More background than you could possibly want about the background of Saludos Amigos and The Three Caballeros, but only Walt’s side of the story on the labor strike.
Come for the behind the scenes of 1940s Disney, stay for the joys of 1940s Rio!
Michial and I sometimes talk about package films, parts of the movies that were cut up and repackaged by Disney. This must have been one of the first, and one that Michial was familiar with, 1958’s From All Of Us To All Of You. It features Jimmy Cricket in the segue sequences, as well as the snow and ice scene from Bambi.
As part of the annual Christian Humanist Network Massive Crossover 2017 discussing the Universal Monster Movies, Michial went over and guested on The Sectarian Review.
Take a deep dive into the film’s story, background, and subtexts. Freud, Feminism, Class Struggle and more. Also, the team tackle questions about the film from listeners via Twitter. Plus, Danny makes an impassioned defense of the 2010 remake of the film.
As part of the annual Christian Humanist Network Massive Crossover 2017 discussing the Universal Monster Movies, I went over and guested on The Christian Feminist Podcast. So, if you just can’t get enough of me talking about 1940’s movies, here is another opportunity for you!
“Young Diane herself complained to her father that Bambi’s mother needn’t have died, and when Walt answered that he was only following the book, Diane protested that he had taken other liberties and that in any case he was Walt Disney and he could do anything he wanted.”
Sergeant Tibbs was a queen named Lieutenant Willow in the novel.
Is that considered a double demotion?
What I love in here is the argument presented that the films were never really meant to be watched the way that we watch them now, where we can take the time to slow down and really analyze them, and create books, podcasts, youtube documentaries, essays, and more around them. I like that ecosystem of art: where once it’s in the world, it can support whole other endeavors that weren’t in the mind or even the imagination of the creator; all these Odes to Grecian Urns that we undertake. Yet the films can withstand it.
I was surprised to learn that this copying of previous work was happening prior to the use of xerography, although the xerography certainly seems to have provided an uptick in how much the technique was used; however there were several other factors involved there as well.
This video does the side by side comparisons, but also gives another overview of the history of Disney Animation Studios.
[youtube=://www.youtube.com/watch?v=JU21shbaVBo&w=854&h=480]
As we converse through the Disney Animated Canon in chronological order sometimes we refer to the Silver Age, or the Dark Age (in the image above more charitably called the Bronze Age). Other than the wartime/package films era being a pretty clear line between the Golden Age and the Silver age, the rest of the eras are more debatable. For example Michial said during our 101 Dalmatians episode that he thought we were entering the First Dark Age, although many people put the start of the Dark Age after Jungle Book and Walt Disney’s death. Although honestly, Walt had definitely lost interest in the animation for several years before his death, and it may be a better delineator to call this the xerography era. Those debates are all part of the fun of looking at these movies. Either way, this graphic from Network 1901 is a pretty good one, and the video I grabbed it out of ain’t bad either if you’re looking for a nice overview of the entire canon. I disagree with a few of the narratives presented in the video, but it’s an overview so there’s not a ton of room for nuance.
And, if you’re just looking for a list of the films in the canon – Wikipedia is your friend : )
On the show Michial and I spent a fair amount of time discussing the new technology, xerography, that both allowed animation to be cost effective at Disney, and ushered in a new aesthetic that perfectly matched the Dalmatians.
Steven Johnson is the popularizer of an idea called the adjacent possible. As he puts it:
“The phrase captures both the limits and the creative potential of change and innovation.”
It’s a particularly apt idea to describe what happened with 101 Dalmatians because of the convergence of so many limits and potentials. The combinations of technologies that makes xerography as an animation tool an adjacent possible. (I’d love to know more of that story – Ub Iwerks, the guy who first animated Mickey Mouse, is a key player.) The xerography itself that makes animating 99 puppies an adjacent possible. Choosing to adapt that story makes the other modern art style decisions adjacently possible. And of course all these ideas are smashing into one another at the same time, which is another big idea in Johnson’s book: Where Good Ideas Come From. Very nicely illustrated in the trailer for the book below.
[youtube=://www.youtube.com/watch?v=NugRZGDbPFU&w=854&h=480]
Matt Draper has a nice video that further explores some of those smashing together limits and potentials. If you listened to our episode you already know them: Walt Disney’s losing interest in animation, the financial struggles after Sleeping Beauty, etc. If you’re only interested in the actual technology of Xerography, skip to about 3:40 for a nice visual explainer.
