Once Upon A Disney #16: Sleeping Beauty

Can you believe it? We've made it to the final Disney animated film of the '50s. It's been a ride, to say the least, but we're definitely ending on a high, with the incomparable...

Sleeping Beauty (1959) 

You can almost smell the musty stench 

This is probably the film I've most looked forward to watching in the challenge so far. It's a firm favourite of mine and my family's growing up, being a quintessential Princess film with a bit of everything. A magical kingdom, adorable fairies, a beautiful princess and dashing prince, a sassy horse, an even sassier evil fairy, drunken squires – the lot.

From the moment the credits begin, we start to get transported into a dreamlike world, with a wonderfully romantic score inspired by Tchaikovsky's ballet of the same name. As the ornate storybook opens to a narrator introducing the familiar fairytale, we can sit back like a child going to the ballet for the first time, both excited and comforted.

The pilot show of 'Flirty Dancing'  

For a film made over 20 years after Snow White and the Seven Dwarfs, Sleeping Beauty might seem surprisingly traditional at first, leaning into a medieval setting and a story of true love's kiss. This could have been a reason it didn't perform very well at the box office when it was released. However, as soon as you look past the surface, you can see that the movie is far more rich and sophisticated than its princess predecessors.

When the shops have run out of eggs

The vibrant colours and angular features of the background characters and scenery (it is apparently the only Disney film with square trees) are a clever style choice. Like Disney's much later film Hercules, it borrows from the art trend of the time (medieval in this case) and pastiches it to bring pages of a historical tome to colourful life.

Check out that plumage

Like the design, the characters of Sleeping Beauty are true to a traditional fairytale, but show glimmers of the contemporary. No more so than the three fairies who are tasked to turn mortal in order to raise Aurora in the forest – the best part of the film, in my opinion. Flora, Fauna, and Merryweather don medieval outfits and leave balletic trails of fairy dust as they cast enchantments on the young princess, later dwelling in a quaint cottage that wouldn't be out of place in Snow White. However, we love them because they are, in essence, three over-indulgent aunties. The scenes where they bicker among themselves and spectacularly fail at making a dress and a birthday cake are the most enjoyable in the film, and would never have happened back in the earnest 1930s.

And you thought Beyoncé invented the booty shake

Similarly, Maleficent – who is, inarguably, terrifying – can drop a deadly enchantment just as well as an acidic one-liner ('A disgrace to the forces of evil.') Aurora's father King Stefan is a stoic ruler, but he can also down a bottle of wine with the rest of them (especially that lute player), while the dashing Prince is as noble as he is an indignant teenager, chiding his dad to get with the times – 'this is the 14th century.' Aurora's impossibly mature singing voice as she waltzes through the forest is soon stifled when she can't go out with the lad from the park and sulks on her bed.

'So the thing is, men are just naturally better comedians' 

The balance of magic and humour, as well as the rich world of the film – created through the beautiful Tchaikovsky-inspired score that runs throughout, and the intricately painted scenery – make Sleeping Beauty a joy to watch from start to finish. 

Best Song: For a film with such a rich musical score, there aren't many actual 'songs' at all – for that reason, the iconic 'Once Upon A Dream,' brilliantly Disney-fying Tchaikovsky's iconic waltz, has to take the crown.

Disney Detail: The fairies provide a couple of references to Disney's iconic mouse – at one point they eat biscuits in the shape of Mickey's head, and when they resort to magic to clean the cottage, the enchanted mop looks very reminiscent of the 'Sorcerer's Apprentice' section of Fantasia.

Why it's a Classic: Sleeping Beauty is the perfect marriage of ornate, magical fairytale tradition, and modern humour & style. From the storybook opening to the fairies, castles, singing woodland animals and a truly frightening (yet droll) villain, it feels like the closest we come to the comforting escapism that Walt was aiming for all along. It's no surprise that the story and setting served as a key inspiration for the development of Disneyland, the ultimate fairytale playground.

Once Upon A Disney #15: Lady and the Tramp

The golden age continues this week with the adorable, if slightly traumatic and racist...

Lady and the Tramp (1955)

Lockdown, week 5 - Feeling cosy

Previous Disney films have already shown us that the studio is very fond of their canine pals, but this one cements it. Following a typical 1950s opening (painted concept art with a swooning choir singing 'Bella Notte'), we are told that this movie is dedicated to dogs. And immediately, I'm sold.

