Song of the South is a 1946 American live-action/animated musical drama film directed by Harve Foster and Wilfred Jackson; produced by Walt Disney and released by RKO Radio Pictures. It is based on the Uncle Remus stories as adapted by Joel Chandler Harris, and stars James Baskett as Uncle Remus in his final film role. The film takes place in the U.S. state of Georgia during the Reconstruction era, a period of American history after the end of the American Civil War and the abolition of slavery. The story follows seven-year-old Johnny (Bobby Driscoll) who is visiting his grandmother's plantation for an extended stay. Johnny befriends Uncle Remus, an elderly worker on the plantation, and takes joy in hearing his tales about the adventures of Br'er Rabbit, Br'er Fox, and Br'er Bear. Johnny learns from the stories how to cope with the challenges he is experiencing while living on the plantation. Walt Disney had wanted to produce a film based on the Uncle Remus stories for some time. In 1939 he began negotiating with the Harris family for the film rights, and in 1944, filming for Song of the South began. The studio constructed a plantation set, for the outdoor scenes, in Phoenix, Arizona, while other scenes were filmed in Hollywood. The film is predominantly live action, but includes three animated segments, which were later released as stand-alone television features. Some scenes also feature a combination of live action with animation. Song of the South premiered in Atlanta in November 1946 and the remainder of its initial theater run was a financial success. The song "Zip-a-Dee-Doo-Dah" won the 1947 Academy Award for Best Original Song[4] and Baskett received an Academy Honorary Award for his performance as Uncle Remus. Since its initial release the film has attracted controversy, with critics characterizing its portrayal of African Americans and plantation life as racist. As a result of the film's controversial legacy, Disney has not released Song of the South on any home video format in the United States, and the film has never been available on its streaming platform Disney+. Some of the musical and animated sequences have been released through other means, and the full film has seen home video distribution in other countries, as well as fan-made 4K remasters that can be viewed at the Internet Archive.[5] The cartoon characters from the film continued to appear in a variety of books, comics, and other Disney media for many decades after the film's release. The theme park ride Splash Mountain, located at Tokyo Disneyland and formerly located at Disneyland and Magic Kingdom, is based on the film's animated sequences. Synopsis Setting The film is set on a plantation in Georgia, part of the Southern United States; specifically in a location some distance from Atlanta. Although sometimes misinterpreted as taking place before the American Civil War while slavery was still legal in the region, the film takes place during the Reconstruction Era after slavery was abolished.[6][7] Harris' original Uncle Remus stories were all set after the American Civil War and the abolition of slavery. Born in 1848, Harris was a racial reconciliation activist writer and journalist of the Reconstruction Era. The film makes several indirect references to the Reconstruction Era: clothing is in the newer late-Victorian style; Uncle Remus is free to leave the plantation at will; Black field hands are sharecroppers, etc.[8] Plot Seven-year-old Johnny is excited about what he believes to be a vacation at his grandmother's Georgia plantation with his parents, Sally and John Sr. When they arrive at the plantation, he discovers that his parents will be living apart temporarily, and he will live at the plantation with his mother and grandmother while his father returns to Atlanta to continue his controversial editorship of that city's newspaper. Distraught at his father's departure, Johnny secretly leaves for Atlanta that night with a bindle. As Johnny sneaks away from the plantation, he discovers Uncle Remus telling tales of a character named Br'er Rabbit to other sharecroppers on the plantation. By this time, word had gotten out that Johnny was missing, and some plantation residents are looking for him. Johnny evades being discovered, but Uncle Remus catches up with him, offers him food for his journey, and takes him back to his cabin, where he tells the boy the traditional African-American folktale, "Br'er Rabbit Earns a Dollar a Minute". In the story, Br'er Rabbit attempts to run away from home only to change his mind after an encounter with Br'er Fox and Br'er Bear. Johnny takes the advice and lets Uncle Remus take him back to Sally. Johnny makes friends with Toby, a young black boy who lives on the plantation, and Ginny Favers, a poor white girl. Ginny gives Johnny a puppy after her two older brothers, Joe and Jake, threaten to drown it. Sally refuses to let him take care of the puppy, so he takes it to Uncle Remus. Uncle Remus takes the dog in and delights Johnny and his friends with the fable of Br'er Rabbit and the Tar-Baby, stressing that people should not get involved with something they have no business with in the first place. Johnny imitates Br'er Rabbit's use of reverse psychology from the tale and begs the Favers brothers not to tell their mother about the dog. The trick works and the boys get in trouble after telling their mother. In an act of revenge, they tell Sally about the dog. Sally becomes upset that Johnny and Uncle Remus kept the dog despite her order (which was unknown to Uncle Remus), and she instructs him not to tell any more stories to Johnny. Johnny's birthday arrives and Johnny picks up Ginny to take her to his party. On the way there, Joe and Jake push Ginny into a mud puddle. With her dress ruined, Ginny is unable to go to the party and runs off crying. Johnny begins fighting with the boys, but their fight is broken up by Uncle Remus, who reprimands Joe and Jake and warns them to keep away from Johnny and Ginny. Johnny runs off to comfort Ginny. He explains that he does not want to go to the party either, especially since his father will not be there. Uncle Remus discovers both dejected children and cheers them up by telling the story of Br'er Rabbit and his "Laughing Place". When the three return to the plantation, Sally becomes angry at Johnny for missing his party, and tells Uncle Remus to stay away from him. Saddened by the misunderstanding of his good intentions, Uncle Remus packs his bags and begins to leave for Atlanta. Johnny rushes to intercept him, but is attacked by a bull and seriously injured after taking a shortcut through a pasture. While Johnny hovers between life and death, his father returns. Johnny calls for Uncle Remus, and his grandmother escorts him in. Uncle Remus begins telling a Br'er Rabbit tale, and the boy miraculously survives. Later, a fully recovered Johnny sings with Ginny and Toby while Johnny's returned puppy runs alongside them. Nearby, Uncle Remus is shocked when Br'er Rabbit and several of the other characters from his stories appear in front of them and interact with the children. Uncle Remus rushes to join the group, and, together, they all walk into the sunset. Cast Clockwise from left: Ginny (Luana Patten), Uncle Remus (James Baskett), Johnny (Bobby Driscoll), and Toby (Glenn Leedy) James Baskett as Uncle Remus Bobby Driscoll as Johnny Luana Patten as Ginny Favers Glenn Leedy as Toby Ruth Warrick as Sally Lucile Watson as Grandmother Hattie McDaniel as Aunt Tempe Erik Rolf as John Olivier Urbain as Mr. Favers (uncredited) Mary Field as Mrs. Favers Anita Brown as Maid George Nokes as Jake Favers Gene Holland as Joe Favers Voices Johnny Lee as Br'er Rabbit James Baskett as Br'er Fox (also Br'er Rabbit in the "Laughing Place" segment) Nick Stewart as Br'er Bear Roy Glenn as Br'er Frog (uncredited) Clarence Nash as Bluebird (uncredited) Helen Crozier as Mother Possum (uncredited) Development In the aftermath of World War II, Walt Disney Studios faced financial difficulties due to a lack of foreign markets for animated films during wartime. The studio produced few theatrical animated shorts then, focusing instead on military training films that broke even, but produced no profit. The studio only profited in 1945 and 1946 by reissuing Snow White and the Seven Dwarfs and Pinocchio, and still had to lay off half of its employees in 1946. With additional financial difficulties due to a union strike in 1941, Disney sought to produce live-action films to generate additional revenue. While Disney's contract with RKO was for animated films, films that mixed live-action with animation fell under the contract, allowing the studio to lower production costs on Saludos Amigos and The Three Caballeros. Additionally, Disney owned the rights to several properties purchased after the success of Snow White, which could be made into family films.[9] In 1938, Walt Disney became interested in the Joel Chandler Harris Uncle Remus storybook, claiming to remember hearing the stories as a child, and prepared two research reports to determine if it was possible to film the stories, dated April 8 and 11, 1938. He purchased the rights to the stories in 1939, paying Harris's family $10,000 (equivalent to $216,000 in 2023). By 1986, the film based on the stories, Song of the South, had earned $300 million.