Disney Plus-Or-Minus: Babes In Toyland

Original theatrical release poster for Walt Disney's Babes In Toyland

Music played an integral role at the Disney studio practically from its inception. From “Who’s Afraid Of The Big Bad Wolf?” to “Someday My Prince Will Come” to “Zip-A-Dee-Doo-Dah”, Disney films made (and continue to make) invaluable contributions to the Great American Songbook. But by 1961, even though the studio had been producing live-action features for over a decade, they still had not attempted a full-on, big-budget live-action musical. With Babes In Toyland, Walt made his first attempt at rectifying that oversight.

Not that there weren’t still plenty of original tunes flowing out of the Disney recording studio. Everything from Ten Who Dared to The Parent Trap had managed to shoehorn an original song or two. But these songs weren’t as seamlessly integrated into their productions as the songs in Disney’s animated classics. It’s impossible to imagine Snow White or Pinocchio without the songs. The only people who would miss “A Whale Of A Tale” if it had been cut from 20,000 Leagues Under The Sea would be the theatre owners who probably enjoyed a boost in concession sales during the scene.

For a while, it appeared that Walt’s first live-action musical would be an adaptation of L. Frank Baum’s Oz books. The rights to The Wizard Of Oz were tightly controlled by MGM. But in 1954, Walt was able to secure the rights to the other thirteen books in the series. He began developing a project called The Rainbow Road To Oz as a showcase for the Mickey Mouse Club’s Mouseketeers. Darlene Gillespie was to play Dorothy. Annette Funicello was Ozma. Walt originally thought of it as a television production but as work went on, he began to think it might work as a feature.

Eventually, Walt decided to abandon the Oz project. No one’s exactly sure why, although one can assume that the MGM movie cast a huge shadow. There’s no way that Walt would have gone ahead with Rainbow Road To Oz unless he was absolutely sure that it could live up to or surpass the gold standard set by Judy Garland and friends. Judging by the segments that aired on Disneyland’s fourth-anniversary show, Rainbow Road To Oz did not. Check it out for yourself. It’s pretty weird.

(The Disney studio did eventually return to Oz with Return To Oz in 1985, a genuinely bizarre film that proved deeply upsetting for an entire generation of young people. I love it with all of me and can’t wait to include it in this column.)

At around the same time that The Rainbow Road To Oz was falling apart, Walt announced his intentions to make an animated feature based on Victor Herbert’s 1903 operetta Babes In Toyland. Herbert’s show had also been filmed previously, most notably as a 1934 feature starring Laurel and Hardy. Walt put animator Ward Kimball in charge of the project and Kimball worked on the script with storyman Joe Rinaldi. Kimball and Rinaldi had a hard time cracking the project. They streamlined the complicated storyline as much as they could, turning it into a romantic triangle between fairytale lovebirds Tom Piper and Mary Contrary and the evil Barnaby, who wants to marry Mary for her inheritance.

By late 1959, Walt had reconceived Babes In Toyland as a live-action musical. Lowell S. Hawley, who had written for Zorro and Swiss Family Robinson, was brought on board to rewrite Kimball and Rinaldi’s script for live-action. Jack Donohue, a Broadway choreographer and TV director responsible for several variety shows featuring such stars as Frank Sinatra and Red Skelton, was hired to direct. Kimball, who’d had several disagreements with Walt over the scripts and casting, was sent back to the animation department.

Although she wouldn’t get a chance to rule Oz as Ozma, Annette Funicello still got her biggest movie showcase to date as Mary. Annette was a huge star on TV and had even had a few hit records. But so far, her only big-screen appearance had been a small supporting role in The Shaggy Dog. Walt believed she was ready for bigger things. At the time of Babes In Toyland, Annette was so famous that she didn’t even need to be credited under her full name. She’s simply “Annette”. Everybody already knew who she was.

The same probably couldn’t be said about her costar, teen idol Tommy Sands. Sands made a big splash right out of the gate, starring as an Elvis-like singing sensation in an episode of Kraft Television Theatre called, appropriately enough, The Singin’ Idol. His signature number on that show, “Teen-Age Crush”, made it all the way to #2 on the Billboard chart. 20th Century Fox produced a feature-film remake of The Singin’ Idol called Sing, Boy, Sing but while Sands received some praise for his performance, the movie was a flop.

