The Spotty Animated Film

Reader, dahling. Welcome's to May's 2nd post. We'll be appraising a favourite animated movie from 1961. It was quite commercial. It's deemed classical. The film actually resulted from a 1956 children's book of worthiness. Being a genial, open-minded individual it's author, Dodie Smith, actually had admiration for the movie. We'll be evaluating 101 Dalmatians.

Despite its studio's financial ruin, I'm fond of the animation. It used xerox and rotoscoping. There's a plethora of stellar stills. I admire the animation's fluency, layout/production design by Ken Anderson, detailing and colors. The storyboards were enacted beautifully. This movie's crafty in its editing. The opening credits possess creative imagery. Handiworks by the habile character animators and background artists put a spin of originality on the book's essence.

The film's music-synonymous aspects are exquisite George Bruns' score incorporates ambience into the film. Mel Leven's songs are melodies of merit. The enactation of the underscoring and songs were stupendous, particularly in the opening titles sequence.

This film was proficiently cast voice-acted (shoutout to those who voiced more than 1 role). The children cast as the puppies were abled performers. With authenticity, Clarence Nash supplied dog barks. I'm thankful that Paul Frees, Dallas McKennon, Queenie Leonard, Marjorie Bennett, Thurl Ravenscroft, Tom Conway and Lucille Bliss participated. David Frankham was totally stalwart and gallant as Sergeant Tibbs. Martha Wentworth's Nanny exuded qualities of the book's 2 nannies. Ben Wright and Lisa Davis were picturesque as Roger and Anita, a duo of pets who were thankfully given names. Rod Taylor's Pongo and Cate Bauer/Lisa Daniel's Perdita (an amalgamation character) were buyable as a couple and devoted parents. An sleezily iniquitous J. Pat O'Malley (Jasper) and a surprisingly astute Frederick Worlock (Horace) were faultless as the upgraded Baduns.

Cruella De Vil is a selling-point. Cruella's design is glamorously garish. Marc Davis thrived at animating our antagonist. The film's interpretation is reminiscent of Smith's creation, yet outwardly psychopathic. Betty Lou Gerson, an impeccably cast radio performer, prospered as Cruella! She brought vocal dimensions to the role. Gerson mixed exuberant flamboyancy with volatile intimidation.

Bill Peet adapted the novel spectacularly. It retained faithfulness, made cuts, condensed and streamlined. The script's an estimable incarnation of the story. Its characters compel, particularly the villain (who bears resemblance to actual people). The screenplay's pacing, pathos, comedic aspects, dialogue and gravitas are effectual. It knew how to enact anthropomorphic animals. The film's climax enthralls. It's topped-off with buoyant denouement, too.

101 Dalmatians is wondrous film for families. Despite a contemporary setting, It has timelessness to it. There's loads to admire. Clyde Geronimi, Hamilton Luske and Wolfgang Reitherman, the trio of directors, were eminent at bringing it to the screen.