[9] Beginning in 1939, Disney began developing Uncle Remus as an entirely animated feature. The stories were also considered as two-reel animated shorts. Stories considered for the production included "Br'er Rabbit Rides the Fox", in which Br'er Rabbit tricks Br'er Fox into riding him like a horse to a party, and "De Wuller-De-Wust", in which Br'er Rabbit pretends to be a ghost to scare Br'er Bear. In another treatment, Uncle Remus gathers the critters together for a prayer meeting and to encourage them to build a church that would bring peace between predators and prey. Also proposed was a storyline in which Br'er Rabbit's addiction to gambling would be at the root of the troubles that led to the film's adventures.[9] Disney first began to negotiate with Harris's family for the rights in 1939, and by late summer of that year he already had one of his storyboard artists summarize the more promising tales and draw up four boards' worth of story sketches. In November 1940, Disney visited the Harris's home in Atlanta. He told Variety that he wanted to "get an authentic feeling of Uncle Remus country so we can do as faithful a job as possible to these stories."[10] Disney's brother Roy had misgivings about the project, doubting that it was "big enough in caliber and natural draft" to warrant a budget over $1 million and more than twenty-five minutes of animation. Disney planned to produce a series of Uncle Remus films if the first one was successful, each with the same live-action cast but different animated shorts. Ultimately, the studio decided that only a third of the film would be animated and the rest would be live-action.[9] Disney was initially going to have the screenplay written by the studio animators, but later sought professional writers.[9] In June 1944, Disney hired Southern-born writer Dalton Reymond to write the screenplay, and he met frequently with King Vidor, whom he was trying to interest in directing the live-action sequences.[10] Dalton Reymond delivered a 51-page outline on May 15, 1944.[11] The Hays Office reviewed Reymond's outline, and demanded that some terminology, such as characters referring to Remus as an "old darkie" be removed from Reymond's treatment.[12][13] Disney hired African-American performer and writer Clarence Muse to be consulted on the screenplay, but Muse quit when Reymond ignored Muse's suggestions to portray African-American characters in a way that would be perceived as being dignified and more than Southern stereotypes.[11] Muse subsequently wrote letters to the editors of black publications to criticize the depiction of African-Americans in Reymond's script. Disney claimed that Muse attacked the film because Disney did not choose Muse to play the part of Uncle Remus, which Muse had lobbied for.[12] In addition to concerns about his racial stereotyping, Reymond had never written a screenplay before (nor would he write another). Maurice Rapf, who had been writing live-action features at the time, was asked by Walt Disney Productions to work with Reymond and co-writer Callum Webb to turn the treatment into a shootable screenplay.[14] According to Neal Gabler, one of the reasons Disney had hired Rapf to work with Reymond was to temper what Disney feared would be Reymond's "white Southern slant".[15] Reymond's treatment included the phrases "massa", in reference to white characters, and "darkey", in reference to plantation workers, prominently.[11] Rapf removed the offending phrase and added dialogue to make it clear that the film was set after slavery had ended; one character in Rapf's script states, in reference to the Black plantation workers, "We gotta pay these people. They're not slaves." Uncle Remus also states, after being told that he cannot read any more stories to Johnny, "I'm a free man; I don't have to take this."[11] Rapf saw the animal stories as metaphors for slave resistance, and intended to portray Br'er Rabbit as a smaller, less powerful Black man, and in place of the oppressive whites would be Br'er Fox, Br'er Bear and the deleted character Br'er Coon.[11] Rapf was a minority, a Jew, and an outspoken left-winger, and he himself feared that the film would inevitably be Uncle-Tomish. "That's exactly why I want you to work on it," Walt told him, "because I know that you don't think I should make the movie. You're against Uncle Tomism, and you're a radical."[15] Rapf initially hesitated, but when he found out that most of the film would be live-action and that he could make extensive changes, he accepted the offer. Rapf worked on Uncle Remus for about seven weeks. When he got into a personal dispute with Reymond, Rapf was taken off the project.[14] According to Rapf, Disney "ended every conference by saying 'Well, I think we've really licked it now.' Then he'd call you the next morning and say, 'I've got a new idea.' And he'd have one. Sometimes the ideas were good, sometimes they were terrible, but you could never really satisfy him."[10] Morton Grant was assigned to the project.[14] Disney sent out the script for comment both within the studio and outside the studio.[16] On May 10, 1944, the title was changed from Uncle Remus to Song of the South.[11] Production Casting In February 1941, Disney talked with Paul Robeson about him playing Uncle Remus, and the two remained in talks about the project for several years, but ultimately he was not cast. It is speculated that Robeson's politics made him too controversial for the role. Other actors considered included Rex Ingram.[9] Clarence Muse lobbied for the role of Uncle Remus while consulting on the screenplay, but left the project due to Dalton Reymond's depiction of African-Americans in the original treatment.[12] James Baskett was cast as Uncle Remus after responding to an ad for providing the voice of a talking butterfly. Baskett is quoted as saying; "I thought that, maybe, they'd try me out to furnish the voice for one of Uncle Remus's animals." Upon review of his voice, Disney wanted to meet Baskett personally, and had him tested for the role of Uncle Remus. In addition to the role of Uncle Remus, Baskett also received the voice roles of the butterfly and Br'er Fox.[17] Baskett also filled in as the voice of Br'er Rabbit for Johnny Lee in the "Laughing Place" sequence after Lee was called away to do a USO tour.[18] Disney told Baskett's sister Ruth that Baskett was "the best actor, I believe, to be discovered in years". After the film's release, Disney maintained contact with him. Disney also campaigned for Baskett to be given an Academy Award for his performance, saying that he had worked "almost wholly without direction" and had devised the characterization of Remus himself. Baskett won an honorary Oscar in 1948.[19] After Baskett's death, his widow wrote Disney and told him that he had been a "friend indeed and [we] certainly have been in need".[20] Also cast in the production were child actors Bobby Driscoll, Luana Patten, and Glenn Leedy (his only credited screen appearance). Driscoll was the first actor to be under a personal contract with the Disney studio.[21] Patten had been a professional model since age three, and caught the attention of Disney when she appeared on the cover of Woman's Home Companion.[22] Leedy was discovered on the playground of the Booker T. Washington school in Phoenix, Arizona, by a talent scout from the Disney studio.[23] Ruth Warrick and Erik Rolf, cast as Johnny's mother and father, had actually been married during filming, but divorced in 1946.[24][25] Hattie McDaniel also appeared in the role of Aunt Tempe. Filming Production started under the title Uncle Remus.[26] The budget was originally $1.35 million.[27] The animated segments of the film were directed by Wilfred Jackson, while the live-action segments were directed by Harve Foster. Filming began in December 1944 in Phoenix, Arizona where the studio had constructed a plantation and cotton fields for outdoor scenes, and Disney left for the location to oversee what he called "atmospheric shots". Back in Hollywood, the live action scenes were filmed at the Samuel Goldwyn Studio.[28] On the final day of shooting, Jackson discovered that the scene in which Uncle Remus sings the film's signature song, "Zip-a-Dee-Doo-Dah", had not been properly blocked. According to Jackson, "We all sat there in a circle with the dollars running out, and nobody came up with anything. Then Walt suggested that they shoot Baskett in close-up, cover the lights with cardboard save for a sliver of blue sky behind his head, and then remove the cardboard from the lights when he began singing so that he would seem to be entering a bright new world of animation. Like Walt's idea for Bambi on ice, it made for one of the most memorable scenes in the film."