As we march bravely on through 2013, THN will take a nostalgic yet critical look at the 53 Walt Disney Animated Classics, from SNOW WHITE to WRECK-IT RALPH, through the obscurity of FUN AND FANCY FREE to the second Golden Age of BEAUTY AND THE BEAST. These are the films the Walt Disney company are most proud of, the ones that hold a special place in our hearts, the ones that still cost a fortune to buy on DVD. This time, we’re off to the Hundred Acre Wood with THE MANY ADVENTURES OF WINNIE THE POOH.
1977/ 74 minutes
Directed by Wolfgang Reitherman, John Lounsbery
When Walt Disney first had the idea of adapting A.A. Milne’s Winnie-the-Pooh stories in 1961, he came to realise audiences in the United States weren’t as familiar with the stories as those in the UK and Europe. So, instead of making one feature length film, Disney made three separate short films and released them as features before a full length film. WINNIE THE POOH was the last animated feature to have Disney’s personal involvement, as he had worked with the first two segments before his death. Like many of his other Disney films, Wolfgang Reitherman employed his usual trick of re-using animation in each sequence, which does lead to a few little problems, most notably with the musical “parade” numbers.
Looking over WINNIE THE POOH, you come to realise just how innovative it really is. Its simple story and its basic, uncomplicated characters, are part of a much deeper, richer world.
Indeed, the beauty of Disney’s WINNIE THE POOH is that these are literary characters in an animated adaptation of the book, that know they’re literary characters in an animated adaptation of the book. The story and its characters have a direct interaction with the words on the page; when it’s windy, the letters blow off the page. When it rains, it washes away the words below the illustration. Much like the Warner Bros. short, DUCK AMUCK (1953), it blurs the line between the animated characters and their animators, regularly breaking the fourth wall and referencing the wider world beyond the page. It’s really deep stuff when you think about it.
SYNOPSIS: THE MANY ADVENTURES OF WINNIE THE POOH is the culmination of three animated short films, tied together by new animated segments into one continuous story, in a way a throwback to the package films of the 1940s.
WINNIE THE POOH AND THE HONEY TREE was originally released in 1966 – as a short feature before the live action feature film THE UGLY DACHSHUND (basically The Ugly Duckling with dogs) – and is based upon the first two chapters of the original book.
We are introduced to the Hundred Acre Wood, to its many characters, and to Winnie the Pooh, who has just been reminded that it’s time for breakfast. His pre-breakfast ‘stoutness exercises’ are actually a little macabre; as he turns himself around, his head remains stationary, twisting around almost 30 degrees before catching up with the rest of his body. Then, as he bends over, he pulls the seam on his back, and his stuffing bursts outward. Calm as you like, he ties himself back up and heads for the pantry, only to discover he’s out of honey, so he decides to go find some, and climbs a tree to reach a bee’s nest. A run-in with said bees send him tumbling down to the bottom of the tree. As he picks himself up, he decides he needs help, and heads to Christopher Robin’s house to borrow a balloon. Christopher Robin joins him in this venture; Pooh covers himself in muddy water and floats up to the bee’s nest, doing his best impression of a little black rain cloud. Unfortunately, if not unsurprisingly, the ruse fails, and he and Christopher Robin barely escape the rampaging bees.
Still hungry, Pooh finds himself at Rabbit’s house; the put-upon Rabbit awkwardly invites Pooh in for lunch after a small misunderstanding (which nonetheless shows that Pooh isn’t as dim as he appears) and watches in muted horror as Pooh proceeds to eat every last drop of honey before departing. Pooh’s attempt to leave via Rabbit’s front door (the hole to his warren) is hampered by his increased girth, and the silly old bear gets stuck. As Rabbit fetches Christopher Robin, Owl happens by, sees Pooh’s predicament, and declares that an expert is needed. Enter: Gopher, who claims to be just that expert, though Owl is left wary.
