Jim on Film
Page 4 of 6

Despite this sharp change, The Rescuers was a huge success on its first release, becoming the highest-grossing animated feature of its time. Even then, the film has never been one of the studio’s best loved films. Similarly, some have suggested that the wild and colorful Medusa never became one of the great Disney villains because of her humorous episode, but considering that the film has never carried its success likely has more to do with it. It has much to offer, but it is not as light or comedic as other films in the canon.

More than just in tone, the film breaks new ground in other ways. For The Rescuers, there is a use of music unlike anything done before. It most closely resembles use of music in Bambi, but even then, that’s only a lose connection. Whereas the music in Bambi is the thoughts of the characters, the songs in The Rescuers set tone and mood, commenting on the situations. The Journey sets the mood for the whole movie, though it is sung from Penny’s perspective, but the other two keys songs (excluding Rescue Aid Society) are commenting on the events and setting tone. In fact, Tomorrow is Another Day has only a passing connection to the images on the screen, but it reflects the melancholy hope of the moment.

The use of still pictures over the opening credits is a brave and beautiful move unlike what had been done before. These pictures are interesting because, though they don’t move, they are very dramatic, and they depict the dramatic moving of the bottle in a way that animation could not have done. The pictures continue the story, so they provide a break to the animation, but in combination with the music, they are so powerful that it meshes well.

The film also features only a smidgen of re-used Bambi animation. I think this supports the theory above concerning the re-use of animation. None of the characters in The Rescuers lend themselves to being borrowed from another character, so it is not done.

In The Rescuers, Eva Gabor makes her second animated appearance in a Disney film, and it is important to note that Miss Bianca is a very different character from Duchess. Not once during The Rescuers is the viewer thinking of the previous film. This says much about the talent of Gabor as well as the vision of the artists at work on the film.

And while there are some similarities between Cruella de Vil and Medusa (and it’s important to note that the artists had considered using Cruella a second time in The Rescuers), there are also some key differences. Both characters are eccentric and wild, driven by their crazy passions. But unlike the erratic Cruella, Medusa is very calculating, and as a result, she psychologically manipulates Penny into doing and thinking what she wants Penny to.

Partially because of its darkness and simply because it’s such an engaging film, The Rescuers has always been a favorite of mine.

The Fox and the Hound is another move away from comedy and toward a more dramatic bent, and in watching it afresh, it seems unfair that it receives such harsh criticism.,

The only dependence on formula is in the characterization of Boomer who not only shares Tigger’s voice but some of Tigger’s vocal characterizations and physical mannerisms. As for formula cuteness, there is little doubt that young Todd and Copper are cute. Again, since the artists are dealing with young animals, who are naturally cute, and children, who are naturally cute, it hardly seems intrusive. This cuteness is not extemporaneous matter and, more importantly, it seems appropriate to the subject at hand.

The films from this time often get criticized for their dependence on familiar voices, but this is also an unfair judgment. Since the 1950s, with actors such as J. Pat O’Malley, Verna Felton, Martha Wentworth, Bill Thompson, and Barbara Luddy, there has been heavy rehiring of actors for these films. It is not right to criticize the films from this time for doing the same thing. Pat Buttram, for example, portrays very different characters in all four of his performances for these films. He has a distinctive voice, but, for example, Chief is very different from the Sheriff of Nottingham. Just as Sterling Holloway is very distinctive in all of his Disney roles, as is Bill Thompson and Barbara Luddy, it doesn’t detract from their suitability for their roles. The same goes for George Lindsey, John Fiedler, and the other actors re-used during this time frame. The difference is that in the earlier films, the actors were probably known from radio and possibly for bit parts in movies. But in the later times, the regular voice actors were known for popular television characters who lived on through reruns. But it doesn’t change the fact that these are talented and versatile actors who played very different characters.

In its story, The Fox and the Hound is quite different from any of the other stories attempted in the canon, and its approach is different as well. First of all, it tackles a very serious subject in a mature manner, and there are many difficult scenes in the film that are handled nicely-the death of Todd’s mother, the split between Copper and Todd’s friendship, the hunt of the adult Todd, the accident that injures Chief, Widow Tweed dropping Todd off at the game preserve, and the final battle and sacrifice.

While The Rescuers displayed a more refined Xerox line in its animal characters, The Fox and the Hound has the first completely refined line since Sleeping Beauty. Because of this, the backgrounds are able to be lush and colorful, returning to the detail of the earlier features. There are many beautiful shots, a number of beautiful multiplane effects, and some really nice character animation.

Even musically, the film is different from the previous features with a use of music more reminiscent of The Sword in the Stone. Despite the lack of a CD soundtrack, the songs are all very good, including the touching and powerful Good-Bye May Seem Forever, sung by the Widow Tweed as she takes Todd to the game preserve.

The Rescuers and The Fox and the Hound are both beautiful, perfect films.

The Black Cauldron completes the move on the part of the artists toward more dramatic storytelling, and everything in its opening moments commands attention. The prologue is strong, and for the first time, there are no opening credits, just a title card and a rousing, powerful score.