Category Archives: Eric Larson

1963 Films, Animated, Children, Disney, Eric Larson, Karl Swenson, Les Clark, Rickie Sorensen, Sebastian Cabot, Wolfgang Reitherman

The Sword in the Stone-1963

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The Sword in the Stone-1963

Director Wolfgang Reitherman

Voices Sebastian Cabot, Rickie Sorensen, Karl Swenson

Scott’s Review #896

Reviewed May 10, 2019

Grade: B

The 1960s, while not known as the best of decades for Walt Disney productions, offers a small gem of a film in The Sword in the Stone (1963).

The film, flying marginally under the radar, is not typically well-remembered but is a solid offering. It mixes elements of magic and royalty within a cute story.

The production holds the dubious honor of being the final Disney animated film to be released before Walt Disney’s death.

While the film is not great, neither is it bad.

Engaging and innocent it does not offer the ravaging tragedy of Bambi (1942), the emotion of Dumbo (1941) nor the beauty of Snow White and the Seven Dwarfs (1937).

The Sword in the Stone offers an adventure with an appealing lead character, mildly entertaining supporting characters, and a host of fun antics enshrouded around education.

Set during ancient times, the King of England has died, leaving no heir to the throne. This elicits peril and worries since with no successor in place, the country is doomed for war.

One day a miracle occurs and an odd “Sword in the Stone” appears inside a sturdy anvil in London, with an inscription proclaiming that whoever removes it will be the new king.

Despite a myriad of attempts none of the strong townsmen succeed and England is reduced to the Dark Ages, leaving the sword and the stone forgotten.

When one day a twelve-year-old lad named Arthur appears, he teams up with his tutor, Merlin the wizard, and the adventures commence.

Inevitably Arthur can remove the sword from the stone and will go on to lead the Knights of the Round Table, accomplishing many amazing feats and becoming one of the most famous figures in history- King Arthur.

The Sword in the Stone entertains and pleases the eyes in many regards with vibrant colors and an array of bells and whistles creatively interspersed throughout a myriad of scenes.

The main villain, Madam Mim, is Merlin’s main nemesis. Haggard and dripping with black magic powers, she can turn from a pink elephant into a queen with the flick of her wrist as she giggles and prances about.

Despite being dastardly she is also fun, zany, and delights in her brief screen time.

The whimsical antics of Merlin are the best aspects of The Sword in the Stone as the senior gentleman bursts and bumbles from one oddity to another in earnest attempts to aid Arthur.

Thanks to clever writing an educational angle is robustly incorporated into the story. Merlin can see into the future, such as knowing that the world is round, not flat.

What a great learning tool the film provides for young kids to discover.

The story risks playing juvenile in some parts where I can see children under age twelve enthralled but adults finding the film too childish to take seriously.

Despite my efforts to stay tuned, I noticed tidbits of the film that seemed too cute.

When Merlin and Arthur are turned into squirrels and strike the fancy of adorable but clueless female squirrels, the scene seems best catered to very young audiences.

What would give the film some excitement would be a good solid theme song or a powerful love story. Both aspects, able to solidify a hit for Disney, are glaringly missing.

Snow White and the Seven Dwarfs contain the lovely “Someday My Prince Will Come” while Snow White and the Prince offer a rich love story.

While good, The Sword in the Stone can reach only the second tier of Disney classics, missing the upper echelon with only so-so musical offerings.

A slight miss is how Arthur’s voice changes back and forth from a child to a teenager going through puberty. This is drastically noticeable.

The reason, rather perplexing when analyzed, is that three different actors were used to play Arthur resulting in some consistency issues.

Why not just use one actor or age the character slowly and gradually deepen his voice? The back and forth feels sloppy.

The criticisms targeted at The Sword in the Stone (1963) are minor and forgivable as the film plays above average graded on its terms.

The film has a nice message for children about the importance of education and is a wonderful delight best served to the whole family.

