The Swanpride Award: 1989 and 1990

Taken into consideration:

Kiki’s Delivery Service (1989), Studio Ghibli, Traditional

All Dogs go to Heaven (1989), Don Bluth, Traditional

The Little Mermaid (1989), Disney, Traditional

The Rescuers Down Under (1990), Disney, Traditional

The Nutcracker Prince (1990), Paul Schibli, Traditional

Peter in Magicland (1990), Wolfgang Urchs, Traditional

I am actually not sure why I put The Nutcracker Prince and Peter in Magicland on the list in the first place. Perhaps because they are both Christmas movies, and I needed some cheering up after all the grimness I slogged through in the last week. I guess I have forgotten that I don’t like The Nutcracker Prince at all. Peter in Magicland is a surprisingly well-done German production based on a German children book (well, they did hire some Disney talent), and certainly a good watch the same way the Rankin/Bass holiday movies are a good watch. But let’s stick to the masters of the trade for now.

Nominees-1989-and-1990

Nominated:

Kiki’s Delivery Service (1989), Studio Ghibli, Traditional

All Dogs go to Heaven (1989), Don Bluth, Traditional

The Little Mermaid (1989), Disney, Traditional

The Rescuers Down Under (1990), Disney, Traditional

So, one last time a big break-down of the movies in question. And look, nothing depressing in sight this time around!

  • The Story: I love the premise of Kiki’s Delivery Service. I don’t like the execution of it. Let me explain: The story is basically about Kiki having to learn to stand on her own feet. And she has to do so in the worst way possible, not step by step but she is practically on her own from one day to another. And then the movie does something which really angered me: It starts removing obstacles. In a way, the bakers take the place of her parents, providing her with a place to stay, the basics to start her business, they even find Kiki her first customer. The whole thing is not just utterly dishonest, it creates a giant plot problem. Because the actual challenges were moved out of the way by the writers, they now have to make up problems for Kiki. Some of them work, like her struggling with delivering a package (though I would have thrown that in after she already had a good start). Others don’t work at all. Especially not the part when she suddenly has trouble to fly. And the solution for it is just utterly predictable. Most boring climax ever!

    There is nothing boring about All Dogs Go to Heaven though. Of all the Don Bluth’s movies, this is the bravest one, because it is so gritty. There are criminals which actually act like criminals, there is even a depiction of hell in it. Nothing I would necessarily show smaller children, but then the redemption story-arc isn’t suited for them either. Some of the themes and references in this movie would go over their head either way, you need to be at least old enough to have seen some gangster movies to see this movie as more as just the story of a dog and an orphan.

    I have talked a lot about The Little Mermaid the last two months. To summon it up, I don’t think that the movie is a good adaptation of the source text, but it is a great movie in its own right. It is a very layered story about the relationship between parents and teenagers, an allegorical tale about growing up.

    I consider The Rescuers Down Under as the first sequel to an animated movie which can be considered at least as good as the first one.  Nowadays we have gotten used to good sequels, but back then, not only were sequels to animated movies a rarity, the few which existed were frankly awful (and they only got worse in the 1990s). It does have one problem though that a lot of sequels have: It is the same basic story the first one had. The big difference is, though, that the first one was a detective story with adventure elements thrown in. This one is action adventure pure. It doesn’t have the layers something like The Little Mermaid has, but in terms of danger and suspense, it delivers in spades. My only real gripe with it is the ending. There are too many plot points left open (like the fact that Cody’s mother believes him dead and that a number of animals are still imprisoned in McLeach’s cave).

  • The Characters: Kiki is a very likable character. Even if she is sometimes foolish in her enthusiasm, her determination to do the right and not the easy thing but always the right thing is very endearing. Even if her morals are a little bit over the top at times. There is nothing wrong with allowing someone to pay for a delivery he ordered, even when he has to cancel it in the last minute. But she means well, and that she is a genuinely nice person makes it easy to forgive her when she is acting unfair for foolish reasons.
    Everyone else is just there. None of the characters left a lasting impact on me.

