Dumbo

This is the quintessential Disney cartoon: brief, engaging, and profound – storytelling at its finest. Where "Snow White" doesn't make the cut (begins with rapidly developing melodramatic plot, pauses for most of an hour to allow forest creatures and midgets to play cute, and wraps up quickly), "Dumbo" spins its wise lesson with elegant timing and charming characters. We all can use that magic feather once in a while.

I used to LOVE this film when I was little and then, like most other kids' films I forgot about it. However, the other night I was babysitting until 3.30am and to keep awake I invaded the family's video collection. On watching Dumbo, I was as moved as ever, but also reminded of what a scary and shadowy film it is. My brother had to be guided out of the cinema, crying with his hands over his eyes, when he saw it, and that says a lot for a kids' film. The use of shadows and silhouettes is widespread and the weather is largely rainy and stormy. I can remember being scared during the scene when the train is travelling through the stormy night and particularly when the men (all black, I notice) are building the Big Top. The Pink Elephants sequence is imaginative and impressive for adults but imagine watching it as a kid - it's pretty scary. It's strange to have a film where the main character, title character even, doesn't actually talk, but I suppose there's nothing for him to say, his actions and expressions say it all. The treatment of Dumbo's mother always gets me, particularly the beautiful and haunting "Baby Mine" scene. However, through all the sadness and sinisterness, the heart of the film shines through, and it's a beautiful one with a wonderful message.

Disney had spent vastly more money than he'd planned on "Pinnochio" and "Fantasia", and got little of it back. "Dumbo", next off the rank, was made cheaply, quickly, without fuss. The result is simple but handsome. However handsome "Dumbo" looks, the animation is not very detailed, character design is hardly adventurous, the colours are few but bright, and in an hour it's over. It needn't be more than this, though: the story is far from complicated. It is, I'll admit, a story that has made me cry more than once; and in this instance I don't feel that I've been cheated into crying, because there really is something poignant and heartbreaking about this ugly duckling variant.

Like Hans Andersen, Disney has to pad the outfit a bit to make it fill the space available; yet, with the exception of the introductory bit with the storks, it doesn't feel like padding. In fact the most gratuitous piece of padding is the most necessary. I refer to the pink elephants sequence: a masterpiece of extended unreality (caused by such a tiny quantity of champagne!) which dazzles and sizzles and all but soars out of the screen. It's the sting in Dumbo's tail, and nothing produced since can match its verve.

All the other elephants shun Dumbo for his gigantic ears, and his mother has been locked up for protecting him, so he's all alone in the world... until Timothy Q Mouse shows up.

A beautiful piece of work. At just 60 mins, it is short and sweet. But it also contains some of Disney's best visual poetry. Dumbo's not saying a single word means his entire character is created through the physical. The entire opening sequence, till the gossipy elephants start talking, plays out without words, and its like the best silent movies. Simply beautiful.

Mrs Jumbo rearing up and destroying the big top to protect Dumbo from taunting kids is an incredible scene. Dumbo's mother spends the movie imprisoned in a carriage labelled "mad elephant" - and surely one of the most beautiful, heartbreaking scenes i've ever seen plays out when Dumbo and his mother have contact only by touching trunks, through the bars in the window of her cell. A beautiful sequence begins: the beautiful song "Baby Mine" plays as she cradles him in her trunk, and when Dumbo leaves she can't see him, and she stretches her trunk as far as she can out the window to try and reach him, and... oh, its too much!

The pink elephants sequence is as close to trippy Disney ever got - and its brilliant. One of the best, most inventive sequences in animation history. Great song, too.

Some terrific songs: Look Out for Mr Stork, Casey Junior (the train song), Pink Elephants, When I see an elephant fly and Baby Mine.

10/10. Timothy Q Mouse is a great character, the animation is so concise and perfect, great songs, the message that if you believe you can overcome your handicaps you will so inspiring and beautiful, and the movie so short and sweet it will forever retain its appeal.

This is clearly one of the great animated features of all time. How it squeaks by with a mere 7.4 voter average while all sorts of contemporary crap does far better is a mystery and a tribute to the downward spiral in cinematic taste. DUMBO is my favorite of all the classic Disney films (a group which ends with JUNGLE BOOK, completed after Walt's death). Nothing since then has been able to recapture the magic. Walt may have been, according to some people, a fascist and an anti-Semite, but he was also a genius.

Things that make this movie great:

The animation (I used to work at a zoo, and while the real elephants did little talking or singing the animators captured their body language incredibly well.)

"Pink Elephants on Parade".

Effective but not over-the-top heartstring tugging.

The musical crow number ("When I See an Elephant Fly"). I'm disappointed to discover the voice actors (Including Cliff Edwards, "Ukelele Ike" and the voice of Jiminy Cricket) were white guys playing black --- I was hoping they were some cool unknown black combo --- but it's a terrific number anyway.

The 64 minute running time. It starts, tells it's simple story, then knows when the hell to get off the stage. I wish more film makers had that ability.