2D Dreaming: SE&L’s Top Ten Disney Animated Features

With the increased popularity of Pixar’s computer generated fare and the success of the company’s own attempts at the animation subgenre (Dinosaurs) in comparison to its pen and ink efforts (Brother Bear, Home on the Range), the House that Mouse built – Mickey Mouse, that is – decided to give up on traditional cartooning. That was way back in 2004. While many wondered why the iconic studio that literally invented the type would bail on its creation, the box office (and internal grumbling) indicated a less than hearty reception for their talents. While the business model would still dictate plenty of ‘on-the cheap’ direct to video sequels of Disney favorites (Bambi II, Return to Neverland), Uncle Walt’s dream of a new animated feature every year was dead – at least, from the hand drawn perspective.

Enter John Lasseter, mastermind behind the Toy Story films and newly appointed Head of Animation for the floundering company. His mission – do what he did with Pixar for the lagging Disney luster. Along with Ed Catmull, a decision was made – return to the classic “Broadway style” title the company thrived on in the ’80s and ’90s. Bringing on the creative team of Ron Clements and John Musker, responsible for such past hits as The Little Mermaid, Aladdin, and Hercules, The Princess and the Frog was born. Now, some several years (and a few controversies) later, the company’s first effort with an African American focus is ready to hit theaters. Early buzz has it right up there with other classics from the famed fantasy factory, and the trailer does look spectacular.

In celebration of this new phase in Disney “tradition”, SE&L has decided to list its Top Ten Animated efforts by the still mighty maker of such dreams. The first thing you’ll notice is the omissions – that’s right, there’s no Lion King, no Bambi or Dumbo, and no blue Robin Williams-inspired genie spouting off at the mouth. We’ve skipped over the obvious minor miscalculations (Pocahontas, Treasure Planet) and anything that smacks of laughing all the way back to the bank (The Jungle Book 2???). Instead, these are ‘personal’ choices, titles to this day that continuously remind one of what Disney does best – as well as what The Princess and the Frog has to match up against, beginning with:

10. The Great Mouse Detective (1986)

After the critical and commercial flop sweat of The Black Cauldron, Disney was reeling. The ’70s had almost sunk the division (The Aristocats, Robin Hood) and the new decade wasn’t looking any better. But when the team of Clements and Musker – along with associates Burny Mattinson and Dave Mitchner – came up with this adaptation of the Sherlock Holmes inspired Basil of Baker Street stories, it was obvious that a new day was dawning at Mickey’s mansion. From the clever characterization to the memorable Victorian London look, it would mark the moment when Disney Mach 2 arrived on the scene.

9. Hercules (1997)

If The Great Mouse Detective was the beginning of the second phase in classic Disney animation, this terrific take on Greek Mythology was obviously the end…at least, temporarily. Clements and Musker were on hand again, and their freewheeling, anything goes style (along with a terrific villain performance by James Woods) illustrated the new regime’s grasp of the artform flawlessly. The approach is all angular and baroque, reminiscent of the time in the early ’60s when the company went from its more European roots to a more pop art ideal, and the story still succeeds as legend and a laughfest.

8. Lady and the Tramp (1955)

The 50’s were transitional for Disney, an attempt to move away from the more meticulous aspects of their efforts and, instead, streamline and simplify their creative process. Starting with Cinderella, and moving through Alice in Wonderland and Peter Pan, the company found a more contemporary way of mixing fairytale with something fresh. This terrific film marked the moment when all the previous experimentation came together. It was the company’s first in Cinemascope, as well as their first original (well…sort of) story. Iconic and endearing, it remains a solid sentimental favorite.

7. Sleeping Beauty (1959)

It’s interesting to look at the striking and often severe design of this film and compare it to Lady and the Tramp, which came out just four years before. Clearly, the end of the ’50s was weighing on Disney, and it took the entire decade (the voices were recorded in 1952) to realize this groundbreaking vision. Luckily, it was worth the wait. From the amazing use of form (and horrific manner) for villainess Maleficent to the outstanding saturation and combination of color, it marks a substantive step forward for everyone involved. Oddly enough, it would be The House of Mouse’s last fairytale based production until 1989’s The Little Mermaid.

6. Alice in Wonderland (1951)

Who else but your Uncle Walt could take Lewis Carroll’s smashing social commentary about Britain circa 1865 and turn it into a close comic cartoon approximation of itself. While not 100% reverent to the source, this still remains one of the great adaptations of the literary classic ever. It captures the magic, the madness, the illogical beauty and rational unreality of what the Rev. Charles Dodgson was trying to accomplish while avoiding all the more “complicated” parts of its past. All other attempts at bringing these books to life just pale in comparison.

5. The Little Mermaid (1989)

Like a breath of fresh air in a stale, stagnant room, this long simmer project for the House of Mouse (it was on the table as early as 1939!) became the catalyst for the company’s return to prominence. With the sloppy, unsuccessful Oliver and Company arguing for something new and novel, the reigning minds at Disney decided to go the full-blown old school musical route. With the soon to be prolific team of Alan Menken and Howard Ashman onboard, and the minds behind The Great Mouse Detective leading the way, it was hoped this movie would appeal to a more modern audience. As the last example of pure hand painted cell animation (no computer assist here), it remains a pure populist masterwork.

4. Pinocchio (1940)

With the success of Snow White came a new found confidence in Disney. The result is what many consider to be the company’s finest animation hour. Just look at the backdrops, the intricate wave splashes and crashes as our little wooden boy battles Monstro the whale. Even the nightmarish moments on Pleasure Island reflect the animators’ belief in their own abilities. Oddly enough, 1940 audiences didn’t really appreciate what Walt and his merry men were doing here. The film was not as financially or critically successful as its predecessor – yet in many ways, it surpassed it.

3. Snow White and the Seven Dwarfs (1937)

For the longest time, this was everyone’s favorite Disney film, almost by rote. Few had ever seen it in its pristine, restored state, but many believed it a beloved masterpiece – and you know what, they’re right. Sure, it’s so European in look and approach that you can practically see the Alps in the background, and the drawings are so meticulous it takes multiple viewings to catch all the nuances, but just one look, and it’s clear why the House of Mouse still stands today. This is one of those rare “golden oldies” that still holds up today – for all the right reasons.

2. Beauty and the Beast (1991)

1991 was a landmark year for Disney. Not only did they deliver one of their best loved title to audiences around the world with this very special adaptation of the classic fairytale, but they managed something that no other animated film had ever before – an Oscar nomination for Best Picture of the Year. No other cartoon had found a seat right up there with the big boys. And frankly, it deserved to win. With its amazing Alan Menken and Howard Ashman songs, as well as its timeless storytelling, it is the true definition of a classic. Touching, moving, and very magical.

1. Fantasia (1940)

Call it the ultimate Disney sampler. It’s all here – the anthropomorphized animals, the attempts at hand drawn realism, the abstract expression of art with music, and timeless qualities of characterization and creativity. Sure, it’s got some questionable elements (since excised by the company) but that doesn’t diminish its brilliance. While many prefer the more “story-oriented” efforts in the company’s catalog, this will always remain the ultimate expression of why Walt and his workers continue to own the genre to this very day. No one was as daring, as inventive, and as in tune with the artform – and its all up there in gorgeous hand drawn splendor.