Nevertheless, Sands continued plugging away at both his acting and recording careers (he also married Nancy Sinatra in 1960). It makes perfect sense why Walt would cast him in Babes In Toyland. He was popular enough to make it seem like the studio wasn’t completely out of touch with the kids but not so popular that he’d be too cool for a Disney movie. Walt certainly made the most of Sands’ short time on the lot, recruiting him to sing the title song to The Parent Trap with Annette.

The Oz connections continue with the casting of Ray Bolger as Barnaby. The former Scarecrow had kept busy on stage (winning a Tony Award for his performance in Where’s Charley?) and television, where his sitcom Where’s Raymond? was eventually retitled The Ray Bolger Show. His only Disney appearance offers him a rare chance to play the bad guy and he has fun with it, playing to the cheap seats with his stovepipe hat and purple-lined cape.

Most of the rest of the cast was filled out with members of the Disney Stock Players. Ed Wynn does his Ed Wynn thing as the zany Toymaker. Tommy Kirk, still stuck in the “what-the-hell-do-we-do-with-this-kid” phase of his Disney career, appears as Wynn’s apprentice. Henry Calvin and Gene Sheldon, fresh off appearances in Zorro and Toby Tyler, are again teamed up as the bumbling crooks Gonzorgo and Roderigo. Kevin Corcoran shows up as Little Boy Blue. Perhaps hedging his bets against Moochie eventually hitting puberty, Walt also recruited Kevin’s brother, Brian Corcoran (who had appeared in a few episodes of Daniel Boone and Texas John Slaughter on TV), to add some additional precociousness as Willie Winkie.

The newest member of the Disney family was young Ann Jillian, who appears as Bo Peep. Jillian’s Disney tenure was relatively brief. She’d go on to appear in the TV production Sammy, The Way-Out Seal. But Jillian was one of the rare child stars who became much more famous as an adult, starring on the sitcom It’s A Living, as Mae West in a popular TV-movie, and as herself in the made-for-TV biopic The Ann Jillian Story. She’s still out there on the lecture circuit discussing her experiences as a breast cancer survivor, proof that not every child star’s career ends in tragedy.

Theatrical release poster for Babes In Toyland

Walt spared no expense on Babes In Toyland. He spent years developing the script. The production cost in excess of $3 million. George Bruns and Mel Leven, who had recently made a splash with their music for One Hundred And One Dalmatians, were brought on board to update Victor Herbert’s music for the swinging sixties. Cast and crew alike were stocked with top professionals from both inside and outside the studio.

So why is the movie itself so terrible?

The trouble starts right away as an inexpertly performed goose puppet named Sylvester is thrust through a velvet curtain to address the audience. This is no Jim Henson creation. It’s a cheap looking puppet whose beak movements don’t even sync up with the dialogue. Sylvester is held throughout by Mother Goose (played by musical theatre performer Mary McCarty). Mother Goose and Sylvester bring us up to speed, welcoming us to Mother Goose Village and inviting us to the wedding of Tom and Mary. The whole thing feels a bit like a play performed by an amateur children’s theatre group and the movie never manages to rise above that level.

The opening number foreshadows the table-setting theatrics of “Belle” from Beauty And The Beast, introducing all the characters and showing us around the elaborate but somehow still chintzy-looking sets. But “Mother Goose Village and Lemonade” has none of the charm and sweep of “Belle”. The fact that it morphs into an inexplicable tribute to lemonade for some reason should tell you all you need to know.

Babes In Toyland soundtrack album cover

Bruns and Leven were both responsible for some terrific songs but virtually none of them are in Babes In Toyland. Annette’s big number, “I Can’t Do The Sum”, is essentially all about how bad she is at math because she’s just a girl. It’s livened up by some neat visuals, including Annette dividing into four multicolored doppelgangers, but it’s still in service of a truly lousy song. Most of the other songs are just forgettable.