Zooming into a nostalgic scene of snow-covered houses in 1909, we are introduced to Lady, a gift for a wealthy new wife on Christmas Day. Thankfully, this puppy isn't just for Christmas, because she is RIDICULOUSLY cute. A wide-eyed, loveable spaniel, the animators have found the key to our hearts. As Lady scrambles to win a place on her owners' bed – Jim Dear and Darling, as we know them through her ears – her movements are uncanny for a real-life dog. Being fairly closely acquainted with a cockapoo, I know all too well the whining at the door, and the excitable tail wagging when said door is opened. She's just precious.

The gift to end all gifts

Just as well-observed as Lady is her dependable doggy neighbours, Jock the Scotty dog, and Trusty the bloodhound, with no sense of smell. Soon we start to develop a sense of canine community, with the whole film shot as a dog's eye level. We rarely see past human waists, and everything the owners talk about is interpreting through the innocence of a pooch.

With this in mind, Lady is understandably concerned when she starts being ignored, and Jock figures out that her owner Darling is pregnant.  For a dog, this means the potential to get shut out, and for a spaniel, sacrificing undivided attention. Enter troublemaker, the Tramp. Full of Sky Masterson charm, he adds fuel to the fire, telling her that her owners will have no time for her once the baby arrives. However, Tramp proves his position as loveable rogue when the doggy poop hits the fan.

'Get out of my pub'

As if she's not troubled enough, things go from bad to worse for Lady – much worse. After discovering that Jim Dear and Darling still love her even after the baby is born, Lady is content. But then her beloved owners go away for the weekend and Aunt Sarah really f-s it up. Firstly, she clearly hates dogs and won't let Lady near the baby. Not cool. Secondly, her Siamese cats are evil personified. Perhaps on a par with Cinderella's Lucifer, they destroy the house, blame it on Lady (which gets her muzzled!) and try to eat the goldfish all in the space of 5 minutes. Oh, and sing an extremely racist song, but I suppose that's not their fault. One thing's for sure – Disney is not a cat-lover.

'We'll never get our deposit back!'

Lady's dash for freedom from the muzzling causes her path to cross with Tramp once again. Now in dire need of a helping hand, Tramp uses his resourcefulness to help her out, charming the spaniel along the way. After tricking a beaver to nibble her muzzle clean off ('It works shhhwell!') the pair head for Tony's, where their romantic Italian date goes down in Disney history. While real dogs would growl at each other to try and swipe that last meatball, we'll forgive the storytellers for using dramatic license here. The 'Bella Notte' montage, where the new couple takes a moonlit stroll through the park, draped in muted blues, is genuinely pretty romantic. It helps that the entire town looks like Mainstreet USA in Disneyland, with pretty shopfronts and turn-of-the-century architecture.

Find yourself someone who looks at you like this mongrel looks at a spaniel <3

But of course, Tramp ruins it and gets Lady into trouble again – the scoundrel. Thrown into the Pound, Lady is distraught and heartbroken. The perfect time for sultry Pekingese Peg to let her know that Tramp is a player, through the medium of a jazz number. 'He's A Tramp,' accompanied by a howling barbershop quartet, is signature Peggy Lee, and wouldn't be out of place in a human musical of the time. We're thinking Guys and Dolls, White Christmas style.

When you go a bit too heavy on Bank Holiday weekend 

It takes something even more sinister than the shockingly racist Si and Am to give Tramp the opportunity to redeem himself. A massive, terrifying rat. Having seen Lady chase this evil bastard off the backyard earlier in the film, he's back – and for some reason, he wants to attack the baby?! So dark. When Lady and the Tramp infiltrate the nursery to protect the newborn, Aunt Sarah thinks they are the danger, and sends Tramp to the Pound.

Thankfully Jim Dear and Darling arrive home just in time and set things straight, but not before Jock and Trusty chase after the dogcatcher's wagon to rescue Tramp. In heroic fashion, Trusty tracks him down, but gets crushed under a wheel in the process. Honestly, this was an emotional rollercoaster. Following some genuine trauma, Lady and the Tramp delivers the perfect happily ever after, with Trusty on the mend, and new puppies in the neighbourhood. Boxes ticked.

Our faces when we saw this biological inaccuracy 

Best Song: 'He's A Tramp' because Peggy Lee. And the howling dog backing singers.

Disney Detail: The film is also set in Walt Disney's favourite time period, the 1900s, on which he based large sections of his Disney parks. He saw it as a nostalgic yet optimistic time. Peggy Lee voices not just Peg, but Si and Am, and Darling. Finally, no-one knows whose initials J.M and E.B are, written in a heart in cement during Lady and the Tramp's date.

Why it's a Classic: It gave us that iconic spaghetti scene.

