Once Upon A Disney #19: The Jungle Book

Can you believe that we've already got to the last Walt Disney animated film of the '60s? Even in this timeless void of lockdown, this is a feat worth celebrating. So ready your dancing feet as we go swinging into the leafy undergrowth with...

The Jungle Book (1967)

When you're on mute in a Zoom call and completely switch off

The first film released after Walt Disney's untimely death, The Jungle Book is widely regarded as one of the best the studio has turned out. I hadn't seen it in years but sat down with some degree of comfort knowing that it had to be better than The Sword in the Stone. From the classic opening of the storybook, panning out to a sumptuously painted jungle with a mysterious, snake-charmer like score, you can feel you're about to embark on a special adventure.

One of the main things I noticed that set The Jungle Book apart from its predecessor is the far superior pace of the storytelling. Perhaps this is due to having much more concrete source material in Rudyard Kipling's classic novel. After the charming panther, Bagheera sets the scene as narrator, telling us of Mowgli's early life with the wolves and how he has to be returned to his own kind, we're ready to get on with the journey.

Listening out for anyone still clapping for the NHS

In quick succession, Mowgli is nearly caught and eaten by Kaa the snake, tries to join a herd of disorganised elephants, dances with a fun-loving bear, and gets hoodwinked by a gang of jazz-loving monkeys. While all of these scenes give the film a bopping beat, you do have to stop and think – Mowgli is a complete liability.

This signifies Mowgli's general self-awareness

Firstly, he's infuriatingly naive and impressionable. Like the Indian version of Pinocchio, he simply follows and believes everyone he meets. Having known the sensible Bagheera all of his life, he constantly goes against his wishes to put himself in potential danger at every opportunity. Secondly, he's extremely precocious, constantly laughing at other animals' misfortunes and convinced that he could easily fight off the most deadly (and poshest) predator in the jungle, the tiger Shere Khan. The fact that he proves himself right is beside the point. LISTEN TO YOUR ELDERS, MOWGLI.

When you haven't cut your nails in quarantine yet

Thirdly, he's the most fickle character ever. Having spent the entire film refusing to leave the jungle for any reason whatsoever, he claps eyes on one village girl a very on-the-nose, bordering on misogynistic song, thinks she looks pretty cute and just follows her to the man village after all. But boys will be boys, right?

While Mowgli is annoying in many ways, he does have an innocence that makes him somewhat endearing, and the challenges he presents to the ensemble cast is what creates the real magic. The relationship between Baloo and Bagheera is very well measured, with Bagheera's disdain thawing as the pair have to work together to take Mowgli to safety.

I want this pool float

Baloo adds much-needed levity to the story, oozing a sense of cool ease as he swaggers around the jungle singing 'Bare Necessities.' Phil Harris' natural musicality and comic timing go on to win us over in the next two films on our list, which we'll explore later. His whole jam is completely copied again in Disney's '90s classic The Lion King, with Timon and Pumbaa's 'Hakuna Matata.' After some hard-eye rolling from Bagheera, you see his true colours when he weeps and offers and heartfelt, very generous eulogy to the bear when he thinks he's died protecting Mowgli. Baloo's reaction when he wakes up and wants to here more is comedy gold.

With a return to more polished, vibrant animation, an iconic soundtrack to get your toes-tapping, and a cast of cute, scary, and downright jazzy critters, it's no wonder The Jungle Book is a fan-favourite. It also cleverly speaks to its generation, with one foot in the familiar story and the other in the swinging '60s. Who can forget that vulture that sounds exactly like John Lennon? Classic.

Literally every day of lockdown

Best Song: 'The Bare Necessities,' for being one of the catchiest tunes known to man (or bear). Interestingly, I've just found out that this is the only song in the film that wasn't written by the Sherman Brothers, but by the original, overthrown composer, Terry Gilkyson. Really, it has to win because I'm so sick of 'I Wan'na Be Like You' being covered by every swing band alive that is gets immediately disqualified from the competition. So there.

Disney Detail: Bambi's mum appears randomly again! Seriously, that doe gets around. Also, Kaa the snake is unmistakably the same voice as Winnie-the-Pooh which is creepy AF.

Why it's a Classic: It was THE Disney film of our parents' generation. With a male protagonist, it didn't alienate boys by being princessy. It combines adventure and humour with a legit soundtrack and gorgeously colourful animation, which never goes gaudy. It is telling that The Lion King, which is probably the most iconic Disney film among millennials, copies a lot of the same traits The Jungle Book. It's a winning formula.

Once Upon A Disney #18: The Sword in the Stone

It seems that in this period, Disney was alternating between antiquated fairytales and stories about dogs. In keeping with that rhythm, we're about to gallop back into medieval England with...

