The 100 best animated movies: the best musical movies
World-famous animators pick the best animated movies ever, including Disney and Pixar movies, cult movies, kids movies, stop-motion, anime and more
Wed Apr 16 2014
Now we know which are the 100 best animation movies of all time. But which are the best Disney movies and which are the best Pixar or Studio Ghibli films? Which are best for kids and families and which are strictly arty, political or edgy?
We’ve applied 26 handy labels to the 100 great animations in our list. Here you’ll find all the best musical animated movies in the list.
But how many have you seen? Take our poll to find out.
A wooden puppet yearns to be a real boy; he must prove himself worthy.
Directors: Ben Sharpsteen, Hamilton Luske, Bill Roberts, Norman Ferguson, Jack Kinney, Wilfred Jackson and T. Hee
Best quote: “Always let your conscience be your guide.”
Defining moment: Playing pool, drinking beers, smoking cigars: Who knew it could transform kids into jackasses? (Literally.)
And so we reach the top of our list—we’d be lying if we didn’t say it was by a nose. Pinocchio is the most magical of animated movies, a high point of cinematic invention. Its influence on fantasy is massive: Steven Spielberg quotes the soaring ballad “When You Wish Upon a Star” in his dream project Close Encounters of the Third Kind (and remade the whole picture with his aching robot-boy adventure, A.I.). Disney’s second feature—originally a box-office bomb—begins with a sweetly singing cricket, yet plunges into scenes from a nightmare: in front of a jeering audience on a carnival stage; into the belly of a monstrous whale; beyond all human recognition. (Pinocchio’s extending schnoz is animation’s most sinister and profound metaphor.) It’s staggering to think of this material as intended for children, but that’s the power here, a conduit to the churning undercurrent of formulating identity. The takeaway is hard to argue with: Don’t lie, to yourself or others. Cultural theorists have, for decades, discussed Pinocchio in psychosexual terms or as a guide to middle-class assimilation. But those readings are like cracking open a snow globe to see that it’s only water. A swirling adventure flecked with shame, rehabilitation, death and rebirth, the movie contains a universe of feelings. Pinocchio will remain immortal as long as we draw, paint, tell tall tales and wish upon stars.—Joshua Rothkopf
Not the first animated feature, but the start of the Disney empire.
Directors: David Hand, William Cottrell, Wilfred Jackson, Larry Morey, Perce Pearce and Ben Sharpsteen
Best quote: “Magic mirror on the wall…”
Defining moment: Snow White’s headlong dash through the moonlit forest is expressionistic, beautiful and terrifying.
They called it Disney’s folly. It took years and millions of dollars to produce Snow White and the Seven Dwarfs, and one huge question remained unanswered right up to the day of release: Would an audience really sit still for 83 minutes of cartoon antics? Of course, the movie was a huge hit, and kick-started Uncle Walt’s decades-long domination of the painted-cel scene. It may not have been the first feature-length animated film—that honor is held by Argentine animator Quirino Cristiani’s 1917 El Apóstol, though all copies have since been destroyed—but it was the first to receive a global release, and the first to wake up audiences (and producers) to the seemingly limitless potential of a brand-new medium.
What makes Snow White truly special is not its success, however, but its originality: Working without a rule book, Disney and his animators created—fully formed—an entirely new genre. Just look at last year’s Frozen and ask yourself how far mainstream animation has actually developed: Snow White has a dashing fairy-tale heroine, a hunky but slightly dull dude, lovable pratfalling sidekicks, important life lessons, groundbreaking and gorgeous animation, whistleable tunes and, perhaps most notably, the greatest femme fatale in film history. It just goes to show: You can’t improve on perfection.—Tom Huddleston
The film that made Christmas creepy.
Director: Henry Selick
Best quote: “Jack, you make wounds ooze and flesh crawl!” (It’s a compliment.)
Defining moment: The opening song, gloriously and ghoulishly upbeat.
It all started in 1982, with a poem written by Tim Burton, then a humble animator at Disney. A year later, Burton pitched A Nightmare Before Christmas to his bosses as a TV special. But the powers that be thought the idea “too weird,” and the project went on the back burner until Beetlejuice and Batman made Burton a hot property.
