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The film opens with a montage of newspaper headlines about the importance of aircraft in warfare, and then jags a bit with a lighthearted look at the history of flight which is the only part of the film to be shown after the film's release, on television.

Disney sex movies 1940s

This segment begins with a comical look at the early flying machines and then soon focuses on the military potential of airplanes, with lots of animated dogfights. Human characters have a narrow, angular look that I've never seen in any other Disney animated film. That opening montage lasts about twenty minutes. Then we meet Major Seversky, author of the book from which this film takes it title. After a brief introduction by the Major, we see a segment of minimal animation about the airwar in the early phases of World War Two in Europe and in the Pacific. This is followed by a extended series of animated scenarios presented by Seversky about how the war on both fronts can be won by new aircraft with extended range and power.

But during Major Seversky's monologues, one gets the feeling that you are watching a film that was intended only for government officials. So that makes it difficult to judge this film on any level but as as propaganda film. I do not have the knowledge to say how much of the ideas presented in the film were actually used in the war, but it certainly seems that some of them did get implemented. Finally there is the patriotic climax, with an eagle combating the tentacles of the axis powers, fading to a waving American flag. All that was missing was an entreaty to buy war bonds.

But I keep getting away from the emphasis of this monograph, what's the entertainment value of this film, ignoring the historical perspective that hangs over it. Animation-wise, there's not much that's groundbreaking or unique. It has a distinct style, mostly a commitment to realism and melodrama, with lots of stark contrasts via usage of character silhouettes. Certainly the animation is effective in communicating its message, but there the visual style is sometimes too close to reality. Metaphors are certainly thick, as in all good propaganda, none more-so than the climax of the movie featuring a bald eagle attacking the 'octopus of fascism'.

Save a few moments in the opening part about the history of flight, there are few lighthearted moments, and despite the promise of victory via aircraft, there is a grim realism of the time that this was made. All in all, this is much more a historical reflection of a dark time America's history, and can't be faulted for not bristling with groundbreaking animation. And some sixty years later the film still does pack a dramatic punch, and might cynically be called a relic of wartime, but it succeeds at its purpose and can arguably be called the most unique animated feature the studio ever produced. And in a way, Victory Though Air Power served as the template for some of the Disneyland TV show's Tomorrowland segments, mixing animated comedy with coldly realistic portrayals of technological concepts in Disneyland TV's case, man's future in space.

Personally I'm glad that the next feature was more upbeat and innovative visually.

This is the only Disney film of this group to have been released on videotape before that late s, having been 1940s disney sex movies since the early s. Before 1940s disney sex movies it enjoyed cult-film status on college campuses in the s, due to it's 'psychedelic' segments. It is certainly dated, a bit too episodic, and even guilty of ethnic stereotyping in places. However, it was the first time Disney combined live action and animation in a feature film, via a technique called rotoscoping. Sixty years after it's initial release, the reason behind this films existence is happily obscure.

I say "happily obscure" because you wouldn't know this was a subtle propaganda film while watching it. The film was directed by Norman Fergeson, who is best known for his Pluto animations. Despite all the visual wonders of the film, it's episodic quality makes the film weaker. For example, the first story about Pablo the Penguin could easily have been a Disney short perhaps it was originally intended as one? It is only tenuously connected to the films theme - if I recall my high-school geography, Antarctica is not really a part of Latin America. Anyway it's a pleasant little story about a penguin who is never warm enough and sets sail for the tropical isle of his dreams only to be marooned there.

The rest of the film is divided up into the Brazil segment, the Mexico segment and a quick climax in the form of a mock bullfight. Donald Duck begins 1940s disney sex movies Latin American adventures by watching some home movies, then gets reunited with Jose Caricoa. After the lovely musical bit "Baia", Jose drags Donald around some visually charming scenes of Brazil, complete with live action dancers and musicians in the "Ya Ya" sequence, which features Aurora Miranda Carmen's sister. As trite as these segments might seem, they are bright and colorful pastiches which are more memorable that one might expect.

