document_title: Batman v Superman: Dawn of Justice

question_text: who plays lois lane in superman vs batman

root

text: Batman v Superman: Dawn of Justice

text: Plot[edit]

text: Eighteen months after the battle between Superman and General Zod in Metropolis,[N 1] Superman has become a controversial figure. Billionaire Bruce Wayne, who has operated in Gotham City as the vigilante Batman for two decades, sees Superman as an existential threat to humanity. After learning of Batman's form of justice, Clark Kent (Superman's civilian identity) seeks to expose him via Daily Planet articles. Wayne learns that Russian weapon trafficker Anatoli Knyazev has been contacting LexCorp mogul Lex Luthor. Meanwhile, Luthor unsuccessfully tries to persuade Senator June Finch to allow him to import kryptonite retrieved from the Indian Ocean following Zod's terraforming attempt, claiming he wants to maintain it as a "deterrent" against future Kryptonian threats. He instead makes alternative plans with Finch's subordinate and gains access to Zod's body and the Kryptonian scout ship.

tag: p

text: Bruce attends a gala at LexCorp to steal encrypted data from the company's mainframe, where he also encounters with Clark, but has it taken from him by an antiquities dealer named Diana Prince; she eventually returns it to Bruce. While decrypting the drive, Bruce dreams of a post-apocalyptic world, where he leads a group of rebels against a fascist Superman. He is awoken from his vision by an unidentified person, appearing through a portal, who warns him of Lois Lane's crucial role in the future, and urges him to find "the others" before vanishing.[N 2] Wayne later discovers that Luthor is also investigating metahumans. One of them is Prince herself, who is shown in a photo taken during World War I. Wayne admits to Alfred Pennyworth that he plans to steal the kryptonite to weaponize it, should it become necessary to fight Superman.

text: At a congressional hearing, as Finch questions Superman on the validity of his actions, a bomb goes off and kills everyone present but Superman. Believing he should have detected the bomb, and frustrated by his failure to save them, Superman goes into self-imposed exile. Batman breaks into LexCorp and steals the kryptonite, planning to use it to battle Superman by building a powered exoskeleton, creating a kryptonite grenade launcher, and a kryptonite-tipped spear. Meanwhile, Luthor enters the Kryptonian ship and accesses a vast technology database accumulated from over 100,000 worlds.

text: Later, Luthor kidnaps Lois and Martha Kent, Clark's adoptive mother, to bring Superman out of exile. He reveals to him that he manipulated Superman and Batman by fueling their distrust for each other. Luthor demands that Superman kill Batman in exchange for Martha's life. Superman tries to explain the situation to Batman, but instead Batman fights Superman and eventually subdues him. Before Batman can kill him with the spear, Superman urges Batman to "save Martha", whose name is also shared with Bruce's late mother, confusing him long enough for Lois to arrive and explain what Superman meant. Realizing how far he has fallen and unwilling to let an innocent die, Batman rescues Martha, while Superman confronts Luthor on the scout ship.

text: Luthor executes his backup plan, unleashing a genetically engineered monster with DNA from both Zod's body and his own blood.[N 3] Diana Prince arrives unexpectedly; revealing her metahuman nature, she joins forces with Batman and Superman to eliminate the creature. When they are all outmatched, Superman realizes its vulnerability to kryptonite, and retrieves the spear to kill it. In the creature's last moments, it fatally wounds Superman.

text: Luthor is arrested and Batman confronts him in prison, warning Luthor that he will always be watching him. Luthor gloats that Superman's death has made the world vulnerable to powerful alien threats. A memorial is held for Superman in Metropolis. Clark is also declared dead, with various friends and family members including Bruce Wayne and Diana Prince attending for him in Smallville. Martha gives an envelope to Lois, which contains an engagement ring from Clark. After the funeral, Bruce expresses his regrets to Diana about how he failed Superman. He reveals to her that he plans to form a team of metahumans, starting with those from Luthor's files, to help protect the world in Superman's absence. After they leave, the dirt atop Clark's coffin levitates.

text: Cast[edit]

text: Ben Affleck as Bruce Wayne / Batman

tag: ul

text: Henry Cavill as Clark Kent / Superman:

text: Amy Adams as Lois Lane:

text: Jesse Eisenberg as Lex Luthor:

text: Diane Lane as Martha Kent:

text: Laurence Fishburne as Perry White:

text: Jeremy Irons as Alfred Pennyworth:

text: Holly Hunter as June Finch:

text: Gal Gadot as Diana Prince / Wonder Woman:[48]

text: Scoot McNairy as Wallace Keefe:

text: Callan Mulvey as Anatoli Knyazev:

text: Tao Okamoto as Mercy Graves:

text: Additionally, Robin Atkin Downes performed the motion-capture and voice work for Doomsday, although never named in the film, a monstrous creature created by Kryptonian technology after Luthor mixes his own blood with General Zod's DNA.[9] The role was kept under such heavy secrecy that Downes did not know who he was playing until the second trailer was released.[67] On his role, Downes stated that he was proud to be part of the film and expressed his admiration in helping bring Doomsday to life in Batman v Superman: Dawn of Justice.[68] When asked why Doomsday was chosen to be in the film, Zack Snyder stated "To go up against heroes like Batman and Superman, we wanted to introduce one of the DC Universe's most iconic and powerful villains", further explaining, "He is essentially an unstoppable force. He poses a real threat to the world within the film."[69] Snyder has confirmed Doomsday will return in the DCEU, stating "Well, you have Doomsday, right? He doesn't just crawl out of the ground. He has his own mythology, right? So that has to be explored."[70] Downes has previously provided voice roles for various DC animated films and shows as well as DC video games.[68] Jeffrey Dean Morgan and Lauren Cohan portray Thomas and Martha Wayne, Bruce Wayne's deceased parents,[71][72] Patrick Wilson portrays the President of the United States in a voice role, and Michael Cassidy portrays Jimmy Olsen, a CIA agent.[73] Reprising their roles from Man of Steel are Harry Lennix as Secretary Calvin Swanwick,[74] Christina Wren as Major Carrie Farris,[75] Kevin Costner as Jonathan Kent,[76] Rebecca Buller as Jenny Jurwich, Chad Krowchuk as Glen Woodburn, and Carla Gugino as the Kryptonian A.I. Kelor.[77] The corpse of General Zod also appears in the film in a crucial role; however, Michael Shannon did not film any scenes for the film and the corpse was created using the physique of fitness model Greg Plitt and a head-shot of Shannon.[78] Mark Edward Taylor portrays Jack O'Dwyer, an executive of Wayne Enterprises.[79][80]

text: Ezra Miller, Jason Momoa, and Ray Fisher appear as Barry Allen / Flash, Arthur Curry / Aquaman, and Victor Stone / Cyborg respectively in brief appearances, which led to their inclusion in the Justice League film.[81][82][83][84][85][86][87][88] Joe Morton appears in a role as Silas Stone, Victor's father.[89] U.S. Senator Patrick Leahy makes a cameo appearance as Senator Purrington, whilst U.S. Senator Debbie Stabenow also makes a cameo as the Governor of New Jersey.[90][91] Neil deGrasse Tyson, Soledad O'Brien, Anderson Cooper, Nancy Grace and Charlie Rose appear as themselves. Jena Malone was cast as S.T.A.R. Labs scientist Jenet Klyburn, but her scenes were cut from the theatrical release, along with Man of Steel characters Coburn Goss as Father Leone and Joseph Cranford as Pete Ross; they were restored for the Ultimate Edition home media release.[92] Talk show host Jon Stewart has a cameo in the extended cut. To further establish the interconnection between the films of the shared universe, Chris Pine appears on Diana Prince's photo as Steve Trevor, which he reprised in Wonder Woman.[93][94][95]

text: Production[edit]

text: Development[edit]

text:
"... after Man of Steel finished and we started talking about what would be in the next movie, I started subtly mentioning that it would be cool if he faced Batman... You're in a story meeting talking about, like, who should [Superman] fight if he fought this giant alien threat Zod who was basically his equal physically, from his planet, fighting on our turf... You know, who to fight next?... But I'm not gonna say at all that when I took the job to do Man of Steel that I did it in a subversive way to get to Batman. I really believe that only after contemplating who could face [Superman] did Batman come into the picture."