Oscar Nominations: Best Scoring of Music-Adaptation or Treatment

1955 Films, Animated, Children, Clyde Geronimi, Disney, Eric Larson, Hamilton Luske, Les Clark, Musical, Peggy Lee, Wilfred Jackson, Wolfgang Reitherman

Lady and the Tramp-1955

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Lady and the Tramp-1955

Director Clyde Geronimi

Voices Peggy Lee, Barbara Luddy, Larry Roberts

Scott’s Review #894

Reviewed May 5, 2019

Grade: A-

Released mid-way through a decade of prosperity, Lady and the Tramp (1955) is a lovely production representing an innocent time that still holds up well decades later.

The Walt Disney film, the story, animations, and characters are charming with a wholesome yet sophisticated vibrancy. A year in the life of its main character (Lady) never was more richly created providing adventure, romance, and fun for the entire family.

During the turn of the twentieth century, presumed to be somewhere in the mid-western part of the United States, John Dear gives his wife Darling a Cocker Spaniel puppy that she names Lady.

The couple is immediately smitten with Lady providing her with all the comforts of warm and lavish country living.

After months the Dears become pregnant causing Lady to feel left out. When the baby arrives and the Dear’s go on a trip, their dog-hating, and incompetent Aunt Sarah arrives, leaving poor Lady at risk for her life.

Meanwhile, a stray mixed breed named Tramp prowls the streets protecting his friends and avoiding the dog catcher. He dines on Italian leftovers at Tony’s and lives his idyllic life, proud not to be owned, able to live on his terms.

He befriends Lady through mutual acquaintances Jock and Trusty who reside nearby.

When Lady faces peril the duo embark on an exciting escapade that leads them to a dog shelter and a farm as they fall in love, eventually resulting in a candlelit dinner for two at Tony’s, the highlight.

All the animals are a treasure and voiced appropriately providing Lady and the Tramp with life and good zest. Tramp is gruff yet lovable with a “footloose and collar-free” outlook, charming and bold in his determination.

The voice of Lady is the polar opposite- demure, feminine, and proper. Her voice is cultured without being too snobbish.

In supporting roles, Tramp’s fellow strays Peg (a Pekingese) and Bull (a bulldog) possess a New York street-savvy, perfect for their characters.

Besides Aunt Sarah, the dog catcher, and a hungry rat, Lady, and the Tramp contain no villains and each character is somewhat justified in their motivations. The rat wants to eat, the dog catcher is doing his job, and Aunt Sarah, a cat lover with two Siamese pets, is foolhardier and more clueless.

She can be forgiven for wanting Lady to have a muzzle because she misunderstands Lady’s intentions toward the newborn baby. These characters are more comical than deadly and Si and Am add mischievous shenanigans to further the plot.

The heart belongs to the sweet romance between Lady and Tramp. The two dogs immediately appeal to the audience with instant chemistry.

The “Footloose and Collar-Free / A Night at the Restaurant / Bella Notte” medley is the best of the song arrangements as the duo shares a delicious plate of spaghetti and meatballs.

In the film’s most iconic and recognizable scene, the pair lovingly munch on the same spaghetti noodle- if that does not love then what is?

Lady and the Tramp (1955) is a charmer containing innocence, vivid colors, and a rich, welcoming story.

Beginning on Christmas and ending exactly a year later, Lady and Tramp’s wonderful journey is topsy-turvy but culminates in the birth of a litter of puppies cheerily celebrating life.

The happy ending is a perfect bow on a Disney film that is enchanting, harmless, and inspiring.

The quintessential American love story between the pampered heiress and the spontaneous, fun-loving pup from the wrong side of the tracks — has rarely been more elegantly and entertainingly told.

1946 Films, Animated, Bobby Driscoll, Children, Disney, Eric Larson, Harve Foster, Hattie McDaniel, James Baskett, Les Clark, Musical, Musical Drama, Ruth Warrick, Wilfred Jackson

Song of the South-1946

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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)

1950 Films, Animated, Ben Sharpsteen, Children, Clyde Geronimi, Disney, Eric Larson, Fantasy, Hamilton Luske, Les Clark, Musical, Wilfred Jackson, Wolfgang Reitherman

Cinderella-1950

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Cinderella-1950

Director Clyde Geronimi, Hamilton Luske, Wilfred Jackson

Voices Ilene Woods, Eleanor Audley

Scott’s Review #731

Reviewed March 7, 2018

Grade: A-

Cinderella is a lovely 1950 Walt Disney production that rejuvenated the animated film genre after a sluggish 1940s, thanks to the ravages of World War II.

