They were really thrilled. Two tons of concrete, all steel-reinforced. Griffith: You're a fine son, Barn. Season Three: Episode 30, "Dogs, Dogs, Dogs" In a tour-de-force monologue, too long and performance-driven to reproduce in full, Knotts tries to reassure Griffith's son Ron Howard that the stray dogs he just dropped off in a farmer's field will be okay, even in a thunderstorm. You know why? Because he's too close to the ground.
See, lightning strikes tall things. Now, if they was giraffes out there in that field, well then, we'd be in trouble. Season Four: Episode 4, "The Sermon For Today" After sleeping through the visiting preacher's sermon about the restless pace of modern life, Knotts compliments him in front of the church, saying, "That's one subject you just can't talk enough about.
Season Four: Episode 10, "Up In Barney's Room" Knotts gives Griffith a tour of his boarding-house room and offers him some spicy homemade chili, which Griffith declines because "It makes my head all wet. Orange crate. See on the side where it says 'oranges'? That's the only way you'd ever know. Season Four: Episode 15, "Aunt Bee The Crusader" A local chicken farmer protests the county's decision to build a road through his property, and when he gets the townsfolk on his side by giving them presents, Knotts tells Griffith, "We could book him on a Griffith: What's a ?
Griffith: That's a ? Knotts: It's kind of a catchall. Season Four: Episode 16, "Barney's Sidecar" Griffith makes fun of Knotts' motorcycle get-up by grabbing Knotts' oversized helmet and slapping it on his own head. A mortified Knotts creaks, "Don't wear my hat, Ange. I can't stand to wear a hat after it's been on someone else's head. My mother was the same way. Season Four: Episode 27, "Fun Girls" Knotts admits that he's been repairing some torn items around the courthouse by using sewing skills he picked up from his mother, and further admits his plan to knit Griffith an afghan for Christmas, in the state colors, with "Home Sweet Home" in the middle: "You know, knitters and crocheters never have stomach disorders.
Season Five: Episode 2, "Barney's Physical" Knotts is in high dudgeon because Griffith is pretending not to remember what happened five years ago on that day. Griffith: You met Thelma Lou? Knotts: No, that was in at Wilton Blair's funeral. Griffith: Oh yeah. Knotts: Try again. Griffith: You moved into Miss Mendelbright's boarding house. Knotts: No. Griffith: As far as I can figure, those are the high spots. Bass" Although best remembered for Griffith's quick reply to Knotts' request to be allowed to work over a prisoner "He'd kill ya.
Knotts is opposed: "I checked the special. Chicken wings, rice, and mixed vegetables. Griffith: That doesn't sound bad. Knotts: You know what she does. She give you two wings, and usually from a chicken that's done a lot of flyin'. What you wind up payin' for is the rice and mixed vegetables.
That's what it boils down to. Might as well face it.
It'd be the high spot of the picture. Griffith: That's funny! You just think of that? Knotts: I can't take any credit for it. My mind just works that way. The A. Share This Story. Share Tweet. At least the package films have a reason to feel as scattered as they do.
Home on the Range is disjointed simply because of its subpar writing. It's clearly geared toward children, but unlike the vast majority of Disney films, there's nothing in it to keep adults entertained. And while some suspension of disbelief is necessary for all anthropomorphic animal movies, there is still a depressing lack of logic here. Just trying to imagine how three bovines are able to hogtie a cattle rustler is enough to take you out of the movie entirely. Another package film, Fun and Fancy Free has the advantage of two longer segments: Bongo , about a circus bear who escapes captivity and falls in love, and Mickey and the Beanstalk , a Disney take on the classic fairy tale.
Both are fine, though the latter has more substance. It's nice to see Mickey as a hero, and Donald Duck and Goofy also make appearances. In a recurring gag, Goofy's pants repeatedly fall down, which is not the sharp writing audiences would come to expect from Disney's subsequent animated films. It has no bearing on the plot, except for the fact that Bergen narrates the story of Mickey and Willie the Giant, and there are some truly dreadful puns.
It's unclear why this live-action scene was included at all: Unlike Willie the Giant wearing the iconic Brown Derby restaurant as a hat, it's utterly charmless. The Three Caballeros isn't exactly a sequel, but it's certainly a thematic follow-up to Saludos Amigos. In contrast to most of the package films, the narrative here actually works: It's Donald Duck's birthday, and each of the gifts he receives inspires a different segment.
