The Disney Discussion - The Rescuers Down Under

Over the course of the year, we'll be spending our Wednesdays with Walt, having a discussion about each of Disney's animated films...

Movie #29 of The Disney Discussion

The Rescuers Down Under (1990)

Featuring the voice talents of Bob Newhart, Eva Gabor, John Candy, Tristan Rogers, Adam Ryen, and George C. Scott

Directed by Hendel Butoy and Mike Gabriel

Summary (in 150 words or less):

Bernard and Bianca are back as the trusted mice from the Rescue Aid Society return to help a kidnapped boy in Australia.  Remember The Rescuers?  Yeah, this is pretty much the same thing.  Poacher Percival McLeach kidnaps young Cody since the boy has knowledge as to the whereabouts of the majestically large eagle named Marahute that lives in the cliffs of the Outback.  McLeach keeps Cody captive until the kid will reveal the location of the eagle and her offspring.  Naturally, Bernard and Bianca try to foil McLeach's plan and save Cody.

Facts and Figures

The Rescuers Down Under is the Walt Disney Company's 29th full-length animated feature film and was released on November 16, 1990.

The film opened with the 24-minute featurette The Prince and the Pauper starring Mickey Mouse.  Unfortunately, despite that addition, The Rescuers Down Under was a disappointment with the film opening in fourth place with only $3.5 million.  While the film eventually went on to make over $27 million, it is the least successful film of the Disney Renaissance era of the late 80s/90s.

The Rescuers Down Under was the first film to utilize the CAPS system by Disney in which artists would hand-draw animated cels which would then be placed into a computer.  They would then utilize digital inking and painting in order to color the cels.  The Rescuers Down Under was also the first film to be entirely finalized on computers -- meaning prior to releasing it to the public, all of the film's elements were digitized.

Let the Discussion Begin...

I discovered on this Disney Discussion journey that I've undertaken that I am a big fan of The Rescuers.  As we head into film #30 next week, The Rescuers, in fact, ranks #3 on my list thus far (of course, subject to change). There was something innocently charming about the film that just clicked for me.  Unfortunately, this sequel -- the first ever commissioned by the feature film division of Disney -- fails to deliver the goods of the original.  In fact, I have to wonder why this film was even created as it is essentially a rehash of the first film almost step-for-step.

First, let's change the setting from a muggy swamp to the dry, arid Australian Outback.  Instead of a young girl being kidnapped, let's replace her with a young boy named Cody.  Let's make the villain a guy this time rather than a woman, but we'll still let him have a reptile as a henchman, however we'll drop the alligators and make it a goanna -- a large lizard native to Australia.  You know, unfortunately, the guy who played the albatross Orville passed away, so let's get John Candy to voice an exact replica of him and name him Wilbur...how clever we are with that Orville and Wilbur Wright in-joke.  We'll still have him act the same way and be a bit of a dunce at flying because there's no need to stretch creatively, right?  And of course we'll bring back Bernard and Bianca, the former of whom will still be a bumbling nervous wreck and the latter of whom will still be an elegant Hungarian rodent.  

"Did we change things up enough," I can imagine the animators asking themselves.  The answer is definitively, "No."  Everything about The Rescuers Down Under (with the exception of certainly better animation techniques) pales in comparison to the original.  The character of Cody is much less cute than the lovable Penny and the screenwriters don't create enough of a backstory to allow us to connect and feel for his plight.  Of course it's awful that a young boy was kidnapped, but we know next to nothing about this kid before he's snatched up.  Similarly, Bernard and Bianca share very few scenes with Cody so even they seem to lack the oomph and drive to save the kid like they had in the original.

Of course, I enjoy Bob Newhart and Eva Gabor's take on Bernard and Bianca, but the two were wasted here.  Their characters take a backseat to Cody and McLeach whereas in the original, it seemed as if both sides of the story -- the human and mouse aspects -- were handled with equality which worked in its favor.  Here, the mice are kind of worthless.  Sure, they save the day, but by that point, I didn't really care.  The animators attempt to throw in a new love interest for Bianca in the dashing outback mouse Jake who aids the Rescue Aid Society workers, but he's not given much to do either and with the exception of a moment or two when Bernard's jealousy rears its ugly head for admittedly charming comedic purposes, the Jake character isn't really necessary.

A minor bright spot in the film is the villain.  Voiced rather hammily (in a good way) by George C. Scott, Percival McLeach is a jerk of a guy, given no redeeming qualities whatsoever.  However, he at least provides some tension in the film along with a few laughs with his hickish tendencies.  While I'd take the original's Medusa over McLeach any day, McLeach does seem a little more based in reality than his villainous predecessor.  I think he's significantly more dangerous too if his final act of deviousness in which he's essentially willing to murder Cody is any indication.

Admittedly, the animation in The Rescuers Down Under is superior to its predecessor, but that's what a decade will do for you in the animation world at that time.  Things look crisper, more colorful, and much more flowing.  The opening shot -- a speedy pan across the Outback -- is glorious and had me utterly excited for the film to kick into high gear.  It never did.

Random Thoughts
...while watching the film...

• The initial reaction I had when a kangaroo starts to talk to Cody was that of oddness.  I realize that the mice in the original Rescuers talked to Penny, but here the story hasn't really established the human/animal connection yet.  Then, rather oddly, when Cody meets Marahute, the eagle doesn't talk, yet completely understands Cody's dialog.
• I can't understand why Marahute and Joanna (McLeach's pet goanna) can't speak while all the other animals in the film can.  Can someone explain this hierarchy to me?
• I miss the original Rescuers.  
• This made me want to watch Ducktales: Treasure of the Lost Lamp for some reason.  (Yes, these last two random ideas popped into my head whilst watching this one.)
• My brother calls McLeach an evil-looking Ernest from the Ernest movies of the 80s...I'll never look at McLeach the same way again.

Final Analysis

(Does It Belong in the Revered Disney Pantheon and How Does It Stack Up to Past Films?)

Perhaps it's just anticipation for the 30th film in the Disney Canon, but this 29th film didn't live up to my expectations.  I remembered enjoying it as a kid, but as an adult -- and watching it so closely after the significantly better The Rescuers -- The Rescuers Down Under is just a rehash of its more creative predecessor.  While I certainly welcomed the notion of inviting Bernard and Bianca back to the big screen, it didn't work in the way I thought it would in part because I feel like they pushed those charming mice to the outskirts of the story.  Perhaps better screenwriting would've solved the problem, but in the end, I think our title characters are limited in what they can do whilst saving people -- they're mice, let's not forget.  Unfortunately, this tale doesn't earn a place in the revered Disney Pantheon of animated films.