Interesting Interlude: The Gopher. Apparently, he was written in to give the story an American character. Understandably they were worried that hardline fans would be offended and some were, but that’s inevitable when you adapt anything for the screen; you can’t keep everyone happy. It was voice actor, animator and story supervisor Larry Clemmons that eventually had the idea of the Gopher saying outright, “I’m not in the book, but I’m at your service!” A sly double-meaning that diffuses the whole situation. This is just one little gag, but its part of a much grander scheme.
Back to the story: Christopher Robin arrives, but even he is unable to free his friend. Both Pooh and Rabbit are in for the long haul, as they realise the only thing to do is to wait for Pooh to lose his new spare tyre. After a few days and sleepless nights for Rabbit- and another visit from the Gopher, Pooh begins to budge. Overjoyed, he rounds up the gang (but not his many friends and relations as the book says) to pull him out. Unfortunately, and straying from the book even further, Pooh ends up being fired out of Rabbit’s front door and into another tree, which just happens to be full of honey.
WINNIE THE POOH AND THE BLUSTERY DAY followed in 1968, and was shown before THE HORSE IN THE GREY FLANNEL SUIT. It’s based on three Milne stories from two of the books, and marks the Disney debuts of both Tigger and Piglet, who were omitted from THE HONEY TREE.
As Pooh sits thinking to himself in his thoughtful spot, the Gopher pops up and warns him about the increasingly windy weather. Misunderstanding, Pooh then sets about wishing all his friends and neighbours, a happy Winds-day. First on his route is Piglet, who is rather caught up in things, literally. The wind is strong enough to lift him from the ground; Pooh is able to keep ahold of his little friend by the thread of his rapidly-unravelling scarf, and as the wind blows them along, Pooh continues to wish his friends a happy Winds-day. This has an unfortunate effect on Eeyore, as Pooh accidentally demolishes his ramshackle stick house, and a fortunate one on Rabbit, as Pooh careers through his vegetable garden and accidentally harvests his carrots.
The wind finally blows Pooh and Piglet to Owl’s treehouse, who, being a gentlemanly sort, invites them in for tea. As Owl rambles, the wind gets strong enough to blow his house back and forth, before uprooting the entire tree. Owl is left the worse for wear, and Eeyore volunteers to seek out a new home for him.
The blustery day turns to a blustery night. Pooh is kept awake by a strange new sound outside and decides to let the new sound in. In bounds Tigger, the scatterbrained tiger. After brief introductions, a hungry Tigger decides to try some of Pooh’s honey, only to be repulsed by it. As he departs, Tigger tells Pooh about Heffalumps and Woozles (Elephants and Weasles), who steal honey. Naturally concerned for his beloved honey, Pooh begins to patrol his house, guarding his larder.
Interesting Interlude: Several times throughout the film, Pooh talks to his reflection, as though it were another person. Here, as he coordinates his efforts with his compatriot, something strange happens.
Do you see it? As Pooh turns around, he turns one way, while his reflection turns the other way. Animation error, or sly metafictional gag? Considering the amount of fourth-wall bending shenanigans in the rest of the movie, I wouldn’t be at all surprised if it was deliberate.
Anyway, Pooh eventually falls asleep and – harking back to Pink Elephants on Parade and most of THE THREE CABALLEROS – dreams a surreal nightmare about those same Heffalumps and Woozles, in one of those “animators on hallucinogenics” sequences. Pooh is woken from his dream by the rain, which has begun to flood his house. In fact, it’s flooding the entire wood. As he tries in vain to bale out of his own house, Piglet is swept away. He just has time to send an SOS in a bottle before he floats off down the swollen river. Pooh meanwhile has rescued a number (ten, to be precise) of honey-pots, but as he eats from one of them, he falls into the river himself and starts to float away.
While Eeyore stubbornly continues his search of a new home for Owl, the rest of the gang have flocked to Christopher Robin’s house, the only one still above water. Little Roo finds Piglet’s note, and Christopher sends Owl out to find Piglet and Pooh to inform them of the impending rescue. Owl does indeed find both Piglet and Pooh, but they’re both washed over a waterfall, which just happens to dump them right in Christopher’s yard. Having witnessed Pooh’s selfless act to save Piglet, Christopher decides to throw a hero party. Said party is interrupted by the arrival of Eeyore, who announces he’s found a new home for Owl. Unfortunately, it’s Piglet’s. Before the others can inform Eeyore of his error, Piglet swallows his pride and lets Owl have his home. Pooh in turn invites Piglet to move in with him and, impressed with the little fellow’s selflessness, asks Christopher Robin if they can celebrate two heroes instead of one.
