Once Upon A Disney #21: Robin Hood

We had a couple of weeks away from merry old England, but now we're back to tradition – well, sort of – with the incomparable...

Robin Hood (1973)

Lockdown really has brought all the wildlife out

Not gonna lie, this is one of my all-time favourites – and definitely my top version of the classic legend. As a kid, I never questioned the logic of Disney's Robin Hood at all, but let's step back for a second and imagine the pitch:

'Yes, we're going to make our own version of the English folk tale Robin Hood. But animated. And a musical, told through American country music. Sung by a rooster, voiced by folk singer Roger Miller. Oh yes, did we mention, all the characters will be animals, wearing clothes? And some will have strong Southern drawls, while others will speak the Queen's English?'

The writers when they came up with the concept for this film

It's so weird, but the film gets away with it by acknowledging this fact from the outset. The opening credits list out the actors, the roles they are playing, plus what animal they are. This is to get you immersed in the world they have created while giving a cheeky nod to the irreverence we are about to watch. By the time Alan-A-Dale (the Roger Miller rooster) introduces himself and the story, we're perfectly prepared for Robin to be a talking fox. Because why not?

The characterisation of the anthropomorphic animals is genius and really adds to the charm of the film. While Robin is a bushy-tailed fox, I know more that one person who fell for his charismatic personality and had a cartoon-crush on him at one point. Little John may look (and sound) exactly like Baloo from The Jungle Book, but his swaggering wingman persona is endearing.

I mean, swoon

The choice for Prince John to be a lion, while he snivels cowardly in his carriage, is inspired, while his sneaky henchman Sir Hiss, is, of course, a snake. Lady Kluck, a Scottish chicken, is perfect as the robust lady-in-waiting to Maid Marian's sparkly-eyed fox. The Sheriff of Nottingham is the literal wolf at the door, while the Prince's guards are vultures, picking off innocent citizens. It must have been fun to assign the roles.

When you spot someone holding hands with somebody who isn't from the same household

Using animals rather than humans also serves to heighten the comedy, which this film has in abundance. The first act, where Robin and Little John dress in drag as fortune tellers to try and dupe Prince John out of his jewels, is like something from a Monty Python film. When an elaborate fight breaks out at the archery tournament, Lady Kluck pelts down the field while American football music plays, embracing out-and-out parody. In the style of Edgar from The Aristocats, the villain in Robin Hood is more of a comic figure than a real menace, as he's too much of a mummy's boy to be truly feared.

Didn't get the 'don't touch your face' memo

Fuelled by a rollicking score, including both country bangers and an incongruous (yet quite pretty) pop ballad, Robin Hood cements its own unique world, making it one of the most memorable Disney films. Throw in some cute animals (those poor little bunnies are very huggable), and genuine laughs, and the film is an oft-overlooked jewel in Disney's crown. It's fast-paced – even if the ending is a little rushed – and distinctly '70s, in the best way.

Best Song: The whole soundtrack to Robin Hood is a treat, but my current favourite is probably 'The Phony King of England,' which isn't a Roger Miller song, but it's a real ear-worm (Sir Hiss can attest to that).

Disney Detail: There aren't any notable easter eggs in this one, but that dance footage from Aristocats does rear its head again, and many of the voice actors (like Phil Harris) are Disney staples by this point.

Why it's a Classic: It's one of the most charming and funny Disney films from the first half of the canon. The cheeky appropriation of the tried-and-tested story, blending the traditional English folk tale with an American folk sensibility, is a method used again 20+ years later for Hercules (Greek vs. Gospel) and it really does work. The director of Zootropolis also said that the success of the anthropomorphic community created in the film was a big inspiration.

Once Upon A Disney #20: The Aristocats

We've made it to two milestones this week – It's the twentieth film in the Disney animated canon, AND we've hit a new decade. If you thought Baggy needed to get with the beat in The Jungle Book, prepare for an even jazzier adventure in...

