Category Archives: Villain Songs

By the Book: The Great Mouse Detective

Sometimes I wonder if this movie just hit the theatres at the wrong time. After all, Sherlock Holmes is currently more popular than ever. And while this trend has reached a peak with the success of the movies series and BBC’s modern version “Sherlock”, it came in the wake of countless TV-Shows based on Sherlock-Concept, the most notables being House and Monk. One of the longest running Anime out there, Detective Conan (in the US also known as Case Closed) is practically a love letter to Sherlock Holmes. Technically I should compare The Great Mouse Detective to the book series Basil of Baker Street. But as far as I can tell, the movie mostly takes the idea and the name of the characters from there, but the plot itself is original. And are we really supposed to believe that the animators weren’t influenced by the original Sherlock Holmes and the countless adaptations out there? Therefore I’ll take a much broader look this time around.

1. The SettingBaker Street London

Sherlock Holmes as a mouse. Well, why not. What I said about Treasure Island is double true for Sherlock Holmes: If you do a movie (or TV-Show on that matter) on such an overdone material, you better do it from a new angle. And doing it with anthropomorphic mice allows a more light-hearted take on the character. If a human Holmes would do fake science the way Basil does, the audience would cry fool play. When a mouse does it, it’s funny. It also allows Disney to insert some stuff which you would never find in a children’s movie otherwise. Like strip dancers. A villain who causally murders his henchman.

What is kind of remarkable, though, is how London in general is portrayed.  The whole story plays by night, it is dark, gritty, and rainy. Not a nice place to be, at least not until you enter Baker Street. This place is bright and inviting, not just in the part of the house in which Basil lives, but in the human half, too. Even the last shot of the movie shows a London which nearly vanishes in thick fog. But the Window of Baker Street is a sole light in the darkness of the world which surround it.

2. The Animation

The Great Mouse Detective is quite notable for the use of computer animation for the Clock Tower scene. Which still holds up really, really well and is definitely the high point of the movie. Otherwise though, the animation is mostly okay (for Disney…it is still above what most other animation companies created around the same time). The backgrounds are just detailed enough that they give a realistic feel, and Basil’s home is appropriately cluttered. All in all, though, it is the kind of animation which is exactly one step above mediocre. Rattigan

Where the movie shines, though, is in the character designs. Whenever there is an emotional moment, the facial animation of the characters is spot on. You don’t need the tone to understand what they go through. Remarkable is also the way Basil’s fast movements contrast with Dr. Dawson’s slower ones. Similar notable are the exaggerated poses of Rattigan which is practically a copy of what his voice actor, Vincent Price, did in the recording studio. And Rattigans “turn” at the end of the movie. When he runs through the clock tower the thin lawyer of fine clothes are ripped away and he is revealed as the rat he always denied to be. All this is transported without words, only through the animation.

3. The Characters

Sherlock the gentleman, Sherlock the rude genius, Sherlock the drug-addict, there are countless versions of this character, and most of them are valid in one way or another. It just depends on which part of the descriptions in canon you intend to emphasis. What has to be there is Sherlock’s ability to deduct more than a normal human (or mouse) would be capable of. And Disney delivers, Basil does one leap after another during this movie, most of them fairly outlandish. But you never really have the time to question such a self-assured personality. And looking at his erratic behaviour, the way he leaps over his furniture and has difficult to grasp emotions – I’m starting to wonder how many makers of recent adaptions know this movie.

Because back when it was made, most adaptations were heavily inspired by the Basil Rathbone one, in which Holmes acts more like an automaton, a think machine, and rarely loses his cool demeanour. Disney’s take, which emphasises the various quirks Sherlock Holmes had, is nowadays the more common one, but back then this was a refreshing new (it is true that the Granada TV-Show, which is nowadays widely considered as the most faithful adaptation, also moved away from this interpretation and technically it started to air two years earlier, but if the animators were aware of this adaptation, the movie would have been way in the making by then, so I hesitate to claim any cross-influence in either direction).

The design of Dr. Dawson on the other hand is heavily influenced by the Basil Rathbone adaptations, though thankfully more in looks than in actual behaviour. While he does act like a bumbling fool sometimes, it’s mostly because he is entirely out of his element for most of the movie, and not because he is an idiot, like the comic-relief which was Nigel Bruce. (BTW, in the short scene when Basil and Dr. Dawson enter the “human” part of 221B Baker Street, we can hear the voices of those two actors discussing music. Those are old recordings of them). Either way, while Dr. Dawson has some scenes in which he slips into the role of the funny sidekick, most of the time he actually has more the role of the narrator, the watcher and sometimes the one who prods Basil into the right direction. I have to admit though (and one could see it as failure of the movie) that the relationship between Basil and him is not particular interesting. Most of the time it feels like Dr. Dawson is mostly there because you need a Watson for Holmes. But then: I never found Watson particularly interesting in any adaptation until the BBC version came around and actually came up with a convincing reason why John should put up with Sherlock. This in mind, the Disney version of the character is a decent one. Though I guess the main reason I’m mostly distracted from the relationship between those two men is Olivia.