Too weird? Not a bit. Burton’s graveyard fairy tale is a good old-fashioned musical, with song-and-dance numbers that would get Gene Kelly tapping his feet. It’s the story of Jack Skellington, the king of Halloween Town, who discovers a portal to Christmas Town and likes what he sees—children throwing snowballs instead of heads. No one is dead. Jack crafts a plan to kidnap Father Christmas, or Sandy Claws, as he calls him.
Directed by stop-motion maestro Henry Selick from Burton’s story, the movie took 15 animators almost three years to make. Working with more than 227 puppets, they completed just one minute of the film a week. That translates into mind-boggling detail, right down to the mayor’s spider tie. The dialogue is deliciously macabre, the storytelling dizzyingly inventive and the characters touchingly sweet. A twisted delight.—Cath Clarke
The cartoon Beatles rampage through a psychedelic Pop Art dreamscape.
Director: George Dunning
Best quote: “Nothing is Beatleproof!”
Defining moment: The gorgeously downbeat “Eleanor Rigby” sequence, utilizing monochrome photos of Liverpool.
This may prove to be the most divisive film on our list: Hardened Beatlemaniacs will tell you that Yellow Submarine is a travesty, employing fake (and not especially convincing) Liverpudlian accents to tell a nonsensical tale steeped in late-’60s acid-fried sentiment, never mind that the Fab Four pop up in person at the end to give their blessing. Art maniacs, meanwhile, will tell you it’s a dazzling work of the imagination, harnessing every animation technique available at the time to create an eye-frazzling, insanely inventive trip. To be fair, they’re probably both right: The script is silly, the story is cringeworthy, and the Beatle characterizations are a bit soft. But visually it’s breathtaking, one of the few genuinely hallucinatory cinema experiences, and fully deserving of its high placement here.—Tom Huddleston
In Disney’s extravaganza, eight fantastical vignettes are scored to music by Bach, Tchaikovsky and Stravinsky.
Director: No less than 11 directors slaved on individual sequences, many without credit.
Best quote: “Mr. Stokowski! Mr. Stokowski!”
Defining moment: Sorcerer’s apprentice Mickey Mouse finds himself on the wrong end of the broomsticks.
By the end of the 1930s, Mickey Mouse, the bedrock character of a growing empire, had declined in popularity. So Walt Disney commissioned the elaborate short “The Sorcerer’s Apprentice.” Accompanied by the highly hummable Paul Dukas composition of the same name, it follows the red-robed rodent as he magically brings an army of broomsticks to life. While in postproduction on the short, Disney decided to surround it with similar vignettes scored to other classical compositions, and Fantasia was born. Aside from some interstitial material narrated by Deems Taylor (during which Mickey himself greets star conductor Leopold Stokowski), the music dictates Fantasia’s visual-aural flow. Abstract color patterns rise and fall to Bach, life-size mushrooms dance to Tchaikovksy, a hippo and an alligator do a slapstick Ponchielli ballet, and the devil himself summons dark spirits to Modest Mussorgsky’s churning Night on Bald Mountain. Silly and sublime in equal measure—as well as a film that served to introduce generations of kids to the joys of classical music—this is one of the Mouse House’s finest.—Keith Uhlich
An oldster saves her kidnapped grandson with the help of three peculiar singers.
Director: Sylvain Chomet
Best quote: “Swinging Belleville rendez-vous!”
Defining moment: The Triplets sing their signature tune to a down-and-out Madame Souza.
For his feature debut, French animator and graphic novelist Sylvain Chomet crafted a wondrous, touching homage to the work of the great physical comic Jacques Tati (Playtime). Madame Souza is a devoted grandmother to her cyclist grandson, Champion, whom she trains to compete in the Tour de France. During the race, he is kidnapped by the mob and taken to the city of Belleville for cryptic purposes. Souza follows and befriends three aging music-hall singers, the Triplets, who assist in her quest to save Champion. Dialogue is kept to a bare minimum; you could count the number of spoken sentences on one hand. This frees Chomet to concentrate on the stunning, sublimely grotesque visuals, which play delightfully with perspective and proportion. Two joined-at-the-shoulder henchmen look like a rectangular black block with legs. Champion’s dog, Bruno, is a galumphing blob of jowl and fur. And the Triplets—as good at making music with household appliances as they are at outwitting gun-toting gangsters—seem to expand and contract at will, as if their spines were Slinkys.—Keith Uhlich
Disney’s most stylish baddie concocts a devilish plan.
