Category Archives: James Baskett

Song of the South-1946

Song of the South-1946

Director Harve Foster, Wilfred Jackson

Starring James Baskett, Billy Driscoll

Scott’s Review #893

Reviewed May 4, 2019

Grade: B+

Song of the South (1946) is a Walt Disney film buried in the chambers of cinema history, reportedly an embarrassment never too soon forgotten by the legendary producer and his company.

The reason for the ruckus is the numerous overtones of racism that emerge throughout an otherwise darling film. Admittedly the film contains a racial cheeriness that cannot be interpreted as anything other than condescension to black folk and numerous stereotypes abound.

The mysterious appeal of the film during modern times is undoubted because of the surrounding controversies that hopefully can be put aside in favor of a resoundingly positive message and glimmering childlike innocence that resonates throughout the film.

The hybrid choice of live-action and animation is superlative, eliciting a progressive never before seen, an experience that would be shameful to be spoiled amid the surrounding controversies.

Taking place during the Reformation Era in Georgia, the United States of America, a period of American history shortly after the end of the Civil War and the abolition of slavery, the film has quite the Southern flavor and feel.

Seven-year-old Johnny (Bobby Driscoll) is excited to visit his grandmother’s (Lucile Watson) lavish plantation outside of Atlanta along with his mother, Sally (Ruth Warrick), and father (Erik Rolf). He is soon devastated to learn that his father is to return to Atlanta for business, leaving Johnny behind.

Johnny plots to run away from the plantation and return to Atlanta but develops a special friendship with kindly Uncle Remus (James Baskett) who enchants the young boy with sentimental lesson stories about Br’er Rabbit and his foils Br’er Fox and Br’er Bear.

Drama ensues when Johnny feuds with two poor neighbor boys and develops a friendship with their sister, Ginny. He also forms a bond with Toby, a young black boy who lives on the plantation.

Thunderous applause must go to the creative minds who thought of mixing the animations with the live-action drama resulting in positive and compelling effects.

As Uncle Remus repeatedly embarks on a new story for Johnny to listen to the audience knows they will be transported into a magical land of make-believe as a clear lesson results from these stories.

Uncle Remus is an inspiring character- rare to find a black character written this way in 1946. Often black characters were reduced to maids, butlers, farmhands, or other servant roles.

While the film does not stray from the course by casting these roles aplenty, including Uncle Remus himself, his character is different because he is beloved by little Johnny respected by the grandmother, and treated as part of the family. His opinion counts for something and is not merely dismissed as rubbish.

The musical soundtrack to Song of the South is particularly cheery and easy to hum along to. The most recognizable song is “Zip-a-Dee-Doo-Dah” which reoccurs several times throughout the feature. The best rendition is at the end when the mix of live-action and animation culminates with the sing-along.

My favorite appearance is when the “bluebird” referenced in the lyric comes into play resting on one character’s shoulder, true to the lyrical content.

The accusations of racism are justified as keen viewers will understand the condescension towards blacks in several scenes.

More than once a parade of black people is seen traipsing through the plantation, singing songs, not exactly cheerfully but not despondent either.

The scenes have eerie slavery overtones- despite the black character’s all presumably being free to come and go, the reality is they all work for white folk. The black plight and struggle are completely sugar-coated and dismissed.

The animated characters are voiced by strong ethnic voices and are presumed to be ridiculous. The usage of a Tar-Baby character, completely enshrined in black tar seems offensive almost teetering on the implication of promoting a blackface, minstrel show moment as the character, once white, is then turned black because of the tar.

Song of the South is not the only film of its time to face racist accusations- the enormous Gone with the Wind (1939) and Jezebel (1938) faced similar heat.

Song of the South (1946) is recommended for those who can recognize the racism that exists and appreciate the film’s artistic merits. Wise and resounding friendships between white and black characters are evident as is a lovely story about determination, fairness, and respect.

The film should be treasured for its nice moments and scolded for its racist overtones.

Oscar Nominations: 1 win-Best Original Song-“Zip-a-Dee-Doo-Dah” (won)

Dumbo-1941

Dumbo-1941

Director Ben Sharpsteen

Starring Various voices

Scott’s Review #559

Reviewed December 24, 2016

Grade: A

One of the best produced (and at sixty-two minutes, one of the shortest!) of the classic Walt Disney films of the golden age, Dumbo, in a similar fashion to another Disney classic, Bambi, is both heartbreaking and mixed with fun entertainment.

It should be heralded and viewed by everyone- children and adults alike and teaches a valuable lesson in acceptance and tolerance- messages that never go out of fashion, despite the film being made in the grand old year of 1941.

To draw more comparisons to Bambi, we are introduced to the title character, Dumbo is nuzzled and cherished upon being brought into the world by storks, by his warm and affectionate mother.

Dumbo is an elephant and his mother is a circus elephant, where she spends her days as entertainment, along with a group of other female elephants- none of whom has her grace, kindness, or dignity.

Sweet Dumbo is born with an imperfection- he has enormous ears. While others- namely the female elephants- ridicule and stare in horror at the lovable little elephant- his mother embraces and cuddles her little bundle of joy, eliciting a genuine, good-natured warmth rarely seen in cinema history.

There is something innately good about this character, (Mrs. Jumbo). She has a richness and way about her that is fantastic and consuming.

Sadly, one day, while entertaining the masses, a bratty human kid taunts Dumbo, causing Mrs. Jumbo to go ballistic, immediately going into protection mode.

She was then deemed a “mad elephant”, shackled, chained, and worse yet- separated from her baby. How anyone can watch this portion of the film and not shed a tear or get a lump in their throat is beyond me.

Walt Disney was a master at eliciting raw emotion from his audience and writing heartbreaking yet charming stories.

The centerpiece of Dumbo is the wonderful bond between mother and son- a sweet and powerful connection almost everyone can relate to. The pride and joy in Mrs. Jumbo’s eyes when she is granted a visit from Dumbo while imprisoned is magical- it means the world to her.

The supporting characters are key to the richness of the film- Timothy Q. Mouse is an important character in the story. Upon Dumbo and Mrs. Jumbo’s separation, he becomes Dumbo’s only friend, sympathizing with Dumbo, and is instrumental to Dumbo’s reunion with his mama as well as his future successes in the circus.

The bitchy female elephants are crucial too- despite being one of their own, they still reject Dumbo and Mother. There are some light moments, such as when the ladies, (Catty, Giddy, and Prissy), gossip and act superior to others.

Another fun scene, to balance out the heavy drama, occurs when Timothy and Dumbo accidentally mistake champagne for water, causing them to hallucinate and imagine pink elephants.

Dumbo is important in that it sends a powerful message about the way animals (especially circus animals) have historically been treated. Why animals should be used to amuse and entertain human beings is anyone’s guess, but this film is a powerful reminder of such.

Fortunately, the film has a happy and satisfying ending, which should please fans.

Dumbo (1941) is an animated classic for the ages.

Oscar Nominations: 1 win-Best Scoring of a Musical Film (won), Best Original Song