I don’t think it’s a big secret that Gravity Falls is my favorite series from Disney. Not just animated series, I mean out of everything the channel ever churned out. It was mysterious, funny and occasionally frightening, with deep themes of family and growing up and some of the most well-written television characters to come from the 2010s. When it bowed out after two near-perfect seasons, it left some enormous shoes to fill. What show could possibly live up to the standards it set?
Well, it turns out the answer was one no one asked for, but we’re sure as hell thankful we got anyway.
Hot take for y’all, especially from someone who grew up in the 90’s and enjoyed the hell out of the original DuckTales: the 2017 reboot blows its predecessor out of the water. It takes the fun, creative adventures from the first series, adds a much-needed measure of character arcs and development (Huey, Dewey and Louie have actual distinct personalities now!) and amps it up with a huge dose of heart and enough lore borrowed from the Carl Barks and Don Rosa comics to win over even the most jaded fans. Also, as opposed to his unceremonious draft into the navy in the first series, Donald Duck finally has a part to play in the new adventures! (Well, in 13 out of the 65 of them anyway…way to get my hopes up, Disney.) By the time I was halfway through the first season I thought to myself, “Yes, this is it. This is the successor to Gravity Falls,” (though The Owl House definitely ties with that sentiment as well, and Amphibia isn’t too far behind).
I’m woefully behind on Season 3, but am well aware that they’re bringing in more characters and plots from the other classic Disney Afternoon series that were hinted at since the very start, and I can’t wait to see how they’re re-interpreted. On a similar note, since this episode deals with some major revelations from the tail end of Season One that have ramifications for the rest of the series, I must warn you that this review will have spoilers.
When I made my list of favorite Mickey Mouse shorts, I had a hell of a time combing through his filmography for what I considered “real” Mickey cartoons. This is because a good many films in the mouse’s oeuvre have the supporting characters like Donald Duck and Goofy quickly steal the spotlight from him. And that’s not the only thing they took: as more characters were ingrained into the Disney canon and Mickey was reduced to being a bit player in his own features, the scrappy traits that once endeared him to the public were siphoned away to his costars. And what was left for him once the childlike curiosity, playfulness, brash temper, big heart and fierce determination were gone? What kind of personality could Mickey cultivate for himself into when there was no personality left?
Thanks a lot, Lisa.
By the late 40s and early 50s, everything that made Mickey enjoyable was scrubbed away into a bland, neighborly squeaky-clean corporate-friendly icon. He was good for selling merch, but his cartoons suffered severely for it. Mickey was paired up with his faithful dog Pluto to keep things more interesting, though that resulted in him getting far more to do than his master. I always thought Pluto worked better as a supporting role rather than the main star, so I’ve never been crazy about the Pluto shorts or these in particular because…well, let’s look at a comedic dog and master duo done right:
Wallace, for all his mechanical ingenuity and good nature, is more than a bit of an idiot. Gromit is vastly smarter and is capable of expressing a variety of relatable emotions despite never uttering a word (though that has less to do with him being a dog and more due to the fact that he has no mouth). Whenever there’s trouble (usually of Wallace’s own making), Gromit steps up to the plate and the two always manage to work past their shortcomings together to save the day. They may not always be on the same level as each other, but their camaraderie and the situations they get into certainly make for an entertaining time.
As for Mickey, he may have been a lot of things in his prime, but he certainly wasn’t stupid. So seeing the resilient rodent who sailed steamships, conducted his way through storms, battled giants, saved kingdoms, slayed dragons and controlled the very cosmos have his IQ substantially lowered just so he could play second fiddle to his pet…well, it feels downright insulting. Pluto’s Christmas Tree was the second-to-last short made before Mickey’s thirty year-long retirement, and it’s a prime showcase for all the problems that come with his extreme flanderization, right down to the fact that his name isn’t even the one that’s in the title.
Whenever I discuss Sleeping Beauty with someone who doesn’t share my enthusiasm for Disney, they have an irksome tendency to get it muddled with Snow White; their excuse being “it has the same plot”. I’ll admit, there are some surface similarities that even the most casual viewer can pick up on: a fairytale where a princess is forced into unconsciousness and wakes up with some necking, the comic relief and villain being the most beloved characters, a little frolic in the forest with animals, the antagonist plunging off a cliff, you get the idea. In fact, Sleeping Beauty even reuses some discarded story beats from Snow White, mainly our couple dancing on a cloud and the villain capturing the prince to prevent him from waking his princess. Yet despite that, Snow White and Sleeping Beauty are two wholly different movies shaped by the era and talents of the time.
