Top Tens - Disney Movies

TOP TENS: DISNEY MOVIES

Welcome, readers, to another new segment: Top Tens! So far, you've seen some scant pieces of my work, but poetry and short stories are only a part of me. I wanted to give you all a look at J. A. George, the person, and not just J. A. George, the writer. I resolved therefore to present a more casual side of myself by presenting lists of some of my favorite things, and that's what led to the creation of this segment! On the very first presentation of Top Tens, I wanted to list some things that I liked, that everyone else can identify with as well.

The easiest subject I had in mind was, of course, the cinema! The subject of movies is something that most, if not all, people can really appreciate, and of course, everyone has their likes and dislikes. From that point, therefore, the problem is to identify a specific type of movies that a lot of people enjoy, the most out of any other kind. My solution: Disney movies!

Disney movies have been regularly charming us since 1937 (the release year of Disney's first animated film, Snow White and the Seven Dwarfs), and no other studio has had highs and lows that were quite similar. Many believe the Golden Age of Disney ended when Walt Disney himself passed away in 1966, thus making The Jungle Book (1967) the last film in this Golden Age. However, some of the most memorable Disney movies in immediate recollection were spawned during what many call 'The Disney Renaissance'. Films like The Little Mermaid, Beauty and the Beast, and The Lion King were made during this shining period between 1989 and 1999. Nowadays, business is booming once again at Disney, with new films like The Princess and the Frog, Tangled, Wreck-It Ralph, and the newly-released Frozen receiving box-office riches and critical acclaim the world over.

But, no matter when you were born or which era you grew up on, chances are you loved Disney movies at one point in your life. And if you did, the odds are even better that you still do. With all this in mind, I'd like to offer you a look at my favorite Disney movies, and my reasons for loving them, starting from the bottom up. I hope you find some of your favorites on this list as well; one or two of them may even surprise you!

10 – The Adventures of Ichabod and Mr. Toad

This was an interesting move on Disney's part, then and now: the release of, essentially, a double-feature. The Adventures of Ichabod and Mr. Toad was a combination of two starkly different stories that, contrary to the title, have nothing to do with each other. The first is The Wind in the Willows, the classic story of rich, reckless playboy J. Thaddeus Toad, who's ever-changing obsessions lead to a craze for automobiles and running afoul of gangsters who cheat him out of his property. The second story is, in my opinion, where all the action is—The Legend of Sleepy Hollow, the Washington Irving yarn about a schoolmaster haunted by the spirit of the Headless Horseman.

The Wind in the Willows was not quite as interesting to me as a kid, and it remains largely that way today. I will not say, however, that it wasn't enjoyable. It had great characters and an interesting plot, but it just didn't resonate with me the way the other feature did. The Legend of Sleepy Hollow, however, has always been one of my favorites, and not just the film, but the Washington Irving book, as well as many adaptations of it. My admiration for Tim Burton's Sleepy Hollow and the ABC Family TV movie The Hollow stem from my enjoyment of this movie, its characters, its setting, and most especially, its villain, the Headless Horseman. If one would look back on every Disney villain ever created, one might not find one that succeeded the way the Hessian did. All other villains were stopped or killed before their goals are met; the Headless Horseman is unique in that he met his only goal—to kill Ichabod Crane. That was what most attracted me to the story, along with Crane's somewhat flawed attempts at attracting the wealthy young Katrina van Tassel, his hilarious rivalry with Brom Bones, and the final chase sequence that seals his fate.

All in all, this movie's low position on the list is a result of being really only half the movie I'd wanted to see. While The Wind in the Willows is enjoyable by itself, the contrast between it and The Legend of Sleepy Hollow is palpable, and in my opinion, The Legend of Sleepy Hollow is really the main attraction. Still, The Adventures of Ichabod and Mr. Toad gains my admiration, and if it means watching the second feature, I will gladly enjoy the first.

