson had been cast as the Beast. For me, he was the baby-voiced George Gibbs of OUR TOWN (1977) and other '70s productions. I was quite amazed and pleasantly surprised the first time I heard his deep voice as the Beast. Lansbury, Orbach, and Stiers are also terrific and have their moments to shine, including in the songs "Be Our Guest" and the title track. The film marked Lansbury's return to Disney 20 years after starring in BEDKNOBS AND BROOMSTICKS (1971).

If there is a flaw to be found anywhere in this film, it's perhaps the reference to the castle having been enchanted for ten years, which doesn't seem to compute with the young age of Chip (Bradley Pierce) and may not fit with the curse on the Beast. Was he just 11 when he was cursed?

BEAUTY AND THE BEAST was nominated for Best Picture. Looking back, I personally find it rather appalling that a film as nasty as SILENCE OF THE LAMBS won instead. BEAUTY AND THE BEAST is uplifting, exquisitely made art which represents the very best of movie-making and which will continue to be enjoyed by viewers of all ages for generations to come.

I like my 3D in small doses, and I must say I was particularly impressed with this film's 3D presentation. It's so well done that it appears as though the film was originally designed that way, which strikes me as quite a feat. The opening sequence explaining the curse almost looks like a pop-up book unfolding as the camera moves in closer to the castle. I highly recommend taking advantage of the opportunity to see the movie in this format.

BEAUTY AND THE BEAST was directed by Gary Trousdale and Kirk Wise, from a screenplay by Linda Woolverton. It runs 84 minutes.

BEAUTY AND THE BEAST was preceded by the six-minute short TANGLED EVER AFTER (2012), a very amusing sequel to TANGLED (2010). Zachary Levi and Mandy Moore reprise the voices of Flynn Rider and Rapunzel.

I recommend the 2-disc BEAUTY AND THE BEAST Platinum Edition DVD released in 2002. Another two-disc edition was released last fall.

BEAUTY AND THE BEAST can also be purchased on Amazon Instant Video. It was released on VHS in 1992.

Related posts: Tonight's Theater: Beauty and the Beast; Tonight's Movie: Waking Sleeping Beauty (2009); Tonight's Movie: Beauty and the Beast (1976).

I'm looking forward to another special Disney film experience soon, as we have tickets to see LADY AND THE TRAMP (1955) next weekend at the Disney-operated El Capitan Theatre in Hollywood.

Disneyland: The Jolly Holiday Bakery Cafe

When we visited Disneyland last Friday, one of the things we enjoyed was taking a close look at the brand-new Jolly Holiday Bakery Cafe, which opened this month on the site of the old Plaza Pavilion restaurant.

In recent years the Plaza Pavilion had served as the processing center for annual passes, but with the Jolly Holiday Bakery Cafe, the building returns to its original purpose as a restaurant. And the theme is so perfect for Main Street U.S.A., one almost wonders why Disneyland didn't use this idea sooner!

Decorative windows with the penguin waiters from the "It's a Jolly Holiday" scene in MARY POPPINS were one of my favorite touches:

The floor in the center of the bakery entrance has this tile image, reminiscent of a sidewalk chalk drawing:

Another nice touch:

It was quite crowded and difficult to get a good overview of the restaurant. Here's a glimpse toward the counter area. One of the things I really liked was some framed photos of birds which call to mind both "Spoonful of Sugar" and "Feed the Birds." The edge of one such picture is barely glimpsed to the right in this photo.  (Click any photo for an enlarged view.)

One of the dessert display cases:

Many of the desserts are holdovers from the now-closed Blue Ribbon Bakery, but there are also some new items, including miniature pies. The Jolly Holiday also serves sandwiches. I hoped that the new bakery might emulate Florida's Main Street Bakery and add crumb cake to the menu, but no luck!

Another decorating detail:

All in all, the Jolly Holiday Bakery Cafe is a very nice addition to the park!

For even more photos and information on the menu, visit the Disney Food Blog or Inside the Magic.

Friday, January 27, 2012

Today at Disneyland: Chinese New Year

We made our first visit of the year to Disneyland this evening. We had a nice dinner at the Plaza Inn, checked out the brand-new Jolly Holiday Bakery, and took in the Chinese New Year decorations along the walkway to It's a Small World.

January flowers on Main Street U.S.A.:

It was a nice day today, although the wind was picking up enough by early evening that tonight's fireworks show had to be cancelled.

The Matterhorn is being rehabbed:

The path to It's a Small World, decorated for the Chinese New Year:

Twilight at Disneyland:

I'll be back to share some photos of the new Jolly Holiday Bakery Cafe later in the weekend.

Update: Here's the Jolly Holiday post!

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