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Women’s Voice In Film

Women in film has become a huge talking point for film development in recent years, partially due to the #metoo movement that outed the abusive patriarchy in film seeing women given less power both in representation and finance. A lot of discussion on the internet (from men mostly) questioning whether there truly is a problem in the first place, do the women deserve the harassment they face and most importantly, do we really need these gender swap remakes? The answers to these questions are simply: yes there is a problem, no a woman never deserves harassment and of course we need as much female representation as possible.

It’s not secret that the days of Golden Hollywood, although seemingly flawless and iconic, foresaw the way women in film were treated by their bosses (producers and directors). From the infamous “casting couch” to the manipulative studio contracts, Hollywood presented itself as a mecca of dreams but proved to be a breaking point of mental illness, drug and alcohol misuse and domestic abuse. This period sees the breakdown of many stars including Judy Garland, Marilyn Monroe and Bette Davis just to name a few. It seemed that solace could only be found at the bottom of a whiskey glass.

So what does this issue have to do with Hollywood today?

Well, to begin with, despite the elimination of studio contracts in the 50s due to the collapse of the Hollywood studio structure, it appears that female filmmaking is still viewed as a niche rather than as an equal offering. The fact that we even discuss a film as “female” or celebrate female creators and strong female characters shouldn’t be something we celebrate in the 21st century. Especially considering that we’re at a century of accessible filmmaking that has distributed across the globe. AFter everything that has happened globally regarding women’s issues such as voting rights, reproductive rights, fighting the wage gap, it’s unsurprising that the fight for the female experience through a woman’s perspective has been equally difficult. After all, film is a brilliant and affordable medium to translate issues to a global audience using visuals to gain awareness for issues. Take last year’s Oscar-winning short documentary Period. End of Sentence. that looks at female poverty in India where women are forced to quit school due to periods as they are unablt to afford sanitary products. In terms of fictional feature films, we have seen a resurgence of female driven comedies with Bridesmaids accredited with starting this trend. Other offerings in recent years have reverted back to teenage years with 2019’s Booksmart and 2017’s Lady Bird among the big fish. it’s great to see original stories created by women being given mainstream releases and have subsequently done well in the awards circuit. As well as comedies, we have also seen female-centred dramas such as Todd Haynes’ beautiful and iconic LGBT love story Carol (you can read my review here) starring Cate Blanchett and Rooney Mara, which I would argue is the best love film of the century so far. Now these Indie films do incredibly well, but why hasn’t this translated as well into mainstream films? I’ll try to break this down.

It’s known that the majority of people who will go and see an original story created and performed by women is going to be seen by women. That’s all well and good but considering that men are the majority of the cinematic audience statistically, it’s important to get men to see films created and performed by women too. This is for a number of reasons and since the film industry is a business, the most important issue is money. If more men see the films then more money is given to the filmmakers and then more films created by women can be made which would eventually make the idea of the “female film” as old and traditional as the Golden Age of Hollywood. This brings me to the gender swap remakes. If you looked at the highest grossing films in recent years, chances are that they are filled with sequels, reboots, prequels and remakes. Using this information, it is a smart idea that in order to bring a female perspective to a high-grossing film, you must incorporate strong female roles into these films. However, this hasn’t been without a share of complaints from a small portion of the male audience. Take the Marvel and DC Universes for example. Admittedly, I am not a huge fan of the Marvel Universe but I have never heard such negativity from a male audience regarding it’s iconic female characters before. It seems that every other film is released with no issue, Marvel films particularly tend to sell out every initial screening and exceed in both critic and audience circles so when they decided to do a film dedicated to Captain Marvel, this should have been a celebration for a strong female character to join the achievements of its predecessors; however, this sadly wasn’t the case. A portion of the male audience was outraged by Brie Larson’s interpretation of the role as well as her feminist statements. It’s all well and good when the male superheros want to prove their stereotyped masculinity (which is an old school trope that Marvel appear to be fighting as well by bringing vulnerability into the male characters) but when Captain Marvel doesn’t need a man to save the world and more importantly, doesn’t want a man with her to save the world, this is a major issue. It was a role that should have been celebrated but instead, while Endgame was adored for bringing its emotion to the male characters (Iron Man specifically), Captain Marvel is viewed in a negative light because she veers away from the traditional “eye-candy” trope that Golden Hollywood has been feeding the audience with for years. I hope that as these franchises expand and more female characters are incorporated into their respected universes, the male audience that openly despises the likes of Captain Marvel and Wonder Woman may be open to the idea of the strong, independent women without thinking of them as simple love interests or sidekicks rather than the leaders of their own stories. Despite this small male audience who tweet outrageously about the femalecentred films, DC is clearly proud of the overwhelming success of Wonder Woman as they are bringing Patty Jenkins back for the second film (I did actually enjoy Wonder Woman! The first segment featuring the Amazonians is astonishing direction and writing).

I am not writing this article to be negative or bash the male audience because the male audience is important to the plight of female filmmaking as well and it is only a small portion. I think that there has to be an understanding that it is much harder for a woman to get a film made than a man. Once that statement is understood and acknowledged then the discussion of female film becomes a welcome idea and celebrated. But in a world where the Indie films created by women are renowned for their originality, why do we need gender swapped films such as Ghostbusters? Do we actually need them?

As I said at the top of this article… yes, yes we do!

Why do we need them? By remaking films with gender swapped protagonists, it gives the audience a new perspective on a femiliar setting. It’s easy to be angered when a classic like Ghostbusters is given an update with the best female comedians much like the original with men. It’s a brilliant film by itself (it obviously isn’t as good as the original) but I don’t think the intention was to “outdo” the original. I think it was to show that women could be given an ordinary role without the woman part being of any importance. I think that if Ghostbusters was remade with a male cast, there would be the usual complaints of “we don’t need a remake” but the abuse hurled at the stars of the film showed that there is sexist view from this portion of male audience. It seems to not only be that women have “taken” the roles, but that women are put in powerful positions without being the love interest. There is also an argument that representation is important and when given the opportunity to make these remakes, it’s another opportunity to put women in the driving seat which is only a positive.