Cute. Wide-eyed. Cute. In grave danger. Did I mention cute? This is one of the few cases in which an overly cute character actually works. It helps that Olivia, cute or not, still very much acts like a child, and not like an adorable puppet. Oh, she can do adorable well enough, but she also tends to snoop around and explores where she shouldn’t – like a normal child would. Though the main reason why she works so well is that she is the perfect foil for Basil. Not even he can keep up a façade of not caring when confronted with a helpless half-orphan whose whole appearance just screams “protect me”. At the same time, it’s obvious that he doesn’t really know how to deal with her. The funniest moments of the movie are based on this dynamic (and I think it’s very telling that it’s easier to find pictures of Basil and Olivia in the net than pictures of Dr. Dawson).

Though the most important character beside Basil is naturally Professor Rattigan. Physically perhaps the smallest villain Disney ever created, but nevertheless one of the most threatening. Moriarty is actually an easy figure to adapt, simply because there isn’t much to him. He is mostly so notorious because he turns up in a case and immediately kills Sherlock. (Later on ACD allowed Sherlock to rise from the death and he wrote one additional story describing one of Moriarty’s earlier deeds, but even in this one Moriarty only schemes in the background). Since there isn’t really much in canon about him, the only important thing in any adaptation is that he works as Holmes, or in this case Basil’s, nemesis. I think a guy who drowns orphans and widows, makes sure that one of his henchmen is eaten alive and is one step ahead for most of the movie qualifies. Of the interpretations I know, the Disney one is certainly the most flamboyant and erratic one – well, at least it was until the Moriarty form BBC Sherlock came around (which makes me wonder….). But this is the perfect fit for Basil. The way those two deal with their triumphs and disappointments is actually quite similar (well, minus the tendency to murder someone when being in a bad mood). They are like two sides of the same coin – in short, exactly what Sherlock and Moriarty should be, even if they are called Basil and Rattigan.

There are also a lot of minor figures like Mr. Haversham, Mrs. Jugson, Toby, a parody of Queen Victoria, Fidget, various henchmen and so on. They all work fine, but they mostly just provide the background for the main characters, so I won’t go into detail about them. Nothing wrong about them, but none of them are particular memorable either – unless they start to strip, naturally.

4. The Plot

You might have guessed it: This is not really much of a detective story. If you expect to get clues in order to solve the case yourself, you’ll be disappointed. Not that this is a requirement for a Sherlock Holmes story, most of them aren’t about finding the murder but about Sherlock Holmes methods to catch him.

This movie though is more a character study of Basil and Rattigan, and as such it works very well. It’s just fun to watch those two characters trying to outwit each other, even though some of their actions are very much over the top. Rattigan’s evil scheme in a more realistic movie would never work, neither would Basil’s crazy math-skills be believable, but in the setting Disney picked, it’s just too enjoyable to nit-pick about plausibility. Parallels to the original stories are few and far between. There are the backgrounds of the main characters, the way Basil deducts Dr. Dawson during the first meeting and the ending, which could be seen as a version of the Reichenbach fall. It’s a little bit funny that Disney for once had every right to make sure the Basil survives, considering the A.C. Doyle created a version of the Disney death long before the animation studios even existed.Basil hurt

Speaking of which, the final fight between Basil and Rattigan is positively vicious. There are few scenes in Disney movies which come even close to be as brutal. Just look at Basil. He is beaten up and at one point out of options. Only the lucky timing is rescuing his life in the end.

One of the most common complains I have about Disney-movies is the pacing or the lack of focus. This movie knows exactly what kind of story it wants to tell, and it builds up the suspense perfectly. Not one filler scenes in this one, every story-line is tightly wrapped up towards the end, and when it comes to the climax, it delivers full scale. The Great Mouse Detective is also a rarity in the Disney Canon in that there isn’t any kind of love-story in it. The only other Disney movies without one I can come up from the top of my mind are Pinocchio, Alice in Wonderland, the Winnie the Pooh movies and, more recently, Big Hero 6.