[26] Animation Br'er Rabbit takes Br'er Fox and Br'er Bear to his "laughing place" There are three animated segments in the film (they total 25 minutes). The last few minutes of the film also combines animation with live-action. The three sequences were later shown as stand-alone cartoon features on television. Br'er Rabbit Runs Away: (~8 minutes) Based on "Br'er Rabbit Earns a Dollar a Minute". Includes the song "Zip-a-Dee-Doo-Dah" Br'er Rabbit and the Tar Baby: (~12 minutes) Based on "Tar-Baby". The segment is interrupted with a short live-action scene about two-thirds through. It features the song "How Do You Do?" Br'er Rabbit's Laughing Place: (~5 minutes) Based on "The Laughing Place". The song "Everybody's Got a Laughing Place" is featured. Music Nine songs are heard in the film, with four reprises. Nearly all of the vocal performances are by the largely African-American cast, and the renowned all-Black Hall Johnson Choir sing four pieces: two versions of a blues number ("Let the Rain Pour Down"), one chain-reaction-style folk song[29] ("That's What Uncle Remus Said") and one spiritual ("All I Want"). The songs are, in film order, as follows: "Song of the South": Written by Sam Coslow and Arthur Johnston; performed by the Disney Studio Choir "Uncle Remus Said": Written by Eliot Daniel, Hy Heath, and Johnny Lange; performed by the Hall Johnson Choir "Zip-a-Dee-Doo-Dah": Written by Allie Wrubel and Ray Gilbert; performed by James Baskett "Zip-a-Dee-Doo-Dah": (reprise) Performed by Bobby Driscoll "Who Wants to Live Like That?": Written by Ken Darby and Foster Carling; performed by James Baskett "Let the Rain Pour Down": (uptempo) Written by Ken Darby and Foster Carling; performed by the Hall Johnson Choir "How Do You Do?": Written by Robert MacGimsey; performed by Johnny Lee and James Baskett "How Do You Do?": (reprise) Performed by Bobby Driscoll and Glenn Leedy "Sooner or Later": Written by Charles Wolcott and Ray Gilbert; performed by Hattie McDaniel.[30] "Everybody's Got a Laughing Place": Written by Allie Wrubel and Ray Gilbert; performed by James Baskett and Nick Stewart "Let the Rain Pour Down": (downtempo) Written by Ken Darby and Foster Carling; performed by the Hall Johnson Choir "All I Want": Traditional, new arrangement and lyrics by Ken Darby; performed by the Hall Johnson Choir "Zip-a-Dee-Doo-Dah": (reprise) Performed by Bobby Driscoll, Luana Patten, Glenn Leedy, Johnny Lee, and James Baskett "Song of the South": (reprise) Performed by the Disney Studio Choir "Let the Rain Pour Down" is set to the melody of "Midnight Special", a traditional blues song popularized by Lead Belly (Huddie William Ledbetter). The song title "Look at the Sun" appeared in some early press books, though it is not in the film.[31] Ken Emerson, author of the book Doo-dah!: Stephen Foster And The Rise Of American Popular Culture, believes that "Zip-a-Dee-Doo-Dah" is influenced by the chorus of the pre-Civil War folk song "Zip Coon", which is today considered racist for its use of an African American stereotype.[32][33] Release The film premiered at the Fox Theatre in Atlanta in 1946. The film premiered on November 12, 1946, at the Fox Theater in Atlanta.[26] Walt Disney made introductory remarks, introduced the cast, then quietly left for his room at the Georgian Terrace Hotel across the street; he had previously stated that unexpected audience reactions upset him and he was better off not seeing the film with an audience. James Baskett was unable to attend the film's premiere because he would not have been allowed to participate in any of the festivities, as Atlanta was then a racially segregated city.[34] Song of the South was re-released in theaters several times after its original premiere, each time through Buena Vista Pictures: in 1956 for the 10th anniversary; in 1972 for the 50th anniversary of Walt Disney Productions; in 1973 as the second half of a double bill with The Aristocats; in 1980 for the 100th anniversary of Harris's classic stories; and in 1986 for the film's own 40th anniversary and in promotion of the upcoming Splash Mountain attraction at Disneyland. Spin-off comics and books As had been done earlier with Snow White and the Seven Dwarfs (1937), Pinocchio (1940) and Bambi (1942), Disney produced a Sunday comic strip titled Uncle Remus and His Tales of Br'er Rabbit to give the film pre-release publicity. The strip was launched by King Features on October 14, 1945, more than a year before the film was released. The previous comic strip adaptations of Disney films lasted for four or five months, but the Uncle Remus strip continued for almost thirty years, telling new stories of Br'er Rabbit and friends, until the strip was discontinued on December 31, 1972.[35] Apart from the newspaper strips, Disney Br'er Rabbit comics were also produced for comic books; the first such stories appeared in late 1946. Produced both by Western Publishing and European publishers such as Egmont, they continue to appear.[36] In 1946, a Giant Golden Book entitled Walt Disney's Uncle Remus Stories was published by Simon & Schuster. It featured 23 illustrated stories of Br'er Rabbit's escapades, all told in a Southern dialect based on the original Joel Chandler Harris stories. In 1986, Floyd Norman wrote A Zip-A-Dee-Doo-Dah Christmas! featuring Uncle Remus and Br'er Rabbit as that year's annual Disney Christmas Story newspaper comic strip.[37] When the Christmas Story strips were reprinted in the 2017 collection Disney's Christmas Classics, this story was omitted—the only deletion in an otherwise complete run of the strip.[38] Home media Disney has not released a complete version of the film in the United States on home video, given the film's controversial reputation.[39][40] Over the years, Disney has made a variety of statements about whether and when the film would be re-released.[41][42][43] From 1984 to 2005, CEO Michael Eisner stated that the film would not receive a home video release in the United States, due to not wanting to have a disclaimer and fearing backlash and accusations of racism. At Eisner's request, [citation needed] Uncle Remus was not featured in the Splash Mountain attraction, instead being replaced as the narrator by Br'er Frog in the Tokyo Disneyland and Magic Kingdom versions of the ride. In March 2010, Disney CEO Bob Iger stated that there were no plans to release the film on DVD, calling the film "antiquated" and "fairly offensive".[44] In November 2010, Disney creative director Dave Bossert stated in an interview, "I can say there's been a lot of internal discussion about Song of the South. And at some point we're going to do something about it. I don't know when, but we will. We know we want people to see Song of the South because we realize it's a big piece of company history, and we want to do it the right way."[45] Film critic Roger Ebert, who normally disdained any attempt to keep films from any audience, supported the non-release of the film, arguing that Disney films become a part of the consciousness of American children, who take films more literally than do adults.[46][47] Audio from the film—both the musical soundtrack and dialogue—was commonly used in home media tie-ins through the late 1970s. In particular, many book-and-record sets were released featuring the animated portions of the film or summaries of the film as a whole.[48] The Walt Disney Company has also included key portions of the film in VHS and DVD compilations in the United States, as well as on the long-running Walt Disney anthology television series. "Zip-a-Dee-Doo-Dah" and some of the animated portions appear in an added feature on the 2004 Alice in Wonderland Special Edition DVD, as part of the 1950 Christmas special One Hour in Wonderland, which promoted the then-forthcoming film. From 1986 to 2001, most of the musical segments – notably "Zip-a-Dee-Doo-Dah", "How Do You Do?", and "Everybody's Got A Laughing Place" – were included on the VHS and LaserDisc releases of the Disney Sing-Along Songs series. The full-length film has been released in its entirety on VHS and LaserDisc in various European and Asian countries. In the United Kingdom, it was released on PAL VHS between 1982 and 2000. In Japan, it appeared on NTSC VHS and LaserDisc in 1985, 1990 and 1992, with Japanese subtitles during songs. (Under Japanese copyright law, the film is now in the public domain.)[49] Most of the foreign releases of the film are literal translations of the English title; the German title Onkel Remus' Wunderland translates to "Uncle Remus's Wonderland", the Italian title I Racconti Dello Zio Tom translates to "The Stories of Uncle Tom",[50] and the Norwegian title Onkel Remus forteller translates to "Storyteller Uncle Remus".[51] In 2017, after being inaugurated as a Disney Legend, Whoopi Goldberg expressed a desire for Song of the South to be re-released publicly to American audiences and stated, "I'm trying to find a way to get people to start having conversations about bringing Song of the South back, so we can talk about what it was and where it came from and why it came out".[52][53] Song of the South has never been available on Disney's streaming service, Disney+, which launched in the United States in 2019.[54][55][56] In 2020, Iger affirmed during a shareholders meeting that the film would not be getting a release on the service, even with an "outdated cultural depictions" disclaimer, stating that the film is "not appropriate in today's world".