Movies of My Yesterdays: The Fox and the Hound

While as a Disney feature this eventually became part of our collection (I think it may not have arrived until after our late switch to VHS), I never really appreciated it much as a child. It’s slow, quiet, sad, and not all that much really happens. It’s one of my least-watched Disney movies for the amount of time I had access to it.

The Fox and the Hound. Walt Disney Pictures 1981.

When Widow Tweed finds a fox kit orphaned by a hunter, she takes him into her home, names him Tod, and raises him as a pet. The hunter on the property neighboring her dairy farm, Amos Slade, has just acquired a new puppy named Copper he intends to have his older dog Chief help train in hunting. Copper happens to meet Tod independently from his trainer and the pair instantly bond, unaware of the fact that Copper’s purpose in life is to catch foxes like Tod for his master. When Tod comes to visit Copper on Slade’s property, Chief wakes up and chases Tod, resulting in the upsetting of Slade’s chickens, and Slade tells Widow Tweed that he’ll kill the fox on sight if he ever trespasses again, then takes his dogs on an overwinter hunting trip. Warned by his owl mentor Big Mama that Copper will come back a hunting dog, Tod insists they’ll still be friends. But when Copper does come back, he tells Tod that things are different now and he can’t come around anymore, then Chief wakes up and chases Tod again, with Slade bringing Copper in pursuit. Copper gives Tod one chance to escape, but Chief finds Tod and gets into a nearly mortal accident trying to catch him. With Slade exploding at Widow Tweed about her fox nearly getting his dog killed, Tweed realizes she has to give Tod up and leave him at the game preserve, where he should be safe, though completely unprepared for his new life. But the law against hunting in the game preserve doesn’t deter a man and dog on a quest for revenge.

This story likely requires an adult’s understanding to fully appreciate. I just didn’t have the patience for it as a kid. The Boomer and Dinky chasing Squeaks parts seem to be the main appeasement to the younger audience, and even as a kid they felt extraneous because they were pretty much completely separate from the main plot and also there weren’t enough of them to sustain my interest. As an adult they’re almost jarringly out of place now. However, I’m in a much better place to ride along with the complicated emotions of the actual story.

I imagined that the book was a treasured children’s novel, so I looked it up, and it looks more literary than I pictured. The summary mentions that you see the human world in the background evolving over the years, and that sounds like some fascinating detail that I think I have to read now. Wikipedia notes that the movie was “heavily modified from the source material”, and it definitely does sound like that was more than just turning the death of Chief into a broken leg.

I also didn’t appreciate the art style. It’s not as rough-sketched as 101 Dalmations, not as vintage as the Snow White, and not as modern as the post-CAPS animation of movies like The Great Mouse Detective and the Disney Renaissance movies. But what it does have is possibly the peak of what that style of animation could do without a major shift in the supporting technology. I was particularly impressed by the effects animation in places.

These days, when we talk about “adult animation”, we tend to mean animated shows with humor inappropriate for children. But this is adult in that it almost completely fails to work for children because it’s not really talking to experiences children are ready to relate to. At least, it didn’t work with me as a child, but I’m much more prepared to pick up what it’s laying out now. And it still has more of a plot than Bambi.

Teenage Mutant Ninja Turtles

Teenage Mutant Ninja Turtles.
Limelight Entertainment 1990.

Before watching the movie:

I am broadly aware of the Teenage Mutant Ninja Turtles franchise, but I was never all that into it. I briefly thought I was going to watch the cartoon series, but I was given a parental directive to choose one violent show between TMNT and Mighty Morphin Power Rangers and I chose the latter. Then a few weeks later I abruptly decided the whole premise of MMPR was silly and dropped it.

Apparently there’s a well-known easter egg that in one telling of the Turtles’ origin story, the radioactive ooze that made them was also involved in making Daredevil. That’s pretty neat. That will not be relevant to this movie.

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License to Drive

License to Drive. Davis Entertainment 1988.
License to Drive. Davis Entertainment 1988.

Before watching the movie:

I am aware of the Two Coreys heartthrob duo of the 80s only through discussion of them, as they were just before my time (I was dimly aware that Jonathan Taylor Thomas was a big deal a decade later).

This is looking suspiciously like “Ferris Bueller, but with the Coreys instead of Matthew Broderick”, though I’m still interested. The car wasn’t a very big part of Ferris Bueller, whereas this could potentially be a road trip kind of joyride.

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Stand By Me

Stand By Me. Act III Productions 1986.
Stand By Me. Act III Productions 1986.

Before watching the movie:

I mainly know of this movie because it was apparently the biggest thing in Wil Wheaton’s child acting career besides Star Trek, and as I keep up with his internet presence, it comes up a lot. I only know the broadest strokes of the plot, that there’s a group of boys who have some kind of adventure that leaves them all changed, like The Goonies, though more mundane. Everything else I think I know comes from the Simpsons episode that I think is based on this.

I’m not normally drawn to coming of age films, as I’m neither young enough to appreciate them as a child nor old enough to absorb the nostalgia of childhood adventure. Indeed, I’m from after the era where children commonly wandered freely outside of school to make lasting friends and life-changing discoveries, so this kind of film is somewhat foreign to me. But I have the impression that it’s a classic from the mid-80s, even if it doesn’t have as strong or visible a cult following as many others.

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