Any retrospective project like this one runs the risk of viewing history as a straight line subject to cause-and-effect. First this happened, then this happened and so on and so forth. But history itself is rarely that neat and the nature of animation production emphasizes that fact.

After Snow White, many of Disney’s next films were all in various stages of production at the same time. Movies like Pinocchio and Bambi took years to make. Some of the films Disney was actively developing around this time, including Peter Pan and Alice In Wonderland, wouldn’t come out for another decade or more.

Dumbo was a bit of an exception to the rule. The original story by Helen Aberson-Mayer and Harold Pearl was published in 1939 as a book/toy hybrid called a “Roll-A-Book”. Disney bought the rights almost immediately and story artists Dick Huemer and Joe Grant began developing it into a film in January of 1940. By the time it was ready to go into production, the studio was already losing money on Pinocchio and Fantasia.

Because of those losses, Disney badly needed a hit. If Dumbo was going to be made at all, it would have to be done quickly and economically. The film went into production in late 1940 or early 1941. And even with work interrupted by an animators’ strike in May, the movie was finished and released to theaters in October of 1941. Even by today’s standards, that’s a quick turnaround for an animated feature.

Of course, it helps that Dumbo barely qualifies as a feature. Clocking in at a brisk 64 minutes, it’s easily Disney’s shortest film. At the time, movies of that length weren’t exactly uncommon but they were usually B-pictures or cheapies turned out by such Poverty Row studios as Monogram or Republic. RKO, Disney’s distributor and a studio that knew a thing or two about B-movies, actually asked Walt to add about 10 minutes or so. Either out of artistic integrity or economic necessity, Walt declined.

This was absolutely the right choice. Part of what makes Dumbo so charming is that it doesn’t overstay its welcome. It fits squarely into the misfit underdog story template that resonates with everyone, regardless of age, gender or cultural background. But when we think about Dumbo, we don’t think about the plot. We think about individual moments and sequences. Dumbo isn’t really much more than a short sequence of vignettes. What’s magical about it is that any one of those vignettes would be another movie’s highlight. Dumbo is nothing but highlights.

Dumbo announces it’s different from its predecessors right from the get-go. This isn’t the fairy-tale world of Snow White or the cobblestone European streets of Pinocchio. This is America. Florida, to be exact. And it isn’t once upon a time. It’s 1941. The opening song, “Look Out For Mr. Stork”, makes a pop culture reference to the Dionne Quintuplets, who had fascinated the world since their birth in 1934. The tone, the style, the music, everything suggests that this is going to be a much looser, more casual movie.

But in spite of all that, Dumbo also has a reputation as one of Disney’s most emotional movies. If you watch Dumbo with a group of people and somebody doesn’t cry at least once, watch out because you’re hanging out with some cold-hearted sociopaths. The heart of the film is the relationship between mother and child, encapsulated beautifully in the “Baby Mine” sequence. It’s a testament to both the animators and to the Oscar-nominated song by Frank Churchill and Ned Washington that this sequence lands as powerfully as it does. This is character animation at its finest and the song is simple, lovely and perfect.

The animation has to be perfect in a sequence like this. It’s shouldering the entire storytelling burden. Dumbo has no dialogue throughout the film and Mrs. Jumbo’s only line comes when she christens her son Jumbo Jr. The lack of dialogue is another brilliant choice. It allows every single member of the audience to project their own identity and their own relationship with their mom onto Dumbo and Mrs. Jumbo. When Dumbo is mercilessly teased because of his big ears, we empathize because we’ve all been picked on for one thing or another. When Mrs. Jumbo cradles Dumbo in her trunk, we all know that feeling. Dialogue would only get in the way.

Dumbo has a number of sequences built entirely on the interplay between music and animation. The movie starts with back-to-back songs, the aforementioned stork tune and “Casey Junior”. It’s little wonder that it won the Oscar for Best Scoring of a Musical Picture. But apart from “Baby Mine”, the most memorable song and sequence in the film is undoubtedly “Pink Elephants On Parade”.