The RyMickey Rating: C

Join us next Wednesday for Beauty and the Beast, the 30th film in The Disney Discussion.

The Disney Discussion - The Little Mermaid

Over the course of the year, we'll be spending our Wednesdays with Walt, having a discussion about each of Disney's animated films...

Movie #28 of The Disney Discussion

The Little Mermaid (1989)

Featuring the voice talents of Jodi Benson, Pat Carroll, Samuel E. Wright, Christopher Daniel Barnes, Buddy Hackett, Kenneth Mars, Jason Marin, Rene Auberjonois, Paddi Edwards, Ben Wright, and Edie McClurg 

Directed by Ron Clements and John Musker

Summary (in 150 words or less):

When mermaid Ariel saves Prince Eric after he falls overboard from his ship, she falls in love at first sight.  However, when her father King Triton discovers Ariel has gone to the surface multiple times collecting human paraphernalia, he wrecks her collection and forbids her from going above water again.  Ariel is devastated and visits Ursula, a sea witch, who formulates a magic spell that turns Ariel into a human for three days during which she must convince Prince Eric to fall in love with her and kiss her.  Should she fail at this task, Ariel will be under Ursula's command for all eternity.  The trick -- Ariel will be unable to use her voice which is the one thing Prince Eric knows about her as she sang to him upon rescuing him.

Facts and Figures

The Little Mermaid is the Walt Disney Company's 28th full-length animated feature film and was released on November 17, 1989.

During its initial release, The Little Mermaid made $84 million at the box office.  A re-release in 1997 (the same weekend Fox released Anastasia) brought in an additional $27 million.  Worldwide, the film has grossed over $210 million to date.

The Little Mermaid was nominated for three Academy Awards (the first nominations the company received for one of its animated features since 1977's The Rescuers).  The film was nominated for Best Original Score (Alan Menken) which it won.  It also received two nominations for Best Song for "Kiss the Girl" and "Under the Sea," the latter of which took the Oscar.  The film also was nominated for Best Feature Musical or Comedy at the Golden Globes -- a huge feat for an animated feature at that time.  "Under the Sea" also won a Grammy for Best Song from a Motion Picture.

In the past, Disney had held off on releasing their films on VHS following their theatrical releases as they felt it would inhibit future re-releases.  The Little Mermaid was the first animated film they released six months following its time in theaters.  The VHS release was a huge success with the company selling over ten million copies in its first year.  This opened the door for all future films to be released on home video shortly after their theatrical showings.

Let the Discussion Begin...

Although this may seem surprising, The Little Mermaid is the first fairy tale animated feature for Disney since 1959's Sleeping Beauty.  In those forty years, many things changed for both the nation and the Disney company itself.  The eighties had been a rough decade for the animation studio and there was a huge worry that the company was on its last legs.  There wasn't much hope for The Little Mermaid, either, with Disney's animation head Jeffrey Katzenberg stating that this "girls' film" wasn't going to be as successful as Oliver and Company.  Fortunately, Katzenberg changed his tune as the production progressed and The Little Mermaid is considered the film that launched Disney animation back into the forefront, starting what many have called the Disney Renaissance.

I'll admit to being a little startled at the film's opening as I found the animation during the initial "Fathoms Below" sequence a little worn-looking, but once the camera launches into the ocean and we see the title card above, my worries abandoned me.  Not to say that the past several Disney animated films we've looked at had disappointing animation -- admittedly, things upticked in the 80s following a somewhat disappointing 70s era of pencil-lined figures -- but there's a quality here that shows that time was spent on all aspects of the film from the main characters to the errant fish floating across the screen.  While I think the backgrounds and landscapes will come into their own a bit more in upcoming films we'll watch, they're certainly not disappointing here.  (I think above ground backdrops fare a little better than those under the sea.)

Speaking of "under the sea," the key reason The Little Mermaid succeeds and the reason this flick stands out from those that came before it is the music by lyricist Howard Ashman and composer Alan Menken.  Both Ashman and Menken honed their skills writing music for the theater and their songs for The Little Mermaid are certainly the most theatrical we've seen in Disney films to date.  We have rousing chorus numbers, intimate character moments, an opening set piece, a terrific tune for our villain to sink her chops into, and throwaway ditties -- all musical aspects we're likely to see in a Broadway show that have found their way to the big screen.  Of course the key is that these songs need to further the story rather than just sell a record and they do just that.

It's incredibly difficult for me to pick a favorite from the septet of songs.  Admittedly, the film's opener "Fathoms Below" and the throwaway "Daughters of Triton" that introduces us to Ariel's sisters who promptly vanish from much of the rest of the film aren't particularly strong starters, but things pick up quite a bit when Jodi Benson as Ariel belts out "Part of Your World."  The longing expressed in this song is certainly replicated in songs in future Disney films (and we've seen it in the past as Aurora hums "Once Upon a Dream" in Sleeping Beauty or Snow White warbles "I'm Wishing"), but Ariel isn't just grasping for love, she's hoping for a whole new life as a whole new species.  I'm not sure it gets more wishful than that.  Ms. Benson provides the perfect blend of teenage angst and adult maturity in her voice work for Ariel and that's perfectly depicted in this moving song.

To go off on a little tangent about our main character, some criticize Ariel for being a woman who's headstrong and adventurous, yet is willing to give up her voice for a man.  In this day and age of Frozen where the women take charge of things, we're still living in a what some would say a sexist fairy tale world in The Little Mermaid, but I for one don't think you can fault this age-old fairy tale for its perhaps antiquated ideals.  The film's romance between Ariel and Prince Eric is quite charming and adequately handled.  Aiding the romance is the lovely song "Kiss the Girl" in which Sebastian (the crab proxy of Ariel's father King Triton whose job is to look after the King's daughter and reign in her rambunctious nature) attempts to convince Prince Eric to fall for the mute Ariel.  I commented earlier about the above ground landscapes creating great atmospheres and that's the case for this song.    It's a fantastic moment.