The third and final segment, WINNIE THE POOH AND TIGGER TOO was released in 1974 as a double feature with THE ISLAND ON TOP OF THE WORLD, and is based on the fourth and seventh chapters of The House at Pooh Corner, the second of A.A. Milne’s books.
Fall has, uh, fallen over the Hundred Acre Wood, and Tigger is in his usual high spirits, bouncing on anyone he comes across- except Kanga, who he seems quite taken with. Rabbit, tired of Tigger’s antics, holds a meeting with Pooh and Piglet, and plans to teach Tigger a lesson in humility. Next day, the three of them take Tigger out into the Hundred Acre Wood to explore, in the hopes of losing Tigger in the mist. As Rabbit planned, Tigger bounces off on his own, and the three of them head back home, only to find themselves completely lost in the misty forest. After walking into the same woodland clearing time and again, Pooh suggests they start looking for the clearing, rather than home. Rabbit ridicules Pooh’s lateral thinking and walks off on his own to prove his point. Pooh and Piglet sit and wait, but Rabbit doesn’t return.
After a long wait for Rabbit, Pooh remembers the supply of honey he has waiting for him at home. Following his gut – literally – Pooh and Piglet reach the edge of the mist, and run into Tigger. Pooh tells Tigger Rabbit is still lost and Tigger charges back in to look for him.
By this point, Rabbit has lost all sense of time, direction and reality. Creeped out to the point of hysteria by the strange sights and sounds of the forest, he panics and tries to flee, only to be tackled by Tigger. Informing the haggard Rabbit that “Tiggers never get lost”, he leads Rabbit home.
Winter comes to the Hundred Acre Wood, and Tigger and Roo go out to play in the snow. After trying his hand at ice skating, with mixed results, Roo dares Tigger to climb a tree. Instead, Tigger bounces his way up, springing up the branches and almost off the top of the page, before coming to rest at the top of the tree. Tigger then realises how high he actually is, and is crippled with fear.
Meanwhile, Piglet comes across Pooh, who is tracking something. Piglet joins the hunt, but is concerned when they discover a smaller set of prints have joined the first, and every time they come around the trees, there are more and more tracks… you can see where this is going, right?
Pooh and Piglet then hear a strange “Halooooo!” from above. Their apprehension fades when they realise it’s Tigger and Roo. Roo is having the time of his life, but Tigger is scared out of his stripy skin.
Once again – and using the same animation – Christopher Robin is summoned to help. As they try and think of a way of getting him down, Tigger loudly swears to give up bouncing for good if he can make it down safely. Rabbit is naturally overjoyed by the idea, while the Narrator introduces himself to Tigger. The Narrator’s plan to get Tigger down is simple; by tilting the book on its side, Tigger only has to drop a few inches onto the text on the page. Tilting the book back, Tigger slides effortlessly down to good ol’ terra firma. His joy and his intent to bounce in celebration is swiftly shot down by Rabbit, who reminds Tigger of his promise, and rather harshly enforces it. Crestfallen, Tigger starts to lope away. The others watch him go, and Roo says what they’re all thinking; he likes old bouncy Tigger best. Rabbit swallows his pride and agrees. An overjoyed Tigger bounces right back, and before long the whole gang are bouncing away in the snow.
But soon afterwards, Christopher Robin has to go. He’s starting school, a concept that Pooh can’t quite get his head around, but as they walk and talk in the wood, they make a promise to always be there for each other. Pooh watches his best friend go, waiting for his return, and another adventure.
LESSONS LEARNED:
- Real friends are always there when you need them
- Heroes come in all shapes and sizes
- Everyone has to grow up someday, but no one should give up their childhood entirely.