The Sword in the Stone (1963)

Here we go again. The ornately decorated storybook opens to a promisingly rich overture. We're greeted with medieval illustrations which are eerily similar to Sleeping Beauty's prologue (but we'll ignore that for now) while a gentleman sets the scene through a very warbly song. Jolly old England can't decide who is heir to the throne, but a magical sword in a stone will set things straight. We wait with bated breath to hear all about the sword. 

You can almost hear the choir

No luck, I'm afraid. This film has almost nothing to do with the sword in the stone. It feels like the filmmakers wanted to sell the movie by grounding it in the Arthurian setting but had written something else entirely. What we end up with is Arthur's 'alternative' origin story, consisting of Merlin turning him into lots of animals. 

Arthur – who is this version is known as Wart for most of the film – is a skinny 12-year-old, with an inexplicable and highly inconsistent American accent, training to be a squire. While out gallivanting with his older brother, he ends up falling into a mysterious cottage, belonging to – you guessed it – Merlin. The cantankerous old wizard did mention something about expecting someone just like Wart to land on his doorstep, so apparently, he's special. 

'And that's the tea' 💁

After proving his exceptionally efficient packing skills to the tune of 'Higitus Figitus' – reminiscent of the fairy cottage scenes in Sleeping Beauty –  the eccentric wizard decides he will accompany Wart home to his castle to be his tutor. However, his lessons seem to suggest he has no idea what he's doing. 

From here on in, the film really starts to suffer from pacing issues. While there are some charming highlights (like Merlin and Wart's genuinely funny race over the hills while a puffed out wolf tries to keep up) the plot is more like a series of shorts rather than a captivating whole. A series of 'lessons' sees Merlin turning Wart into different animals, to teach him vague life skills, like what gravity is, and how he needs to avoid women. 

When I turn around too fast and my ponytail whips someone in the face

First, he's transformed into a fish – and he narrowly escapes getting eaten by a terrifying pike by being saved by Merlin's owl, Archimedes. Insert song. Secondly, he turns into a squirrel – and he narrowly escapes being pinned down by a lady squirrel. Insert another song. Thirdly, it's a sparrow – and he's nearly eaten by a hawk. Oh yes, and there's another son-you get the picture. 

That is a badass motherf**er

Major side note, but worth pointing out because it adds to the general strangeness of the film – Wart's voice changes dramatically throughout. At first, I thought the actor's voice might have broken (ala Rupert Grint in Chamber of Secrets) halfway through making the film. However, my research now indicates that three different actors voiced the protagonist. While the first actor did hit puberty, he was then replaced by two younger actors. Reader, this was to no avail. The changes in register within the same scene are hilariously jarring. 

This bit of animation is used three times in one scene – which says it all, really

Anyway, going back to the scrappy plot. If you thought that was enough animal transforming for one film, you're in for a surprise. The story's climax introduces us to Madam Mim, another sorcerer to rival Merlin, who it stark-raving bonkers. With Wart – as a sparrow – in her clutches, good old Archimedes sends for his buddy to help. Merlin and Mim then battle it out in a wizard duel, which – you guessed it – means transforming into various animals to try and overpower the other. Apart from being one of the most visually interesting parts of the film, it's still unclear what the point is. 

Your words, not mine, love

After all that, Wart decides that he still wants to train to be a aquire, and Merlin goes off in a huff, thinking that he should be spending his time on more academic pursuits. (But again... why?) At this point, no-one quite knows how the story will wrap up – surely no more animal transformations. Well, judge this how you will...

It turns out, Wart's brother has to take part in a jousting tournament in London and his squire conveniently gets the mumps. Wart has to take over, but oh no – he's forgotten to bring his sword. The inn they are staying at is shut, so he just casually pulls the sword – yes, THE sword – out of the stone. The End. None of the things Merlin taught him paid off at all. It's an 80-minute diversion anyway I guess! 

There's the money shot 

Best Song: Considering the Sherman Brothers (of Mary Poppins and Jungle Book fame) produced the music, the songs in this film are pretty weak – although it could be because neither Merlin nor Arthur can sing. 'Higitus Figitus' is probably the highlight, due to its energetic pace and the impressive animated scene of the suitcase being packed to accompany it.

Disney Detail: As well as some of the animation being used twice within this film, it also uses recycled animation from past Disney classics. The opening credit backgrounds borrow from Sleeping Beauty, and the deer Wart's brother tries to strike with his arrow near the beginning is copied from Bambi's mother. There are other examples throughout – but a lot of Disney films from the '60s - '80s borrowed sequences from each other, which we'll see in weeks to come.

Why it's a Classic: Perhaps less beloved than some of Disney's other classics, The Sword in the Stone does have some charming moments, with signature Disney style, humour, and a jolly old score. It could use a good bit of editing though.

Once Upon A Disney #17: One Hundred and One Dalmatians

The '50s went by in a flash, didn't they? Or maybe it was compared to Disney's painful offerings of the previous decade. In any case, the swinging '60s have lots of animated treats in store. After taking a one week break from dog-based tales with the traditional, dreamy Sleeping Beauty, it's time to get our tails wagging again as we bound to London for...