Granted, "Kiss the Girl" doesn't have the joie de vivre of "Under the Sea" -- the Academy Award-winning showstopper that truly showcases the talent behind the wordsmith Howard Ashman.  We get sardines beginning the beguine and carps playing the harp for starters and the clever wordplay coupled with the vibrant animation is a match made in heaven.  I can understand why this charmed the Oscar voters.

Perhaps, however, the best song belongs to the villain, Ursula, the gigantic octopus, who tells us her past and hope for her future in "Poor Unfortunate Souls" -- perhaps the best villain song in any Disney film.  There's a cheekiness to her sinister nature voiced with great comic vibrance by Pat Carroll that we can't help but love the vampy nature of Alan Menken's music when it's paired with Ashman's incredibly clever wordplay.  All of Ashman and Menken's songs key us in to the inner feelings of the characters, helping to push the story along all the while being extremely hummable, memorable, and iconic, but "Poor Unfortunate Souls" seems to go above an beyond that.  We not only witness the villain's desires, but we find ourselves privy to our protagonist's dreams as well as she signs away her life for a chance to be with her one true love.

Even a throwaway tune like "Les Poissons" jubilantly sung by a French chef introduces us to a memorable character whose five minute presence in the film adds so much to the rich character landscape.  From Ariel's nervous fish friend Flounder to Prince Eric's stern butler Grimsby to Scuttle the bumbling seagull, none of the characters (except for perhaps the aforementioned sisters of Ariel) feel superfluous even if they actually aren't all necessary in the grand scheme of things.  Screenwriters and directors Ron Clements and Jon Musker have whimsically crafted a great film in which all aspects shine.

Random Thoughts
...while watching the film...

• Ursula makes an appearance much earlier than I remember...her conniving begins in the first ten minutes of the film as she's popping shrimp into her mouth, lounging around bemoaning the fact that King Triton is the ruler of the sea.
• I'm all for Ariel having a nifty collection of human stuff, but the books and paintings she has wouldn't cut it in the salty brine of the ocean.
• Ursula is so deliciously evil.  Her bellowing belly laughs, her sexy movements, her viciously humorous voiceover by Pat Carroll...dare I say that Ursula is my favorite Disney villain of all time?  We'll have to see if this holds up as we progress.

Final Analysis

(Does It Belong in the Revered Disney Pantheon and How Does It Stack Up to Past Films?)

There's not even a modicum of doubt as to whether The Little Mermaid belongs in the Disney Pantheon.  The Little Mermaid started the 1990s Disney Renaissance buoyed by Howard Ashman and Alan Menken's marvelous score that ushered in a new era of Disney animated musicals.  Everything works here and with the exception of a slightly disappointing opening eight minutes of animation or so, there's nothing to complain about here.  The film moves along at such a brisk pace that you'll never find yourself bored or pondering when it'll conclude.  With the film's songs nicely placed throughout to add depth to characters or lightness to dark moments, directors and writers Ron Clements and Jon Musker proved that they had the chops to create a classic -- one that was a huge step up from their previous effort The Great Mouse Detective.  If you haven't seen The Little Mermaid in ages, wipe the dust off that VHS or DVD and feast your eyes on a modern day animated classic.

The RyMickey Rating: A

Join us next Wednesday for The Rescuers Down Under, the 29th film in The Disney Discussion.

***The Rescuers Down Under is currently streaming on Netflix, so join in on the fun!***

The Disney Discussion - Oliver & Company

Over the course of the year, we'll be spending our Wednesdays with Walt, having a discussion about each of Disney's animated films...

Movie #27 of The Disney Discussion

Oliver & Company (1988)

Featuring the voice talents of Joey Lawrence, Billy Joel, Cheech Marin, Richard Mulligan, Roscoe Lee Browne, Sheryl Lee Ralph, Dom DeLuise, Robert Loggia, and Bette Midler 

Directed by George Scribner

Summary (in 150 words or less):

Oliver is an orphaned kitten in 1980s New York City who is befriended by laid-back dog Dodger.  Dodger's owner is a pickpocket named Fagin who, on a daily basis, sends Dodger and four other mutts out onto the streets of NYC to scrounge up whatever they can find that's worth any bit of value.  On one such daily mission, Oliver, who had been staying with Fagin, gets picked up by a little girl named Jenny who takes the orphaned kitty back to her home on Fifth Avenue.  Fagin is in a bit of a bind, owing a large sum of money to the ruthless loan shark Sykes, so when he discovers that Oliver was "adopted" by a rich Fifth Avenue New Yorker, his brain begins to shift towards the idea of kidnapping the cat in order to pay off his debts.

Facts and Figures

Oliver & Company is the Walt Disney Company's 27th full-length animated feature film and was released on November 18, 1988.

Oliver & Company made $53.2 million in its original run in 1988 and has grossed $74 million overall domestically.  Interestingly, Disney decided to release Oliver and Company on the same day as Don Bluth's The Land Before Time.  Bluth's film actually scored the #1 spot on opening weekend, but ended up making $5 million less than Oliver in its original run.  However, The Land Before Time proved to be a bigger success overseas than Oliver.  Critics like The Land Before Time better as well. To me, this is the most interesting release date information we've looked at so far.  I'm sure there's a story as to why both animated films aiming at the same market opened on the same date.  Obviously, there was some "stand your ground, Showdown at the OK Corral, who's got the bigger cojones"-type stuff going on, but I have to think that the two movies cannibalized each other in some way.

In the awards races, Oliver & Company failed to garner any Oscar buzz, however, it was nominated for Best Song at the Golden Globes for "Why Should I Worry."

One more interesting tidbit -- Oliver & Company is the first Disney animated feature to have its own department set up exclusively for the purpose of generating computer animation -- cars, cabs, buses, Sykes' limousine, Fagin's tricycle, a cement mixer, sewer pipes, piano, spiral staircase, subway tunnels and trains, and the Brooklyn Bridge were all created with the assistance of computers.

Let the Discussion Begin...

Based on Charles Dickens' lengthy Oliver Twist, Oliver & Company feels like a movie that has much more story to tell than its 73 minutes allows.  Characters aren't really given time to connect with one another before they're whisked off to the next segment of the story.  This unfortunately leads to a slightly episodic tone and a lack of emotional connection with the characters and their plights.  (I knew that Dickens published many of his works in a serialized manner and, upon doing a bit of research, Oliver Twist was one such book.  So, perhaps the novel [which I've never read] is episodic in nature to begin with.)

