Jim on Film
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For an introduction and the first part of this column, please read Chronologically Through the Canon: Search for New Insights Into Old Favorites, Part One.

Chronologically Through the Canon:
Searching for New Insights into Old Favorites
Part 2

The Xerox Era (1961-1977)
Visually, One-Hundred-and-One Dalmatians shares some similarities with the stylized angles of Sleeping Beauty, though it replaces lush details and backgrounds with beautiful color patches overlaid with ink-lines. Despite this somewhat dramatic change in styles, One-Hundred-and-One Dalmatians is still a beautiful film.

Of course, this change in art direction is one of the most prominent features of the animation from this time is. The Xerox line not only resulted in a harder edge to the characters, it also required backgrounds that fit those characters, leading to the use of ink lines to define shapes in the backgrounds as well. Because it was a Xerox duplication process, the ink lines on the characters became less refined, though, as it has often said, they withheld more of the spirit of the artists’ original drawings.

But the Xerox Era is defined by more than just this hard-edged sketchy line, and these beginnings can be seen in One-Hundred-and-One Dalmatians. First of all, like many of the live-action Disney features from this era, focus would be on humor. Of course, One-Hundred-and-One Dalmatians maintains a perfect balance between humor and pathos, but its rich humor is one of its trademark elements.

In addition to this, because of the expensive box office failure of Sleeping Beauty, the film bears the start of a money-saving technique not even used extensively during the Lean Years, that of re-using animation and character designs in an attempt to make the already expensive process of animation more financially feasible. There are some cameos of dogs from Lady and the Tramp, which would have been a cost-cutting shortcut to designing new characters. There also is some re-use of animation within the film.

Despite these similarities with other films to follow it, at its heart, One-Hundred-and-One Dalmatians is truly part of the Second Golden Age because, not only is it another perfect film, it is a perfect film with a strong plot, completely fresh characters, and fresh visual concepts.

Its real pleasure extends far beyond its striking visual style and into its great comedic adventures filled with fun characters and one rotten villain. The trio of farm animals, for example, are incredibly fun, with spirited animation and rich character development. Its story is plotted carefully and quickly with beautiful animation . . . just the sort of thing Walt Disney Feature Animation had been doing well since Snow White and the Seven Dwarfs.

(c) Disney

Visually, The Sword in the Stone is also a beautiful film, taking realism a step farther than in One-Hundred-and-One Dalmatians and employing a brighter color palette and more refinement to the Xerox lines.

Like the films before it, The Sword in the Stone also has its fair share of fun characters, such as the hilarious surfer-knight Kay, the delightful Archimedes, and the charming Madame Mim. Even Wart, who isn’t given much to do, is a charming and likeable young fellow, blessed with more character development than is usually given his credit.

But like several other films from this period, The Sword in the Stone is marked by a dependence on music and character rather than plot. However, because the plot is centered on an idea rather than action, there’s not much to be developed with music and not much for the fun characters to do.

That is not to say that The Sword in the Stone is without its moments. The Mad Madame Mim is very funny and dependant on great visuals, as is the legendary wizards’ duel at the end of the film. It also contains one of the most touching moments in the canon when Wart, as a squirrel, becomes the object of affection of a beautiful female squirrel. After risking her life to save Wart’s, Merlin changes Wart back to his human form, and the confused female squirrel can only cry to herself over her loss.

Also like the other films of its time, The Sword in the Stone has a limited amount of re-used animation and animation re-used from within itself.

The Jungle Book does perfectly what The Sword in the Stone does only moderately well. That is, it changes our concept of plot with very good music performed by very fun characters resulting in a very enjoyable experience. While some have criticized it for its weak plot, the charm of The Jungle Book is in its loose format that allows for the fun to develop. Not only would nothing have been gained by following a more linear and structured plot, it would take away from the joy of what was ultimately created. It speaks to the genius of Walt Disney, who had stressed so strongly the importance of good storytelling, that he knew when to steer from this principle.