The "Baia" sequence is filled with lovely impressionistic views of Brazil; views of architecture, sailboats on the bay and cooing doves flying over the city. What makes the segment so captivating is Ary Baroso's mesmerizing standard "Baia" with gringo-ized lyrics by Ray Gilbert. It's the only part of the film to feature location footage of Latin America. After Donald continues to Mexico in the company of Ponchito the film degenerates into foolish sex-comedy with Donald chasing after Latin lovelies on a beach that looks a lot more like the Burbank backlot than Acapulco. Thankfully the film takes a curious turn with the "You Belong To My Heart", which begins as a simple ballad sung buy Carmen Molina's face floating with the stars in space, then turns into a mixture of purely abstract animation and dancing vegetation.

This is one of the reasons I find this film so endearing, it's willingness to make visual segments for their own sake, something that happens all too infrequently in Disney films. These qualities were later regarded as 'psychedelic' and contributed to the film's cult status. Certainly the first time I watched this film I was quite enchanted, and to this day, it is the Disney film I watch most often. It has many the qualities I desire in a Disney film, from the novel visuals to the enchanting tunes. The bullfight with Donald as the bull has the feeling of being tacked on to provide an upbeat ending, but it's not drawn out and is an tidy, if uninspired, ending to one of the studios most unique movies.

It's worth noting that the studio planned a third Latin American-themed film, featuring Cuba, called Cuban Carnival. Both Donald and Jose Carioca would both reprise their roles. Mary Blair was sent on a reccy of Cuba inbut the plan for the film was scrapped. The DVD release adds a couple of shorts, non worth bothering over. The throws of World War II would halt the studio's commercial output for a few years. Of course the Disney studio created a great deal of training and support films for the military during the war. After WWII ended, the studio's foundations had been shaken, so for the sake of economy and expediency, Disney chose to continue the package-feature format for the next four years and films.

The studio had produced an enormous volume of films for the war effort, and so therefore took time to gear up the feature unit. Given the high cost and time required to get a feature film completed, Walt made a shrewd move to simply bundle a series of shorts together into a single package feature. Unlike the package features that proceeded it, these were necessitated by economics, not government pressure or to gain some time. But this lower-than-expected standard was reflected at the box-office, and these string of films marginal success almost grounded the animated features unit for good. One thing worth mentioning is the marginal quality of the film-transfer to DVD.

During several segments you can see lots of dust and scratches on the screen, and it looks like Disneycorp didn't bother to "Fully Restore" this film, as they have with other titles. Or perhaps the original didn't have a high level of quality control. Personally I don't think it's anyone's loss. The 8-minute segment is just a boring bit of hillbillies shooting off guns and guzzling moonshine with a cornball romance thrown in. But you can now decide for yourself, thanks to You Tube, it's posted here. Hillbillies aside, there are two kinds of segments in the film, animated music and short stories with a musical theme.

Debussey's music was dropped in favor of the lilting pop tune sung by Diana Shore. The sumptuous backdrops are perfectly suited to the music, portraying a lovely night in an idyllic bayou. Then is the utterly soporific "Without You", a mournful torch song, that features some undewhelming backgrounds. I skip over it every time - snore. The two remaining bits of animated music are are pair of jazz tunes. The characters in this celebration of 40's youth are pure Fred Moore, an animator was known for his appealing personalities. A plotless clip, that just features a hubbub of jitterbuggin' youth in various settings, utilizing a Disney trademark of drawing the background as the scene progresses.

The Disney-censor's knife made the ladies 'less buxom' for the video issue, it's said. For my eyes, the most fun part of the film is "After You've Gone", which is an enjoyable bit of sonic abstraction. The settings are novel and the still look fresh today. The over-the-top baseball characters are fun to watch, and give a frantic pace to Theyer's classic poem. The segment was so popular that it spawned a sequel, 's "Casey Bats Again". Probably the goofiest part of the movie is "Johnnie Fedora And Alice Bluebonnet", which as you might guess, is a love story between two hats.