5. The Soundtrack

I pointed this out already when I talked about the villain song, but “The World’s most Criminal Mind” is the first full-fledged villain song in the Disney canon. Oddly, though, it is the only song of this kind in the whole movie. The other two songs are both justified. “Let me be good to you” is sung by a performer during the bar scene and “Goodbye So Soon”, which doubles as Conclusion song, is originally picked by Rattigan as ironic commentary on Basil’s approaching demise. To a certain degree Rattigan’s song is justified, too, because the singing is more treated as part of Ratigan’s flamboyant personality. In any case, it is a masterpiece of built-up:

“From the brain that brought you the Big Ben Caper
The head that made headlines in every newspaper
And wondrous things like the Tower Bridge Job
That cunning display that made London a sob”

Note that the audience has no idea what crimes is he exactly talking about, but the inclusion of “Big Ben” and “Tower Bridge” suggests that they were big and impressive.

Now comes the real tour de force
Tricky and wicked, of course
My earlier crimes were fine for their times
But now that I’m at it again
An even grimmer plot has been simmering
In my great criminal brain

Here happens the first built up. The song starts with something which sounds impressive and then establishes that what we will see in the movie is even bigger than anything Rattigan did beforehand.

[Chorus:]
Even meaner? You mean it?
Worse than the widows and orphans you drowned?
You’re the best of the worst around
Oh, Ratigan
Oh, Ratigan
The rest fall behind
To Ratigan
To Ratigan
The world’s greatest criminal mind

Hold a minute…this guy is drowning widows and orphans? That’s worse than saying that he is routinely killing cute little puppies.

[Ratigan:]
Thank you, Thank you. But it hasn’t all been
champagne and caviar. I’ve had my share of
adversity, thanks to that miserable second-rate
detective, Basil of Baker Street. For years, that
insufferable pipsqueak has interfered with my
plans.
I haven’t had a moment’s peace of mind. But, all
that’s in the past! This time, nothing, not even
Basil, can stand in my way! All will bow before
me!

Note how the tune of the song changes here. The text is now spoken and doesn’t rhyme any longer, and Rattigan is playing the harp to great dramatic effect. The excitement is dimmed for a moment, just to come back even more effective.

[Chorus:]
Oh, Ratigan
Oh, Ratigan
You’re tops and that’s that
To Ratigan
To Ratigan
[Bartholomew:]
To Ratigan, the world’s greatest rat

What now follows is the demise of poor Bartholomew. Which is not directly part of the song, but underlines the point even further. We have heart how dangerous Rattigan is up to this point. But seeing how he kills one of his henchmen brings the point across even better. But what makes the whole matter truly terrifying is that in the aftermath, his other goons are singing even more with very forced smiles on their faces.

[Chorus:]
Even louder
We’ll shout it!
No one can doubt what we know you can do
You’re more evil than even you
Oh, Ratigan
Oh, Ratigan
You’re one of a kind
To Ratigan
To Ratigan
The world’s greatest criminal mind

While this is the main villain song of the movie, in a way there is a second one. “Goodbye so soon” is played twice, once when Basil is trapped as a “last greeting” from Rattigan and once at the very end, as last greeting of the movie to the audience. The only difference is the tone in which the two versions are sung. Rattigan’s tone is mocking, while the chorus in the end is neutral.

Goodbye so soon
And isn’t this a crime?
We know by now that time knows how to fly
So here’s goodbye so soon
You’ll find your separate way
With time so short I’ll say so long
And go
So soon
Goodbye

If you read this text out of context it sounds totally harmless. But in context there actually is a crime (a murder!) happening, and the time is not flying, it is running out for Basil and Dr. Dawson.

You followed me, I followed you
We were like each other’s shadows for a while
Now as you see, this game is through
So although it hurts, I’ll try to smile
As I say

What the text is describing is a circle of events which repeated itself again and again. The song itself is constructed in the same way, it can be sung in a loop at least until the vinyl is through. And the double meaning doesn’t stop there. In this case, it will certainly hurt, if Rattigan’s plan works. Thankfully someone else smiles in the end.

Yes, I know, I skipped “Let me be good to you”, but I felt that Rattigan’s songs belong together. Now, the last one left is a pure filler song. It serves no purpose whatsoever aside from creating some atmosphere and background noise for the scene. And it is an opportunity to get a lot of crap past the radar.

Dearest friends, dear gentlemen
Listen to my song
Life down here’s been hard for you
Life has made you strong
Let me lift the mood
With my attitude

So far, this is pretty harmless. Just a pretty girl singing a song, expressing understanding for the hardship of life. Until she takes of her first layer of clothing. Then the tune changes pretty quickly.