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A film projector with photos of birds helps recount the tale of Pablo, a penguin who longs for warmer climates. The humor of these cartoons is more Looney Tunes than Disney, but what the film lacks in substance it makes up for in style. Aurora Miranda the sister of the more famous Carmen also makes a memorable appearance.
By the time The Three Caballeros goes off the rails with a bizarre fantasy sequence the aptly named Donald's Surreal Reverie , you're either in sync with the beat or not. The best thing that can be said about Chicken Little is that it's inoffensive. There's nothing particularly wrong with this early computer-animated effort from Disney, but there's nothing particularly right about it either. Here, an imminent alien attack is underway, and no one believes poor Chicken Little.
Despite some sweet moments and one truly regrettable karaoke rendition of the Spice Girls' "Wannabe" , the plot never really comes together. There's simply too much going on here, from Chicken Little's budding baseball career to the underdeveloped sci-fi subplot. The big moments, like Chicken Little and his "ugly duckling" friend Abby Mallard sharing their first kiss, come out of nowhere as a result of the unfocused script. What does work is Chicken Little's relationship with his father, Buck "Ace" Cluck, a high school sports legend who has trouble relating to his accident-prone offspring.
Melody Time stands out from other package films for a few notable segments. Once Upon a Time in Wintertime is stunning and surprisingly tense, Bumble Boogie offers a distinctive blend of color and texture, and The Legend of Johnny Appleseed is a cute retelling of the well-known tale. That being said, Melody Time suffers from a familiar problem: There is a lack of logic to the collection, which includes more traditional stories with abstract shorts that would be better suited for Fantasia. In fact, several of the shorts in the package films were originally intended for the classic. It's jarring to move from Little Toot , the story of an anthropomorphic boat, to Trees , a poetic and ultimately melancholy meditation on the changing seasons.
And Blame It on the Samba is a lot of fun, but that doesn't mean much without context. Thanks to some standout animation, certain segments of Melody Time are worthy of repeat viewing, but at the end of the day, it's another package film, slapped together with little thought about what the audience might want.
Because it's the first of Disney's package films, Saludos Amigos seems almost innovative. It contains only four segments, mercifully, at least two of which are good: Lake Titicaca , which follows Donald Duck as a tourist in South America, and El Gaucho Goofy , in which cowboy Goofy learns to be a gaucho. The final segment is at least nice to look at. The use of actual Portuguese grants the entire enterprise an authenticity that might otherwise be lacking. The frame narrative here works in part because it's so literal: The Disney artists travel to Latin America, where they explore the country and let it inspire their work.
This is, more or less, a documentary reflecting the real goodwill trip that inspired Saludos Amigos and, later, The Three Caballeros. The latter may be better remembered, but the former is more consistently entertaining and better appreciated as a singular work. The Fox and the Hound has its fans, most of whom are almost certainly masochists. Of all Disney's bleaker offerings, this film is the most relentlessly depressing, telling the story of Tod the fox and Copper the hound, two young companions who grow up and realize their adorable interspecies relationship can never be sustained.
Trauma abounds, from the Widow Tweed abandoning Tod at a game preserve, to the brutal showdown between Tod, Copper, and a vicious bear. For those who cower at the thought of animals in peril, The Fox and the Hound is an exercise in cinematic torture. But personal tastes aside, it's just a mediocre Disney film. The characters, however cute they look, are at best underdeveloped and at worst unlikable.
It's lose-lose: The movie will bore you unless you force an investment, and doing that will only get you hurt. The Fox and the Hound suggests a much more cynical albeit realistic interpretation of the animal kingdom. Once you know to look for these moments, they're impossible to unsee. But the animation, which doesn't look as cheap as it could all things considered, isn't the only problem with Robin Hood. While there's a definite plot, much of the running time is devoted to comic relief characters and set pieces, some parts of which work better than others.
One particularly irksome example: an extended football sequence that's both overly long and completely out of place. It's a shame, because what works, works well. The decision to recast the familiar story with anthropomorphic animals is a smart one not to mention sexually confusing to those who found themselves attracted to a talking fox. And some of the songs are nice, especially the catchy "Oo De Lally" and the gorgeous "Love," which is featured in a sequence that's as charming as it is out of place.