Directors: Clyde Geronimi, Hamilton Luske and Wolfgang Reitherman
Best quote: “I live for furs. I worship furs! Is there a woman in all this wretched world who doesn’t?”
Defining moment: The puppies sneak past Cruella De Vil, covered in soot, disguised as black Labradors.
What is it with Disney villainesses? So much wrath and murderous rage with so little cause. A year after the evil fairy Maleficent put a curse on Sleeping Beauty for not being invited to her christening, dognapper Cruella De Vil arrived. Flicking ash on the carpet, her mwah-ha-ha plan is to turn 99 dalmatian pups into a fashion statement. With its modern London setting and jazzy score, 101 Dalmatians dragged Disney into the 20th century, leaving behind fairy tales, princesses and musical numbers. Oddly, it’s the earlier scenes, before the puppies arrive, that stick in the mind. Sick of the bachelor life, Pongo studies the lady dogs and their “pets” (owners) passing under his window. And the meet-cute in Regent’s Park is witty and utterly lovely. Later, the twilight bark—the doggie telegraph communicating news of the missing puppies—is Disney at its finest.—Cath Clarke
Freed from the constraints of network TV, prepubescent paper-cut terrors go on the rampage.
Director: Trey Parker
Best quote: “That movie has warped my fragile little mind.”
Defining moment: “Uncle Fucka,” the foulmouthiest jolly little musical number in animation history.
The Broadway-conquering, Tony-sweeping success of Trey Parker and Matt Stone’s stage musical, The Book of Mormon, took many by surprise—but only the sort of people who wouldn’t have touched the South Park movie with a conductor’s baton. If they had, those audiences would have known that the Coloradans were not merely purveyors of taste-baiting trash for sniggering schoolboys, but the slyest, smartest and (yes) most tuneful satirists America had produced since, well, ever. And South Park Bigger Longer & Uncut remains their defining statement, a work combining epic scale (a land war with Canada, a trip to the depths of Hades, a daylight raid on the Baldwin compound) with intimate character comedy (Satan’s grief over his lover Saddam Hussein’s infidelity is genuinely touching), wrapped in a biting commentary on censorship and topped off with belting show tunes worthy of West Side Story.—Tom Huddleston
Disney gets with the ’60s.
Director: Wolfgang Reitherman
Best quote: “I’m the king of the swingers / The jungle VIP / I’ve reached the top and had to stop / And that’s what’s botherin’ me.”
Defining moment: King Louie of the Apes and Baloo the Bear’s scat-’n’-dance routine.
Blame the hippies. The Jungle Book is so loopy, hip and happening, you can’t help wondering if Disney’s animators were passing the bong as they worked. Just look at the vultures, with their mop tops and British accents (the Beatles were intended to do the voices but John Lennon refused). After rejecting an early draft of the script as too dark for a family film, Walt Disney instructed a second team to drop “the heavy stuff” from Rudyard Kipling’s stories of Mowgli. They created some of Disney’s most lovable characters: Baloo (the Bill Murray of bears) and smooth-as-silk Shere Khan the Tiger. The film is a high point for Disney musical numbers—“Bare Necessities” and “I Wanna Be Like You” are pure joy. Walt himself died during production, and historians credit the huge box-office success of The Jungle Book with saving the studio’s animation department from closure.—Cath Clarke
Romance, music and comedy combine in a latter-day Disney milestone.
Directors: Kirk Wise and Gary Trousdale
Best quote: “It’s no use. She’s so beautiful. And I’m…well, look at me!”
Defining moment: The camera sweeps through the ballroom as the couple hits the floor.