9 – The Jungle Book

As I previously mentioned, The Jungle Book was the last film Walt Disney personally supervised before his death in 1966. The film came out a year later, and it is one of the most memorable movies from that Golden Age. Like many of the movies on this list, I've been enjoying this movie since I was a very small boy; some of my fondest childhood memories include mimicking Baloo's movements while singing along to “The Bare Necessities”. With an impressively catchy soundtrack, loveable characters and animation that proves Disney's skill in the field, The Jungle Book finds its spot in my list well-earned.

Why is it so low on the list? For starters, the plot is probably the most basic of any movie on this list; Mowgli, the Man-Cub, must be returned to his own kind before the vicious Shere Khan finds him and kills him, and along the way, he runs into a host of zany animals that get him into many unusual situations. It's essentially situational comedy in the jungle. Also, like many Disney films (not limited to the ones found on this list), it completely takes full liberty with the source material—in this case, the actual novel, The Jungle Book, written in 1894 by Rudyard Kipling.

That's not to say that these details don't make the film enjoyable, otherwise, it wouldn't be on this list. In fact, the characterizations in the movie were so popular, they gave rise to two animated television series in the 1990s, TaleSpin (of which I was also quite fond as a child) and Jungle Cubs. Any and all reasons for this film's low point on the list do not in any way serve as a deterrent; The Jungle Book is an enduring and endearing classic, and it will always be one of my favorites.

8 – The Rescuers Down Under

Sadly, this is one of Disney's more obscure titles, the reason why it is so low on this list. This was Disney's first attempt at a sequel, being a continuation of The Rescuers (1977), and is one of the only sequels produced by the main animation company. This movie, due to more than just the difference in time periods, is leaps and bounds ahead of its predecessor in many ways. The characters are funnier and much more likable, the plot is a bit more complicated, and the animation is absolutely breathtaking. It is a feature that received none of its proper due when it was first released, and remains to be, in my opinion, Disney's second most overlooked endeavor (to see my opinion of the first, continue reading).

In the first place, I give credit to Disney for returning Eva Gabor and Bob Newhart to their original roles for the film, while at the same time praising the brilliant idea to cast George C. Scott and John Candy (the two best performances in the film). I give equal praise, as I said, for the incredible animation, as well as an impressive musical score that doesn't have to fall back on musical numbers to seize interest. The character development is one of the main details that makes the characters so appreciated and relatable (in particular, Bernard's jealousy of the suave and adventurous kangaroo mouse, Jake), and this makes the situations they're in much more harrowing. Even more gripping is the film's villain, a truly grim and despicable antagonist, played by George C. Scott—what better kind of villain, in a film mostly about animals, than a vicious, manipulative poacher?

Even if you haven't seen the first movie, I strongly recommend this one, if for no other reason than to give it the fan following it deserves. Maybe someday, Disney will wise up and re-release The Rescuers Down Under in 3-D? Now that would be one hell of a ride!

7 – Tarzan

I had only a fleeting knowledge of the story of Tarzan of the Apes (by Edgar Rice Burroughs) when this movie was first released, but I credit it with giving me a much more thorough understanding of it. I also credit this movie with beginning my fascination with the music of Phil Collins. In regards to the movie itself, it is impressive in every respect: the story, the characters, the animation, it all demonstrates Disney's prolific talent in weaving a great story with eye-catching visuals.

Tarzan is, of course, the story of a human baby raised by gorillas in the African jungle, who grows up to be their jungle protector. In his manhood, he meets his own kind for the first time, and is faced with the decision of either staying with his gorilla family, or going to be with the humans who discovered him. This aspect, in particular, has potential for a lot of emotion and strife, and it conveys many scenes this way effectively. The action scenes are animated vibrantly, and I paid special interest to Tarzan's movements through the trees; the animators went the extra mile of creativity by relating Tarzan to a modern-day skater as he moves across branches. The brisk pace of these scenes pick up the heartbeat, as well. Topped off with great comedic characters and a drum-based soundtrack that, at it's peak, can be absolutely feral, Tarzan is a movie I'll gladly watch many times over.