— Snyder, on how Batman came into the film[96]

tag: div

text: In June 2013, Warner Bros. announced that director Zack Snyder and screenwriter David S. Goyer would return for a Man of Steel sequel,[97] with the studio considering the release for the film in 2015.[98] The following month, Snyder confirmed at San Diego Comic-Con International that the sequel to Man of Steel would feature Superman and Batman meeting for the first time on film. Goyer and Snyder would co-write the story, with Goyer authoring the script,[21][99] and Christopher Nolan involved in an advisory role as executive producer.[100] According to Snyder, the film would take inspiration from the comic The Dark Knight Returns.[101]

text: In November 2013, Snyder clarified his film would not be based upon the aforementioned graphic novel. "If you were going to do that, you would need a different Superman. We're bringing Batman into the universe that now this Superman lives in."[102] Batman v Superman marks the first appearance of Wonder Woman in a live-action, theatrical film,[48] which Warner Bros. had been developing as far back as 1996.[103] In December 2013, Chris Terrio was hired to rewrite the script, due to Goyer's commitments to other projects.[104] Further commenting on the influences, Terrio revealed in an article published by the Wall Street Journal that the movie would draw inspiration from Nolan's Batman trilogy, Italian semiotician Umberto Eco's 1972 essay "The Myth of Superman", and the W.H. Auden poem "Musée des Beaux Arts" which contrasts the quotidian details of normal people's lives with the epic struggles of mythological figures. According to him, "In superhero stories, Batman is Pluto, god of the underworld, and Superman is Apollo, god of the sky. That began to be really interesting to me — that their conflict is not just due to manipulation, but their very existence."[4] The Joker and the Riddler were supposed to appear in the film, but Snyder ultimately decided to cut them from the final script.[105]

text: The film's official title, Batman v Superman: Dawn of Justice, was revealed in May 2014.[106] Snyder stated that having the "v" in the title instead of "vs." was a way "to keep it from being a straight 'versus' movie, even in the most subtle way".[107] Henry Cavill later stated, "I wouldn't call this a Superman sequel [...] This is Batman versus Superman. It's a separate entity altogether. It's introducing the Batman character and expanding upon the universe, which was kicked off by Man of Steel."[108] Forbes noted that although the film originated as a sequel to Man of Steel, it was "revamped into a backdoor pilot for Justice League and/or an eventual stand-alone Batman movie."[109] As part of a settlement with his heirs, this is the first Batman production that lists Bill Finger as a co-creator.[110]

text: Casting[edit]

text: Henry Cavill, Amy Adams, Kevin Costner, Diane Lane, Laurence Fishburne, Harry Lennix and Christina Wren reprise their roles from Man of Steel.[74][75][111] Joining the cast are Ben Affleck as Batman, Gal Gadot as Wonder Woman, Jesse Eisenberg as Lex Luthor, Jeremy Irons as Alfred Pennyworth,[111] Ray Fisher as Cyborg,[86] Jason Momoa as Aquaman,[84][85] and Tao Okamoto as Luthor's assistant Mercy Graves.[64] Scoot McNairy and Callan Mulvey were cast as Wallace Keefe and Anatoli Knyazev, while Jena Malone was cast as Jenet Klyburn, a character that was featured exclusively in the Ultimate Edition home media release.[42][58][93][112]

text: Dawn of Justice is Affleck's second film as a comic book superhero; he played Daredevil in the 2003 film of the same name,[113] and was initially reluctant to accept playing Batman, citing that he "felt [he] didn't fit the traditional mold. But once Zack [Snyder] showed [him] the concept, and that it would be both different from the great movies that Chris[topher Nolan] and Christian [Bale] made, but still in keeping with tradition, [he] was excited."[114] Affleck previously stated in 2006 that Daredevil had "inoculated [him] from ever playing another superhero".[115]

text: Snyder cast an older Batman to be a layered juxtaposition against a younger Superman; while "bear[ing] the scars of a seasoned crime fighter, but retain[ing] the charm that the world sees in billionaire Bruce Wayne."[10] Nolan was involved with the casting of Affleck and he was the first actor Snyder approached for the part.[100] The director had also discussed the part with Josh Brolin.[116] Bale admitted he wanted to play Batman again after The Dark Knight Rises,[117] though he stated that his Batman does not belong in any other film and he was never approached by Warner Bros. to play the role again.[118][119]

text: On casting Eisenberg as Lex Luthor, Snyder offered, "Having Jesse in the role allows us to explore that interesting dynamic, and also take the character in some new and unexpected directions".[26] Bryan Cranston was considered for the role before Eisenberg was cast.[120] Producer Charles Roven revealed that this incarnation of Wonder Woman would use the character's origins from 2011's The New 52 reboot of the DC continuity, wherein the character would be a demigoddess, and the daughter of Zeus. This deviates from the character's original origins, where she was "a clay figure brought to life by the gods".[50] Olga Kurylenko was considered for the role of Wonder Woman before Gadot was cast.[121] Dawn of Justice is Ray Fisher's feature film debut,[122] and the first live-action film to feature Cyborg,[123] whose role will become more significant in future DC Comics films.[124] It is also the live-action theatrical debut of Aquaman.[125]

text: The casting of Affleck, Gadot, and Eisenberg was criticized. Affleck's casting caused significant backlash from comic book fans, with multiple online petitions demanding his removal from the role; unlike previous Batman actors, he was not considered intimidating enough for the role by the protesters.[126] Conversely, PopMatters journalist J.C. Maçek III supported Affleck's casting as Batman, stating, "Way back when the news was new I wrote a PopMatters article defending the choice of Ben Affleck as Batman. I'll let that one speak for itself."[127][128] Via social media, fans criticized Gadot's small frame in contrast to Wonder Woman's warrior-like build in the comics.[129] Responding to this, Gadot stated that she had been participating in various training regimens to achieve a body that stays closer to the source material.[130] Fans also criticized Eisenberg's casting, feeling that the then-30-year-old was too young for the role, and not physically imposing enough.[131] Upon the film's release, both Affleck and Gadot received considerable praise for their performances, despite the overall negative reception of the film itself.[132][133]

text: Design[edit]

text: Michael Wilkinson reprised his duties as costume designer. He updated the Superman suit from Man of Steel so that it "feels fresh and right for this installment of Zack Snyder's comic-book universe".[134] The first Batsuit featured in the film is influenced by The Dark Knight Returns;[135] unlike the suits seen in previous live-action Batman films, it is made of cloth instead of armor and is a cast of the physique of fitness model Rossano Rea.[136][137] An image of the Wonder Woman costume was revealed at the 2014 San Diego Comic-Con, in which the costume desaturates the red, blue, and gold colors that make up the costume of most versions of the character.[138]

text: A second Batsuit was also unveiled at Comic-Con, and unlike the first, it is armored.[139] Aquaman's look in this film shows him "tattooed in Maori-like patterns", and wearing a suit "decked out in shades of gold, black and silver armor".[140] According to the Warner Bros. Studios lot, the next generation Batmobile combined inspiration from both the sleek, streamlined design of classic Batmobiles and the high-suspension, military build from the more recent Tumbler from The Dark Knight Trilogy. Designed by production designer Patrick Tatopoulos, the Batmobile is about 20 feet long and 12 feet wide.[141] The glasses Cavill wears as Clark Kent are made by British spectacle designer Tom Davies.[142]

text: Filming[edit]

text: In September 2013, Larry Fong joined the crew as cinematographer, having previously worked with Zack Snyder on 300, Watchmen, and Sucker Punch.[143] Initial filming commenced on October 19, 2013, at East Los Angeles College, to shoot an American football game between Gotham City University and rival Metropolis State University.[144] At the end of the month, construction began on the Kent farm seen in Man of Steel for the film.[145] Principal photography involving the main cast of the film began on May 19, 2014, in Detroit, Michigan,[146] with scenes featuring Gal Gadot as Diana Prince being filmed early on May 16.[147] While filming in Michigan, the production spent a total of $199 million in the state.[2] The scene of a state funeral at the Arlington National Cemetery, a tribute by the United States Army,[148] was actually filmed in Michigan as well, using green screen.[149]

text: Additional filming began in Chicago, Illinois in November 2014.[150] Other locations included the Michigan Motion Picture Studios, the Eli and Edythe Broad Art Museum at Michigan State University, Yorkville, Illinois, and New Mexico.[151][152][153] Sequences of the film, including a scene depicting the murder of Bruce Wayne's parents, were filmed using IMAX cameras.[154] The planned shoot in Morocco was shifted to New Mexico due to incidents related to the 2014 Ebola outbreak.[155] Principal photography wrapped on December 5, 2014.[156]

text: Music and soundtrack[edit]

text: Hans Zimmer composed the film score,[157] emphasizing a challenge not to reuse the themes he established with the Batman character from Christopher Nolan's trilogy.[158] Junkie XL, who provided additional music in Man of Steel, also returned for this film, helping to compose the theme for Batman.[159] Originally, Zimmer enlisted Junkie XL to compose the Batman material, with Zimmer planning to focus solely on the Superman side of the score, but the final Batman theme was written by both composers as a collaboration.[160] Zimmer noted that he had significant trouble in finding a new angle from which to tell the story and after the release of the film, Zimmer announced that he was retired from superhero films.[161] The soundtrack album of the film was released on March 18, 2016 by WaterTower Music.[162]

text: Songs featured in the film include: "Kang Ling (An Instrument Made From A Human Thigh Bone)", a traditional song performed by the monks of the Dip Tse Chok Ling Monastery, Dharamshala; "Night and Day" and "Ev'ry Time We Say Goodbye" written by Cole Porter and performed by Richard Cheese; "Shostakovich: Waltz II (Jazz Suite No. 2)" written by Dmitri Shostakovich[163][164] performed by the Royal Concertgebouw Orchestra conducted by Riccardo Chailly; and "Amazing Grace" arranged and performed by John Allan[165] and again performed by the Canadian Scottish Regiment Pipes and Drums and the United States Third Marine Aircraft Wing Band.[166][167]

text: Marketing[edit]

text: An estimated $165 million marketing effort helped promote Batman v Superman: Dawn of Justice.[168] At the 2014 San Diego Comic-Con International, Snyder introduced the film's first footage intended to be exclusive to the event.[169] A teaser trailer was scheduled to be screened in selected cinemas on April 20, 2015.[170] However, on April 16, the trailer leaked online,[171] and within a few hours Snyder officially released the trailer to Twitter.[172] At the 2015 San Diego Comic-Con International, Snyder and the cast attended to present an initial trailer of the film. The trailer was, unlike the teaser, which received mixed response, positively received by attendees, who gave the trailer a standing ovation.[173] Mark Hughes of Forbes said the trailers "both set the stage for a story about the world's distrust and fear of Superman, Batman's rage at Superman and intention to duke it out with the Man of Steel, and Wonder Woman's participation in a big fight featuring the 'Trinity.'"[174]

