(Revisiting the Renaissance is a bi-weekly series in which Josh Spiegel looks back at the history and making of the 13 films of the Disney Renaissance, released between 1986 and 1999. In today’s column, Spiegel takes a look at the oft-forgotten sequel The Rescuers Down Under.)
The 1990s were an exceptionally successful period for the Walt Disney Company. They expanded their footprint on TV with the acquisition of ABC, they built out an environmentally friendly theme park in Disney’s Animal Kingdom and began building more theme parks around the world, they started a fruitful relationship with Pixar Animation Studios, and their own hand-drawn animated films were a force to be reckoned with.
It took only a couple of years for Disney Animation’s prospects to flip from doom and gloom to success. In 1986, the first entry in the Renaissance, The Great Mouse Detective, showed promise but was still an underdog at the box office to the competition, Don Bluth’s An American Tail. Yet by 1990, they’d gotten Oscar love and a worldwide embrace with The Little Mermaid, and the competition had to chase them.
While Disney did satisfy the executive commitment to release one animated film per year throughout the decade, they had to get over a boomerang of an obstacle first.
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(Revisiting the Renaissance is a bi-weekly series in which Josh Spiegel looks back at the history and making of the 13 films of the Disney Renaissance, released between 1986 and 1999. In today’s column, Spiegel discusses the 1989 fairy tale The Little Mermaid.)
The success of Oliver & Company in 1988, coupled with the continued infusion of new blood among executives at the Walt Disney Company, raised the stakes for the animation studio. Peter Schneider, the president of Walt Disney Animation Studios, announced that they would begin releasing one film per year from that point forward. It was an ambitious approach for a studio that had just begun to claw itself out of a deep hole.
At the time, releasing one film per year was all well and good, but that required the studio to think of viable enough ideas, and quickly. For their next project, Disney’s animators would have to go back into the past of the studio’s undeveloped ideas — under the sea.
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(Revisiting the Renaissance is a bi-weekly series in which Josh Spiegel looks back at the history and making of the 13 films of the Disney Renaissance, released between 1986 and 1999. In today’s column, Spiegel discusses the 1988 Charles Dickens adaptation Oliver & Company.)
When Michael Eisner, Jeffrey Katzenberg, and Frank Wells joined the C-suite at the Walt Disney Company in 1984, they did so with the intent of boosting the company’s profile, internally and externally. In the mid-1980s, Walt Disney Pictures and Walt Disney Animation Studios were just about the furthest thing from industry powerhouses. Disney’s theatrical output in the 1980s was meager, with just 28 films overall; it’s the lowest number of films they’d released in a single decade since the war-torn 1940s. But the new executives wanted more films, from more subsidiaries. They wanted Disney to be more than just a family-friendly studio.
Part of the problem is that Walt Disney Pictures was the kind of studio where A-Listers need not apply. Stars in their live-action fare could typically be found on network television sitcoms and dramas, and it was rarer still to find any big names in their animated films. Once Katzenberg and Eisner joined Disney, they were able to expand upon the recently created subsidiary Touchstone Pictures (whose first film Splash served as Tom Hanks’ breakout role and netted an Oscar nomination for Best Original Screenplay) and lure in recognizable actors for mid-budget comedies and dramas, such as Down and Out in Beverly Hills and Ruthless People. For animation, thanks largely to Katzenberg, it took until the 1988 release Oliver & Company for big names to start making appearances.
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(Revisiting the Renaissance is a bi-weekly series in which Josh Spiegel looks back at the history and making of the 13 films of the Disney Renaissance, released between 1986 and 1999. Today’s column both serves as an introduction to the series, and tackles the first film of the Renaissance, 1986’s The Great Mouse Detective.)
The future of animation at the Walt Disney Company was bleak in 1984. It was a transitional year for the company as a whole, in which Disney narrowly avoided being the victim of a hostile business takeover, welcomed new blood into its executive suite to right the ship, and expanded into making more mature films with the Touchstone Pictures subsidiary. But when Michael Eisner, Jeffrey Katzenberg, and Frank Wells all joined Disney from rival studios, their arrival didn’t initially suggest a new era of filmmaking and theme-park development that laid the foundation for the corporate behemoth that now owns Pixar, Marvel, Lucasfilm, Hulu, and 20th Century Fox.
Their arrival suggested doom and gloom for the studio that served as the true foundation for the company. Because Katzenberg in particular, soon after starting at Disney, was shown a rough cut of the studio’s next animated film. And he wasn’t happy.
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