Mark Twain and the Rivers of America

The Mississippi River is one of the great rivers of the world. Counting in its entire drainage basin, the Mississippi and its tributaries drain 31 states and the southernmost part of two Canadian provinces. It straddles the Rocky Mountains to the West and Appalachian Mountains to the East. It is the fourth longest and ninth largest river in the world. The Mississippi is the central artery of American industry, controlling it meant victory for the Union and defeat for the Confederates, it demarcates Country music from Western music, and the settlements along its ever advancing delta gave birth to Jazz. Sooner rather than later, the living river might bypass New Orleans and Baton Rouge altogether, rerouting its primary outflow to the Atchafalaya River. It already would be, if not for the engineering marvels placed by the US government attempting to bend nature to its will. Great industrial barges ply the urbanized riverscape today, but in Disneyland, Magic Kingdom, and wherever Imagineers have transplanted the American frontier, the romance of the river's old steamboat days are perpetually rekindled.    

In Disneyland, the riverboat is named for the Mississippi's favourite son: Mark Twain. Born and raised in Hannibal, Missouri, Twain grew up to the whistle of the paddlewheeler. He served as a pilot aboard one before he stopped working and became a writer. Never quite prepared to leave that life behind, he penned a nostalgic tome entitled Life on the Mississippi, capturing the spirit of those halcyon days.

Walt's Era - Part 9: The Year of Fess Parker (1956)

We have hit something of a milestone with Walt's Era. For the first time in this series, an entry covers a single year and has no animated films. Fantasia was re-released on February 7th, but no new animated films came out in 1956. Of the four feature films that were released, all but one featured Fess Parker, star of Davy Crockett. The outlier was a True-Life Adventure.

A native Texan, Fess came into the Disney fold after Walt spotted his cameo in the classic Science Fiction film Them! He practically leapt off the screen as a pilot driven mad by the sight of gigantic, mutated ants, which appealed to Walt (who had been watching the film to check out lead actor James Arness for the role of Davy Crockett). Fess won the role of his career, and lead Davy Crockett into becoming a household name. Walt saw the makings of a legitimate feature film star, took him off television, and made him the company's #1 lead actor.

Fess Parker at a department store live appearance.

He stayed with the company from 1955 through 1958, when he and Disney had a falling out. In the mean time, he not only became the second most recognizable face of the company and helped to open Disneyland USA, but also had a series of LPs on Disneyland Records. Besides the storyteller and soundtrack albums for his films, he released Yarns and Songs in 1956 and Cowboy and Indian Songs in 1957. His irresistible folksy charm helped shape the company's image during the new Golden Age.

Walt's Era - Part 8: Disney's Greatest Year? (1954-1955)

What is Disney's greatest year?

Is it the year that they put out their best work? Their largest volume of work? Drew the biggest profits? Made the most arbitrary and shortsighted IP acquisitions? Is it even possible to measure such a thing as a "greatest year," or is it even necessary?

My own an emphatic answer to that original question is mid-1954 to the end of 1955. I'm measuring years the same way Disneyland does.

What Disney did on the big screen that year was substantive enough, including THE MIGHTIEST MOTION PICTURE OF THEM ALL. This period includes some of my personal favourite Disney films, having begun with The Vanishing Prairie (which I covered in our last installment). What really mattered, though, was what Disney was doing on the small screen and in a former Anaheim orange grove.

Building on the experience of The Reluctant Dragon and One Hour in Wonderland, Walt Disney's Disneyland debuted on October 17, 1954. The introductory episode was pitch-perfect, introducing both Disneyland the show and introducing Disneyland the park as a shared conceptual space, tying them both together with Disney's feature films into a complete brand package. Walt makes his advertising pitch very entertaining, and follows it up with a quaint Mickey Mouse retrospective that really imbues him with character even as he is on the cusp of transitioning to full-time corporate icon (much like Walt himself). The remainder of the season is astonishing in its breadth and entertainment value: Alice in Wonderland, So Dear to My Heart, The Three Caballeros, The Wind in the Willows, Treasure Island, two behind-the-scenes advertisements for True-Life Adventure features, multiple veiled "advertainments" for 20,000 Leagues Under the Sea and Lady and the Tramp, two theme park progress reports, Man in Space, From Aesop to Hans Christian Andersen, a Donald Duck anthology, and all three episodes of Davy Crockett: King of the Wild Frontier, all culminating in the opening of Disneyland on July 17, 1955. For sheer entertainment and for hungry fans of Disney company history, this first season is pure gold. It's a shame that it has never been released on home video in its original broadcast version.

Photo: Disney.

On October 3, 1955, Disney took over the airwaves again with the debut of The Mickey Mouse Club. The last Mickey Mouse cartoon was The Simple Things, released in April of 1953. His star had been eclipsed by Donald Duck, Goofy, Pluto, and Chip and Dale. New characters had also emerged, like Humphrey the Bear and Ranger J. Audubon Woodlore, who were introduced by Donald in 1954 and starred in two shorts of their own in 1956. They were so prominent that they also featured in The Mickey Mouse Club's opening fanfare. Mickey was settling nicely into his new role as a mascot. The mouse ears sported by the Mouseketeers would become the must-buy souvenir at Disneyland.

Oh yeah, Disneyland opened too.

There isn't much that I need to say about the opening of Disneyland. By now, people should have known that when Walt Disney set his mind to something, he would tenaciously make it work.

The Historical Davy Crockett - Part 2

The ideal American male is a political figure. America is an individualist society and therefore the driving narrative of its politics and society is that of the individual's supremacy and sanctity. The individual, in turn, becomes symbolic of the processes of the State (and one can certainly debate the extent to which the myth of American individualism both obfuscates and hinders the collectivization that makes society possible). So through the King of the Wild Frontier character we learn the politics of the King of the Wild Frontier film. Where many of these alterations to David Crockett, from a historical figure to a proxy of 1950's American politics, come into sharper focus are in the film's representations of Native Americans.

The Historical Davy Crockett - Part 1

For as impactful a movie as Davy Crockett: King of the Wild Frontier was, it is amazing to consider how little critical thought has gone into it. In Understanding Disney: The Manufacture of Fantasy, Janet Wasko observes that there is a paucity of academic study on this iconic motion picture. Most studies are humble reminiscences of when 1950's pop culture changed practically overnight and every child wore a coonskin cap, whistling the 28(!) stanzas of the famous tune. The major treatment is The Davy Crockett Craze by Paul Anderson. However, as the "Aeneid" of America's own Virgil, Davy Crockett provides a wealth of material for the student of American mythology.