[57] Reception Critical reception “As Uncle Remus, James Baskett is so skillful in registering contentment that even the people who believe in the virtues of slavery are going to be impressed and want to know his secret.”—Film critic Manny Farber in The New Republic, December 23, 1946.[58] Bosley Crowther wrote in The New York Times, "More and more, Walt Disney's craftsmen have been loading their feature films with so-called 'live action' in place of their animated whimsies of the past, and by just those proportions has the magic of these Disney films decreased", citing the ratio of live action to animation at two to one, concluding that is "approximately the ratio of its mediocrity to its charm".[59] A review in Variety felt the film overall was "sometimes sentimental, slow and overlong". Nevertheless, the review felt the songs were "above-average, with one 'Zip-adee-do-da,' [sic] likely to be one of the season's favorites" and the animated sequences as "great stuff". They also praised Driscoll and Patten as "two of the most natural and appealing youngsters" and Baskett's performance was "as warming a portrait as has been seen in a long time".[60] A review in Time magazine praised the animated sequences as "topnotch Disney—and delightful", but cautioned that it was "bound to land its maker in hot water" because the character of Uncle Remus was "bound to enrage all educated Negroes and a number of damyankees".[61] Harrison's Reports praised Driscoll and Baskett's performances, particularly the latter writing "his tender understanding of the child's problems gives the picture many appealing moments." Overall, the review felt the film had "a simple but sensitive and pathetic story, filled with deep human interest and fine, clean comedy situations, and it has an air of wholesomeness that comes as a pleasant relief from the general run of pictures nowadays."[62] Dorothy Masters of the New York Daily News wrote: "Although plot is practically ignored, Disney has worked a lot of magic with brilliant animation, effective and wonderful music, besides having made the very best possible choice for Uncle Remus. James Baskett, who portrays the sagacious dean of plantation workers, has both the benign appearance and mellifluous voice to make him the perfect spinner-of-tales. It's largely through his philosophical whimsy that Song of the South is so delightfully charming."[63] Columnist Hedda Hopper also praised Baskett's performance, and advocated for him to receive an Academy Award.[64] Criticism in the black press, however, was more politically divided. Richard B. Dier in The Afro-American was "thoroughly disgusted" by the film for being "as vicious a piece of propaganda for white supremacy as Hollywood ever produced." Herman Hill in The Pittsburgh Courier felt that Song of the South would "prove of inestimable goodwill in the furthering of interracial relations", and considered criticisms of the film to be "unadulterated hogwash symptomatic of the unfortunate racial neurosis that seems to be gripping so many of our humorless brethren these days."[65] Charles Solomon, reviewing the film in the Los Angeles Times during its 1986 re-release, praised the film as "essentially a nostalgic valentine to a past that never existed, and within those limits, it offers a pleasant, family diversion for holiday afternoons when the children get restless."[66] The review aggregator website Rotten Tomatoes has a rating of 50% based on 14 reviews, with an average score of 5.8/10.[67] On Metacritic, the film has a weighted average score of 54 out of 100 based on 6 critics, indicating "mixed or average reviews".[68] Box office By January 1948, the film had grossed $3.4 million in distributor rentals from the United States and Canada,[19][69] netting the studio a profit of $226,000 ($2.83 million in 2017 dollars).[70] Accolades James Baskett was voted an Academy Honorary Award for his portrayal of Uncle Remus, the first African-American man to win any kind of Oscar.[71] The score by Daniele Amfitheatrof, Paul J. Smith, and Charles Wolcott was nominated in the "Scoring of a Musical Picture" category, and "Zip-a-Dee-Doo-Dah", written by Allie Wrubel and Ray Gilbert, won the award for Best Original Song at the 20th Academy Awards on March 20, 1948.[72] A special Academy Award was given to Baskett "for his able and heart-warming characterization of Uncle Remus, friend and story teller to the children of the world in Walt Disney's Song of the South". For their portrayals of the children Johnny and Ginny, Bobby Driscoll and Luana Patten were also discussed for Academy Juvenile Awards, but in 1947 it was decided not to present such awards at all.[73] The film is recognized by the American Film Institute in these lists: 2004: AFI's 100 Years...100 Songs: "Zip-a-Dee-Doo-Dah" – #47[74] 2006: AFI's Greatest Movie Musicals – Nominated[75] Depiction of race The film has sparked significant controversy for its handling of race.[76][77] Cultural historian Jason Sperb describes the film as "one of Hollywood's most resiliently offensive racist texts".[78] Sperb, Neal Gabler, and other critics have noted the film's release as being in the wake of the Double V campaign, a campaign in the United States during World War II to promote victory over racism in the United States and its armed forces, and victory over fascism abroad.[79] Early in the film's production, there was concern that the material would encounter controversy. Disney publicist Vern Caldwell wrote to producer Perce Pearce that "the negro situation is a dangerous one. Between the negro haters and the negro lovers there are many chances to run afoul of situations that could run the gamut all the way from the nasty to the controversial."[15] The Disney Company has stated that, like Harris's book, the film takes place after the American Civil War and that all the African American characters in the movie are no longer slaves.[8] The Hays Office had asked Disney to "be certain that the frontispiece of the book mentioned establishes the date in the 1870s"; however, the final film carried no such statement.[14] Adam Clayton Powell Jr., a congressman from Harlem, branded the film an "insult to American minorities [and] everything that America as a whole stands for."[80] The National Negro Congress set up picket lines in theaters in the big cities where the film played, with its protesters holding signs that read "Song of the South is an insult to the Negro people" and, lampooning "Jingle Bells", chanted: "Disney tells, Disney tells/lies about the South."[80][81] On April 2, 1947, a group of protesters marched around Oakland, California's Paramount Theatre with picket signs reading, "We want films on Democracy not Slavery" and "Don't prejudice children's minds with films like this".[82] The National Jewish Post scorned the fact that the film's lead was not allowed to attend its premiere in Atlanta because of his race.[83] Criticisms in the black press largely objected to the reinforcement of stereotypes, such as the subservient status of black characters, costuming, the exaggerated dialect, and other archaic depictions of black people.[65] Response of civil rights activists According to Valarie Stewart, daughter of Nick Stewart (voice of Br'er Bear in the film), NAACP executive secretary Walter Francis White disliked actress Hattie McDaniel.[84] White, a light-skinned black man with blonde hair and blue eyes, according to Valarie Stewart, launched campaigns against McDaniel's films because McDaniel was dark-skinned, and she alleged that Song of the South was targeted because of White's prejudice against McDaniel.[84] Disney historian Jim Korkis, in his 2012 book Who's Afraid of Song of the South, alleged that White and June Blythe, the director of the American Council on Race Relations, were denied requests to see a treatment for the film.[12] When the film was first released, White telegraphed major newspapers around the country with the following statement, erroneously claiming that the film depicted an antebellum setting: The National Association for the Advancement of Colored People recognizes in Song of the South remarkable artistic merit in the music and in the combination of living actors and the cartoon technique. It regrets, however, that in an effort neither to offend audiences in the north or south, the production helps to perpetuate a dangerously glorified picture of slavery. Making use of the beautiful Uncle Remus folklore, Song of the South unfortunately gives the impression of an idyllic master–slave relationship which is a distortion of the facts.[14] White had not seen the film; his statement was allegedly based on memos he received from two NAACP staff members, Norma Jensen and Hope Spingarn, who attended a press screening on November 20, 1946. Jensen had written the film was "so artistically beautiful that it is difficult to be provoked over the clichés," but said it contained "all the clichés in the book". Spingarn listed several things she found objectionable from the film, including the use of African-American English.