Some of the films I love such as Eternal Sunshine of the Spotless Mind and Frances Ha feature brilliant female characters. Clementine Kruczynski (played fantastically by Kate Winslet) in the former and Greta Gerwig as the quirky titular character in the latter are women who have their flaws and struggles but at the end of the day, are independent and strong. Both films directed by men but show the important of strong female presence in film. Eternal Sunshine’s script won the Best Original Screenplay Academy Award suggesting that there is a demand for these female characters. Another film that is a force of nature is 2016’s Turkish offering, Mustang, about five young sisters who are forced into marriage after wrongly being accused of sexual activity with a group of boys in their class at school. Written and directed by Deniz Gamze Erguven in her directorial debut, Mustang is one of the best films I have ever seen. The film is shown through the eyes of the youngest sister, Lale, giving the audience an innocent glimpse into an oppressive world without explicitly saying so. Much like the message of the film, the writing and directing is subtle with a lot of stillness and peace in moments of chaos. Another brilliant female-led offering is 2018’s The Favourite which was hugely snubbed in the Oscars this year and has not one, not two but THREE stellar leads in the form of Olivia Colman as Queen Anne (who deservedly won an Oscar for her performance) and Rachel Weisz and Emma Stone as the women vying for the queen’s attention. It’s a complex triangle of lust, power and manipulation. This answers the question whether women can carry a film with a resounding YES!

At the end of it all, more needs to be done to finance and distribute mainstream films created by and starring women but this isn’t to say that none exist at all and the offerings we have had in recent years particularly show a huge improvement to the films of the Golden Era. Women have proven time and time again that they can create films that are both critical and commercial (when given the chance) successes.

What are your favourite films created by and/or starring women? Let me know in the comments below?

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Disney Animated Classics: Numbers 26-30 Ranking

Now we’re getting to the halfway point and already we have looked at some of the classic offerings that have stood the test of time. This period of films sees the Disney studios in a rut after the failure of The Black Cauldron and the emergence of what has become known as The Disney Renaissance. Some of the films in this post include cult classics such as The Great Mouse Detective as well as the film that garnered Disney its only nomination for Best Picture for an animated film, Beauty and the Beast. This post also sees the inclusion of the first sequel, The Rescuers Down Under which would remain the only sequel in the Disney Classic collection until the release of Ralph Breaks the Internet in 2018.

If you haven’t caught up, here are the other installments:

Films 1-5

Films 6-10

Films 11-15

Films 16-20

Films 21-25

Anyway, let’s crack on with Disney films 26-30:

26) The Great Mouse Detective (1986)

Based on the famous Sherlock Holmes by Sir Arthur Conan Doyle, The Great Mouse Detective (or Basil, the Great Mouse Detective as it was released in the UK) tells the story of detective, Basil and his sidekick, Dawson as they attempt to figure out the notorious Rattigan’s plan. Obsessed would not be a strong enough word to describe my feelings towards this film when I was younger. I used to watch it on a regular basis and loved the characters and songs. It is often forgotten as the story itself is rather simple and the animation for the most part isn’t the best; however, the climactic scene in the mechanics of Big Ben is phenomenally done. Compared to One Hundred and One Dalmatians which portrays London as quaint and lovely, The Great Mouse Detective gives the film a grimy look into Victorian England as Basil and co venture into the sewers. Much like The Black Cauldron before it, this film wasn’t as successful as it should have been and yet I still love it.

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27) Oliver & Company (1988)

The next Victorian adaptation brings us to modern day New York City. Based on Charles Dickens’ novel Oliver Twist, Oliver is a kitten who teams up with a group of dogs in his bid to find a true home within the big city. This film has struggles in its pacing and writing but the animation brings the audience into an urban city that we haven’t experienced before in Disney. It’s a shame that we don’t really get to know any of the characters beyond a single trait and their looks as they provide an interesting foundation for a film that could have been much better if given more time and a higher budget. There are moments that are exciting such as the song “Why Should I Worry?” belted out by Billy Joel, who voices Dodger, Oliver’s first friend who gives him a tour of the city. The two travel around and find themselves in precarious situations but the song acts as a safeguard as they ease themselves through and end up with a string of hot dog sausages at the end. I think that it was a clever idea to bring Dickens into 1980s New York as it is something unexpected and new, but as I have stated, I felt that this film could have brought more than it does.

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28) The Little Mermaid (1989)

The film that helped Disney out of the financial and critical mess it was in. The Little Mermaid, based on the Hans Christian Anderson fairy-tale of the same name, is about a mermaid called Ariel who longs to be a human and what she will sacrifice in order to get there. It’s a beautiful return to the classic Disney films that people love and marks the beginning of fantastic songs written by Alan Menken and Howard Ashman, who would begin to collaborate with Disney through the Disney Renaissance. It’s a film that remains a favourite with fans due to its brilliant songs and charismatic characters. Yet again, Disney provides us with another iconic villain in the form of Ursula, a sea witch who is half human/half octopus. She’s charismatic and relentless in her attempt to get what she wants. I don’t know if there is a more manipulative character in the Disney universe than Ursula. My favourite character is enigmatic crab, Sebastian who tries to act as Ariel’s mentor as she learns about being a princess and controlling her desires. He brings us two of the most memorable songs in the Disney catalogue “Under the Sea” and “Kiss the Girl” but a special mention also goes out to Ariel’s ballad “Part of Your World” which you can’t help but belt out whenever you watch the film.

29) The Rescuers Down Under (1990)

Disney’s first sequel takes us across the world to Australia where Bernard and Bianca travel to rescue a young boy kidnapped by a poacher who is hunting a rare eagle. It’s not a terrible film but it feels like the same concept but placed in a different environment therefore making it predictable and at times dragging. The animation also isn’t as ground-breaking as other films released around this time. It’s an enjoyable film to watch but The Rescuers is a far more superior film. I imagine the reason the studio played it safe and repeated the story was due to the film being Disney’s first sequel and with The Rescuers proving to be a success, they didn’t want to tarnish its reputation. The problem is that although this film was released within the Disney Renaissance, it is often forgotten because compared to the other films released during this time, it is by far the weakest instalment of the non-segmented features so far but then the quality of the rest is so high and it’s a shame to see this film fall short of the mark.

