By no means does it rank among the greatest Disney films. Its animation is mostly Saturday Morning level and its plot is as simplistic as a Sherlock Holmes knockoff story can get, complete with plotty, expository script and pretty typical archetypes throughout. Yet, it has something that has been missing in Disney movies for years: likability. It's lightweight, well crafted fun, like all the best Saturday morning cartoons, with inventive set pieces and terrific voice acting that helps make up for the fact that the losses incurred on The Black Cauldron show quite clearly. Unfortunately, it was shoveled under the hype over Don Bluth's An American Tail, a film that I have a bit of a soft spot for but which I'm not sure was that much better despite more involved animation. Of course it's no masterpiece, but it does deserve some appreciation for its virtues.
The plot's rather simple, and a bit too dialogue driven. Basically, you can figure out what happens before you even see it. What makes it work are the personalities. True, Olivia's a bit cloying, but Basil himself is as manic and fun to watch as any good Holmes knockoff, due in no small part to Barrie Ingham's performance. However, the show stealer, like with many Disney films, is the villain, Professor Ratigan as brilliantly voiced by the great Vincent Price. What I love about his character is that he comes off a narcissistic buffoon most of the time, but when pushed he shows himself to be a ruthless maniac able to wring whatever he wants from people by sheer force. In many ways, he's the villain that Captain Hook should have been. He even gets one of the only song numbers in this movie, one of the finest villain numbers in its jaunty bombast and how it shifts to a dead stop when a henchman double crosses him then shifts back after a rather grim moment in the film.
Unfortunately, one wishes the animation was better than Toon Disney on a production level. There's lots of conservative pose-to-pose stuff and very little in the ways of spontaneous character stuff. The angles are all very flat and straightforward. It especially shows in the dog character, who is much larger than the others but has too lightweight a feel to him. It's still a better looking film than The Black Cauldron, however less lavish it may be, and it has a few highlights. Ratigan, again, is superbly animated by Glen Keane, who gives him much more nuance and presence than the other characters. There's also a steep improvement toward the end, where Disney really ratchets up on some terrific set-piece direction. The CGI may show its age, but it's incorporated quite well. One also suspects that Disney first started to look at Hayao Miyazaki's work around this time, since there are more than a few similarities to the climax of Castle of Cagliostro.
All in all, these elements, along with a great Henry Mancini score, add up to another overlooked gem of a Disney movie, if not an essential work. It's light nature makes it understandable that some people tend not to care for it, but I enjoy it like I do any decent childhood cartoon. For me, it's the best Disney picture between the end of the golden age in the 60s and the renaissance at the end of the 80s, despite not being especially ambitious or innovative. It's just good fun, and what more can one ask for?
The plot's rather simple, and a bit too dialogue driven. Basically, you can figure out what happens before you even see it. What makes it work are the personalities. True, Olivia's a bit cloying, but Basil himself is as manic and fun to watch as any good Holmes knockoff, due in no small part to Barrie Ingham's performance. However, the show stealer, like with many Disney films, is the villain, Professor Ratigan as brilliantly voiced by the great Vincent Price. What I love about his character is that he comes off a narcissistic buffoon most of the time, but when pushed he shows himself to be a ruthless maniac able to wring whatever he wants from people by sheer force. In many ways, he's the villain that Captain Hook should have been. He even gets one of the only song numbers in this movie, one of the finest villain numbers in its jaunty bombast and how it shifts to a dead stop when a henchman double crosses him then shifts back after a rather grim moment in the film.
Unfortunately, one wishes the animation was better than Toon Disney on a production level. There's lots of conservative pose-to-pose stuff and very little in the ways of spontaneous character stuff. The angles are all very flat and straightforward. It especially shows in the dog character, who is much larger than the others but has too lightweight a feel to him. It's still a better looking film than The Black Cauldron, however less lavish it may be, and it has a few highlights. Ratigan, again, is superbly animated by Glen Keane, who gives him much more nuance and presence than the other characters. There's also a steep improvement toward the end, where Disney really ratchets up on some terrific set-piece direction. The CGI may show its age, but it's incorporated quite well. One also suspects that Disney first started to look at Hayao Miyazaki's work around this time, since there are more than a few similarities to the climax of Castle of Cagliostro.
All in all, these elements, along with a great Henry Mancini score, add up to another overlooked gem of a Disney movie, if not an essential work. It's light nature makes it understandable that some people tend not to care for it, but I enjoy it like I do any decent childhood cartoon. For me, it's the best Disney picture between the end of the golden age in the 60s and the renaissance at the end of the 80s, despite not being especially ambitious or innovative. It's just good fun, and what more can one ask for?