I’ve discussed how Walt Disney was never one to stick to a repeated formula, no matter how successful it was. He must have noticed the parallels between his first movie and this one, but decided to make one crucial change for Sleeping Beauty that would forever differentiate the two: the look. We all know the traditional Disney house style: round, soft shapes, big eyes; charming as it was and still is, Walt was sick of it after several decades. Meanwhile, artists like Mary Blair and Eyvind Earle were producing gorgeous concept art that rarely made a perfect translation into the Disney house style.
Walt wanted to make a feature that took the pop artistry of their designs and made the animation work for it instead of the other way around – which brings us to another animation studio that was doing well at the time, United Pictures Animation, or UPA.
UPA didn’t have the kind of budget Disney normally had for their animated projects, but what they lacked in fluidity they made up for in style. Watch The Tell-Tale Heart, Gerald McBoing-Boing and Rooty-Toot-Toot to see what I mean. UPA were pioneers of limited animation, taking their scant resources and creating some striking visuals with bold geometric designs. Through this, they defined the look of 50’s animation. Though perhaps unintentional, Sleeping Beauty comes across as Disney’s response to UPA, or what would happen if UPA had the funds they deserved. The characters’ contours are angular but effortlessly graceful, defining their inherent dignity and royalty. And the colors, ohhh the colors…
Because of the immense amount of work required to animate in this difficult new style (and in the Cinemascope ratio, no less) as well as story troubles and Walt barely supervising the animation studio now that he had his hands full with live-action films, television, and a theme park, Sleeping Beauty had a turbulent production that lasted the entirety of the 1950s. For a time, Chuck Jones of Looney Tunes fame was set to direct. Director Wilfred Jackson suffered a heart attack partway through production and Eric Larson, one of the Nine Old Men, took the mantle from there before Walt Disney replaced him Clyde Geronimi. And even after that, Wolfgang Reitherman teamed up with Geronimi as co-director to get the film finished after no less than three delays. Also, Don Bluth got his foot in the door as an assistant animator for this feature, beginning his short-lived but impactful tenure at Disney. Did all this hamper the movie, or did they succeed in what they set out to accomplish?
Well, one of the reasons why this review took so long was because I had a hard time not repeating “MOVIE PRETTY” and “MALEFICENT AWESOME” over and over. Make what you will of that.
Yes folks, after a lengthy absence on this blog, we’re returning to the semi-popular recurring series By The Cover, wherein I discuss my favorite covers of songs entirely from movies. This is a particularly special entry as we’re marking the 80th anniversary of the timeless Disney animated feature, Pinocchio!
When people hear the words “animated musical”, movies like Beauty and the Beast or Snow White come to mind quicker than Pinocchio does. It’s a movie where the characters and story come first and the music comes a close second. That’s not a knock on the soundtrack, far from it. The music is the icing on what’s already a perfectly baked dark and delectable dessert. Leigh Harline and Ned Washington gave us some iconic songs ranging from the fun to the inspirational, and artists have stepped up to the overwhelming task of interpreting them time and again for the past fourscore. Let’s pay them some homage.
Well, I’ve been anticipating/dreading this, but I went ahead and got Disney+. I’m in the middle of the trial period and I confess I haven’t had the time to watch everything yet – not just because there’s so freaking much but I’m in the middle of writing the Rankin-Bass reviews. As of now I’ve finished the first two, am 75% done with the third, and have touched upon the last two (Surprise! There’s going to be FIVE reviews in December! Even if you already know what the original four were, I’m not going to spoil them or what the additional one will be.)
From what I have seen of Disney+, however, I’m impressed. Both new and classic DuckTales and Mickey Mouse shorts coexisting? Legend of the Three Caballeros legally available in the states at last? A place to finally binge watch shows I vaguely remembered like Gargoyles, Darkwing Duck and Tron Uprising? Virtually the entire catalogue of the incredibly cheesy “What Walt Would Have Done” era comedies like The Barefoot Executive and Million Dollar Duck for people who actually remember those? Star Wars’ first live-action series? In-depth documentaries that’ll make any Disney-phile drool? The Black Cauldron, Darby O’Gill and Return to Oz finally getting some recognition? Over a years’ worth of Disney Afternoons you can cram in a week?! They really went all out to entice people into this service!
