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liskantope · 4 years

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Some briefer(?) reactions to major Disney films 1989-1998

I consider the Disney Renaissance (around the period I refer to in the above title) to have been the last official leg of my chronological journey through major Disney features through Disney+ (for this one I need to mention that I’m excluding CGI animated ones on this journey, except when I feel like watching them on the side). I logged some thoughts on the films I watched in the two earlier legs of the journey here and here, where honestly I intended my notes to be short and not turn into full-blown mini-essays for each movie. Those posts turned out to be major timesucks and I can’t afford that now, but I thought I’d jot down a hodgepodge of reactions and just be briefer and sloppier about it. I feel like I have overall less to say about this set of films anyway, since they’re pretty much all very high-quality and are talked about extensively in the cultural discourse much more than films from Disney’s earlier eras.

As I was still trying to stick to taking one day for each year in the Disney Studios timeline and major film production by Disney picked up pace a lot at the start of this era, I wound up doing a rather intense marathon of one full Disney movie each evening: over ten evenings (corresponding to the years 1989 through 1998), I watched the ten movies The Little Mermaid, The Rescuers Down Under, Beauty and the Beast, Aladdin, The Nightmare Before Christmas, The Lion King, Pocahontas, The Hunchback of Notre Dame, Hercules, and Mulan. I would have watched Tarzan the following evening, but I had very recently sort of re-seen it when it came on Netflix -- I didn’t see it for the first time until an outdoor event near the end of grad school not that many years ago; I didn’t bother paying full attention on seeing it the second time a couple of months ago and couldn’t much get into it on the second viewing.

The thing about the ten major animated Disney movies on this list is that, while I can’t say I love all of them, the uptick in quality is dramatic right from the start and never wavers. Every single one of these films just seems objectively better than Pete’s Dragon, The Fox and the Hound, or Oliver and Company. This will help me be a little shorter-written when talking about them, as it’s easier to expand on specific criticisms than to wax on about how great something is.

[EDIT: Okay, these still turned out pretty long and more on the polished side. Guess I’m just not that capable of being brief and sloppy.]

The Little Mermaid, 1989

Although we didn’t have the video at my house growing up, I somehow knew The Little Mermaid quite well; I guess I watched it quite a few times. I went a gap of many years before seeing it again in college (I’m fairly certain that my college girlfriend and I watched it together, in fact). My reaction at the time was that although it was well enough done with good music, the story was terrible. This was right around the time I watched a performance of Once on This Island, a musical based on Hans Christian Anderson’s “The Little Mermaid” on which, of course, the Disney movie was based. I thought the tragic tale told in Once on This Island was beautiful and scorned The Little Mermaid for cheapening it. In fact, my opinion was quite scathing in the way that my opinions more often were when I was younger. So I was a little wary on watching it again.

I’ve mellowed out since my college days and don’t hate the story quite as much now -- in particular, I can’t really blame Disney for Disnifying a mature tragedy into a more lighthearted tale with a happy ending -- but I still think it’s kind of bad. We’re back to Disney princesses (I think for the first time since my first round of Disney films?), this time with a Disney princess who had goals that didn’t involve meeting her prince, until she actually meets him and every other interest, including staying in the world she grew up with where to which all the people who ever loved her or knew her are confined, giving up her voice, and drastically changing her physical form. And this is all for a prince character of flatly generic personality who is superficial and dim-witted enough that he only knows his true love by her voice. (I don’t understand why this isn’t the Disney Renaissance-era film that routinely gets criticized for being anti-feminist rather than... a certain other one also on this list.) Also, while King Triton isn’t by any means a flat character, his sudden turnaround at the end and almost lightheartedness at saying goodbye to his daughter presumably forever doesn’t quite feel right.

I was very surprised at how much I’d completely forgotten among plot events and certain scenes in the movie. For instance, as the action neared the climax, I really had no memory of how Ursula would be defeated and watching it didn’t jog my memory.

This is the first of several films on this list where I noticed a sample of what I’m starting to think of a set of 90′s sitcom/romcom tropes, in this case the situation of the romantic leads courting very publicly with all the other characters watching and cheering it on and working behind the scenes to help it happen. This shows up again in Beauty and the Beast and (to a slight degree) Aladdin below.