    Anne Marie could have used some of those flaws. She is a little bit too nice and naïve for an orphan. But her character nevertheless works well, because it contrasts with Charlie’s opportunism. Who in turn mostly comes off as likable, because Carface is so much worse. Charlie might be a scoundrel, but there are lines he would never cross. There really aren’t that many anti-heroes in animation, and Charlie is one of the most memorable.

    Well, as I said yesterday, Ariel is great. But what about the other characters? Triton and Sebastian have both their own little arc, which ties in perfectly with main story. They are both flawed, but their flaws are understandable and easily to relate to. Eric has just enough character to be not totally boring. Ursula is exactly the mix of flamboyance and sneakiness I want in a Disney Villain. All the other characters are okay. They work in the story but I can take or leave them.

    When I wrote my article about Miss Bianca, I went into great detail why she gets kind of short-shifted in Rescuers Down Under. But I like all the new characters. Jack might have the role to be Bernard’s rival, but Disney avoided making him a bad person. He is therefore still sympathetic and way less annoying than those kind of characters usually are. Percival C. McLeach is one of the most brutal Disney villains around, but some really good voice-acting turns him into a very personable character.  In the end, though, the movie hinges on the audience liking Cody. What can I say, somehow Disney has managed to make the notion of a heroic child who spends his time rescuing animals in the outback believable. But they also know when it is time for Cody to loose his defiance, at which point even a brave child would be terrified.

    Side note: I always wanted to read a crossover in which all those animated children who speak with animals in a world no-one else can (Penny, Anne-Marie, Cody) meet each other.

  • The Music: I would describe the Soundtrack of Kiki’s Delivery service as serviceable. It’s a nice tune which does exactly what it is supposed to do, but I won’t be humming it anytime soon.

    I love the jazzy tunes in All Dog’s Go to Heaven. But while I like the melody of the songs, I am sometimes not sure about the way they are sung. But they are well placed and usually have a point somewhere in the text. The exception are “What mine is yours” and “Let’s make music together”. Those are only there to fill some time.

    I already wrote a very detailed analysis of the music in The Little Mermaid last month. To summon it up, it can’t get better than Alan Menken and Howard Ashman working together. The songs are perfectly placed, the texts are clever, this is just a nearly perfect soundtrack.

    There is another aspect which is different about “The Rescuers Down Under” compared to the first movie: there are no songs. At all. Even Disney movies which aren’t musicals have usually at least one song in it. But nope, not this one. It is all score, and from the very first minute, it catches your attention. I can’t describe it, I have to show it off:

    That is the perfect combination of music and animation. Just breath-taking!

  • The Animation: As is the animation in itself! The Rescuers Down Under was the first movie for which Disney used CAPS and the result is gorgeous. It pains me that The Rescuers Down Under is one of the overlooked movies in the Disney line-up, because this is the kind animation you should have seen on the big screen at least once.

    Consequently The Little Mermaid is the last Disney movie which was done “old style”. Which is an achievement in itself. The character animation is spot on, the movements under water are convincing and I don’t even want to know how much time was spend on the big battle in the end.

    Not that All Dogs Go to Heaven has to hide. I especially dig the dark colour palette and the detailed backgrounds. That is Don Bluth in his most successful period, and it shows  in the quality of the animation.

    Compared to those three, Kiki’s Delivery Service is just okay. There is nothing wrong with its animation, but there is also nothing about it which impresses me.

Well, I guess it is clear that I consider Kiki’s Delivery Service as the weakest of those movies. The Rescuers Down Under might actually the best when it comes to music and animation, but as a whole, it sadly falls short due to some story-telling problems. All Dogs Go to Heaven is really good. The Little Mermaid is even better. Yeah, I go with the obvious choice this time around.

Since I already covered the 1990s, we are now through with the 20th century. Here is what I’ll do next: Tomorrow, I’ll post a list of the movies still in the competition and then I’ll start to narrow it down step by step by going really nit-picky on the movies, so that I’ll hopefully have an overall winner by Christmas. I will also constantly compare my choices with my readers choices (and comments), so don’t stop voting and commenting.

 

 

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3 responses to “The Swanpride Award: 1989 and 1990

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