Disney had long been in the doldrums when The Little Mermaid showed it could entertain a new generation, but this adaptation of the classic fairy tale pushed the quality threshold to a new level, making it the first animated feature to be Oscar-nominated in the Best Picture category. The key was taking the emotional heart of the story entirely seriously, bolstered by a soaring, Broadway-on-steroids score from Howard Ashman and Alan Menken. So while there are jaunty high jinks from the anthropomorphic fixtures in the Beast’s imposing castle, they never overshadow the tale’s pent-up yearning, as the hairy protagonist must find true love before the petals fall from a rose or remain forever in bestial form. Crucially, the visuals convey enough heft and scale to wow the grown-up audiences who truly appreciate the story’s romantic spell.—Trevor Johnston
Who needs a caring stepmother when you’ve got glass slippers, an enchanted lifestyle and a hunky Prince Charming at the end of the day?
Directors: Clyde Geronimi, Wilfred Jackson and Hamilton Luske
Best quote: “A dream is a wish your heart makes when you’re fast asleep.”
Defining moment: A pumpkin and some mice get a magical makeover.
Even today, when you watch a Disney film, the impact of Cinderella can be felt from the very first frame: That iconic castle, the studio’s logo, comes right from this picture. It was the make-or-break gamble that, had it failed, would have meant the end for Walt & Co. Instead, his film’s runaway success allowed him to finance the theme parks and cement his name forever. The elements of the story are bedrock components of the Disney formula: plucky, charming heroine, helpful sidekick animals, the promise of total transformation. Yet there was innovation here, too; musical numbers would, for the first time, be commissed out to Tin Pan Alley experts, while live-action footage was shot as a model for most scenes. When Disney’s own remake comes out in 2015, it will have a huge debt of charm to repay.—Joshua Rothkopf
The calypso-inflected Hans Christian Andersen adaptation that revived the Mouse House’s ailing fortunes.
Directors: John Musker and Ron Clements
Best quote: “Somebody’s got to nail that girl’s fins to the floor.”
Defining moment: In the infectious “Under the Sea,” Sebastian the crab attempts to convince wayward Ariel of the merits of ocean living.
Two years later, Beauty and the Beast received more acclaim, but it was this cheery musical adaptation of Hans Christian Andersen’s bleakly fatalistic fairy tale that redesigned the template of contemporary Disney animation and returned the studio to pop-culture prominence. The formula—take a story everyone knows with a plucky princess, then add a bunch of hip, catchy-as-chlamydia show tunes—still works, as the recent success of Frozen demonstrates. But alongside the witty, verbally intricate contributions of ingenious songsmiths Howard Ashman and Alan Menken, it’s the depth of yearning for other lives and other forms that gives this one emotional resonance and staying power. Well, that and the lasciviously tentacled, Mae West–and–Divine-inspired sea witch Ursula, surely among the greatest Disney villains.—Guy Lodge
Animation meets classical music in an Italian-style Fantasia.
Director: Bruno Bozzetto
Best quote: “Someone called Disney has already made this?”
Defining moment: Humanity’s evolution scored to Ravel’s Bolero is a magnificent set piece.
Of course, Disney’s Fantasia is the acknowledged reference point for Italian mischief maker Bruno Bozzetto’s animated collection of classical pops, interwoven with boisterous live-action interludes in which a hard-pressed animator battles an egomaniac conductor, his shifty producer and an unlikely orchestra of geriatric ladies let out of their cages (no, really) to play the score. There’s definitely a Monty Python–style antiestablishment surrealism in both elements of the movie, not least the musical sections, in which we see humanity evolve from the sludge at the bottom of a Coke bottle, the serpent in the garden of Eden tormented by the sheer variety of the sins he’s about to introduce into the world, and the absurdity of materialism represented by the urge to erect higher and higher buildings. Certainly, it’s uneven, and some of the humor feels dated, but there’s not a hint of classical-music snobbery here.—Trevor Johnston
A modern woman’s breakup is paralleled with a musical retelling of the Ramayana.
Director: Nina Paley
Best quote: “Assemble the monkey warriors!”
Defining moment: Sita wonders, “Whooooooooo’s that knockin’ at my door?” in an energetic battle-scene-cum-musical-number.
