Released to cinemas on Christmas Day 1963, The Sword in the Stone was the last animated feature film released by the Disney Studios during founder Walt Disney's lifetime.
Based on T H White's classic modern retelling of Arthurian legend, we follow the adventures of the future King Arthur (nicknamed the Wart), culminating in his encounter with the legendary sword. Taken under the wing by magician Merlin who, with the use of magic, transforms Arthur into a variety of animals to teach the lad some valuable life lessons. When Arthur is captured by sorcerer Madam Mim, she and Merlin engage in a battle over the boy, transforming themselves into ever elaborate creatures in an attempt to outwit the other.
The Sword in the Stone had been in and out of production at Disney for over two decades. Originally envisioned on the grand scale of Sleeping Beauty (Clyde Geronimi, 1959), when that movie proved an expensive failure The Sword in the Stone was re-imagined in the sketchier, modern style of One Hundred and One Dalmations (Clyde Geronimi, Hamilton Luske & Wolfgang Reitherman). While the original approach can still be seen in some beautifully detailed backgrounds and the lovely opening tableux, the more modern aspects of the production sit somewhat uneasily with its medieval England setting. While the loose animation style is admittedly charming, and the jazzy score a delight, neither help the movie in establishing an authentic Arthurian setting. In its determinedly 1960s approach, The Sword in the Stone feel closer in spirit to the company's contemporary lightweight live-action comedies than any other Disney animation.
As with Disney's later animated Robin Hood (Wolfgang Reitherman, 1973) the movie suffers from an episodic narrative. A series of seemingly loosely related segments, there is little overall plot. As entertaining and well executed as these sequences are, one cannot help but feel that, like Robin Hood, The Sword in the Stone is slightly less than the sum of its parts. Yet, in spite of its flaws, I have great affection for The Sword in the Stone. It may lack the elaborateness of Pinocchio (Ben Sharpsteen & Hamilton Luske, 1940) and Sleeping Beauty or the superior storytelling of One Hundred and One Dalmatians, but it is thoroughly entertaining.
Bearing a strong family resemblance to 1960s Disney boys Christopher Robin and Mowgli, the character of the Wart/Arthur is a little on the bland side. However Merlin and his "educated owl" companion Archimedes are wonderful comic creations. Madame Mim is great comic villain, perhaps never posing much of a threat but a lot of fun. The sequences in which Merlin transforms the young Arthur into a series of different animals are rich with action, humour and even a little pathos; while Merlin and Mim's wizard's duel is a highlight of the Disney animated features canon. It also boasts a handful of excellent songs by Disney regulars Richard and Robert Sherman. 'Higitus Figitus' and 'A Most Befuddling Thing' in particular display their talent for complicated wordplay that two years later would see them receive universal acclaim and two Oscars with Mary Poppins (Robert Stevenson, 1964).
I loved this movie as a child and I still love it as a so-called grown-up. While, from an artistic perspective The Sword in the Stone doesn't represent the best of Disney, it does offer 80 minutes of solid, warmhearted fun.
No comments:
Post a Comment