There is one good song in the batch, Ray Bolger’s “Castle In Spain”. I first encountered the song on the great Hal Willner-produced album Stay Awake: Various Interpretations of Music from Vintage Disney Films where it was performed by Buster Poindexter. At the time, I didn’t know anything about Babes In Toyland and had no idea what movie the song was from. I still prefer the Buster Poindexter cover but Ray Bolger’s version is fun, too.

(If you’re unfamiliar with Stay Awake, I highly recommend tracking it down. Other highlights include Tom Waits’ take on “Heigh Ho (The Dwarfs’ Marching Song)”, Los Lobos on “I Wan’na Be Like You (The Monkey Song)” and The Replacements tearing through “Cruella De Vil”. Oddly enough, Buster Poindexter (a.k.a. David Johansen) will not be back in this column, despite the fact that his voice is ideally suited to animation. He did appear on an episode of The Magical World Of Disney, performing at the Disney-MGM Studios Theme Park Grand Opening, but that’s the extent of his involvement with the studio.)

Babes In Toyland has a lot of problems: the mediocre music, the non-existent character development, the off-putting production design and visual effects. But the movie’s fatal flaw is that for the first time, a Walt Disney production feels like it’s talking down to its intended audience. Walt Disney was in the business of making family entertainment. At his best, he made films that are universal in their appeal. Babes In Toyland is specifically directed toward young children. Very young. Ann Jillian would have been around 10 or 11 at the time she appeared in this and she would have already aged out of the target audience. The whole movie feels forced and condescending in a way we don’t typically associate with Disney.

Released in time for Christmas 1961 (although I wouldn’t really call this a Christmas movie, it’s more Christmas-adjacent), Babes In Toyland wasn’t exactly a bomb but it certainly didn’t do as well as anyone had hoped. The movie did manage to snag a couple of Oscar nominations, for Bill Thomas’s costumes and Bruns’s score, but it lost both to a far more successful musical, West Side Story. Both Thomas and Bruns will be back in this column and both will again be Oscar nominees for their work on Disney films.

Even today, the Laurel and Hardy version is still the best film adaptation of Babes In Toyland. The source material continues to confound those brave enough to attempt to film it, resulting in some truly weird spectacles. In 1986, Drew Barrymore starred in a TV remake alongside Richard Mulligan as Barnaby, Pat Morita as the Toymaker and Keanu Frickin’ Reeves as Jack-Be-Nimble. It’s…um…it’s something, alright.

Never one to live in the past, Walt certainly didn’t linger on the failure of Babes In Toyland. As usual, he had already moved on to his next musical project. Earlier in 1961, he had finally been able to persuade author P.L. Travers to let him have the film rights to her Mary Poppins books. Walt would take a more hands-on approach with this one and the results would be a whole lot better.

VERDICT: You have to ask? Oh, it’s a big-time Disney Minus.

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Disney Plus-Or-Minus: The Absent-Minded Professor

Original theatrical release poster for Walt Disney's The Absent-Minded Professor

Walt Disney knew his way around a winning formula. It isn’t as simple as merely giving the people what they want. You do that too often and you run the risk of repeating yourself, which is something Walt tried to avoid at all costs. Instead, you have to create something that’s the same but different. Walt proved he knew how to do this repeatedly, through the many short films of Mickey Mouse, Donald Duck and Goofy, through his animated classics, even through the long-running True-Life Adventures.

When The Shaggy Dog hit it big in 1959, Walt knew he had another winning formula on his hands. Today, that formula is as familiar to Disney fans as the names of the seven dwarfs. They typically take place in Anytown, USA, usually around some stodgy old institution like a college or museum. A student or inventor will make some improbable discovery, either scientific or paranormal, and hilarity ensues. In later years, Leonard Maltin would dub them “gimmick comedies”.

The Absent-Minded Professor cements the formula begun by The Shaggy Dog. This time, the source material was an obscure 1922 short story called A Situation Of Gravity by Samuel W. Taylor. Taylor (no relation to Samuel A. Taylor, the screenwriter of Vertigo) wrote a couple of screenplays, including Hugo Haas’s 1954 film noir Bait, but was better known, at least among the LDS community, for a series of Mormon-themed historical novels. His book Heaven Knows Why! is considered a classic of Mormon comedic writing, which is apparently a thing.