30) Beauty and the Beast (1991)

Disney’s only Best Picture nomination from the Disney Classic catalogue comes in the form of this flawless fairy-tale adaptation of Beauty and the Beast. This is always discussed as one of the best Disney films ever made and with good reason. There are countless memorable songs, flawless character development for both leads and supporting and writing that is perfectly paced. This film feels like Disney going back to its roots and creating a film that is both full of action and full of heart at the same time. The tale of the beautiful Belle, daughter of eccentric inventor, Maurice, is imprisoned in a castle ran by the Beast in exchange to free her father. As their relationship develops, word gets out to the villainous Gaston, the town hunk who loves Belle and wishes to marry her. It’s a film that is simple on the surface but incorporates complex issues underneath making it perfect for people of all ages. It’s a film filled with beautiful animation and intricate details, particularly in the castle as we venture around with the anthropomorphic objects such as Lumiere the candelabra and Cogsworth the clock. It’s a timeless tale of love that has inspired sequels and remakes galore and Disney are constantly releasing merchandise and incorporating the characters in the parks. The songs are the highlight of this masterpiece with songs again written by Alan Menken and Howard Ashman (who sadly passed before the film’s release). It’s legacy will no doubt stand even beyond the 100th film as it proved that The Little Mermaid wasn’t just a fluke and that Disney had managed to reignite its power again.

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Now we’ve entered a truly exciting era of Disney and it’s truly difficult where to place them among the classics! It would be wrong not to recognise the reputation and legacy of The Little Mermaid and Beauty and the Beast in particular because they are still well-loved by people of all ages.

Here is my ranking:

1) Snow White and the Seven Dwarfs (1937)

2) Fantasia (1940)

3) Beauty and the Beast (1991)

4) Sleeping Beauty (1959)

5) Bambi (1942)

6) The Many Adventures of Winnie the Pooh (1977)

7) The Little Mermaid (1989)

8) Alice in Wonderland (1951)

9) The Aristocats (1971)

10) One Hundred and One Dalmatians (1961)

11) Peter Pan (1953)

12) The Three Caballeros (1945)

13) Pinocchio (1940)

14) Dumbo (1941)

15) The Black Cauldron (1985)

16) The Great Mouse Detective (1986)

17) The Jungle Book (1967)

18) The Sword in the Stone (1963)

19) Cinderella (1950)

20) The Rescuers (1977)

21) Robin Hood (1973)

22) Oliver & Company (1988)

23) Lady and the Tramp (1955)

24) The Fox and the Hound (1981)

25) Fun and Fancy Free (1947)

26) The Adventures of Ichabod and Mr. Toad (1949)

27) Saludos Amigos (1943)

28) Melody Time (1948)

29) The Rescuers Down Under (1990)

30) Make Mine Music (1946)

The next blog is another exciting one because we’re delving deeper into the Disney Renaissance featuring more big hitters in the Disney repertoire such as Aladdin and The Lion King.

What did you think of this post and the ranking so far? Let me know in the comments below

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Disney Animated Classics: Numbers 41-45 Ranking

Sorry for the long break! I’ve been so busy that I haven’t found the time to write up my articles. However, I’m back and ready to carry on with my rankings. I’m sure you’re all dying to see the end result!

Riding on the success of the Disney Renaissance, the studio finds itself in a period of cockiness and nostalgia and proves that the overwhelming success of the 90s didn’t just come on a whim. The head honchos believe that now is a good time to release direct-to-video sequels and prequels galore to accompany the re-releases of the classics that are released from the Disney Vault. This is also a time when lots of projects that were overlooked during the Renaissance find their way onto the big screen.

As ever you can read the previous instalments here:

Films 1-5

Films 6-10

Films 11-15

Films 16-20

Films 21-25

Films 26-30

Films 31-35

Films 36-40

The majority of these films were not kindly looked upon critically or commercially compared to the predecessors of the previous decade. I do have a soft spot for this bunch as I went to see all of them in the cinema (with the exception of Home on the Range) and I have fond memories of watching them all on a loop. However, I do admit that they don’t have the lasting legacy that other Disney offerings have and despite being under 20 years old, they are often overlooked.

Without further ado, let’s crack on with the reviews for films 41-45:

41) Atlantis: The Lost Empire (2001)

Disney spared no expense on the production and marketing for this film (between $90-120 million was spent) and it was everywhere you looked. Atlantis was expected to be the next great Disney epic and the media and audience lapped the hype up only to be disappointed by the end result. Following Atlantis enthusiast Milo Thatch (voiced by Michael J. Fox) who embarks on a mission to find the lost kingdom, Atlantis is visually stunning and boasts some of Disney’s finest animation. What this film brings in style, it lacks in substance with a script that doesn’t feel finished. We’re presented with an array of one-dimensional characters but the real star of the show is Atlantis’ Princess Kida who is fascinated by the outsiders and wants to form a relationship with the outside world. It’s a shame that Disney hasn’t followed on her legacy in the past few years as she is overlooked in the Disney Princess canon constantly. This is a film that I thoroughly enjoy watching as there are numerous scenes that I hugely appreciate such as the Leviathan attack on the submarine, the scene where Kida is taken over by the protective crystal and the climatic battle in the volcano where Milo faces off the corrupt soldiers. It’s a film that (like 1985’s The Black Cauldron) deserved better writing and fleshed out characters but ultimately falls flat and has become forgotten with time.