[14] Jim Hill Media stated that both Jensen and Spingarn were confused by the film's Reconstruction setting, writing; "it was something that also confused other reviewers who from the tone of the film and the type of similar recent Hollywood movies assumed it must also be set during the time of slavery." Based on the Jensen and Spingarn memos, White released the "official position" of the NAACP in a telegram that was widely quoted in newspapers.[85] Bosley Crowther of The New York Times made a similar assumption, writing that the movie was a "travesty on the antebellum South."[59] Legacy The theme park ride Splash Mountain in Tokyo Disneyland is based on Song of the South. As early as October 1945, a newspaper strip called Uncle Remus and His Tales of Br'er Rabbit appeared in the United States, and this production continued until 1972. There have also been episodes for the series produced for the Disney comic books worldwide, in the U.S., Denmark and the Netherlands, from the 1940s up to 2012.[86] Br'er Fox and Br'er Bear also appeared frequently in Disney's Big Bad Wolf stories, although here, Br'er Bear was usually cast as an honest farmer and family man, instead of an antagonist in his original appearances. The Splash Mountain log flume ride, which opened at Disneyland in 1989, and at Tokyo Disneyland and Magic Kingdom in 1992, is based on the animated portions of Song of the South. As with the film, the ride had drawn controversy over the years due to the racial issues associated with the work. Amid the George Floyd protests in 2020, Disney announced that they would retool the ride in Disneyland and Magic Kingdom to remove the Song of the South elements and replace them with a concept based on Disney's 2009 film The Princess and the Frog. Disney stated that development of the project began in 2019.[87] The New York Times reported that Disney executives had privately discussed removing the attraction's Song of the South theme for at least five years, before putting into development the Princess and the Frog theme.[88] In July 2022, Disney announced that the new ride would be called Tiana's Bayou Adventure.[89] The Magic Kingdom version of Splash Mountain closed in January 2023,[90] while the Disneyland version closed in May 2023.[91] Tiana's Bayou Adventure is scheduled to open in June 2024 at Magic Kingdom and later in 2024 at Disneyland.[92][93] Br'er Bear, the Tar-Baby, and the hummingbirds and moles from the "Zip-a-Dee-Doo-Dah" scene, have cameo appearances in the film Who Framed Roger Rabbit (1988). Br'er Bear has a cameo appearance in the television series Bonkers (1993–1994) in the episode "Casabonkers" (1993). Br'er Rabbit, Br'er Fox, and Br'er Bear make recurring cameo appearances on the television series House of Mouse (2001–2003), and appear in the show's direct-to-video film Mickey's Magical Christmas: Snowed in at the House of Mouse (2001), while the Blue Bird makes a cameo appearance in the House of Mouse episode "Pete's One-Man Show" (2002). In addition, Bre'r Bear appears along with other Disney characters at the end of the direct-to-video film The Lion King 1½ (2004). Br'er Rabbit, Br'er Fox, and Br'er Bear also appeared in the 2011 video game Kinect: Disneyland Adventures for the Xbox 360. The game is a virtual recreation of Disneyland and features a mini game based on the Splash Mountain attraction. Br'er Rabbit helps guide the player character through that game, while Br'er Fox and Br'er Bear serve as antagonists. The three Br'ers also appear as meet-and-greet characters in the game, outside Splash Mountain in Critter Country. In the game, Jess Harnell reprises his role from the attraction as Br'er Rabbit and also takes on the role of Br'er Fox, while Br'er Bear is voiced by James Avery, who previously voiced Br'er Bear and Br'er Frog in the Magic Kingdom version of Splash Mountain. This is the Br'ers' first major appearance in Disney media and their first appearance as computer-generated characters. In 2003, the Online Film Critics Society ranked the film as the 67th greatest animated film of all time.[94] See also Lost Cause of the Confederacy § Song of the South References "Song Of The South (U)". British Board of Film Classification. October 23, 1946. Retrieved November 28, 2015. Solomon, Charles (1989). Enchanted Drawings: The History of Animation. Alfred A. Knopf. p. 186. ISBN 0-394-54684-9. "Song of the South (1946)". The Numbers. Retrieved September 19, 2019. "1948 | Oscars.org | Academy of Motion Picture Arts and Sciences". Oscars.org. March 20, 1948. Retrieved January 19, 2021. Song of the South [2023 Restoration] (less color saturation). Internet Archive. Digital Janitor. February 18, 2024. Retrieved March 30, 2024. Kaufman, Will (2006). The Civil War in American Culture. Edinburgh, Scotland, United Kingdom: Edinburgh University Press. ISBN 0-7486-1935-6. Langman, Larry; Ebner, David (2001). Hollywood's Image of the South: A Century of Southern Films. Westport, Connecticut: Greenwood Press. p. 169. ISBN 0-313-31886-7. Walt Disney Presents "Song of the South" Promotional Program, Page 7. Published 1946 by Walt Disney Productions/RKO Radio Pictures. Korkis 2012, pp. 21–6. Gabler 2006, p. 433. Korkis 2012, pp. 27–34. Korkis 2012, pp. 67–74. "It might be well, from the standpoint of our negro patrons, to eliminate the expression 'darkey' wherever it appears in your dialogue." Joseph I. Breen to Walt Disney, 1 August 1944. Production Code Administration Records, Motion Picture Association of America (Margaret Herrick Library): https://digitalcollections.oscars.org/digital/collection/p15759coll30/id/14031/rec/37 Cohen, Karl F. (1997). Forbidden Animation: Censored Cartoons and Blacklisted Animators in America. Jefferson, North Carolina: McFarland & Company, Inc. p. 64. ISBN 0-7864-2032-4. Gabler 2006, p. 434. Gabler 2006, pp. 434–5. "James Baskett as Uncle Remus". Song of the South.net. Retrieved January 18, 2007. "Song of the South (1946) - Turner Classic Movies". tcm.com. Retrieved February 1, 2023. Gabler 2006, p. 438. Gabler 2006, pp. 438–9. "Bobby Driscoll as Johnny". Song of the South.net. Retrieved January 18, 2007. "Luana Patten as Ginny Favers". Song of the South.net. Retrieved January 18, 2007. "Glenn Leedy as Toby". Song of the South.net. Retrieved January 18, 2007. "Ruth Warrick as Sally". Song of the South.net. Retrieved January 18, 2007. "Eric Rolf as John". Song of the South.net. Retrieved January 18, 2007. Gabler 2006, p. 437. "14 RKO Pictures to Exceed Million in Prod. Cost in Coming 'Year of Years'". Variety. September 12, 1945. p. 12 – via Internet Archive. Gabler 2006, p. 436. Walt Disney's Song of the South, 1946 Publicity Campaign Book, Distributed by RKO Pictures. Copyright Walt Disney Pictures, 1946. "The chain-reaction, endless song, of which American folk music is so plentiful [...] The number is 'Uncle Remus Said,' and it consists of a single, brief melody repeated as often as new lyrics come along." Gilliland, John (197X). "Show 16" (audio). Pop Chronicles. University of North Texas Libraries. "Song of the South Song Lyrics". Retrieved October 18, 2018. Emerson, Ken (1997). Doo-dah!: Stephen Foster and the Rise of American Popular Culture. New York: Simon & Schuster. p. 60. ISBN 978-0684810102. "Blackface!". black-face.com. Retrieved December 24, 2013. In a October 15, 1946 article in the Atlanta Constitution, columnist Harold Martin noted that to bring Baskett to Atlanta, where he would not have been allowed to participate in any of the festivities, "would cause him many embarrassments, for his feelings are the same as any man's". Markstein, Don. "Br'er Rabbit". Don Markstein's Toonopedia. Archived from the original on September 1, 2015. Retrieved January 18, 2007. Inducks.org Holtz, Allan (2012). American Newspaper Comics: An Encyclopedic Reference Guide. Ann Arbor, Michigan: University of Michigan Press. p. 422. ISBN 9780472117567. Korkis, Jim (December 19, 2018). "Disney Christmas Treats". Mouse Planet. Retrieved July 27, 2019. Inge, M. Thomas (September 2012). "Walt Disney's Song of the South and the Politics of Animation". Journal of American Culture. 