The animators explored a little grungier side than we're used to seeing in Oliver & Company.  The New York City depicted here is filled with graffiti, trash, and gigantic billboards (the only time product placement finds itself in a Disney animated film), all of which combine to make it feel natural and real.  In addition, rather appropriately, in order to get a dog's-eye perspective of NYC, the film's art director and production designer went to the Big Apple and photographed street scenes from eighteen inches off the ground.  The attention to detail that this created is certainly noticeable.  Not only is the setting appropriate, but the character designs here are also solid.  The members of Fagin's dog crew all feel individualized and the humans each have their own personas as well.  Fagin's lanky physique and heartfelt comedic tone stand in stark contrast to the villainous Sykes' towering and looming figure, each playing nicely off one another and animated in their own distinct tones.  Only young Jenny feels like a "been there, seen that" kind of character, but I think that's more inherent to the generic nature of her storyline than anything else.

Oliver & Company opens with a song and after the last two Disney animated films had all but abandoned the musical genre, this one tries to bring music back to the forefront.  Unlike most other Disney films, each of the movie's five songs were written by different composers.  Although the songs work together in terms of sounding intrinsic to both the characters and the setting, some numbers fare better than others.  Howard Ashman -- who went on to great success in Disney's forthcoming animated features -- co-wrote the film's opening number "Once Upon a Time in New York City" with Barrry Mann.  Sung in voiceover by 80s pop superstar Huey Lewis, the song is a bit laughable in that it sounds like a Christopher Cross ditty reminiscent of Tootsie, but the piece does its job by introducing us to the young kitten Oliver and his plight.

The film's most successful number is "Why Should I Worry" written by Dan Hartman and Charlie Midnight and sung by Billy Joel who voices the character of Dodger.  As Dodger careens through New York City, Joel's charisma and surprisingly decent vocal acting chops add quite a bit to the otherwise generic number.  Yet another 80s icon, Bette Midler, provides the voice for Jenny's pampered pooch Georgette and, of course, Midler gets to churn out a tune -- this one co-written by Barry Manilow.  The song introduces us to Georgette and her uppityness (along with her slightly Lauren Bacall-esque looking face), but the number comes on a bit too suddenly and doesn't quite fit in as well as it maybe could.

The less said about "Streets of Gold," the better (seriously...why is this throwaway tune even in this flick seeing as how it's seemingly the birth child in sound and subject matter of both "Once Upon a Time in New York City" and "Why Should I Worry") which leaves us the surprisingly charming "Good Company" -- a montage in which we see Jenny and Oliver's burgeoning relationship.  However, this number also feels the most reminiscent of Disney movies in the past.  Whereas the other songs in the film feel as if they are rooted in the 1980s (an idea which some viewers may very well hate), this one feels a little 1970s-ish.

As I mentioned above, Oliver & Company feels a bit episodic and because of the need for its various story lines to come together by the film's end, all of the aforementioned songs are placed in the film's opening forty minutes.  Admittedly, the film's rather exciting conclusion doesn't warrant songs, but it will become obvious in future films that Disney's storytellers became more adept at better positioning songs throughout their flicks.

Speaking of the exciting (though ludicrous) conclusion, Oliver & Company is actually quite thrilling in its climactic moments.  Sykes may not have magical powers or sorcery in his grasp, but he's a nasty thug whose evil is palpable.  Unfortunately, he's such a minor character in the film's opening fifty minutes that any fear we're supposed to feel isn't as strong as it probably should be.  While his comeuppance is shockingly brutal, we don't quite feel as "happy" as we should upon his defeat.

Random Thoughts
...while watching the film...

• As an adult, despite the fact that more than ten years have passed, I still find it a little off-putting whenever I see the World Trade Center's two towers in some entertainment setting.  I certainly don't want these images removed from movies and tv shows, but it does take you out of the piece for a split second.
• The finale in the subway and on a subway bridge is ridiculous, but surprisingly intense -- dogs getting electrocuted and head-on collisions with subways resulting in flames!

Final Analysis

(Does It Belong in the Revered Disney Pantheon and How Does It Stack Up to Past Films?)

Oliver & Company is an enjoyable enough diversion, but the film lacks a through-line in terms of its story.  I can't help but feel like there were several moments left on the storyboards that never made it to the film that would've helped the audience get to know and connect with the film's characters.  While certainly not a bad film, Oliver & Company never really succeeds at any particular aspect.  It's a bit hollow, lacking the heart that we come to want in Disney's animated films.  I liked the flick (which I hadn't seen in a long time), but I can't say it belongs in the Revered Disney Pantheon.

The RyMickey Rating: C+

Join us next Wednesday for The Little Mermaid, the 28th film in The Disney Discussion.

The Disney Discussion - The Great Mouse Detective

Over the course of the year, we'll be spending our Wednesdays with Walt, having a discussion about each of Disney's animated films...

Movie 26 of The Disney Discussion

The Great Mouse Detective (1986)

Featuring the voice talents of Vincent Price, Barrie Ingham, Val Bettin, Susanne Pollatschek, and Alan Young

Directed by John Musker, Ron Clements, Dave Michener, and Burny Mattinson

Summary (in 150 words or less):

London 1897.  Hiram Flaversham, a toymaker (and also a mouse), is mousenapped one evening as his young daughter Olivia hides from her father's captor.  Seeking help, Olivia stumbles upon David Dawson who, after hearing her story, takes her to the residence of the renowned Basil of Baker Street -- the mouse equivalent of Sherlock Holmes.  Basil, along with Dawson and Olivia, begin searching for Hiram only to discover that he's been taken by the nefarious Ratigan who has a plan to overtake the Queen Mouse (ie. mouse equivalent of the Queen Mum) and rule over England's mouse population with the help of a toy Queen built by the toymaker.

Facts and Figures

The Great Mouse Detective is the Walt Disney Company's twenty-sixth full-length animated feature film and was released on July 2, 1986.

Although certainly put into production before the failure of The Black Cauldron, that film's huge budget caused The Great Mouse Detective to find its initial $24 million budget slashed by almost half to $14 million.  Because of this, the film ended up being profitable for Disney although not hugely so as it managed to make $25 million at the box office upon its initial release.