Great music of course, even slightly better than what I remembered. Fun fact: you know that “Part of Your World” song, almost certainly the most widely popular in the film, the one that musical theater kids at my (and maybe your) middle school always used for auditions? Apparently it was almost cut from the film, mainly because it was shown to a test audience of little kids who all fidgeted and got visibly distracted.

The Rescuers Down Under, 1990

I don’t have too much to say about this one, the first Disney sequel ever. I had only ever seen the first Rescuers before and, as my previous set of reviews indicates, didn’t particularly like it, but came in to this one a little more optimistic since some consider it better than its predecessor. They aren’t wrong -- this movie was similar to The Rescuers but better, I think. Although the villain was just as forgettable, the setting was far more enticing (at least to someone like me who has never been to Australia and thinks of it as exotic), and the dynamic between the main mouse characters was more engaging. Here we have another subplot that somehow reminds me of a 90′s-ish sitcom/romcom, with the aborted marriage proposals and a love triangle -- not that love triangles hadn’t featured in movies for decades, but something about how this one was done felt distinctly more modern.

Beauty and the Beast, 1991

Ah, this is not only one of the Disney movies I saw the most as a kid but one which has only grown on me as I’ve gotten older -- I consider it one of the most groundbreakingly beautiful of the animated classics ever made, one of my very favorite Disney productions of all time. We got the video when I was only five or so; I remember distinctly that it came out on home video (right after coming out in theaters) right around the same time that 101 Dalmatians came out on home video and that my mom explained to me that she was choosing to buy Beauty and the Beast instead because of its superior music. She was right about this -- not that 101 Dalmatians has bad music, but it’s hard to measure up to Alan Mencken’s masterful compositions for Beauty and the Beast. For me it solidly ranks in the top three Disney movie soundtracks ever, one of the others being that of Mary Poppins and the third being from an easily-predictable film later on this list.

I’m pretty sure I remember watching portions of this movie every morning for weeks before leaving for kindergarten (this is what makes me think we got it when I was five), and I continued to enjoy it throughout childhood. I next watched it when I was much older, but I can’t remember exactly when. During college I got hold of the soundtrack of the musical, which since has been one of my favorite musical soundtracks to listen to. I never actually got to see the musical until last December when it was showing in my hometown, and I thought it was excellent. Interestingly, there were a number of scenes that I assumed had been added for the musical but I had actually forgotten were in the movie -- unlike with certain Disney musical films *ahemMaryPoppinsahem*, they didn’t take many liberties with the musical except to add a number of new (very good) songs.

Leaving aside the top-notch music and exquisite animation, the story in my opinion is one of the most beautiful and distinctively memorable stories Disney has ever told, not to mention entertaining without every being silly or over-the-top. It speaks of compassion, drawing out core goodness from an ugly exterior, and the fact that, to quote the enchantress from the start of the tale, “beauty comes from within”. Belle is also, to my mind, the most feminist Disney protagonist ever to be seen up to that time, which is why I get super super annoyed that so many people point to this movie loftily shouting “Stockholm Syndrome!” I feel it’s kind of inevitable that I quickly address that here, even though I’ve brought it up on this blog several times before. (Also, for an excellent takedown of the “Beauty and the Beast is a sexist story because Belle has Stockholm’s Syndrome” take, see this video essay of Lindsay Ellis.)

When watching the musical last winter I kept an eye out for justification for the Stockholm’s Syndrome take that I might not have remembered and couldn’t find any, but it pains me to admit that I did find a smidgen of justification, for someone determined to be a bit uncharitable, in a particular bit of dialog from the movie. I don’t recall it appearing with quite that wording in the musical, although it’s entirely possible that the musical has those exact same lines and I just wasn’t being observant. Here it is:

BELLE: What did you say?

BEAST: I release you. You’re no longer my prisoner.

BELLE: You mean... I’m free?

BEAST: Yes.

BELLE: Oh, thank you. Hold on, Papa. I’m on my way. [tries to hand mirror to BEAST]

BEAST: Take it with you. So you’ll always have a way to look back... and remember me.