The film glistens with goodness and bright colors, offering a charming fairy tale-based story based on hope and “happily ever after”.

Cinderella is enchanting on all levels.

Told largely in narration form especially to explain the history of the story, we learn that Cinderella’s parents have both died, leaving her an orphan and living with her wicked stepmother, Lady Tremaine.

Her stepsisters Drizella and Anastasia are jealous of Cinderella’s natural beauty. She is abused and berated regularly, forced to work as a servant in a rundown chateau- tending to the trio’s needs and demands.

Despite her unhappy life, Cinderella makes the most of it and befriends mice, birds, and many other animals she meets, singing and dancing merrily.

Life chugs along for our heroine until one day the King of the royal palace decides to throw a lavish Ball for his son, the Prince, to find his soulmate and marry her finally. The King requests that all eligible unmarried women attend.

As Cinderella excitedly requests to go, Lady Tremaine cruelly grants her request, provided all of her work is done, having no intention of making things easy on her.

In true fairy tale form, the Prince falls madly in love with Cinderella while many hurdles face the pair on their way to happiness.

Given the time when Cinderella was made (1950), the timing was excellent for a lavish production, to say nothing of the fantasy that many young girls undoubtedly experienced a handsome prince rescuing them, whisking them away from a life of doldrums to undying love.

Female empowerment had not yet taken hold during the 1950s, so the male-rescuing female message was palpable and appealing to many. Dated not the least bit, a story of true love overcoming hardship can always find an audience.

The colors and animations of the production are lush and powerful, oozing with perfection and drizzling with fantastic elements of romance and spectacular wealth.

An example of this is the lavish ball at the palace- as Cinderella’s Fairy Godmother transforms the young girl and her transportation into a magical fantasy of horses, gowns, and carriages, it is quite extravagant in its beauty.

Engaging, with a bit of humor mixed in, are the supporting characters of the three evil ladies and the bumbling Grand Duke- interestingly voiced by the same person as the King. As Drizella and Anastasia attempt to impress Prince Charming, their awkward and haphazard mannerisms and scowls perfectly counterbalance the charm and grace of Cinderella in a sometimes comical fashion.

Comparisons must be made to 1937’s masterpiece, Snow White and the Seven Dwarfs, and both films could easily be companion films to each other, being watched in sequence for better study and marveling about similarities.

Snow White and Cinderella are purely “good” characters, singing lovely tunes, embracing animal friends, and various forms of wildlife- they are both more or less “saved” by men.

In the present day, instead of this being offensive or “old fashioned”, it remains enchanting and a celebration of true love.

Cinderella is a treasure to be enjoyed after all these years, never aging nor becoming dated or irrelevant, which is a true testament to the power of film. Carving a story of values, honesty, hard work, and good payoff, generations of fans can appreciate this everlasting treasure.

Oscar Nominations: Best Scoring of a Musical Picture, Best Original Song-“Bibbidi-Bobbidi-Boo”, Best Sound Recording

1940 Films, Animated, Ben Sharpsteen, Children, Disney, Eric Larson, Fantasy, Hamilton Luske, Les Clark, Musical, Wilfred Jackson, Wolfgang Reitherman

Pinocchio-1940

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Pinocchio-1940

Director Ben Sharpsteen, Hamilton Luske

Voices Cliff Edwards, Dickie Jones

Scott’s Review #723

Reviewed February 1, 2018

Grade: B+

As a follow-up to the marvelous 1937 Walt Disney production of Snow White and the Seven Dwarfs, 1940’s Pinocchio is a darling tale of a wooden puppet longing to become a real boy.