text: Warner Bros. Consumer Products partnered-up with "a powerhouse slate of global licensees for a broad, multi-category licensing and merchandising program", including Mattel, Lego, Rubies, Funko, Thinkway Toys, Hot Toys, Junkfood, Bioworld, Pez, Seiko, Converse and among many other licensees to sell merchandise related to the film.[175][176] Fiat Chrysler Automobiles was also a licensee for the film, offering a special edition Jeep Renegade in exchange for a near-exclusive product placement deal; aside from Bruce Wayne's Aston Martin, all vehicles in the film were either from Chrysler, Dodge, Jeep, Ram, or Iveco.[177] Batman v Superman: Dawn of Justice – Cross Fire, an original companion novel tied to the film, telling a tie-in story set before the events of the movie, was published by Scholastic Corporation.[178]

text: A five-issue comic-book prelude exploring what happened in the weeks and months leading up to the events of the film was released as a tie-in with Dr Pepper's character-branded bottles.[179] Also, there are a series of four minicomics found in Batman v Superman-branded General Mills cereals. Additionally, those who purchased Batman v Superman-themed Doritos Family Fun Mix at Walmart received the comic book prequel Batman v Superman: Dawn of Justice – Upstairs/Downstairs.[180] Rocksteady Studios released a downloadable content for the video game Batman: Arkham Knight that featured the Batmobile and Batsuit from the film.[181]

text: The third trailer debuted on Jimmy Kimmel Live! on December 3, 2015. It received positive responses,[182][183][184] with Scott Mendelson of Forbes calling the trailer a "Saturday morning cartoon nerd's wildest dreams."[185] Molly Driscoll of CS Monitor stated that it looks like the film "will continue the trend of adapting comic book stories as timely tales."[186] Graeme McMillan of The Hollywood Reporter noted that based on the trailer's content, the film might be the anti-Civil War, referring to Marvel's Captain America: Civil War as "Superman and Batman complete the comic book trope by overcoming their differences to fight a common foe, alongside a third hero, who saves them both — that feels the most fresh, especially in light of the Civil War trailer. While that ended with a showdown between three heroes, this trailer moves beyond that to show three heroes standing united."[187] However, it was criticized for revealing that,[188] with Rob Tornoe of NewsWorks pointing out that this trailer was targeting the "broadest audience" rather than just fans, as studios try to "maximize a film's opening day box office."[189]

text: Warner Bros. did not buy a Super Bowl 50 commercial;[190] instead, they worked with Turkish Airlines to put together a pair of Batman v Superman-themed airline commercials.[191] McMillan of The Hollywood Reporter stated that the spots "inform interested parties about the culture, geography and history of Batman and Superman's individual stomping grounds, each one filled with Easter eggs for the comic book faithful and newcomer alike."[192] Jesse Eisenberg's part as Lex Luthor in these commercials was praised, as Dirk Libbey of CinemaBlend noted that "he matches up well with Bruce Wayne by playing the welcoming billionaire business man. It's a far cry from the somewhat cartoonish villain we've seen in the clips from the film."[191]

text: The final trailer was released to the public on February 11, 2016, which was described as "intense" by Kwame Opam of The Verge.[193] Mendelson of Forbes felt that Warner Bros. "probably wouldn't have even dropped this one had the prior trailer back in December been received better. So now we have this fourth and final sell, and at least they are going out on a high note."[194] Jonathon Dornbush of Entertainment Weekly said that the footage "works to establish Batman as his own independent crime fighting force, while also providing a deeper look at his existential struggle against Superman."[195]

text: In February 2016, Warner Bros. and Doritos formed a partnership, creating a website offering fans the opportunity to enter codes found on Doritos purchases branded with the film's logo, and enter to win movie tickets, tech toys, and a trip the premiere in New York City.[196][197] Warner Bros also partnered with Omaze to give fans who donated a chance to win "The Ultimate Batman v Superman: Dawn of Justice Experience", while benefiting three nonprofit organizations nominated by Ben Affleck, Henry Cavill and Jesse Eisenberg. "The Ultimate Batman v Superman: Dawn of Justice Experience" offered a fan and their friend the chance to win tickets to the premiere of the film, as well as fly on a helicopter with Cavill or ride in the Batmobile with Affleck.[198] Hendrick Motorsports drivers Jimmie Johnson and Dale Earnhardt, Jr. drove cars based on Superman and Batman respectively, at Auto Club Speedway on March 20, 2016.[199] A tie-in endless runner video game to the film, entitled Batman vs Superman – Who Will Win?, debuted March 16, 2016, released by Warner Bros. International Enterprises.

text: Release[edit]

text: In November 2013, Warner Bros. announced that Batman v Superman: Dawn of Justice would be released on July 17, 2015. In January 2014, however, the studio announced that it was delayed from its original release date of July 17, 2015, and moved to May 6, 2016, in order to give the filmmakers "time to realize fully their vision, given the complex visual nature of the story."[200] The release date was moved once again in August 2014 from May 6, 2016, to March 25, 2016, with a Warner Bros. insider saying the studio was "not flinching" in regards to the previous opening date being on the same day as Marvel Studios' Captain America: Civil War, but instead stating that March 2016 was a "fantastic corridor" for them.[201] According to sources obtained by The Hollywood Reporter, Warner Bros. considered the possibility of having a 70mm release for the film, which was partially shot in the 65mm IMAX format.[202]

text: Batman v Superman: Dawn of Justice premiered at Auditorio Nacional in Mexico City on March 19, 2016,[203] followed by a New York City premiere on March 20 at Radio City Music Hall.[204] Following the Brussels attacks, Warner Bros. originally cancelled the red carpet of the London premiere, but decided to carry on with the premiere for the fans.[205] The film was released in the United States and the United Kingdom on March 25 in 3D.[201][206] It opened simultaneously in North America, China and Japan, the world's three largest film markets, as well as additional international territories,[207] with the exception of Poland, where theaters do not open on Good Friday.[3] The film debuted simultaneously across 30,000 screens in nearly every major foreign territory across 61 markets, including China, with domestic open across roughly 4,242 locations of which 3,500 theaters (85%) were in 3D, 390 IMAX screens, 470 PLF locations, 150 D-Box theaters and ten 70 mm prints.[208][209][210]

text: Reception[edit]

text: Box office[edit]

text: The film grossed $166 million in the USA & Canada in its opening weekend,[211][212] the eighth-biggest opening of all time, ahead of The Dark Knight Rises' $160.9 million.[211] The film had a worldwide opening of $422.5 million, which stands as the second-biggest for Warner Bros. and the fifth-biggest of all time.[213][214] It became the fourth film to have a global opening above $400 million.[215] It also had an IMAX worldwide opening weekend total of $36 million from 945 IMAX screens, the third-biggest ever, behind Star Wars: The Force Awakens ($48 million) and Jurassic World ($44 million).[215] However, both inside and outside of the United States, Batman v Superman: Dawn of Justice experienced a notable poor Friday-to-Sunday hold and set a new record for the worst Friday-to-Sunday drop for a superhero movie release in modern box office history with a 58% decline, which was previously held by Fantastic Four.[216]

text: In its second weekend, Batman v Superman: Dawn of Justice experienced a "historic" box-office drop,[217][218] with an 81.2% decline on Friday that was "one of the biggest Friday-to-Friday drops any blockbuster has ever seen", and an overall 68.4% drop for the weekend despite not "facing any big competition at the box office",[219][220][221] making it the second largest decline for a marquee superhero title, behind only 2003's Hulk.[217] Brad Brevet, writing for Box Office Mojo, reported that "it appeared Batman v Superman was looking at a drop anywhere from 58–68% and it ended up settling in on the wrong side of those expectations."[221] Scott Mendelson, writing for Forbes, said "Whether or not the movie is any good, and whether or not audiences respond to the picture, is best measured by the second and third weekends...Yes, we're still talking about a $15.35 million second Friday and a $50m+ second weekend, but in terms of legs, this film sadly doesn't seem to have any."[222] Continuing this trend, in its third weekend, the film dropped by 54.3% in which Brad Brevet concluded in a follow-up for Box Office Mojo that "the legs on this one are proving quite short."[223]

text: In the weeks leading up to the film's release, advance ticket sales outpaced The Dark Knight Rises, The Avengers, and Furious 7.[224] Worldwide, it was estimated to gross between $300–340 million in over 35,000 screens in its opening weekend.[208][225] It passed the $50 million mark in IMAX ticket sales on its second weekend, grossing a total of $53.4 million from 571 IMAX screens.[226][227] Warner Bros. domestic distribution chief Jeff Goldstein described the film's box office performance as a "fantastic result, by any measure."[228] Box office analyst Jeff Bock said "Still, outside of Christopher Nolan's two Dark Knight movies, and Tim Burton's Batman films when you adjust for inflation, this is the highest-grossing property in DC's bullpen thus far. It tops Man of Steel by more than $200 million," and that "overall, BvS successfully relaunched DC's cinematic universe. The film needed to reach $800 million in revenue at the box office to "recoup its investment" according to financial analysts.[229][230][168] Despite surpassing this amount, it was considered "a disappointment" for failing to reach $1 billion,[229][231][232] This resulted in Warner Bros., in May 2016, creating DC Films, giving a dedicated executive team responsibility for films based on DC Comics, similar to the dedicated Marvel Comics focus of Marvel Studios within the larger Walt Disney Studios group.[233] Batman v Superman: Dawn of Justice grossed $330.4 million in North America and $543.3 million in other territories for a worldwide total of $873.6 million, making it the seventh-highest-grossing film of 2016 behind Captain America: Civil War, Rogue One: A Star Wars Story, Finding Dory, Zootopia, The Jungle Book, and The Secret Life of Pets.[1] Deadline.com calculated the net profit of the film to be $105.7 million, when factoring together all expenses and revenues for the film.[234]