Over 75 years later, this sequence remains one of the most startling and exciting animated sequences in Disney’s history. Walt’s interest in surrealism and abstract art had already been on display in Fantasia but “Pink Elephants” took it to a new level. The sequence is a hallucinatory masterpiece. A few years later, Walt would strike up a friendship with Salvador Dalí. One imagines the subject of Dumbo must have come up in conversation once or twice.

Even though so much of Dumbo is unencumbered by dialogue, the characters who do speak manage to leave a big impression. Sterling Holloway makes his Disney debut as Mr. Stork. He, of course, would have a long association with the studio in everything from The Jungle Book to Winnie The Pooh, eventually becoming the first voice actor honored as a Disney Legend.

On the other end of the spectrum, there’s Edward Brophy as Dumbo’s friend and protector, Timothy Q. Mouse. Brophy had a lengthy career as a character actor, usually playing sidekicks and comic relief tough guys. He worked frequently in radio but this was his one and only foray into animation. It’s a standout character that could have been just a Jiminy Cricket knockoff. Brophy’s attitude and delivery gives Timothy a more contemporary edge.

Cliff Edwards, the voice of the actual Jiminy Cricket, also turns up as Dandy Crow (or, as he was originally called…ahem…Jim Crow). All right, let’s talk about the crows. These characters were in the news again recently after Disney+ felt the need to slap a disclaimer on Dumbo and its “outdated cultural depictions”. And sure, they are exaggerated African-American caricatures and their leader is voiced by a white guy (not that anybody would have known that at the time, since none of the voice actors were credited).

But animation, especially this particular cartoony style of animation, is built on caricature. What is the herd of gossiping elephants if not an exaggerated caricature of matronly women? Now, it would be disingenuous to claim that those two things are exactly the same. Jim Crow is too loaded to simply wave it away like that (and, to be fair, they did have the good sense to not actually refer to Edwards’ character as “Jim Crow” in the movie itself). But it would be equally wrong to ascribe any malicious intent to the characters and not acknowledge that this is simply what cartoonists and animators have done since the invention of the form.

Besides, the crows are by far the most fun characters in the movie. You empathize with Dumbo and his mom. You appreciate Timothy’s friendship and positive outlook. But you want to hang out with the crows. They get the catchiest song, the terrific “When I See An Elephant Fly”. And they’re not exactly making fun of Dumbo and Timothy in the same way that the movie’s other characters did. Finding a baby elephant and a mouse passed out in a tree gives them a pretty good reason to be incredulous at first. It doesn’t take long for them to change their tune and help Dumbo and Timothy out by providing the “Magic Feather”. They’re smart, they’re free, they’re funny. The crows are awesome and I find it hard to believe that anyone could be genuinely offended by them.

Dumbo went on to become a huge hit for Disney, almost single-handedly bringing the studio back from the brink of bankruptcy. Appropriately enough, the studio has continued to use it as a cash cow ever since. For years, Disney has floated Dumbo as a sort of test balloon for new technologies and formats. In 1955, Walt allowed it to be shown on television for the first time. At the dawn of the home video era, Disney was reluctant to embrace the VCR. But in 1981, Dumbo and Alice In Wonderland became the first Disney animated classics to be released on VHS and Betamax.

Since then, it’s become one of the studio’s most frequently re-released titles on VHS, Laserdisc, DVD and Blu-ray. Disney has worked hard to cultivate a mystique around certain titles, locking them away in the notorious Disney Vault for years at a time. But Dumbo is one of the few that you can grab a copy of pretty much any time you please. You can order it from Amazon right now for about 10 bucks, a bargain compared to most of the other movies we’ve looked at so far.

Perhaps because it’s so ubiquitous or perhaps because it’s so deceptively simple, even devoted Disney fans tend to overlook Dumbo. It’s definitely an unusual film. We all know it as a movie about a flying elephant but the movie ends moments after Dumbo masters the skill. It’s an abrupt but somehow still satisfying conclusion. After being bullied, ridiculed and traumatically separated from his mom, Dumbo’s been through enough. He’s earned his happy ending.

VERDICT: Disney Plus