Walt's Era - Part 2: Fits and Starts (1940-1942)

Snow White and the Seven Dwarfs was a smash success, redefining what animation could be in Hollywood. The film funding a brand new, custom built studio in Burbank, from which Disney artists could push their craft even further. The company, and the man for whom it was named, were on top of the world.

Disney, all smiles, at his new studio. Photo: Disney.

Disney's bread and butter was still the ongoing series of shorts featuring Mickey Mouse and his friends. The Silly Symphonies upped their game, with a noticeable rise in quality between the early half of 1937 and into 1938 and 1939. Wynken, Blynken and Nod, Moth and the Flame, Farmyard Symphony, and The Ugly Duckling learned from the lessons of Snow White, as did the one-off short, Ferdinand the Bull (1938). The Ugly Duckling (1939) ended up being the final Silly Symphony. That testing ground for new processes ran its course. Now Disney's attention was turned to feature film.

In this period between 1940 and 1942, we find a Walt Disney Productions trying to find its footing, experimenting and exploring with what an animated film can be. Creatively, films like Pinocchio, Fantasia, Dumbo, and Bambi are triumphs (with The Reluctant Dragon sandwiched in there too). But these films also challenged Disney's credibility as a populist. Like any great artists, sometimes they innovated too far beyond the pale of what the audience was receptive to. It would take some time for them to settle on working formulas that allowed them to break new ground while responding to market forces. The raging war in Europe didn't help matters much, nor did the infamous animators strike that landed on Disney's doorstep on May 29, 1941. Disney was trying to figure itself out artistically and organizationally.

Walt Disney and the Gift of the National Parks

"If certain events continue, much of America's natural beauty will become nothing more than a memory. The natural beauty of America is a treasure found nowhere else in the world. Our forests, waters, grasslands and wildlife must be wisely protected and used. I urge all citizens to join the effort to save America's natural beauty... it's our America - do something to preserve its beauty, strength and natural wealth."

Walt Disney

Though better known for creating imaginative artificial landscapes, Walt Disney was a renowned lover of nature. While publicly eschewing titles like "conservationist," Disney still took an active role in helping Americans to better understand and preserve their shared natural heritage. In 1956, for example, he was awarded the distinction of being the honourary chairman of the National Wildlife Federation's National Wildlife Week, a position held until his passing in 1966. In an annual series of public service announcements made for the NWF, he made unequivocal statements like "We must help Nature preserve her vanishing creatures," "The preservation of our American wildlife is very close to me," and "You've probably heard people talk about conservation. Well, conservation isn't just the business of a few people. It's a matter that concerns all of us."

The first inklings one might get towards Walt Disney's sensitivity to nature is in one of his first films: Bambi (1942). In this story of a young deer's growth into maturity, Disney gives a vivid, sympathetic and often sentimental view into the lives of forest animals. Bambi's portrayal of nature was so heart-warming, and its portrayal of hunters so terrifying, that it spurred on considerable controversy in its day over the question of ethical hunting. This enduring film still wields this influence; it is not uncommon to hear that little deer's name brought up in debates over conservation issues, whether one is trying to elicit sympathy for wildlife or accusing someone else of having an overly naive and sentimental view of nature. Disney even lent his characters out to the US Forest Service in fire prevention posters, until Smokey the Bear was created in 1944. Yet Bambi is only the first example of how America's master showman and the company which bears his name have been able to shape the public perception of these important issues.

Bambi, a Life in the Woods

It's rather cliche to exclaim that a book is better than the movie based on it. In most cases this is simply because the book allows greater length and depth than two or even three hours on screen can permit. Rarely is it because a work is so suited to the medium of literature that transferring it to the visual medium of film necessarily causes it to lose what makes it beautiful. This may be the case with Bambi, a Life in the Woods by the Austrian author Felix Salten. Published in 1923 and translated to English by Whittaker Chambers in 1928 - and, of course, adapted by Walt Disney in 1942 - Bambi is heralded not only as one of the first environmental novels, but one of the masterpieces of nature literature.

1932 edition illustration by Kurt Weise.