text: North America[edit]

text: Following reports of pre-tickets sales in both the United States and Canada on February 29, many insiders and analysts predicted an opening weekend haul between $120–140 million for Batman v Superman: Dawn of Justice, with projections as high as $185 million.[208][210][225][235][236][237] However, Warner Bros. insiders were more conservative in their estimates projecting in the lower range of $110 million.[3] According to Deadline.com, an undisclosed rival studio box office analyst indicated that if the film is truly pacing in tandem with The Dark Knight Rises, then Dawn of Justice could possibly be looking at a $180 million+ debut.[225] The film also became Fandango's top pre-selling superhero film ever, beating The Dark Knight Rises and Avengers: Age of Ultron, representing 90% of the site's weekend's ticket sales. A survey carried out showed that the introduction of Wonder Woman is a primary draw for moviegoers.[236][238] It pre-sold around $20–25 million worth of advance tickets.[236] Dawn of Justice made $27.7 million in Thursday previews from around 3,800 theaters which is the biggest of 2016, the biggest Easter weekend preview, the second-biggest for a superhero film (behind The Dark Knight Rises), and the seventh-biggest of all time of which $3.0 million came from IMAX showings, also a new record for Easter weekend.[239][240]

text: On its opening day, it earned $81.59 million from 4,242 theaters, including previews, marking the biggest pre-summer opening day of all time, the second-biggest superhero Friday opening and the fourth-biggest opening-day and fourth-biggest single-day gross, with $9 million coming from IMAX showings.[241] Excluding the Thursday previews, it earned $53.89 million on Friday which is the fifth-biggest ever.[241] It fell 37.8% on Saturday, which is the second-worst superhero opening Friday-to-Saturday drop, only behind the 40% drop of The Dark Knight Rises.[216] In total, it earned $166 million for its debut weekend, setting records for the biggest March and pre-summer openings,[242] the biggest Easter opening,[243] the second-biggest opening for Warner Bros.,[244] the biggest for a DC Comics property,[245] and the eighth-biggest opening of all time.[212][246][247] (Some of these records have since been broken by Beauty and the Beast.) Conversely, the film holds the record for the worst superhero Friday-to-Sunday drop with a 58% decline, eclipsing the previous 48% decline record held by Fantastic Four in 2015.[216] IMAX comprised 11% or $18 million of the weekend's gross from 388 theaters which is the fifth-biggest of all time (a record it shares with Age of Ultron) and 3D represented 40% ($68 million) of the total ticket sales.[248] RealD 3D comprised $47 million of the opening gross.[246] Premium large formats generated $17.6 million (10%), with $3.6 million of that coming from Cinemark XD auditoriums from 475 theaters.[246]

text: Following its record breaking opening weekend, it posted the biggest March Monday with $15.05 million, a drop of 55% from its Sunday gross. This broke The Hunger Games' previous record of $10.8 million,[249][250] and also the biggest March Tuesday with $12.2 million.[251] It made $209 million in its first week full which stands at the eleventh-biggest opening week of all time[252] and surpassed the lifetime total Batman Begins.[253] Despite earning $15.35 million in its second Friday, the film dropped 81.2% and broke the record for the biggest Friday-to-Friday drop for a comic book adaptation film, not including $27.7 million worth of previews which represented an even larger decline.[254] It fell precipitously by 69.1% in its second weekend, grossing $51.3 million from 4,256 theaters (an addition of 14 cinemas) due to poor reviews and mixed word of mouth, establishing itself an infamous record for the seventh steepest drop for a superhero/comic book adapted film and the steepest decline since the -69% posted by X-Men Origins: Wolverine in 2009, despite facing little to no competition or new wide-releases and having the added benefit of 30% K–12 schools off, and 9% of colleges on break, per ComScore.[255][256] The steep drop also marks the fourth-biggest for a film that opened above $100 million (tied with The Twilight Saga: Breaking Dawn – Part 2).[227] In its third weekend it was overtaken by the comedy The Boss after falling 54% with $23.3 million.[257][258]

text: Batman v Superman: Dawn of Justice proved to be front-loaded, failing to generate significant revenue after its opening weekend/week release. It earned just 1.99 times ($330 million) its opening weekend numbers ($166 million), which is lower than Man of Steel's 2.28 multiplier.[259] Like other DC films, such as Watchmen, Green Lantern and Man of Steel, it opened to record breaking numbers but then dropped the following weekend onward due largely to bad critical reception and mixed word of mouth from audiences.[260] It earned just 1.99 times its opening weekend, the worst [multiplier] for a film opening above $100 million.[261] A similar result was followed by DC's third superhero film, Suicide Squad released in August 2016,[262] although Suicide Squad became less front loaded than Dawn of Justice.[263]

text: Outside North America[edit]

text: Internationally, it was projected to open between $180–200 million; however, Deadline.com pointed out that these figures were only early predictions pegged to the performance of similar films in their respective territories.[225] It opened in ten countries on Wednesday, March 23, 2016, earning $7 million and debuting at No. 1 in all markets on approximately 5,900 screens.[264][265] The following day, the film was released in 38 additional countries, earning $33.1 million on 19,700 screens for a two-day total of $44 million.[264] On March 25, it opened in the remaining 17 countries delivering $67.2 million in revenue, for a three-day total of $115.3 million in 62 countries on more than 30,000 screens.[264] Through Sunday, March 27, it earned an opening-weekend total of $256.5 million from 66 countries on over 40,000 screens, making it the biggest superhero opening weekend of all time, the biggest overall March opening, the second-biggest opening ever for Warner Bros., and the fifth-biggest international opening on record.[215][266] The film's accomplishements also included the second-biggest IMAX opening record of $18 million, behind only Jurassic World which tallied $23.5 million.[215] 3D accounted 59% or $149.86 million of the weekend gross led by China (98%), Germany (88%), Brazil (81%), Russia (55%), and France (51%).[215] As with North America, the film witnessed a steep decline in its second Friday internationally, falling 72% to $19.2 million, with the biggest decline in the U.K. (77%) and China (87%).[267][268] Its second weekend earnings fell 66% overall to $85.25 million.[226] Despite the decline, the film topped the box office for three consecutive weekends.[269]

text: In Mexico, it had the biggest opening day for Warner Bros. and the second-biggest of all time with $5.8 million, including record-breaking midnight showings.[264] It also scored the biggest opening day of all time in Brazil ($3.5 million) and the biggest opening day for a superhero film in Germany ($2.8 million).[270] Elsewhere, it opened in the United Kingdom and Ireland ($9 million), Australia ($2.5 million), India ($2.54 million), Russia ($1.9 million), South Korea ($1.7 million), Japan ($1.2 million), the United Arab Emirates and Hong Kong ($1.1 million respectively).[264][270] In China, it earned $21.22 million on its opening day, including around $1.34 million worth of previews, which is the biggest for Warner Bros. and the sixth-biggest Hollywood opening day of all time.[264][271] However, other Chinese sources have the film open to around $20 million.[272][273] In terms of opening weekends, the biggest openings were recorded in China ($57.2 million), the United Kingdom and Ireland ($20.7 million), Mexico ($18.2 million), Brazil ($12 million), South Korea ($10.2 million), Australia ($9.9 million), France ($8.6 million), Germany ($8.1 million), Russia ($7.7 million), India ($6.6 million), Spain ($6.1 million) and Japan ($4.5 million).[215][274] It broke all-time opening record in Brazil and Warner Bros. opening records in Mexico, Hong Kong, India, Malaysia, Singapore, Vietnam, Argentina, Bolivia, Chile, Colombia, Peru, Puerto Rico and Venezuela.[215] In the United Kingdom and Ireland, it benefited from the long Easter weekend holiday and despite a distinctly mixed bag of reviews in the U.K. press, it posted an opening £14.62 million or $20.7 million from 612 theaters, a record for 2016 so far and for a superhero title on straight Friday to Sunday, but fell short of The Avengers and Avengers: Age of Ultron, when accounting for previews.[275][276]

text: In Japan, it opened in third place, behind two local films, Assassination Classroom: Graduation and Doraemon: Nobita and the Birth of Japan 2016.[277] In South Korea, it scored the biggest March opening after opening on a Tuesday and dominating 68.3% of the market share with $10.2 million.[278] In China, after scoring the biggest Hollywood opening Friday (behind Transformers: Age of Extinction),[279] it earned an estimated $57.2 million from approximately 16,000 screens in its opening weekend, besting all other DC Comics adaption film just by its weekend haul except for Man of Steel and gave Warner Bros. its biggest three day opening there with $7 million coming from 557 IMAX screens.[215][280] However, the opening figure fell below analysts projections of $70–80 million.[281] It held the top spot for its first seven days only, after which it faced stiff competitions from local productions,[268] and fell dramatically from then onwards in accruing revenue.[282] As a result, it fell to third place in its second weekend after falling enormously by 78% to $12.7 million, a record for a superhero film.[226][283]

text: It became the Warner Bros.' highest-grossing film of all time in India, Indonesia, Malaysia, the Philippines and Vietnam.[284] It also crossed $100 million Latin American markets, making it Warner Bros.' second highest-grossing film there.[284] In total earnings, its biggest markets outside of North America are China ($95 million),followed by the UK ($52.1 million), Mexico ($36 million) and Brazil ($35.5 million).[285]

text: Critical response[edit]

