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#this is why we need a fully animated version of the radio drama
briangroth27 · 11 months
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Look! Up in the Spinner Rack!
It's a bird! It's a plane! It's Action Comics #1!
Yesterday (April 18, 2023) was the super-impressive 85th anniversary of Superman & Lois Lane's first appearances! These two are among my absolute favorite characters in all of fiction & it's amazing to see them continue to flourish & inspire today. There's something indelibly timeless & iconic about the Superman mythos & visuals that makes me feel like a kid again, fully believing a man can fly & wishing I could too.
I vehemently disagree that Superman's outdated & needs to be "cooler." He is cool, he's just not the angry power fantasy some people wish he was. There are other characters for that, but that doesn't mean Clark's one-dimensional or stagnant. He's not an unrelatable god either: he's an immigrant, an adopted son, a husband, a father, a friend. I also prefer him choosing to be a hero in the face of corruption–and because he himself was helped when he was most vulnerable–to being sent here on a mission to save & inspire us; he’s inspirational without being issued a mandate. Whether you prefer Clark Kent or Superman as the primary guy--I've come to think neither is a mask & they're both exaggerated yet honest sides of his personality--he proves power doesn't have to corrupt, that no matter where you're from you can help make things better, and that no matter how weak we seem or powerless we feel, we can all be someone's greatest hero in the fight for truth, justice, & a better tomorrow.
A long time ago I saw someone say Lois is such a strong character that she could've existed without Superman & been just as great, & that's absolutely true. While I love the screwball comedy tenor of their romance, the fact that she's Clark's equal in the fight for justice (& his superior in journalism) makes her every bit the hero he is. Sure she gets into danger a lot, but usually it's her tenacity to stop criminals & get the story that lands her there, not a plot requirement for Superman to rescue someone. I don't buy that Superman's humanity & goodness rests entirely on Lois--he loves people & that should be why he pursues journalism, to hear & share their stories, so if he did lose her he wouldn't lose himself--but the two of them absolutely evolve each other's worldviews & arcs brilliantly. Her cynicism & jaded view of the world fading when confronted by both Clark & Superman--but never losing her wit or edge--compliments Superman's never-ending battle challenging his optimism & faith in people perfectly.
Smallville is my absolute favorite version of Superman because of the writing, directing, acting, characters, relationships, & brilliant balance of Clark's dual heritages culminating in his ability to fly. It also didn't hurt that it hit at exactly the right time for me, as I was a year older than Clark when it aired & am still finding commonalities between us (both positive & regrettable hahaha) as I rewatch it again in tandem with Tom Welling & Michael Rosenbaum's Talkville podcast. Smallville also had a tone that allowed for relationship drama, horror-tinged villains, campy fun, & heightened comic book adventures, all grounded by human relationships (& it's my favorite show ever; the one that makes me want to be a writer), but there are so many other great iterations of the Man of Steel out there for everyone! Christopher Reeve (whose acting hands-down proves the glasses & demeanor change works), Superman & Lois, Superman Smashes the Klan, Superman: Miracle Monday, Superman the Animated Series, & Superman: Secret Identity are just a few of the best ones. Take time to check some out this week!
Despite all we've gotten in film, TV, animation, radio, & comics over the decades, there's a beautiful scene in Miracle Monday I've never seen adapted anywhere & I hope we finally get in Superman & Lois, My Adventures with Superman, or the newest iteration in Superman Legacy: at an especially low point, Clark flies to the arctic & just listens. He hears something no one else can--the sounds of the entire planet harmonizing to form the "song of the Earth"--and his heartbeat completes the song, showing him this is where he belongs.
It's insane that we're just 15 years out from Action Comics' 100th anniversary. How will the Man of Tomorrow meet our actual tomorrow? I can't wait to find out & see what's next for Lois & Clark (& Kara, John Henry, Jimmy, Jon, Natasha, Kong, Connor, Krypto, Lana, Martha, Jonathan, Perry, Lex, Brainiac, Bizarro, Parasite, Mxyzptlk, Metallo, Livewire, Silver Banshee, and the rest)!
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Hi! I was the Mewtwo-murder anon. Thank you for your response! Do you think his motivations differ in the JP script of MSB or the radio drama? Since there is a lot less emphasis on being dismissed as just an experiment.
Hi again! Thanks again for your other question, and I’m glad to hear from you again. If I’m understanding correctly, the question is: Do Mewtwo’s motivations differ in the original Japanese version of Mewtwo Strikes Back and the radio drama, The Birth of Mewtwo, as compared to the other language versions of Mewtwo Strikes Back?
So! This is a complicated answer, because the Mewtwo Strikes Back (1998) scripts are quite different in some areas, and we could have a whole conversation on localization and how it affects characterization. But I don’t think you’re asking for that, lol. It can get really confusing between all the different iterations of the same story, but I’ll try to lay out my response as best I can. I’m going to use the English MSB script as my base of comparison.
This is obviously just my opinion, but I think Mewtwo’s motivations in all three versions of the story are, at their core, quite similar. In English MSB, Japanese MSB, and The Birth of Mewtwo radio drama, Mewtwo is upset that he’s an unnatural being and a product of humanity. (“Am I only a copy? Nothing but Mew’s shadow?”). (“You people? “Humans created me?”). However, Mewtwo does not voice his thoughts as much in Japanese MSB. The dialogue he does have focuses more on the fact that he doesn’t know why he’s there. (“Who am I? Where am I? Why was I born?”). This gives off the impression that he’s blowing up the lab mostly out of frustrated confusion. However, his questions about God and his relation to Mew in addition to his reaction to the scientists’ answers insinuate that he is indeed not pleased with being an experiment, an engineered creation of humanity.
Interestingly, Mewtwo in both English MSB and TBoM share several similarities in terms of attitude and motivation. In these versions, Mewtwo’s tone of voice with the scientists is even more distraught and angry, he’s much more talkative about what he’s feeling and is more outwardly arrogant. (“This is my power!”, “I am the most powerful Pokemon in this world!” are just a couple lines he spouts in TBoM. Do those lines sound familiar…?) He rants about humanity and says that he, not humans, ought to rule the world. This more deliberate approach isn’t technically at odds with the much quieter Japanese MSB version, it’s just that, as stated, Mewtwo doesn’t voice his thoughts as much in Japanese MSB. Many lines were added in English in order to clarify the reasons for his actions, and he’s more wordy in TBoM because it’s a radio drama and was meant to be listened to.
In my opinion, one of the biggest differences in motivation between the three is that Mewtwo in TBoM is much more concerned about his standing against Mew. He feels he has to prove himself to Mew–or to someone, perhaps himself–that he is stronger. He has several encounters with Mew before their showdown on New Island in which he voices these insecurities aloud. (Whether Mew is merely a figment of his imagination in these instances is left ambiguous.) Mewtwo certainly feels this need to prove himself against Mew in Japanese MSB and English MSB, but it doesn’t come to the forefront until the end.
