Beauty and the Beast* (1991)

If the Academy of Motion Picture Arts and Sciences felt that they owed Disney some Oscar love after the triumph that was The Little Mermaid, they didn’t have to wait long for a chance to pay it forward. Fitting the same mold as Mermaid, Beauty and the Beast combines lush animation and Broadway-esque spectacle to form a real treat for the eyes and ears. For me, The Little Mermaid reigns supreme over all of the Disney Renaissance films, but Beauty and the Beast stands strong as one of Disney’s all-time greats.

Long ago an uncaring young prince and his subjects are respectively transformed into a hideous beast and various pieces of décor by an enchantress, doomed to remain that way unless the prince can find love before his 21st birthday. Several years later, the lovely Belle takes residency at the Beast’s castle in exchange for her eccentric father’s freedom. As she learns to understand her captor, Belle’s father seeks help in rescuing his daughter. A cocky sportsman named Gaston, who is determined to marry Belle, takes up the challenge of acquiring two trophies at once.

While The Little Mermaid was about love at first sight and teenage rebellion, Beauty and the Beast focuses on empathy, lust, misunderstanding, and jealousy. With these weighty topics as its foundation, it amazes me just how well the filmmakers navigate these potentially perilous waters. This film could have been an overly dramatic mess and very un-Disney. Instead, those foundational elements come through only as undertones, almost unnoticeable at times amidst all the Technicolor fun.

The animation in this film is excellent. Backgrounds are rich and foreground elements are full of detail. The craftsmanship is evident just about everywhere you look. This film also employs a CGI/traditional animation hybrid for several signature scenes. Since I do not remember how well the effect looked at the time, I can only comment on how dated and obvious the effect looks now. It was an attempt to add depth and the illusion of multi-plane camera work to the film. The effect now feels somewhat disjointed and even distracting, and is, for me, this film’s Achilles’ heel.

Enough cannot be said about the characters and music of this film. Traditionally, those two aspects have been the lifeblood of Disney animated flicks. The characters here all possess colorful personalities and have an air of authenticity about them. The way the servant characters interact with each other is brilliant; you really feel like they’ve known each other forever. My only minor beef lies with Gaston. He’s a little too much at times with his cocksure swagger, but the character has to be. It’s not necessary for the laughs that his machismo generates, but if we were forced to take him seriously, Gaston would drag the film into some dark territory.

The music by itself is terrific. Combining the show tune songs together with elaborate and witty on-screen antics, you create something fresh, unique, and memorable. That is the legacy of this film. It’s not as pulpy or solely kid-friendly as other Disney near-hits, but it never loses touch with its core audience. Great Disney movies don’t just appeal to kids; they appeal to families. This one has classic family entertainment written all over it.

RATING: 4 out of 5

The Rescuers Down Under (1990)

In the first of Disney’s official animated sequels, the House of Mouse pulls off a rare success in delivering a film that improves upon its predecessor in every way.  It doesn’t reach the same heights as The Little Mermaid, but a gorgeous color palette, a brisk pace, and likeable characters makes The Rescuers Down Under a winner.  To write it off for not retaining the same steadfast popularity of other Disney Renaissance releases would do this film a great disservice.

When a ruthless poacher seeking a rare eagle kidnaps a young boy with knowledge of the bird’s whereabouts, the Rescue Aid Society is contacted.  Bernard and Miss Bianca, from the first Rescuers film, take the assignment and rush headlong into the Australian Outback to find and save the boy.  Along the way they meet a number of colorful characters, some of whom want to help them and others who stand in their way.

After a pair of musicals, Disney dishes out a strictly narrative story.  It may be a bit of a jolt, especially after the charm and power of The Little Mermaid, but we have to remember that Disney works on multiple films at a time.  Keeping musical numbers out of the film actually works to its benefits.  In a life-and-death rescue story, where exactly can characters find an acceptable place to break into song?

The Rescuers Down Under benefits from audience familiarity with Bernard and Bianca.  If you are watching this movie, then chances are that you’ve seen the original.  The main villain is pretty flat and borders on being the stereotypical evil hunter type.  In this tale, however, he is a poacher.  It makes a big difference but the narrative still veers a little too close to bunny-hugging “hurting animals is wrong” territory.  Even though there is no character development or proper motivation, the villain excels at seeming dangerous.  This vital characteristic is necessary to nudge the fact that we are watching a Disney film into the back of our minds, allowing us to maintain concern for the boy’s life for the whole film.