text: Batman v Superman: Dawn of Justice received generally unfavorable reviews from film critics.[286][287][288][289] On review aggregator website Rotten Tomatoes the film has an approval rating of 27% based on 379 reviews, with an average rating of 4.9/10. The website's critical consensus reads, "Batman v Superman: Dawn of Justice smothers a potentially powerful story – and some of America's most iconic superheroes – in a grim whirlwind of effects-driven action."[290] Metacritic, which assigns a weighted average to critics' reviews, gave the film an average score of 44 out of 100, based on 51 critics, indicating "mixed or average reviews".[291] Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.[292] It earned "B–" from men, "B" from women, a "B" from those under 25 and a "B–" from those over 25.[248] According to comScore, 73% of audiences graded the film "very good" or "excellent", with a 60% definite recommend.[293] BBC News reported that, "the film had been widely praised by fans after its first screening in New York".[294]

text: Critics generally reacted more harshly to the film. Lindy West in The Guardian described it as "153 minutes of a grown man whacking two dolls together", asking "(h)as the definition of 'movie' changed from 'motion picture story that a human wrote on purpose' to '700 only tangentially related 12-second grey and red vignettes'?"[295] A. O. Scott of The New York Times wrote: "The point of Batman v Superman isn't fun, and it isn't thinking, either. It's obedience. The theology is invoked ... to buttress a spectacle of power. And in that way the film serves as a metaphor for its own aspirations. The corporations that produce movies like this one, and the ambitious hacks who sign up to make them, have no evident motive beyond their own aggrandizement."[296] Writing in The Telegraph, Robbie Collin called the film "humourless" and "the most incoherent blockbuster in years".[297] Cynthia Fuchs of PopMatters said, "As you're watching this movie, you might also contemplate your own part, in being swayed into consuming so much of what you've consumed before." Adding, "Wonder Woman's remains Batman v Superman's most compelling story, precisely because it's untold."[298] Matt Patches of Thrillist wrote "what Batman v Superman can do, it does, at the cost of coherency and thrills. The movie is bat-shit crazy. A dour, disdainful demeanor, plus a gluttony of complex plot twists, dissipates most of the contact high."[299] Michael Philips of Chicago Tribune wrote, "A near-total drag, Batman v Superman: Dawn of Justice plays like a loose, unofficial quarter-billion-dollar remake of The Odd Couple, in which Oscar and Felix are literally trying to kill each other."[300] On his podcast Hollywood Babble-On, film director Kevin Smith, a long-time friend and collaborator of Affleck, praised Affleck's performance but panned the film, commenting that it "didn't really have a heart" and was "humorless", arguing that "there seems to be a fundamental lack of understanding of what those characters are about. It's almost like Zack Snyder didn't read a bunch of comics, he read one comic once, and it was Dark Knight Returns, and his favorite part was the last part where Batman and Superman fight."[301] On a second viewing, however, Smith via his Instagram lightened his stance.[302] Jeremy Irons expressed displeasure with the film, feeling it was "deservedly so" savaged by critics and calling the feature "very muddled" while expressing hope that the forthcoming Justice League (2017) would be better due to its story being "...a lot smaller, it's more linear".[303]

text: Taking a softer tone, David Betancourt of The Washington Post and Scott Mendelson of Forbes praised the film's visual spectacle and performances from Affleck and Gadot, though Mendelson also called the film "an utter mess of thinly sketched characters, haphazard plotting, surprisingly jumbled action".[304][305] Peter Travers of Rolling Stone called the film "better than Man of Steel but below the high bar set by Nolan's Dark Knight," adding that "Dawn of Justice is still a colossus, the stuff that DC Comics dreams are made of for that kid in all of us who yearns to see Batman and Superman suit up and go in for the kill."[306] Jake Coyle of Associated Press wrote, "it hurtles not with the kinetic momentum of Mad Max: Fury Road nor the comparatively spry skip of a Marvel movie, but with an operatic grandeur it sometimes earns and often doesn't."[307] Mark Hughes of Forbes called it "the follow-up to The Dark Knight that many viewers and fans wanted or hoped for", adding that it's "visually stunning, with powerful emotional storytelling and awe-inspiring action spectacle."[308] Andrew Barker of Variety said "as a pure visual spectacle... Batman V Superman ably blows the hinges off the multiplex doors."[309] Charles Koplinski of the Illinois Times called it "a brooding, but most importantly intelligent take on the seminal figures of our 20th century pop culture mythology, a movie that at once pays tribute to these characters' roots while offering up modern incarnations of them that ring true for our times."[310] Nicolas Barber of the BBC called the film "a four-star epic" praising Affleck's performance as Batman and the visual grandeur of Fong's cinematography.[311] Jordan Hoffman of The Guardian gave an ambivalent review; he especially criticized the "very bad writing", but conceded "there are a lot of moments... that work" and praised Affleck and Gadot's performances, calling Gadot as Wonder Woman the best thing in the film.[312]

text: Multiple commentators criticized Eisenberg on the grounds that his interpretation of Lex Luthor hewed too close to character traits associated with another DC Comics villain, the Joker.[313] Even before the film was released, Affleck compared Eisenberg's performance to that of Heath Ledger in The Dark Knight.[314] Once the film came out, critics lambasted Eisenberg's take on Luthor. Sonny Bunch of The Washington Post lamented that "As the film progresses, Lex degenerates into a gibbering mad man, some strange mix of the Riddler and the Joker with a little bit of Mark Zuckerberg added for flair."[315] Charlie Jane Anders of Gizmodo wrote that "Someone clearly told Jesse Eisenberg that this movie is the Dark Knight to Man of Steel's Batman Begins, and he's doing his damndest to give a Heath Ledger-esque performance... Watching the trailers, I had thought Eisenberg's loopy acting might be this movie's saving grace – but a concentrated dose of his faux mania actually turns out to be the worst thing." Andy Scott of Grunge, in an article titled "How Jesse Eisenberg Ruined Batman v Superman," wrote that "Eisenberg's speech patterns and mannerisms felt almost entirely lifted from Ledger's iconic performance, to the point where he walked the dangerous grey line between respectful homage and downright thievery."[316]

text: Accolades[edit]

text:
List of awards and nominations

Award
Category
Recipient(s)
Result
Ref(s)

Critics' Choice Awards
Best Actress in an Action Movie
Gal Gadot
Nominated
[317]

Golden Raspberry Awards
Worst Picture
Charles Roven and Deborah Snyder
Nominated
[318]
[319]

Worst Director
Zack Snyder
Nominated

Worst Screenplay
Chris Terrio and David S. Goyer
Won

Worst Actor
Ben Affleck
Nominated

Henry Cavill
Nominated

Worst Supporting Actor
Jesse Eisenberg
Won

Worst Screen Combo
Ben Affleck and Henry Cavill
Won

Worst Prequel, Remake, Ripoff or Sequel
Batman v Superman: Dawn of Justice
Won

Nickelodeon Kids' Choice Awards
Favorite Movie
Batman v Superman: Dawn of Justice
Nominated
[320]

Favorite Movie Actress
Amy Adams
Nominated

Favorite Movie Actor
Ben Affleck
Nominated

Henry Cavill
Nominated

Favorite Butt-Kicker
Ben Affleck
Nominated

Henry Cavill
Nominated

Favorite Frenemies
Ben Affleck and Henry Cavill
Nominated

People's Choice Awards
Favorite Action Movie
Batman v Superman: Dawn of Justice
Nominated
[321]

Saturn Awards
Best Comic-to-Film Motion Picture
Batman v Superman: Dawn of Justice
Nominated
[322]

Teen Choice Awards
Teen Choice Award for Choice Movie - Sci-Fi/Fantasy
Batman v Superman: Dawn of Justice
Nominated
[323]

Choice Movie Actor: Sci-Fi/Fantasy
Henry Cavill
Nominated

Ben Affleck
Nominated

Choice Movie Actress: Sci-Fi/Fantasy
Amy Adams
Nominated

Choice Movie: Scene Stealer
Gal Gadot
Nominated

Choice Movie: Villain
Jesse Eisenberg
Nominated

Choice Movie: Liplock
Henry Cavill and Amy Adams
Nominated

Jupiter Awards
Best International film
Zack Snyder
Nominated

Golden Trailer Awards
Most Original Poster
Warner Bros. Pictures
Won

tag: table

text: Home media[edit]

text: An extended cut of the film dubbed the Ultimate Edition was released on home media platforms, alongside the theatrical cut. This version received an R rating from the Motion Picture Association of America, for more violence than the PG-13 rated theatrical cut,[94][324] and is longer by 31 minutes.[325] With the release of the Ultimate Edition, which was the director's original version of the film before additional editing, critics noted that the film would have likely been better received with the additional footage.[326][327] Ben Kendrick of ScreenRant stated that while it was more "intelligible", character portrayal was not "fundamentally changed" and "for viewers who didn't like Man of Steel or Batman v Superman for larger reasons, such as tone, approach, and the darker characterization of DC's most iconic heroes, the Ultimate Edition is only a longer... version of a film that... is likely to remain divisive, even if the final product is a better film."[328] Phil Owens of TheWrap called it an improvement upon the original cut, writing, "Lo and behold somehow Batman v Superman: Dawn of Justice has become something that approaches a functional movie. In the process, it only makes the original cut even more inexplicable and terrible."[329]

text: The film debuted in first place on the home video sales chart for the week ending July 24, 2016.[330] As of November 25, 2017[update], it has made $21.2 million in DVD sales and $54.8 million in Blu-Ray sales, totaling nearly $76 million.[331]

text: Notes[edit]

text:
Jump up ^ As depicted in 2013 film Man of Steel.
Jump up ^ Even though the film never explicitly identifies the mysterious man who warns Bruce nor where he comes from, producer Deborah Snyder has confirmed that he is The Flash, played by Ezra Miller, who is traveling back in time.[7]
Jump up ^ While never identified onscreen or in the credits, beyond Luthor telling Superman the creature is "your doomsday,"[8] actor Robin Atkin Downes has identified the character as Doomsday.[9]

tag: ol


document_title: Snow White and the Seven Dwarfs (1937 film)

question_text: who were the voices of the seven dwarfs

question_tokens: who were the voices of the seven dwarfs

text: Plot

text: Snow White is a lonely princess living with her stepmother, a vain Queen. The Queen worries that Snow White will look better than her, so she forces Snow White to work as a scullery maid and asks her Magic Mirror daily "who is the fairest one of all". For years the mirror always answers that the Queen is, pleasing her.

