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The Bambi Blues
New to Blue Ray, Walt Disney’s beloved animated classic Bambi was a controversial failure upon its release.
“You’re worried about losing the picture and I’m worried about losing my shirt!” Walt Disney explaining to a director why the studio had to cut sequences from Bambi.
In 1937, full of confidence and a pioneering spirit about what could be achieved in the medium of animation, thirty-six-year-old Walt Disney acquired the film rights to the book Bambi, A Life in the Woods. Written by the Hungarian Siegmund Salzmann, under the pen name Felix Salten in 1923, Bambi was among the many books banned in Adolph Hitler’s Germany in 1936 (reportedly by former animal lovers, the Nazis saw Salten’s story as a Jew trying to survive in the forest). the threat of man as an allegory of Jewish persecution). Despite the fact that his artists did not have enough stories and were very dependent on the German market, Walt Disney saw Bambi as a great opportunity to animate animals with human characteristics.
Usually, Walt Disney laughed off any political meaning in his films. The Three Little Pigs, made in 1933, was seen by many as an ode to the Great Depression; Happy pigs danced like carefree people in the 1920s until the big bad wolf wiped them out with the force of the 1929 stock market crash. The typically Republican Walt never wanted the pig worker living in the brick house to be seen as an endorsement of President Roosevelt’s New Deal policies. Seven years later, a columnist gave Fantasia the smoke. In his mind, the film’s climactic scene, where the demon condemned human souls to a volcano, meant that Disney was saying we were all defenseless against the Nazi demons. Perhaps the most brutal accusation was made three years earlier when a left-wing newspaper writer wrote in Snow White that the seven dwarfs’ overthrow of the evil queen was a clear victory for a miniature communist society. No doubt Disney would have been surprised that many people in the modern green movement would later cite watching Bambi as the beginning of their interest in environmentalism.
Making Bambi was as arduous as some at the studio thought. More of an ideas man than an animator himself, Walt pushed Bambi aside to let his artists own the story. Two caves, one male, one female, were brought from Maine for the cartoonists to study, but after a while they began to act more like pets than the wild creatures Walt wanted to portray on screen. A breakthrough occurred one morning when a big buck came down from nearby Griffith Park to visit the deer girl at the Hollywood studio and startled the human audience by lowering his head and straightening his antlers. After animal control removed the orb, the calm cartoonist had a better idea of how to proceed. Walt started showing up at story meetings and made some of his signature suggestions: young Bambi could have a comical adventure stumbling across a frozen lake; Thumper, a character not mentioned in Salten’s book, could be, like Jiminy Cricket in Pinocchio, the main character for the audience to identify with. Still the picture was extended and finally finished in 1942.
From the moment Walt put Bambi into production, both of Disney’s parents died, Pinocchio (1940) and Fantasia (1940) plunged Walt into debt, the studio was torn apart by a labor strike, and the Japanese bombed the Pearl. the port Walt, no longer having access to the lucrative European market, was in dire need of success. But Bambi received a lukewarm reception from critics, many of whom found the life of the animated talking animals too realistic. (In 1988 the critic Roger Ebert wrote about Bambi that the film was sexist because the father deer was going to live on his own, leaving the mother with all the responsibility of raising the children). Some hunters, found after the release of Bambi, were seen as killers, more than sportsmen, the film was very angry. The film lost 200,000 in its initial release and Walt was stung when his daughter Diane played his daughter for the death of Bambi’s mother (Disney later revived it; the famous Mother Doe made cameos in both The Sword and the Stone (1963) and The Sword and also in the Stone films). The Jungle Book four years later).
From then on, Walt never had the same passion for animation, his desire to break new ground shifted to television, amusement parks and urban planning. However, despite the poor box office results, Walt remained proud of Bambi. He insisted that he meant it as entertainment, not a disparagement of hunters, and often said in interviews that it was his favorite movie. It took fifteen years for the public to share its appreciation.
“I think back to 1942 when we released that picture and there was a war and nobody cared about a deer’s love life, and the bankers were behind me. It’s quite satisfying to know that Bambi finally got it.” — Walt Disney in 1957.
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