BELLE: [in sweet, deeply moved tone] Thank you for understanding how much he needs me.

So okay, maybe Belle comes off as showing just a bit too much unqualified gratitude here, an oversight that the writers circa 1990 clearly should have avoided in case diagnosing female characters with Stockholm’s should ever become trendy twenty-something years later. But this could be remedied by a quick rewrite of the dialog in that one scene; it’s not as though the whole plot has to be changed away from its inherently misogynistic nature.

And that’s all I want to say on that one aspect of this absolute gem of a Disney production. Despite a few minor issues I noticed, such as Maurice being a little too innocent and helpless, and it lacking my very favorite line from the musical (“Belle don’t you recognize the beast within the man who’s now before you?” at the end), Beauty and the Beast comes about as close to perfection as it gets.

Aladdin, 1992

Although I didn’t see this major blockbuster hit when it first came out -- it was probably considered a bit too intense for me at kindergarten age -- this is the first time that I was aware on some level that a particular Disney movie was a new release. (One of my few sharp memories of kindergarten recess was a boy standing on a stump or low piece of playground equipment making proclamations to passersby for minutes at a time that alternated between, “You are a street rat!”, “You were born a street rat!”, and “You will die a street rat!”, and how this made me consciously contemplate the concept of present/past/future tenses for the first time.) When I saw it, I loved it -- it was clearly the most exciting animated movie out there. At some point in childhood I thought it was bested by its sequel, but a few years later as a teenager I decided that the tightly resonant plot of the original Aladdin made it the best Disney movie ever. I’ve definitely mellowed out my opinion on this, as Aladdin certainly has flaws and some other features are more deeply meaningful to me as an adult, but I still hold up Aladdin as one of the greats. I saw at least parts of it as an adult on TV and saw it very recently prior to getting Disney+ when it appeared briefly on Netflix, but I was perfectly happy to rewatch it yet again on Disney+ the evening after watching its predecessor as Aladdin is fun and entertaining every time.

In this animated production we have finally topped The Great Mouse Detective in terms of animated action. We have topped most movies that ever came out prior in terms of a manically funny yet also soulful character in Robin Williams’ role as the genie. The story is excellent, apart from having only one female character, and my being bothered just a little by the slough of magic tricks dominating the action towards the end -- I tend to prefer universes where magic requires scholarly study and careful training (e.g. The Black Cauldron) rather than “genie points his finger at you and now you have the ability to point your own finger and make anything happen that pops into your head”. The sultan continues the trend of old man characters who are portrayed as helpless and infantile -- in this case, even more intensely, since the sultan has none of Maurice’s brilliant smarts. But I’m mostly nitpicking here -- Aladdin is well deserving of its high status in the history of Disney.

The Nightmare Before Christmas, 1993

I was very glad to finally get a chance to see this movie, because I clearly remember knowing about it from the time it was being advertised back in 1993, and I heard about it during my entire childhood, adolescence, and early adulthood. Although it seemed that most of my friends had seen it growing up, it didn’t look much like my conception at the time of a “normal movie” or even normal content, and so I don’t recall ever asking to watch it. But my recent-day self recognized that it’s quite a classic and was curious to see it.

I don’t regard The Nightmare Before Christmas as one of the really great Disney productions, but I strongly admire how original it was (particularly for its time) in every single aspect, including use of claymation, overall aesthetic, intriguing characters, and story. It was also fun to see what seems to be the only Disney musical that is done in the style of opera, that is, where the entire story is told in songs without any extended non-musical dialogs. And the songs are quite good in their own way, too. I don’t particularly want to see the film again, but I might not mind getting a soundtrack of it.

The Lion King, 1994

This is the first Disney movie -- and I believe the first movie of any kind, in fact -- that I went to see in the theater. I remember it as a powerful and sometimes overwhelming experience, but as a movie I overall liked even as young as I was. This is remarkable especially considering that much of the story feels more adult in nature than almost any other Disney animated feature.

What can I even say about this one? I think the general reaction to watching it is almost unanimously shared. My impression is that what its creators were going for, more than anything else, was epicness, and they succeeded in a way that had never been done through animation before. Apparently the entire (incredibly epic) opening number was shown as the trailer -- a questionable move, but understandably it got people very excited about The Lion King’s release.