Taylor’s story is hard to track down, so I have no idea how much of it remains in Bill Walsh’s screenplay adaptation. If I had to guess, I’d say not much at all. Walsh had become one of Disney’s most reliable live-action writer/producers since transitioning from TV to features. He’d written The Littlest Outlaw, The Shaggy Dog and Toby Tyler so far. He’ll continue to be a major presence in this column.

Also returning from The Shaggy Dog was Fred MacMurray. But this time, MacMurray wasn’t a put-upon family man whose eldest son experimented with wacky experiments. Here, he’s Professor Ned Brainard, a confirmed bachelor whose obsession with his own wacky experiments keeps causing him to forget about his own wedding. Most women left standing at the altar would dump their fiancé after the first time. But Betsy Carlisle (Nancy Olson, last seen in Pollyanna) either has the patience of a saint or is a glutton for punishment. She’s given him one last chance (his third!) to tie the knot.

Unfortunately, Brainard stumbles on to a discovery that causes his garage lab to explode and knocks him out cold. He misses the wedding but upon coming to, finds he’s accidentally created a Silly Putty-like goo that gains energy and momentum every time it hits a hard surface. He excitedly dubs the stuff flubber (for “flying rubber”) and is confident that his discovery will save both his relationship with Betsy and his job at financially strapped Medfield College.

Betsy works as a secretary to the dean (Leon Ames, who will also be back in this column), so Brainard attempts to kill two birds with one stone by introducing them both to flubber at the same time. They couldn’t possibly care less. The dean has bigger problems since the massive loan he took out from ruthless tycoon Alonzo Hawk (Keenan Wynn, another soon-to-be familiar face) is now due. Hawk also has a personal grudge against Brainard. The prof flunked his son Biff (Tommy Kirk, playing slightly against type as a dumb jock), preventing him from playing in the all-important basketball game against Medfield’s rivals.

To make matters worse, Peggy has finally decided to dump Brainard. Her escort to the game is English professor Shelby Ashton (Elliott Reid and yep, he’ll be back in this column too). Deciding he needs a more impressive demonstration, Brainard rigs up his old Model T with flubber and some garden variety radioactive isotopes he had lying around the house, creating the world’s first flying car. When Peggy refuses to go for a ride with him, he irons some flubber onto the team’s tennis shoes at halftime, resulting in a bouncy win for Medfield.

Even so, nobody will listen to Brainard about flubber. So he decides to call Washington, where various bureaucrats give him the runaround. The Secretary of Defense (Edward Andrews) is equally dismissive but the heads of the Army, Navy and Air Force all overhear his conversation. For some reason, they take him very seriously and immediately head to Medfield to check it out for themselves.

Unfortunately, Alonzo Hawk happened to spot Brainard’s Model T flying across the night sky. He and Biff hatch a scheme to switch cars, leaving Brainard with egg on his face when he attempts to give the military men a demonstration. But Peggy gets a firsthand look at flubber in action at a dance with Brainard wearing flubberized shoes. She goes back to him and they launch their own scheme to get the Model T back.

Comic book adaptation of The Absent-Minded Professor

If The Shaggy Dog invented the gimmick comedy formula, The Absent-Minded Professor perfects it. Everything that worked in the previous film is back in some form or another. There are elaborate special effects sequences that go for laughs rather than action, suspense or visual opulence. The decision to film in black-and-white was made to help mask those effects, since Walt, Bill Walsh and director Robert Stevenson weren’t sure if they’d hold up in color. They aren’t exactly seamless but they are effective. The basketball game and the Model T bouncing off the roof of another car and driving on walls could have come straight out of one of Walt’s cartoons.

MacMurray was a lot of fun in The Shaggy Dog but he really hits his stride here. The Shaggy Dog had given him an essentially reactive role. He excelled in it because Fred MacMurray always had been a great straight man. But he’s the driving force behind The Absent-Minded Professor and he’s just as good. He gets in some great physical comedy (before the visual effects and stunt guys take over) but he’s a master at the half-muttered mostly gibberish dialogue he rattles off constantly. Walt got very lucky when Fred MacMurray joined the studio. He’d found a comedic leading man who could do it all.