Fantasia is beautiful and completely superfluous. When Walt Disney made the original Fantasia in , he had planned on producing a series of films featuring both new and recurring shorts scored to classical music. Instead we got the package films. Ah, well. With that in mind, Fantasia is a fine idea, and it does do a great job of reflecting the staggering advances in animation since Disney's time. But there's very little substance to any of the short films here: They're pretty but empty. That would be less of a crime if Fantasia hadn't been released at the end of a decade that represented the very best of Disney Animation's storytelling abilities.
And when it comes to story alone, The Sorcerer's Apprentice , recycled from the original Fantasia , remains the standout. That having been said, there are some truly stunning sequences, namely Pines of Rome even if those levitating CGI whales haven't aged terribly well and the climactic The Firebird , which almost makes the whole endeavor worthwhile. The Black Cauldron is notorious for being a critical and commercial failure. It's stylistically so different from anything that came before it or after it, making it easy to forget it's a Disney film. Disney would probably prefer it that way.
It took more than a decade before the film was released on home video. But The Black Cauldron 's uniqueness is one of its assets. While it's easy to condemn the film for being oddly dark and more complex than typical Disney fare, it's refreshing to see the studio taking chances with more mature source material like Lloyd Alexander's book series The Chronicles of Prydain.
And the animation style, though unfamiliar, is captivating. Would The Black Cauldron have fared better if it weren't a Disney film? Putting all the unfair criticisms aside, there are plenty of legitimate complaints to be made. The film's writers tried their best to condense two books worth of material into an minute movie, and the results are predictably lacking. There are hints of a great dark fantasy film here; sadly, The Black Cauldron is not it.
Disney has gotten bigger and bigger, and Ralph Breaks the Internet reflects that with cameos from Star Wars characters and Marvel superheroes.
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But in doing so, Disney appears to have lost some focus. Yes, the basic story of misunderstood video game villain Ralph and his best friend Vanellope navigating the internet has heart, and a familiar emphasis on chosen family. As fondly remembered as it may be, Dumbo , at just over an hour, is slight to a fault — Dumbo himself spends most of the film getting mocked and mistreated by everyone around him, until he finally discovers his hidden talent, the ability to fly with his giant ears, at the end of the movie. It's a surprisingly somber affair: The best moment, Dumbo's mother cradling him with her trunk through the bars of a cage and singing "Baby Mine," is also its most devastating.
The story is sweet if not frequently upsetting , but in addition to its truncated length, animators were instructed to do things cheaply, which means significantly less detail than the Disney films before it. And then, of course, there's the questionable racism of the crows, commonly regarded as offensive black stereotypes — less questionable when you learn that the lead crow is actually named Jim Crow. Yes, the reference is a product of a different time, but like so much of Dumbo viewed from a modern perspective, it just doesn't fly.
Here's what Peter Pan has in common with Dumbo : It's one of Disney's most iconic films and it has a loyal and devoted fanbase, but it's also pretty seriously flawed and a lot more racist than you remember. But what's surprising on viewing it today is how little Peter Pan has to offer. In addition to the shockingly outdated conception of "Indians," the film also features a reductive and frankly offensive portrayal of its female characters, all of whom are in vicious competition with one another. Tinker Bell spends most of the film trying to kill Wendy, who is equally jealous of Tiger Lily.
So what does Peter Pan have going for it? Some memorable songs and a lot of gorgeous visuals, including Peter Pan leading the Darling children in flight over London. When it comes to mindless diversion, that's more than enough. In many ways, Brother Bear is underrated. Though largely forgotten, it's one of the more intelligent and emotionally complex Disney films of the early s. The story follows Kenai, a boy who gets turned into a bear to teach him a lesson after he murders the bear that killed his brother Sitka. Kenai befriends another bear, Koda, only to discover that the bear he killed was Koda's mother.
It's a brutal twist, and it's handled with surprising deftness. The film is also notable for its unique choice to transition to a wider aspect ratio and a more vibrant animation style to reflect Kenai's transformation. That having been said, Brother Bear makes its share of mistakes. The music by Phil Collins is intrusive and poorly integrated into the movie, either too on the nose or completely out of place.