text: One day, the Magic Mirror informs the Queen that Snow White is now "the fairest" in the land. The jealous Queen orders her Huntsman to take Snow White into the forest and kill her. She further demands that the huntsman return with Snow White's heart in a jeweled box as proof of the deed. However, the Huntsman cannot bring himself to kill Snow White. He tearfully begs for her forgiveness, revealing the Queen wants her dead and urges her to flee into the woods and never look back. Lost and frightened, the princess is befriended by woodland creatures who lead her to a cottage deep in the woods. Finding seven small chairs in the cottage's dining room, Snow White assumes the cottage is the untidy home of seven orphaned children.

text: In reality, the cottage belongs to seven adult dwarfs—named Doc, Grumpy, Happy, Sleepy, Bashful, Sneezy, and Dopey—who work in a nearby mine. Returning home, they are alarmed to find their cottage clean and suspect that an intruder has invaded their home. The dwarfs find Snow White upstairs, asleep across three of their beds. Snow White awakes to find the dwarfs at her bedside and introduces herself, and all of the dwarfs eventually welcome her into their home after she offers to clean and cook for them. Snow White keeps house for the dwarfs while they mine for jewels during the day, and at night they all sing, play music and dance.

text: Meanwhile, the Queen discovers that Snow White is still alive when the mirror again answers that Snow White is the fairest in the land and reveals that the heart in the jeweled box is actually that of a pig. Using a potion to disguise herself as an old hag, the Queen creates a poisoned apple that will put whoever eats it into the "Sleeping Death", a curse she learns can only be broken by "love's first kiss", but is certain Snow White will be buried alive. While the Queen goes to the cottage while the dwarfs are away, the animals are wary of her and rush off to find the dwarfs. Faking a potential heart attack, the Queen tricks Snow White into bringing her into the cottage to rest. The Queen fools Snow White into biting into the poisoned apple under the pretense that it is a magic apple that grants wishes. As Snow White falls asleep, the Queen proclaims that she is now the fairest of the land. The dwarfs return with the animals as the Queen leaves the cottage and give chase, trapping her on a cliff. She tries to roll a boulder over them, but before she can do so, lightning strikes the cliff, causing her to fall to her death.

text: The dwarfs return to their cottage and find Snow White seemingly dead, being kept in a deathlike slumber by the poison. Unwilling to bury her out of sight in the ground, they instead place her in a glass coffin trimmed with gold in a clearing in the forest. Together with the woodland creatures, they keep watch over her. A year later, a prince who had previously met and fallen in love with Snow White learns of her eternal sleep and visits her coffin. Saddened by her apparent death, he kisses her, which breaks the spell and awakens her. The dwarfs and animals all rejoice as the Prince takes Snow White to his castle.

text: Cast

text:
Adriana Caselotti as Snow White: Snow White is a young princess. Her stepmother has forced her to work as a scullery maid in the castle. Despite this, she retains a cheerful but naïve demeanor.
Lucille La Verne as Queen Grimhilde / Witch: The Queen is the stepmother of Snow White. Once her magic mirror says that Snow White is the "fairest" instead of her, she immediately enlists Humbert the huntsman to kill her in the woods. After she discovers that Snow White did not die, she disguises herself as an old hag and uses a poisoned apple to remove Snow White from her path without killing her.
Harry Stockwell as The Prince. He first sees Snow White singing at her wishing well. The prince immediately falls in love with her and her voice. He later reappears to revive her.
Roy Atwell as Doc: The leader of the seven dwarfs, Doc wears glasses and often mixes up his words.
Pinto Colvig as Grumpy and Sleepy in a dual role: Grumpy initially disapproves of Snow White's presence in the dwarfs' home, but later warns her of the threat posed by the Queen and rushes to her aid upon realizing that she is in danger, leading the charge himself. He has the biggest nose of the dwarfs and is frequently seen with one eye shut. Sleepy is always tired and appears laconic in most situations. Sterling Holloway, who would later voice many other characters for future Disney films was originally considered to voice Sleepy by Walt Disney.
Otis Harlan as Happy: Happy is the joyous dwarf and is usually portrayed laughing.
Scotty Mattraw as Bashful: Bashful is the shyest of the dwarfs, and is often embarrassed by the presence of any attention directed at him.
Billy Gilbert as Sneezy:[3] Sneezy's name is earned by his extraordinarily powerful sneezes (caused by hay fever), which are seen blowing even the heaviest of objects across a room.
Eddie Collins as Dopey (vocal effects and live-action reference only):[3] Dopey is the only dwarf who does not have a beard. He is mute, with Happy explaining that he has simply "never tried" to speak. In the movie's trailer, Walt Disney describes Dopey as "nice, but sort of silly". Mel Blanc was considered to voice Dopey by Walt Disney.[4]
Moroni Olsen as The Magic Mirror: The Slave of the Magic Mirror appears as a green mask in clouds of smoke. The Queen regularly asks him who is "the fairest" in the land.
Stuart Buchanan as the Huntsman: Despite his status as the Queen's assassin, the Huntsman cannot bear to kill Snow White, even when the Queen orders him to take the princess's heart.

text: Production

text: Development on Snow White and the Seven Dwarfs began in early 1934, and in June 1934, Walt Disney announced the production of his first feature, to be released under Walt Disney Productions,[5] to The New York Times.[6] One evening that same year, Disney acted out the entire story of Snow White and the Seven Dwarfs to his staff, announcing that the film would be produced as a feature-length film.[7]

text: Before Snow White and the Seven Dwarfs, the Disney studio had been primarily involved in the production of animated short subjects in the Mickey Mouse and Silly Symphonies series. Disney hoped to expand his studio's prestige and revenues by moving into features,[8] and estimated that Snow White and the Seven Dwarfs could be produced for a budget of US$250,000; this was ten times the budget of an average Silly Symphony.[6]

text: Snow White and the Seven Dwarfs was to be the first full-length cel animated feature in motion picture history,[5] and as such Walt Disney had to fight to get the film produced. Both his brother and business partner Roy Disney and his wife Lillian attempted to talk him out of it,[8] and the Hollywood movie industry referred to the film derisively as "Disney's Folly" while it was in production. He had to mortgage his house to help finance the film's production, which eventually ran up a total cost of $1,488,422.74, a massive sum for a feature film in 1937.[1]

text: Story development

text: On August 9, 1934, twenty-one pages of notes—entitled "Snowwhite suggestions"—were compiled by staff writer Richard Creedon, suggesting the principal characters, as well as situations and 'gags' for the story. As Disney had stated at the very beginning of the project, the main attraction of the story for him was the Seven Dwarfs, and their possibilities for "screwiness" and "gags"; the three story meetings held in October and attended by Disney, Creedon, Larry Morey, Albert Hurter, Ted Sears and Pinto Colvig were dominated by such subjects. At this point, Disney felt that the story should begin with Snow White's discovery of the Cottage of the Seven Dwarfs.[6] Walt Disney had suggested from the beginning that each of the dwarfs, whose names and personalities are not stated in the original fairy tale, could have individual personalities. The dwarfs names were chosen from a pool of about fifty potentials, including Jumpy, Deafy, Dizzey, Hickey, Wheezy, Baldy, Gabby, Nifty, Sniffy, Swift, Lazy, Puffy, Stuffy, Tubby, Shorty, and Burpy.[9] The seven finalists were chosen through a process of elimination. The leader of the dwarfs, required to be pompous, self-important and bumbling, was named Doc; others were named for their distinguishing character traits. At the end of the October story meetings, however, only Doc, Grumpy, Bashful, Sleepy and Happy of the final seven were named; at this point, Sneezy and Dopey were replaced by 'Jumpy' and an unnamed seventh dwarf.[1]

text: Along with a focus on the characterizations and comedic possibilities of the dwarfs, Creedon's eighteen-page outline of the story written from the October meetings, featured a continuous flow of gags as well as the Queen's attempt to kill Snow White with a poisoned comb, an element taken from the Grimms' original story. After persuading Snow White to use the comb, the disguised Queen would have escaped alive, but the dwarfs would have arrived in time to remove it. After the failure of the comb, the Queen was to have the Prince captured and taken to her dungeon, where she would have come to him (story sketches show this event both with the Queen and the Witch) and used magic to bring the dungeon's skeletons to life, making them dance for him and identifying one skeleton as "Prince Oswald", an example of the more humorous atmosphere of this original story treatment.[6] It is written in story notes that the Queen has such magical power only in her own domain, the castle. With the Prince refusing to marry her, the Queen leaves him to his death (one sketch shows the Prince trapped in a subterranean chamber filling with water)[10] as she makes her way to the dwarfs' cottage with the poisoned apple. The forest animals were to help the Prince escape the Queen's minions and find his horse. The Prince was to ride to the cottage to save Snow White but took the wrong road (despite warnings from the forest animals and his horse, whom he, unlike Snow White, could not understand). He, therefore, would not have arrived in time to save her from the Queen but would have been able to save her with love's first kiss. This plot was not used in the final film, though many sketches of the scene in the dungeon were made by Ferdinand Hovarth.