And yet…
One of my favorite Disney shows as a kid was The Little Mermaid series. I was particularly eager to return under the sea and let that wave of nostalgia wash over me. It was the very first thing I searched for once it was all set up.
But then I clicked on it, and immediately noticed something was missing – the very first episode.
Don’t be fooled by the numbers. I grew up with this series and I’ll have you know the very first episode of The Little Mermaid is “Whale of a Tale”, aka the one with the heartwrenching opening where a baby orca gets orphaned by whalers and Ariel rescues him while Jodi Benson sings a song about how every creature deserves a loving family and is a punch to the gut every time I hear it!
What could have happened to make the people in charge of getting this series up on Disney+ forget the episode that started it all and is featured the most in the series intro for goodness sakes! I know the first few minutes are a tad…emotional, but it’s a great beginning to a fine addition to one of my favorite Disney movies. This series may not be high up on anyone’s priority, but I still can’t wrap my head around how they made this kind of error.
On a similar note, I see the original Mickey Mouse Club and Spin & Marty there (awesome), and they have The Sign of Zorro, but not the Zorro series itself? Disney’s Zorro was great! Hilarious, swashbuckling, great acting and that classic Walt Disney feel? If all the Herbie movies and Star Wars prequels can get some time in the spotlight, why not this one?
Of course, I can’t forget the Fox in the room. The timing of Disney+’s release with their acquisition of 20th Century Fox is a bit too coincidental..and very problematic in the long run, but that’s a thought for another time. My cable provider didn’t support FXX’s streaming at the time so I had to rely on my trusty worn 480p dvds to get my Springfield kicks. But for better or for worse, the entirety of one of my favorite shows of all time is available to stream in glorious 4K HD…but it’s been badly cropped to fit widescreen TVs, resulting in awkwardly cramped scenes and visual gags cut off by the black. Boo.
(EDIT: I’ve been informed that Disney+ will broadcast The Simpsons in its original 4:3 aspect ratio starting in 2020. Whether “Stark Raving Dad” will be added to the lineup at that time remains to be seen, but considering the controversy surrounding it, it’s best not to hold your breath.)
One issue I worried about was how much of Disney’s, ah, “questionable content” from the Walt era would be included. A notorious rumor that floated around for a while was that movies like Dumbo would be completely re-edited to remove the stereotypical racial characters like the Crows or the Siamese Cats from Lady and the Tramp. While I can’t pretend I don’t see why people would get in an uproar over their inclusion today, hacking these classic films for the sake of political correctness would have been a travesty. My fears were put to rest, however, when those movies were not only left fully in tact, but came with a small content warning in the vein of Warner Brothers’ unedited cartoon releases. Very good, Disney, you’re learning…but that doesn’t excuse unleashing all of those terrible direct-to-video sequels side-by-side with the superior originals! Any poor child could accidentally expose themselves to them! Won’t somebody please think of the children?!
Like I said, nearly every Mickey Mouse short is here as well as many of the Silly Symphonies among others. I wish they could have been grouped together to make them easier to find and watch all at once, but who knows? Maybe they’ll do that in the future.
“Hang on, I’m getting to my point.”
I know this post looks like me complaining, but I’m genuinely excited for almost everything Disney+ has to offer and can’t wait to revisit some of my favorite series and discover new ones. But this service can still do better. There’s some notable flaws that I hope they fix in due time, and even more I’d like to see that I hope they get around to including.
In short, Disney+ isn’t perfect, the “everyone’s here” tag line isn’t quite accurate, and their iron grip on how much of the Fox film catalogue goes in and out of the vault is worrisome, but I have high hopes that they’ll improve as it goes along and I’m thrilled to see what they come out with next.
Besides, what could other streaming services have that this doesn’t?
“New…hand-drawn…animated…I’M COMING NETFLIX! DON’T START WITHOUT ME!!”