TL;DR: Mewtwo’s motivations in Mewtwo Strikes Back (both Japanese and other languages) and The Birth of Mewtwo are fairly similar. However, Mewtwo can come across as a bit more vengeful in English MSB and in The Birth of Mewtwo due to the additional lines from his point of view. In all of these versions of the story, however, Mewtwo’s motivations stem from being wronged by humanity and his insecurity with being an unnatural life form. His goal is to prove he is the strongest creature alive, because a) that’s why he was made, and b) it gives him an opportunity to strike back against humanity for mistreating him. At the core of it all, though, is his insecurity with himself. If he doesn’t prove he’s the strongest–the one purpose he has going for him–then he doesn’t have a reason to be alive.
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81scorp · 4 years
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My thoughts on Tangled
(Originally posted as an editorial on Deviantart Nov 17, 2015.)
In my "More thoughts on Frozen" editorial I wrote: "I like Frozen. Though not as much as I like Tangled."So let`s talk about Tangled.
And at last I see the SPOILERS
I didn`t have high expectations about this movie. Based on what I saw from the trailer it seemed to be not much more than a silly romp with lots of slapstick, kinda like The Emperor`s new groove. I wasn`t really interested in watching it until I saw a trailer with the scene where Flynn and Rapunzel sits in a boat and release lanterns into the sky. I thought to myself: "I think I`ll give it a watch."
Then there`s the name. It was originally gonna be called Rapunzel, but the big suits at Disney changed it. It has been theorized that they did it because The Princess and the Frog, while not unsuccessful at the box office, was not as successful as they had hoped, and they were afraid that boys wouldn`t see a movie with the word "Princess" or anything feminine in the title. I think it was a very insecure move from Disney, it`s like changing "The Little Mermaid" to "Beached". If they had kept the name "Rapunzel" and marketed it the way they did, with the trailers focusing on The Emperor`s new groove-like slapstick while playing Pink`s "Trouble", I and (I`d like to think that others, as well) would still have gone to see it. You might want to argue and say that the name change was justified because they changed the story from the original fairytale. They changed the story of The Little Mermaid and The Hunchback of Notredam too but still kept the name of the original.But what`s in a name? Surely, an animated Disney movie about a girl with insanely long hair and the thief that act as her guide by any other name would still be as sweet. Insecure name changing aside, the rest of the movie could still be good.
My Brother and I went to see it in the cinema...IN 3D!!!
A few minutes into the movie we got something I wasn`t prepared for: A musical number... in an animated Disney movie. At first my reaction was "What?" But a part of me said "Yeah, and? What`s so odd about a musical number in an animated Disney movie? You walked into The Princess and the Frog fully aware that there was gonna be singing and liked it. You`re just a little surprised because you never saw any clips or trailers that indicated that it was gonna be a musical. Now shut up and enjoy this Disney musical damnit!"
But putting that aside, "When will my life begin" is not a great song to open with. It is VERY upbeat, modern and pop-ish, which, considering the 18th century world it takes place in, makes it feel very anachronistic.I liked it a little more after repeated viewings though, so it`s a bit of an aquired taste.A part of it that I did like (without repeated viewings) was the last part that begins with "Tomorrow night the lights will appear, just like they do on my birthday each year". This part of the song felt like Rapunzel`s more vulnerable side, like her true face under the mask of cheerfulness that we heard in the first parts. The chores and hobbies that she sings about (like puzzles and darts and baking) are what she does to kill time and the boredom of isolation. In hindsight, the title alone: "When will my life begin" pretty much verifies that.It`s not a bad song by itself, just maybe not the best song to open this movie with.You might wonder "Isn`t `Healing incantation` technically the first song of the movie and why did it take you till `When will my life begin`to realize it was a musical?"
Well, "Healing incantation" was the first song, yes. But unlike "When will my life begin" it`s diegetic, they could still sing it even if this movie wasn`t a musical. Diegetic music comes from a person or object in the scene (like a radio or musical performer), while non-diegetic music is external to the narrative. In Rocky II when Rocky runs down the streets of Philadelphia and the song "Gonna fly now" is playing, we can hear the music but Rocky can`t, it`s non-diegetic.
"Mother knows best" sounded better though, it felt more fitted for a musical. I like that she both figuratively and literally tries to keep Rapunzel in the dark in the musical number. James Berardinelli from ReelViews commented on his website that "the songs were neither catchy nor memorable". I don`t completely agree with him. Sure, a few hours after I left the cinema I didn´t remember most of the songs, but I did remember the chorus to "Mother knows best". Many like to compare Mother Gothel to Cher and I can`t say that I don`t see why. But to me she reminds me more of Edina from Absolutely Fabulous. Both call their daughter "darling", are selfish and one of the worst days in Edina`s life... was the day she turned 30! Another popular comparison is the one between her and Claude Frollo from the Disney version of The Hunchback of Notre Dame. Both keep a ward locked up in a tall building and tell them that the world is a horrible place. In a way Claude Frollo is the worse villain because he has more authority, he has power over the guards and by that, some level of control over the city. While similar, there are some small differences in their, for lack of a better word, "parenting skills". Frollo`s are more about being stern and controlling Quasimodo with a respect based on fear, while Mother Gothel is more about emotional manipulation and sending mixed messages. She gives Rapunzel subtle insults one minute only to add a little "just kidding, you know I love you" the next. On a large scale Frollo is the worst, while on a smaller, personal level Mother Gothel is the worst. There is a little bit of tenderness in her cruelty. One thing that bugs me is the glorification and romanticism of the age of 16. Appearently that`s the best age to be, that`s when everything great and magical happens. I thought to myself when watching Tangled: "Please don`t make her 16. Make her some other age or just don`t mention it." Rapunzel`s age was 17 and the next day she was gonna turn 18. I thought "Thank you Disney! Thank you for avoiding this clichè and overrated age". In a way it turns it into a metaphor for growing up, becoming independent and leaving the nest. Yes, she is technically still underaged at first, but it is she that is in charge and Flynn doesn`t try anything romantic on her until after she turns 18. But most important of all: she`s not 16.
I liked the reprise of "When will my life begin" better than the first version because, like "Mother knows best" the music and instruments in it felt more fitting for a musical. That moment before she puts her foot on her grass you could see in her eyes that it may have been a small step for man, but it was a giant leap for Rapunzel.
Which was then followed by the emotional rollercoaster known as "The bi-polar scene". In her book "Making a good script great" Linda Seger wrote that conflict is the basis of drama, and this movie has a lot of conflict without feeling overcrowded. There`s Flynn VS the guards of Corona and Flynn VS the Stabbington brothers, both over which one gets the crown. There`s Rapunzel VS Mother Gothel, Rapunzel wants to leave her tower to see the rest of the world, or at least the floating lanterns, while Gothel wants to keep her in the tower.There`s also conflict that adds comedy. There`s Flynn VS Maximus, which is an extension of Flynn VS the guards, but funnier. Flynn VS Rapunzel, Rapunzel needs Flynn as her bodyguard/guide through the dangerous outside world, so she hides his satchel and uses it as leverage. Flynn just wants the crown so he can sell it and get stinking rich, so he tries to manipulate and scare Rapunzel into giving up her journey to see the lanterns. Then there`s Rapunzel VS herself. While happy that she is seeing the world she also feels guilty over disobeying her mother, which leads to the inner conflict seen in the previously mentioned "bi-polar scene".