It's almost too weird to watch this tale of a chapeau that falls on hard times, longing for his long lost love, only to find her on a horse. The animation is pretty predictable, with little to recommend it, save the strange concept of the story. The Andrews Sisters deliver the song with panache. This segment was often shown as a short on TV. There's a nice character about the segment, as the layout and backgrounds have a pleasant storybook feel, instead of the naturalistic look of similar tales. Holloway's narration seems a bit excessive sometimes, but generally is entertaining.

The scene in question comes just after Simba, Timon, and Pumbaa share their theories on what stars are. Simba wanders off and flops down, sending a cloud of seeds and pollen up into the air. Whatever the intention, Disney altered the suspicious frame in later releases of the film.

moies Who Framed Roger Rabbit? Viewers disnye paused the movie on Srx remember those? One disey scene comes dinsey Benny the Cab crashes and his two passengers, Eddie Valiant and Jessica Rabbit, are thrown out onto the street. Or they just forgot to animate it. Despite the many obvious sexual references 194s about the character in the film, this extremely brief 1904s nudity was deemed a step too far and was altered in later releases eex the movie. As Roger says, 1940s disney sex movies Jessica was just an innocent victim of circumstance.

Though rumors that dixney had a line of dialogue still circulate, her role was silent. Unfortunately, her design includes several features of stereotypical depictions of African-Americans from the era. The AFA has built a strong organization and their followers apparently are mlvies active doing what is asked of them, writing letters of complaint to TV advertisers. They have threatened boycotts of sponsors that advertise on TV shows they find objectionable. The shows are disnry in the AFA Journal and the names and addresses of sponsors are on the pages that feature the reviews.

The AFA has won some of their battles and lost others according to carefully researched articles. Movues articles also report the membership gives generously. Moveis the s the AFA began an on-going Disney boycott. Idsney recent article from them begins with, "Profits from family entertainment products and theme parks are subsidizing Disney's promotion of the homosexual agenda. A boycott -- including even their good products -- is the only way to impact the company. In the Florida Southern Baptist Convention voted 1490s favor of a similar boycott.

Toy Story was the disnet of a boycott hoax and false allegations of sexual and drug references. The Toy Story Hoax In February a ddisney of mine said that there was an organized boycott of Toy Story by the 1940s disney sex movies because Woody, the name of one of the film's stars, is a slang term for the penis, and Buzz, the name 1940s disney sex movies the co-star, was a drug term. The story came from eisney local weekly 1940ss. Although the disnej believed that there was a real boycott of Toy Story, a quick call to Pixar revealed aex story was moviss hoax and that somebody had started it with a letter published on the Internet. Pixar sent me a copy of the letter along with a memo from the American Family Association that 1940a they 1940s disney sex movies the letter or that they had movis called for a boycott of the film.

A few months 19440s the AFA Journal praised the film as it "brought a broad audience of moral Americans back to local theaters. It called the first computer animated feature "obscene pornography disguised as 'family entertainment' Hollywood's Dark Prince by Marc Eliot. Millions of people now believe Disney was an FBI spy, etc. The fabrications in it will probably be passed on for many generations, just as many people have insisted for the last 35 years that Disney's body was frozen at the time of his death.

If you believe it was frozen and will be brought back to life someday, you will be happy to know that Elvis was seen on February 30, in the Haunted House at Disneyland. Eliot's end-notes on the sources of his information are detailed at times, but he doesn't reveal how he discovered some of his most important "facts. Diane Disney Miller, Walt's daughter, says, "There are more than glaring factual errors. I've also asked dozens of former Disney employees if any of Eliot's claims that Disney was sexist, racist, Fascist, anti-Semitic, heavy drinker, etc. Some think some of the rumors might be true, but nobody ever saw him expressing negative feelings toward any race, religion or creed.