Fiction, somehow, helps us deal with fact: Reeling from a divorce, animator Nina Paley found solace in the Hindu epic the Ramayana, specifically the section dealing concerning Sita, a woman fought over by two of the tale’s male protagonists. For this eye-popping DIY feature, almost entirely animated by Paley herself, the symbolically pure and virtuous Sita becomes the narrative focus. Paley adheres to the basic outline of the Ramayana—with its multiheadeded gods, monkey armies and heroic warriors—adding her own distinctive touches. The most delightful of these is giving Sita the voice of Jazz Age singer Annette Hanshaw, whose cheery musical stylings (especially during the literally earth-shattering climax) add a defiant layer to a story normally defined by paternalism and machismo.—Keith Uhlich
No more little miss shy and retiring, this princess means business.
Directors: Nathan Greno and Byron Howard
Best quote: “I’m malicious, mean and scary/My face could curdle dairy.”
Defining moment: Escaping the tower, Rapunzel feels grass under her feet for the first time, and breaks into song (as you would).
The brothers Grimm’s “Rapunzel” must have presented modern Disney with a bit of a head-scratcher. Long gone are the days when a Disney princess would spend her hours mooning around a tower dreaming of a knight in shining armor to rescue her. So in this version (with Pixar’s John Lasseter executive-producing), gone is the handsome prince, replaced with an egotistical thief, Flynn Ryder. When he first smarms his way upstairs, Rapunzel thwacks him with a frying pan. This sparky princess will do her own escaping, thank you very much, twirling all that hair like a lasso. Tangled has energy and humor in spades. Best are the beasts: Maximus the army horse (on a mission to capture Flynn) and Pascal the chameleon.—Cath Clarke
What happens when a well-groomed cocker spaniel meets the love of her life, a stray mutt from downtown?
Directors: Clyde Geronimi, Wilfred Jackson and Hamilton Luske
Best quote: “I wonder what the leash-and-collar set does for excitement.”
Defining moment: As if you have to ask: a romantic Italian dinner, a single spaghetti strand and two slurpers.
None of Disney’s animated productions speaks better to that studio’s legendary machine than this one, hatched a full 18 years before its ultimate completion. The story was inspired by an actual dog, Lady, the pet of scenarist Joe Grant (also the cowriter of Dumbo), who began shaping material as early as 1937. In the subsequent decade, several more scripters hacked away at drafts, incorporating their own doggie anecdotes. By the early ’50s, a working story was approved, but technology demanded a wider canvas: This was the first animated film to be crafted in CinemaScope (a far greater headache for draftsmen than you’d imagine). As for that famous “spaghetti kiss,” a now-classic bit of flirtation? Walt almost killed it. Legendary artist Frank Thomas defied his boss and mocked up a rough version that won the day.—Joshua Rothkopf
Never has a party snub had such dire consequences.
Director: Clyde Geronimi
Best quote: “Now you shall deal with me, O prince, and all the powers of hell!”
Defining moment: Evil fairy Maleficent turns herself into a fire-breathing dragon and goes to battle.
In the Disney villainesses hall of fame, Maleficent ranks up there with Cruella De Vil. The self-proclaimed “mistress of all evil,” Maleficent is the badass fairy who casts a spell on Aurora at birth, causing the princess to prick her finger on a spinning wheel and die before her 16th birthday. Why? All because the king left her off the guest list at Aurora’s christening. After nearly a decade of preparation, Walt Disney wanted Sleeping Beauty to stand out from existing princess-led fairy tales Snow White and Cinderella, and so it does. Inspired by medieval art and tapestries, this is Disney as its most wow-worthy, best of all in the lurid scenes at Maleficent’s lair. Sleeping Beauty marked the end of an era—it was the final animation overseen directly by Walt himself, now busy building theme parks and making TV. That said, rebellious, feisty Aurora also harkens to the sparky princesses of Disney future, even if she’s muscled into a supporting-actress slot by a certain scene-stealing bad fairy.—Cath Clarke
Disney takes a modern approach to an old-fashioned fairy tale.
Directors: Jennifer Lee and Chris Buck
Best quote: “Wait, you got engaged to someone you just met that day?”