Maximus the horse, who I mentioned earlier is a great character and a great source of comedy. He`s like Officer Zenigata from Lupin III. Pascal adds a little comedy too but doesn`t contribute as much to the story as Maximus. My guess is that he was created for the same reason that Robin was created for Batman. The creators thought that it would be better if Batman had someone to talk and explain things to so he wouldn`t seem like a complete nutjob that talks to himself. I don`t have much to say about "I`ve got a dream", it`s a fun, likeable song one would usually expect the comical side-characters to sing. Is it just me or doesn`t the chorus borrow a little from "She`ll be coming round the mountain"?
"She'll be coming round the mountain, she'll be coming round the mountain, she'll be coming round the mountain when she comes"
"Though I do like breaking femurs, you can count me with the dreamers. Like everybody else, I've got a dream."
(Sure, the melody isn`t identical but the structure is somewhat similar.)
Flynn refusing to sing (at first) is not exactly new for a Disney musical, it had already been done in Enchanted. However this was (to my knowledge) the first time it was done in the Disney animated canon and it was done much funnier.
The scene where Rapunzel and Flynn...
Flynn: Eugene.
What?
Flynn: Eugene Fitzherbert.
OK. where Rapunzel and...Eugene
are trapped in a cave that`s filling up with water is similar to the trash-compactor scene in Star wars: It`s the dark moment, the part of the movie where it seems like there is no way out and all hope is lost. I like this scene, not just because of the suspense but also because it is where they open up to and start getting to know each other. But because this not just a big-budget movie but a Disney movie, and no director wants to depress the audience (unless you`re Lars von Trier), we know that they`re gonna make it, we just don`t know how. In the campfire scene we get more time for character development. We already know Rapunzel`s backstory but this is the first time that Fly-... Eugene gets to hear it. We (and Rapunzel) also find out that Eugene was an orphan who took his name from a fictional character who was everything he wanted to be. Rapunzel`s inner conflict shows up here too, but this time with a downplayed, more serious tone and not comically exaggerated.
Eugene: And you`re still gonna go back?
Rapunzel: No! Yes. (covers her face) It`s complicated. I`m probably alone in this but to me Eugene`s name change feels like a reflection of the movie`s name change. Eugene changed his name to Flynn Rider because he thought it would sound cooler, like how the big suits at Disney changed the movie`s name from Rapunzel because they thought it would sound cooler.
Rapunzel: For the record, I like Eugene Fitzherbert much better than Flynn Rider. Not much to say about the reprise of Mother knows best except that we get to see the more Frollo-ish side of Gothel. Since the tenderness doesn`t work she now tries to make Rapunzel respect her through fear. I love the Kingdom dance scene. It`s like that scene from The Little Mermaid when Ariel visits the town with Eric and for the first time gets to experience the world of humans. It`s a great example of visual storytelling, no dialogue is used or needed. Just like Ariel, Rapunzel gets to geek out and and explore this new world, try new things, new kinds of food and immerse herself in new books. I love the music in this scene. It has a nice medieval-ish feel to it, the kind of music you`d expect to hear in this world and time. Another interesting touch is that it starts out joyful but there`s a small ominous tone that grows bigger and louder as the music plays, as if forshadowing an impening doom.
This is followed by another really good scene: Rapunzel`s parents, another great example of visual storytelling where no dialogue is needed, the animation says it all.
Movie critic and comedian Doug Walker said in his review of this movie that the voice acting on Rapunzel and Eugene could have been better, not that the actors did a poor job, he was just always aware that there was a person behind a microphone. Personally I had no problem with Rapunzel`s and Eugene`s voice. Mandy Moore did a great job voicing Aerith in the first Kingdom Hearts game and I didn`t even know (at the time) it was her. I was aware that it was her before watching the movie, but while watching it I had no problem separating the voice from the celebrity and enjoying the movie. I didn`t even know who voiced Eugene, I looked it up and found that it was Zachary Levi, Chuck Bartowski from Chuck. He did his own singing too, I didn`t know he could sing. Is there anything that intersect can`t do?
I mention Doug Walker because what he felt about the original voice actors is what I felt about about the actors in the swedish-dubbed version. Måns Zelmerlöw (Eugene Fitzherbert) and Molly Sandèn (Rapunzel) were not bad, I just didn`t feel as invested with them as I was with the original version. Moore and Levi both have acting experience and their voices had a certain maturity. Sandèn and Zelmerlöw are both younger, singers and hasn`t had as much acting experience as Moore and Levi. (Sandèn`s experience in dubbing is, so far, limited to two Highschool Musical movies where she dubbed the songs.) The parts where they sing sound great though. Now, with that out of the way...I like "I see the light", don`t have much to say about it though, but more to say about the scene where it is sung. It is beautifully animated and directed. Eugene having prepared the two lanterns, one for each of them, shows that he is willing to go that little extra length for someone else, something the old Eugene (or Flynn) would not have done so easily, if at all. Another nice little detail in this scene is that the lantern that is about to sink into the water that Rapunzel pushes back up into the sky is her parents lantern.
How Maximus managed to get help from the Snugly Duckling thugs is not hard to imagine. Most likely scenario: He ran to the pub with one of Eugene`s wanted posters in his mouth and waved it in front of their faces.
Thug: What is it horse? Is the guy with the big freaky nose and his longhaired girlfriend in danger?
Maximus would nod and the thugs would huddle and start planning Eugene`s escape.
Is it a stretch that Rapunzel can remember things from when she was just a few days old? Maybe convenient but not unbelievable, Rapunzel was born under special circumstances after all. If she has healing hair why can`t she also have a super-memory and (from what I`ve read on the Disney wikia) super-strength? Seriously, she carries around a large amount of hair that no ordinary human would be able to carry as easily as she does. "But how was Gothel able to overpower her?"
one might wonder. I have a few theories.
A: Maybe she isn`t superstrong, maybe her hair is just very, very light.
B: She has some form of psychosomatic mental block that prevents her from overpowering Gothel.
C: Gothel, who managed to beat both the of Stabbington brothers, is really really good at fighting dirty. Wouldn`t surprise me if she used Rapunzel`s long hair to her advantage. Near the end of the movie Eugene dies but is brought back to life by a tear from Rapunzel. Typical Disney death, yes, but it makes sense, more sense than the original fairytale. In the original fairytale the prince got pushed out of the tower by Dame Gothel and landed in thorns below that damaged his eyes and blinded him. He later met Rapunzel who`s tears restored his sight. Unlike the movie it was never (to my knowledge at least) established before that moment that she had any form of healing powers, it just happened because of fairytale logic.So, does Rapunzel have healing tears now or was all her healing powers used up in that one tear? Don`t know, guess we`ll have to wait and see. I`m fine either way.The final scene where the kingdom celebrates Rapunzel`s return is... not bad or unnecessary, it`s just not as good as the previous scene where Rapunzel is reunited with her parents. It`s as if the filmmakers were afraid that their happy ending wasn`t happy enough. It`s the part where all the Snugly Duckling thugs had their dreams come true, for me it would have been enough to see them just partake in the festivities since we only heard them talk (or rather, sing) about their dreams but we never saw them struggle for them. Then again, not seeing them reach their goals that they sang about would feel like an unused chekov`s gun. I think the part with the Snugly Duckling thugs would have worked better without Eugene`s narration confirming that they all got exactly what they wanted, but I`m probably nitpicking here. Even if it was a typical Disney "Look! Everybody gets a happy ending!"-ending it was short and wasn`t bad.