6 – The Princess and the Frog / Tangled

There are two movies in my number 6 spot, mainly for two reasons. One: they both came out during a time in which Disney seemed to return to its fairy tale roots and reignite their former glory days. Two: honestly, I enjoyed them both so well, so equally, that I couldn't decide which should take this spot. Not wanting to lose any of the other movies on the list, I find myself giving them equal status on my list.

The Princess and the Frog was released in 2009, and it seemed to be the spark that relit Disney's great passion for making top-quality movies. A stylized retelling of the classic Frog Prince fairy tale, this movie's gorgeous animation, well-developed characters and stellar jazz-style music (largely written by Randy Newman) puts it above and beyond the status of other movies released several years before it. It does seem to retain details of the princess movies of old, including the obvious princess-centered title, which I believe is the reason it didn't perform quite as well as it should have. However, the story is refreshingly complex, and the cast are loveable in their respective roles (especially the lovely vocals of Anika Noni Rose and the wickedly strong bass of Keith David, the latter of whom I've been a fan since his days as the voice of Goliath on Disney's Gargoyles). Overall, it is a good start to a new golden age at Disney, which continues even now with the critically-acclaimed recent release, Frozen.

Tangled, another stylized retelling of a well-known fable (Rapunzel), was a great and pleasant surprise for me. As much as I enjoy some of Disney's softer fare, that, as I've said, was The Princess and the Frog's only true weakness. Tangled not only included the princess aspect that is true to Disney norm, but could also be seen as an action-adventure feature, perfectly balanced to bring in a more diverse number of viewers. Once again, the characters are instantly loveable (the horse, Maximus, is just hysterical), the story is brilliantly written, and it was the perfect time for Disney to experiment with a new animation style—combining elements of CGI and traditional animation to create the look of an oil painting. Finally, the last detail in its favor is the music; the soundtrack's cornerstone song, “I See the Light”, makes me cry every time I hear it.

I would say that Tangled is superior to The Princess and the Frog, but it would only be half-correct, just as it would be half true to assume the reverse. Both movies deserve the acclaim and accolades they've been given; and both movies deserve an equal spot on my list. With films like these emerging and helping Disney take back its place at the top of the animated film market, I eagerly look forward to seeing Frozen.

5 – Beauty and the Beast / The Little Mermaid

Once again, I found myself in a real dilemma in choosing one film for this particular spot. In this case, it was a combination of two great movies begging for a high spot and my 1990s blood calling out to me. As such, fairness persuaded me to place these two movies together: the two movies that were the start of the 1990s Disney Renaissance, as well as the childhoods of myself and many of my peers.

Both movies reminisce of the days when Disney specialized in retelling classic stories with a twist. Both movies center around a female protagonist who longs for a meaningful change in life (in the case of Ariel, it's a life above the water, while for Belle, it's something beyond her simple village life). Both involve these female protagonists essentially dealing with the devil, each one causing the major change they seek, though not in the way they imagined. The main divergence point: Ariel's desperation for her goals leaves her short-sighted in her judgments, especially over her 'benefactor', Ursula; Belle's main antagonist (the Beast) is slowly whittled down in force, eventually softening enough to become the answer to both of their causes for suffering. The other aspects of these movies that set them apart from others; just about everything. The animation is spectacular, the characters are lovable, and the memorable songs continue to be sung out loud by children and adults everywhere.

I imagine, though, that most would disagree with my choice to place these two at the same level; many agree (including, I expect, the Academy Awards, who chose it as the first animated film in history for a Best Picture nomination) that Beauty and the Beast is superior. In most cases, I agree, but my choice to place these two together was not entirely based on quality, but also on status. True, Beauty and the Beast is an excellent film, easily one of Disney's best, if not directly at the top. But, as I've said, The Little Mermaid was the movie that began that grand new age of Disney, the age that spawned hit after hit for over a decade. One of these hits includes Beauty and the Beast, so in this sense, it can be said that Beauty and the Beast owes its existence to The Little Mermaid. Another reason I felt the need to pair these two: The Little Mermaid was released in 1989, the same year I was born (in fact, exactly one month after my date of birth to the day), so I, quite literally, grew up with Ariel. Therefore, The Little Mermaid holds a special place in my heart just as much as Beauty and the Beast.

