Animated Musical Movies

Robin Williams's dizzying and hilarious voicing of the Genie is the main attraction of Aladdin, the third in the series of modern Disney animated movies that began with 1989's The Little Mermaid and heralded a new age for the genre. After a sultan (Douglas Seale) gives his daughter, Jasmine (Linda Larkin), three days to find a husband, she escapes the palace and encounters the street-savvy urchin Aladdin (Scott Weinger), who charms his way into her heart. While the sultan's Vizier, Jafar (Jonathan Freeman), weaves a spell so that he may marry Jasmine and become sultan himself, Aladdin discovers the Genie's lamp in a cave, rubs it, and sets the mystical entity free, leading the Genie to pledge his undying loyalty to the dazzled youth. Aladdin begins his quest to defeat Jafar and win the hand of the princess, with the Genie's help. Monsters, Disney's trademark talking animals, and a flying carpet all figure into the ensuing adventures, but Williams' Genie, who can change into anything or anybody, steals the show as he launches into one crazed monologue after another, impersonating figures from Ed Sullivan to Elvis Presley. ~ Don Kaye, Rovi

This Disney feature-length cartoon combines the most entertaining elements of Lewis Carroll's Alice in Wonderland and Through the Looking Glass. Chasing after the White Rabbit, who runs into view singing "I'm Late! I'm Late!," Alice falls down the rabbit hole into the topsy-turvy alternate world of Wonderland. She grows and shrinks after following the instructions of a haughty caterpillar, attends a "Very Merry Unbirthday" party in the garden of the Mad Hatter and the March Hare, stands in awe as the Cheshire Cat spouts philosophy, listens in rapt attention as Tweedledum and Tweedledee relate the story of the Walrus and the Carpenter (a sequence usually cut when Alice is shown on TV), and closes out her day with a hectic croquet game at the home of the Red Queen. The music and production design of Alice in Wonderland is marvelous, but the film is too much of a good thing, much too frantic to do full honor to the whimsical Carroll original, and far too episodic to hang together as a unified feature film. One tactical error is having Alice weep at mid-point, declaring her wish to go home: This is Alice in Wonderland, Walt, not Wizard of Oz! Its storytelling shortcomings aside, Alice in Wonderland is superior family entertainment (never mind the efforts in the 1970s to palm off the picture as a psychedelic "head" film). ~ Hal Erickson, Rovi

This stop-motion animated fable was a big hit when it was released -- not only at the box office, but critically. It was praised for its stunning originality and for the excellence of its execution. In addition, it was praised for being a completely absorbing fable that both grownups and children can enjoy, so long as the children are able to its handle scary bits (beginning perhaps at age seven or eight). In the story, Jack Skellington (voice of Chris Sarandon) is the Pumpkin King of Halloweentown, a realm of reality where the inhabitants make it their life's work to scare humans on Halloween. He's good at his work, and is very popular around town, but it all bores him. In a funk one day, he wanders into a wood where every tree is the doorway to realms serving one or another human holiday, and falls through the doorway into Christmas. There, he sees scenes of such glee and good will that he is overwhelmed. He returns to Halloweentown with the inspiration to persuade his fellow citizens to kidnap Santa and do Christmas in their own Halloweentown way -- complete with snakes and shrunken heads. Despite strong arguments against this project by Jack's otherwise loyal girlfriend, Sally (voice of Catherine O'Hara), Santa (voice of Edward Ivory) is duly captured, and the townspeople prepare a very special Christmas for everyone. Jack is excited about the new plan, and at first doesn't notice that Sally isn't around much anymore. Meanwhile, Oogie Boogie (voice of Ken Page), a sinister opponent of Jack's, has re-kidnapped Santa and has captured Sally as well. Since Sally is the true love of Jack's life and (he eventually realizes) the only one who can be relied upon to tell him the truth in every circumstance, a confrontation with Oogie Boogie becomes inevitable. In addition to being a monumental work of animation (it took over 120 animators and many more technicians more than two years to film it), this show features ten very appropriate musical numbers by composer Danny Elfman, who also supplies Jack's singing voice. In October 2006, fans of the innovative animated classic got to experience The Nightmare Before Christmas in a whole new dimension when the film was re-released into theaters in Disney Digital 3-D -- a process developed to add remarkable new depth to films that were originally released in standard 2-D. ~ Clarke Fountain, Rovi