[youtube=://www.youtube.com/watch?v=CWwU8jd04-I&w=854&h=480]
Back to Johnson:
“The strange and beautiful truth about the adjacent possible is that its boundaries grow as you explore them. Each new combination opens up the possibility of other new combinations. Think of it as a house that magically expands with each door you open. You begin in a room with four doors, each leading to a new room that you haven’t visited yet. Once you open one of those doors and stroll into that room, three new doors appear, each leading to a brand-new room that you couldn’t have reached from your original starting point. Keep opening new doors and eventually you’ll have built a palace.”
There’s no doubt that Disney already had a palace by the time 101 Dalmatians was released in 1961. However a whole new wing was opened through the use of the Xerography, not only to allow animation to continue at the studio, and to expand the types of stories that were told.
If you read all of Johnson’s Wall Street Journal article adapted from his book he gives one more example of the adjacent possible from the Apollo 13 movie. And as this has to be one of my favorite scenes in cinema, I couldn’t resist sticking it in here as well.
[youtube=://www.youtube.com/watch?v=1cYzkyXp0jg&w=854&h=480]
“The space gear on the table defines the adjacent possible for the problem of building a working carbon scrubber on a lunar module…They are the building blocks that create—and limit—the space of possibility for a specific problem.”
“For example, a June 1918 article from the trade publication Earnshaw’s Infants’ Department said, “The generally accepted rule is pink for the boys, and blue for the girls. The reason is that pink, being a more decided and stronger color, is more suitable for the boy, while blue, which is more delicate and dainty, is prettier for the girl.””
It seems gender neutral was becoming the fashion at the time of 101 Dalmatians in ‘61, and remained so until 1985!
When Did Girls Start Wearing Pink?
episode 17: One Hundred and One Dalmatians
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For more on appreciating classical music, Michial and I recommend this podcast, Sticky Notes. Here’s an episode on Joseph Haydn and particularly the comedy of his pieces (although oddly he left out the bassoon fart)
He also has some more episodes that would be of particular interest to Fantasia lovers:
[youtube=://www.youtube.com/watch?v=2jZwDU1PHQ4&w=640&h=480]
Competition for Thunderbolt
Deuterocanonical 2: The Shorts of the Fifties
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episode 16: Sleeping Beauty
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episode 15: Lady and the Tramp Featuring Special Guest Sara Klooster
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episode 14: Peter Pan
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episode 13: Alice in Wonderland
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This book comes recommended by listener Anna Brandt, and I’ve referenced it several times. If you are interested, you can read the ever expanding list of passages I’ve highlighted on my goodreads profile.
During the 101 Dalmatians I was bumbling around trying to remember the live action movie that was reviewed on the flagship website. I swung twice and missed before giving up. And to add insult to injury Treasure Island wasn’t even released in the 60’s which was the decade we were speaking of.
Over on the flagship’s website, Coyle Neal (of The City of Man fame) gives us an overly kind shoutout in his review of Treasure Island (The rare Disney movie that was live first and animated later, but we’ll get to that when we get to Treasure planet)
I thought I’d return the favor and direct readers here over to his review. Here’s a quick taste, but do go read the whole thing.
The plot is surprisingly involved for a movie only about ninety minutes long, and numerous themes run through the film. One of the most interesting of these is the idea that a part of coming of age is growing to understand the complexities of character. An aspect of transitioning from childhood into adulthood is realizing that human character is often a mix of good and evil. We are all of us both made in the Image of God andtainted in every part of ourselves by original sin.
If metamodernism or postmodernism met the caterpillar from Alice in Wonderland, and he demanded, “Who are you?” how would they answer? We may never know, but you’ll have a better imaginative guess after listening to this.
Postmodernism is a slippery concept, but you can desplippify it with this handy audio guide. Then you can decide for yourself how postmodern, modern, protopostmodern, or otherwise 1951’s Alice In Wonderland is.
An updated version of the Alice tale for a more modern audience. Recommended by Victoria. Scared the H – E – Double – Hockey – Sticks out of Michial when he was younger.
The little boy in this book, Digory Kirke, has his own “Wonderland” type adventure visiting another world. His is the happy ending of such adventures, growing up to encourage the next generation of children to have adventures of their own and to experience magic and enchantment of the best kind.