text: Other examples of the more comical nature of the story at this point include suggestions for a "fat, batty, cartoon type, self-satisfied" Queen.[6] The Prince was also more of a clown, and was to serenade Snow White in a more comical fashion. Walt Disney encouraged all staff at the studio to contribute to the story, offering five dollars for every 'gag'; such gags included the dwarfs' noses popping over the foot of the bed when they first meet Snow White.[11]

text: Disney became concerned that such a comical approach would lessen the plausibility of the characters and, sensing that more time was needed for the development of the Queen, advised in an outline circulated on November 6 that attention be paid exclusively to "scenes in which only Snow White, the Dwarfs, and their bird and animal friends appear". The names and personalities of the dwarfs, however, were still "open to change". A meeting of November 16 resulted in another outline entitled 'Dwarfs Discover Snowwhite', which introduced the character of Dopey,[6] who would ultimately prove to be the most successful and popular of the dwarf characterisations.[9] For the rest of 1934 Disney further developed the story by himself, finding a dilemma in the characterization of the Queen, who he felt could no longer be "fat" and "batty", but a "stately beautiful type", a possibility already brought up in previous story meetings. Disney did not focus on the project again until the autumn of 1935. It is thought that he may have doubted his, and his studio's ability, and that his trip to Europe that summer restored his confidence. At this point, Disney and his writers focused on the scenes in which Snow White and the dwarfs are introduced to the audience and each other. He laid out the likely assignments for everyone working on the film in a memorandum of November 25, 1935, and had decided on the personalities of the individual dwarfs.[6]

text: It had first been thought that the dwarfs would be the main focus of the story, and many sequences were written for the seven characters. However, at a certain point, it was decided that the main thrust of the story was provided by the relationship between the Queen and Snow White.[11] For this reason, several sequences featuring the dwarfs were cut from the film. The first, which was animated in its entirety before being cut, showed Doc and Grumpy arguing about whether Snow White should stay with them. Another, also completely animated, would have shown the dwarfs eating soup noisily and messily; Snow White unsuccessfully attempts to teach them how to eat 'like gentlemen'. A partially animated sequence involved the dwarfs holding a "lodge meeting" in which they try to think of a gift for Snow White; this was to be followed by the elaborate 'bed building sequence', in which the dwarfs and the forest animals construct and carve a bed for the princess. This also was cut, as it was thought to slow down the movement of the story.[11] The soup-eating and bed-building sequences were animated by Ward Kimball, who was sufficiently discouraged by their removal to consider leaving the studio, however Disney persuaded him to stay by promoting him to supervising animator of Jiminy Cricket in his next feature Pinocchio (1940).[12]

text: Animation

text: The primary authority on the design of the film was concept artist Albert Hurter. All designs used in the film, from characters' appearances to the look of the rocks in the background, had to meet Hurter's approval before being finalized.[10] Two other concept artists — Ferdinand Hovarth and Gustaf Tenggren — also contributed to the visual style of Snow White and the Seven Dwarfs. Hovarth developed a number of dark concepts for the film, although many other designs he developed were ultimately rejected by the Disney team as less easily translated into animation than Hurter's. Tenggren was used as a color stylist and to determine the staging and atmosphere of many of the scenes in the film, as his style borrowed from the likes of Arthur Rackham and John Bauer and thus possessed the European illustration quality that Walt Disney sought. He also designed the posters for the film and illustrated the press book. However, Hovarth didn't receive a credit for the film. Other artists to work on the film included Joe Grant, whose most significant contribution was the design for the Queen's Witch form.[10]

text:
Don Graham really knew what he was teaching, and he "showed" you how to do something – he didn't just talk. He taught us things that were very important for animation. How to simplify our drawings – how to cut out all the unnecessary hen scratching amateurs have a habit of using. He showed us how to make a drawing look solid. He taught us about tension points – like a bent knee, and how the pant leg comes down from that knee and how important the wrinkles from it are to describe form. I learned a hell of a lot from him!

Art Babbitt[13]

text: Art Babbit, an animator who joined the Disney studio in 1932, invited seven of his colleagues (who worked in the same room as him) to come with him to an art class that he himself had set up at his home in the Hollywood Hills. Though there was no teacher, Babbit had recruited a model to pose for him and his fellow animators as they drew. These "classes" were held weekly; each week, more animators would come. After three weeks, Walt Disney called Babbit to his office and offered to provide the supplies, working space and models required if the sessions were moved to the studio. Babbit ran the sessions for a month until animator Hardie Gramatky suggested that they recruit Don Graham; the art teacher from the Chouinard Institute taught his first class at the studio on November 15, 1932, and was joined by Phil Dike a few weeks later.[6] These classes were principally concerned with human anatomy and movement, though instruction later included action analysis, animal anatomy and acting.[13]

text:
The first duty of the cartoon is not to picture or duplicate real action or things as they actually happen — but to give a caricature of life and action — to picture on the screen things that have run thru the imagination of the audience to bring to life dream-fantasies and imaginative fancies that we have all thought of during our lives or have had pictured to us in various forms during our lives [...] I definitely feel that we cannot do the fantastic things, based on the real, unless we first know the real. This point should be brought out very clearly to all new men, and even the older men.

Walt Disney in 1935[14]

text: Though the classes were originally described as a "brutal battle", with neither instructor nor students well-versed in the other's craft,[6] the enthusiasm and energy of both parties made the classes stimulating and beneficial for all involved. Graham often screened Disney shorts and, along with the animators, provided critique featuring both strengths and weaknesses. For example, Graham criticised Babbit's animation of Abner the mouse in The Country Cousin as "taking a few of the obvious actions of a drunk without coordinating the rest of the body", while praising it for maintaining its humour without getting "dirty or mean or vulgar. The country mouse is always having a good time".[13]

text: Very few of the animators at the Disney studio had had artistic training (most had been newspaper cartoonists); among these few was Grim Natwick, who had trained in Europe. The animator's success in designing and animating Betty Boop for Fleischer Studios showed an understanding of human female anatomy, and when Walt Disney hired Natwick he was given female characters to animate almost exclusively. Attempts to animate Persephone, the female lead of The Goddess of Spring, had proved largely unsuccessful; Natwick's animation of the heroine in Cookie Carnival showed greater promise, and the animator was eventually given the task of animating Snow White herself. Though live action footage of Snow White, the Prince and the Queen was shot as reference for the animators, the artists' animators disapproved of rotoscoping, considering it to hinder the production of effective caricature. None of Babbit's animation of the Queen was rotoscoped;[15] despite Graham and Natwick's objections, however, some scenes of Snow White and the Prince were directly traced from the live-action footage.[13]

text: The studio's new multiplane camera gave a three-dimensional feeling in many sequences and was also used to give a rotating effect in the scene where the Queen transforms into a witch.

text: Music

text: The songs in Snow White and the Seven Dwarfs were composed by Frank Churchill and Larry Morey. Paul J. Smith and Leigh Harline composed the incidental music score. Well-known songs from Snow White and the Seven Dwarfs include "Heigh-Ho", "Some Day My Prince Will Come", and "Whistle While You Work". Since Disney did not have its own music publishing company at the time, the publishing rights for the music and songs were administered through Bourne Co. Music Publishers, which continues to hold these rights. In later years, the studio was able to acquire back the rights to the music from many of the other films, but not Snow White. Snow White became the first American film to have a soundtrack album, released in conjunction with the feature film. Before Snow White and the Seven Dwarfs, a film soundtrack recording was unheard of and of little value to a movie studio.

text: Cinematic influences

text: At this time, Disney also encouraged his staff to see a variety of films. These ranged from the mainstream, such as MGM's Romeo and Juliet (1936) — to which Disney made direct reference in a story meeting pertaining to the scene in which Snow White lies in her glass coffin — to the more obscure, including European silent cinema. Snow White and the Seven Dwarfs, as well as the two Disney films to follow it, were also influenced by such German expressionist films as Nosferatu (1922) and The Cabinet of Dr. Caligari (1919), both of which were recommended by Disney to his staff. This influence is particularly evident in the scenes of Snow White fleeing through the forest and the Queen's transformation into the Witch. The latter scene was also inspired by Dr. Jekyll and Mr. Hyde (1931), to which Disney made specific reference in story meetings.[13]

text: Release

text: Original theatrical run

text: Snow White and the Seven Dwarfs premiered at the Carthay Circle Theatre on December 21, 1937, to a wildly receptive audience, many of whom were the same naysayers who dubbed the film "Disney's Folly".[1] The film received a standing ovation at its completion[16] from an audience that included Judy Garland and Marlene Dietrich.[17] Six days later, Walt Disney and the seven dwarfs appeared on the cover of Time magazine.[18] The New York Times said: "Thank you very much, Mr. Disney".[19] Variety suggested that "[so] perfect is the illusion, so tender the romance and fantasy, so emotional are certain portions when the acting of the characters strikes a depth comparable to the sincerity of human players, that the film approaches real greatness."[20]

text: Following successful exclusive runs at Radio City Music Hall in New York City and a theater in Miami in January 1938,[1] RKO Radio Pictures put the film into general release on February 4. It became a major box-office success, making four times more money than any other motion picture released in 1938.[21] In its original release, Snow White and the Seven Dwarfs grossed $3.5 million in the United States and Canada,[22] and by May 1939 its total international gross of $6.5 million made it the most successful sound film of all time, displacing Al Jolson's The Singing Fool (1928) (Snow White and the Seven Dwarfs was soon displaced from this position by Gone with the Wind in 1940).[22][23] By the end of its original run, Snow White and the Seven Dwarfs had earned $7,846,000 in international box office receipts.[24] This earned RKO a profit of $380,000.[25]