I know its unusual for a man to say such things about movies more aimed at female audiences, but quite frankly, I don't give a damn. These are two great movies, and in my honest opinion, they are on par with each other.

4 – The Black Cauldron

I mentioned that I would explain my opinion of Disney's most underrated film in this article, and here it is: 1985's The Black Cauldron. Made close to the end of a string of sub-par films between Walt Disney's golden years and the '90s Renaissance, The Black Cauldron was based on the novels of Lloyd Alexender, The Chronicles of Prydain. The Black Cauldron is my number 4 on this list for mainly one reason: it is unique in almost every way. It was Disney's first film to use computer animation (if only very briefly), it was Disney's first PG rated movie, and it took viewers to a much darker place than many other Disney films dared to go. To me, that is what is most enjoyable about the film; it attempts to instill honest-to-God fear, something at which only a handful of Disney films attempted, and even fewer succeeded.

In the movie, Taran, a young 'assistant pig-keeper' is persuaded by his guardian to keep their magic soothsaying pig, Hen Wen, from the clutches of an evil king. Along the way, he meets a crew of misfits that help him in not just keeping the pig safe, but from preventing the villain's ultimate goal: to find a magic cauldron that has the power to raise the dead. Once again, Disney's striking visuals make for an impressive display, but sadly, the character development is somewhat lacking. If there had been more time, energy and funding put into a movie based on The Chronicles of Prydain novels, I imagine the story would have made the characters much deeper and more likable. What makes up for this, in my opinion, is the gutsy decision to create a darker, more harrowing piece. The movie shows blood in more than one instance, the climax involves an army of zombies ('deathless warriors' or 'Cauldron-born' in the film itself), and speech involving death and murder are more prevalent in this movie than any other. The Black Cauldron is also unique in introducing the first truly terrifying villain since the Headless Horseman—the Horned King (voiced impeccably by John Hurt). Finally, no other movie has quite as gruesome or graphic a death scene for the villain as the death of the Horned King—if you don't believe me, see it for yourself.

While character development was lacking, I will not say it was completely absent. The small amount of the characters' personalities we get to see are likable and funny, and what I believe to be the best part about them is a fairly ironic twist at the movie's climax—Taran, the main protagonist who longs to be a hero, endeavors to sacrifice himself to stop the Cauldron's magic, but in the end, it is the comic relief sidekick, Gurgi, who ends up being the most noble. This causes a (better late than never) character change in Taran, and he then realizes what truly matters in life. This contributes to an important decision he must make at the end of the movie, proving his maturity.

Was The Black Cauldron one of Disney's best achievements? No. Does it have flaws? Absolutely. But overall, I think its the flaws of the movie that make it so fascinating to me. Despite receiving little-to-no attention from its makers and not having nearly as many viewers as any other Disney film, The Black Cauldron remains one of my favorites, and even if it never receives any proper recognition, it always will be. In fact, I consider it special for that reason alone; that I seem to be the only one capable of appreciating it.

3 – The Lion King

This was the movie that truly set precedents all over the world, easily outclassing other movies on this list and rivaling Beauty and the Beast and The Little Mermaid simultaneously. The Lion King remains the record-holder for highest-grossing traditionally-animated film of all time, has spawned a sequel, a spin-off film, a spin-off television series, and a multiple Tony-award-winning Broadway show. This is also the Disney movie that I remember most from my childhood: the vivid characters, the brilliant animation, and some of the most memorable songs (written by Elton John and Tim Rice) in the history of the Disney continuum.

The story of The Lion King, centering around the dethroned prince Simba of the Pride Lands and his struggle to regain his dead father's throne, takes many of its cues from the Shakespeare classic, Hamlet. The king dies by his brother's hand, the prince is visited by the specter of his father while abroad, and he must return to reclaim his kingdom, which has since been usurped by his greedy, murdering uncle. However, true to Disney form, the climax is the largest divergence point for the two; instead of the majority of the main cast dying one after the other in the final two acts (the prince, his love, the uncle, the queen, Rosencrantz and Guildenstern), the protagonist succeeds, saves his kingdom, and takes his rightful place as the successor to the king's throne. In this way, we as children were given a great insight to the world of high culture and weren't even aware of it. That combination of high-culture and that endearing Disney charm is the winning formula, and it would be a long time before Disney would match it, much less outdo it.

