My Disney movie last weekend was The Rescuers Down Under. I had never seen this one. It looks like it came out around the time I was starting my first job out of college, so I’d just moved, and I was dating someone, so any movies I went to around that time were more “date” kind of movies. I have to say that I wasn’t fond of this one. The flying sequences were lovely, but the story just didn’t work for me.

This may fall into the category of “overanalyzing an animated movie for kids,” but I had a hard time getting past the fact that they did that whole relay thing to signal from Australia to New York for them to send someone to rescue the kid, when all the mice along the way were a lot closer to go to the kid’s rescue, and then they had a local mouse/rat helping them once they got to Australia. It seems like an unnecessary delay to wait for someone to go from New York to Australia when there was a kid in need of help. It takes at least 24 hours to fly from the US to Australia by airplane, probably longer when part of the journey is via albatross. Surely there are adventurous creatures in Australia, in addition to the one who helped them. It struck me as rather American-centric, as though the rest of the world has to wait for the Americans to show up and take care of things for them (yes, Miss Bianca was Hungarian, but she was based in New York). I know they were trying to bring in the recurring characters, but maybe they could have been in Australia for another reason and joined the rescue effort. And then both the kid and the villain had American accents. In Australia. The kid was living in Australia and had a mother with an Australian accent, but sounded American (apparently, the actor was actually Norwegian?).

Then I thought the story was lacking the heart of the first one and had a mean streak to it. There was whatever torture the doctor was setting up for the albatross who threw his back out. That whole segment seemed unnecessary. Then there was the way the local rat kept “accidentally” letting Bernard get into danger, like he was trying to get rid of a rival, and Bianca was utterly oblivious or even accused Bernard of not being friendly. I hate that trope in romances, where the rival is clearly out to get the guy and the girl doesn’t seem to care what’s happening to her friend. Whether or not she’s interested in the rival, she should care that her friend is being put in danger.

And then there was the kid. It was nice that he had his own rescue aid thing going on, but he kept getting in trouble because he didn’t listen when someone was trying to warn him that he was walking into a trap. You’d think he’d have learned the first time not to talk over the person (mouse) trying to warn him and blunder on.

Spoilers for the ending here
Finally, it was left weirdly unresolved. Yes, they rescued the eagle and the kid and Bernard proposed to Bianca, but we didn’t get to see the eagle seeing her chicks and we didn’t find out whether they rescued all the other captive animals. I was surprised when the movie just sort of ended without wrapping up the loose ends. It would have been nice to see the other animals freed and the kid reunited with his mother and the eagle getting to see her chicks. At least in the first film, they had the TV news story to show us what happened with Penny. Here, they escaped, but we don’t know what happens to some of the characters. It felt like the movie just ran out of steam, or maybe ran out of budget and they just left off where they were.

It was all pretty dissatisfying. I think part of the problem was that this was made-for-video quality that got a big-screen release, possibly because they were playing with the computer animation technology. Also, they’d forgotten a lot of what makes the Disney films work. The primary audience may be kids, but they’re enjoyable for adults. I didn’t feel like this one had any of the adult appeal or hidden depth.

Incidentally, my mom found the “story and songs” record of the first movie in the collection of Disney records, which explains why I remembered bits of dialogue and the songs in spite of only having seen the movie once.

Last weekend’s Disney movie was The Rescuers. This one was a weird experience for me because it was both strange and familiar. I remember going to the theater to see it but didn’t remember anything about it, other than that it involved mice and that Eva Gabor and Bob Newhart were the voices, but then once I started watching, I would have these weird flashes of memory in which I not only knew what the next line would be, I knew exactly what it would sound like. I could sing along with the Rescue Aid Society theme song. I didn’t have this record, but it’s possible that my younger brother did. When I saw it, I was 8, almost 9, and I’d see Star Wars a couple of months later, so I was at a point when I was suddenly no longer interested in Disney movies. I became obsessed with Star Wars and left behind the Disney stuff for a while.

But if my little brother had the record for this, that might explain why some of the lines were so familiar but the story wasn’t that familiar. I might have overheard enough to recognize bits of the movie without knowing the story as a whole. With the earlier ones, I listened to them myself and acted them out. This might have been one I overheard through the wall, so I picked up on and memorized bits of dialogue without getting the context.