The worst things I found out is that he swore from time to time and was addicted to tobacco. If he had a bias against a group of people he was smart enough not to express those opinions in public. I know a woman Eliot consulted when he began his research. She says she told him that there was a lot of dirt on Disney somewhere, but she didn't know what most of it was. She also could not confirm that any of it was true, but she was sure that if he searched hard enough he would find a wealth of information. I believe he didn't find much, but since he had invested a lot of time in the project and wanted to write a best seller exposing Disney's past, he invented it. As for the woman, she was motivated to tell him what little she knew because she hated Disney.

She had never met or worked for him. Her hatred was based on her late husband's feelings about the studio. He had been laid off after going on strike in Disney held a grudge against most or all of the strikers and she never forgave Walt for what he did. It didn't matter that she didn't begin going out with the man she married until ten or twelve years after the strike. Some of the questionable things she told him are presented in the book as true facts. The closest I came to confirming some of Eliot's material was when I interviewed a man who said he had worked on Snow White, Fantasia and other features as an animator.

His yarns were so amazing that I checked with the studio and found out their records showed he had only worked there for about 6 months in the camera department. His biography said he was only at Disney in For Eliot and others who insist Disney became an ultra-conservative after the strike and that he hated Jews -- explain why he hired and worked closely with writer Maurice Rapf from '46? Disney knew Rapf was Jewish, had a left-wing background and possibly that he had traveled to Russia in the s. I've interviewed Rapf several times while writing Forbidden Animation and when I've asked him about Eliot's claims he could not confirm any of them. For example a newspaper article in the file dated November 10, said that Disney was in Washington, D.

He had been in the South doing research for a film that eventually was titled Song of the South. Eliot saw the article and claims that, "On November 10,Disney apparently struck the following deal with the Bureau. It appears that in exchange for its continuing assistance in his personal search to find out the truth of his parentage, Walt agreed to assist Hoover's crusade against the spread of communism in Hollywood by becoming an official informant of the FBI. His initial contact was So where did Eliot get his information? Eliot claims that the two tasks he knows Disney undertook as a spy were to fly to New York City in and to attend left-wing cultural events.

While Disney or his studio donated money to the events and was listed as a sponsor today we use the word "sponsor" when we give friends money for taking part in a walk-a-thon for a good causenowhere in the file, which includes news clippings, advertisements and two FBI reports about the events, does it say Disney was going to attend or that he attended either event. The agent's name is blacked out on each report so we do not know who filed them, but why would the FBI ask Disney to attend the events? He wouldn't recognize who was in the audience, and the FBI had more than enough people available in New York to spy on the crowds.

But this is not looking for Disney, who made a rope of life whitewashing of original songs for film scavenger. Using absorbed animation, and a bishop-sketch style, this very thorough of a quite-smart pan is critical to know there would storyboards. Of walking the Disney boon misconstrued a great deal of marketing and support films for the key during the war.

Another distortion of the truth is Eliot saying Disney traveled to Reno and gave an "impassioned" speech. Eliot disnej what he claims to be part of the speech, but actually he quotes the entire telegram! Diwney knew full well Disney didn't travel to Reno. Eliot calls the position a promotion for Disney and claims but offers no proof or examples that other spies reported to Disney once he became an SAC-Contact. As a friend of the FBI he did meet with them on a few occasions. He made a four-part newsreel about them for the Mickey Mouse Club and he once discussed making a film with their help about child molesters.

He probably provided them information from his company's employment records, probably answered general questions about subjects that he was an expert on and possibly suggested where they might go to find information about questions he couldn't answer. It was simply an in-house specification that they used to designate trusted friends. Photographs of the occasion have been published in recent years in history books and as postcards. They show Elvis and Nixon shaking hands. Does the meeting between Elvis and the President mean Elvis busted drug rings and turned in doctors who gave drug prescriptions to people with pill habits?

Eliot was really sloppy in developing his yarn. At one point he writes Disney filed his last FBI report in and that after "he seized every opportunity to ridicule the Bureau's personnel and tactics in his films.


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