The Aristocats (1970) 

Despite being more of a dog than a cat person, The Aristocats has always been a firm favourite of mine. From the charming painterly style to the undeniably cute kittens, eclectic soundtrack – and comical geese – it's a story I return to time and time again. 

Having recently watched One Hundred and One Dalmatians as a part of this challenge, you can't ignore how many elements act as a blueprint for The Aristocats. It uses the same concept of the pets having their own society and working together to overthrow evil humans (even though Edgar's plans are less deadly than Cruella's). It borrows a similar deliberately sketchy style to make the cityscapes – London, and in this case, Paris – look their best. It focusses on beloved pets, including pups / kittens, finding their way home on a treacherous journey. 

A metaphorical representation of trying to fit into last year's clothes after putting on those lockdown pounds

However, there are some significant ways that I think The Aristocats outdoes its poochy predecessor. 

Firstly, despite a modest amount of songs, this film is a proper musical. French cabaret singer Maurice Chevalier performs the buoyant opening title song, which sets the tone of Gay Paris at a pleasant trotting pace. Like in Lady and the Tramp, animals can sing in this world – albeit when out of human earshot. The 'Scales and Arpeggios' number showcases Eva Gabor's dulcet tones as Duchess, alongside the endearingly authentic child voice of sassy kitten Marie. 

We stan a queen

Thomas O'Malley's number is classic Phil Harris, oozing swaggering charm and chill. And, of course, 'Everybody Wants To Be A Cat' has been passed down as a Disney classic through the years, with a surprisingly sophisticated structure (and lyrics that are probably inappropriate for kids in many ways). 

Even the instrumental score of The Aristocats carries its light, irreverent tone. While Edgar the butler puts his ill-thought cat-napping plans in place, he monologues aloud while accompanied by hammy spy music. When he leaves his hat and umbrella at the scene of the crime (not the cleverest of villains), the score accompanies a pantomime-style setpiece where the two redneck hounds try to outsmart him. Perhaps most glorious of all, however, is the comical march of the geese, when Duchess, kittens, and O' Malley are forced to waddle behind their new English acquaintances, Abigail and Amelia. 

It's a dog-eat-butler's pants world

The plot of The Aristocats is inarguably strange, and perhaps not the strongest in the Disney canon, but it has a new-found formula that Disney seems to capture in this age – appealing to kids and adults, and making both laugh. While kids are happily carried along with the slapstick humour and music, adults can appreciate the social commentary of the relationships between the upper-class cats and the alley beatniks. The references to catnip and the drunken uncle goose (literally marinated in wine) will fly over kids' heads but land for grown-ups. 

The one thing you don't miss about going to the pub 

Perhaps most ingenious of all is the writing and performances of the child parts. Parents are bound to see their own kids reflected in Marie's business and naive romanticism, Berlioz' mischievousness, and Toulouse's desire to be a tough, alley cat. Casting natural kid voices makes the kittens even more adorable, and lets them carry the heart of the story with ease. 

I'll definitely be revisiting The Aristocats again soon, particularly when I'm missing the charm of Paris and need a uniquely '70s pick-me-up. 

Terrifying

Best Song: 'Thomas O' Malley Cat' – what can I say, those bouncy Phil Harris tunes just get my foot tapping.

Disney Detail: The Aristocats is one of the many Disney films of this era to have animation recycled for later films. When Duchess and Thomas are dancing to 'Everybody Wants to Be A Cat,' elements of the sequence are used again in Robin Hood.

Why it's a Classic: If the timeless popularity of 'Everybody Wants to Be A Cat' and Marie weren't enough, The Aristocats is the crème de la crème of Disney pet-based films. It sounds like I'm damning with faint praise, but there are quite a lot of movies in that category.

P.S. You can actually make Crème de la Crème à la Edgar from this recipe. Don't tell me you didn't think it looked good.