The final animated feature produced under the supervision of Walt Disney is a lively neo-swing musical, loosely based upon the tales of Rudyard Kipling. The story takes place in a tropical jungle where people are conspicuously absent. But one day Bagheera the Panther (voice of Sebastian Cabot) discovers a baby in the wreck of a boat. Feeling pity on the child, Bagheera takes him to be raised with the wolves. Ten years later, the child has grown into Mowgli (voice of Bruce Reitherman). Mowgli discovers that his life is in danger because of the return to the area of Shere Khan the Tiger (voice of George Sanders), whose hatred of humans is such that Mowgli faces certain death if discovered. Bagheera agrees to transport Mowgli to the human village, where he will be safe from Shere Khan. Along the way to the village, night falls and Mowgli and Bagheera almost succumb to the man-eating snake Kaa (voice of Sterling Holloway). Escaping Kaa's coils, they run into the lock-step military elephant band of Colonel Hathi (voice of J. Pat O'Malley). Afterwards, Mowgli, who doesn't want to be sent to the human village, runs away from Bagheera and meets up with the fun-loving Baloo the Bear (voice of Phil Harrris). With both Bagheera and Baloo to protect him, Mowgli is saved from several more life-threatening situations -- including a barber-shop quartet of vultures, the crazed King Louie of the Apes (voice of Louis Prima), and Shere Khan himself -- before making it to the village of humans. ~ Paul Brenner, Rovi

Beauty and the Beast is widely considered the best animated Disney feature of the studio's 1980s/1990s renewal of the form. Based on the classic French fairy tale, it tells the story of Belle (voiced by Paige O'Hara), an intelligent young woman scorned by her townspeople for being a bookworm, weary of fighting off the advances of the arrogant Gaston (Richard White), and dreaming of escape. When her father gets lost in the woods and captured by the forbidding Beast (Robby Benson), a once-handsome prince turned into a monster by a witch, Belle goes off to rescue him. Taken with her, the Beast agrees to release Belle's father if she agrees to stay with him forever. Initially repulsed, Belle soon finds much to appreciate in the Beast's hidden, tender nature. The Beast's servants -- a clock (David Ogden Stiers), a teapot (Angela Lansbury), and a candlestick (Jerry Orbach) -- see Belle as their salvation: if the Beast and a woman fall in love before his 21st birthday, he will be free from the curse. The songs are first-class, the tale is told with sincerity but not sentimentality, and the characters of Belle and the Beast, complex individuals who defy stereotyping and change over the course of the story, are more three-dimensional than in most live-action movies. The eye-popping animation is beautifully rendered, and Beauty and the Beast certainly deserves its place amongst Disney's animated classics. In 2002, a special 89-minute edition of the film was released in IMAX theaters with the addition of a newly animated song, ""Human Again."" ~ Don Kaye, Rovi

Lady and the Tramp represented two "firsts" for Disney: It was the studio's first Cinemascope animated feature, and it was their first full-length cartoon based on an original story rather than an established "classic". Lady is the pampered female dog belonging to Jim Dear and Darling. When her human masters bring a baby into the house, Lady feels she's being eased out; and when Darling's insufferable Aunt Sarah introduces her nasty twin Siamese cats into the fold, Lady is certain that she's no longer welcome. The cats wreak all manner of havoc, for which Lady is blamed. After the poor dog is fitted with a muzzle, Lady escapes from the house, only to run across the path of the Tramp, a raffish male dog from the "wrong" side of town. The Tramp helps Lady remove her muzzle, then takes her out on a night on the town, culminating in a romantic spaghetti dinner, courtesy of a pair of dog-loving Italian waiters. After their idyllic evening together, Lady decides that it's her duty to protect Darling's baby from those duplicitous Siamese felines. On her way home, Lady is captured and thrown in the dog pound. Here she learns from a loose-living mutt named Peg that The Tramp is a canine rake. Disillusioned, Lady is more than happy to be returned to her humans, even though it means that she'll be chained up at the insistence of Aunt Sarah. Tramp comes into Lady's yard to apologize, but she wants no part of him. Suddenly, a huge, vicious rat breaks into the house, threatening the baby. Lady breaks loose, and together with Tramp, runs into the house to protect the infant. When the dust settles, it appears to Aunt Sarah that Tramp has tried to attack the child. That's when Lady's faithful friends Jock the bloodhound and Trusty the scottie swing into action, rescuing Tramp from the dogcatcher. Once Jim Dear and Darling are convinced that Tramp is a hero, he is invited to stay...and come next Christmas, there's a whole flock of little Ladies and Tramps gathered around the family. Beyond the usual excellent animation and visual effects, the principal selling card of Lady and the Tramp is its music. Many of the songs were performed and co-written by Peggy Lee, who years after the film's 1955 theatrical issue, successfully sued Disney for her fair share of residuals from the videocassette release. ~ Hal Erickson, Rovi