The Absent-Minded Professor also introduces the concept of cameos and callbacks to the gimmick comedy formula. James Westerfield and Forrest Lewis are back as put-upon traffic cops Hanson and Kelly from The Shaggy Dog, still crashing into cars and splashing hot coffee into Hanson’s face. When the fire department turns up to try and stop Mr. Hawk from bouncing into the stratosphere, they’re led by Keenan Wynn’s father, Ed Wynn (last heard from in this column as the Mad Hatter in Alice In Wonderland). This is actually a reference on top of a reference. In addition to the unremarked upon father-and-son casting, the elder Wynn had become a star on the radio playing the title character on The Fire Chief. These little touches of meta humor and winks to a shared universe would become a common trope in Disney comedies.

There are two more names in the credits who will soon become inextricably connected to Walt Disney. Brothers Robert B. Sherman and Richard M. Sherman began writing songs together in the early 1950s. They’d had a few hit songs, including “You’re Sixteen” and “Tall Paul”, which become Mouseketeer Annette Funicello’s highest-charting single. Annette recorded several other Sherman Brothers tunes and this caught the ear of Walt Disney.

Walt hired the brothers as full-time staff songwriters in 1960. Their first assignment was another song for Annette, “Strummin’ Song”, which was featured in the two-part Disneyland episode The Horsemasters. The Absent-Minded Professor’s “Medfield Fight Song” was their first credit in a Disney feature. It will not be their last. The Sherman Brothers will be back in this column many times. They also wrote “The Flubber Song”, a ridiculous novelty song for Fred MacMurray that doesn’t show up in the movie but did make it onto the record.

The Absent-Minded Professor record album

The Absent-Minded Professor premiered on March 16, 1961. It became the studio’s second consecutive hit of the year after the success of One Hundred And One Dalmatians, raking in over $11 million. It was the 5th highest-grossing picture of 1961 and the studio wasn’t done yet. The year’s 4th highest-grossing movie will be in this column next time.

The movie also provided Walt a somewhat unlikely return to the Academy Awards. The Absent-Minded Professor was nominated for three Oscars: Best Cinematography, Best Art Direction-Set Decoration (both in the black-and-white categories) and Best Special Effects. It lost the black-and-white categories to The Hustler and The Guns Of Navarone took home the special effects award. Still, the idea that The Absent-Minded Professor was up against the likes of La Dolce Vita and Judgment At Nuremberg is pretty wild.

The legacy of The Absent-Minded Professor is very much alive and not just at Disney. Special effects comedies were rare before Walt Disney came along. Abbott and Costello had met the monsters but they weren’t playing with the kinds of budgets that Walt was able to lavish on his productions. The success of the gimmick comedies helped pave the way for later blockbusters like Ghostbusters and Men In Black. Like Professor Ned Brainard, Walt Disney had created an extremely successful formula. Flubber will return.

VERDICT: Disney Plus

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Disney Plus-Or-Minus: Alice In Wonderland

Original 1951 theatrical release poster for Walt Disney's Alice In Wonderland

Walt Disney’s Alice In Wonderland did not come into this world quickly or easily. He had been trying for years to get a feature-length adaptation of Lewis Carroll’s classic books off the ground. By the time it was finally released to indifferent reviews and lower-than-expected box office returns in July of 1951, Walt found himself wondering if it had even been worth the effort. I’m here to tell you that it absolutely was.

Walt’s history with Alice dates all the way back to 1923 when he and Ub Iwerks made a ten-minute short called Alice’s Wonderland. Inspired more by Winsor McCay’s Little Nemo In Slumberland than Lewis Carroll, the short follows a live-action girl named Alice (played by Virginia Davis) who takes a train to cartoon-land after a visit to Walt’s fledgling Laugh-O-Gram Studio in Kansas City.

Laugh-O-Gram went out of business shortly after the film was made and Walt headed west to join his brother Roy in California. But the short caught the eye of cartoon distributor Margaret Winkler, who commissioned the Alice Comedies. Along with the later Oswald The Lucky Rabbit cartoons, the Alice Comedies helped launch Disney’s animation career.