As I mentioned, the animation is spectacular; the movements of the characters (all of them African animals) and the setting of the African savannahs, jungles and deserts are captured with near-perfect precision—no surprise, as the animators studied African flora and fauna thoroughly during development. The characters are some of the most memorable in Disney history, including the three henchmen hyenas (portrayed hilariously by comedians Cheech Marin and Whoopi Goldberg and voice actor extraordinaire Jim Cummings) and the comic relief characters, Timon and Pumbaa (played with excellent chemistry between Nathan Lane and Ernie Sabella, respectively). The music, written and composed by English musician and superstar Elton John and legendary English songwriter and lyricist Tim Rice, can still be heard, remembered and recited with perfect clarity all over the world (not the least of which is the Academy Award-winning “Can You Feel the Love Tonight”, which was thankfully not left off the soundtrack as originally intended). This incredible combination of elements create a movie that, were it not for the intervention of two other Disney films, would easily make it to the top of my list.

2 – The Hunchback of Notre Dame

Taking my number two spot is a movie that has all the fantastic visuals, charm, wit and culture as The Lion King, but takes a higher spot due to its deep, emotional connectivity: The Hunchback of Notre Dame. This, along with The Black Cauldron, is one of the few Disney films that succeeds in instilling true fear and taking the viewer to a darker side of animation. However, The Hunchback of Notre Dame succeeded effortlessly where The Black Cauldron struggled, and managed to keep the audience deeply invested in the plot and characters, which are much easier to connect with emotionally, in my opinion, than The Black Cauldron, or even The Lion King.

Admittedly, this movie is the only one on the list, along with the latter half of The Adventures of Ichabod and Mr. Toad, whose source material I read. In the case of this movie, the basis was Victor Hugo's classic 1831 novel, Notre Dame de Paris. Many screen adaptations have been created to emulate Hugo's masterpiece, but few pull it off with the same deep and powerful emotion quite like Disney's version. In classic Disney form, its stylized retelling weaves the yarn of the deformed bellringer of the Notre Dame cathedral, Quasimodo, and his horrific appearance keeping him from the love of his life, the gypsy Esmeralda. Also true to the usual Disney formula, the tragedy that ends the story is retold to make a happy ending for the heroes of the story. As mentioned, The Hunchback of Notre Dame does well in immersing the story in darkness and presents references that are downright audacious—lust, sexuality, religious hypocrisy, social dichotomy, crime and punishment, death, and murder. In fact, I am convinced that the comic relief characters (a trio of gargoyles and a goat, which are actually very likable characters) are the reason this movie wasn't Disney's second PG-rated film.

With all this in mind, it would be difficult at first to determine the decent qualities of this movie that save it from suffering The Black Cauldron's fate. The answer is simple: everything. This movie is leaps and bounds ahead of The Black Cauldron (and perhaps any movie on this list) in terms of heart and soul, the characters are well-developed and relatable, and the overall film just has a sense of power and awe that is lacking even in such gems as Beauty and the Beast. In fact, in relation to this, one of my favorite scenes is during the climax, in which Quasimodo rescues Esmeralda from being burned at the stake, takes her back up to the top of the cathedral, holding up her unconscious body, and repeatedly screaming “Sanctuary!” The scenery and the score lend themselves to the film's grand and powerful presence, and the songs—helped along by the surprisingly impressive vocals of Tom Hulce, the voice of Quasimodo—while not quite as memorable as those from films before it, are still used strategically to create that emotional connection that endures from start to finish.