text: Re-releases

text: Snow White and the Seven Dwarfs was first re-released in 1944, to raise revenue for the Disney studio during the World War II period. This re-release set a tradition of re-releasing Disney animated features every seven to ten years, and Snow White and the Seven Dwarfs was re-released to theaters in 1952, 1958, 1967, 1975, 1983, 1987 and 1993.[26] Coinciding with the fiftieth-anniversary release in 1987, Disney released an authorized novelization of the story, written by children's author Suzanne Weyn.[27][28]

text: In 1993, Snow White and the Seven Dwarfs became the first film to be entirely scanned to digital files, manipulated, and recorded back to film. The restoration project was carried out entirely at 4K resolution and 10-bit color depth using the Cineon system to digitally remove dirt and scratches and restore faded colors.[29]

text: Snow White and the Seven Dwarfs has had a lifetime gross of $418 million across its original release and several reissues.[2] Adjusted for inflation, and incorporating subsequent releases, the film still registers one of the top ten American film moneymakers of all time.[30]

text: Reception

text: The film was a tremendous critical success, with many reviewers hailing it as a genuine work of art, recommended for both children and adults.[31] Although film histories often state that the animation of the human characters was criticized, more recent scholarship finds that most reviewers praised the realistic style of the human animation, with several stating that audiences will forget that they are watching animated humans rather than real ones.[31] At the 11th Academy Awards, the film won an Academy Honorary Award for Walt Disney "as a significant screen innovation which has charmed millions and pioneered a great new entertainment field". Disney received a full-size Oscar statuette and seven miniature ones, presented to him by 10-year-old child actress Shirley Temple. The film was also nominated for Best Musical Score.[32] "Some Day My Prince Will Come" has become a jazz standard that has been performed by numerous artists, including Buddy Rich, Lee Wiley, Oscar Peterson, Frank Churchill,[33] and Oliver Jones.[34] Albums by Miles Davis, by Wynton Kelly, and Alexis Cole.[35]

text: Noted filmmakers such as Sergei Eisenstein and Charlie Chaplin praised Snow White and the Seven Dwarfs as a notable achievement in cinema; Eisenstein went so far as to call it the greatest film ever made.[36] The film inspired Metro-Goldwyn-Mayer to produce its own fantasy film, The Wizard of Oz, in 1939.[37] Another animation pioneer, Max Fleischer, decided to produce his animated feature film Gulliver's Travels in order to compete with Snow White. The 1943 Merrie Melodies short Coal Black and de Sebben Dwarfs, directed by Bob Clampett, parodies Snow White and the Seven Dwarfs by presenting the story with an all-black cast singing a jazz score.

text: Snow White's success led to Disney moving ahead with more feature-film productions. Walt Disney used much of the profits from Snow White and the Seven Dwarfs to finance a new $4.5 million studio in Burbank – the location on which The Walt Disney Studios is located to this day.[21] Within two years, the studio completed Pinocchio and Fantasia and had begun production on features such as Dumbo, Bambi, Alice in Wonderland and Peter Pan.[38]

text: The American Film Institute (AFI), an independent non-profit organization created in the United States by the National Endowment for the Arts,[39] releases a variety of annual awards and film lists recognizing excellence in filmmaking. The AFI 100 Years... series, which ran from 1998 to 2008, created categorized lists of America's best movies as selected by juries composed from among over 1,500 artists, scholars, critics, and historians. A film's inclusion in one of these lists was based on the film's popularity over time, historical significance and cultural impact.[40] Snow White and the Seven Dwarfs was selected by juries for inclusion on many AFI lists, including the following:

text:
AFI's 100 Years... 100 Movies – No. 49[41]
AFI's 100 Years... 100 Movies (10th Anniversary Edition) – No. 34[42]
AFI's 10 Top 10 – No. 1 Animated film[43]
AFI's 100 Years... 100 Heroes and Villains: The Queen – No. 10 Villain[44]
AFI's 100 Years... 100 Songs:

"Someday My Prince Will Come" – No. 19[45]

text: Home media

text: On October 28, 1994, the film was released for the first time on home video on VHS and LaserDisc as the first release in the Walt Disney Masterpiece Collection.[5]

text: Snow White and the Seven Dwarfs was released on DVD on October 9, 2001, the first in Disney's Platinum Editions, and featured, across two discs, the digitally restored film, a making-of documentary narrated by Angela Lansbury, an audio commentary by John Canemaker and, via archived audio clips, Walt Disney.[46]. A VHS release followed on November 27, 2001. Both versions were returned to the Disney Vault on January 31, 2002.[47]

text: Snow White and the Seven Dwarfs was released on Blu-ray Disc on October 6, 2009, the first of Disney's Diamond Editions, and a new DVD edition was released on November 24, 2009. The Blu-ray includes a high-definition version of the movie sourced from a new restoration by Lowry Digital, a DVD copy of the film, and several bonus features not included on the 2001 DVD. This set returned to the Disney Vault on April 30, 2011.[48]

text: Walt Disney Studios Home Entertainment re-released Snow White and the Seven Dwarfs on Blu-ray and DVD on February 2, 2016, as the first of the Walt Disney Signature Collection Line. It was released on Digital HD on January 19, 2016, with bonus material.[49]

text: Appearances in other media

text: Theme parks

text: Snow White's Scary Adventures is a popular theme park ride at Disneyland (an opening day attraction dating from 1955),[50] Tokyo Disneyland,[51] and Disneyland Paris.[52] Fantasyland at Walt Disney World's Magic Kingdom[53] underwent an expansion from 2012 to 2014. The Snow White's Scary Adventures ride was replaced with Princess Fairytale Hall, where Snow White and other princesses are located for a meet and greet. Included in the 2013 expansion of Fantasyland is the Seven Dwarfs Mine Train roller coaster.[54] Snow White, her Prince, the Queen, and the Seven Dwarfs are also featured in parades and character appearances throughout the parks. Disneyland's Fantasyland Theater hosted Snow White: An Enchanting Musical from 2004 to 2006.

text: Video games

text:
The first attempt at a Snow White and the Seven Dwarfs video game was for the Atari 2600 as part of their line of children's games.[55] It was never officially released, although a "homebrew" version was made available on a limited basis.[56]
Walt Disney's Snow White and the Seven Dwarfs was released for the Game Boy Color system in 2001.[57]
Snow White also makes an appearance in the PlayStation 2 game Kingdom Hearts as one of the seven fabled Princesses of Heart.[58] A world based on the movie, Dwarf Woodlands, appears in Kingdom Hearts: Birth by Sleep for the PSP.[59]
In 2013's free-to-play mobile game Snow White: Queen's Return (also known as Seven Dwarfs: The Queen's Return),[60] an uncanonical continuation of the film, the Queen has survived the fall at the climax of the film and then reverted to her youthful form to cast a curse on Snow White and the dwarfs and their entire forest.[61]

text: Broadway musical

text: Unknown Mary Jo Salerno played Snow White in the Disney-produced Snow White and the Seven Dwarfs (also known as Snow White Live!) at the Radio City Music Hall.[62] Music and lyrics for four new songs were created by Jay Blackton and Joe Cook, respectively; titles included "Welcome to the Kingdom of Once Upon a Time" and "Will I Ever See Her Again?".[63] It ran from October 18 to November 18, 1979, and January 11 to March 9, 1980, a total of 106 performances.[64]

text: Canceled prequel

text: In the 2000s, DisneyToon Studios began development on a computer-animated prequel to Snow White and the Seven Dwarfs, titled The Seven Dwarfs. Director Mike Disa and screenwriter Evan Spiliotopoulos pitched a story explaining how the Dwarfs met, and how the Evil Queen killed Snow White's father and took the throne. According to Disa, DisneyToon management changed the prequel to center around how Dopey lost his voice upon witnessing the death of his mother. After Disney purchased Pixar in 2006, John Lasseter, DisneyToons' new Chief Creative Officer, canceled Dwarfs.[65]

text: Live-action adaptations

text: In March 2016, the studio announced a new film in development titled Rose Red, a live-action spin-off film which will be told from the perspective of Snow White's sister, Red Rose.[66] In late October that year, a live-action feature-length Snow White and the Seven Dwarfs was announced, with Erin Cressida Wilson in negotiations to write the script and Pasek and Paul writing new songs for the film.[67]

text: Other appearances

text: The Seven Dwarfs made rare appearances in shorts, despite their popularity; they simply were too numerous to animate efficiently. Commissioned shorts The Standard Parade (1939), The Seven Wise Dwarfs (1941, using mostly recycled footage), All Together (1942) and The Winged Scourge (1943) all include appearances.[68]

text: The animated television series House of Mouse, which included many Disney character animated cameos, included the characters in the special Mickey's Magical Christmas: Snowed in at the House of Mouse. The Evil Queen appeared in a starring role in the film Once Upon a Halloween as well. In the arena of live action, the fantasy television series Once Upon a Time (produced by Disney-owned ABC Studios) regularly includes live-action interpretations of these characters including Snow White, the Prince, the Evil Queen and Grumpy.

text: An animated television series featuring the seven dwarfs titled The 7D premiered on Disney XD on July 7, 2014, and ended its run on November 5, 2016. The show takes place 30 years before the events of the original film.

text: A 1937–1938 newspaper comic strip adaptation was republished repeatedly as a comic book, most recently in 1995.[69]

text: The 80's cult classic, Gremlins, used the cartoon in the theater scenes for the movie.