42) Lilo & Stitch (2002)

One of the most loved modern Disney films about a young Hawaiian girl who befriends an alien on the run from his creator, Lilo & Stitch is a heartwarming film about differences and the struggle to fit in. Lilo is a quirky little girl whose hobbies include taking pictures of sunburnt tourists and playing Elvis Presley songs full blast. She is badly bullied by those in her dance class and unknowingly acts out, causing problems for her older sister, Nani who is also her guardian. When social services start to look into taking Lilo away, Nani thinks it’d be good for Lilo to get a pet dog to keep her preoccupied. Enter Experiment 626, the runaway alien who finds himself in the dog kennel. Lilo is immediately taken by his physical differences and ability to speak that she immediately adopts him, names him Stitch and shows him around the island. There’s a reason that this film has become among the most iconic and recognisable of modern Disney. Its message about the importance of family is one that immediately resonates with the audience. The scene in which Nani sings “Aloha Oe” to Lilo as she comes to terms with the prospect that Lilo will be taken away is one of the most heartbreaking and, because of this, daring scenes that Disney have put to screen. This aspect of loss makes the payoff even better when Stitch recites Lilo’s motto that “ohana means family” to Nani. The film is one that has touched hearts around the globe and Stitch is among the most iconic Disney characters of the modern era.

43) Treasure Planet (2002)

A project that had been pushed back for ten years, Treasure Planet finally saw its release in 2002. Featuring an all-star cast that includes Joseph Gordon-Levitt and Emma Thompson and an extortionate budget ($140 million!), this futuristic retelling of Robert Louis Stevenson’s Treasure Island about a young man who comes in possession of a highly-sought treasure map and sets off with a group of pirates to seek it has been subject to countless adaptations throughout the year. Never has this story been told in space where aliens take up most of the characters and the audience is taken across the galaxy in search of an entire planet that is filled with treasure. Utilising computer animation more so than previous films, Treasure Planet attempts to hurl Disney into a new era. Sadly, like Atlantis before it, the result is hugely underwhelming and we’re left with another forgettable entry in the Disney catalogue. I think the script is strong, following the premise of its source material but the style feels inconsistent to me. Visually, it is quite overwhelming as there is a lot going on. It’s a world inhabited by humans, aliens, traditional structures and futuristic architecture. It feels like a mesh of the past and the future which comes across disjointed as there isn’t a middle-ground. 

44) Brother Bear (2003)

Made on a more modest budget of $46 million, Brother Bear follows Kenai, a young tribesman who is transformed into a bear after recklessly hunting down and killing a bear in the mountains of the spirits. Joined by young cub, Koda, Kenai must find his way back to the mountain in order to be turned back. The film is definitely a middling effort and feels rushed in execution. My favourite aspect of the film is the great soundtrack that includes songs by Phil Collins and the mesmerising track “Transformation” sang by the Bulgarian Women’s Choir. The scene in which Kenai is transformed is beautifully done and it’s a shame that the rest of the film doesn’t follow that standard. It’s an enjoyable watch but doesn’t hold its own against the greater works by Disney. It’s a shame that it wastes such a talented cast that includes Joaquin Phoenix as Kenai and Rick Moranis making a rare return to voice work as one half of a randomly included moose duo. It feels that the tone is imbalanced throughout as there is a serious undertone that is constantly overthrown by characters such as the moose. Their humour doesn’t fit in well and it makes the overall experience jarring.

45) Home on the Range (2004)

By far one of the worst films ever to come out of the Disney studio, Home on the Range follows a group of cows who attempt to capture a cattle rustler called Alameda Slim. I enjoyed this film on release but sadly I don’t enjoy it at all watching it now. It’s forgetful and doesn’t have the same amount of Disney charm as the other instalments. The plot is weak and generic and the characters are bland. Featuring voice work by Judi Dench, Jennifer Tilly and Randy Quaid among others, Home on the Range falls into the trap of style over substance and suffers tremendously for it. Continuing the trend for middling efforts and released among a fleet of direct-to-video sequels and prequels, Home on the Range doesn’t stand out for its mundane effort. Sadly, there is a reason why Home on the Range is always forgotten and eschewed in Disney marketing and merchandise. There isn’t anything in the film that is marketable or memorable for the audience.

It’s mad to think that there are only two more posts left in this series until we’re up to date. The next post sees Disney delve into computer animation with Chicken Little (2005) and Meet the Robinsons (2007) and enter a new era of Disney masterpieces with The Princess and the Frog (2009) and Tangled (2010)

Here is my ranking:

1) Snow White and the Seven Dwarfs (1937)

2) Fantasia (1940)

3) Beauty and the Beast (1991)

4) Sleeping Beauty (1959)

5) Bambi (1942)

6) The Many Adventures of Winnie the Pooh (1977)

7) The Lion King (1994)

8) Mulan (1998)

9) The Little Mermaid (1989)

10) Alice in Wonderland (1951)

11) Aladdin (1992)

12) The Aristocats (1971)

13) One Hundred and One Dalmatians (1961)

14) The Emperor’s New Groove (2000)

15) The Hunchback of Notre Dame (1996)

16) Lilo & Stitch (2002)

17) Peter Pan (1953)

18) The Three Caballeros (1945)

19) Pinocchio (1940)

20) Pocahontas (1995)

21) Tarzan (1999)

22) Dumbo (1941)

23) Hercules (1997)

24) The Black Cauldron (1985)

25) Atlantis: the Lost Empire (2001)

26) The Great Mouse Detective (1986)

27) Treasure Planet (2002)

28) Brother Bear (2003)

29) The Jungle Book (1967)

30) The Sword in the Stone (1963)

31) Cinderella (1950)

32) The Rescuers (1977)

33) Robin Hood (1973)

34) Oliver & Company (1988)

35) Lady and the Tramp (1955)

36) The Fox and the Hound (1981)

37) Fun and Fancy Free (1947)

38) The Adventures of Ichabod and Mr. Toad (1949)

39) Saludos Amigos (1943)

40) Melody Time (1948)

41) Fantasia 2000 (2000)

42) The Rescuers Down Under (1990)

43) Make Mine Music (1946)

44) Home on the Range (2004)

45) Dinosaur (2000)

 

What do you think of the list? Do you think I’ve been too harsh on these entries? Let me know in the comments below!

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Disney Animated Classics: Numbers 21-25 Ranking

This post looks at the film that continues the Disney legacy after his death. All of the films from now on are conceptualised and created without any input from Disney at all. We see a surge in humanised animals with some films pulling this off more successfully than others. This period was quite a dark time for the studio because the films were not well-received critically with the exception of The Many Adventures of Winnie the Pooh. I still enjoyed watching all of these films when I was younger and although they may not rank as highly as others have, there is plenty to love about these offerings.