Deuterocanonical 1: The Shorts of the Thirties and Forties
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episode 12: Cinderella
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episode 11: The Adventures of Ichabod and Mr. Toad
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episode 10: Melody Time
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This is the kind of thing I love about the internet, the space for people to just go incredibly deep on a single subject. Jeremy Nicholas, himself a recorded narrator of Peter and the Wolf, thoroughly examines the catalogue for Gramphone.
And in the process he says more clearly the idea I was trying to hit upon when I sacrilegiously suggested the Make Mine Music version would be better off without Sterling Holloway (keeping the introduction to the instruments and characters).
Then there is Suzie Templeton’s Oscar-winning animated film from 2006, already a classic of its kind. There is no narrator – none is needed – for the updated story unfolds with logic and comedic balletic precision in, arguably, the only attempt to bring some psychological realism to Prokofiev’s sketchy tale.
Essentially the narrator isn’t necessary once you have the animation defining the action for you. I will definitely need to be checking out the film.
Or, if you wanted to, you could attempt to play the narratorless version while watching Make Mine Music with the sound muted. I might try that too, although I imagine there will be some synching issues.
[T]he Czecho-Slovak Radio Symphony Orchestra under Ondrej Lenárd…was issued initially without narration, an oddity you can still track down (the only other CD recording I’ve found without narration is Tatiana Nikolaieva playing her piano transcription).
Do you have a favorite recording of Peter and the Wolf? Join the conversation and let me know.
An analogue for the Good Samaritan parable told in The Gospel of Luke chapter 10. So, is Casey Jr. saying “I think I can, I think I can…I thought I could, I thought I could” meant to prime your thoughts to that story, so you can recognize the Samaritan in Timothy and the crows later, or am I just overthinking it as usual?
[youtube=://www.youtube.com/watch?v=kjCT2jj1DpE&w=854&h=480]
Michial and I sometimes talk about parts of the movies that were cut up and repackaged. This was one such package that I watched regularly.
So far the memories from this special that we mentioned in the show have included:
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The twitterpated scene from Bambi cut to Stevie Wonder’s I Just Called To Say I Love You. (Although I think I was conflating it in my mind with the Lionel Richie’s Hello which is a little later in the program)
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The animation from All The Cats Join In with the music replaced by Stray Cats’ Rock This Town.
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Ludwig Von Drake hosts
Hat tip to my mom for finding this on YouTube.
If like me, you became interested in the flâneur after Michial mentioned it here is a rambling post titled Baudelaire, Benjamin and the Birth of the Flâneur from The Psychogeographic Review. I didn’t know anything about Flâneur, and so this seemed as good an introduction as any. As Michial pointed out in the episode, there is something more than just being cheerful and lazy in the hobo, or the flâneur- there is a spiritual quality they are pursuing.
“The concept of the flâneur, the casual wanderer, observer and reporter of street-life in the modern city, was first explored, at length, in the writings of Baudelaire. Baudelaire’s flâneur, an aesthete and dandy, wandered the streets and arcades of nineteenth-century Paris looking at and listening to the kaleidoscopic manifestations of the life of a modern city. The flâneur’s method and the meaning of his activities were bound together, one with the other. Indeed…the flâneur is trying to achieve a form of transcendence”
And, in our own way Michial and I are picking up the baton of the flâneurs, although instead of wandering through Paris, we’re wandering through the Disney Canon. I particularly like this idea:
“Benjamin believed that one of the main tasks of his writing was to rescue the cultural heritage of the past in order to understand the present; not just the cultural treasures of the past, but the detritus and other discarded objects…Thus, we create a history which is not just that of the victor.”
Certainly we are wandering the cultural treasures (Bambi, Pinnochio) and the detritus (The Three Caballeros). And charitably (assuming you take the heroic view of the flâneur) maybe you could argue that is what Disney Animation Studios was doing in it’s own way as well: picking through the stories of the past and repurposing them for their current moment. Making sense of the world through cultural heritage.
In fact, Benjamin also drew a parallel between the experinence of being a flâneur and theatrical entertainment, and I do not think that is coincidental. In a very real sense theater and movies are always collecting, cutting, pasting and remixing life in order to make sense of the world. This is why they possess a deeper truth; they are a distillation of truth. And the process by which we access that truth is our collective imaginations.