And as might be expected, the ending, however sweet, is a little too pat given the complexity of the issues at play. Brother Bear is a kids' movie that toys with a thematic maturity that it's afraid to fully embrace, and that ultimately undermines its lofty goals. The worst thing about Dinosaur is the way it looks: The dinosaurs themselves are computer-animated and displayed against a live-action background. It's a neat idea, but it can't compete with the technological advancements that have been made over the past 15 years.
At best, it looks like a decent video game. The story, however, is not bad, even if it does feel a little too close to the non-Disney classic The Land Before Time : Aladar, an iguanodon whose mother is killed by a carnotaurus, is taken in by a family of lemurs. When a meteor strikes and separates the family, the remaining members set out for the safe haven known as the "Nesting Grounds.
And although the animation hasn't aged well, there are still some stunning sequences, like the truly terrifying meteor scene and its devastating aftermath. The Adventures of Ichabod and Mr. Toad is easily the best of the package films, although the grouping of its two stories is completely nonsensical. The Wind in the Willows and The Legend of Sleepy Hollow are vastly different pieces of literature, and that shows in their adaptations: The former is an irreverent and lighthearted tale, while the latter is a fairly straightforward horror story.
The oddness of the pairing aside, however, both are pretty good. But not great, as the animation and songs feel a little less than. Again, this was the '40s, when Disney could hardly afford to be at the top of its game. Ichabod's adventure proves to be the more memorable one, because it's genuinely terrifying.
The Headless Horseman is one of the scariest characters in any Disney film. Perhaps by necessity, the animators showed considerable restraint, which just made him more effective. He's defined by the creepy details that stand out against his otherwise minimalist form: the flowing purple cape and his horse's red eyes. That flaming pumpkin is the stuff of nightmares. There's plenty to like about The Aristocats , the charming story of the regal cat Duchess, her three kittens, and the handsome stray Thomas O'Malley.
The animation has a deliberate line-drawn feel that allows the cats to be extra expressive, and the titular Maurice Chevalier song that opens the movie gives it a touch of class. Well, that and the incomparable vocal talents of Eva Gabor as Duchess. The only reason The Aristocats isn't ranked higher is that it's not particularly memorable beyond the charm. It's cute but not original: Like the superior One Hundred and One Dalmatians , it revolves around the unpleasant notion of a villain trying to murder a group of defenseless animals. Meanwhile, the distinctive animal personalities are reminiscent of Lady and the Tramp , with which the film can't really compare.
Hee, Norman Ferguson, and Wilfred Jackson. In order to enjoy Fantasia , you have to give yourself over to it. The film is a visual symphony designed to effortlessly combine music and animation: It's meant to be experienced. All of this is a pretentious way of saying that, for all its inarguable beauty, Fantasia can be a total bore. It's easier to appreciate Fantasia than it is to like it, although there are certainly segments or at least moments within segments that are fun to watch.
The Sorcerer's Apprentice , to cite the most famous example, is engaging, and the final sequence Night on Bald Mountain is captivating for its sheer audacity. A film that isn't really about anything suddenly showcases a battle between good and evil, complete with the imposing devil Chernabog.
At the very least, Fantasia is impressive: Only the third film produced by Walt Disney Animation Studios, it represents the animator's peerless vision and innovation. When it comes to rewatching Fantasia , perhaps it's best taken in parts, where you can skip over the unfortunate racist imagery of The Pastoral Symphony and the tiresome Meet the Soundtrack section.
It's surprisingly effective. Meek orphan Oliver becomes a kitten who finds himself in the world of dog thieves led by Fagin, a human. Thankfully, he's no longer the anti-Semitic character he was in the novel and several of its earlier adaptations. The depiction of New York City is impressively gritty, which fits the subject matter and gives the film a bit of an edge for a Disney movie. The music is also distinctive, but it works, in part because of the voice talent involved: Huey Lewis sings the opening song, Billy Joel voices Dodger and sings "Why Should I Worry," and Bette Midler steals the show as Georgette, who gets the iconic number "Perfect Isn't Easy.
This may be the only G-rated movie in which two dogs are thrown from a train and electrocuted to death. They're villains, but still. Although Treasure Planet 's characters are drawn in traditional 2D animation, they're placed against 3D computer-generated backgrounds. The combination of the old and the new result in a thoroughly unique aesthetic, with stunning depth and fluid movements through space.
Treasure Planet is, above all, beautiful to look at, and that makes up for areas where the film is lacking.