The film is vastly different from its predecessor in that the protagonist is male and the thematic elements are Italian (based on an Italian children’s novel), but similarly, Pinocchio is a touching experience and is magical and whimsical, telling a humanistic story about wishes and dreams coming true.

As narrated by a fantastic, cheerful little insect named Jiminy Cricket, an elderly wood-carver, Geppetto, creates a wooden puppet named Pinocchio and wishes upon a star for the puppet to be turned into a little boy.

A mysterious, yet lovely Blue Fairy arrives one night and tells Pinocchio that he must be brave and truthful for the desired effect to occur- Jiminy serves as his conscience. Throughout the remainder of the film, Pinocchio’s morals are tested by unsavory characters, who attempt to steer him down a dark path.

Certainly, Pinocchio is intended as a message film to little boys and girls everywhere regarding the importance of being honest and truthful, but with some comic elements mixed in to not make the experience too dark or scary.

This is evidenced by the, now legendary, way in which Pinocchio’s nose grows longer with each fib that he tells.  What a valuable lesson the film preaches and is the main reason the adorable story holds up so well in present times.

Some values never go out of flavor.

In wonderful Disney form, Pinocchio features an emotional, tearjerker of a scene towards the end of the film as Geppetto mourns the loss of his son.

The scene is sweet, and touching, and will fill even the hardest of hearts with feeling- regardless of age. In this way, Pinocchio becomes even more of a timeless treasure and is a film that the entire family, generations upon generations, can enjoy together.

Films of this nature are so important as a bonding form.

Enough praise cannot be given to the incredibly effective theme song of Pinocchio, “When You Wish Upon A Star”, belted out by Jiminy Cricket. The resounding tune is as emotional as it is timeless and bold, belted out at just the ideal time during the film, and is still identified with the legendary film.

In fact, over the years the song has come to be identified with the Walt Disney Company itself.

One slight oddity of the film is how Geppetto- clearly at the grandfather age- is the father of a young boy, which perhaps in 1940 might be perceived as sweet, but in 2018 may be perceived as a bit creepy or at least unusual.

Still, this is a minor flaw and easily overlooked. I have come to assume Geppetto serves as the grandfather in the story.

For those in the mood for a charming, classic animated Disney picture, 1940s Pinocchio is a mesmerizing and creative experience, and at its core is a timeless benevolent lesson in goodness and purity.

Artistically filmed and told, Pinocchio is a film that can be enjoyed by anyone regardless of age or gender.

Oscar Nominations: 2 wins Best Original Score (won), Best Original Song-“When You Wish Upon a Star” (won)

1959 Films, Animated, Bill Shirley, Children, Clyde Geronimi, Disney, Eric Larson, Fantasy, Les Clark, Mary Costa, Musical, Wolfgang Reitherman

Sleeping Beauty-1959

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Sleeping Beauty-1959

Director Clyde Geronimi, Les Clark, Wolfgang Reitherman, Eric Larson

Voices Mary Costa, Bill Shirley

Scott’s Review #721

Reviewed January 30, 2018

Grade: B+

Sleeping Beauty is a 1959 musical fantasy film and the sixteenth animated production by Walt Disney.  By this point, Disney was a master at crafting wonderful and magical productions and Sleeping Beauty is a solid work.

However, due to mixed reviews and poor box office performance, Disney films were retired for many years. The effort achieves a lighter tone than heavies like Dumbo and Bambi but is enjoyable nonetheless.

In a magical land of royalty, fairies, both good and evil, King Stefan and Queen Leah, the benevolent leaders of the land, are finally able to conceive their first child, named Princess Aurora.

After proclaiming a special holiday and celebration, a festive scene turns dark when an evil and powerful fairy, Maleficent, jealous with rage, puts a curse on the innocent baby.

Thanks to a kindly fairy, the curse of death on Aurora’s sixteenth birthday is slightly blocked in favor of Aurora falling into a deep sleep- only to be awakened by true love’s kiss.

The characters in Sleeping Beauty are quite lovely and, by and large, sweet and kind. My favorite characters are the three fairies- Flora, Fauna, and Merryweather.  Each has her personality but wields special magical powers- all of them of good-natured variety.