In the end, my reason for loving this movie, besides its palpable emotion, is very much the same as my reasons for loving The Black Cauldron—it conveys a necessary darkness to it. Many Disney movies, past and present, misrepresent the world as a charming place where nothing can go wrong. Ironically misrepresenting the work of others, Disney has asserted that, although things may turn out for the better in the end, it may not be in the way one would like them to be. Case in point (SPOILERS START HERE): although Quasimodo pines for Esmeralda, they do not end up together in the end, however, Quasimodo is regarded for his heroism and welcomed into the community, something he longs for throughout the story (SPOILERS END HERE). This was also a rather risky, yet necessary, move for Disney; this ending signifies that not every goal can be achieved, and that failure, while painful at first, can be outweighed by success in other areas. It is all these traits that convince me that The Hunchback of Notre Dame is one of the greatest Disney movies ever made.

However, it falls short as my number one favorite. That honor belongs to . . .

1 – Aladdin

This has been my favorite Disney movie since 1992, when I first saw it in theaters as a three-year-old. As a child, I enjoyed the stunning visuals and the lovable characters (particularly the hilarious Genie portrayed by Robin Williams), and as an adult, the story of Aladdin, the underdog “street rat” who pines for the princess continues to be particularly special to me. On further reflection, Aladdin surpassed The Hunchback of Notre Dame on my list mainly for one reason: balance. The latter is emotionally driven, and has its good comedic and whimsical moments, no doubt, but it rarely makes time for a break from the dark, soulful setting to lift the hearts of viewers. The former, however, exchanges most of the moodiness for more lighthearted moments, and the balance between the two is pitch-perfect. The two movies are otherwise identical in quality; The Hunchback of Notre Dame still reserves some comedic and romantic moments for viewer comfort, and although some of the sense of awe-inspiring grandeur is lost from Aladdin in the exchange, it is not completely absent (the Cave of Wonders and Jafar's transformations are proof of that).

Aladdin, as I've said, tells the story of the orphaned beggar boy who meets a princess, falls in love, and uses what he believes to be his only method in winning her love—the three wishes of a magical genie. As with many Disney films before it and many since, it is loosely based on an existing fairy tale—the “Aladdin” story of The Arabian Nights—and is retold in the classically whimsical Disney style. The moral of the story is one that has resonated in my mind since before I could understand morals: that being true to oneself is better than material possessions, and that having strong morals, determination, and good friends can lead to better things. For a guy like me, who's spent most of his life unlucky in love, it gives me hope to know that, even in a make-believe world, the idea that a street rat can get the princess in the end is not totally unbelievable.

With all of the comparisons made here between Aladdin and The Hunchback of Notre Dame, the basic plot elements must be pointed out as well. Both star an unlucky protagonist, taught all his life that he'll never be anything more than what he is, who pines for a gorgeous woman who shares a special connection with him somehow. Both leading men make decisions to change their social standing; both leading women are outcasts in their own way, and both villains hold a high position of power that they use for their own ends. However, where differences are concerned, the contrasts cannot be stronger. In The Hunchback of Notre Dame, the protagonist is cast out by a society that shuns his deformities (thereby separating him from Esmeralda by their looks), whereas Aladdin is ostracized due to his destitution (separating him from Jasmine due to their social status). And finally, as I mentioned, the endings to these two movies are very different; whereas Quasimodo's main goal is fulfilled only partially, Aladdin's main goal is not only fulfilled, but to the highest degree. To me, this is a step-up from the number two movie on this list; The Hunchback of Notre Dame had that sense of realism that young viewers need, but realism doesn't always work as entertaining cinema, especially Disney cinema.

I've said that Aladdin is more balanced in its moods compared to The Hunchback of Notre Dame, but that would only be scratching the surface—its really more balanced than any other movie on this list, and perhaps many more that are not. The Legend of Sleepy Hollow and The Black Cauldron utilized darkness and fear in their stories, with a hint of humor in the former to balance the suspense. Tarzan, The Rescuers Down Under, The Jungle Book, and The Lion King had more adventure and thrills, and the latter gave us plenty of humor and heart along with it. The Little Mermaid, Beauty and the Beast and The Princess and the Frog were far more romantic than anything else, and the latter had a healthy dash of adventure. The Hunchback of Notre Dame and Tangled were the most balanced of all the movies on this list aside from my number one movie, but whereas I've explained where the shift in mood makes Aladdin superior to the former, the latter is as far back on the list as it is solely because it is more recent. I realize that it may sound biased, but the movies I grew up with, the ones that are the most memorable over the decades, are the movies I have the most loyalty for, and I'm sure other children of the 90s like myself will agree with me.