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As a sci-fi interpretation of the classic adventure novel Treasure Island , the movie works best when it remains grounded with a strong focus on its characters and their motivations. To its detriment, Treasure Planet sometimes gets too caught up in shiny robot parts, which distract from a solid story. It might seem contradictory to praise the film's technological advancements while also calling for restraint, but the best Disney movies showcase breathtaking animation without losing focus of the rich emotional core.
And indeed, when it centers on the relationship between young Jim Hawkins and the cyborg John Silver, Treasure Planet can be quite powerful. Otherwise it gets a little lost in space. Written by: Stephen J. The film is designed to feel like a throwback, and it's a remarkably effective technique: Despite the occasional computer-animated assist Pooh gets a ramped-up fantasy sequence involving CGI honey , it looks an awful lot like the original.
And it's not just the animation either. Winnie the Pooh maintains a more traditional sensibility, with most of the sharp humor deriving from wordplay and predictable misunderstandings, and songs that would not feel out of place in the earlier film. In fact, the only time Winnie the Pooh falters is when it allows too much of the modern world to shine through in the form of slapstick humor and sight gags that don't align with Milne's sensibility. If there's another mark against Winnie the Pooh , it's the running length: At just over an hour — including the end credits — it's almost too slight for a feature film.
Zootopia has its heart in the right place. But the buddy cop mystery, which pairs up rabbit officer Judy Hopps and fox con artist Nick Wilde, turns out to be a seriously unsubtle allegory about the dangers of racial profiling. It's an ambitious and laudable project, particularly given the contemporary context the Black Lives Matter movement and Disney's less-than-favorable history of representing people of color. That having been said, Zootopia 's metaphors are muddled, at times to an alarming degree, e. To be fair, the film is careful to not directly align any animals with a particular racial group, but the association is still there, and it's both uncomfortable and misguided.
Aside from that, it's a fairly straightforward story with some notable flourishes. The idea that this is a world made by evolved animals, for evolved animals, is a brilliant one. It's also wonderful to see a female lead character who's not motivated by true love but by her passion for work.
Still, Zootopia should have that distinctive Disney warmth and this one feels a little chilly. To say that Pocahontas is problematic is an understatement: Disney's historically inaccurate take on real-life Native American Pocahontas and her relationship with English settler John Smith is, at best, surface-level. At worst, it's willfully ignorant, with cringeworthy songs like "Savages," in which the white men's brutal destruction of the native population is unfairly aligned with the latter's attempts to defend themselves against the onslaught of outsiders.
The story is overly simplistic and tough to swallow — Pocahontas learns English because magic! The scene where Thomas shoots and kills Kocoum reflects the harsh realities of the situation, and the ending, in which Pocahontas stays behind instead of leaving with John Smith, is a satisfying if not traditionally happy conclusion. Sleeping Beauty is one of the Disney classics that benefits from retroactive appreciation. The live-action Maleficent , starring Angelina Jolie as the most interesting character from the animated film, offers a depth and backstory that makes Sleeping Beauty look better in retrospect.
By itself, however, the film is actually sort of slow and flimsy. The pacing is all off: It's 50 minutes into the minute film before Princess Aurora even pricks her finger on the cursed spinning wheel. If Aurora isn't the most interesting Disney Princess the most notable thing she does is fall asleep , she's surely one of the most beautiful, which does account for the film's lasting appeal.
As a purely visual experience, it's a joy to take in. The success of The Rescuers is a credit to its excellent characters, the unlikely duo of experienced Miss Bianca and nervous Bernard, cruel Madame Medusa originally intended to be Cruella De Vil but reconceived as an original character , plucky orphan Penny, and albatross pilot Orville.
The story is fairly dark, with Medusa kidnapping Penny and taunting her that she's too homely to be adopted. Try watching the number "Someone's Waiting for You" without getting emotional. The cameo from Bambi and his mother doesn't help.
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But there's also plenty of comic relief in the form of Bernard and Bianca, plucky agents of the Rescue Aid Society, the United Nations—esque mouse organization. The film does an admirable job of blending action, humor, and heart, culminating in a moving ending that gives all the characters what they deserve without feeling too neat.
It's the action that's perhaps most impressive, if only because it's something Disney films had fumbled in the past: In The Rescuers , it's constant and appropriately tense.