One of many particular things that makes The Lion King stand out is the profound darkness of its main villain, perhaps the most chilling that has ever appeared in Disney. An argument can be made that not only murdering a major protagonist halfway through the movie but convincing the child that he’s to blame is the most evil act we’ve ever seen from a Disney villain. I’ve seen it pointed out that it’s vaguely ableist to give the villain an ugly scar and even make it his name. Some have suggested that they should have made the villain the handsome and strong one and given the scar to one of the heroes -- Simba or Mufasa -- instead. I’m definitely sympathetic to this point of view, and I totally agree that Scar shouldn’t actually have been someone’s name. However, without getting bogged down into something that could be a lengthy post all on its own, I strongly feel that in a way it adds to the depth of our villain’s depravity through the backstory that it implies. And by the way, his ending is probably my favorite out of the fates of all Disney villains.

The music also follows the film’s ethos of being as epic as possible (well, with the exception of a couple of the songs, but they were still fine songs). “The Circle of Life” and the instrumental music propel The Lion King’s soundtrack to possibly the very best in all of Disney.

To be sure, this movie does have more flaws than I remembered. As I said, Scar is a terrible name to give any of the characters, especially in a story where everyone else’s name comes from Swahili. Pumbaa is basically just one big fart joke. (Although, I give the writers major credit for managing to switch the tone to accommodate fart jokes within like five minutes of Scar confronting Simba over Mufasa’s death.) The video essayist Big Joel has pointed out interesting things about the story and made some rather troubling points about it, although to me that almost just makes the film deeper and more thought-provoking rather than actually worse (I see the Chronicles of Narnia this way). But overall, The Lion King has well earned its high rank on the list of highest grossing films of all time.

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At this point in Disney’s history and my childhood, apparently I decided that I didn’t care to see new Disney films coming out because I was content with watching my old favorites over and over, and anyway I was getting older and discovering that non-Disney movies could be quite entertaining as well. Therefore, I didn’t see any of these last four until adulthood, even though they all came out when I was still a kid.

Pocahontas, 1995

I was glad for the chance to finally see Pocahontas for the first time, unfortunately not before hearing countless references to it as being Problematic while I would have preferred to go into it completely uninfluenced by popular opinion. I had actually seen songs from it and Disney books of it as a child and it didn’t interest me at all. On finally watching the film, I found that I got what I expected on both counts: it wasn’t terribly interesting or gripping, and it doesn’t really pass the muster of today’s higher standards of responsible storytelling about colonialism.

All that really sticks out at me looking back (after some delay in writing this post, so that it was over a month ago that I watched this) is that the plot felt a bit atypical in two ways. One, a character, who is neither a protagonist really nor a villain, is killed off around halfway through -- a daring move that The Fox and the Hound chickened out of doing, but I shouldn’t have been all that surprised given that Pocahontas’ very predecessor did this with a protagonist in a much bigger way. And two, the story ends sort of anticlimactically: I can’t help feeling a bit disappointed when a big Disney animated feature doesn’t end with a lot of action, despite realizing that this more peaceful kind of ending being a reasonable alternative is basically the entire point the story wants to make.

The songs are sort of meh, at least by the high standards of Disney movies of this period. Nothing more really to say on this one.

The Hunchback of Notre Dame, 1996

Here is another movie that I had never gotten around to seeing before, despite having been somewhat more interested in it than I ever was in Pocahontas. And this turned out to be the main breakout attraction on this list, as I found it nothing short of spectacular (save, perhaps, the music, which was “only” quite solid, maybe not spectacular).

I would nominate this for the award of most mature movie among all the animated features included in this journey. I would almost say its ideal audience is adults, not children. It showcases an abusive relationship with enough intricate care to be worthy of analysis through abuse discourse on Tumblr. It displays lust and sexuality in a way that I don’t think I’ve never seen anywhere else in Disney animation. Its violence and political undertones are quite dark. It examines religion deeply (which is as far as I know unique in Disney), and the capacity of religion to bring out both the best and the worst impulses in humanity is exposed. Its main villain is one of the more multi-layered ones. It treats physical handicaps and deformities in quite an honest way and subverts expectations with its love plot.

