One Hundred and One Dalmatians (1961)
Historically, the Disney princess features have been a backbone of success for Disney with the releases pulling the studio out of financial struggle and giving the studio new boosts of critical success. However, this was not the case for 1959's Sleeping Beauty which reportedly lost over $900,000 and caused a massive period of instability for the company. The studio needed a rebound, and luckily found one in 1961 with the release of One Hundred and One Dalmatians. Based on Dodie Smith's 1956 children's novel, The Hundred and One Dalmatians, the film follows a litter of fifteen Dalmatian puppies who are dognapped by the evil Cruella de Vil (Betty Lou Gerson) to be made into a new fur coat. Can their parents, Pongo (Rod Taylor) and Perdita (Cate Bauer), find them in time or will their puppies not make it?
While many earlier Disney features are more simple and short than some might imagine, One Hundred and One Dalmatians is a particularly straightforward narrative. Coming in at only 79-minutes, the film takes no real twists or turns as it goes through Pongo and Perdita first meeting, having the puppies, and then going to get them. When there is drama or conflict, it is promptly resolved and the film continues moving in the same direction and pace. While never boring, the shorter runtime is a must for a narrative of this complexity, it does feel like the film would struggle to thrill audiences under a modern context and it is hard to say the story itself feels memorable or truly worthy.
However, despite its narrative weakness, the film is a perfect example of how style and personality can elevate a viewing experience. Even when the plot is lacking, there is so much charm baked into every frame of the film that One Hundred and One Dalmatians is undeniably an enjoyable journey to experience. Immediate praise needs to be thrown at the film's animation. Despite a notably cheaper production value, the film wisely crafts a highly stylized visual lexicon with the background work especially standing out. Both using an incredible amount of detail and a more sketchy animated look, the film is seductively inviting and memorable with a unique warmth that feels distinctly belonging to 1960s culture. Of course, it also helps that the dogs are absolutely adorable with the iconography provided by the sea of puppies in the later half of the feature feeling immediately iconic.
Of course, nothing within the film is more iconic than the devilish Cruella de Vil who has become one of the most easily recognizable Disney villains of the studio's history. From her character animation that has her slither across the screen to the cunning performance by Gerson, Cruella de Vil might not have a ton of screen-time but makes the most of every scene she gets to take part in. Her presence is also tied wonderfully to her titular song that is an instant earworm.
The writing overall is also equally personable and clever. While the narrative itself might feel basic, the film does the most with its character work to provide entertainment. From Pongo's chaotic push to introduce his owner, Roger (Ben Wright), to Pedita's owner, Anita (Lisa Davis), to the side characters who help save the puppies on their journey, this world, despite its simplicity, is fun to explore and be in. The film also has a nice transition into a more serious weight in the second half with the dog's journey home truly creating the sensation of a long and strenuous effort that adds a strong amount of gravitas to the film's closing climax.
These elements come together to elevate One Hundred and One Dalmatians above its more simplistic backbone to become a worthy final feature. Finding clever ways to inject style and personality into the film's animation, characters, and writing, the film creates an entertaining viewing experience.
While many earlier Disney features are more simple and short than some might imagine, One Hundred and One Dalmatians is a particularly straightforward narrative. Coming in at only 79-minutes, the film takes no real twists or turns as it goes through Pongo and Perdita first meeting, having the puppies, and then going to get them. When there is drama or conflict, it is promptly resolved and the film continues moving in the same direction and pace. While never boring, the shorter runtime is a must for a narrative of this complexity, it does feel like the film would struggle to thrill audiences under a modern context and it is hard to say the story itself feels memorable or truly worthy.
However, despite its narrative weakness, the film is a perfect example of how style and personality can elevate a viewing experience. Even when the plot is lacking, there is so much charm baked into every frame of the film that One Hundred and One Dalmatians is undeniably an enjoyable journey to experience. Immediate praise needs to be thrown at the film's animation. Despite a notably cheaper production value, the film wisely crafts a highly stylized visual lexicon with the background work especially standing out. Both using an incredible amount of detail and a more sketchy animated look, the film is seductively inviting and memorable with a unique warmth that feels distinctly belonging to 1960s culture. Of course, it also helps that the dogs are absolutely adorable with the iconography provided by the sea of puppies in the later half of the feature feeling immediately iconic.
Of course, nothing within the film is more iconic than the devilish Cruella de Vil who has become one of the most easily recognizable Disney villains of the studio's history. From her character animation that has her slither across the screen to the cunning performance by Gerson, Cruella de Vil might not have a ton of screen-time but makes the most of every scene she gets to take part in. Her presence is also tied wonderfully to her titular song that is an instant earworm.
The writing overall is also equally personable and clever. While the narrative itself might feel basic, the film does the most with its character work to provide entertainment. From Pongo's chaotic push to introduce his owner, Roger (Ben Wright), to Pedita's owner, Anita (Lisa Davis), to the side characters who help save the puppies on their journey, this world, despite its simplicity, is fun to explore and be in. The film also has a nice transition into a more serious weight in the second half with the dog's journey home truly creating the sensation of a long and strenuous effort that adds a strong amount of gravitas to the film's closing climax.
These elements come together to elevate One Hundred and One Dalmatians above its more simplistic backbone to become a worthy final feature. Finding clever ways to inject style and personality into the film's animation, characters, and writing, the film creates an entertaining viewing experience.