By 1933, Walt had begun to tinker with the idea of making a feature-length version of Carroll’s Alice using a hybrid process similar to the Alice Comedies. Mary Pickford was to play the live-action Alice. But when Paramount released their own all-star live-action Alice In Wonderland, Walt put his idea on the shelf. In 1936, Walt got a little bit of Wonderland out of his system with the Mickey Mouse cartoon Thru The Mirror.

After the release of Snow White, Walt secured the film rights to Carroll’s books, specifically the editions with the familiar John Tenniel illustrations. David Hall created some beautiful concept art based on Tenniel’s work but Walt rejected this version as too dark and difficult to animate. The outbreak of World War II resulted in all work on Alice and several other films being put on hold.

When Walt returned to the project, he still planned on a live-action/animation hybrid. British writer Aldous Huxley, then earning a living as a Hollywood screenwriter, was hired to work on the script. He looked at a number of different potential Alices, including thirtysomething Ginger Rogers, child star Margaret O’Brien, and contract player Luana Patten (from Song Of The South and So Dear To My Heart). But Walt rejected Huxley’s script as “too literary” and began to have doubts about the hybrid format.

Enter artist Mary Blair, who had joined the studio in 1940. Blair had been a part of the Good Neighbor tour of South and Central America that had produced Saludos Amigos and The Three Caballeros. Her eye for color and design made her an invaluable part of the Disney team. She produced some Alice concept art that moved away from the Tenniel look in favor of bright colors and abstract shapes. Her work convinced Walt to move ahead with Alice as a feature-length cartoon. Using Blair’s paintings as a guide, the story and music departments took one last crack at shaping the project.

Alice In Wonderland concept art by Mary Blair
Mary Blair, Concept art for the Walt Disney animated feature “Alice in Wonderland,” c. 1950, gouache on board. (Photo Courtesy of the Hilbert Museum)

The music department played an even more important role than usual in dictating the movie’s tone. Walt wanted to maintain as much of Carroll’s language as possible, especially the verse, so songs were built around such passages as The Walrus And The Carpenter and Jabberwocky. Over two dozen songs were written for the film by such talents as Sammy Fain and Bob Hilliard, Oliver Wallace, and Mack David, Al Hoffman and Jerry Livingston, who had just finished work on Cinderella.

A few songs were left on the cutting room floor. Jabberwocky was an early casualty. The only reference that remains is the Cheshire Cat’s song, “’Twas Brillig”. Two others were given new lyrics and used in Peter Pan. Even with these cuts, Alice In Wonderland still has more original songs than any other Disney film before or since.

Some of those songs have become so familiar, such as “I’m Late” and “The Un-birthday Song”, that we barely even register them as songs anymore. They’re more like common, everyday expressions that everyone just happens to say in a specific cadence. Others, like “All In A Golden Afternoon” and “Very Good Advice”, may not have become standards like other Disney songs. But they’re extremely effective in the context of the film.

Perhaps in an effort to ease concerns that he would Americanize Carroll’s book, Walt selected British actress Kathryn Beaumont to provide the voice and live-action reference modeling for Alice. While it certainly would have been interesting to see some of the other actresses Walt had considered, young Miss Beaumont turned out to be the right fit for the part. You can’t have an Alice who overreacts to the odd sights and characters she encounters. Kathryn Beaumont underplays the part beautifully, while the animators bring out subtle facial expressions and gestures from the reference footage. We relate to both her dreaminess and her eventual exasperation with Wonderland’s nonsense.

But the character of Alice was also a big part of what frustrated Disney about Carroll’s book. Unlike previous and future Disney heroes and heroines, Alice doesn’t have a story arc that touches the heart. She just wants to escape into a world of fantasy and nonsense. By design, Alice is something of an aloof blank slate. She’s reactive instead of active. Even Pinocchio is an active participant in his own downfall and redemption. Alice just pinballs from one wacky situation to the next.

But in the movie’s defense, those situations represent some absolutely first-class wackiness. Walt’s top animators all worked on Alice In Wonderland and you get the sense that they realized that, despite everyone’s best efforts, this was not going to be a particularly cohesive picture. Instead, to keep themselves engaged, they turned it into a thrilling game of one-upmanship. Each sequence is more colorful and imaginative than the last, with stunning design and kinetic movement.

