The Disney Year: Melancholy without sincerity

Hound dog Copper protects his one-time childhood friend Tod from the aim of his owner in the film’s climatic scene (Disney).

Nathan Tucker, A&E Editor

The output of Walt Disney Animation Studios–currently totaling 54 full-length films–has been cherished by audiences young and old for almost 80 years. In this weekly online feature, arts and entertainment editor Nathan Tucker will review and rank each of them.

There is a single powerful moment at the close of The Fox and the Hound where the Hound silently stands guard over the Fox, a moment so potent it almost forgives the rest of the film. Almost, but not quite. One example of real emotional impact is nothing compared to the maudlin excess that drowns it out.

The awful truth is that The Fox and the Hound believes its own hype about how terribly and tragically sad it is. In every scene, the audience can sense the animators sneaking a glimpse at them– “do they love the baby animals? do they love how beautiful and pure their friendship is? how devastated will they be when they become bitter enemies fueled by pure animal rage?” Every frame is pathetically self-conscious and cliched, tremendously overworked.

That those frames suffer from flat and bland animation (like the previous film, and the one before that, and–) does not help. It may have improved since The Rescuers, and the Bambi-aping backdrops are nice enough, but it’s hard to believe that it took four years to animate this. Stressing the obvious Bambi parallels is a mistake here, as it pales in comparison.

But the worst thing, the absolute worst thing, is that for a story which hinges entirely on being achingly, gut-wrenchingly depressing The Fox and the Hound pulls its punches. The egregious example is that it fails to kill off Chief, the old mentor dog, in Act II and then makes his “death” (or lack thereof) the main motivation of hunter Amos Slade and houndog Copper for the remainder of the film. By shirking any real dramatic weight, then suddenly shouldering it, the film loses any tonal and emotional reliability. Why bother?

Yes, there may be an eloquently dark and considered scene at the climax of The Fox and the Hound. But most viewers will have walked out by the time it plays out.   

 The List:

  1. Bambi
  2. Sleeping Beauty
  3. The Many Adventures of Winnie the Pooh
  4. Lady and the Tramp
  5. The Jungle Book
  6. Alice in Wonderland
  7. Fantasia
  8. Pinocchio
  9. Robin Hood
  10. The Rescuers
  11. One Hundred and One Dalmatians
  12. Peter Pan
  13. The Adventures of Ichabod and Mr. Toad
  14. Cinderella
  15. Dumbo
  16. The Aristocats
  17. The Fox and the Hound
  18. The Sword in the Stone
  19. Melody Time
  20. Snow White and the Seven Dwarfs
  21. Fun and Fancy Free
  22. Saludos Amigos
  23. Make Mine Music
  24. The Three Caballeros