The stakes are high enough to keep viewers on the edge of their seats. Though not a package film thankfully , The Many Adventures of Winnie the Pooh is stitched together from three different short films, with added material to help bridge the gaps between them. There is such a sweetness and simplicity to Winnie the Pooh and these characters, it doesn't really matter that the film as a whole lacks cohesion. Of course, for anyone who grew up with Pooh, Piglet, Eeyore, and the other inhabitants of the Hundred Acre Wood, it's difficult to rate their adventures objectively.
The nostalgia factor is strong here. So while The Many Adventures of Winnie the Pooh might prove shrugworthy for someone who's never been exposed to it before, those who have even a passing familiarity with the stories or the many films and TV series can't help but be charmed by what is surely the best adaptation of the source material. This is, after all, the introduction of Tigger and the harrowing "Heffalumps and Woozles" sequence.
Unlike the vast majority of sequels, The Rescuers Down Under improves on its predecessor with stronger animation, more developed characterization, and an even tenser, action-driven story. Perhaps the only reason the film isn't better regarded is that it emerged during the Disney Renaissance, which had begun the previous year with The Little Mermaid. And compared to the rest of the films made during that time, The Rescuers Down Under falls a little short. Frankly, it's sort of unfair to hold an otherwise delightful film to that nearly impossible standard.
Aside from Bob Newhart and Eva Gabor, who reprise their roles as Bernard and Bianca, John Candy also joins the cast for the memorable role of albatross Wilbur, the brother of Orville from the first film. He gets some of the best scenes and adds enough comic relief to counter the stress of the main plot, in which a poacher kidnaps a young boy named Cody to capture a giant golden eagle.
If you know anything about Greek mythology, Hercules is somewhat perplexing. It's a muddled adaptation of classic myths, in which Hades is recast as the villain simply because he has the misfortune of ruling over the Underworld. Luckily, there's still a lot to like. Zeus is forced to intervene and admonish his son for resting on his laurels.
And Megara is far from the typical Disney Princess: She spends much of the film secretly working for Hades against her will, which imbues her with rare moral ambiguity. The biggest mark against Hercules is the animation, which is exaggerated and cartoony, giving the movie a more juvenile feel despite the intense action sequences.
Even worse is the CGI Hydra, which is rendered with then state-of-the-art technology that now looks awkward and amateurish. Pongo thinks of his owner Roger as his pet and sets about finding him a mate, Perdita's owner Anita. But Cruella De Vil is iconic: She's one of Disney's most well-known villains, thanks to her distinctive design, wretched behavior she wants to murder and skin puppies , and that song. Cruella is thoroughly frightening, and watching her ruthlessly pursue the dogs makes the film an unbearably stressful experience at times.
It's immensely satisfying to see the animals working together to save the puppies' hides. And it's all animated with a wonderfully stylized '60s feel that keeps One Hundred and One Dalmatians fun even when you're on the edge of your seat. Meet the Robinsons is a zany sci-fi comedy that packs a surprising emotional punch. It catches you off guard with its beautiful themes and tear-jerking ending, but that's what Disney so often does best.
Before that, however, Meet the Robinsons is notable for its detailed and fully realized depiction of the world in At its center are Lewis, a young inventor left at an orphanage, and Wilbur Robinson, who arrives from the future and introduces Lewis to the eccentric Robinson family. There are too many characters to really keep track of, but that doesn't matter — what's important is that the Robinsons, for all their oddness and personality quirks, stick together as a family when it counts.
Like, for example, when a dinosaur attacks. The reveal of Lewis's true identity is a little obvious, but it's still a wonderful twist that plays out in a powerful conclusion. If you don't start crying when Lewis ventures back in time to see his birth mother and then makes the touching sacrifice not to reach out to her, you're as soulless as Doris, the evil robotic bowler hat.
Because it was the very first film produced by Walt Disney Animation Studios, Snow White and the Seven Dwarfs will always be beloved — its influence is incalculable. If the film, which went against conventional wisdom at the time, hadn't been a hit, it's unlikely that the many films that followed would have happened. So credit where credit's due: Snow White had a tremendous influence on Disney and on animation as a whole. That having been said, some parts of it work better than others.
The scary elements — Snow White lost in the forest and the Evil Queen's transformation into an old hag — are the most effective.
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