While Flora and Fauna possess song and beauty, which they bestow on Aurora. Merryweather arguably saves the young girl’s life. The three women are also instrumental in being the unsung heroes of the film, while the handsome Prince Phillip gets star billing.

Compared to many other Disney films, Sleeping Beauty is quite the showing, and lush with colors as bright as stars. The sparkles that drizzle from the fairies’ wands ooze with magic that will make children giggle with delight and adults marvel with adoration.

In this regard, Sleeping Beauty is extravagant and the most expensive Disney production created up to this point.

Maleficent is a fantastic villain and when she finally turns into a lethal, fire-breathing, dragon, this is sure to scare youngsters watching the film for the first time. Sure to mention, Maleficent’s web of thorns that she uses to surround Aurora’s castle is a spectacle in and of itself.

Upon watching the film I continue to draw comparisons to another of Walt Disney’s famous films, 1937’s beautiful Snow White and the Seven Dwarfs, as both films resemble each other in a sheer mass of ways.

The beautiful and innocent main female characters, both in peril from devious, older women, clearly jealous of the goodness of Snow White and Aurora are obvious.

Besides, both contain dashing princes who come to the rescue in just the nick of time and kindly little things who assist in the drama.

Perhaps it is Sleeping Beauty’s similarities to  Snow White and the Seven Dwarfs- in fact, the pair would be perfect to watch together on a rainy Saturday afternoon- that lead me to conclude that Snow White is the more charming and grabbing of the two films.

Also, Sleeping Beauty does not triumph in the important humanistic lessons that the Dumbo and Bambi (my favorites of all the Disney films) have.

Sleeping Beauty contains elements of an empathetic, feel-good animated experience. A King, a Queen, a Prince, a vicious villain, giddy fairies, and a beautiful heroine are all represented in this fine and satisfying Disney venture- not the greatest in the pack, but assuredly a good time.

Oscar Nominations: Best Scoring of a Musical Picture

1937 Films, Animated, Ben Sharpsteen, Best Film of the Year, Children, David Hand, Disney, Eric Larson, Fantasy, Les Clark, Musical, Wilfred Jackson, Wolfgang Reitherman

Snow White and the Seven Dwarfs-1937

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Snow White and the Seven Dwarfs-1937

Director David Hand

Starring Various Voices

Scott’s Review #625

Reviewed March 18, 2017

Grade: A-

Snow White and the Seven Dwarfs (1937) is the debut feature-length production by storied producer, Walt Disney, and has the grand honor of being the first animated feature ever to be made.

Until the time of its release, animated stories were not features at all, but rather, shorts that were shown as gag-filled entertainment not to be taken very seriously.

Snow White and the Seven Dwarfs made animated films something to be appreciated and respected- the film, released in 1937, was re-released in theaters many times until the 1990s and is a blueprint for what animated features would become.

The film is based on the famous Brothers Grimm fairy tale and is a cherished treasure.

Beautiful inside and out, Snow White is a lonely princess who lives with her devious wicked stepmother, the Queen. Making the most out of her troubled life, Snow White hums and sings with her bird friends who gather to keep her company as she is forced by her stepmother to work as a scullery maid.

The Queen is a vain woman, jealous of Snow White’s natural beauty, constantly consulting her mirror to ask “who is the fairest one of all?”.

One day the Queen decides to put an end to Snow White and orders a henchman to kill her in the forest and return her bloody heart to her in a box. When the henchman is unable to do the deed, he pleads with Snow White to flee.

She winds up in a little cottage housing seven dwarf men whom she befriends as the Queen is determined to take drastic measures to find her.

Circa 1937, and for years to come, animated features were not created as they are today. Rather, they were simplistic- and wonderful- in the use of storyboards and drawings in their creation.

This daunting task, and the creativity involved, make them just lovely to look at.

Since Snow White and the Seven Dwarfs was the debut animated feature, the drawings are fantastic to view- like pictures- and to appreciate the craftsmanship involved.