One Hundred And One Dalmatians (1961)

The opposite of the balletic fairytale, Disney makes a confident departure to the modern age for their next feature. The opening credits set the tone – rather than a storybook opened to an angelic choir, we are greeted with whimsical spots and doodles, set against an upbeat jazzy score. Like with Lady and the Tramp, concept art shows us the world and characters we are about to meet, purposely drawing us to the sketchy artistry of this doggy adventure.

Me trying to stay awake during a football match on TV

However, unlike Disney's last canine story, where the humans are only seen from the waist-down with emphasis on the dog's suppliant world, One Hundred And One Dalmatians is much more balanced between man and his dog. As well as equal framing for both humans and beasts, dogs control the narrative from the start. Pongo the dalmatian's charming voice-over sets the scene, where he lives with his 'pet' Roger, a musician, in an artistic London flat. His mission – to break Roger away from his bachelor's life by finding him a mate. Indeed, every dog seems to be an equal partner to their 'pet' human, with a  parade of pooches who look exactly like their owners gracing the London streets.

Is this an acceptable lockdown activity, though? 

This fuels Roger and Anita's 'meet-cute,' where Pongo literally runs rings around them to pull the eligible pair together. Of course, in the process he falls in love with Anita's dalmatian, Perdita – cue some months later, and all four are married (yes, even the dogs) and are living happily under one roof. It all feels very rom-com, and I'm here for it.

Enter one of the best Disney villains of all time – Cruella De Vil. Her reputation literally proceeds her as she casts a menacing silhouette at Roger and Anita's door. From her sweeping, smoke-filled entrance, her larger-than-life personality steals every scene she's in. The line-work of the animation works perfectly to bring to life this hard-edged fashionista.

I mean, she seems nice

With an obviously evil name, maniacal cackle, and overtly nasty digs at Roger, you have got to wonder why Anita was ever friends with her in the first place. But hey, Cruella's dry comments are pretty funny, and you can't say she isn't a good antagonist. Probably one of the most purely horrible of all in fact, when you consider that her evil plans are literally just inspired by getting a new coat. And let's not get started on her driving skills.

Something to admire in One Hundred And One Dalmatians is the contrast between cruelty and love, which inspires some surprisingly emotional moments. Yes, Cruella is horrendous, but she inspires a really sweet moment between Anita and Roger, where Roger writes her eponymous theme tune and serenades his wife with it between fits of giggles. While Perdita is terrified for the fate of her puppies if Cruella gets her hands on them, Pongo is comforting, supportive, and full of love and concern when the litter arrives. Basically, he's a damn gent.

He's literally bringing a puppy back to life MY HEART!!

Despite their best efforts though, Cruella's hapless henchman Jasper and Horace manage to pinch the puppies, and Pongo and Perdita soon have to take the matters into their own paws. Introducing the iconic 'twilight bark.' That's right, I bet you didn't know that every dog across the country is part of a barking chain, so they can help a brother out. Well, it's true. 

The second half of the film is basically an epic rescue mission, powered by a huge network of animals that provide Pongo and Perdita with information, shelter, and food to get their puppies – and the 84 others who are held captive at Hell Hall (yes, it's literally called that) – home to safety.

Someone get this pup a gilet at least

Getting all of the puppies out of the mansion in one piece is one thing, but their journey is filled with peril at every corner. Nearly dying from cold after trudging through the snow, they then almost get caught by Cruella's prowling car, which actually has your heart in your throat. I've never been happier to see someone drive off a cliff in my life.

All in all, One Hundred And One Dalmatians is a refreshing departure from Disney's traditional fairytales and effectively launches the studio into the '60s. While it plays with a more expressive art style and modern humour, it doesn't lose any heart. You root for the protagonists all the way – of course it helps that most of them are adorable puppies.

Are these the most well-behaved dogs in the world? Probably. 

Best Song: 'Cruella De Vil,' which has become a classic in the Disney songbook, for its catchy tune and perfect villainous lyrics.

Disney Detail: There are two notable Disney Easter Eggs in this movie which I particularly enjoyed:

1. The TV show that Jasper, Horace, and the puppies are watching when Tibbs finds them is the 1929 Walt Disney Silly Symphonies cartoon Springtime
2. Most of the dogs from Lady and the Tramp make an appearance during the 'twilight bark' sequence – Jock, Peg, Lady, and Tramp can all be spotted in and around London (we have no idea how they got there though, or how they lived that long!)  

Why it's a Classic: Apart from spawning a successful live-action film (who can forget Glenn Close's maniacal Cruella?) and a popular animated series, One Hundred And One Dalmatians' unique art style makes it a go-to Disney film for merch, with the spotty dogs ironically becoming a fashion must-have.