In short, Aladdin has all the elements that make a truly amazing Disney movie—action, suspense, adventure, romance, heart, soul, humor, spellbinding visuals, an enduring story, beloved characters, and mesmerizing music—and has them all in the right proportions. It's the reason Aladdin is still my favorite Disney movie, and it is probably the reason it has been since I was three years old.

Honorable Mentions

Here's a list of Disney movies I wanted to include, but didn't quite make it to my top 10 list, and a small synopsis for each:

The Sword in the Stone

Based on the T. H. White novel of the same name (which is itself inspired by the Arthurian legends of Britain), this was the last film Walt Disney saw through to the very end (he died in the middle of production of The Jungle Book). While I enjoyed the visuals and the story of the young underdog Arthur (“Wart” in the film), the story itself, along with most of the music and some of the characters, just didn't have the same spark that makes them as memorable as those in its successor, The Jungle Book. Still, The Sword in the Stone is a movie that makes me smile every time I watch it; its comedic charm was more than enough to convince me to include it on this list in some way.

The Great Mouse Detective

This movie was based on the series of childrens' books, Basil of Baker Street by Eve Titus, and was the tentative follow-up to the sub-par performance of The Black Cauldron. The movie was much more successful than its predecessor, and it's easy to see why; the movie's light humor and relatively simple mystery plot was engaging for young and old viewers alike. Although the characters were not as memorable (with the exception of the villain, Professor Ratigan, played brilliantly by Vincent Price), some of the scenes in the movie are the pride of Disney continuity, most notably the climax in the gears of London's Big Ben clock tower. All in all, a watered-down Holmesian mystery for kids may sound doomed to fail, but Disney managed to pull it off with enthusiastic success.

Oliver and Company

Notably the last film before the Disney Renaissance, Oliver and Company is a loose retelling of the Charles Dickens classic, Oliver Twist, re-envisioning the main characters as animals and relocating the plot from 19^th-century England to 1980s New York. A localization of a classic piece of English literature may seem shocking, even blasphemous, to most admirers of the story, and the decision to supply the movie with the 1980s sounds of Huey Lewis, Ruth Pointer, Bette Midler and Billy Joel sounds even worse. However, the formula is surprisingly charming and works quite well. While not nearly on the scale as most of the movies in the top ten, Oliver and Company has charm, pizazz and heart, and it is another movie I grew up watching (and will gladly watch it again anytime).

Mulan

Mulan was an unusual move for Disney, as the film is based not on a book or story, but a poem—the ancient Chinese poem known as “The Ballad of Mulan”. Like the poem, the movie tells the story of a young Chinese woman who masquerades as a male soldier and takes her sickly father's place in the army. Surprisingly, the only real difference between the two (aside from renaming the protagonist from Hua Mulan to Fa Mulan) is the way in which she was discovered. In the movie, she accidentally reveals her identity near the end of the movie, while the poem says she fought in the army for over a decade before retiring, and at that time, she revealed her true identity of her own volition. Mulan was another movie that fell just short of Disney's highest expectations, but is still a highly enjoyable film. I particularly praise the ironic genius casting of Eddie Murphy—a black comedian, known for his boisterous style of comedy, in an almost entirely Asian cast—as Mushu, a character that is supposed to be a secret throughout the entire movie. Mushu, as well as many of the characters, are funny and engaging, the music shines, and the plot keeps focus and interest from beginning to end. While not on the same level as Aladdin, Beauty and the Beast or Tangled, Mulan belongs on this list, if only as an honorable mention.