35 (3): 228. Retrieved July 2, 2016. "Disney (Song of the South)". Urban Legends Reference Pages. July 12, 1997. Retrieved January 18, 2007. "News Archives: 2007 Disney Shareholder Meeting". Song of the South.net. March 8, 2007. Retrieved April 20, 2007. "Disney Backpedaling on Releasing Song of the South?". Song of the South.net. May 11, 2007. Retrieved May 28, 2007. Hill, Jim (July 5, 2007). "As "Tarzan" swings off Broadway, is Beyoncé getting ready to play Aida in Disney's next big movie musical?". Jim Hill Media. Retrieved July 6, 2007. "Disney CEO Calls Movie Antiquated and Fairly Offensive". Song of the South.net. March 16, 2010. Retrieved March 16, 2010. Head, Steve (November 20, 2010). "Disney Producer Encouraging About 'Song of the South' Release". The Post-Movie Podcast. Retrieved November 16, 2011. Brantley, Mike (January 6, 2002). "Song of the South". Alabama Mobile Register. Song of the South.net. Retrieved January 18, 2007. Ebert, Roger (February 13, 2000). "Movie Answer Man (02/13/2000)". Ebert Digital LLC. "Song of the South Memorabilia". Song of the South.net. Archived from the original on February 13, 2007. Retrieved January 18, 2007. "Japanese Court Rules Pre-1953 Movies in Public Domain". contactmusic.com. December 7, 2006. "AKAs for Song of the South". Archived from the original on February 25, 2007. Retrieved January 18, 2007. "Walt Disney's: helaftens spillefilmer 1941–1981". Archived from the original on May 10, 2011. Retrieved October 3, 2009. Amidi, Amid (July 15, 2017). "In Her First Act As A Disney Legend, Whoopi Goldberg Tells Disney To Stop Hiding Its History". Cartoon Brew. Retrieved August 7, 2017. "Whoopi Goldberg Wants Disney to Bring Back 'Song of the South' to Start Conversation About Controversial 1946 Film". www.yahoo.com. July 2, 2020. Retrieved September 1, 2020. Bakare, Lanre (April 23, 2019). "Disney Plus streaming site will not offer 'racist' Song of the South film". The Guardian. Retrieved September 18, 2019. "Why "Song of the South" is not on Disney+". Newsweek. November 12, 2019. Barnes, Brooks (November 12, 2019). "Not Streaming: 'Song of the South' and Other Films Stay in the Past". The New York Times. Retrieved November 13, 2019. Grater, Tom (March 11, 2020). "Bob Iger Confirms 'Song Of The South' Won't Be Added To Disney+, Even With Disclaimer". Deadline. Retrieved March 11, 2020. Farber, Manny (2009). Farber on Film: The Complete Film Writings of Manny Farber. London, New York: The Library of America. p. 824. ISBN 978-1-59853-050-6. Crowther, Bosley (November 28, 1946). "The Screen; 'Song of the South,' Disney Film Combining Cartoons and Life, Opens at Palace—Abbott and Costello at Loew's Criterion". The New York Times. Vol. 96, no. 32450. "Film Reviews: Song of the South". Variety. November 6, 1946. p. 18. Retrieved August 25, 2022 – via Internet Archive. "The New Pictures". Time. November 18, 1946. "'Song of the South' with Bobby Driscoll, Ruth Warrick and James Baskett". Harrison's Reports. November 2, 1946. p. 174. Retrieved August 25, 2022 – via Internet Archive. Masters, Dorothy (November 28, 1946). "Disney Treat Screens Gospel of Uncle Remus". New York Daily News. p. C16. Retrieved August 25, 2022 – via Newspapers.com. Frost, Frost (Winter 2008). "Hedda Hopper, Hollywood Gossip, and the Politics of Racial Representation in Film, 1946-1948". The Journal of African American History. 93 (1): 36–63. doi:10.1086/JAAHv93n1p36. JSTOR 20064255. S2CID 142114722. Retrieved March 23, 2023. Gevinson, Alan (1997). Within Our Gates: Ethnicity in American Feature Films, 1911-1960. California: University of California Press. p. 956. ISBN 978-0-520-20964-0. Solomon, Charles (November 21, 1986). "Movie Review: Animation Sings in 'Song of the South'". Los Angeles Times. Retrieved September 19, 2019. "Song of the South (1946)". Rotten Tomatoes. Fandango Media. Retrieved August 25, 2022. "Song of the South Reviews". Metacritic. Red Ventures. Retrieved January 5, 2020. "Top Grossers of 1947". Variety. January 7, 1948. p. 63 – via Internet Archive. Thomas, Bob (1994) [1976]. Walt Disney: An American Original. New York: Hyperion Books. p. 205. ISBN 0-7868-6027-8. Song of the South - IMDb, retrieved June 29, 2020 Song of the South opened in Los Angeles in 1947, which became its qualification year for the awards. Parsons, Luella (February 28, 1960). "That Little Girl in 'Song of the South' a Big Girl Now". Lincoln Sunday Journal and Star. Retrieved September 2, 2008. "AFI's 100 Years...100 Songs" (PDF). American Film Institute. Retrieved August 13, 2016. "AFI's Greatest Movie Musicals Nominees". Retrieved August 13, 2016. Suddath, Claudia (December 9, 2009). "Top 10 Disney Controversies". Time. EST, Samuel Spencer On 11/12/19 at 10:06 AM (November 12, 2019). "Why "Song of the South" is not on Disney+". Newsweek. Retrieved January 14, 2020. Lingan, John (January 4, 2013). "Bristling Dixie". Slate. Retrieved August 21, 2013. Sperb 2013. Watts, Steven (2001). The Magic Kingdom: Walt Disney and the American Way of Life. University of Missouri Press. pp. 276–277. ISBN 0-8262-1379-0. "Song Of South Picketed; Line at the Palace Protests Disney Portrayal" (PDF). The New York Times. Vol. 96, no. 32466. December 14, 1946. Korkis 2012, p. 69. Biron, Phineas J. (January 3, 1947). "Jewish Post". Hoosier State Chronicles: Indiana's Digital Historic Newspaper Program. Retrieved December 14, 2020. Stewart, Valarie (January 23, 2023). Splash Mountain: Saving Her Father's Legacy, The Story of Nick Stewart and His Daughter Valarie (Video). WDW Pro. Retrieved January 29, 2023. "Wednesdays with Wade: Did the NAACP kill "Song of the South"?". Jim Hill Media. November 15, 2005. "Brer Rabbit" at Inducks Pallotta, Frank (June 25, 2020). "Splash Mountain, a Disney ride based on a controversial film, will be 'completely reimagined'". CNN. Retrieved June 25, 2020. Barnes, Brooks (June 25, 2020). "Disney's Splash Mountain to Drop 'Song of the South' Depictions". The New York Times. Retrieved December 9, 2020. Becker, Emma (July 1, 2022). "Disney Reveals Splash Mountain Will Be Transformed Into Tiana's Bayou Adventure by 2024". People magazine. Retrieved July 1, 2022. Chen, Eve (December 2, 2022). "Disney World will close Splash Mountain in January for a new 'Princess and the Frog' adventure". usatoday.com. Retrieved December 5, 2022. Chen, Eve (April 12, 2023). "Disneyland's Splash Mountain closing date, new Tiana Bayou's Adventure details announced". usatoday.com. Retrieved April 12, 2023. Scott, Mike (February 13, 2024). "Disney reveals opening date for New Orleans-inspired Tiana's Bayou Adventure". nola.com. Retrieved February 16, 2024. Chen, Eve (May 12, 2024). "Tiana's Bayou Adventure, Splash Mountain's replacement, will open at Disney World in June". usatoday.com. Retrieved May 12, 2024. "Top 100 Animated Features of All Time". Online Film Critics Society. Archived from the original on February 11, 2010. Retrieved January 18, 2007. Bibliography Gabler, Neal (2006). Walt Disney: The Triumph of the American Imagination. Vintage Books. ISBN 978-0-679-75747-4. Korkis, Jim (2012). Who's Afraid of Song of the South? and Other Forbidden Disney Stories. Theme Park Press. ISBN 978-0984341559. Sperb, Jason (2013). Disney's Most Notorious Film: Race, Convergence, and the Hidden Histories of Song of the South. University of Texas Press. ISBN 978-0292756779.

The Adventures of Tom Sawyer is a 1938 American drama film produced by David O. Selznick and directed by Norman Taurog who had previously directed Huckleberry Finn (1931) with Jackie Coogan and Junior Durkin. The film starred Tommy Kelly in the title role, with Jackie Moran and Ann Gillis. The screenplay by John V. A. Weaver was based on the classic 1876 novel of the same name by Mark Twain. The movie was the first film version of the novel to be made in color. Plot The United Artists release includes most of the sequences familiar to readers of the book, including the fence-whitewashing episode; a wild raft ride down the Mississippi River; Tom and Huckleberry Finn's attendance at their own funeral, after the boys, who were enjoying an adventure on a remote island, are presumed dead; the murder trial of local drunkard Muff Potter; and Tom and Becky Thatcher's flight through a cave as they try to escape Injun Joe, who is revealed to be the real killer. Cast Tommy Kelly as Tom Sawyer Jackie Moran as Huckleberry Finn Ann Gillis as Becky Thatcher May Robson as Aunt Polly Walter Brennan as Muff Potter Victor Jory as Injun Joe David Holt as Sid Sawyer Victor Kilian as Sheriff Nana Bryant as Mrs. Thatcher Olin Howland as Mr. Dobbins, school teacher Donald Meek as Sunday School Superintendent Charles Richman as Judge Thatcher Margaret Hamilton as Mrs. Harper Marcia Mae Jones as Mary Sawyer Mickey Rentschler as Joe Harper Cora Sue Collins as Amy Lawrence Philip Hurlic as Little Jim Frank McGlynn Sr. as Minister (uncredited) Roland Drew as Dr. Robinson (uncredited) Spring Byington as Widow Douglas (uncredited) Production notes The Adventures of Tom Sawyer was the fourth film adaptation of the Twain novel, following versions released in 1907, 1917, and 1930, and this is the first filmed in Technicolor. H. C. Potter originally was signed to direct but was fired and replaced by Taurog after George Cukor declined the assignment.[4] Cukor directed some scenes, but received no on-screen credit for his contributions. Tommy Kelly, a Bronx fireman's son, was selected for the title role through a national campaign waged by producer David O. Selznick, who later would conduct a similar search for an actress to portray Scarlett O'Hara in Gone with the Wind. According to a 1937 memo he sent to story editor Katharine Brown, he originally hoped to cast an orphan as Tom, feeling such a stunt would receive "tremendous attention and arouse such a warm public feeling that it would add enormously to the gross of the picture."[5] Kelly failed to achieve the star status of fellow child actor Freddie Bartholomew, and after an inconsequential career he retired and later became a school teacher.