Here are the previous rankings:

Films 1-5

Films 6-10

Films 11-15

Films 16-20

Let’s go ahead and look at Disney films 21-25:

21) Robin Hood (1973)

The first film post-Disney is another Medieval tale. The story of Robin Hood, the man who stole from the rich to give to the poor in a bid to rebel against the corrupt, thumb-sucking Prince John, is retold with animals. The film contains repeated sequences such as the dance scene taken from Snow White as well as familiar characters such as Robin’s sidekick, Little John, who is just like Baloo from The Jungle Book (both characters were voiced by Phil Harris) and Sir Hiss who is very similar to Kaa, also from The Jungle Book. It’s a fun film to watch with plenty of action and lots of different characters to root for which is great for the majority of the film; however, there are some scenes where the action can be a little too chaotic, mainly when there is a conflict. It’s hard to focus where Robin is because there are so many characters. My favourite supporting character is Toby, a shy turtle who is whisked on an adventure to meet Maid Marion, Robin’s true love. I think a lot of the films made during this decade suffer from a lack of character development which could be due to shorter running times which don’t last longer than 90 minutes. This is particularly problematic when you have multiple characters to develop and could be why the studio decided to create similar characters to what the audience has seen before. Nevertheless, it is a enjoying film to watch and has earned its cult following in recent years.

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22) The Many Adventures of Winnie the Pooh (1977)

One of the most classic Disney films featuring an ensemble of iconic Disney characters and adapted from the stories by A.A. Milne, The Many Adventures of Winnie the Pooh follows young boy, Christopher Robin and his animal friends who live in the Hundred Acre Wood, including Winnie the Pooh, a lovable bear with an addiction to honey. With the addition of the adorable Piglet and the gloomy Eeyore among others, the group go on lots of adventures. The stories are lovely and enjoyed by people of all ages, my favourite in this film is “Winnie the Pooh and the Blustery Day” in which we see the introduction of hyperactive tiger, Tigger, who baffles Pooh with his talk of “Heffalumps and Woozles” that steal honey. Pooh’s nightmare, including the song “Heffalumps and Woozles” is genuinely terrifying as he fights to protect his honey. It has a similar, trippy tone to “Pink Elephants” from Dumbo. Disney’s adaptations of Winnie the Pooh is globally adored and I can’t imagine how much money the studio has made from the merchandise based off it. I think that The Many Adventures of Winnie the Pooh is a film that is timeless and could be introduced to any generation and loved accordingly. What makes it so accessible is its ability to teach life lessons without feeling like a lecture and also there are no real villains. Each character has their positives and negatives which makes them more relatable to the audience.

23) The Rescuers (1977)

Disney’s second release in 1977 is a lot darker in tone than its predecessor. The Rescuers follows two mice, Hungarian aristocrat, Bianca and bashful cleaner, Bernard as they embark to the Deep South to rescue a little girl from her abusive aunt. Much like the recent offerings from the Disney studio, there are an array for animals that we encounter aside from the mice, including the lovable dragonfly, Evinrude. The film was pitched in 1962 but Walt Disney shelved it due to its political content. It feels as though the writers were away of this and tried to tone Penny’s background and the abusive relationship down but this is creates a flaw in the film. By attempting to simplify the politics in the film actually creates an imbalance in the writing. The scene in which Penny is forced underground to retrieve a huge diamond is terrifying and the tone of this scene should have been carried throughout the film but when this scene happens, it appears out of place. I do enjoy watching this film, particularly the aforementioned scene as it does bring something new to the table. The villain, Madame Medusa, is Penny’s abusive aunt who is a greedy individual willing to do anything to be rich. Her ruthlessness and evil nature make her a Disney villain who is often overlooked. She also has two pet crocodiles which makes her all the more terrifying to me. The Rescuers is often referred to as the first Disney film to spawn a sequel, The Rescuers Down Under. This film was a huge success critically and commercially on release and it’s a real shame that, despite its shortcomings, it appears to be forgotten as a Disney classic.

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24) The Fox and the Hound (1981)

Following the success of The Rescuers, the Disney studio decided to bring another sombre topic for its next feature. The Fox and the Hound is a tale of friendship between two unlikely animals (I’m sure you can guess who) and how nature tears them apart as they grow up with Tod the fox being th;e target for Copper. This film has a starry cast including Mickey Rooney and Kurt Russell as Tod and Copper, respectively. It’s definitely not among the best films Disney has released but it’s beautifully drawn and the passion for the story is there. I think the film’s shortcomings come from the writing. It feels too fast-paced for a film that is all about characters. The titular characters should be more fleshed out than they are beyond the simple hunter/hunted dynamic that they ended with. Since the film is set within a forest, it could have been easy for Disney to create similar characters as Bambi, but they probably learned from Robin Hood and its similarities to The Jungle Book and created the characters and their personalities from scratch. Even Big Mama, a caring owl is the polar opposite of Friend Owl from Bambi. The Fox and the Hound is a film that definitely has flaws but it makes up for this with its heart.

25) The Black Cauldron (1985)

The first PG rated film in Disney history, The Black Cauldron is often known as the film that almost bankrupted the company. Set within a Medieval Welsh landscape, the film follows Taran, a young peasant boy who longs to be an Arthurian style hero. When tasked with hiding his master’s psychic pig from the evil Horned King, Taron finds himself in a world beyond his depth as he battles against the evil that threatens the land. It’s a film of extreme fantasy, filled with mythical creatures. The extravagant budget was used on top notch animation, leaving the substance high and dry in a bid to save the studio from its recent failures. The brilliant thing about this film is that it isn’t afraid to get dark and ugly, which is something that appealed to me when I was younger. Despite its mixed reaction, I love this film a lot and always enjoy watching it for the detail. I agree with the criticism that the narrative and characters fall flat, but the animation is pushed past the edge and brings the audience something new and revolutionary that hadn’t been seen since the first few Disney films. Also, I must mention the brilliant voice work by the late John Hurt who adds a layer of terror to the evil Horned King. I don’t think that this film gets the praise it truly deserves for its contribution to animation. There are numerous scenes that I love, particularly those that take place at the Horned King’s castle. It’s a film that inspires me in terms of how far the envelope can be pushed.

black-cauldron

Now we’re well into the Disney ranking journey and it’s getting harder and harder to slot the films into the table because the quality is so high.