Fantasia 2000

One of Disney's few sequel projects, Fantasia 2000 was the follow-up to one of Disney's most iconic films of all time, Fantasia. As such, the film doesn't follow a set plot, but rather is a series of short stories, sans dialogue, that are each told through vivid animation and classical music. Each vignette is introduced by a celebrity host, with the exception of the first, an abstract story in both visuals and plot, expressed through Beethoven's legendary Fifth Symphony. Steve Martin comically introduces the Pines of Rome (Ottorino Respighi) segment, illustrated by a pod of flying whales, which is a beautiful piece to the eye and the ear. Music legend Quincy Jones introduces George Gershwin's Rhapsody in Blue, an interesting piece which tells the story of several bohemians in the city whose dreams are stymied by their everyday lives. One of my favorite segments is Bette Midler's introduction of the story of Hans Christian Andersen's The Steadfast Tin Soldier, backed by the sounds of Dmitri Shostakovich's Piano Concerto No. 2 (the story, true to Disney fashion, is altered to make a happy ending). The Carnival of the Animals (Camille Saint-Saëns), introduced by James Earl Jones, calls out to the non-conformist in me as it illustrates one flamingo, in a flock of his conformist comrades, who breaks away from routine by playing with a yo-yo. Stage magicians Penn and Teller introduce the original Fantasia segment, The Sorcerer's Apprentice, starring Mickey Mouse in one of his most beloved roles—the young apprentice who tries to cast his master's best spells, despite lacking the experience to do so. Following up this section is composer James Levine introducing Edward Elgar's Pomp and Circumstance, which stars more animated Disney stars, Donald and Daisy Duck, in the ancient myth of Noah's Ark. Ending the film is Angela Lansbury's introduction to Igor Stravinsky's The Firebird Suite, my favorite piece in the film, which displays in gorgeous detail a forest spirit and an elk escaping from the destructive rampage of a gargantuan bird of fire. String these entrancing visuals, backed by a mellifluous classical soundtrack, and you have a film that not only lives up to its predecessor, but will surely carry on the Fantasia traditions for decades to come.

Wreck-It Ralph

The final film on my honorable mentions list is another fairly recent film, Wreck-It Ralph. Belonging in the same category of movies as Tangled, The Princess and the Frog and Frozen, Wreck-It Ralph contributed to the most recent revitalization of Disney's passion for exceptional movies. The story is, of all things, a homage to classic video games, and tells the story of an arcade game villain who wishes to be adored, and strives to become a hero. The unusual casting of John C. Reilly and Sarah Silverman (neither of whom seem particularly apt to voice roles in childrens' movies) works unbelievably well, and their characters, as well as many others, are likable and relatable (as much as video game characters can be, anyway). There is also a certain amount of creativity that should not only be praised, but applauded—Game Central Station, one of the key settings of the film, is the central hub where all arcade-based game characters can meet, and is contained inside the outlet snake to which all the arcade games' plugs are connected. Also, one particular scene that made me laugh was a scene inside the Sugar Rush game (a candy-based racing game), in which the palace of the game's ruler, King Candy, is being guarded by giant Oreo cookies that emulate the castle guards in The Wizard of Oz (right down to a parody of their iconic chant: “O-REE-o, YOOOO-um!”). The only detail about this movie that makes it an honorable mention instead of a part of the top ten: the plot. A villain that becomes a hero is a plot device that had been used earlier, in the DreamWorks film Megamind (also establishing that the long-standing Disney-DreamWorks rivalry is still very much alive and well). With that said, everything else about Wreck-It Ralph calls for a place on this list, and here it shall be.

Thank you for joining me on this retrospective. I hope you share the love I have for these movies, and if you haven't seen them or found a reason to appreciate them before, I hope I've enlightened you. Some of these movies aren't necessarily the best ever made, but do not regret watching them at all, and if I garnered some enjoyment from them, then Walt Disney Animation Studios must have done something right. If you do share my adoration for any of these movies, it goes to prove my original intentions for this article: that, although I strive to be famous, I have not, nor will ever, forget that we all have something in common: Disney.

Thank you again for your time, and for your eyes.

-- J. A. G.