In this way, Walt’s team managed to find a visual equivalent to Carroll’s brilliant use of language and wordplay. Alice’s Adventures In Wonderland and its sequel, Through The Looking Glass, are overflowing with puns, nonsense words and hidden meanings. Even the layout of the text on the page is significant.

None of that can ever be truly replicated in a movie. But the animation finds countless opportunities for visual gags and details that would be equally impossible in a book. Think of the March Hare’s request for just “half a cup” of tea, whereupon he slices the cup in half. Or the countless ways the animators find for the Cheshire Cat to disappear and reappear. Or the smoke letters blown by the Caterpillar.

The picture also benefits from its stellar vocal cast, one of the best ensembles Disney ever assembled. Vaudeville star Ed Wynn became forever linked to the Mad Hatter after this. It’s difficult to imagine a more perfect match between actor and character. Shockingly, this was one of Wynn’s only vocal performances. It only seems like he did a million of them because so many other cartoon actors went on to do an “Ed Wynn voice”. But we’ll see him again in this column when he starts to appear in Disney’s live-action films.

Bill Thompson had become famous on radio, voicing a character named Wallace Wimple. That character helped inspire Tex Avery’s creation of Droopy for MGM, which Thompson also voiced for many years. The White Rabbit is basically just Thompson’s Wimple/Droopy voice on speed but it works like gangbusters. But he was no one-trick pony. Thompson also provides the voice of the Dodo. It adds a little something to the scene where the Dodo decides to burn down the White Rabbit’s house when you realize Thompson is doing both voices. We’ll hear the vocal stylings of Bill Thompson many more times in this column.

Richard Haydn, on the other hand, never did another cartoon voice after Alice In Wonderland but his one role for Disney was a keeper. As the Caterpillar, Haydn finds the exact note of haughty superiority. One of the few things Tim Burton’s live-action remake got right was casting Alan Rickman, who frequently seemed to be channeling Haydn’s Caterpillar in his performances anyway, in the role.

For many of the other roles, Disney stuck with actors he’d come to be familiar with. Sterling Holloway finds subtle layers of lunacy in his performance as the Cheshire Cat. Radio star Jerry Colonna, who had previously narrated Casey At The Bat in Make Mine Music, is perfectly paired with Wynn’s Mad Hatter as the March Hare. And Verna Felton, who had most recently provided the voice of Cinderella’s Fairy Godmother, goes to the absolute opposite end of the spectrum with her unhinged take on the Queen of Hearts.

Despite all this, Walt never felt like he had been able to crack Alice In Wonderland. At one point, he was so frustrated by the project that he was ready to cancel the whole thing. But Peter Pan wasn’t far enough along, so shelving Alice would have left the studio with nothing to release in 1951.

When audiences and critics alike failed to show much enthusiasm for Alice, Walt chalked it up as a disappointment. He never re-released the film theatrically in his lifetime. In 1954, he aired a severely truncated version on the television series Walt Disney’s Disneyland, then in its second season. Walt would continue to air it on TV for years.

1974 theatrical re-release poster for Alice In Wonderland

But in the early 1970s, a funny thing happened. Film societies on college campuses around the country, eager to program anything that could even remotely be described as “psychedelic”, started screening Alice In Wonderland. As it developed a cult following, Disney decided it might be worth giving it a general re-release. In 1974, Alice In Wonderland finally returned to theatres with a new marketing campaign that leaned into the whole trippy vibe, although they drew the line at featuring the hookah-puffing Caterpillar on the poster.

It was here that 5-year-old Adam Jahnke’s mother took him to see his very first movie. Because of that association, I have a very hard time looking at Alice In Wonderland objectively. To me, it was a magical, transformative experience. I can understand Walt Disney’s disappointment in the final product. I can sympathize with the Lewis Carroll purists who object to the liberties taken with the books. I can even acknowledge criticisms that the film is too episodic, too cold, and lacks a sympathetic main character.

But that’s not the way I view Alice In Wonderland. I just see a very funny, dazzlingly colorful entertainment that blew the eyes right out of my head as a child. It was my gateway drug to the wider world of cinema. It was as impossible to resist as a mysterious bottle labeled “Drink Me”. I drank every drop and I’ve never looked back.

VERDICT: Disney Plus.

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