The characters are richly created, with bright, vivid colors that distinguish them from one another- the bright red lips of Snow White and the blue and gold colors of her dress contrast with the regal purples used on the Queen, to say nothing of the deep red color of the poison apple.

The color makes the apple appear delicious, but also dangerously blood red. These nuances make the characters deep with texture.

The friendships Snow White makes with the dwarfs and the animal life in the forest are whimsical and filled with love and the animal element later would become a staple of Disney’s works- Dumbo and Bambi.

The animals are naturally fond of Snow White because she is joyous and kind- they in turn warn her of impending danger as the Queen turns herself into an old woman and lumbers towards Snow White, snug in the cottage.

Snow White and the Seven Dwarfs features an old-style romance- the handsome Prince takes a shine to Snow White, noticing her natural beauty as she sings and later determined to save her- which of course he does when he magically kisses her in the finale of the film.

The songs featured only enhance the love story- “Some Day My Prince Will Come” is a lovely ode to romance and is tenderly sung by Snow White as she longs for the Prince’s touch, frustrated with her life.

The creation of the seven dwarfs is done magically and seven little men living together seem quite natural in those innocent times.

Each distinctive from the other- Dopey being my personal favorite in his innocence and playfulness- Happy, Doc, Grumpy, Sneezy, Sleepy, and Bashful are all written with great zest as we fall in love with each of them from the first moment we meet them as they belt out “Heigh-Ho” in unison.

Since Snow White and the Seven Dwarfs deserve merit for being Disney’s first, overlooked can be the omission of any family members of Snow White’s besides the evil Queen. Where are Snow White’s father and mother? Any siblings? Certainly, they are presumed dead, but they are never mentioned.

Also, why does the Queen have a Magic Mirror and why does she have special powers that nobody else has?

At one hour and twenty-three minutes, Snow White and the Seven Dwarfs is a quick film but does not feel underdeveloped. The story and the characters are rich with appeal and intrigue making the film a classic that should be shared with all youngsters.

It is a classic tale of good versus evil, a great love story, and sets the tone for other Disney masterpieces to follow.

Oscar Nominations: Best Scoring

1970 Films, Animated, Children, Disney, Eric Larson, Les Clark, Wolfgang Reitherman

The Aristocats-1970

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The Aristocats-1970

Director Wolfgang Reitherman

Starring Various voices

Scott’s Review #570

Reviewed December 29, 2016

Grade: B+

The golden age of Disney films mainly occurred before the release of this film, The Aristocats is a latter-day Disney film, released in 1970- the first release since Walt Disney’s death in 1966.

It is a darling story with a very cute subject matter- cats living in sophisticated Paris face peril from their butler.

Like many Disney works, the film’s message pertains to the treatment of animals. The Aristocats is much safer fare than the dark Bambi or even Dumbo, but it is a fantastic film worth watching.

Glamorous and elegant retired opera star, Madame Adelaide Bonfamille, lives peacefully with her gorgeous mother cat, Duchess, and her three kittens, Marie, Berlioz, and Toulouse in the heart of Paris, circa 1910.

They are sophisticated beyond measure and enjoy every luxury known to cats, and are accompanied in their estate by English butler, Edgar.

One day while Madame is discussing her will with her attorney, Edgar learns that she plans to leave her entire estate to her cats, until their death, then all goes to Edgar.

Filled with greed, Edgar plots to kill the cats. This leads to an adventure in the country as the accosted cats attempt to find their way back home to Madame, with the help of feral yet kindly cat friends.

Ever so sweet to the film is the burgeoning romance that erupts between Duchess and Thomas O’Malley, as he aids the cats in returning to Paris. It is the classic girl from high class, who meets the bad boy from the wrong side of the tracks- only cat style.

The chemistry is readily apparent between the pair and, on a personal note, my female cat Thora certainly seemed smitten with Thomas O’Malley as she sat smiling at Thomas while she watched the film.

During their adventure, Thomas and Duchess manage to dance and sing along with Thomas’s best friend Scat Cat, who leads a Jazz band of alley cats- this makes the film light and lively in tone. The group also shares adventures with English geese, Abigail and Amelia Gabble, who share a fondness for style and a prim and proper manner.

