Last year’s Tangled (2010) proved that Disney Animation Studios’ triumphant return was not limited to the seminal The
Princess and the Frog (2009). Not only that, but it also proved that DAS could also hold its own within this Disney-in-the-age-of-Pixar period (as Tangled was far superior to Toy Story 3 (2010), despite what the Academy would have you believe). Of course, the cherry for Tangled was that it was the studio’s golden 50th feature offering, and it certainly celebrated it with a commercial and critical bang. Now, with 50 features under its belt, it’s all butter for Disney Animation Studios, or in this case, it’s all honey! That’s correct! 51 is Winnie the Pooh (2011)!
At first it might seem strange for Disney to push forward by reaching back (even though various divisions of the company do it all the time), but a second glace reveals a company making good on its mission to continue to not only entertain but enchant. Needless to say, the characters of A.A. Milne are nearly as prolific in the Disney canon as Mickey Mouse, with countless in-house movies and successful TV series’ following the original 1977 feature. It would have been one thing to make another high profile sequel that embraced current tendencies, but Disney would not be so crass to do this in its classic feature division. This offering could have either been a step in the wrong direction or just a mere retread. What we get though is a lovely modern retelling and so much more, yet it refuses to let the 21st Century family marketplace dictate its aesthetics. Instead of retelling the story in the CG domain of Pixar (or even to just follow up their own Tangled), Pooh is presented in all of its classic glory in a classic hand drawn animation style filtered through the modern enhancements that only seek to enrich the medium. The result is a breathtaking wonder that pulls at the very heart of the Disney melt, without being overblown. The art is incredible and retains more life than most of its CG peers, yet it never feels old or outdated thanks to digital plating techniques that propel the analog to create a truly timeless feel. This is basically what The Princess and the Frog used to great effect, and the animation truly sings! While the story and characters are still frozen in amber (that’s a good thing), the audio-visual component is truly fresh and spectacular, yet wrapped in a gentle presentation. Even the live action introduction (a clear ode to Walt era Disney, and a time capsule heterotopia for those who know where to look) is a beautiful HD update that manages to retain the warm organic ambiance of classic Disney. It’s difficult to say anything else, because we all know the characters and the story so well and there is nothing new in that department, but that really really really REALLY is a good thing.
In the end, Disney has scored a hat trick in its latest renaissance. If Winnie the Pooh tells us anything it’s that hand drawn animation is just as important today as ever, even with Pixar taking all the money. This is a new life for Disney and for the medium. Maybe the most gracious aspect of this film is how humble it is, because Pooh is not trying to fight Cars 2 (2011), it doesn’t have to! This is classic Disney making magic on its own terms, coming full circle in a surprisingly subtle fashion. Few Disney Animation Studio features are as unassuming as this, but few are this honest. This is Disney at its base sum best!
McS