Fievel the Mouse returns in this direct-to-video release, the third installment in the An American Tail series. Fievel (voice of Thomas Dekker) and his friend Tony Toponi find a map that they believe points to a treasure buried somewhere beneath Old New York, and the plucky rodent is determined to find it. However, what he discovers under the city is a tribe of Native American mice who were driven underground by prejudiced European immigrants. Fievel makes new friends with the outcasts, and he comes to realize that they have the same right to live freely in America as anyone else. ~ Mark Deming, Rovi

Dreamworks Pictures has taken the biblical story of Exodus, put it into cartoon form, and released it on the big screen as an epic animated feature. The Prince of Egypt tells the story of Moses releasing the Jews from Egyptian slavery under the hand of the evil pharaoh Rameses. Think of The Ten Commandments with songs and an all-star cast doing the voices. In the Charlton Heston role of Moses is Val Kilmer. Moses' brother Rameses, previously played by Yul Brynner, is now voiced by Ralph Fiennes. The story revolves around these two close brothers, Moses and Rameses. While Rameses is groomed to take over the land, his beloved brother Moses is a carefree prankster, until he learns the true secret of his past. His secret, of course, is that he is really a Jew and as a child was floated down the river to escape mass genocide. The pharaoh Seti (Patrick Stewart) raised Moses as his son. Upon learning the truth of his past from a burning bush, Moses returns to Egypt with God on his side and demands that the pharaoh (now his brother Rameses) must "Let my people go." With songs written by Oscar-winner Stephen Schwartz and sung by Whitney Houston and Mariah Carey, The Prince of Egypt covers all the classic story points of the story of Moses, including the ten plagues and the parting of the Red Sea. ~ Arthur Borman, Rovi

The first feature from the 20th Century-Fox animation unit in Phoenix, Arizona, this is the ninth film produced and directed by the Don Bluth/Gary Goldman duo (An American Tail) and the first animated feature to be made in CinemaScope since Disney's Sleeping Beauty (1959). This $50 million animated fantasy retells the story of Anastasia, daughter of Czar Nicholas, beginning with her childhood in 1916 Russia. After Rasputin's curse on the Romanovs, little Anastasia is separated from her grandmother, the Dowager Empress Maria. After growing up in an orphanage, Anastasia emerges as a young woman called Anya. With no clear memory of her youth, Anya encounters entrepreneurs who seek an Anastasia look-alike in hopes of collecting a reward in Paris from the aged Dowager Empress. Despite demonic interference from Rasputin, the three travel to Paris where another problem awaits: the Dowager Empress is now skeptical of the parade of imposters. ~ Bhob Stewart, Rovi

In this direct-to-video sequel to Disney's animated hit The Little Mermaid, Ariel (Jodi Benson) and Eric (Christopher Daniel Barnes) are the proud parents of a little girl named Melody (Tara Charendoff), who has begun to hear the call of the sea she has inherited from her mother. But wicked Morgana (Pat Carroll), the sister of Ursula, seeks revenge against Ariel, and has devised a scheme to take control of the oceans. As Melody goes to the waters in dreams of becoming a mermaid like her mother once was, he is drawn into Morgana's plot, and now Ariel must reunite with her childhood friend Sebastian (Samuel E. Wright) to save her daughter. Buddy Hackett and Kenneth Mars also lend their voices to this animated feature. ~ Mark Deming, Rovi

