Jim on Film
Page 9 of 9
There is something very special about Treasure Planet, something that is difficult to pinpoint, though it is likely from its freshness, energy, and exciting blending of elements into an astounding whole. Perhaps the best scene that exemplifies this is the first scene of John Silver. In it, he meets Jim for the first time, and the camera moves about the room as he prepares food with his computer-generated cyborg arm. Just before leaving, Jim questions Silver about Billy Bones, and the camera circles about the two, shielding the audience from Silver’s cool response until just the right time. It’s magic.
It’s interesting that in Ron Clements and John Musker’s previous three Disney films, they developed rich characters, but with Treasure Planet, they would bring to life some of the most complex characters in the Disney canon. Perfectly supervised by John Ripa, Jim Hawkins is an amazingly real character. His plight of struggling with his past and the direction of his future seem both familiar and yet is so amazingly realized that it feels so fresh.
In addition to subtle and brilliant animation of the character, much of this is due to the under-rated song I’m Still Here (Jim’s Theme). Lyrically, the song reaches into the heart of what Jim is feeling. In it, he’s coming to realize that while the world may think they have him pegged, he will someday show them what he is really meant to be. And though it is clear that Jim really doesn’t know what that is, the images accompanying the song show how John Silver influences that decision. The flashbacks showing his dad’s rejection of him is heartbreaking, and the flashback in which his father leaves him forever is one of the most emotional scenes in the entire canon; it’s heart-wrenching. And just as his dad rejected him, in the song we see Silver doing the same thing, until Jim finally gets his chance to prove himself to him.
Stylistically, the song also fits the tone of the film very well because of its unusual combination of musical instruments like the fiddle and electric guitar. Even if the viewer has difficulty making out the words to the song, the music conveys the emotional changes in the scene as underscoring.
John Silver, as supervised by the brilliant Glen Keane, forms the other half of the heart in Treasure Planet. He becomes everything Jim needs, and yet, he’s conflicted by his driving desires-to get Jim’s treasure without betraying Jim. After Jim thinks he is responsible for the death of Arrow, Silver gives him a rousing pep talk, all the while holding the truth from him, the truth that would makes things better. In a powerful moment when Jim, in emotional desperation, rests his head against Silver’s stomach, Silver’s inner conflict is challenged further. Like Jim, Silver is an awesome piece of character development.
The development of the other characters is also very interesting. Both Dr. Doppler and Captain Amelia are fun characters, but they never make the same impression as, say, Vinny or Audrey in Atlantis: The Lost Empire do. And it’s hard to say why this is. It’s possibly from their personalities, which are brainier and are dependant on verbal humor and wit (though not to belittle the great animation of both characters). B.E.N. is also very fun, but he comes later in the movie. As a result of this, Jim and Silver are the most memorable characters from the film, which is appropriate.
The art direction of Treasure Planet in which the future is integrated with the eighteenth century is unique and brilliant. There have been so many movies set in the past or in the future that this concept makes this film special. And it allows for creative and thrilling visuals. The sight of eighteenth century ships sailing through space and passing galactic whales is nothing short of brilliant. It’s an exciting conceit and the filmmakers explore it thoroughly. And while there has been some discussion over the logistics of this integration, such concerns are futile. This is, after all, a sci-fi adventure. This could all take place in a galaxy millions of light years away that wouldn’t be influenced by earthly technology, but it really doesn’t matter because, if carefully analyzed, most of such films would fall apart (as would super-hero films and most action movies as well). The filmmakers present us with a unique world, and they present it in such a thorough and complete manner and with such visual brilliance, it’s pointless to over-analyze it.
Upon first viewing, the use of computers in Treasure Planet is amazing as well because they are used so extensively but the elements are difficult to discern. Most impressive is Silver’s cyborg arm, as supervised by Eric Daniels. It fits with Silver, and it never looks like anything other than a very mechanical hand-drawn piece of animation. B.E.N., who is also animated using the computer, maintains a robot appearance, but he never looks different from the rest of the characters. The deep canvas and the many computer-generated props and special effects work so well with what is around them that they are never distracting. The colors are, once again, so saturating and rich that this likely helps cover the technique.
In short, Treasure Planet is another Disney film that is practically perfect in every way. But like two of the studio’s other definitive, ground-breaking, and amazing animated masterpieces, Bambi and Sleeping Beauty, it was the right film for the wrong time.
While it’s probably too soon to accurately categorize the films in this last period, one thing is clear. All the films created and released during this time are stunning and proud additions to the tradition of Walt Disney Feature Animation. While the studio itself might highlight four films from this era above the others, the quality of the films never dropped. Instead, the artists reached to tell new stories in new ways, and while there have been claims of formula, it is clear that upon further investigation, when analyzing the mechanics of each story, there are truly very few of such formulas at work.
Furthermore, it’s also clear that the computer can become a blessed tool to heighten emotion and create exciting visuals. And with the creation of the computer-generated dolls in Fantasia 2000 and B.E.N. in Treasure Planet, the potential for the computer to become a handy tool in other ways is apparent. While I hope Disney never loses touch with its rich tradition of magical hand-drawn animation, the potential to continue doing only what Walt Disney Feature Animation can do and to do it with the computer medium seems more pleasing.
From the impressive The Little Mermaid all the way to the equally (though differently) impressive Treasure Planet, the New Golden Age still seems new and still seems golden. For many reasons, audiences for these films have been in short supply, and once again, the studio is facing cutbacks and new challenges in telling great stories with less money and smaller visions. But as in those times, the tradition started by Walt Disney and the system he perfected to create the perfected will serve audiences once again, delighting new audiences in new ways. With Brother Bear and Home on the Range approaching on the horizon, I am still excited.
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-- Jim Miles
Jim On Film is published every other Thursday.
The opinions expressed by our guest columnists, and all of our columnists, do not necessarily represent the feelings of LaughingPlace.com or any of its employees or advertisers. All speculation and rumors about the future of Disneyland and the Walt Disney Company are just that - speculation and rumors - and should be treated as such.
-- Posted October 14, 2003