The supporting characters are likeable and provide plenty of extra substance.  A goofy and dim-witted albatross provides most of the comic relief, while a dashing Australian mouse provides some romantic tension for Bernard and Bianca.  None of these characters overshadow our true heroes, which helps the film stay true to its title.   Why call it The Rescuers if your main draw is a batch of new supporting characters?

The run-time is short, making Down Under feel dangerously close to being light on content.  Solid characters and gorgeous animation help to distract you from that fact.  But hey, it’s a Disney film for crying out loud.  Some of Disney’s greatest films were a few minutes shorter than this one.  It’s a shame that Down Under has been forgotten about over time.  It’s better than the original but it was released between two of Disney’s biggest hits of all time.  The opening sequence is remarkable and the whole picture is very enjoyable- a solid and, sadly, underrated Disney yarn.

Rescuers

RATING: 3.5 out of 5

The Little Mermaid (1989)

Talk about your comebacks!  After the disappointing Oliver & Company, Disney returns to top form in a big way.  This film marks the start of the Disney Renaissance- an 11-year span of commercial and critical success for the animation juggernaut.  Clearly the creative juices were flowing like a raging river, because everything clicks, making The Little Mermaid one of the greatest Disney movies of all time.

Ariel is the youngest daughter of King Triton, who reigns over the sea and his kingdom of merpeople.  Despite living a life of privilege, the young princess dares to dream of a life outside of the world she has known.  Fascinated with humans and smitten with the handsome Prince Eric, Ariel is lured into a deal with a dangerous sea witch, who offers to turn her into a human for three days in exchange for her beautiful voice.  If Ariel can receive a true-love kiss from the prince before sunset on the third day, she will stay human forever.  If she fails to woo the prince, she will become one of the sea witch’s minions.

At one time, Disney could get away with sweet, innocent princesses who wandered through the land naïvely giggling and singing a happy tune.  Such a princess would not be appreciated in a post-feminist movement world.  Ariel may be naïve enough to fall in love with a total stranger, but she’s got plenty of fire and spirit to make up for it.  Take the subtle sass of Cinderella, multiply it by at least five, and you’ve got Ariel.  She may make foolish or even bad decisions, but her unprecedented independence and determination make her a truly modern princess.

The Little Mermaid is not a one-trick pony though.  Many of the supporting characters shine throughout the film.  Prince Eric and King Triton?  Yeah, they’re both pretty flat and entirely vanilla characters.  Sebastian (a crab), Scuttle (a seagull), and Flounder (a fish) make for a hilarious trio that provides more than just comic relief.  With Ariel unable to speak, her three friends help provide the soul of the film, enhancing the innocent, tender, and tenacious moments.  Ursula (the sea witch) is one of Disney’s better villains, broadcasting the heights of her evilness with every gesture, expression, and even with her posture.

I cannot provide a review for a Disney movie without commenting on the animation.  This film is a feast for the eyes.  Backgrounds are packed with layers of detail and the seafloor settings provide audiences with a whole new world to discover.  The animators do a fantastic job of making the merpeople and aquatic life look believable as they float and swim through their underwater surroundings.  If I am not mistaken, I could have sworn I caught a little multi-plane camera trickery as well.

Yet another example of why this film earns a spot near the top of all things Disney is the music.  Eschewing the sweet, classical music-inspired songs of old, The Little Mermaid goes full-on Broadway.  Strong lyrics are coupled with bombastic accompaniment, whether it’s a full orchestra or a calypso-based jam.  The music pops, the lyrics stick in your mind, and the animation that goes along with it is engrossing.

Watching The Little Mermaid again assures me that I do not love this film simply because I grew up watching it dozens of times.  Nor do I love this film because I’ve always had a thing for redheads.  I love The Little Mermaid because it is a fantastic film.  Musically, it’s a bold departure from the Disney formula.  Animation-wise, it is a triumphant return to form.  Everything clicks here and in the best possible ways.  It may not be as stunning as Snow White or Pinocchio, but it’s not too far behind them.

RATING:  4.25 out of 5