Once Upon A Disney #14: Peter Pan

From Wonderland to Never Land, it's time to take flight and journey to one of Disney's most magical movies...

Peter Pan (1953)

That's right, Disney's return to form isn't reverting back to the Three Caballeros days for a good while yet. The studio's retelling of J. M. Barrie's beloved children's book might take a few liberties with the story, but it delivers on heartwarming fairytale goodness.

Me when someone says there's cake in the kitchen

Opening with the swoon-worthy song 'The Second Star to the Right,' we're greeted with pretty artwork showcasing the tale to be told, with images of pirate ships, mermaids, and more. Followed by a dreamy aerial shot over London in the twilight, we know we're in for a treat.

After being introduced to the Darling family, including Wendy, John, the adorable baby Michael, and –most importantly – Nana the dog – the familiar Peter Pan theme is initiated. Mr. Darling has no time for childish fantasies-thank-you-very-much, and, while in a comical rage, decides that it's time for Wendy to grow up and leave the nursery. The perfect cue for our pointy-capped hero to enter the scene.

'I made this outfit myself from leaves... well I like it.'

Peter Pan's entrance into the Darling household and subsequent journey to Never Land is one of the most well-crafted, memorable scenes in Disney's back-catalogue. After chasing his shadow around the nursery (showing off the animator's clever use of light and dark), Wendy helps him to sew it back on – while the resentful Tinker Bell looks on. Tinker Bell is a whole mood on her own, and her signature trail of pixie dust is all that's needed to convey that magical, childlike excitement of going to Disneyland for the first time.

By the time 'You Can Fly' begins, we are fully immersed in the escapist fantasy that Walt Disney intends his audiences to enjoy. The image of Peter, Tinker Bell, and the Darling children flying past Big Ben is a gorgeous, glittering spectacle, with the soaring score helping us lift off into a living storybook.

Not pictured: extreme motion sickness

Unfortunately for romantics, but in good news for schoolboys, the spell that Peter Pan casts over Wendy and the rest of us in whisking her away to Never Land soon crashes and falls, as he turns out to be a precocious douchebag. He has a major hero complex, assuming that everyone will bow to his every whim and he'll always get his way. Despite his obvious character flaws, Tinker Bell is literally out to murder Wendy with jealous rage for Peter showing her any attention at all. In fact, the portrayal of women is one of the film's main problems, making out that female friendships are impossible and every girl – and mermaid – in Never Land is obsessed with Peter. For whoever needs to hear it – you can do better, babe.

One pissed off pixie

However, despite the less-than-feminist moments and the obvious racist issues around the 'Red Injuns' (Tiger Lily, a love interest, is far paler than her tribal counterparts) there is a lot to be commended in Peter Pan. One of which is – of course – Captain Hook. The perfect pantomime villain, complete with sidekick Smee, Hook is both sinister and silly, laying the groundwork for future iconic Disney villains like Scar and Hades. The set pieces with Hook and the crocodile are genuinely funny, while you feel a real sense of threat when he and Peter come hand to hook. Not to mention his impeccable dress coat and luscious locks.

When someone suggests using their 'daily exercise' allowance to actually go for a run

As dawn slowly turns to dusk in Never Land – signified by the animators' very clever use of colour and shadow throughout – it's time to go home. Along the way, characters have learned from their mistakes (Tinker Bell understanding that Wendy will never replace her and coming to her aid), discovered what it means to have a mother (thanks to Wendy's adorable storytime with the Lost Boys),  and realised that you can never double-cross a crocodile (enough said). Peter is still a nob, but at least he goes home.

As the glittering golden pirate ship cruises back through the sky towards London, you have a sense that you just awoke from Wendy's pleasant, if dangerous, dream – in contrast to Alice's dystopian nightmare last week. Not a bad way to spend 90 minutes of an evening.

Chills. 

Best Song: 'You Can Fly' for backing up one of Disney's most dreamy, magical moments

Disney Detail: This is the first of Disney's signature crocodiles (yes, there are a few of them over the years). The design of the iconic crocodile in Peter Pan who has a taste for Captain Hook is referenced again in other movies like Robin Hood, The Rescuers, and The Sword in the Stone.

Why it's a Classic: It captures the same magical, cozy nostalgia as Disney very early movies like Pinocchio and Snow White, while being firmly planted in the 1950s. A pixie-dust-fulled fairytale with the perfect blend of adventure, romance, and childish innocence. And, of course, it brought us Tinker Bell, who is about as synonymous with the studio as Mickey Mouse himself.

Still can't forgive them for leaving Nana behind, tbh.