[6] After reading the comment cards completed by an audience at a sneak preview of the film, Selznick sent director Taurog a memo expressing concern about the climactic scene in the cave, which many viewers had described as "too horrible for children." He advised Taurog "this worried me, because we certainly want the picture to be for a family audience," and as a result he was cutting a close-up of Becky, in which her hysteria was "perhaps a shade too much that of a very ill woman, rather than that of a little girl," "with regrets."[7] On the strength of the designs for the cave sequence executed by William Cameron Menzies, Selznick hired him for Gone with the Wind.[8] Some exterior scenes were filmed at Big Bear Lake, Lake Malibu, Paramount Ranch in Agoura, California, and RKO's Encino movie ranch. Other scenes were filmed on recycled sets left over from A Star is Born (1937), such as the Blodgett family home interior (kitchen, living room, and bedroom), and a silhouette of a wolf howling at the Moon. Mississippi River long shots from Tom Sawyer would later be reused in MGM's 1951 musical Show Boat. Reception The movie premiered at the Radio City Music Hall, and B. R. Crisler of The New York Times wrote that Tommy Kelly was "a miracle of casting" and called the film "one of the better pictures of the year" on the strength of the source material alone, but also criticized the film for including scenes of "cheap and obvious" slapstick involving such things as tomatoes and cake icing. Crisler told producer David O. Selznick to "get busy on 'Gone with the Wind', will you, before WE begin throwing tomatoes."[9] Variety wrote that Selznick had "pulled no financial punches" in mounting the production and that while the film was generally faithful to the book, an "excellent job" had been done on the new dialogue written for the screen.[10] Film Daily called it "a triumph for all concerned."[11] John Mosher of The New Yorker praised Kelly and Gillis as "altogether very much the Twain children" and called Weaver's screenplay "excellent".[12] Time Out London called the film "extraordinarily handsome to look at, with exquisite Technicolor camerawork by Wong Howe and some imaginative designs . . . [it] has its longueurs, but it does capture the sense of a lazy Mississippi summer and much of the spirit of the book, with Jory making a superbly villainous Injun Joe."[13] TV Guide described it as "a lively production featuring a quick pace, a chilling climax, and a surprising amount of wit."[14]

Swiss Family Robinson is a 1940 American film released by RKO Radio Pictures and directed by Edward Ludwig. It is based on the 1812 novel The Swiss Family Robinson by Johann David Wyss and is the first feature-length film version of the story. Plot In London in 1813, a Swiss father, William Robinson, wishes to escape the influence of the superficial profligacy of London on his family. His eldest son, Fritz, is obsessed with Napoleon, whom he considers his hero. His middle son, Jack, is a foolish dandy who cares only about fashion and money. And his dreamy son Ernest is preoccupied with reading and writing to the exclusion of all else. William Robinson sells his business and house, in order to move with his wife and four sons to Australia. They set out on a brig bound for the faraway country. Following a long voyage, the family is shipwrecked on a remote deserted island after the captain and crew are washed overboard during a storm. The family members collaborate to create a home for themselves in the alien jungle environment. They gradually learn to use the unfamiliar plants and animals to create what they need to live and thrive. They have many adventures and challenges and make many discoveries. The mother, however, misses her elegant home and community in England, and wishes to somehow be rescued and return. The father slowly convinces her that living in the natural environment is better for the family and that they are meant to be there. In the end, Fritz and Jack board a ship home while the rest of the family stay on the island. Cast Thomas Mitchell as William Robinson Edna Best as Elizabeth Robinson Freddie Bartholomew as Jack Robinson Terry Kilburn as Ernest Robinson Tim Holt as Fritz Robinson Bobbie Quillan as Francis Robinson (credited as Baby Bobby Quillan) Christian Rub as Thoren John Wray as Ramsey Herbert Rawlinson as Captain Orson Welles as Narrator (uncredited) Production notes The producers specialised in making films based on public domain texts.[2] Tim Holt was the first star assigned.[3] Freddie Bartholomew and Terry Kilburn were borrowed from MGM.[4] This was the first feature-length film with a performance by Orson Welles, who went uncredited as the story's narrator. A version running 108 minutes (15 minutes longer than the generally available print) is also screened occasionally. Critical reception Upon release The film was nominated for an Oscar for Best Special Effects (Vernon L. Walker, John O. Aalberg).[5][6] Frank Nugent of The New York Times wrote: When it stays with the book, which was adventure plus instruction, the film is considerably better. The storm sequences—there are three of them—are properly noisy, drenching and spectacular. The salvage trips to the reef-bound brig, the lessons in candlemaking and ostrich-taking, the recipe for Mrs. Robinson's fish stew, some of the family's minor naturalistic adventures are amusingly, and often excitingly, depicted. They and the uniformly competent performance of the cast make it a moderately entertaining, if rather somnolently paced, story-book film.[7] Variety called it "a good adventure yarn" but suggested that the tropical storm sequences went on too long, and that Edna Best's hairdo seemed "always too perfect" for a believable castaway.[8] Film Daily called it "an appealing picture for the family trade" and "a genuine accomplishment."[9] Harrison's Reports wrote, "Pretty good entertainment ... adapted with imagination and produced with skill."[10] John Mosher of The New Yorker wrote a mixed review, criticizing the change of the character of the mother from resourceful in the book to "fretful" and "discontented" in the film, a mood that "pervades the story and saps the vigor of the adventure element." However, Mosher thought that "Some pleasant domestic animals and a pet or two add variety", and he found the tropical storm "satisfactory."[11] The movie recorded a loss of $180,000.[1] Contemporary critics Leonard Maltin calls the 93-minute version an "Excellent adaptation of [the] Johann Wyss book", and writes that it "boasts impressive special effects, strong performances, and much darker elements than the Disney film Swiss Family Robinson".[12] The film is one of Oscar-winning film director James Ivory's favorite movies. Ivory is quoted as saying that he liked the idea of the Robinsons transforming their deserted island with their London furnishings salvaged from their shipwreck, saying, "Swiss Family Robinson … appealed to my boyhood taste for disasters." Swiss Family Robinson (1960) https://rumble.com/v4zojek-swiss-family-robinson-1960.html

Robinson Crusoe is a 1927 British silent drama film produced and directed by M.A. Wetherell who also played the title role. A sound version was released in 1932. While the sound version had no audible dialog, it featured a synchronized musical score with sound effects. In addition to M.A. Wetherell, the film also starred Fay Compton and Herbert Waithe. It is an adaptation of the 1719 novel Robinson Crusoe by Daniel Defoe. The screenplay concerns a shipwrecked man stranded on a desert island. The film was made at Cricklewood Studios and Lime Grove Studios in London. Cast M.A. Wetherell as Robinson Crusoe Fay Compton as Sophie Bruce Herbert Waithe as Man Friday Reginald Fox Alexander Selkirk (1676 – 13 December 1721) was a Scottish privateer and Royal Navy officer who spent four years and four months as a castaway (1704–1709) after being marooned by his captain, initially at his request, on an uninhabited island in the South Pacific Ocean. He survived but died from tropical illness years later while serving as a lieutenant[1] aboard HMS Weymouth off West Africa. Selkirk was an unruly youth and joined buccaneering voyages to the South Pacific during the War of the Spanish Succession. One such expedition was on Cinque Ports, captained by Thomas Stradling, under the overall command of William Dampier. Stradling's ship stopped to resupply at the uninhabited Juan Fernández Islands, west of South America, and Selkirk judged correctly that the craft was unseaworthy and asked to be left there. Selkirk's suspicions were soon justified, as Cinque Ports foundered near Malpelo Island 400 km (250 mi) from the coast of what is now Colombia. By the time he was eventually rescued by the privateer Woodes Rogers, who was accompanied by Dampier, Selkirk had become adept at hunting and making use of the resources that he found on the island. His story of survival was widely publicized after his return, becoming one of the reputed sources of inspiration for the English writer Daniel Defoe's fictional character Robinson Crusoe. Early life and privateering Alexander Selkirk was the son of a shoemaker and tanner in Lower Largo, Fife, Scotland, born in 1676.