Tag Archives: Wilfred Jackson

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 midway through a decade of prosperity, Lady and the Tramp (1955) is a lovely production that represents an innocent time and still holds up well decades later.

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

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

The couple is immediately smitten with Lady, who provides 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 and able to live on his terms.

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

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

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

Lady’s voice is the polar opposite—demure, feminine, and proper. It 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 arrangement of the songs, as the duo shares a delicious plate of spaghetti and meatballs.

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

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

Beginning on Christmas and ending precisely a year later, Lady and Tramp’s incredible 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 new progressive experience. Given the surrounding controversies, it would be shameful to spoil it.

The film takes 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. It has a pretty 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 will 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). Uncle Remus 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 friendships with their sister, Ginny. He also bonds 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 precise lesson results from these stories.

Uncle Remus is an inspiring character- it is 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 many of these roles, 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 recurs 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 precisely cheerfully but not despondent.

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, ultimately 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 recognize the existing racism and appreciate the film’s artistic merits. Wise and resounding friendships between white and black characters are evident, and it is a lovely story about determination, fairness, and respect.

The film should be treasured for its lovely moments and scolded for 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.

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.

The story is told mainly in narration, especially to explain its history. We learn that Cinderella’s parents have both died, leaving her an orphan who lives with her wicked stepmother, Lady Tremaine.

Her stepsisters, Drizella and Anastasia, are jealous of Cinderella’s natural beauty. She is regularly abused and berated, and 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. She has no intention of making things easy on her.

In proper fairy tale form, the Prince falls madly in love with Cinderella while facing many hurdles on the pair’s 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 production’s colors and animations are lush and powerful, oozing perfection and dripping 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, the ball is pretty 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. Both could easily be companion films, watched sequentially to better study and marvel at their 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 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. It never ages or becomes 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 vastly differs from its predecessor in that the protagonist is male, and the thematic elements are Italian (based on an Italian children’s novel). Still, 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 woodcarver named Geppetto creates a wooden puppet named Pinocchio and wishes upon a star for the puppet to become 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 to be a message film for little boys and girls everywhere about the importance of honesty and truthfulness. However, some comic elements are mixed to avoid making the experience too dark or scary.

This is evidenced by the legendary way Pinocchio’s nose grows longer with each fib he tells. The film preaches a valuable lesson, which is why the adorable story holds up so well in the present.

Some values never go out of flavor.

In superb 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 feelings- 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 Pinocchio’s incredibly effective theme song, “When You Wish Upon A Star,” belted out by Jiminy Cricket. The resounding tune is as emotional as it is timeless and bold. It is belted out at just the ideal time during the film and is still associated with the legendary film.

In fact, over the years, the song has become synonymous with the Walt Disney Company itself.

One slight oddity of the film is that Geppetto—clearly at the grandfather’s age—is the father of a young boy. This might have been perceived as sweet in 1940, but in 2018, it may have been perceived as a bit creepy or at least unusual.

Still, this is a minor flaw that can be easily overlooked. I have come to assume Geppetto is 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. At its core, it is a timeless benevolent lesson in goodness and purity.

Pinocchio is artistically filmed and told, and it 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)

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 Walt Disney’s debut feature-length production and the first animated feature.

Until their release, animated stories were not features at all but 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 1937 film 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 fairy tale of the Brothers Grimms, and it 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 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. She constantly consults 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 cannot do the deed, he pleads with Snow White to flee.

She winds up in a bit of 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. Instead, they were simplistic- and excellent- in using 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—Snow White’s bright red lips 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 becomes 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 is later determined to save her—which he does when he magically kisses her in the film’s finale.

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

The seven dwarfs are created magically, and seven little men living together seem quite natural in those innocent times.

Each is distinctive—Dopey is my personal favorite in his innocence and playfulness—and Happy, Doc, Grumpy, Sneezy, Sleepy, and Bashful are all written with great zest. 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? Indeed, they are presumed dead, but they are never mentioned.

Also, why does the Queen have a Magic Mirror and has 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 and a great love story, and it sets the tone for other Disney masterpieces to follow.

Oscar Nominations: Best Scoring

1941 Films, Animated, Ben Sharpsteen, Children, Clyde Geronimi, Disney, Fantasy, James Baskett, Les Clark, Wilfred Jackson, Wolfgang Reitherman

Dumbo-1941

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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 extraordinary 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 essential 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 essential 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

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 about precisely what Fantasia was about. Indeed, I had heard of it and knew it was an animated production, but I 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 like Snow White or Pinocchio, but this assumption mistook me. While the film took me a bit to get into, it is a marvel and quite extravagant.

The combination of classical pieces and the animated story is brilliant and visually impressive. 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.