Here is my ranking:

1) Snow White and the Seven Dwarfs (1937)

2) Fantasia (1940)

3) Sleeping Beauty (1959)

4) Bambi (1942)

5) The Many Adventures of Winnie the Pooh (1977)

6) Alice in Wonderland (1951)

7) The Aristocats (1971)

8) One Hundred and One Dalmatians (1961)

9) Peter Pan (1953)

10) The Three Caballeros (1945)

11) Pinocchio (1940)

12) Dumbo (1941)

13) The Black Cauldron (1985)

14) The Jungle Book (1967)

15) The Sword in the Stone (1963)

16) Cinderella (1950)

17) The Rescuers (1977)

18) Robin Hood (1973)

19) Lady and the Tramp (1955)

20) The Fox and the Hound (1981)

21) Fun and Fancy Free (1947)

22) The Adventures of Ichabod and Mr. Toad (1949)

23) Saludos Amigos (1943)

24) Melody Time (1948)

25) Make Mine Music (1946)

As always, let me know what you think of the films discussed in this blog and where you would rank them! Comment below!

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Disney Animated Classics: Numbers 16-20 Ranking

Continuing with the Disney rankings, this post is all about the last bunch of films before Disney’s death in 1966 (The Aristocats was the last film he approved). A mix of legends and contemporaries, these films remain favourites and have been the subject of remakes in recent years due to their followings.

This period of films sees my favourite animation in the entire Disney catalogue. Even after gaining a reputation as the frontrunner in animation, Disney is still trying to incorporate different styles to match the context of the films. Beginning with Sleeping Beauty’s Medieval setting which makes way for a glorious tapestry of block colours and simple shapes that is immediately striking and bold to the charming early 1900s Parisian setting of The Aristocats which brings a more classic style with it’s beautiful textured animals and heavy use of brush strokes and pastel colours.

Here are the other links if you haven’t read them:

Films 1-5

Films 6-10

Films 11-15

Here we go with films 16-20:

16) Sleeping Beauty (1959)

Initially a box office bomb on release, Sleeping Beauty has grown into one of the most loved Disney films due to its charm and beautiful animation style. Telling the story of a young princess who is forced into hiding to avoid an evil fairy’s spell is a fairy-tale that everyone is familiar with. When Princess Aurora pricks her finger on a cursed spinning wheel, she falls into a deep sleep that can only be woken by true love’s kiss. The film home to arguably the most iconic Disney villain, Maleficent, who is my personal favourite villain in any Disney films. Like Snow White, I was fascinated with this film from an early age due to the fact that it terrified me with Maleficent’s ugly henchmen keeping me up at night. Not to mention getting me into the habit of checking the fireplace in case Maleficent was in there. The protagonist, Briar Rose, is a pretty one-dimensional character whose wish is to meet the love of her life; however, the film more than makes up for this shortcoming with the supporting characters of Maleficent and the three fairies, Fauna, Flora and Merryweather. The animation in this film is also arguably my favourite featuring some of the most beautiful sequences in the Disney repertoire such as the fairies blessings at the start and Prince Phillip’s battle with the dragon at the end.

sleepingbeauty

17) One Hundred and One Dalmatians (1961)

Pongo and Perdita are two dalmatians living in London with their owners, Rodger and Anita. When Perdita gives birth to puppies, we are introduced to another Disney villain that has become instantly recognisible. The notorious Cruella de Vil is a lover of furs and plans to use the puppies’ furs to create a Dalmatian coat for herself. When she hires two men to kidnap the puppies, it is up to Pongo and Perdita to rescue them and bring them back home. Like Sleeping Beauty before it, the animation in this film is so unique and suits the London backdrop beautifully. The scenes in the countryside where the puppies are hidden is particular beautiful and quaint which is disrupted in the iconic scene when Cruella speeds done the road in a manic state. It’s a hugely enjoyable film that does a great job of creating identifiable characteristics for the main 12 puppies which is a tricky feat to do in a film that is 80 minutes long.

18) The Sword in the Stone (1963)

The Sword in the Stone is based on the novel of the same name about squire, Arthur, who is tutored by wizard Merlin while living with his foster father and brother, who is due to fight in a tournament to become the King of England. This film is often overlooked for a number of reasons. Although it is enjoyable to watch, the lack of narrative doesn’t fit with this particular story. The animation is fantastic as ever, particularly when Merlin is staying in the tower on a rainy night. The film’s faults lie in its heavy use of animal scenes compared to memorable human characters (with the exception of Merlin and Madam Mim) and the character of Arthur isn’t fleshed out well enough for the film. The fight between Merlin and Madam Mim is brilliant to watch bringing a nice element of fun that had been missing beforehand.

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19) The Jungle Book (1967)

Disney’s retelling of the Rudyard Kipling classic follows Mowgli, a boy raised by wolves in the Jungle as he grows up and struggles with his identity all while escaping the wrath of the evil Shere Khan, a tiger who wants to eat Mowgli. Featuring the lovable Baloo, a bear who befriends Mowgli and shows him the way of the jungle, hypnotic snake Kaa and the elephant colonels, The Jungle Book seems to be the complete opposite of One Hundred and One Dalmatians, allowing the animators to cross continents and create the jungle. The animation style is more traditional like Dumbo and Cinderella but there is so much detail in the environment that it was a good choice not to make it over-styled or overcomplicated. One unique inclusion in this film is the incorporation of four vultures who are inspired by The Beatles which is unusual in Disney as the classics rarely incorporate popular culture.

