The Jungle Book (1967)

Despite premiering two years after his death, this was the final animated film that Walt Disney had direct involvement with. His presence is felt quite heavily, leaving this film a combination of Walt Disney’s last stand for his artistic vision and his last will and testament to the art form that he helped create.

Using Rudyard Kipling’s story collection of the same name as a launching point, The Jungle Book focuses on a young human named Mowgli. Lost in the jungles of India as a baby, Mowgli is raised by wolves. When his adoptive family learns that the human-hating tiger Shere Khan has come back into the region, they decide that Mowgli must be taken to the nearby human village for his own safety.

A very wise panther named Bagheera is tasked with getting the boy to safety. Mowgli does not understand why he can no longer stay in the jungle with all of his friends and rebels. This leads to a string of encounters with a number of colorful characters: Baloo the bear, “Colonel” Hathi and his elephant herd, “King” Louie and his ape friends, the treacherous python Kaa, and even Shere Khan himself.

If you’ve been following my recent reviews, you know all about my complaints against Disney’s switch to the Xerox technique to streamline the animation process. I’d like to think that Disney himself wasn’t impressed with the end result either and called for something different to be done with this film. Perhaps this is why the Xerox use is kept to a minimum, allowing The Jungle Book to use all of Disney’s techniques to maximum effectiveness.

An overwhelming amount of this film is animated in the old Disney way- artists make their animation sketches and then re-drawers trace over the best lines to produce a crisp and consistent product. The Xerox technique does rear its head occasionally but its sparse use only comes about in scenes where the technique actually helps the film look good. Specifically, scenes involving Colonel Hathi and the elephants make good use of the Xerox technique. Elephants are wrinkly creatures to begin with, so guide lines merely look like wrinkles. During scenes with lots of cuts and lots of quick motion, the Xerox technique works great. When a scene calls for a static shot or slow fluidity, the traditional process is used.

Another issue I had with the last two Disney films is the use of loosely defined blobs of colors instead of a wide swath of detail. The Disney team manages to hit the best of both worlds at all the right moments. In the depth of the jungle, it makes sense for line and form to blend together with the myriad of colors. Lots of greens, yellows and tans run together and actually help give the jungle its vague sense of depth and thickness.

The story in this Disney version has been criticized for being little more than vignettes but I disagree. Each story segment teaches the reluctant Mowgli a lesson or two about why it’s dangerous for him in the jungle. Try as he might to fit in, he finds that he just doesn’t belong there after all. There is maturity and character development involved here for both Mowgli and his animal friends, and each segment moves him one step closer to joining the other humans in the nearby village.

I would be remiss if I were to ignore one of this film’s biggest highlights- the songs! As with the best of Disney’s hits, The Jungle Book features a terrific score and plenty of toe-tapping tunes. I’m not talking one or two good songs. There are at least four songs that will stick with you. Half of that is due to the magic in the music itself and the other half is in the presentation. The Jungle Book also features one of Disney’s best casts of characters in the studio’s history.

My only reservation with this film is the fact that I watched the 40th anniversary DVD edition. The colors were remarkable for a 40+ year old film. This leads me to wonder if a little touch-up work took place. Baloo the bear looks remarkably light grey but he is more a dark grey in older promotional posters. This potential tinkering with the product doesn’t take anything away from the film’s merits though.

Looking ahead in the chronology of Disney animated films, it seems clear to me that this is the last truly great Disney film for quite some time. Everything comes together in all the right ways. Lots of color, great songs, loveable characters- it’s everything you want in a Disney film. The story may not be as heartwarming as the masterpiece fairy tales but The Jungle Book was the right film at the right time. With Snow White and the Seven Dwarfs as its counterpart, this film stands as a splendid bookend to Walt Disney’s career and his genius imagination.

RATING: 4 out of 5

All About Eve** (1950)

WARNING: SPOILERS AHEAD!

I think Sunset Blvd. was more deserving of the Oscar for Best Picture in 1950, but All About Eve certainly has its merits. The story is rich with desire from both its female leads. Margo is an aging Broadway star still trying to cling to youthful roles despite her age. Eve is a seemingly harmless aspiring actress who secretly is flat-out obsessed with making it in theatre and willing to go to many lengths to make sure she gets there.

At first, Margo appears to be the villain as she makes sure upstart Eve is reduced to stagehand and understudy work. She is the epitome of the Drama Queen. She expects everyone to fawn all over her as if she were a goddess. When need be, she’ll turn the cameras around to gently but coldly remind everybody who is (or who should be) top diva. One feels bad for Eve and I found myself rooting for Eve in her struggles.

By the end of the film, however, little miss innocent has become the villain. She is even more deplorable for the fact that she won us over initially. She is cool and calculating and engineers her rise to stardom at the expense of Margo (and likely any of her peers that would stand in her way). Duplicitous as ever, once reaching the bright lights she pretends to be humble but is all too willing to take over Margo’s role as Queen of the Universe, as if it were her birthright. She gets a taste of her own medicine at the end though, as years later she is approached by an aspiring actress much in the same way she bored her way into the system.

All About Eve is ugly, wretched and deplorable, which is why it's so good. It shows the dark side of theatre, where ego and self-importance tend to run rampant. It is the exact worst case scenario and the type of people I tried not to get mixed up with while I was involved with theatre in college. Despite running a bit long, with some slower parts, All About Eve turns the spotlight on the dark side of theatre and does so uncompromisingly, for which I applaud it.

RATING: 3.75 out of 5