Anyway, it’s a rather cute movie, though maybe not as memorable as some of the classics. It’s not a musical, like the earlier films. The characters only sing that group anthem, which is sung as part of the story. The rest of the songs are just part of the soundtrack, playing in the background during scenes. But some of the artwork is lovely, there’s some imaginative use of objects to create the world of the mice, and the treatment of women is better than in a lot of these films. They actually acknowledge the sexism, as the male mice try to keep Miss Bianca from doing things, but she goes right ahead and proves to be more competent than the men. She doesn’t really have to be rescued. She does the rescuing. Since they’re helping a child, they use a similar trick to that the Aristocats used, with the leading lady avoiding having to be the damsel in distress because there’s a child (or kitten) involved. And here, even the child plays an active role in her rescue. She’s the one who gets out the distress call, and then she comes up with a lot of the plan for her escape. She’s even the one who drives the getaway vehicle.

The villains’ plot doesn’t make a lot of sense, so little wonder that I didn’t remember it (and was guessing at something a lot more elaborate than it turned out to be).

I’m still trying to figure out who, exactly, the protagonist is. It’s mostly told from Bernard’s perspective and he’s the one whose life is upended and who has a growth arc. His ordinary world is just being the janitor, then he gets the call to adventure when Miss Bianca drafts him to join her on the rescue mission, and he ends up becoming a real agent instead of just a janitor. But it’s Penny and Bianca who drive a lot of the action and who make the actual decisions. Bernard is mostly swept up in the wake of Bianca, who is a force of nature. But Bianca is mostly a catalyst. She doesn’t change, but she makes things happen.

I guess now I need to watch The Rescuers Down Under, which I never saw.

I doubled up on the Disney last weekend, hitting movies that make me laugh. First, Robin Hood. I’ve read commentaries that refer to this as one of Disney’s weaker movies, but it’s still one of my favorites because it’s just so much fun. Yeah, there are some logical leaps and the music is so specific to the movie that there weren’t any breakout pop hits, but it’s highly entertaining, to the point that my face hurts at the end from smiling so much.

I actually saw this one at the theater in first run, so I experienced it first from the movie and then later got the record album, but since I grew up in the days before home video, I still mostly knew it from the album, and I have the sound from a lot of the scenes permanently etched on my brain. If you’re looking for some kind of coherent worldbuilding, you’re out of luck, since we have an Old West sheriff and his deputies in medieval England and we have a fox and a hen being best friends, but I find a lot of that to be part of the movie’s charm. Weirdly, I’m not sure this movie would have worked so well if it had been a more straightforward telling using human characters, like they did with the fairy tale movies.

It’s a somewhat different experience watching as an adult with some knowledge of history, since “good King Richard” wasn’t all that great and had little to do with England, and he was the reason they had to raise taxes to pay for his crusades and the ransom when he got himself taken prisoner. John taxed the nobles rather than the peasants (though the nobles probably did pass it on to the peasants). But the more you know about Eleanor of Aquitaine, the funnier the “Mommy!” bit is.

You know, so many of the Robin Hood films end with good King Richard showing up to get Prince John back in line. I want one that has Eleanor showing up and dragging him off by the ear. Historically, that’s somewhat more likely.

Brian Bedford as Robin Hood has to be the MVP of this movie, given that he plays essentially multiple roles. He’s Robin, but then he’s also Robin as the lady fortuneteller, Robin as the old beggar, Robin as the stork archer, and Robin imitating the deputy, and all of them are distinctly different voices with very different accents, but with just enough Robin in them to make it clear that it’s Robin in disguise (this was clear even on the record album). The deputy is particularly good because it’s a dead-on impression with only the slightest hint that they didn’t just fake it with the actor who played the deputy providing the voice of Robin-as-deputy.

There are a lot of jokes online about how girls of my generation got their definition of sexy from a cartoon fox. He is one sexy fox, but I think a lot of the appeal is in how expressive they manage to make his face. He’s mostly got that sly, cheeky look, but when he’s trapped in the burning castle, there’s a raw vulnerability on his face that makes him even more appealing. My DVD (I loaded up on the classics at the used bookstore when people unloaded their collections after Disney+ launched) includes an alternate ending in which Robin is wounded during his escape and is threatened by Prince John as Marian tends to him. That would have been a massive tonal shift, plus seeing the sexy hero that vulnerable might have been a total overload of “sexy fox.”