And who doesn`t like a drunken, flirting dwarf in a diaper?
Sure, it has a few flaws but it`s one of my favourite movies.
That`s all I have for now but I`m not done yet. More thoughts on Tangled coming later. I thought that all of my thoughts on Tangled might be a little much to read if put into one editorial, so I decided to divide it into two.
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upontheshelfreviews · 6 years
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Sigh, poor package features, why does nobody like you? Why is it that internet reviewers and Disney critics and fans always seem to give you the shaft? Is it the minimized animation budget? The effort towards story and character that was forcibly driven towards wartime propaganda over actual films? The deviation of a traditional three-act structure in favor of a string of unrelated shorts woven together by a loosely connecting theme or narration? Well in a manner of speaking, it’s a combination of all three. For one thing most people I know prefer to sit down and enjoy a movie that has one uninterrupted story. And yes there are a good number of films, great ones, in fact, that play around with how the story is presented, but as of writing there’s yet to be an audience or even a filmmaker clamoring for an animated equivalent of something like Pulp Fiction.
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In theory.
And of course the major factor in all this is the time period in which these movies were made. I’ve already talked about this in my review of The Adventures of Ichabod and Mr. Toad but for those not on the uptake, THERE WAS A FREAKING WORLD WAR WHILE THIS WAS GOING ON. Disney couldn’t afford to do something on the scale of Pinocchio or Fantasia or even Dumbo because his best animators were A, drafted out to fight, B, struggling to work with what little resources they had when the government was also pushing them to remind the public to buy bonds, or C, kicked out because of the disastrous animators’ strike of the early ’40’s. Projects with linear narratives that were considered big scale like Alice in Wonderland, Peter Pan, and Lady and the Tramp were put on hold for virtually a decade. The best they could do was package a bunch of fun little shorts together because releasing them individually wouldn’t bring in as much desperately needed revenue as a full feature would.
And who says these shorts are bad? I don’t! At worst they’re fluffy little time fillers, but at their best they can hold their own with the big leagues of Disney animation. Again, going back to my Ichabod and Mr. Toad review, Disney’s Legend of Sleepy Hollow is the first thing I and a good many others think of when the story comes to mind. I also have the advantage that a lot of people today sadly don’t in that I grew up with virtually all of the package feature shorts in one way or another, either through individual VHS releases or on the Disney Channel as part of shows like Mouse Tracks, Donald’s Quack Attack, or the DTV music videos. It would be years until I saw them all as they were meant to in order as one full film, but blame Disney themselves for that. It’s a Catch-22 situation when it comes to their forgotten films; Disney sees there’s not much public interest in these old movies and so holds out on releasing them for as long as possible, while the public notices Disney never getting around to releasing these movies and think it must be because they’re not worth their time. So nobody wins and we all get smothered under another avalanche of Frozen dvds.
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“FROZEN??!!! FROZEN FROZEN FROZEN!!!!!”
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“No! Go home! You’re drunk!”
As of writing there’s only two – count ’em, TWO – Walt Disney Animated Classics that have yet to be released fully on Blu-Ray, and they’re, you guessed it, package features. “Make Mine Music” and “Melody Time” to be precise. You wanna know how old the dvds for them are? The advertisements that play before the main menu are for The Tigger Movie and The Little Mermaid 2. That’s THE YEAR 2000. NEARLY TWENTY YEARS AGO. And the only reason why today’s feature “Fun and Fancy Free” got on blu-ray is because the higher ups at Disney decided to combine it with Ichabod & Mr. Toad. So now we have a package blu-ray of two package features (three if you count The Reluctant Dragon which is also on there). It’s Package-ception, if you will. BWOMP.
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“She’ll get around to the actual review any minute now, folks.”
Back to the topic at hand, World War Two was finally winding down and the country was in a state of elation from having their boys return home after tearing the Axis powers a new one. Walt Disney had ideas for two full-length features, one inspired by a short story by Sinclair Lewis (I’d say based on but it barely resembles the tale that’s printed) and the other a take on Jack and the Beanstalk starring Mickey Mouse. Neither of them were able to get the treatment he wanted due to story issues and because the first thing to go during wars and Republican administrations is money for the arts. So he compromised by bringing them both into one movie with each of them sharing a half. Looking back I would have loved to have seen what an hour-length or even 75 minute version of Mickey and the Beanstalk would have been like because for all its flaws I enjoy it that much, and I’m tired of holding my breath waiting for Disney to do SOMETHING with “Gigantic”. Bongo on the other hand, I can’t see as anything other than a short, but that’s not a jab at its quality. Yet how do both stand up as a feature? Does it live up to what its title promises? Let’s find out.
After the main title song (which sounds like the opening theme of a variety show from that decade), we get Jiminy Cricket from Pinocchio going about his merry way in somebody’s house singing “I’m a Happy Go Lucky Fellow”. This was actually a deleted song from Pinocchio meant to be sung by Jiminy, so it’s good to hear it sung here. It proves the old adage about ideas at Disney is true; things are never thrown away, just put aside for someone to find and use later.
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Wait, that book, is that…Darkman?! Whoever owns this library has good taste.
After startling a goldfish who resembles Cleo from Pinocchio, Jiminy concludes the fish suffers from too much anxiety and tries to reassure her by showing her a newspaper full of headlines that amount to “doom imminent, we’re all gonna die” (ah, the New York Post never changes). He explains that everyone’s been playing Nostradamus for years saying the world is going to end tomorrow but you can’t go around thinking like that. Que sera sera, whatever will be will be, you get the idea. I get where Jiminy’s coming from, I truly do, but it’s hard to back up his philosophy when he’s using real current problems as examples to ignore.
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See what I mean?
Jiminy runs into a hungry cat and hides out in a child’s playroom where he bumps into a sad-looking doll and teddy bear. Assuming that all toys must be like his buddy Pinocchio he takes on the role of conscience yet again and tries to help them with their problems.
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“Lemme guess, you’re wishing to become a real girl, right?” “No, I’m just disheartened by the extreme gender stereotyping that are enforced through children’s playthings and the psychological ramifications that are passed down with every generation.” “Swell!”
Jiminy’s prognosis is that these two depressed toys are in desperate need of some music and fun to cheer them up. So he whips out a record of Dinah Shore reading and singing the story of Bongo the Bear.
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“The main character of the piece we’re about to watch, obviously.”
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“No, I mean who the hell is Dinah Shore?”
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“Ah. Gotcha.”
Dinah Shore was a popular big band singer of the 1940’s and one of the first female artists of her day to make a successful solo career for herself. She appeared on multiple popular radio shows, was a Chevrolet spokeswoman, won a total of nine Emmys for her various television shows and specials, and was romantically linked with stars ranging from Jimmy Stewart to Burt Reynolds. And remember Pee-Wee’s Christmas Special? She’s the woman who keeps popping in singing an endless rendition of The Twelve Days of Christmas that goes over the end credits.