Thank you for reading! Have you gotten Disney+ yet? Do you have any recommendations? Let me know in the comments and I’ll see you soon!
…Also if we can make #WheresWhaleOfATaleDisney+ a thing I will be eternally grateful to you all.
Please consider supporting me on Patreon if you’re able. Patreon supporters receive great perks such as extra votes for movie reviews, movie requests, early sneak-peeks and more! If I can hit my goal of $100 a month, I can go back to weekly tv series reviews. As of now, I’m only $20 away! Special thanks to Amelia Jones, Gordhan Rajani and Sam Minden for their contributions!
Last November we celebrated a milestone for one of Disney’s most iconic characters. Today we gather for another – Happy 85th Birthday Donald Duck!
There’s a certain irony to Donald’s popularity: in the theme parks or shows like The Mickey Mouse Club or House of Mouse, Donald is portrayed flagging behind Mickey in fame and adulation if not outright forgotten. But in the real world so many people prefer Donald over Mickey, and I can see why. Mickey’s status as the company’s mascot rarely allows him to be a mischievous rascal like in the old days. Donald on the other hand has always been the feisty fowl generations could relate to due to how much he’s put through the wringer and his resulting temper flares.
Because he’s not on as high a pedestal as The One That Started It All, he’s given more freedom of personality, and, as a result, much more to do. Donald’s worn a variety of hats throughout his five-and-fourscore-long career. This also expands beyond traditional media. You’d be hard pressed to find a Donald Duck video game that isn’t at least a little fun to play. Getting to bash things with his trademark temper tantrums is a treat, and Disney always takes full advantage of it. In fact, before Sora was created to be the protagonist for Kingdom Hearts, Tetsuya Nomura imagined Mickey as the main character, but Disney wanted it to be Donald! They’re well aware that no matter how bad the scenario, Donald can take a licking and keep on ticking, and that’s done him well these past 85 years.
So to mark the special occasion, I’m counting down my Top 21 Favorite Donald Duck Shorts. Why that many? Because I like to go eleven steps beyond.
The rules from before apply: I’m not counting segments from or complete feature films like Saludos Amigos or The Three Caballeros. Donald has to be the main focus of the entire short feature, and not just “Mickey’s name is in the title though Donald takes up 90% of the action but it’s totally a Mickey short, you guys, for reals”.
But par the course for this blog, a few Honorable Mentions first:
Pomp and Circumstance – This highlight from Fantasia 2000 has Donald assisting Noah before the flood then reenacting An American Tail with Daisy on the ark.
Trick or Treat – A Halloween classic where Donald falls victim to a witch’s tricks after he deprives his nephews of their treats.
Donald and the Wheel – Two spirits of innovation try to inspire caveman Donald to invent the wheel, but it doesn’t quite stick. Meant to be educational, but the music is unbelievably catchy.
Drip Drippy Donald/Early to Bed – These shorts featuring Donald being robbed of a good night’s rest would be hilarious if they weren’t so relatable.
Donald’s Dilemma – The title’s a bit of a misnomer; Daisy’s the focus and there’s barely a dilemma. But it reveals a darker side to her romance and shows just how far she’d go to hold on to him.
Orphan’s Benefit – While an ensemble piece for Mickey and Friends, it’s Donald who steals the show as usual.
Commando Duck – Horribly blatant anti-Japanese sentiment aside, this World War Two-era short of Donald behind enemy lines has a fun chase at the climax.
Cured Duck – Donald tries to cure his temper once and for all with an insult machine.
Slide Donald Slide – Another one of Donald’s quarrels with Spike the Bee wins points for mirroring the World Series game playing on the radio, but winds up here because Spike is technically in the wrong this time around.
The Wise Little Hen – The one that started it all.
Donald’s Double Trouble – Donald hires an inexplicable doppelganger with better manners and English to win back Daisy only for it to backfire terribly.
Donald’s Golf Game – Donald goes golfing with his nephews and their usual amount of mischief.
Donald’s Valentine Dollar – Donald must retrieve his last dollar from all sorts of shenanigans in order to purchase a valentine for Daisy. It’s completely silent, but that repetitive piano music can get grating.
Donald’s Camera – Donald’s attempt to shoot wildlife with a camera instead of a gun goes as well as you’d expect. Interestingly, I never knew about the original ending for years since they abruptly cut it off whenever they aired it on tv.
