In 1981, Disney released their 24th animated feature, The Fox & the Hound, based on the book by Daniel P. Mannix. Attempted as a more mature feature than their other endeavors at the time, the film went through constant meddling behind the scenes with the higher ups tampering with the original source material, in addition to animator Don Bluth and his posse to leave half-way through and compete with the Mouse House. Nowadays, while not regarded as a Disney classic like Pinocchio or Bambi, it's still fondly remembered by people who grew up with it. As for me, while I admire it to some capacity, it could have been so much more.
The film focuses on a domesticated fox named Tod and a hound dog named Copper who become friends when they're meant to be enemies, not helped by their masters' expectations. As the two older, with Copper becoming a strong hunting dog and Tod a wild fox, they'll have to overcome their differences to salvage their friendship. Conceptually, this is a really good setup for the type of movie this is meant to be, and the themes of racism are quite subdued to make the commentary more timeless. Unfortunately, the film falls flat in its execution thanks to a weak comedic subplot that barely has anything to do with the feature at all, and the toned down second act. For every disturbing moment in the film, there's always a lame excuse for levity than actually ends up hurting the tone more than anything. It doesn't help that the film barely has much story in its second half, as it mostly consists of Tod meeting a young vixen named Vixie until the climax ensues. If you're going to tell a story about a fox and a hound overcoming prejudice, have one focus and one focus only.
However, when the film does something right, it really leaves somewhat of an impact. While the film is visually restricted to just a forest area and a couple of cottages, the art direction and world-building make the most out of the limited environments with strong colors and gorgeous shot compositions. While the characters have their typical Disney-standard designs, the animators did the most with what they were given with strong gestures and specific acting. When you take into account that a new generation of artists were being passed on the batton from the nine old men, it must have been terrifying to continue the Disney legacy. Also, the third act might be the most memorable part of the whole movie, because not only does the climax really test Tod and Copper's relationship, but a notable bear fight puts one at the edge of their seats. With Glen Keane's ginormous draftsmanship and dynamic camera angles ensuing, this scene alone showcases everything the movie should have been: daring, unafraid to take risks, dark, violent and impactful on the dangers of harming animals.
In terms of any other specifics, the voice-acting is pretty spot on, especially with the contrasts between young Tod and Copper as kids and them as adults. Mickey Rooney seems like an odd choice for Tod, but he's able to come off as brash and young as ever in his sly role, and Kurt Russell gives off a brooding yet innocent presence of Copper maturing in his later years. While some Disney regulars of the time period show up like Pat Buttram as the old stuffy Chief, Jenatte Nolan as the kind hearted but overprotective old widow, and Dick Bakalyan and Paul Winchell as the pointless and obnoxious comic reliefs Dinky & Boomer, some other noble veterans of cinema include Jack Albertson as the craggily and stubborn Amos Slade and Pearly Bailey as the kind-hearted teacher to Tod Big Mama. Even with forgettable musical numbers and trite side material, the supporting actors are able to do the most with each of their individual personas. One can't expect much from a watered down tale of prejudice, but at least the cast can lend some substance to the experience.
The Fox & the Hound feels like a fascinating case study of the Disney studio getting themselves back up on their feet after the death of their founder. While it might not have been as strong in its execution as its concept, it does at least have its moments of impact that understandably resonated with its own generation. The Disney studio would only go on to do better things as their company expanded in quantity and quality, but it's cool to see where the generation after the nine old men were at in terms of making the best film they could. After almost 40 years, it's still a peculiar type capsule nonetheless.
The film focuses on a domesticated fox named Tod and a hound dog named Copper who become friends when they're meant to be enemies, not helped by their masters' expectations. As the two older, with Copper becoming a strong hunting dog and Tod a wild fox, they'll have to overcome their differences to salvage their friendship. Conceptually, this is a really good setup for the type of movie this is meant to be, and the themes of racism are quite subdued to make the commentary more timeless. Unfortunately, the film falls flat in its execution thanks to a weak comedic subplot that barely has anything to do with the feature at all, and the toned down second act. For every disturbing moment in the film, there's always a lame excuse for levity than actually ends up hurting the tone more than anything. It doesn't help that the film barely has much story in its second half, as it mostly consists of Tod meeting a young vixen named Vixie until the climax ensues. If you're going to tell a story about a fox and a hound overcoming prejudice, have one focus and one focus only.
However, when the film does something right, it really leaves somewhat of an impact. While the film is visually restricted to just a forest area and a couple of cottages, the art direction and world-building make the most out of the limited environments with strong colors and gorgeous shot compositions. While the characters have their typical Disney-standard designs, the animators did the most with what they were given with strong gestures and specific acting. When you take into account that a new generation of artists were being passed on the batton from the nine old men, it must have been terrifying to continue the Disney legacy. Also, the third act might be the most memorable part of the whole movie, because not only does the climax really test Tod and Copper's relationship, but a notable bear fight puts one at the edge of their seats. With Glen Keane's ginormous draftsmanship and dynamic camera angles ensuing, this scene alone showcases everything the movie should have been: daring, unafraid to take risks, dark, violent and impactful on the dangers of harming animals.
In terms of any other specifics, the voice-acting is pretty spot on, especially with the contrasts between young Tod and Copper as kids and them as adults. Mickey Rooney seems like an odd choice for Tod, but he's able to come off as brash and young as ever in his sly role, and Kurt Russell gives off a brooding yet innocent presence of Copper maturing in his later years. While some Disney regulars of the time period show up like Pat Buttram as the old stuffy Chief, Jenatte Nolan as the kind hearted but overprotective old widow, and Dick Bakalyan and Paul Winchell as the pointless and obnoxious comic reliefs Dinky & Boomer, some other noble veterans of cinema include Jack Albertson as the craggily and stubborn Amos Slade and Pearly Bailey as the kind-hearted teacher to Tod Big Mama. Even with forgettable musical numbers and trite side material, the supporting actors are able to do the most with each of their individual personas. One can't expect much from a watered down tale of prejudice, but at least the cast can lend some substance to the experience.
The Fox & the Hound feels like a fascinating case study of the Disney studio getting themselves back up on their feet after the death of their founder. While it might not have been as strong in its execution as its concept, it does at least have its moments of impact that understandably resonated with its own generation. The Disney studio would only go on to do better things as their company expanded in quantity and quality, but it's cool to see where the generation after the nine old men were at in terms of making the best film they could. After almost 40 years, it's still a peculiar type capsule nonetheless.