20) The Aristocats (1971)

The last film to be approved before Disney’s death, The Aristocats tells the story of 3 aristocrat kittens who are kidnapped by a jealous butler, Edgar, when he finds out they are inheriting the entirety of their owner’s estate. The kittens’ mother, Duchess finds the kittens and together they embark to return to Paris with the help of alley cat, Thomas O’Malley. It’s a simple yet charming tale that is filled with memorable characters. The three kittens in particular are among my favourite characters in Disney. The film is also home to some lovable songs as well with my favourite being “Scales and Arpeggios”. The brilliant use of the paints in the songs bring literal splashed of bright colour that work brilliantly with the pastel backgrounds. There is an array of supporting characters across the animal kingdom from Roquefort, the friendly mouse to Napolean and Lafayette the suspicious dogs on a mission to hunt down Edgar and the brilliant Uncle Waldo, a goose who is found in Paris to be heavily drunk from a sauce he was due to be cooked with. It’s often seen as a middling effort from the Disney studio but I personally love this film a lot and remember watching it on repeat when I was younger.

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Now we’ve come to the end of the films approved by Disney before his death, but where do they rank?

Here is my ranking:

1) Snow White and the Seven Dwarfs (1937)

2) Fantasia (1940)

3) Sleeping Beauty (1959)

4) Bambi (1942)

5) Alice in Wonderland (1951)

6) The Aristocats (1971)

7) One Hundred and One Dalmatians (1961)

8) Peter Pan (1953)

9) The Three Caballeros (1945)

10) Pinocchio (1940)

11) Dumbo (1941)

12) The Jungle Book (1967)

13) The Sword in the Stone (1963)

14) Cinderella (1950)

15) Lady and the Tramp (1955)

16) Fun and Fancy Free (1947)

17) The Adventures of Ichabod and Mr. Toad (1949)

18) Saludos Amigos (1943)

19) Melody Time (1948)

20) Make Mine Music (1946)

My next blog begins to focus on the films created post-Disney. This period is known for producing underwhelming films pre-Renaissance so it will be interesting to see where they will rank.

What do you think of the ranking? What are your favourites? Let me know in the comments below!

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Disney Animated Classics: Numbers 11-15 Ranking

The next bunch of films see a return to the classical format of animated offerings based on 19th and early 20th century classics (with the exception of Cinderella). This blog also looks at some of the most controversial films in the catalogue for its racist depictions of Native American Indians (Peter Pan) and Asian stereotypes (Lady and the Tramp) as well as misogynistic qualities that will sadly become even more so prevalent in Disney animations. The films, however, have stood the test of time and remain among the most loved classics in the Disney repertoire.

As ever, here are the links to previous installments:

Films 1-5

Films 6-10

Here we go with films 11-15:

11) The Adventures of Ichabod and Mr. Toad (1949)

I don’t know if there is a darker tone in the Disney catalogue than the “Ichabod Crane” segment in this collection. Consisting of two segments inspired by The Wind in the Willows and “The Legend of Sleepy Hollow”, this is the last of the segmented features found in the Disney collection. I would watch this on repeat when I was younger and “Ichabod Crane” certainly made an impression in terms of how I see films today and approach them. It taught me that you don’t always need the happy ending that is usually given in family films and can be dark without being overtly scary. I am not as fond of The Wind in the Willows segment as much but I still find it a joyful treat to watch. Telling the story of Mr. Toad, an eccentric proprietor and his friends, Ratty and Moley, who are tasked with finding him before he gets himself in serious trouble, The Wind in the Willows follows Mr. Toad as he finds himself eventually jailed for car theft despite being framed. This differs greatly to the following segment of “The Legend of Sleepy Hollow” where Ichabod Crane moves to the lazy town of Sleepy Hollow where he tries to woo Katrina von Tassel in a bid to take her family inheritance while also being bullied by Brom, the village hero who also loves Katrina. It’s a film littered with flawed characters but this adds to the suspense as the audience doesn’t know who to trust.

12) Cinderella (1950)

Probably the most iconic Disney princess, Cinderella is the classic fairy-tale about a young girl subjected to servitude at the hands of her Evil Stepmother and Ugly Stepsisters. With the help of her Fairy Godmother, Cinderella attends a ball where she meets a prince before leaving her glass slipper. The palace search for the mysterious woman who captured the prince’s heart and the glass slipper is tried on by every woman claiming to be the woman. However, Cinderella puts the slipper on and they live happily ever after. There is no doubt that this film is a classic and for good reason. It is a simple film with likable animal sidekicks and a strong moral purpose; however, I believe that there are a lot of better films that captured my imagination as a child. I always enjoy watching Cinderella but it has never been among my top favourite Disney films simply because I find that there is more development given to secondary characters than primary characters. Ultimately, we learn more about Jacques and Gus more than Cinderella herself. Her character is supremely passive with events simply happening to her rather than her actually doing anything herself. Whereas Snow White shows an achievement in the animation field as a whole, I completely appreciate that she too is a passive character but what separates it for me is that there are fantastic sequences throughout the film such as when she flees the huntsman whereas Cinderella doesn’t do anything spectacular in the animation that we haven’t seen before.

13) Alice in Wonderland (1951)

The most famous adaptation of the classic Lewis Carroll novel, Alice in Wonderland follows the titular character as she delves in an absurd world filled with the unlikeliest of characters from the White Rabbit to the evil Queen of Hearts. Filled with lots of songs that have stood the test of time such as “Golden Afternoon” and “Painting the Roses Red”, it is a film filled with colour and nonsense and knows it. Disney makes the most of the bonkers plot by allowing the animators to create the most unimaginable creatures such as those found in the forest. Characters such as the Cheshire Cat and the Madhatter are also designed brilliantly with the former being among the most recognisible of Disney characters.