Sleepytime Donald – A sleepwalking Donald takes Daisy out on a late night date, and it’s up to her to make sure he doesn’t wake up in a precarious situation.
Mickey’s Philharmagic – Yes it’s a 3D show in the Disney parks and Mickey’s name is in the title, but don’t be fooled. Donald is the star of the show, and seeing him interact with some of the most iconic musical moments of the Disney Renaissance in stunning CGI animation for the time is astounding.
And now we come to the final piece of Walt Disney’s original animation trifecta, Fantasia, and it’s one I’m both anticipating and dreading. Fantasia isn’t just one of the crowning jewels in Disney’s canon, a landmark in motion picture animation, and second only to Snow White in terms of influential music and storytelling in the whole medium, it’s one of my top three favorite movies of all time. Discussing it without sounding like an old history professor, a pretentious internet snob, or a hyper Disney fangirl is one hell of a daunting task.
“Did someone say hyper Disney fangirl?! I LOVE Disney!!”
“I thought you only liked Frozen.”
“Well, DUH, Frozen is my favorite, which makes it, like, the best Disney movie ever! But Disney’s awesome! There’s a bunch of other movies I like that are almost as good!”
“And Fantasia’s one of them?”
“Yeah!!…Which one is that again?”
“The one with Sorcerer Mickey?”
“Ohhhh, you’re talking about the fireworks show where he fights the dragon!”
“No, that’s Fantasmic. I’m referring to Fantasia. Came out the same year as Pinocchio? All done in hand-drawn animation…has the big devil guy at the end?”
“THAT’S where he’s from?! Geez, that’s some old movie. Why haven’t I heard about ’til now?”
“Probably because you spend twelve hours a day searching for more Frozen GIFs to reblog on your Tumblr.”
“Ooh, that reminds me! I need to go post my next batch of theories about the upcoming sequel! Toodles!!”
“Thanks. Another second with her and I would’ve bust a gasket.”
Welcome to the premiere of By The Cover, a series where I highlight the best (and some of the worst) covers of songs from musicals I’ve reviewed before.
For our first installment, I thought I’d revisit the one that started it all and gave me the inspiration to create this, Snow White and the Seven Dwarfs.
Snow White, in addition to being the first full-length American animated feature, was the first movie to release its soundtrack to the public for their listening pleasure. If that wasn’t enough, the popularity of its songs saw many renditions by many well-known artists of the day. As time went on and Snow White was viewed as just another cartoon for the kids, the music found its way to many records aimed at young children. But it found new life in the 60s as jazz musicians took turns sampling the time-honored tunes and made them part of their repertoire. And it hasn’t stopped since. Snow White’s status as a Disney classic means there will always be some new iteration of its iconic melodies.
“When You Wish Upon A Star
Makes No Difference Who You Are Anything Your Heart Desires
Will Come To You…”
In my last review, I compared Snow White and the Seven Dwarfs to Star Wars; a blockbuster that captivated audiences, revolutionized filmmaking, and was an all-around fun adventure with a likable cast. Well if Snow White is Disney’s Star Wars – before Disney owned Lucasfilm, I mean – then Pinocchio is undoubtedly Disney’s Empire Strikes Back: refined visuals, more complex storytelling and characters, and much, MUCH darker.
The success of Snow White marked the beginning of big things for Disney animation. The sizable influx of cash meant Walt could build a bigger studio, hire more staff, and give his projects a noticeably larger budget. The question is, where to go from here? What movie could possibly follow the fairest one of all? Investors were clamoring for a sequel and the idea was toyed with for a time, but Walt was not a one-trick pony. Then animator Norm Ferguson brought a copy of Carlo Collodi’s Le avventuri di Pinocchio to Walt’s attention. Walt and a few of his key guys had attended a performance of Yasha Frank’s successful staging of Pinocchio prior to Snow White’s release and noted the story had possibilities for adaptation – plenty of spectacle, cute comic relief critters, etc. Seeing that book sparked Walt’s memory; after reading it, he intended to make Pinocchio his third animated venture behind the upcoming Bambi. But when that movie ran into production troubles, Pinocchio was bumped up to its place. Does it measure up to Snow White, though? Let’s find out.