This wasn’t Dinah’s first contribution to a Disney package film as she had lent her pipes to the titular song of the “Two Silhouettes” segment in Make Mine Music the year prior. She does fine as the narrator of this section, though there’s one teensy problem I have which I’ll get to eventually.
The record begins with Dinah Shore saying this is a story about three bears.
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No, Ms. Shore spells it out for us – a girl bear, a big mean bear who wants to be her mate, but mostly of Bongo, a bear born and raised in the circus who’s the star of the show. Had this story turned out the way Walt originally envisioned, it would have been something of a crossover-sequel of Dumbo with the titular elephant and the catty matriarchal troupe of pachyderms providing cameos. I assume this fell through due to Dumbo’s salary demands being a little too far out of Walt’s price range.
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You know the war’s hit you hard when working for peanuts puts a crunch on your budget.
Bongo puts on his impressive act of juggling on a unicycle while on a high wire before making a spectacular dive. But we’re also privy to what happens when the show is over; no sooner does he back out of the tent from his curtain call than he’s manacled, hosed down, tossed into a cage and hauled off to the next state for a literal rinse and repeat. He’s the circus’ main draw, but he’s treated worse than, well, an animal.
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And people wonder why Ringling Bros. went out of business.
In between shows the miserable Bongo dreams of a life of freedom out in nature. We’re supposed to feel immediate sympathy for Bongo based on what we see and because Dinah Shore tells us to, but the abuse is edited so quickly and played off almost comically. They’re aiming for Dumbo’s level of emotion but we had time to get to know Dumbo and develop a connection with him. We saw him be happy, we saw him bond with his mother, we saw him befriend Timothy; almost all of that happened before he was thrust into heart wrenching drama. We barely know anything about Bongo apart from he’s a talented circus performer who’s more like a prisoner than a celebrity. Did he have a good childhood? Was his family in the same line of circus work? Does he have a favorite color?
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One day the call of the wild is too loud to ignore. He escapes thanks to a very flimsy lock on the door of his train car (you think between that and how the staff treats him they’re purposefully setting up an opportunity for him to vamoose) and soon he’s zooming down the mountain on his unicycle. For the next several minutes Bongo explores his new forest surroundings and befriends the usual bevy of Disney fauna. Dinah Shore underscores Bongo’s laid back euphoria with “Lazy Countryside”, an easygoing and pleasant tune.
Unfortunately after night falls Bongo is quick to learn that the bare necessities of life will not come to you, at least not right away. Between the incessant chatter of nocturnal animals and insects keeping him awake and a storm threatening to cut his newfound life short, Bongo spends the night and most of the following morning cold, alone, and starving. His attempt at fishing like a bear should doesn’t go as hoped, but it does catch the eye of our story’s love interest, Lulabelle.
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Voted “Most Likely to Awaken A New Generation of Furries” in the ’47 Disney yearbook.
I love Bongo’s reaction to seeing Lulabelle for the first time; an unmoving incredulous expression on his face as he tries to wake himself up from this vision, all the while Dinah Shore says “I must be dreaming! It’s too good to be true!” about three dozen times. The two flirt for a little while before we’re spun into the next musical number called, you guessed it, “Too Good To Be True”. It’s cute, but the floating on pink clouds, the hearts everywhere, the little cupid bears flying around, it all seems somehow familiar…
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“Do the Care Bears countdown, and send a wish on to the aiiiiir…”
The song itself is nice, but there’s one that always springs to mind which I prefer. My introduction to the story of Bongo was not through a full viewing of Fun and Fancy Free or even a tape of this segment, but through DTV. See, the Disney Channel launched around the time MTV was a massive success, and wanting a little of that to rub off on them the company commissioned a series of interstitials comprised of clips from their shorts and animated films edited to classic pop, rock and blues hits and called it DTV. They basically predated the kind of fanmade music videos you see on YouTube. It was popular enough that there were even a few hour-long holiday specials built around them (mainly Valentine’s Day and Halloween). I bring this up because one of the first DTV videos I remember watching and am still fond of is Marvin Gaye and Tammi Terrell’s “Ain’t No Mountain High Enough” set to a few mountain-climbing themed shorts but primarily scenes from Bongo. And darn it, it cuts through the corniness and simply works. The imagery and overall sappiness of “Too Good To Be True” evokes every single vapid and thoroughly unsubtle Valentines Day product that is churned out en masse that time of year. No, wait, it’s not Valentines Day level of beating you over the head with glamorized romance. It’s Defcon 5, people – it’s LOVE DAY.
So Bongo and Lulabelle are happily in love, but it would make for a pretty dull short if it ended right here. Looks like we’re gonna need some more conflict to get the ball rolling. Enter our third bear, Lumpjaw, whom Dinah Shore describes as “the roughest, toughest, meanest bear with murder in his eyes”.
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Meh, typical cartoon bear, he’s not so scar –
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AHHHHH!! I TAKE IT BACK! I TAKE IT BACK!!
Lumpjaw is jealous that this newcomer is making moves on “his” girl, and since Bongo doesn’t know how to fight like an ordinary bear he starts getting the crud kicked out of him until Lulabelle intervenes – and slaps him silly herself.
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Bongo believes Lulabelle must hate him and is completely oblivious to her and the other bears watching the spectacle waiting for him to hit her back. You see in this movie, the law of the forest dictates that bears show love by hitting each other repeatedly.
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“She hit me…and it felt like a kiss…”
And oh I can already hear the wailing of “this promotes abusive relationships” through my computer screen. First off, I KNOW firsthand what an abusive relationship is, and it is more than just physical violence. That doesn’t condone violence, not one iota, but emotional/psychological abuse play a part in it as well, and Bongo is at least quick enough to recognize the smacking as what it should be, an unwarranted act of aggression that is entirely the slapper’s own fault. Second, give the kids you put this on for some fucking credit. Children’s entertainment is not one size fits all. Some might internalize this backwards logic of “hitting means love”, but others may ignore it completely. If you’re concerned that they might act out this kind of violence after watching this, just sit them down and talk to them about it instead of assuming the worst and convincing your neighborhood to toss their dvds into the nearest dumpster fire. Even if you tell them something as basic as “this is only how bears show they love each other but not how people do” they’ll be more apt to listen. Speaking of, there is some truth to this fact as bears in the mating season can get territorial and violent, hence all emphasis on the slapping. As ridiculous and horribly dated as this whole concept of this plot point is, I’ll give the story men credit that they didn’t pull it entirely from their asses.
Lulabelle doesn’t understand why Bongo isn’t hitting her back and since they can’t talk it out because the only method of communication is the narrator providing inner monologues, the usual romantic misunderstanding ensues. You know how I feel about this blasted cliche, so there’s no point dwelling on it. She tries to give Bongo one more chance with another slap, but he ducks and she hits an eager Lumpjaw instead. The other bears congratulate the two on their forthcoming nuptials while Bongo sulks off.