Hey fellas
The time is right
Get ready
Tonight’s the night
Boys, what you’re hopin’ for will come true
Let me be good to you

Mmmm….what exactly might a bunch of boys hoping for when they see a half naked female dancing on a stage? That’s right, Disney just put a promise for sex in one of their movies.

You tough guys
You’re feelin’ all alone
You rough guys
The best o’ you sailors and bums
All o’ my chums

Note how the text is addressing the crowd again. In-universe this is a very clever move, because it feels more intimate this way.

So dream on
And drink your beer
Get cosy
Your baby’s here
You won’t be misunderstood
Let me be good to you

And even more intimate, especially through the inclusion of the words “your baby”, which creates a connection between the singer and the crowd. While parents just hope that their children won’t get the connection between “let me be good to you” and sex.

Hey fellas
I’ll take off all my blues
Hey fellas
There’s nothin’ I won’t do
Just for you

Kitty wears nothing but blue. So we all know what will happen when she takes it all off. She even promises that she has no limits, suggesting whatever someone dreams of, she will do it.

So dream on
And drink your beer
Get cosy
Your baby’s here
Hey boys, I’m talkin’ to you
Your baby’y gonna come through
Let me be good to you

Note the addition of “Hey boys, I’m talkin’ to you” in the text, which addresses everyone in the audience on a personal level. In-universe and in the theatres.

I have to admit, I am really amused by the audacity of the song. And even more amused that despite the fact that some people are obsessed with discovering subliminal messages in Disney movies, this song often gets overlooked. Someone really had fun with this one.

And “fun” is really the best word to summon up the songs in this movie. They are designed to be over the top delightful. And every single one of them fulfils the brief perfectly. It was a good choice, though, to leave the singing mostly  to Rattigan. I don’t think that musical numbers for every character would have fit the tone of the movie or Basil’s character.

6. The Conclusion

Sandwiched between box-office failure The Black Cauldron (I don’t care that the movie has some sort of a cult following by now, it will always be remembered as the one which lost against the Care-Bears) and the soulless merchandise machine which was Oliver and Company (I’ll go into detail about this one in a later review), also overshadowed by the more successful Don Bluth movie An American Tail, The Great Mouse Detective is often overlooked. But it shouldn’t be. It might not be as visually stunning as some of the later (and a few earlier) movies, but it’s nevertheless very pleasing to look at. It might not be the movie which started the Disney Renaissance, but it is the one which marked the end of the dark age of animation. Without the modest success of this one, The Little Mermaid wouldn’t even exist today. But its importance aside, this is simply a genuinely good movie. My lists of Sherlock Holmes adaptations I consider “well done” is very short, though the one I consider “Must watch” is, as you can see, a little bit longer, but The Great Mouse Detective will always have a spot on both of them.

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The Villain Song

Unlike the “I want” song and the love song, the villain song hasn’t really been a stable of the movies before the Disney Renaissance. For two reasons. One, a lot of the early Disney movies didn’t even have a proper villain, but instead a string of antagonists or a more abstract kind of evil. And two, in the early days Disney preferred the more menacing villains less flamboyant. It is hart to imagine the Evil Queen or Maleficent prancing around, singing about the devil deeds they plan to do. Or the Coachman doing a little jig with his donkeys.

blog-pic-villains1

Only two of those sing more than one line

If one examines the villain songs up to the late 1980s, one can see how the concept developed – as well as the concept of a Disney Villain. In the golden era, the Evil Queen is the only “true” Disney villain featured – meaning a villain who is pinned specifically against the protagonist. All the other movies either use a more abstract as villain like “Man” (Bambi) or the society in general (Dumbo), or they have multiple character’s which serve as antogonist’s but are not pinned against the protagonist specifically (Pinocchio). Sine the Evil Queen doesn’t sing, Fowlfellow’s “Hi-Diddle-Dee-Dee” is the sole villain song from the era – if you can call it that. It’s more about convincing Pinoccio of something than about Fowlfellow himself, and it is more a fun than a menacing song.

In the silver era, the time of some of the best known Disney Villain’s started. Cinderella’s stepmother, the Queen of Hearts, Captain Hook, and Maleficent are all from this time. But they only have two songs between them, “Painting the Roses Red” and “The Elegant Captain Hook”. There is one notable aspect about those: They are sung by the minions (mostly, Captain Hook has like two lines in his own song). “Painting the Roses Red” serves mostly as an introduction for the Queen of Heart, and “The Elegant Captain Hook” is yet another one of those fun songs in which the villain tries to convince his victims of something.