Defining moment: Whether you think it’s a feminist belter or reactionary pop drivel, the Oscar-winning song “Let It Go” is a new Disney classic.
Despite its box-office appeal and Oscar wins, Disney’s most recent animated smash divides opinion. Some see Frozen as a delirious throwback to the studio’s classic era, with tongue firmly in cheek and belting torch songs galore (the stage musical cannot be far away). For others, though, its shiny veneer masks old-fashioned ideals: The heroines are all slim, perky and good-looking, and the idea that freedom drives women mad might not be a particularly welcome one. Whatever your take, there’s no denying that Frozen is ridiculously entertaining: beautifully animated, breathlessly paced and winningly goofy. The fun part is seeing those classic fairy-tale characters—the adventurous princess, the handsome prince and the wicked queen—being forced through a postmodern blender.—Tom Huddleston
Disney’s comeback was assured when this lively romp made millions.
Directors: Ron Clements and John Musker
Best quote: “Three wishes, to be exact. And ixnay on the wishing for more wishes.”
Defining moment: The first appearance of the genie, voiced by Robin Williams, is a rat-a-tat stand-up routine set to dizzying visuals.
In 1992, Disney’s Aladdin heralded the modern age of animation. The cave-of-wonders sequence was the first use of computer animation in a major Disney feature (with admittedly mixed results), while the appearance of Robin Williams as the Genie was a landmark in the employment of celebrity voices: This wasn’t so much a character as a self-portrait in ink and paint. Most importantly, the film’s massive success—it was the biggest movie of 1992 and the biggest animated film ever at the time—proved that, after years of false starts and disappointments, the public was once again ready to hand over their cash to an all-singing, all-quipping animated spectacular. The film has its problems: Accusations of underlying racist attitudes, particularly of the original cut with its “They cut off your nose if they don’t like your face” lyric, were perhaps justified. But this is the work of a company rediscovering its core purpose, to bring joy.—Tom Huddleston
Like Shakespeare at the zoo, it’s the story of one lion cub who goes from pampered prince to outcast, and then to lord of the pride.
Directors: Roger Allers and Rob Minkoff
Best quote: “I was first in line until the little hairball was born.”
Defining moment: On a cliff edge, Scar lets his brother, Mufasa, the king of the lions, fall to his death.
The opening alone is worth the price of a DVD: a majestic scene as beasts of the savannah gather to pay tribute to new lion prince, Simba. Even inside Disney, expectations for The Lion King were low. As producer Don Hahn later summed it up: “Lion cub gets framed for murder by his uncle, set to the music of Elton John…good luck with that.” But it stormed the box office as 1994’s second-highest-grossing film. Why? For a start it has one of the best (possibly the best) Disney villains, the king’s brother, Scar, drawling and plotting with supreme boredom and devilish sarcasm. The soundtrack by Tim Rice and Elton John is endlessly hummable, and the animation—best of all, a wildebeest stampede, which took three years to animate—is spectacular.—Cath Clarke
The easiest and breeziest of all the classic Disney cartoons.
Director: Wolfgang Reitherman
Best quote: “Oh, he’s so handsome…just like his reward posters.”
Defining moment: The opening tune sung by “King of the Road” balladeer Roger Miller sets the scene perfectly, with laid-back country charm and wheezy gags.
Disney may be infamous for manhandling the world’s finest folktales into moralistic all-American parables (see also The Sword in the Stone, Aladdin, Mulan, etc.), but there are times when it really works. Robin Hood is a fine example: The Jungle Book director Wolfgang Reitherman’s decision to transplant hokey, cowpokey Western movie tropes to Ye Olde England should have led to disaster, but the resulting film is so sweet-natured, so casual, so doggone friendly that it becomes impossible to resist. The minuscule budget meant that entire sequences and characters were lifted wholesale from earlier Disney hits (just think of Little John as a brown Baloo), but somehow this only adds to the film’s unpretentious, shaggy-dog charm.—Tom Huddleston
Lewis Carroll is brought to the screen the Disney way.
Directors: Clyde Geronimi, Wilfred Jackson and Hamilton Luske
Best quote: “If I had a world of my own, everything would be nonsense. Nothing would be what it is, because everything would be what it isn’t.”