THE HEROES
Winnie the Pooh, despite admitting to being a bear of “very little brain” is often the smartest one in the room. Pragmatic, innocent and devoutly loyal to his friends, Pooh is to many the embodiment of childhood. And after voicing countless characters for Disney, Sterling Holloway may have found his ideal role. His laconic, soothing voice is a perfect match for Pooh and, though I still have fond memories of Stephen Fry’s take on the character on audiobook, his is the voice we all think of.
Likewise with Tigger, who takes centre page in the third instalment. His devil-may-care attitude may get him into trouble, but even he learns a little humility, and honours his promises when it comes down to it.
Brought to the screen with more care and faith than a lot of other literary characters in Disney movies, Pooh has rightly found his place as an ambassador for Disney. Okay, purists may baulk – I dread to think what A.A. Milne himself would think of what Disney has done with his creations – but I think that in its heart, Disney’s WINNIE THE POOH films have always had their heart in the right place.
THE HEROINE
Kanga, bless her, doesn’t have much to do here. She mainly frets over other characters and does her best to raise Roo amongst the madness of her neighbours. She’s a kindly soul, who seems to have a little twinkle in her eye for Tigger, and is in many ways the archetypal single young mother that crop up in this kind of film.
THE VILLAIN
Come on, now. This is WINNIE THE POOH, there are no villains here. Okay, the Heffalumps and Woozles are a scary lot out to steal Pooh’s beloved honey, but only in his head.
If anything, the closest thing the picture has to a villain is Rabbit, but I can understand his frustrations. He’s just trying to get by and mind his own business, but things just don’t turn out. Yes, he does try to get rid of Tigger, but only temporarily, and though he’s overjoyed when Tigger renounces bouncing “for good”, he eventually relents, and even gets into the swing of things with Tigger. He’s not so much an antagonist as the quiet neighbour in the middle of the party district.
SIDEKICKS/HENCHMEN?
?
It’s difficult to draw the line here. Is Christopher Robin the sidekick to Pooh, or vice versa? Can Piglet be argued to be Pooh’s sidekick? They spend a lot of time together. Roo could be said to be Tigger’s sidekick. He’d probably say that himself if he knew what a sidekick was.
Winnie the Pooh is surrounded by a cast of brilliant, lovable characters, each with their own ways, foibles and problems. One could apply some armchair psychology and look into the possible metaphorical allegories in each character. Does Piglet represent Christopher Robin’s subconscious fear and apprehension of growing up? Is Owl a symbol of the education he is soon to begin? Is Roo his inner child, the last vestige of pre-school innocence? Or am I thinking a little too deep into things?
PLOT
Simple and short, WINNIE THE POOH is, for once, a faithful adaptation of A.A.Milne’s original stories, with only a small concession here and there to speed things up or make things easier for the audience. Each segment, having been made separately, has its own beginning and end, and suits the episodic nature of the chapters of the book.
LAUGHS
With all these crazy characters, WINNIE THE POOH isn’t short on laughs. Admittedly, a lot of them are drawn out from the fourth-wall breaking and meta-fictional references. And I have to say, for a character who has no right to be there, the Gopher is pretty darn funny, even if he is a carbon-copy of the Beaver from LADY AND THE TRAMP, right down to the ssssshhhhlight sssssshhhpeech impediment. Aside from him, I’m afraid much of the comedy is at the expense of Rabbit, and his desperate attempts to maintain some hold of his sanity while Pooh and Tigger inadvertently ruin every other day of his life.
SCARES
Harking back to Pink Elephants, Heffalumps and Woozles is not so much scary as just surreal. Much scarier is the part where Rabbit’s wandering lost through the forest and his mind starts to play tricks on him. Cranking up the suspense with myriad sights and sounds, you can almost feel his grip on reality start to slip, before he runs screaming from the scene.
MORAL/ EDUCATIONAL VALUE
For a movie about childhood, WINNIE THE POOH shies away from telling hard lessons, but we do pick up a few things, like the dangers of over-eating and jumping in (or up) without thinking ahead of what kind of trouble you get into. But, we also get a few lessons in logic from Pooh.
As Pooh calls into Rabbit’s house to ask if there’s anyone home, a voice replies, “No. Nobody.” Pooh then rightly reasons that there has to be someone there, because somebody had to say “nobody”.