However, Disney was trepidatious after The Black Cauldron that animation was passé and the moderate success of The Great Mouse Detective paved the way for the company's animation renaissance a few years down the line.

Let the Discussion Begin...

I must say that I'm a little bit surprised by my reaction to The Great Mouse Detective.  I was expecting to thoroughly enjoy this one, but I found it disappointingly boring for my taste.  Something about it didn't quite click for me upon this watch and it took me a couple sittings to make it through the short 72-minute film.  The caveat to this aforementioned complaint, however, is that I can't quite pinpoint what I didn't enjoy.  There's nothing egregiously bad about the film, yet there also isn't anything that I can write about with much passion (in either a positive or negative way).  The film sort of just "exists" for me and sometimes that's the worst type of thing for a film to do.

Animation-wise, the film is a solid piece of work in terms of character design.  Despite all being mice, each character has his or her own distinct look and the directors also did a nice job in differentiating the voices of the main cast so that personalities are reflected through the vocals as well.  Admittedly, however, the film fails at really feeling overly theatrical with the exception of the climactic chase scene amongst the working cogs and gears of Big Ben (which utilizes computer animation for the second time in a Disney feature).  While everything is animated with a deft hand (unlike some of that disappointing work we saw in the '70s with The Aristocats as an example), there aren't any particular shining moments.  Considering the backdrop of London that is at this film's disposal, it's a little disappointing.

We seemingly just scratch the surface of the characters as well.  Had the film been a bigger success (and were Disney in the market for producing sequels), The Great Mouse Detective would have been the perfect film to launch a series of pictures and go a bit more in depth with the characters of Basil and Dawson.  Obviously, the overall piece an homage to Sherlock Holmes whom Sir Arthur Conan Doyle had solve many a case and presumably with each new mystery the audience grew to know more about Holmes and Watson.  In this film, we get very little background and very little information as to why Basil and Dawson would've formed any type of relationship.  Sure, they're thrown into a mystery, but I never really felt their connection to one another which, in turn, made me not connect much with the characters.

Surprisingly, I expected Vincent Price's voice work as the evil Ratigan to be...well...more evil.  Instead -- and obviously this is my mind playing tricks on me from my youth -- he's more of a hammy villain than I remembered.  Granted, many Disney villains have a comedic aspect to them, but there's often still this overarching sense of dread.  That never really comes to fruition with Ratigan.  Price, whose voice is oftentimes so deliciously terrifying, doesn't ever come close to that here.  While he has moments of maliciousness, it never really amounts to much.

Perhaps part of that reason is because the first time we encounter Ratigan, he and his lackies sing a song about his maniacal nature.  "The World's Greatest Criminal Mind" is a catchy tune (and actually contains the moment that I think Ratigan is at his most ruthless), but it's played for laughs and it immediately sets up a contradictory notion for the audience.  Is this guy played for jokes or played for scares?  I don't think the film quite knows what to do with him and that's a disappointment.

In addition to "The World's Greatest Criminal Mind," two other songs are found in the film, but neither resonate much or do anything to advance the plot.  The Black Cauldron succeeded in part because it didn't contain superfluous songs -- The Great Mouse Detective would've been wise to nix its tunes as well.

Random Thoughts
...while watching the film...

• The nastiness of Ratigan is shown early on when Bartholomew, one of Ratigan's men, calls him a "rat" as opposed to a "mouse" and the evil genius rings a tiny bell that summons his cat Felicia who promptly eats Bartholomew.  It's rather ingeniously set up in shadows and surprisingly packs an evil punch -- the only truly evil punch in the film.
• Cigarettes and booze in Disney animated movies...aah...the good old days of less than thirty years ago!  Throw in sultry cancan dancers and you've got stuff you'd never see in Disney movies now!
• The voice of Flaversham sounded so familiar -- Alan Young was also the voice of Scrooge McDuck!  It was nice to hear him in a feature-length motion picture!

Final Analysis

(Does It Belong in the Revered Disney Pantheon and How Does It Stack Up to Past Films?)

Although I didn't remember it all that well, I did have fond memories of The Great Mouse Detective, but they unfortunately did not prove warranted upon this viewing.  The film just fails to garner any excitement for any aspect of its production.  When everything is just average, your film can't really overcome that.  Because of this notion, The Great Mouse Detective will not be joining the fellow members of the revered Disney Pantheon.

The RyMickey Rating: C

Join us in two weeks  for Oliver and Company, the 27th film in The Disney Discussion.

The Disney Discussion - The Black Cauldron

Over the course of the year, we'll be spending our Wednesdays with Walt, having a discussion about each of Disney's animated films...

Movie #25 of The Disney Discussion

The Black Cauldron (1985)

Featuring the voice talents of Grant Bardsley, Susan Sheridan, Nigel Hawthorne, John Byner, and John Hurt

Directed by Ted Berman and Richard Rich

Summary (in 150 words or less):

Assistant pig keeper Taran is tasked with guarding a pig named Hen-Wen that has oracular powers.  When Hen-Wen "sees" that the horrid Horned King is hellbent on finding the mysterious Black Cauldron, Taran whisks Hen-Wen to safety only to be captured by the Horned King.  After discovering the location of the Black Cauldron via Hen-Wen, the Horned King sets out to track down the Cauldron which Taran, after escaping from the king's clutches, tries to find before the evil ruler.

What makes this Black Cauldron important?  There was once a king so cruel that even gods feared him.  Since no prison could hold him, he was thrown alive into a crucible of molten iron which was shaped into a cauldron holding his demonic spirit.  Evil men searched for the vessel, knowing that whomever possessed it would have the power to resurrect an army of deathless warriors...and rule the world.

150 words exactly...whew...

Facts and Figures

The Black Cauldron is the Walt Disney Company's twenty-fifth full-length animated feature film and was released on July 24, 1985.

Not only was the film the most expensive animated film ever produced (at that time), but it also tied Cleopatra and Heaven's Gate as the most expensive film of all time at its release.  With a $44 million production budget, The Black Cauldron only earned $21.3 million at the box office.  The film did so horrible, that Disney didn't even release it on home video/dvd until 1998 -- more than ten years after its initial release!

The Black Cauldron is the first Disney animated film to be rated PG.

Let the Discussion Begin...