Throughout it all, the group continues to be pursued by Edgar, who is portrayed more as a bumbling villain than a sinister one, making The Aristocats a fun film rather than anything too heavy or sinister.

The sophistication of the film is really what makes me enjoy it so much. The high style of the Parisian city blocks, Madame’s gorgeous mansion, and the beautifully drawn French countryside are my favorite elements.

I love the contrasts in this film- the city and the country. The high-brow characters meet the more blue-collar ones, but in the end, everyone comes together to conquer the mischievous foe.

Whereas in Bambi man is the serious enemy, in The Aristocats, Edgar is more of a buffoon than a truly dangerous element. He is cartoon-like (no pun intended), and the film is more of a caper with hi-jinks than of true danger.

For the cat lovers in all of us, The Aristocats is a delightful film with a nice message and a wonderful cultural experience.

Who can forget the fantastic theme song, “Ev’rybody Wants to Be a Cat”?

1942 Films, Animated, Best Film of the Year, Children, Clyde Geronimi, David Hand, Disney, Drama, Eric Larson, Scott's Top 100 Films

Bambi-1942

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Bambi-1942

Director David Hand

Starring Various voices

Top 100 Films #88

Scott’s Review #556

Reviewed December 22, 2016

Grade: A

Simply a lovely, endearing, and heartbreaking tale, Bambi (1942) is one of my favorite classic Disney animated features.

Gorgeous and flawless, the film sends a definite message of animals longing for peace in a world filled with hunters attempting to disturb and kill the graceful deer.

After all these years, this message still resonates loud and clear, in a sad, heartbreaking fashion. All deer hunters should watch this film and dare to hunt.

Bambi was released in the Golden Age of Disney films, led by Snow White, Dumbo, and Pinocchio, to name but a few.

We first meet baby Bambi as his dear mother nurtures and nestles him, fawning over him with pride and teaching him the joys of the forest.  Bambi’s father is the Great Prince of the Forest- protector of all the creatures of the land.

Bambi’s mother (unnamed) warns an exuberant Bambi to be cautious of the gorgeous, yet dangerous, meadows, where the deer are vulnerable and unprotected.

During the film’s famous gut-wrenching scene, tragedy occurs, and violence disrupts the peaceful forest, leaving Bambi alone, lost, and devastated, forced into a cruel world of tragedy, realism, and responsibility.

The scene gets to me every time as we see the pain and the harshness of life for the sweet deer, to say nothing of the other animals in the forest- namely, Thumper (a rabbit), and Flower (a young Skunk).

These characters are Bambi’s best friends. The dripping teardrop that oozes from Bambi’s eye can never be forgotten.

To counterbalance the darkness of the film, Disney successfully adds cheerful scenes of the animals dancing and co-mingling with each other- as one community.

This is nice as it shows the power and bond between the creatures- they are united as a family and take care of one another. I love this message, especially as young people will watch the film for the first time.

There is also a sweet romance offered between Bambi and Faline.

To watch the film and listen to the musical score is to experience sheer beauty. The music makes the film powerful- its classical and operatic elements are gorgeous and will elicit emotions.

Visually, each frame is a drawing set against a still, and magical to watch and marvel at the amount of work that undoubtedly went into this preparation.

In the end, the circle of life takes place. Bambi becomes the Great Prince of the Forest, replacing his father as the protector. Now all grown up with two tiny babies of his own, he must protect his family and friends.

Life goes on. A sad yet realistic message. How brave of Disney to create a piece as wonderful as Bambi.

Personal satisfaction is observing my beloved female feline friend, Thora, become mesmerized and attentive to the film each time I watch it.

Disney’s Bambi is a wonderful, cherished treasure that evokes emotion and teaches a valuable, though painful message. It is a timeless masterpiece to be enjoyed for generations to come.

One will not escape the film with dry eyes, a testament to the marvelous filmmaking involved.