“By describing the flâneur’s vision of the city as phantasmagoric, Benjamin seems to suggest that it is a dream-like vision akin to that provided in theatrical entertainment. He also reminds us of Marx’s metaphorical description of the commodity as having the power of a religious fetish; an item that owes its magical status to the imaginative power of the human brain which confers magical powers upon it, at the same time as venerating the fetish, as an autonomous object. Phantasmagoric experiences, therefore, are created by humans, but have the appearance of seeming to possess a life of their own. ”
Not unlike Happy Valley coming to life through the combined work of both Edger Bergen as the story teller and Luana’s imagination, which of course does lead to Willy having on a life of his own beyond Edger’s conception.
A story about a group of bums, not hobos. Hobos travel. But still Jiminy fits nicely into this American tradition.
I’m not a big Archie fan myself, so this collection seems as good a place as any to start to me, but if you have a better suggestion please join the conversation.
I do know that the series was rebooted. Although, if you ever need to fake your way through a conversation about comics a good starting point is “well what did you think of the latest reboot?” So, knowing that there was a reboot doesn’t mean much in itself, but the reason I know there was a reboot is because my current all time favoritest comic book writer, Ryan North, was writing on the rebooted Jughead for a little while. I haven’t read them yet, but I cannot recommend highly enough Ryan’s work on The Unbeatable Squirrel Girl. I could gush for days, as evidenced by the fact that I really didn’t need to go down this tangent at all. Do yourself a favor and get started at the beginning.
The story of a dog becoming a wolf. Likely Sinclair Lewis was reacting to this story with his Bongo short story. Ironically, Disney fundamentally changed the Sinclair Lewis’ story and brought it much closer to Call of the Wild.
How one of Sinclair Lewis’s short stories ended up at Disney, and in a film called Fun and Fancy Free, when Sinclair Lewis himself was none of the above, is a great mystery. If you have any information, please join the conversation.
Sinclair Lewis is best known for three novels: Main Street (1920), about stifling conformity in a Minnesota town, Babbit (1922), about a morally bankrupt business man, and Elmer Gantry (1927) the original crooked telemarketer. He was the first writer from the U.S. to win a Nobel Prize in literature.
Bongo may be the most famous Third Culture Bear in the world, but certainly the most famous Third Culture Kid of our time is President Obama. As I mentioned in the episode, there are some fascinating articles about this. This opening line by John H. Richardson in a 2010 piece on Obama for Esquire sums it up perfectly: “America just doesn’t understand President Obama.” Richardson’s piece does an excellent job of breaking down just what a TCK is, and why it is important, but here is the pertinent passage when considering Bongo:
People laugh at you for getting important social markers like dating rituals or slang wrong, and that’s when you realize how deep culture really goes — because when people realize you don’t share all their habits, they suspect you don’t share their values either.
As Richardson says talking about President Obama, but it applies just as well here to poor Bongo: “Sound familiar?”
Another more recent piece (2017) by Ryu Spaeth, appropriately titled Barack Obama, Forever a Third-Culture Kid, sums up a part of the TCK experience in lovely terms, while also highlighting some more of the famous TCKs you may not have known:
This is the legacy of being a third-culture child, like a toll one pays for happiness. Yet the great irony of this life, one so improbable that it makes me laugh, is that of the very few public figures who share this condition—Uma Thurman, Timothy Geithner, Steve Kerr, Kobe Bryant—of the luminaries in this world who, just by existing, make me feel less alone and insubstantial, one of them is the leader of the free world.
If you are interested in the topic of third-culture kids, as I am, I’d recommend the book Richardson quotes extensively in his article: Third Culture Kids: Growing Up Among Worlds by Ruth E. Van Renken, Michael Pollock, and David Pollock.