Perhaps it's just because the stench of failure that surrounds The Black Cauldron makes one think they're in for something horrid, but I found this animated flick to be a refreshing change of pace for the animation studio and a unique entry into the annals of Disney animated films.  No one will ever mistake The Black Cauldron for classic Disney, but this little seen flick deserves more praise than it receives (especially considering it's one of the "black sheep" in the Disney canon).

While I'm certain I've seen The Black Cauldron in my youth, it's been well over two decades since I'd had any exposure to it whatsoever so I was able to come at this flick with an untarnished eye.  Needless to say, I was pleasantly surprised by the high caliber of animation on display from a new era of artists.  The past few films -- The Aristocats, The Rescuers, The Fox and the Hound -- while solid, weren't particularly strengthened by their animation.  That's certainly not the case in The Black Cauldron with the animation elevating the film beyond what its story brings to the table.  (It should be noted that this was the first time animators used computers to aid them for certain pieces of content and the hand-drawn and computerized aspects blend seamlessly.)  Dealing with many rich brown hues, the animators create a landscape that instantly stands out from other films in the Disney canon.

Since I just mentioned story, let's start there.  The Black Cauldron is probably more reminiscent of Tolkien's Lord of the Rings and Hobbit in tone rather than any other Disney film.  (I say this not being an aficionado of either of those, so don't pounce on me if that's incorrect.)  Set in a fantasy world that's even less of a reality than Snow White or Sleeping Beauty, The Black Cauldron finds our protagonist Taran facing a world that's decidedly ominous and scary.  When the film delves dark, it's actually successful -- the first twenty-five minutes is filled with both the necessary story exposition and a surprising amount of excitement   In the opening act, Taran is captured by the horrid Horned King who is cloaked in much shadow at the beginning of the film only to discover that he's seemingly not-quite human at the film's end.

It's during the second act when attempts at catering to the young'uns take over that the film falters.  Introductions to fairy sprites and a cute (though underdeveloped story-wise) sidekick for Taran named Gurgi fail to resonate.  If anything, the film's quick running time doesn't really allow for any of the characters to get much of a purpose, backstory, or reason for the audience to latch onto them.  Let's be realistic here -- this is a Disney film that introduces a female character into the mix and doesn't have her become romantically involved with the main character.  That's unfounded!  The plot certainly didn't call for a romance to develop, but it kind of points to the lack of relationship development on display.  (The film's biggest fault is that it hinges a key piece of plot on Gurgi and Taran's relationship -- a relationship that isn't really developed to a meaningful point.  Sacrifices are made by both characters for reasons that aren't believable because we in the audience don't feel that these two characters are emotionally connected to one another.)

Although the lack of character development is a significant fault, its effect is mitigated a bit by the fact that the overarching storyline isn't afraid to skew a bit more mature than the cutesy flicks that immediately preceded this one.  I imagine there may have been quite an uproar upon The Black Cauldron's release with the fact that it's premise involves a search for a demonic apparatus, but folks seem to forget that Snow White and Sleeping Beauty aren't exactly full of sunshine and lollipops.  Those old school Disney films of yore contained villains that were pure evil to the core so a character like The Horned King fits right in with The Evil Queen and Maleficent.

This is the first Disney animated film to come along that contains no songs whatsoever and I think that was definitely the right choice by the filmmakers.  A nice score by Elmer Bernstein meshes well with the visuals and any songs would've proven to be superfluous while also likely taking away from the serious tone established by the piece.

Random Thoughts
...while watching the film...

• This is the first Disney animated film to not have opening credits detailing cast and crew.
• I remember a quick-service restaurant named "Gurgi's Munchies and Crunchies" in Walt Disney World -- I didn't realize that not only was this an appropriate name for an eatery, but it's also a phrase that's repeated by Gurgi often.
• "You don't mind if I pluck your harp, do ya handsome?" Sure, a horny witch said this to a guy with a harp in his hand, but the innuendo is there. 

Final Analysis

(Does It Belong in the Revered Disney Pantheon and How Does It Stack Up to Past Films?)

The shock of the following statement merits that I get it out in the open right away -- The Black Cauldron has earned a spot in the revered Disney Pantheon of animated films.  The film isn't perfect, but its status as a flick that needs to be shoved into the Disney vault and never released is unwarranted.  Personally, I would've loved to have seen what sequels could have been created to allow us to better explore this world and the characters that inhabit it.

It's certainly darker than some of its animated predecessors, but this is a flick that I must strongly urge you to rent from Netflix.  You'll likely be just as surprised as me by how much you enjoy it.

The RyMickey Rating: B

Join us next Wednesday for The Great Mouse Detective, the 26th film in The Disney Discussion.
***The Great Mouse Detective is currently streaming on Netflix, so join in on the discussion!***

The Disney Discussion - The Fox and the Hound

Over the course of the year, we'll be spending our Wednesdays with Walt, having a discussion about each of Disney's animated films...

Movie #24 of The Disney Discussion

The Fox and the Hound (1981)

Featuring the voice talents of Mickey Rooney, Kurt Russell, Pearl Bailey, Jack Albertson, Sandy Duncan, Corey Feldman, Keith Mitchell, Paul Winchell, and Jeanette Nolan

Directed by Art Stevens, Ted Berman, and Richard Rich

***This film is currently streaming on Netflix***

Summary (in 150 words or less):

When a young fox named Tod is orphaned after his mother is killed by a hunter, Tod is "adopted" by the kind elderly Widow Tweed.  While wandering through the woods one day, Tod meets young hound puppy Copper and the two bond quickly.  When they discover that they only live down the road from each other, the friendship grows even more despite the fact that Copper's owner Amos Slade and Slade's older hunting dog Chief would almost disown Copper if they knew it was occurring.  Time passes, fall turns to winter and winter to spring, and an older Copper has become quite the fierce hunting dog which doesn't bode well for Tod who now discovers that Copper's loyalties may not lie with their friendship.

Facts and Figures

The Fox and the Hound is the Walt Disney Company's twenty-fourth full-length animated feature and was released on July 10, 1981.

At the time of its release, The Fox and the Hound was the most expensive animated film produced with a budget of $12 million, however, it was a financial success, garnering $65 million over its multiple releases.

Let the Discussion Begin...