Defining moment: Alice disappearing down the rabbit hole is only the beginning of the weirdness.
Walt Disney had long had his eyes on adapting Lewis Carroll, and when he did so, the results were faithful enough to qualify as one of the studio’s strangest offerings. Evoking the books’ original John Tenniel illustrations but with more than a touch of Disney cuteness, the film as a whole is in thrall to Carroll’s singular visual imagination and his play with language. But it doesn’t quite know how to turn dotty schoolgirl Alice’s episodic odyssey following the white rabbit into anything resembling a satisfying story. One can only imagine what apple-pie audiences thought of it at the time, besieged by hookah-puffing caterpillars, hallucinogenic mushrooms, the Mad Hatter’s tea party and an evidently psychotic Queen of Hearts. It was subsequently a late-night favorite among the herbally assisted.—Trevor Johnston
A controversial satire on race relations from ’70s animation outlaw Bakshi.
Director: Ralph Bakshi
Best quote: “Harlem. Yeah! The pot of smack at the end of the rainbow. No more happy-actin’, back-bustin’. Harlem!”
Defining moment: A naked obese preacher who claims he’s the black Jesus shoots holes in photos of John Wayne, Richard Nixon and Elvis Presley.
After introducing drug use, salty street talk and working genitalia into his scandalous first feature, Fritz the Cat, Ralph Bakshi really caused a stir with this caustic look at race relations, featuring three animated brothers in conflict with both phony revolutionaries and the New York Mafia. Notwithstanding the white and gay characters (just as caricatured as the black ones), racial-equality groups were appalled and the film was barely released, later emerging on DVD under the more benign title Street Fight. Viewed in retrospect—and putting aside the Tarantino argument of whether a white writer-director has the right to use the n-word so liberally—it’s possible to see Bakshi attempting a strong statement about the subjugation of African-Americans, but undermining himself by using the worst stereotypes of preachers, pimps and whores to make his point.—Trevor Johnston
Jonathan Swift is adapted in the first feature from Disney’s closest rivals.
Director: Dave Fleischer
Best quote: “There’s a g-g-giant on the b-b-beach!”
Defining moment: Lilliputian ingenuity and effort transport their new arrival back to the royal castle.
The achievements of the Fleischer brothers (director Dave and producer Max) have long been overshadowed by Walt Disney, yet they invented many key animation techniques, brought sound to the medium, and found wide audiences for their Betty Boop, Popeye and Superman shorts. Still, Disney’s 1937 Snow White was a game-changer, and the Fleischers responded with their own animated feature, which took the more family-friendly elements from Swift’s caustic original and delivered an upbeat story in which shipwrecked sailor Gulliver intervenes in the senseless conflict between tiny rival nations over the music at a forthcoming royal wedding. The operetta-influenced warbling hasn’t worn especially well, and the knockabout comedy lacks subtlety, yet the thought-through detail with which the Fleischers imagine Lilliput’s micro fixtures and fittings still impresses. A worthwhile reminder that Disney didn’t have it all its way.—Trevor Johnston
Disney tackles J.M. Barrie’s tale of Neverland and the spirit of childhood.
Directors: Clyde Geronimi, Wilfred Jackson and Hamilton Luske
Best quote: “But Mother, I don’t want to grow up!”
Defining moment: Peter leads Wendy and her siblings across the London night sky.
Parents, do you know where your children are? Maybe they’re following mischievous spirit Peter Pan past the second star and straight on to Neverland, where kids can be kids to their hearts’ content. The sight of grown men threatening children with cutlasses and even a ticking bomb makes this occasionally uncomfortable viewing today (and its dubious treatment of the crimson-hued Native Americans is hard to forgive). But while definitely from a more innocent age, the comedy still plays: Blustery Captain Hook remains an endearingly fallible bad guy, hotly pursued by an ever-ravenous crocodile, while the vigorous action throughout suggests that the Disney team had one eye on Warner Bros.’ Looney Tunes output. It’s somewhat superficial overall, but still the best adaptation of Barrie’s play, perennially unlucky onscreen.—Trevor Johnston
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