“Extreme busyness, whether at school or college, kirk or market, is a symptom of deficient vitality; and a faculty for idleness implies a catholic appetite and a strong sense of personal identity. There is a sort of dead-alive, hackneyed people about, who are scarcely conscious of living except in the exercise of some conventional occupation. Bring these fellows into the country, or set them aboard ship, and you will see how they pine for their desk or their study. They have no curiosity; they cannot give themselves over to random provocations; they do not take pleasure in the exercise of their faculties for its own sake; and unless Necessity lays about them with a stick, they will even stand still. It is no good speaking to such folk: they cannot be idle, their nature is not generous enough; and they pass those hours in a sort of coma, which are not dedicated to furious moiling in the gold-mill. When they do not require to go to the office, when they are not hungry and have no mind to drink, the whole breathing world is a blank to them. If they have to wait an hour or so for a train, they fall into a stupid trance with their eyes open. To see them, you would suppose there was nothing to look at and no one to speak with; you would imagine they were paralysed or alienated; and yet very possibly they are hard workers in their own way, and have good eyesight for a flaw in a deed or a turn of the market. They have been to school and college, but all the time they had their eye on the medal; they have gone about in the world and mixed with clever people, but all the time they were thinking of their own affairs. As if a man’s soul were not too small to begin with, they have dwarfed and narrowed theirs by a life of all work and no play; until here they are at forty, with a listless attention, a mind vacant of all material of amusement, and not one thought to rub against another, while they wait for the train. Before he was breeched, he might have clambered on the boxes; when he was twenty, he would have stared at the girls; but now the pipe is smoked out, the snuff-box empty, and my gentleman sits bolt upright upon a bench, with lamentable eyes. This does not appeal to me as being Success in Life.”
During Fun and Fancy Free, I mentioned that I learned about Robert Louis Stevenson’s Virginibus Puerisque, through a link from Alan Jacobs. Here is a thoughtful episode on one of Alan Jacob’s essays.
How one of Sinclair Lewis’s short stories ended up at Disney, and in a film called Fun and Fancy Free, when Sinclair Lewis himself was none of the above, is a great mystery. If you have any information, please join the conversation.
Sinclair Lewis is best known for three novels: Main Street (1920), about stifling conformity in a Minnesota town, Babbit (1922), about a morally bankrupt business man, and Elmer Gantry (1927) the original crooked telemarketer. He was the first writer from the U.S. to win a Nobel Prize in literature.
How one of Sinclair Lewis’s short stories ended up at Disney, and in a film called Fun and Fancy Free, when Sinclair Lewis himself was none of the above, is a great mystery. If you have any information, please join the conversation.
Sinclair Lewis is best known for three novels: Main Street (1920), about stifling conformity in a Minnesota town, Babbit (1922), about a morally bankrupt business man, and Elmer Gantry (1927) the original crooked telemarketer. He was the first writer from the U.S. to win a Nobel Prize in literature.
All the information you could possibly want about Jack and the Beanstalk, including two versions of the tale, all compiled by Heidi Anne Heiner. I have a strong feeling I will be linking to her site many times over the course of this series.
Bongo does not appear on the poster in Fantasyland. The great Humphrey the bear does, but that makes no sense, because he’s not affiliated with the circus and Bongo is!
http://thedisneyblog.com/2012/03/13/storybook-circus-soft-opening-update/
Carl Barks is a legend in the history of Disney and of comic books. As Michial mentioned, he’s particularly beloved in Northern Europe. For example, The Carl Barks Collection, is what looks to be a gorgeous academic set of his works, that was only published in Norway, Denmark, Germany, Finland, and Sweden. Too bad I only read English!
Thankfully, if you are an English reader like me there is Fantagraphics. They are putting out the complete Donald Duck and Scrooge McDuck works that were written and illustrated by Barks – although they are not releasing them in chronological order, which is a little confusing. Also, no commentary as far as I can tell.
And, in great news for me, they are now being released through kindle and comixology, so mea-culpa. Last I checked that wasn’t true, but I’m happy to be wrong on that one.
The story of the Fisher King, a wounded king whose suffering affects his kingdom and creates a wasteland, has parallels to Happy Valley becoming desolate with the loss of the singing harp.
Update 05.07.2020 – Michial pointed out similar parallels to the enchantment that turns the handsome young prince into the Beast along with enchanting his entire castle, particularly the turning of angels into gargoyles.
episode 9: Fun and Fancy Free
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Lin-Manuel Miranda is the recurring character Gizmoduck in the rebooted DuckTales, not Gyro as I said.
There are a couple very similar Donald Duck family trees floating around the interwebs, both illustrated by Don Rosa and based on the work of Carl Barks. The top image below includes Ludwig Von Drake, whereas the bottom one doesn’t. Don’t ask me which one is canon. Comicsalliance has some more interesting information on how the origins of the second image.