Prior to the release of The Fox and the Hound there was an epic shake-up among the ranks of Disney animators.  In 1979, many artists including Don Bluth (of An American Tale fame) left Disney in a dispute over creative and financial differences.  According to Leonard Maltin's book The Disney Films, Bluth said that "we felt like we were animating the same picture over and over again with just the faces changed a little."  This walk-out forced The Fox and the Hound to be delayed by more than six months.  This film did mark a turning point for Disney animation with some of Disney's "Nine Old Men" (nine animators who started working with Walt at the onset of the animation studio) working with new blood and essentially handing over the reins to them.  Funnily enough, The Fox and the Hound mirrors the fractious atmosphere in the animator's workroom with the film failing to cohesively come together.

The first half of the film is more successful than the latter and I think, as silly as this sounds, it's because of the "cute factor."  The younger versions of fox Tod and dog Copper (voiced by Corey Feldman and Keith Mitchell, respectively) exude humor, innocence, and genuine heartfelt emotions.  We can't help but feel an immediate connection with this duo as their friendship blossoms.  If only they could've stayed young forever...

Unfortunately, when the story shifts to the adult versions of Tod and Copper (now voiced by Mickey Rooney and Kurt Russell, respectively), things begins to fall apart.  The set-up for the dissension between Tod and Copper is decent -- older hunting dog Chief is hurt after chasing Tod which leads Copper to stand up for his fellow canine and turn against his longtime buddy Tod.  However, the separate stories for Tod and Copper that occur after this aren't all that intriguing.  Copper, unfortunately, gets the short end of the stick as his tale is nearly abandoned during the film's latter half.

Instead, we find ourselves following along with Tod who leaves Widow Tweed's and strikes out in the wilderness on his own where he immediately falls in love with a foxy fox named Vixey (voiced by Sandy Duncan).  This subplot is a redux of the Bambi "twitterpated" scenario, but much worse and decidedly more tacky.  Accompanied by the heinous song "Appreciate the Lady," part of me felt dirty during this segment of the film.  Tod finds himself swooning over his first glance at the female physique.  Big Mama (an owl...yet another Bambi homage, it seems) tells Tod that he's going to get "a whole lot of satisfaction" if he just "appreciates the lady / ...[and then he's] gonna be appreciated right back."  It is a bit off-putting, that's for sure.  And it's not a good song at that.

Music is admittedly not The Fox and the Hound's selling point.  Beyond "Appreciate the Lady," there's only one other number that stands out -- "Best of Friends" -- but the song about the burgeoning friendship between Tod and Copper comes a bit too early in their relationship to really resonate.  The film's plot doesn't really call for music, so I wish the animators would've just abandoned the notion of needing songs to push the plot lines along.

Animation-wise, The Fox and the Hound is solid.  In fact, the film's climactic scene involving a bear attack is frighteningly well-conceived.  The tension created in large part due to the animation adds significant gravitas to a second act that found itself floundering.  (Considering that the film doesn't really have a "villain" per se, this climactic bear scene really does a fantastic job creating a sense of excitement.)  While the rest of the film doesn't do anything mind-blowing, considering the chaos surrounding the production, I find the overall aesthetic of the film to be one of its saving graces.

Voice-wise, the cast is quite good and does a lot to elevate the tale beyond the average.  However, I must point out that Disney's insistence on creating comedic side characters wears out its welcome with The Fox and the Hound, particularly with the character of the woodpecker Boomer.  It's not the character of Boomer is particularly enervating, it's just that the voice actor behind the bird -- Paul Winchell -- does absolutely nothing to differentiate the bird from his voice as Tigger, complete with the "whoo-hoo-hoo" laugh.  Boomer is certainly a throwaway character with absolutely no importance to the plot and could've (and should've) been eliminated.

Random Thoughts
...while watching the film...

• The opening credit sequence lasts nearly five minutes, yet it's quite an impressive, though incredibly simplistic, set-up.  We see panoramic, though static (ie. with no moving animation) shots of a forest set to a calm score by Buddy Baker accompanied by chirping birds.  Suddenly the images grow darker, the score grows more intense, and we realize that something ominous is about to happen.
• Contrary to the aforementioned Paul Winchell's Tigger-like vocal acting (of which I wasn't a fan), I enjoyed hearing Willy Wonka and the Chocolate Factory's Grandpa Joe -- Jack Albertson -- voicing the hunter Amos Slade.
• SPOILER ALERT -- The scene at the film's conclusion in which Copper stands in front of Amos in order to stop him from shooting Tod is surprisingly emotional.  The look in Copper's eyes says it all.

Final Analysis

(Does It Belong in the Revered Disney Pantheon and How Does It Stack Up to Past Films?)

I watched The Fox and the Hound a little over two years ago when I initially attempted to start an "analysis" of Disney's animated features.  Back then, I found myself pleasantly surprised by how much I enjoyed this somewhat forgotten Disney feature.  Unfortunately, the film didn't hold up upon a repeat viewing.  While certainly pleasant, there's just too much here that doesn't quite work to make it a stand-out film.

The animation is also quite solid (although beyond the climax there isn't anything mind-blowing) and the voice acting (with the exception of the aforementioned Paul Winchell) is perfectly suited for the characters.  However, the film loses a bit of focus whenever it shifts away from the relationship between Tod and Copper and, unfortunately, as the two friends grow older, my interest in their characters waned a bit.  Yes, the filmmakers do a good job in allowing us to understand their affection towards each other as young animals, yet grasp why they drifted apart as they aged.  However, things just don't quite come together as a full package making it not quite worthy of placement in the Disney Pantheon.

While I criticized the film quite a bit above, it should be noted that The Fox and the Hound isn't a bad film.  It's a flawed one and one that had great potential, but it doesn't manage to cohesively bring its two acts together.

The RyMickey Rating: C+

Join us next Wednesday for The Black Cauldron, the 25th film in The Disney Discussion.

The Disney Discussion - The Rescuers

Over the course of the year, we'll be spending our Wednesdays with Walt, having a discussion about each of Disney's animated films...