14) Peter Pan (1953)

Peter Pan tells the story of Wendy Darling and her brothers, John and Michael, as they venture to Neverland with Peter Pan, a young boy who never grows up. It is probably the trickiest Disney film to write about because it spawned some of the most iconic characters including Tinkerbell and the film itself is loved around the world; however, its damaging representation of Native American Indians and misogyny throughout the film make it an uncomfortable film to watch. The infamous scene I am talking about in particular is when Peter and co are celebrating the return of the Chief’s daughter, Tiger Lily in what is a highly racist collection of stereotypes with every aspect of Native American Indian culture being ridiculed. I thoroughly enjoy every other part of the film, particularly the baddies Captain Hook and Mr. Smee and a special mention to the Crocodile who I am convinced spawned my fear of alligators and crocodiles. It’s a film that I remember watching frequently and I think it sparked my imagination and writing. I love the scene when we see Captain Hook’s reaction to the Crocodile for the first time. It’s comical and terrifying at the same time but it’s the fear that keeps me going back to watch it, very much like Snow White.

15) Lady and the Tramp (1955)

Now for a film that is simultaneously classic but always understated and quite forgotten a lot of the time compared to other offerings. Lady and the Tramp is about an upper class spaniel called Lady who falls for a stray dog, Tramp and the two fall in love despite their different backgrounds. It’s a clever take on classicism during a time in which society was very much torn in the aftermath of the war. As Lady begins to venture out of her comfort zone, her character becomes three dimensional as she becomes fearless and most importantly flawed in a world that expects her to be perfect. Again, much like Peter Pan, we see another racist trope in the form of the infamous Siamese cats who are the epitome of Asian stereotypes. Their appearance and song is frowned upon in modern times and again is uncomfortable to watch. Thankfully, their appearance doesn’t last long and we are served with famous songs like “Bella Notte” and “He’s a Tramp”. With a remake in the works to be released this year, this is a love story that has stood the test of time and can melt the hardest of hearts.

So that’s films 11-15 reviewed with some of the most famous Disney films covered. As you can see, Disney appear to have fully recovered financially and critically from the segmented offerings made during and after the war.

Here is my ranking:

1) Snow White and the Seven Dwarfs (1937)

2) Fantasia (1940)

3) Bambi (1942)

4) Alice in Wonderland (1951)

5) Peter Pan (1953)

6) The Three Caballeros (1945)

7) Pinocchio (1940)

8) Dumbo (1941)

9) Cinderella (1950)

10) Lady and the Tramp (1955)

11) Fun and Fancy Free (1947)

12) The Adventures of Ichabod and Mr. Toad (1949)

13) Saludos Amigos (1943)

14) Melody Time (1948)

15) Make Mine Music (1946)

The next blog looks at the last bunch of films made and approve before Disney died including classic favourites, Sleeping Beauty and The Jungle Book. Check it out and see where the films rank!

Do you agree with the ranking so far? What are your favourites from this blog? Let me know in the comments below!

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The Man Who Knew Too Much (1956)

On hearing the news that icon Doris Day had died yesterday, my mind immediately went to some of her greatest roles like Calamity Jane (1953) and Pillow Talk (1959); however, I always found myself most affected by her brilliant performance as the mother looking for her kidnapped son in Alfred Hitchcock’s The Man Who Knew Too Much. A remake of Hitchcock’s 1934 film of the same name, this Hollywood remake stars James Stewart and Doris Day as a husband and wife whose son, Hank, is kidnapped while they are holidaying in Morocco. It is revealed that their son is being used as a pawn while the kidnappers plan to assassinate an important ambassador during his visit to London. It’s a film that shows the importance of family in a time of politically turmoil that feels just as relevant in its post-war 1956 as it did in pre-war 1934.

The Man Who Knew Too Much is my favourite Hitchcock film and much of it is attributed to Doris Day in her role as Jo Conway McKenna. The role is clearly tailored for Day as she plays a professional singer. This may not seem like a stretch as we watch her beautifully sing the Oscar-winning song “Que Sera, Sera (Whatever Will Be, Will Be)” but this changes the moment Hank is kidnapped. Day effortlessly brings an emotional depth to her character that she hadn’t really displayed earlier in her career, showcasing her talents as a dramatic actress. In particular, her acting in the final act of the film shows an explosion of all these emotions and her distress and longing to see her son are brought to her heart-breaking final performance of “Que Sera, Sera” that seems worlds away from the performance at the beginning of the film.

Made with a large Hollywood budget, Hitchcock makes use of multiple locations across two continents and yet somehow, the murder scene that place in the open market of Marrakesh feels equally as claustrophobic as the climatic orchestral scene in the Royal Albert Hall. Hitchcock never allows the audience to let their mind wander in his films as we are quickly assured not to trust anyone. One of my favourite locations used is a small Taxidermist’s shop and the struggle James Stewart has escaping the workers is tense as he is almost stabbed by a swordfish. Another intense scene that is recreated in the remake is the chapel scene in which the protagonists discover that the kidnappers run a local church. As the mass is under way, they clear stand out in the congregation and it is only a matter of time before they have their confrontation with the criminals. Everything about this scene in both the original and remake is brilliantly done because Hitchcock ensures that everything is directed slowly. There isn’t much physical movement as the mass takes place, the hymns are slow and droll with the speaker calm and paced in his sermon. The suspense is driven up until the moment everyone has left and they are the last visitors in the church.

It would be a true crime not to talk about the music in depth. Aside from its Oscar-winning hit that became synonymous with Day throughout her life, music is also integral to its film because it is used for the climatic moment during the assassination attempt. As in the original, it is the clash of cymbals that signals the shot. The kidnappers play the piece on a record player beforehand so the audience knows the moment. This is a clever move on Hitchcock’s part because we then know the moment when the shot will occur. Opposed to the suspense of the chapel scene, the Albert Hall scene is faster paced as the music quickens and the camera shifts between the gunman, Day, the ambassador and the orchestra. I feel that Hitchcock improved on this scene from the original as he used the same musical piece but it feels that the suspense is really played out and the production feels bigger as a whole which I feel the original lacked.

It’s a shame that this film isn’t discussed as much as some of Hitchcock’s other films because although it’s not a horror in the traditional sense of the word (ie. Psycho and The Birds), it still contains elements of horror from the writing and directing. I think it is a film that shows Hitchcock not only pushing boundaries on filmmaking but also showing how he is willing to improve on his own work.

What is your favourite Hitchcock film? Let me know in the comments below!

Doris Day, 1922-2019