MUSIC/SONGS
Produced by the Sherman Brothers, the songs are just a joy. Simple tunes with simple (yet surprisingly intelligent) lyrics, each song sits in the mind and the heart long after the final frame. The disparate voice actors don’t always make the best chorus, but that hardly matters when you’re dealing with such great voices.
LEGACY
It’s pretty safe to say that Disney has got a lot of mileage out of Winnie the Pooh…
A little-known educational short, WINNIE THE POOH DISCOVERS THE SEASONS followed in 1981, in which Christopher Robin brings Pooh a present, a calendar; as the months pass, Pooh, and therefore the audience, learn about the four seasons and their mark on American music… oh, sorry, my bad. It’s easy to find online and is a rather quaint little curiosity. A fifth short film, WINNIE THE POOH AND A DAY FOR EEYORE followed in 1983, but was never integrated into THE MANY ADVENTURES or any subsequent release. Both were produced by Rick Reinert Productions, who had previously worked on Disney’s SILLY SYMPHONIES.
Since then, there have been a string of direct-to-video movies and TV series.
A rather surreal puppet series, WELCOME TO POOH CORNER, ran on the Disney Channel from 1983 to ’86, and incorporated live-action storytelling with puppetry and costumed actors, with educational segments and a little arts and crafts thrown in for good measure.
A few years later, THE NEW ADVENTURES OF WINNIE THE POOH took up the baton, running for four seasons between 1988 and 1991 and giving me a few fond memories, and a couple of childhood nightmares.
A sequel series of sorts was produced by Playhouse Disney, along with Shadow Projects. THE BOOK OF POOH aired from 2001-03 and is a bit of a jump away from the original stories; here, Christopher Robin is a fifth-grader (and speaks with an American accent), Tigger is present from the start while Kanga and Roo arrive later in the series.
We’ve also had a string of sequel movies, not least 2011’s WINNIE THE POOH, which we’ll come to in about December.
POOH’S GRAND ADVENTURE: THE SEARCH FOR CHRISTOPHER ROBIN was released in 1997, and follows Pooh and his friends as they set out to save Christopher Robin from the “Skull”, confronting their own insecurities and finding their individual potential along the way (He’s gone to school, by the way).
2000’s THE TIGGER MOVIE was originally meant to be a direct-to-video release, but was given a worldwide theatre release. Tigger is inspired to go searching for his (literal) family tree, whilst his adoptive family do their best to keep his spirits up.
PIGLET’S BIG MOVIE (2003) has Piglet trying to leave the Hundred Acre Wood, believing that he’s unvalued and ignored. Ashamed of his small size, he wanders off, leading his friends to form a search party.
Roo got his own movie in 2004; SPRINGTIME WITH ROO is effectively a take on A Christmas Carol, as Tigger and the Narrator take Rabbit on a trip through the previous chapters of the book to teach him the true meaning of Easter.
2005 saw the release of POOH’S HEFFALUMP MOVIE, and the debut of Heffridge Trumpler Brompet Heffalump IV (“Lumpy” to his friends), the eponymous Heffalump making friends with Roo, while the others go hunting for the Heffalump that has been causing chaos.
Lumpy would make another appearance in POOH’S HEFFALUMP HALLOWEEN MOVIE, as he and Roo go searching for the mysterious Gobloon, said to have the power to grant them a wish if they catch it, and turn his victims into Jack-o-lanterns if he catches them first.
Most recently, MY FRIENDS TIGGER AND POOH was a CGI series which introduces a pair of brand new characters, brave 6-year-old Darby and her dog Buster. It ran for three seasons between 2007 and 2010, and featured future Hit-Girl, Chloe Grace Moretz, as Darby.
Beyond all that, Winnie the Pooh continues to make his presence felt around the world with theme park attractions, merchandising, a beautiful and charming sub-game in KINGDOM HEARTS. And while his more recent endeavours may be worlds away from his humblest of beginnings, I can but hope that Alan Alexander Milne would be proud of his best-loved and arguably greatest creation.
FINAL SCORE: 35/53