I was in need of a smile Saturday night, and I’d recently done a Norwegian unit on tools that included the sentences “Pull the lever!” and “Wrong lever!” so I ended up watching The Emperor’s New Groove for the third time in the past couple of years. (If you’ve seen the movie, you know why that made me think of the movie, and if you haven’t, it’s a running gag. And given the degree of nerdiness in the Duolingo Norwegian course, I’m certain it was meant as a reference.)

That movie is just so very satisfying. We have a good transformation arc, a good villain comeuppance, and the day is saved due to the innate goodness of a couple of people. The story is about a selfish young Incan emperor who gets turned into a llama by his evil advisor who’s trying to do away with him, and he finds himself dependent on the peasant whose home he planned to destroy in order to build a summer palace. It’s a delightful burst of pure silliness wound around a sweet heart, and it just makes me happy. I should probably find a DVD because I don’t want to risk it getting pulled from streaming. It’s become one of my go-to happy place movies.

Since I’m doing this for fun, I’ve decided not to worry about Dumbo, Bambi and Pinocchio. I don’t have any kind of assignment making me watch these, so if I don’t want to, I don’t have to. I’m thinking of trying The Rescuers next. I remember seeing it at the theater when it came out, but I was a little beyond the Disney record album stage then so I didn’t have anything to allow me to relive it away from the movie, and I don’t remember it at all. Also, I saw Star Wars not long after I saw it, so my interests shifted entirely away from that sort of thing. I never saw The Rescuers Down Under because it came out when I was an adult, and since I didn’t remember much about the first movie, I didn’t care all that much about the second. There are actually a lot of Disney movies from the 90s that I missed. I saw the major ones like The Lion King, Mulan, and Aladdin, but missed most of the others. I may focus now on the ones I don’t remember or haven’t seen.

Last weekend’s Disney fun was The Jungle Book. This one was a favorite when I was a kid, mostly because of the music. It might even be partially responsible for my love of jazz. There’s also a lot of humor and heart, with lovable characters (even if you love to hate them) as Mowgli makes his way through the jungle. I actually saw this as a kid, but I’m still mostly familiar with it from the story and songs album. They included a lot of actual scenes from the movie, so there’s still a lot I can quote from memory. I even remember how the voices sounded, so I had a few moments of realizing why the voice sounded a certain way at a certain time in the movie — on the record, there would be a time when a voice suddenly changed, and then in the movie you see that the person speaking had something happen to him in that moment. I remembered the sound but didn’t remember what had happened.

I’m not sure which of the main songs is my favorite. “The Bear Necessities” is a lot of fun. “I Wanna Be Like You” is a great swing number that gives us a scat-off between Phil Harris and Louis Prima and that makes you want to dance. But I also love the vultures’ song, “That’s What Friends Are For.” You can tell by the character design that the vultures were meant to be the Beatles, and apparently that was the original plan, with their song being a Beatles-style number. But the Beatles pulled out, and they rewrote the song to be the bouncy barbershop quartet number, which I think actually works better.

The whole vulture scene is pretty much seared into my memory since the whole “What do you want to do? I dunno, what do you want to do?” routine became a recurring family joke. Anytime someone said something about being bored and someone asked what they wanted to do, it would trigger this whole scene getting played out.

In analyzing the structure, I realized that, for a change, we actually have a protagonist! Bagheera is the one telling the story, but I think Mowgli is the protagonist. He’s the one who learns about a change in his life, and he reacts to it, which drives the rest of the story, as he first ditches Bagheera, then decides to stay with Baloo, and then ditches everyone before having to confront the villain himself, rescuing himself, then making the decision of what to do with his life. Bagheera does have the goal of getting Mowgli to the man village, but nothing much of what he does actually has any effect on what happens.

Fun trivia note: the actor who voiced Mowgli also voiced Christopher Robin in the Winnie the Pooh movies being made around the time this movie was made, and the actor who voiced Kaa the snake voiced Winnie the Pooh. That gives a whole new sense to the scenes between them here. It might be fun to switch the animation and have Pooh talking to Christopher Robin like that.

I don’t know what I’ll watch this weekend. Maybe Robin Hood while I’m in this era. I guess eventually I should go back and look at some of the other early films, but I’m not particularly eager to watch Dumbo, Bambi or Pinocchio. I recall liking Pinocchio as a kid, but I wasn’t a big fan of the others.