Then comes our next musical number performed for the half-happy couple by the tribe of bears, “Say It With a Slap”. It sounds like something you’d hear in the Country Bear Jamboree, from the background yodeling to the square dancing bridge to the subject matter being hilarious for the time and for Southerners but awkward and uncomfortable by today’s modern sensibilities. Also as far as ritualistic courtship dances go I’m more fond of the Finnish Fish Shlapping Dance myself.
Watching the festivities from afar Bongo finally puts two and two together and races back to Lulabelle. Since Bongo can’t fight Lumpjaw on the big guy’s terms he faces him like a smarter than the average circus bear and pummels him good with his unicycle. I’ll give the sequence this, it’s the most entertaining thing in this half of the picture. Maybe if this story had focused more on Bongo learning to adapt to the wild bear lifestyle and finding a middle ground between that and his circus upbringing rather than dawdle on love montages and countryside imagery this could have been a more interesting short.
The two wind up on a log on a river, and since this is an animated movie they quickly find themselves at the edge of a waterfall. Lumpjaw goes over but oh no, Bongo’s gone too – oh wait, no he isn’t, yaaaay. The bears celebrate, Bongo becomes a willing participant in Lulabelle’s masochism tango, and they live slappily ever after.
The record ends and Jiminy is pleased to see the toys are now smiling. Thrilled that he’s got two inanimate objects buying into his well-intentioned dime store philosophy, Jiminy is about to go on his way when he spies a birthday party invitation lying about and uses that as an excuse to invite himself. I’d make a complaint here about Jiminy being a gate crasher but it’s something he’s done since Pinocchio; hell, that movie kicked off with him hopping into Gepetto’s workshop uninvited looking to spend the night and messing with some of the toys there as well so nothing has changed between then and this movie.
At the house across the way is the party in question being held for Luana Patten, a Disney child star who’s also appeared in Melody Time, So Dear to My Heart, and Song of the South, usually alongside future Peter Pan Bobby Driscoll. The host is a popular ventriloquist of the day, Edgar Bergen, and his two dummies, little wiseacre Charlie McCarthy and bumbling bumpkin Mortimer Snerd. In fact, they’re the ONLY ones there. Just tell yourself Luana’s parents had to go out for the night and Bergen’s a family friend who’s babysitting and it makes this scene slightly less questionable. When Jiminy shows up, Bergen is doing one of his ventriloquism tricks for little Luana with a literal hand puppet.
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This early version of Lamb Chop’s Play Along is WEIRD.
Now this scene is something that irks a lot of people, and I understand why. Bergen is often touted as the man who popularized ventriloquism but here you see his lips constantly moving. In this kind of act what impresses people is that you’re making your puppet appear to be talking WITHOUT making it obvious that you’re the one who’s doing it. The fact that his popularity got started on the radio, where NOBODY could see him pulling this off is especially baffling. I suppose what Bergen lacked in innate talent he made up for with a good sense of comic timing and his fairly likable if simple characters. Speaking of, Charlie and Mortimer are odd to be sure, and I see why some find them off-putting with their big unblinking eyes and noticeable slits around their large mouths, but personally speaking I’ve found certain Muppets to be much creepier than these dummies. Despite all this, I can’t hate the guy or his weird looking puppets or their questionable placement in this movie.
And you wanna know why?
Because if it wasn’t for Edgar Bergen, we wouldn’t have Jim Henson.
I kid you not.
Henson was a huge fan of Bergen as a child, and it led to him wanting to become a puppeteer. I think we all know how that turned out. It’s enough that as a way of showing his appreciation to Bergen he gave him and Charlie McCarthy a cameo in The Muppet Movie and dedicated it to him after his passing.
Bergen decides to regale the company with the story of Jack and the Beanstalk. When you think about it, Jack and the Beanstalk is a hard tale to tell, not because it’s been done so many times before but because there’s so few good versions out there. Let’s get one fact straight, Jack is a TERRIBLE main character. He makes a stupid decision that nearly plunges his destitute family into further poverty, then cons and steals from an innocent housewife no less than three times and kills her husband in cold blood when he’s caught. It takes a lot to make you want to root for him, and lord knows people have tried. The Faerie Tale Theater version added a backstory where the giant was the one responsible for killing Jack’s father and stealing his family’s treasures in the first place. HBO’s Happily Ever After series and The Henson Company’s made for TV movie explored Jack’s morality by having him learn greed makes him as much of an all consuming monster as the giant. The Gene Kelly television special and the animated Japanese version both added a cursed princess in need of rescuing; the latter also went for straight out weirdness just for good measure. And then there’s the Sondheim musical Into The Woods, which told the story best by forcing Jack to face the consequences of his actions when the giant’s widow finds another beanstalk and climbs down for revenge.
So how does Disney make their version one with no questionable morals or character motives? By having their three main stars Mickey Mouse, Donald Duck and Goofy star in it, of course (if you haven’t already gotten that before). There were tons, and I mean TONS of story ideas that were tossed around when this was being developed as a full-length feature which I would have loved to have seen in the final product. One version would have had Honest John and Gideon from Pinocchio be the ones who swindle Mickey into buying the magic beans. Another one had Minnie be the queen of Happy Valley (proving that not all animated queens who don’t have ice powers have to be evil) and had her give the beans to Mickey as a way to return the dried up Happy Valley to its former glory. There were lots of gags and and creative visual concepts about the land of the giants and what would happen when the main trio got there. For a time the hen that laid golden eggs, a staple of the original story, was a part of it, and she would have been played by the now relatively obscure character of Clara Cluck! Unfortunately everything had to go when the war started and the budget got slashed. And that’s not the only thing that went with it. This short would be the last time Walt Disney would provide Mickey’s voice as his smoking habit was beginning to affect his performance. After this he would pass the torch to the studio’s sound effects wizard Jimmy McDonald.
Bergen opens the tale in the magical land of Happy Valley and we see Luana imagining it in her mind as he builds on details like babbling brooks, lush farms and a splendorous castle overlooking it all. And in that castle lives the key to Happy Valley’s success, a magical singing harp (Anita Gordon). She sings the lovely “My What a Happy Day”. I really like this song; some have told me it’s the sound of blandness, but I can’t hear them over the innocent joy it infuses me with. Maybe it’s the fact that I grew up with this particular short that makes me enjoy it so much. My VHS copy had the story narrated by beloved Wonderful World of Disney character Ludwig Von Drake with bookends featuring him and Herman the Bootle Beetle, and I watched it all the time. It was my childhood.
According to Bergen the song of the Harp casts a spell of prosperity and happiness over the land, which admittedly raises one potent question: The enchanted prosperity I can get but is the happiness a side effect, or is it enforced like that one Monty Python skit where everyone in that Happy Valley has to be happy all the time or else?
Of course the story would go nowhere if it was constantly this happy which leads into my favorite exchanges between Bergen and Charlie:
Bergen: It was too good to last – Charlie: I knew there was a catch. Bergen: For one day – Charlie: They built a schoolhouse.
Out of the blue an enormous shadow creeps over the valley like a storm cloud (complete with actual thunder and lightning too) and snatches the Harp from the castle. Without the Harp’s music Happy Valley decays into a barren wasteland that no amount of song can salvage.
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And Lord knows they’ve tried.