The first villain with a really menacing song is Cruella de Ville – but again, she is not the one singing. She is in fact not even present when Roger launches in a over-the-top description of her (which ends in laughter).  Madam Mim is the first villain since Fowlfellow who gets a whole song for herself, but it is not particularly menacing. If anything her desire to like everything bad in the word is amusing. I guess Kaa’s “Trust in me” counts as a villain song, but while the hypnotic tone sounds creepy, the scenes in itself are played for fun. Prince John’s “The Phony King of England” even ridicules the villain of the movie. All in all, during Disney’s dark era a villain who sings is not one we take serious. At least until Rattigan turns up on screen.

“The worlds greatest criminal mind” is the first villain song which is:

1. Sung by the villain
2. Menacing
3. in a scene which not played for laughs

Not that it isn’t delightful to see him prance through the room, but the scene as a whole mostly serves to demonstrate how dangerous he is (after all he kills one if his henchmen in-between). And his second song “Goodbye, so long” is even played while the hero himself is stuck in a deadly trap.

But the song which made the villain song a Disney stable was “Poor unfortunate Souls”. Even though Ursula pretends to offer Ariel a reasonable deal, for the audience it is obvious how manipulative and dangerous she truly is. It’s clearly Ashman’s and Menken’s musical experiences which come into play there. And the success of this song prompted Disney to stick to this concept during the 1990s. “Gaston”, “Be Prepared”, “Mine, mine, mine”, nearly every movie from this point onward had a Villain Song (or had one planned which wasn’t used after all). During the late Disney Renaissance Disney tried to shake up things a little bit, though, and the use of the villain song (or songs at all) became a rarity again and is nowadays mostly linked to the Disney Princess Movies (PatF had “Friends on the other side” and Tangled “Mother knows Best”).

The Song though which is the pinnacle of all the Villain Songs is Frollo’s “Hellfire”, and not just because of the impressive music and the use of a Latin speaking chorus. It is a song which allows the audience to delve deep into the psyche of a villain.

“Beata Maria
You know I am a righteous man
Of my virtue I am justly proud”

claims Frollo, but the audience already knows that he is mostly blind to his own sins – the biggest being vanity and self-righteous judgment, which he reveals yet again.

“Beata Maria
You know I’m so much purer than
The common, vulgar, weak, licentious crowd”

The song illustrates how Frollo fights with what he perceives as temptation.
“Then tell me, Maria
Why I see her dancing there
Why her smold’ring eyes still scorch my soul”

I feel her, I see her
The sun caught in raven hair
Is blazing in me out of all control

Like fire
Hellfire
This fire in my skin
This burning
Desire
Is turning me to sin

For a short moment it seems like Frollo, for the second time in his life (the first one was after he killed Quasimodo’s mother) fears for his soul…but it’s immediately turned around:

“It’s not my fault
I’m not to blame
It is the gypsy girl
The witch who sent this flame
It’s not my fault
If in God’s plan
He made the devil so much
Stronger than a man

His own guilt is immediately forced away, to Esmeralda (who is clearly the victim in this scenario) and even to God himself. If he allows such a temptation to exist, so Frollo’s crazy reasoning, if he allows devil to wander on earth, it is not his fault that he can’t resist. In he final conclusion he claims that either Esmeralda has to die or to be his and his alone.

Protect me, Maria
Don’t let this siren cast her spell
Don’t let her fire sear my flesh and bone
Destroy Esmeralda
And let her taste the fires of hell
Or else let her be mine and mine alone
Hellfire
Dark fire
Now gypsy, it’s your turn
Choose me or
Your pyre
Be mine or you will burn

God have mercy on her

God have mercy on me

But she will be mine
Or she will burn!  

This song is a disturbing look into the mind of a villain, and the most creepy part of it is the fact that Frollo refuses to see himself as a villain. As fanatic as he is he honestly believes that he is at his core a good man, even though he knows that he will succumb to temptation and do something so deeply wrong. He doesn’t even understand that the “wrongness” in his desire lays not in the fact that Esmeralda is a Gypsy, but in his own obsession.

And this is exactly what a villain should do. It should show cast the character of a villain, his deepest desires but at the same time, it shouldn’t slow the movie down but be relevant to the plot. In this case it is relevant because that’s the point from which onward Frollo looses every bit of inhibition.

Thus said though – I don’t think that a movie necessarily needs a villain song. It is a good addition, but a creepy score works just as well – depending on which kind of villain you want to create. Shan Yu was certainly better off without one. But I can’t help wondering if some of the post renaissance villains would have been more memorable if they had been allowed to express themselves in song.