Bedknobs and Broomsticks was produced several years after Walt Disney's death and released in the fall of 1971. As it turned out, Bedknobs was frequently compared to Mary Poppins -- probably thanks to several striking similarities between the two productions, notably the presence in the cast of David Tomlinson, the use of Cockney children as central characters, and the inclusion of sequences that combine animation and live-action. Set in wartime England, Bedknobs stars Angela Lansbury as Eglantine Price, a would-be witch who hopes to use her newly acquired conjuring powers to forestall a Nazi invasion. Saddled with three surly kids who've been evacuated from London, Lansbury wins over her charges by performing various and sundry feats of magic. And, yes, she manages to foil a few Germans along the way. The film's most famous episode is an elaborate undersea fantasy, which combines animation with live-action on a gargantuan scale, dwarfing all previous Disney sequences along these lines. ~ Hal Erickson, Rovi

Mowgli the "man-cub" returns to the wilderness in this sequel to the Walt Disney Pictures animated favorite The Jungle Book. After leaving life in the jungle behind, Mowgli (voice of Haley Joel Osment) has been adopted, and now lives in the nearby village with his new parents and his younger brother, while becoming close friends with Shanti (voice of Mae Whitman), the girl who first lured him out of the wilds. However, adjusting to live among other humans hasn't been easy, and after Mowgli pays a visit to an old friend, happy-go-lucky bear Baloo (John Goodman), the boy considers staying for a while. Before long, both Shanti and Mowgli's new family notice he's missing, and Shanti goes into the jungle to look for him, despite her fear of wild animals. However, Mowgli and Baloo are soon reminded that life in the wilderness isn't always carefree when they learn Shere Khan (voice of Tony Jay) is looking for Mowgli, eager to settle an old score. The Jungle Book 2 also features voice work from Phil Collins and John Rhys-Davies; rock group Smash Mouth contribute a new version of "I Wanna Be Like You" to the soundtrack. ~ Mark Deming, Rovi

Fantasia, Walt Disney's animated masterpiece of the 1940s, grew from a short-subject cartoon picturization of the Paul Dukas musical piece The Sorcerer's Apprentice. Mickey Mouse was starred in this eight-minute effort, while the orchestra was under the direction of Leopold Stokowski. Disney and Stokowski eventually decided that the notion of marrying classical music with animation was too good to confine to a mere short subject; thus the notion was expanded into a two-hour feature, incorporating seven musical selections and a bridging narration by music critic Deems Taylor. The first piece, Bach's "Toccata and Fugue in D Minor", was used to underscore a series of abstract images. The next selection, Tschiakovsky's "Nutcracker Suite", is performed by dancing wood-sprites, mushrooms, flowers, goldfish, thistles, milkweeds and frost fairies. The Mickey Mouse version of "Sorcerer's Apprentice" is next, followed by Stravinsky's "Rite of Spring", which serves as leitmotif for the story of the creation of the world, replete with dinosaurs and volcanoes. After a brief jam session involving the live-action musicians comes Beethoven's "Pastorale Symphony", enacted against a Greek-mythology tapestry by centaurs, unicorns, cupids and a besotted Bacchus. Ponchielli's "Dance of the Hours" is performed by a Corps de Ballet consisting of hippos, ostriches and alligators. The program comes to a conclusion with a fearsome visualization of Mussorgsky's "Night on Bald Mountain", dominated by the black god Tchernobog (referred to in the pencil tests as "Yensid", which is guess-what spelled backwards); this study of the "sacred and profane" segues into a reverent rendition of Schubert's "Ave Maria". Originally, Debussy's "Clair de Lune" was part of the film, but was cut from the final release print; also cut, due to budgetary considerations, was Disney's intention of issuing an annual "update" of Fantasia with new musical highlights and animated sequences. A box-office disappointment upon its first release (due partly to Disney's notion of releasing the film in an early stereophonic-sound process which few theatres could accommodate), Fantasia eventually recouped its cost in its many reissues. For one of the return engagements, the film was retitled Fantasia Will Amaze-ya, while the 1963 reissue saw the film "squashed" to conform with the Cinemascope aspect ratio. Other re-releases pruned the picture from 120 to 88 minutes, and in 1983, Disney redistributed the film with newly orchestrated music and Tim Matheson replacing Deems Taylor as narrator. Once and for all, a restored Fantasia was made available to filmgoers in 1990. A sequel, Fantasia 2000, was released in theaters in 1999. ~ Hal Erickson, Rovi