We check in on Mickey, Donald and Goofy, three starving farmers with nothing to their name but a dried up cow, a crust of bread they have to slice paper thin, and a solitary bean. It’s a darkly comic sight, one made even more tension-filled and humorous when it’s filtered through the narration…
…in the Von Drake version.
Yeah, while we’re on this topic I might as well go into why I prefer the one with Von Drake narrating over the original. The main problem I have with Bergen is the same I have with Dinah Shore’s voiceover in the Bongo section, yet by comparison Shore is barely a nuisance. You want to know what that is?
BERGEN.
NEVER.
SHUTS.
THE HELL.
UP.
Everything he adds to the proceedings is already plain to see before us, and when he isn’t talking about the current action on screen or trading barbs with Charlie McCarthy he’s going into what the characters must be thinking or feeling at that moment. It’s not like film is a visual medium where we can draw our own conclusions based on what we’re viewing and our prior knowledge of the characters, oh no, we have to be told everything like we’re children. Oh wait, we don’t, because I watched the Von Drake one when I was a child and I knew what was going on without him telling me every five seconds! The Von Drake edition knows when to clam up and let what’s happening speak for itself. It allows this half of the movie to breathe and lets us take in some good atmosphere and music where there was once constant voiceover. On top of that, Von Drake’s delivery hits all the comic beats while Bergen’s is rather dry. The original Mickey and the Beanstalk from Fun and Fancy Free has cleaner scene transitions as well as moments that were edited from the Von Drake edition since that was taken from television, but half the charm comes from Von Drake and Herman; that and the previously mentioned amount of narration makes their take the superior version.
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“Wow…I never realized how much I needed to say all that.”
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“Felt good, didn’t it?”
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“You have no idea, Cynicism.”
Anyway, caught between starvation pangs and an omnipotent voice incessantly stating the obvious, Donald finally snaps and attempts to make a sandwich out of the plates and cutlery. Goofy and Mickey bring him back to his senses, or so it would seem.
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Ah, I knew this movie was lacking something – nightmare fuel!
Mickey spies the axe conveniently hanging on the wall has gone missing nearly too late. Outside Donald is making his moves on the cow.
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Heeeeeeere’s ducky!!
For many people this is one of the scariest moments in Disney cinema. While I’m not inclined to agree I can surely understand. His slow descent into madness is framed almost like a psychological thriller. Plus, we all know Donald’s had a temper before but we’ve never seen him flat-out attempt murder…almost.
I’d like to point out that in the picture on the left the gun is going off in a crowded theater. Unfortunately the timelessness of Disney’s films doesn’t always apply to their early shorts.
Mickey and Goofy intervene in the nick of time and the story fades back to the puppet party. Charlie is all up for Donald murdering the cow to survive and lists a number of increasingly gruesome ways to pull it off over Luana and Mortimer’s distressed protests. Ok, NOW I think I understand why everyone is terrified of Charlie McCarthy. The kid’s a little wooden sociopath.
After some more blathering, Bergen gets the story back on track and tells us Mickey went to go trade the cow for some much needed vittles. But Donald and Goofy’s dreams of a Be Our Guest style feast are dashed when he returns home with nothing but a handful of beans. Donald goes berserk even after Mickey says they’re supposed to be magic and smacks them out of his hand where they fall into a hole in the floor. Yet as everyone sleeps that night, light from the full moon shines into the house, which is the very thing needed for the beans to work their magic. The whole sequence where the beanstalk grows through the entire house and raises it up to the sky is a highlight. It begins with an almost sinister air, the beanstalk crawling its way upward and silently through the dark like a snake, and the wonder and music constantly builds as it climbs higher towards the heavens. Every action matches with the music, and the animation is the best in the whole movie. I must say it always amazed me that Mickey, Donald and Goofy are able to sleep as heavily as heavily as they do through the whole ordeal, especially since they get shaken around so much and come close to falling so many times. Were the hunger pains that bad that they took a heavy dose of Ambien before turning in?
The three wake up that morning in a land in the clouds where everything towers above them (and apparently they’re totally fine with their house being destroyed). They venture to a nearby castle where the only clue as to who lives there is a set of footprints each the size of a ditch. While crossing the moat Donald angers a formation of dragonflies and one dive bombs them. On the tape I had it was immediately swallowed by a jumping fish and the ensuing splash washed the friends to shore. So imagine my surprise the first time watching it in full and seeing this was a full-blown action sequence of sorts with the dragonfly going after them repeatedly and their little vessel nearly sinking. I’m guessing it was cut for time but it’s kind of a neat part.
Mickey and crew climb up the enormous stairs and sneak in the castle under the door, and all the while Bergen does not stop talking. I’m almost tempted to put it on mute when the animated characters aren’t the ones who are speaking. They come across a giant table laden with enormous food and gladly help themselves. Goofy in particular gets in plenty of shenanigans involving a bouncy jello mold. The gorging is cut short when they hear the voice of the Harp coming from a locked chest. She informs them that she was kidnapped by the giant Willie.
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Twenty-eight years of watching this…how did I not realize… There is no way that name could have been chosen at random!
Bergen tells us Willie is “a heartless monster” who stole the Harp because “he was cruel and selfish and didn’t care what happened to Happy Valley”. And I…he…I…
No.
NO.
Screw you, Bergen.
Screw you, screw your horrible narration skills, and especially screw your picking on my Willie!
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“Ugh, there’s no way around that phrasing, is there?”
Again, going back to the Von Drake edition, they painted Willie in a much kinder light, one that’s more true to his character. He’s not the crude, gluttonous, overly violent thug like past giants. He’s big enough to pose a threat but he’s silly and very endearing, almost childlike at times.
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Come on, does this even look cruel, selfish and wicked to you?
His goofy voice plays a part in it as well thanks to Billy Gilbert, the same actor who voiced Sneezy in Snow White and the Seven Dwarfs. At one point he even gets to do his trademark over-the-top sneeze. Willie does not seem at all like a cold-hearted brute who would leave an entire kingdom to rot for his own selfish pleasures. It’s highly likely he didn’t even know the Harp was needed for the land to thrive and was completely ignorant to the fact that Happy Valley was turning into Death Valley without her. That’s why it bugs me when he’s lumped into the group of Disney villains. Nearly every bad guy in the canon either openly embraces how evil they are or do what they do because they believe it is the right thing. Willie falls into neither category; most of his maliciousness is incidental rather than intentional. If you don’t believe me that he isn’t evil, look at how he’s portrayed beyond this movie. In a bout of perfect casting, he plays the friendly and jovial Ghost of Christmas Present in Mickey’s Christmas Carol. He’s also made positive appearances in shows like House of Mouse and Mickey Mouse Clubhouse. Maybe it’s just because I’ve always had an affinity for big tough looking characters who are really enormous marshmallows (wait until you see who my favorite character is when we get around to reviewing the American Tail movies), but I can never see Willie as a true villain, and that’s a good thing. So back off, Bergen. He may be a big galoot, but he’s MY big galoot.
