AFI Top 10 in Animation

It was called "Disney's Folly." Who on earth would want to sit still for 90 minutes to watch an animated cartoon? And why pick a well-worn Grimm's Fairy Tale that every schoolkid knows? But Walt Disney seemed to thrive on projects which a lesser man might have written off as "stupid" or "impossible". Investing three years, $1,500,000, and the combined talents of 570 artists into Snow White and the Seven Dwarfs, Disney produced a film that was not only acknowledged a classic from the outset, but also earned 8,500,000 depression-era dollars in gross rentals. Bypassing early temptations to transform the heroine Snow White into a plump Betty Boop type or a woebegone ZaSu Pitts lookalike, the Disney staffers wisely made radical differentiations between the "straight" and "funny" characters in the story. Thus, Snow White and Prince Charming moved and were drawn realistically, while the Seven Dwarfs were rendered in the rounded, caricatured manner of Disney's short-subject characters. In this way, the serious elements of the story could be propelled forward in a believable enough manner to grab the adult viewers, while the dwarfs provided enough comic and musical hijinks to keep the kids happy. It is a tribute to the genius of the Disney formula that the dramatic and comic elements were strong enough to please both demographic groups. Like any showman, Disney knew the value of genuine horror in maintaining audience interest: accordingly, the Wicked Queen, whose jealousy of Snow White's beauty motivates the story, is a thoroughly fearsome creature even before she transforms herself into an ancient crone. Best of all, Snow White clicks in the three areas in which Disney had always proven superiority over his rivals: Solid story values (any sequence that threatened to slow down the plotline was ruthlessly jettisoned, no matter how much time and money had been spent), vivid etched characterizations (it would have been easier to have all the Dwarfs walk, talk and act alike: thank heaven that Disney never opted for "easy"), and instantly memorable songs (Frank Churchill, Leigh Harline, Paul J. Smith and the entire studio music department was Oscar-nominated for such standards-to-be as "Whistle While You Work" and "Some Day My Prince Will Come"). ~ Hal Erickson, Rovi

The classic Felix Salter story Bambi provides the basis for this near-perfect Disney animated feature. We follow the male deer Bambi from birth, through his early childhood experiences with woodland pals Thumper the rabbit and Flower the skunk, the traumatic sudden death of Bambi's mother at the hands of hunters, his courtship of the lovely doe Faline, and his rescue of his friends during a raging forest fire; we last see the mature, antlered Bambi assuming his proper place as the Prince of the Forest. In the grand Disney tradition, Bambi is brimming with unforgettable sequences, notably the young deer's attempts to negotiate an iced-over pond, and most especially the death of Bambi's mother--and if this moment doesn't move you to tears, you're made of stone (many subsequent Disney films, including Lion King, have tried, most in vain, to match the horror and pathos of this one scene). The score in Bambi yielded no hits along the lines of "Whistle While You Work", but the songs are adroitly integrated into the action. Bambi was the last of the "classic" early Disney features before the studio went into a decade-long doldrums of disjointed animated pastiches like Make Mine Music. ~ Hal Erickson, 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

In this fully computer-animated fantasy from the creators of Antz, we follow the travails of Shrek (Mike Myers), a green ogre who enjoys a life of solitude. Living in a far away swamp, he is suddenly invaded by a hoard of fairy tale characters, such as the Big Bad Wolf, the Three Little Pigs, and Three Blind Mice, all refugees of their homes who have been shunned by the evil Lord Farquaad (John Lithgow). They want to save their homes from ruin, and enlist the help of Shrek, who is in the same situation. Shrek decides to offer Lord Farquaad a deal; he will rescue the beautiful Princess Fiona (Cameron Diaz), who is intended to be Farquaad's bride. Accompanying Shrek on his adventure is the faithful but loquacious Donkey (Eddie Murphy), who has a penchant for crooning pop songs. The two must face various obstacles in order to locate the Princess, but they find their world challenged when she reveals a dark secret that will affect the group. Shrek is based on the children's book by William Steig, and features additional voice-work by Vincent Cassel, Cody Cameron, and Kathleen Freeman. ~ Jason Clark, Rovi

Andrew Stanton, who helped write Toy Story and Monsters, Inc., co-wrote and directed this computer-animated comedy-adventure about finding a very small fish in a very large ocean. Marlin (voice of Albert Brooks) is a more-than-slightly paranoid Clown Fish who is extremely devoted to his young son, Nemo (voice of Alexander Gould), the only survivor after an undersea predator swallowed up Nemo's mother and her other offspring. It's not Marlin's nature to explore unfamiliar waters, but when he and Nemo are accidentally separated near the Great Barrier Reef en route to Nemo's first day of fish school, Marlin gathers his courage and sets out to find his son. What Marlin doesn't know, however, is that while Nemo was looking at a boat passing on the surface, he was caught in a net and given a new home in a dentist's aquarium. As Marlin searches for his son, he makes friends with a friendly but absent-minded Regal Blue Tang named Dory (voice of Ellen DeGeneres), a Great White Shark named Bruce (voice of Barry Humphries) who is trying to cut fish out of his diet, a beach-rat Sea Tortoise named Crush (voice of Andrew Stanton), and Nigel (voice of Geoffrey Rush), a Pelican who can take Marlin's search from the ocean to dry land. Finding Nemo's impressive voice cast also includes Willem Dafoe, Allison Janney, Eric Bana, Stephen Root, and Brad Garrett. ~ Mark Deming, Rovi