Oscar Nominations: Best Scoring of a Dramatic or Comedy Picture, Best Original Song-“Love Is a Song”, Best Sound Recording

1940 Films, Animated, Ben Sharpsteen, Children, David Hand, Disney, Eric Larson, Fantasy, Hamilton Luske, Les Clark, Musical, Wilfred Jackson, Wolfgang Reitherman

Fantasia-1940

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Fantasia-1940

Director James Algar, Various

Starring Leopold Stokowski, Walt Disney

Scott’s Review #544

Reviewed December 11, 2016

Grade: B+

Before viewing this 1940 gem by Walt Disney, I was naive to knowing exactly what Fantasia was about- certainly, I had heard of it and knew it was an animated production but was also mystified by it. Now embarrassed, I realize what a creative treat I missed out on.

Better late than never.

I expected a Walt Disney animated story along the lines of Snow White or Pinocchio, but I was sorely mistaken by this assumption. While the film took me a bit to get into, it is a marvel and quite extravagant.

The mixing of classical pieces and the animated story is brilliant and visually amazing. There are eight pieces in total, all with stories to tell.

Animated films are not typically my genre of choice, but this one impressed me quite a bit if nothing more than the imagination involved.

A Fantasia reboot emerged in 2000.

1961 Films, Adventure, Animated, Children, Comedy, Disney, Eric Larson, Les Clark, Rickie Sorensen, Rod Taylor, Wolfgang Reitherman

101 Dalmatians-1961

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101 Dalmatians-1961

Directors Wolfgang Reitherman, Hamilton Luske, Clyde Geronimi

Voices Rod Taylor

Scott’s Review #226

205524

Reviewed March 8, 2015

Grade: A-

101 Dalmatians (1961) is a darling Walt Disney film that encompasses wholesomeness, love, and devotion.

Set in London, which adds a level of sophistication to the film, it tells the story of a lonely songwriter named Roger Radcliffe, who lives in a flat with his faithful and devoted Dalmatian, Pongo. Theirs is a happy existence, but something is missing.

Pongo, voiced by Rod Taylor (of The Birds-1963, fame), is determined to find a mate for himself and Roger and sets about to do just that by watching ladies and their dogs walk the streets in front of their homes.

He finds the perfect match for both (Anita for Roger, and Perdita for him). The four of them look forward to years of happiness together until a sinister friend of Anita’s, Cruella De Vil, enters the story.

Cruella sees profit in the Dalmatians and attempts to steal and destroy them.

Cruella De Vil is a delicious villain, and certainly one of the most entertaining in animated film history, but more than that, she is comically devious. Her maniacal laugh and witty language make her a perfect foil for a wholesome couple and wonderful, cute little pups.

The audience does not root for her, but there is something wicked and fun about her over-the-top character.

The film, made in 1961, has a wonderful artistic direction that animation today does not have- the scenes look like beautiful drawings.

There is a Mad Men quality to the design.

The “look” differs from current animation in that it is sleek and constructed skillfully, not loud, fast, and bombastic.

I love how the film is from the point of view of the Dalmatians Pongo and Perdita and not from the perspective of human beings. They tell the story about their dogs- this adds to the empathy felt for the animals since they are the central characters and we see their attempts at rescuing all of the stolen dogs.

Also wonderful is how all of the dogs of London (and various other species of animals) band together in rescue. They work as a team to save and protect their own who are being mistreated and sent to their slaughter.

An enjoyable scene involves the climactic car chase between Cruella’s gaudy, luxury car, and a furniture van. As the pups use the van to escape, a cat-and-mouse game ensues providing comedy and dramatic flair.

As the vehicles wiz along with dirt and back roads toward London, the scene is among the most suspenseful of the film.

In addition to this riveting scene are others involving the dogs tiptoeing past their captives as we cross our fingers they will not be heard and subsequently caught, and an adorable scene showcasing the dogs’ cleverness at covering their spots with soot to escape.

A heartwarming, inspirational film for the entire family to enjoy many times over, 101 Dalmatians (1961) will leave you smiling and humming.

It is a truthful, wonderful film about love for animals.