Perhaps the only thing one might reasonably criticize this movie for is the characters of the gargoyles, which are clearly present to lighten the tone a bit so that the film isn’t entirely heavy and austere. But I have to say, I was pleasantly surprised -- I think the gargoyle stuff could have been executed in such a way that may have made the whole film sag, but instead they were done just right: the gargoyles are depicted as being animated only in the mind of Quasimodo. This means in fact that in a way, they actually implicitly add some gravity to his situation. (Consider that in a more typical Disney film there would have been some sort of cheesy sentient animal friend instead whose existence would not have been confined to the protagonist’s imagination.) Here I’m going to choose to ignore the fact that the gargoyles do seem to interfere in the final battle with some explosives, a possible inconsistency which is minor enough to be glossed over.

Anyway, I think before I unsubscribe from Disney+, I might just give this one a second watching.

Hercules, 1997

Although I never saw this one growing up, I did get talked into watching it by my college girlfriend who had been fond of it growing up. I distinctly remember not caring much for it when I saw it with her. My reaction at this later stage of my life is basically the same. There’s something about the animation style that I find subtly grating and distracting. And there’s something about the story itself that feels like way too light and cartoony a take on ancient Greek mythology (although it’s not like the ancient Greeks had a particularly heavy or dark mythology, and what else could I expect from Disney, really?). I guess that stories that are so explicitly centered around a young man’s quest for hero-hood and being godlike just don’t speak to me that well, and I didn’t find any of the characters that appeared to be especially memorable or engaging.

I did like the muses and enjoyed their singing but can’t say I love any of the musical numbers. So, I respect the effort and earnestness and general respect for ancient Greek culture that went into Hercules, but my overall reaction is still meh.

Mulan, 1998

I had only seen this movie once before, during a trip with some grad school friends back some years ago. One of my best friends at the time, who was with us on the trip, highly recommended it as pretty much her favorite Disney movie as she especially liked father-daughter stories. At the time, the film didn’t make a particularly strong impression on me, although I could recognize its quality. Watching it again on Disney+ has given me a deeper respect for it as having quite a good story and characterization, fine animation, and pretty decent music. I like both Mulan and Mushu as characters, and I enjoyed their dynamic.

I guess it’s telling, though, that I don’t really have all that much more to say about it. Maybe I don’t relate closely enough, maybe the movie didn’t imprint itself on me at an early enough time in my life, maybe I don’t engage that well with any plot that involves organized warfare, I don’t know. But I think I can only really like this film on a more dispassionate, intellectual level, rather than feeling touched in any kind of resonant way by it.

I think it’s interesting to note that Mulan is actually pretty rare among Disney protagonists in having two parents who survive through the entire story. And that moreover, despite it being billed as a father-daughter story to me (and I’m not denying that it is somewhere at its core), Mulan never directly interacts with her father except at the beginning and the very end.

Anyway... since watching all of these, I’ve been watching the more recent major films sort of sporadically: The Return of Jafar (a favorite of mine at some point in childhood, but with maturity I can now see why it was direct-to-video), The Emperor’s New Groove (quite good, better than expected), the first half of Home on the Range (about as bad as I expected, hence my quitting halfway through), WALL-E (as good as I remembered from when it came out when I was in college), Enchanted (one of my favorites, not on Disney+ so I got it through... other means), The Princess and the Frog (a real treat, slathered with Louisiana flavor), Tangled (sweet but nothing outstanding), Frozen (one of my favorites from seeing it in the theater; however I had never seen the first ten minutes which makes a major difference!), and Frozen II (which I had been sorry to miss in theaters last winter, a bit of a weird story but not bad and absolutely the most stunning animation I’ve ever seen). And, of course, Belle’s Magical World, the infamous mid-quel to Beauty and the Beast; this was not a major film but I just had to see if it was as legendarily bad as people say and, yes, it was.

I’m very glad to have been able to get a break from Netflix by taking a tour through the main history of Disney -- including many childhood memories, would-be childhood experiences, and more modern things from my adulthood -- thanks to Disney+.

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