Movie #23 of The Disney Discussion

The Rescuers (1977)

Featuring the voice talents of Bob Newhart, Eva Gabor, Geraldine Page, and Michelle Stacy

Directed by Wolfgang Reitherman, John Lounsbery, and Art Stevens

***This film is currently streaming on Netflix***

Summary (in 150 words or less):

When a bottle with an SOS note washes up on the shores of New York City and is discovered by a group of mice, the Rescue Aid Society (a United Nations-type organization made up of rodents) takes on the case of Penny, the young girl who wrote the note.  Penny, an orphan, just wants to be adopted by a loving family, but has instead been taken by the crazed Madame Medusa to Devil's Bayou, a swamp where Penny must search day and night in tiny and tight caves for the gigantic Devil's Eye diamond which Medusa longs to get her hands upon.  Bianca and Bernard, mice members of the Rescue Aid Society, travel to Devil's Bayou in order to save Penny and rescue her from the watchful eye of Medusa.

Facts and Figures

The Rescuers is the Walt Disney Company's twenty-third full length animated feature and it was released on June 22, 1977.

At the time of its release, The Rescuers was the highest grossing animated film of all-time and held the distinction of having the highest grossing opening weekend of any animated film until 1986's An American Tail was released.

The film was nominated for one Oscar for the song "Someone's Waiting for You," but it did not win.

The Rescuers holds the honor of being the only Walt Disney Studios animated film to have an "official" sequel released to theaters.  We'll be discussing The Rescuers Down Under in a few short weeks.

Weird fact:  In the initial storyboards of The Rescuers, Cruella deVil was set to be the villain making a return appearance!

Let the Discussion Begin...

This Disney Discussion venture is actually my second attempt at completing this task.  When I initially started over three years ago, I wasn't watching the films in order and The Rescuers just happened to be a film I watched.  I remembered thinking very fondly of it and I hoped it would retain that positive vibe this time around.  Sure enough, it did.  The Rescuers is top notch Disney with a unique story, clever characters (including a realistically evil villain), and great animation.

The only fault of the film is its music...the discussion of which we'll get out of the way right now.  If you're in the mood for smooth 70s easy listening jams, The Rescuers may fit the bill when those late night infomercials featuring the songs of Bread, Christopher Cross, and Anne Murray aren't available for your viewing pleasure.  Unfortunately the songs (which aren't sung by any characters, simply in voiceover as various montages play out) are the film's definite weak points, but, perhaps knowing this fault, the director(s) kept them to a minimum.  The Oscar-nominated "Someone's Waiting for You" is definitely the best of the bunch and its inspirational lyrics come at a fitting time in the film, but it's still a bit too sugary for my taste.

The Rescuers begins with a prologue -- the first Disney animated film to contain one -- in which we see a kidnapped young girl named Penny on a dilapidated riverboat dropping into the water a bottle which contains a desperate plea for help.  Even in these initial moments, we're already won over by Penny whom the animators draw with such charm and innocence that we can't help but feel for her plight.  Certainly aiding in our rooting interest is the spot-on voice acting from Michelle Stacy whose cadence and tone is spot-on for a six or seven year-old girl character.  Quite frankly, this may be the most believable kid vocal I've heard in an animated film and the movements of Penny realistic depict those of young girl.  Excellent work.

Of course we care for Penny because her innocence stands in such stark contrast to her rather frightening captor Madame Medusa.  Medusa is tall and gangly (much like Cruella deVil), but she exudes depravity and desperation more than any other villain we've encountered previously.  Perhaps it's the run-down riverboat or her bumbling chubby partner-in-crime Snoops or her trashy outfits and make-up, but the "skeeziness" of Medusa surprisingly bases her villainy in a kind of lower-class reality despite the fact that she keeps two alligators as pets.  Medusa's insatiable need for the Devil's Eye Diamond creates a maniacal character that doesn't rely on sorcery and magic, but instead on a realistic drive for fame and fortune which makes the character even scarier as she's seemingly based more in reality than many other villains we've previously encountered.

But what would a film titled The Rescuers be without some rescuers?  Mice Bernard and Bianca (voiced by Bob Newhart and Eva Gabor) take on the savior roles and I must admit that I truly enjoyed them both despite the attempts at forced romance thanks to the sex appeal the animators gave Bianca.  (Seriously...Bianca is alluring with her tailored fancy clothing and Hungarian accent.)  Together, the two mice have a nice repartee that makes their scenes a joy to watch.

Sure, the animation isn't exactly top notch here, but it's charming that the simplistic story has somewhat simplistic animation.  With The Rescuers we see a nice change from the humor-based films of late like The Aristocats and Robin Hood to the more serious-tinged films of the past like Bambi.  Granted, The Rescuers doesn't have the emotional depth of Bambi, but it does have a lot of heart and a story that never feels a minute longer than its 77-minute run time.

Random Thoughts
...while watching the film...

• The crocs Nero and Brutus are like precursors to Flotsom and Jetsom in The Little Mermaid.  Madame Medusa's appearance gives off a slight Ursula vibe as well for some reason
• Some of the swamp animals look just like some of the audio animatronics in Splash Mountain.
• The nasty child labor going on here is admittedly a bit uncomfortable.  Poor little Penny having to search for the Devil's Eye diamond in the face of rising water and the risk of drowning...scary stuff...
• I'm not a cat person at all, but goshdarnit Rufus, the feline at Penny's orphanage, wears glasses and a scarf -- how can I not like that?

Final Analysis

(Does It Belong in the Revered Disney Pantheon and How Does It Stack Up to Past Films?)

The Rescuers was a genuine treat to watch again.  It's fast paced and has two main characters in Bernard and Bianca that are utterly charming thanks to some pleasant animation and nice voice acting from Bob Newhart and Eva Gabor.  The character of Penny, whom the story revolves around, is captivating and moving, tugging on your heartstrings with every word she utters.

The disappointing song selection which dates the film squarely in the late 1970s is really the film's biggest flaw, but its simplistic story still manages to captivate and create tension.  It's easy to see why this film garnered a sequel considering the ease at which you could tell another story involving the two title characters.

I was thrilled to discover that The Rescuers held up on this repeated viewing and I found myself enjoying it even more this time around.  In the previous Disney Discussion, I ranked the film a "B," but as you can see, I've upped that ranking quite a bit and now firmly plant it in the grand Pantheon of Disney animated films.

The RyMickey Rating: A-

Join us next Wednesday for The Fox and the Hound, the 24th film in The Disney Discussion.
***The Fox and the Hound is currently streaming on Netflix, so watch and join in on the discussion!***