When Bagherra and Baloo team up to protect Mowgli, it represents what happens in real life when 2 or more people with different teaching or management styles come together. This movie will prepare them for that, particularly if there's a discussion by the parent. True, Bagherra and Baloo had different styles, and both taught Mowgli differently, but kids will learn when they get to school (particularly if they change schools in the middle of the school year) that each teacher has a different style. Following one of Reitherman's trademarks of reusing animation of his previous movies, the wolf cubs are based on dogs from 101 Dalmatians.Īt first Mowgli had trouble, but, with a little help from Baloo, he caught on and could very soon do it all by himself. Backgrounds were hand-painted - with exception of the waterfall, mostly consisting of footage of the - and sometimes scenery was used in both foreground and bottom to create a notion of depth. Anderson also decided to make Shere Khan resemble his voice actor, George Sanders.
The animation was done by, with character design, lead by, employing rough, artistic edges in contrast to the round animals seen in productions such as. Animation While many of the later Disney movies had animators being responsible for single characters, in The Jungle Book the animators were in charge of whole scenes, since many have characters interacting with one another. In earlier drafts of the scene the vultures had a near-sighted friend named Rocky, who was to be voiced by, however Walt decided to cut the character for feeling that the movie had already much action with the monkeys and vultures. The casting of the vultures still brought a musician, Chad Stuart of the duo. Clemmons wanted to start, with some flashbacks afterwards, but then Disney said to focus on doing the storyline more straight - 'Let's do the meat of the picture. Disney then assigned Larry Clemmons as his new writer and one of the four story men for the movie, giving Clemmons a copy of Kipling's book, and telling him: 'The first thing I want you to do is not to read it.' Clemmons still looked at the novel, and thought it was too disjointed and without continuity, needing adaptations to fit a movie script. Peet refused, and after a long argument, Peet left the Disney studio in January 1964. Disney was not happy with how the story was turning out, as he felt it was too dark for family viewing and insisted on script changes. The orangutan would also show a plot point borrowed from, gold and jewels under his ruins - after Mowgli got to the man village, a poacher would drag the boy back to the ruins in search for the treasure. Louie was originally a less comical character, enslaving Mowgli trying to get the boy to teach him to make fire.
Like The Sword in the Stone, the animation is pale and scruffy, with the characters models having broad outlines and movement being much more in easily repeatable strokes than the movements in Sleeping Beauty or 101 Dalmatians. In The Sword in the Stone it was possible to forgive this, since the film was funny enough to make the rough edges feel charming, but here it's so obvious that it dents our ability to suspend disbelief. Bagheera's runs, Kaa's falls from the treetops, the marching elephants, even Shere Khan's head tilts - all of them are established at the characters' first appearance and then repeated without even the slightest attempt to cover it up. First and foremost, the reuse of footage from scene to scene is near-constant and completely blatant.
Unfortunately, we need to address this a little more, since all the things I previously highlighted are in abundance in The Jungle Book. In fact I've talked about it so much that the sensible thing would be to take it for granted, pointing any newcomers to my older reviews and moving on to something more interesting. I've also made clear my reservations towards Reitherman as a director, and how the various shortcuts he makes within the animation more often than not compromise the quality of the film.
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