What also separates Willie from the giants in most other adaptations is that he has the ability to change himself into anything he wants provided he says or sings the magic words “Fee Fie Fo Fum”. A common complaint with this new feature is that it’s completely unnecessary; his superpower is that he’s already big and strong, so why give him magic? I disagree. I like his transformations and think it adds something special to him. Walt purposefully wanted to create a combination of the traditional beanstalk giant and the shape shifting ogre from the fairy tale Puss in Boots to add more danger and intrigue to the story (as well as eliminate the moral quandary of making a side character a widow). In fact one has to wonder if this means Walt ever planned on doing an animated take on Puss in Boots someday. My only wish is that Willie’s powers were utilized more as it was originally planned in both his song and the first draft of the ending, where he’s shrunk down to normal size and becomes a member of Queen Minnie’s court.
Willie discovers Mickey hiding out in his sandwich and snatches him. But clever Mickey has already seen Willie showcase his powers through his introductory number and pretends to learn and be impressed by that fact after reading Willie’s palm. Willie is eager to show off and Mickey, spying a flyswatter nearby, asks if he could transform himself into a housefly. Willie is of course suspicious and would rather be something like a pink bunny but goes along with it anyway. The friends prepare to attack, but Willie does the old switcheroo and exposes them.
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I’m guessing Mickey never bothered to actually read the original Puss in Boots story; there Puss convinces the shapeshifting ogre to turn into gradual bigger and fiercer creatures and then taunt him into becoming something small and helpless so he can dispose him. Sweat the small stuff immediately and the one you’re trying to trick will be on to you right away.
Willie captures his would-be murderers though Mickey escapes before he can get locked up with Donald and Goofy. Luckily they have an ally in the Harp, who sings Willie to sleep with the sweet lullaby “My Favorite Dream”. Mickey is able to sneak the key out of his pocket after almost waking him with an upturned box of snuff and rescues his friends. Donald and Goofy start making their way back to the beanstalk with the harp, but Mickey tries to buy them more time by tying up Willie’s shoelaces in case he wakes up. Unfortunately doing this does cause Willie to wake up and attack. There’s a surprised “Oh!” from Luana at this part that was left in on the Von Drake tape so for the longest time I assumed it was the Harp crying out in terror despite the fact that they sound nothing alike. Oops.
Mickey manages to outsmart Willie at every turn, mainly because the giant is so furious he conveniently forgot he can become anything and catch and crush Mickey like an insect at any second.  The story abruptly ends with the three friends cutting down the beanstalk and Willie crashing to his death. We don’t even get to see the harp returned or Happy Valley restored or Mickey, Donald and Goofy sharing a victory high five. Mortimer’s not satisfied mainly because he’s saddened by Willie’s murder, and I don’t blame him. As if I need to repeat it, they do too good a job of making him likable that you don’t want to see him die. Bergen responds by reminding Mortimer that Willie is only a fictional character and gives him a crash course in fantasy vs. reality – one that is completely thrown out the window when the real Willie looks in on them.
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So, sentient crickets and puppets are accepted as normal as well as a living giant that everyone once believed to be fictional…
This whole movie took place near Gravity Falls.
There is no other possible explanation for this.
Bergen has the appropriate reaction and faints, Mortimer takes comfort in knowing reality is an illusion and the universe is a hologram, and Jiminy figures maybe now is a good time to get the heck out of dodge before this crossover gets any stranger. So our odd little film comes to a close as we follow Jiminy tailing Willie as he terrorizes the downtown Los Angeles area in search of the mouse who made him homeless.
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“Run!! It’s Godzilla!!” “It may look like Godzilla, but due to international copyright laws and the fact that this giant is so obviously a human whereas Godzilla is reptilian, it’s not.”
Well…that was something. Maybe not as spectacular or fully underrated as I remember, but it was something. The host parts are disjointed and don’t gel very well, even in comparison to the other package features. But the main draw at the time was less about the animation and characters and more about the celebrities that would be playing a part in it. Fun and Fancy Free basically predates the Dreamworks formula by about fifty years. Food for thought, huh?
As for my summary of the individual segments, Bongo is perfectly fine. Not amazingly humorous or gorgeously animated, but not poorly scribbled out or annoying, at least for the most part. It’s middle of the road entertainment that I don’t have much to complain about or praise. The worst I can say is that it’s as padded as my high school brassiere. Mickey and the Beanstalk, though? Never fails to give me the nostalgic warm and fuzzies. It’s a big adventure with a boatful of lovable characters and great songs. By all means though, seek out the version that has Ludwig Von Drake narrating. It’s available on dvd, and last time I checked it’s on Netflix too. It even comes with some of my favorite Mickey shorts like “Mr. Mouse Steps Out” and “Brave Little Tailor”. I know I’m not the only one who feels some connection to this part of film; whereas nobody remembers or bothers to reference Bongo, even in Disney media, there’s one or two mentions of Mickey and the Beanstalk in the Disney parks, primarily in Fantasyland. Also, take a look at these stills from the Animaniacs parody of the fairytale and tell me it wasn’t influenced by the Disney one in any way.
Fun And Fancy Free performed decently at the box office, though it was overshadowed at the time by Walt Disney’s infamous testimony at the House of Un-American Activities Committee. Now it’s merely a footnote in Disney’s history. When interviewed about the film years later, the animators openly admitted they didn’t want to work on it. Even Walt barely had anything to say about it in his interviews and biographies. It was merely an assignment they had to do in order to keep the studio afloat, hold on to their jobs, and get their mascot Mickey back in a starring role (the last one he’d really hold until Mickey’s Christmas Carol in 1983). Truth be told, the making of Fun And Fancy Free, which was included on the original VHS and DVD release, is more interesting than the film itself as a whole.
But at the end of the day, do I dislike this movie?
No, not really. I can’t call it one of my favorites, yet there are things I like about it that I wish they were allowed to expand upon. It’s an uneven film that does the best it can to be simply light and entertaining like its title. And I guess that’s why people are quick to harp (ahem) on it. Disney is capable of making great art. But just because it can doesn’t mean we should diss it when they to do something lighter and fluffier. Sometimes you need that shallow, pleasant bit of pure escapism to bolster your spirits. Do you think the animation team would have been able to get by after Walt if they didn’t make The Aristocats? Or begin recovering from the failure from The Black Cauldron without The Great Mouse Detective (which I don’t think is merely shallow filler at all, but I’m saving my thoughts for the actual review of it). I admire Disney for being able to shift gears and go from deeper subject material to goofy comic fun when need be.
In other words, when watching this particular film, just repeat to yourself “It’s just a Disney movie, I should really just relax”.
Thank you for reading. If you like what you see and want more reviews, vote for what movie you want me to look at next by leaving it in the comments or emailing me at [email protected]. Remember, you can only vote once a month. The list of movies available to vote for are under “What’s On the Shelf”.
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And a VERY special thank you to The Three CommentEARS for their insightful and entertaining commentary on this film which helped influence and inform this review. I’ve done some commentaries with them in the past for Pinocchio and the extended anniversary edition of Pocahontas, and they know their Disney stuff. Please go and check them out!
Caricature by Brian Slatky, 2017
June Review: Fun and Fancy Free (1947) Sigh, poor package features, why does nobody like you? Why is it that internet reviewers and Disney critics and fans always seem to give you the shaft?
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