The Adventures of Ichabod and Mr. Toad (1949)
The last of Disney's package films is also probably the best, showcasing two stories that oddly work well together, translating classic American tales into Disney fiction. The first, detailing the exploits of Mr. Toad, is a fun adventure in which Mr. Toad is a menace behind whatever vehicle he is operating. This lands him in huge legal trouble with the townspeople, but soon Toad's friends Mole, Rat and Badger are out to prove that Toad was set-up.
Disney's take on Sleepy Hollow is also surprisingly dark, adhering to the major beats of the original tale. In fact, its most notable because Ichabod himself comes across as somewhat of a jerk, seeking the hand of Katrina von Tassel and upsetting Brom Bones. While Bones reminds one of Gaston, you actually kind of feel sorry for the guy as Ichabod upsets him at every turn.
Where the movie really shines, though, is in the chilling ending where the headless horsemen comes a-calling. True, Disney doesn't establish the threat into the moments right before Ichabod rides home with a song, but the fact that Ichabod doesn't survive the Disney version turns this rendition into a memorable ending that stayed with me all throughout my childhood. This is certainly the best version of the tale, definitely better then Tim Buton's take 50 years later.
Cinderella (1950)
After eight years Disney finally returned full feature animated stories with Cinderella, a tale everyone is familiar with, and maybe remembers too fondly. It's not a bad picture, and contains some wonderful characters including the Wicked Stepmother, her cat Lucifer, and the mice who are the supporting players. But it continues to suffer from the Disney syndrome of bland leads, including a Prince Charming that somehow makes less of an impact then the Snow White's Prince.
There are also some decent songs, including the Work Song, Bibbidi-Bobbidi-Boo and A Dream is a Wish Your Heart Makes. And the mice Gus and Jacques provide loving support, including the tense finale where they attempt to carry a huge key up an enormous flight of steps so that Cinderella can try on the slipper.
You all know the story, but even at 74 minutes the film feels placid. Nothing much happens for the duration, and there is a lot of filler in there to pad it out to length. Still, you can't deny the impact its had as a classic and one of the more well-remembered Disney films.
Alice in Wonderland (1951)
A box office failure for Disney, Alice in Wonderland holds up as a strange, abstract animated retelling of Lewis Carroll's seminal work. Combining both books, we follow young Alice (Kathryn Beaumont) as she follows the White Rabbit (Bill Thompson) down the Rabbit Hole and into Wonderland, where she meets a garden variety of crazy characters. Of course it all ends with the convenient "it's all a dream" technique, but much of what precedes is dazzling.
One thing you notice when watching multiple Disney films in a row are the recurring voice actors. I never noticed that Smee and the White Rabbit sounded the same, or that Sterling Holloway's myriad of characters all came from the same voice (they include Mr. Stork from Dumbo (1941), Cheshire Cat, Winnie the Pooh, Kaa the Snake, and Roquefort from The Aristocats (1970)). As a child, these voices completely disappear into the characters they are playing, but as an adult, you suddenly realize you're hearing the same voice actor in a different role.
Alice in Wonderland found second life and a cult following, become the number one requested 16 mm rental for university and private screenings. It's a shame this film didn't connect with audiences in 1951, but maybe this film was too ahead of its time then. Now, it is a model for abstract, visual storytelling. And we can all forget Tim Burton's drab sequel.
Peter Pan (1953)
I am so familiar with the story of Peter Pan that it feels almost pointless to write anything about it. Yes, we all know its the tale of a boy who refuses to grow up, and the wonderful adventures he takes Wendy Darling and her brothers on. Captain Hook and Smee are great villains, the Crocodile and his ticking clock make for one hilarious character.
One major difference between the Peter Pan musicals (and book, I assume) and this film is that Wendy, Michael and John all know who Peter Pan is. Wendy's stories are of Peter's exploits agains Captain Hook, and Peter himself listens with quiet zeal. In the original story, Wendy merely tells great stories, and Peter is a just a boy who loves listening to them. Makes Disney's Peter a bit pompous, actually.
One thorn in the Peter Pan story, and one that is front and center here, is the portrayal of the Native Americans, or Indians, in their most gloriously stereotypical fashion. Its where all youngsters learn "How" as a Native American greeting, and where many of those stereotypes will become embedded. Possibly the best and worst thing about Peter Pan is "What Makes the Red Man Red?" which is sung in honor of the Lost Boys and Indians joining up. It does contain some fantastic lyrics though:
When did he first say, "Ugh!"
When did he first say, "Ugh!"
In the Injun book it say
When the first brave married squaw
He gave out with a big ugh
When he saw his Mother-in-Law
Captain Hook and Smee are realized as fully threatening and hilarious villains. Most children are terrified of Captain Hook, but as one ages, his hijinks inspire more laughter. He still carries an edge of menace that is essential to the character, especially when he tries to bomb Peter instead of poisoning him.
With its own slew of memorable songs, Disney's version of Peter Pan works well, though its racist tendencies can make one a little uncomfortable. It comes with the territory, though, as thats embedded in the original book and subsequent plays and musicals. It's a fantasy world where these archetypes do exist.
Lady and the Tramp (1955)
This is without a doubt one of the most beautiful Disney films ever made, Disney's first use of CinemaScope Widescreen. I don't know why, but the 2.55:1 aspect ratio, or similar ones, look the most cinematic and the most epic. And while this is definitely is not the most epic Disney film, it allows the animators to fill the screen with lush backgrounds and tiny details.
The story itself is pretty simple. A husband and wife get a cocker spaniel, and treat the dog like their own child, until they have their own child and the dog is ignored for the new family member. When the man and woman go on a trip, they leave the dog, Lady, in the charge of their Aunt Sarah, who could care less for Lady and locks her up outside. Lady meets a streetwise scoundrel named Tramp, and a love flourishes between them which eventually leads to one of the great Disney scenes, where a plate of spaghetti and Bella Notte fill the night.
Once again an ethnic stereotype emerges in the form of the Siamese Cats, who have a strange song about being Siamese, or literally from Siam (now Thailand). I don't know exactly who it offends, but its weird enough to ponder its inclusion in the film. It doesn't help that the cats act as villains.
Revisiting all these old Disney films has demonstrated that some hold up better then others, but they are all entertaining because with adult eyes you see things you never saw before, understand others in a new light, and receive a huge nostalgia kick from the rest.
Part 4 will cover:
Sleeping Beauty (1959)
101 Dalmatians (1961)
The Sword in the Stone (1963)
The Jungle Book (1967)
The Aristocats (1970)
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