[2] In his youth, he displayed a quarrelsome and unruly disposition. He was summoned before the Kirk Session in August 1693[3] for his "indecent conduct in church", but he "did not appear, being gone to sea". He was back at Largo in 1701 when he again came to the attention of church authorities for assaulting his brothers.[4] Early on, he was engaged in buccaneering. In 1703, he joined an expedition of English privateer and explorer William Dampier to the South Pacific Ocean,[5] setting sail from Kinsale in Ireland on 11 September.[6] They carried letters of marque from the Lord High Admiral authorizing their armed merchant ships to attack foreign enemies as the War of the Spanish Succession was then going on between England and Spain.[7] Dampier was captain of St George and Selkirk served on Cinque Ports, St George's companion ship, as sailing master under Captain Thomas Stradling.[8] By this time, Selkirk must have had considerable experience at sea.[4] In February 1704, following a stormy passage around Cape Horn,[9] the privateers fought a long battle with a well-armed French vessel, St Joseph, only to have it escape to warn its Spanish allies of their arrival in the Pacific.[10] A raid on the Panamanian gold mining town of Santa María failed when their landing party was ambushed.[11] The easy capture of Asunción, a heavily laden merchantman, revived the men's hopes of plunder, and Selkirk was put in charge of the prize ship. Dampier took off some much-needed provisions of wine, brandy, sugar, and flour, then abruptly set the ship free, arguing that the gain was not worth the effort. In May 1704, Stradling decided to abandon Dampier and strike out on his own.[12] Castaway Shaded relief map of Robinson Crusoe Island with blue ocean background Map of Robinson Crusoe Island (formerly Más a Tierra island), where Selkirk lived as a castaway In September 1704, after parting ways with Dampier,[13] Captain Stradling brought Cinque Ports to an island known to the Spanish as Más a Tierra located in the uninhabited Juan Fernández archipelago 670 km (420 mi) off the coast of Chile for a mid-expedition restocking of fresh water and supplies.[14] Selkirk had grave concerns about the seaworthiness of their vessel and wanted to make the necessary repairs before going any further. He declared that he would rather stay on Juan Fernández than continue in a dangerously leaky ship.[15] Stradling took him up on the offer and landed Selkirk on the island with a musket, a hatchet, a knife, a cooking pot, a Bible, bedding and some clothes.[16] Selkirk immediately regretted his rashness, but Stradling refused to let him back on board.[15] Cinque Ports later foundered off the coast of what is now Colombia. Stradling and some of his crew survived the loss of their ship but were forced to surrender to the Spanish. The survivors were taken to Lima, Peru, where they endured a harsh imprisonment.[17] Life on the island At first, Selkirk remained along the shoreline of Más a Tierra. During this time, he ate spiny lobsters and scanned the ocean daily for rescue, suffering all the while from loneliness, misery, and remorse. Hordes of raucous sea lions, gathering on the beach for the mating season, eventually drove him to the island's interior.[18] Once inland, his way of life took a turn for the better. More foods were available there: feral goats—introduced by earlier sailors—provided him with meat and milk, while wild turnips, the leaves of the indigenous cabbage tree and dried Schinus fruits (pink peppercorns) offered him variety and spice. Rats would attack him at night, but he was able to sleep soundly and in safety by domesticating and living near feral cats.[19] Engraving of Selkirk sitting in the doorway of a hut reading a Bible Selkirk reading his Bible in one of two huts he built on a mountainside Selkirk proved resourceful in using materials that he found on the island: he forged a new knife out of barrel hoops left on the beach;[20] built two huts out of pepper trees, one of which he used for cooking and the other for sleeping; and employed his musket to hunt goats and his knife to clean their carcasses. As his gunpowder dwindled, he had to chase prey on foot. During one such chase, he was badly injured when he tumbled from a cliff, lying helpless and unable to move for about a day. His prey had cushioned his fall, probably sparing him a broken back.[21] Childhood lessons learned from his father, a tanner, now served him well. For example, when his clothes wore out, he made new ones from hair-covered goatskins using a nail for sewing. As his shoes became unusable, he did not need to replace them, since his toughened, calloused feet made protection unnecessary.[20] He sang psalms and read from the Bible, finding it a comfort in his situation and a prop for his English.[16] During his sojourn on the island, two vessels came to anchor. Unfortunately for Selkirk, both were Spanish. Being British and a privateer, he would have faced a grim fate if captured and therefore did his best to hide. Once, he was spotted and chased by a group of Spanish sailors from one of the ships. His pursuers urinated beneath the tree in which he was hiding but failed to notice him. The would-be captors then gave up and sailed away.[15] Rescue Selkirk, seated in a ship's boat, being taken aboard Duke. The rescued Selkirk, seated at right, being taken aboard Duke. Selkirk's long-awaited deliverance came on 2 February 1709 by way of Duke,[22] a privateering ship piloted by William Dampier, and its sailing companion Duchess.[23] Thomas Dover led the landing party that met Selkirk.[24] After four years and four months without human company, Selkirk was almost incoherent with joy.[25] The Duke's captain and leader of the expedition was Woodes Rogers, who wryly referred to Selkirk as the governor of the island. The agile castaway caught two or three goats a day and helped restore the health of Rogers' men, who had developed scurvy.[26] Captain Rogers was impressed by Selkirk's physical vigour, but also by the peace of mind that he had attained while living on the island, observing: "One may see that solitude and retirement from the world is not such an insufferable state of life as most men imagine, especially when people are fairly called or thrown into it unavoidably, as this man was."[27] He made Selkirk Duke's second mate, later giving him command of one of their prize ships, Increase,[28] before it was ransomed by the Spanish.[29] Selkirk returned to privateering with a vengeance. At Guayaquil in present-day Ecuador, he led a boat crew up the Guayas River where several wealthy Spanish ladies had fled, and looted the gold and jewels they had hidden inside their clothing.[30] His part in the hunt for treasure galleons along the coast of Mexico resulted in the capture of Nuestra Señora de la Encarnación y Desengaño,[31] renamed Bachelor, on which he served as sailing master under Captain Dover to the Dutch East Indies.[32] Selkirk completed the around-the-world voyage by the Cape of Good Hope as the sailing master of Duke,[33] arriving at the Downs off the English coast on 1 October 1711.[34] He had been away for eight years.[6] Later life and influence Engraving of Robinson Crusoe standing on the shore of an island, dressed in hair-covered goatskin clothing An illustration of Crusoe in goatskin clothing shows the influence of Selkirk Selkirk's experience as a castaway aroused a great deal of attention in Britain. His fellow crewman Edward Cooke mentioned Selkirk's ordeal in a book chronicling their privateering expedition, A Voyage to the South Sea and Round the World (1712). A more detailed recounting was published by the expedition's leader, Rogers, within months.[22] The following year, prominent essayist Richard Steele wrote an article about him for The Englishman newspaper. Selkirk appeared set to enjoy a life of ease and celebrity, claiming his share of Duke's plundered wealth—about £800[35] (equivalent to £150,500 today).[36] However, legal disputes made the amount of any payment uncertain.[37] After a few months in London, he began to seem more like his former self again.[35] However, he still missed his secluded and solitary moments, remarking, "I am now worth eight hundred pounds, but shall never be as happy as when I was not worth a farthing."[38] In September 1713, he was charged with assaulting a shipwright in Bristol and might have been kept in confinement for two years.[39] He returned to Lower Largo, where he met Sophia Bruce, a young dairymaid. They eloped to London early and married on 4 March 1717. He was soon off to sea again, having enlisted in the Royal Navy.[40] While on a visit to Plymouth in 1720, he married a widowed innkeeper named Frances Candis.[41] He was serving as an officer[42] on board HMS Weymouth, engaged in an anti-piracy patrol off the west coast of Africa. The ship lingered near the mouth of the River Gambia to resupply. However, the natives took several of their number hostages and ransomed them off for food. As the ship sailed down the coast of West Africa, men began to contract yellow fever from the swarms of mosquitoes that followed them. Selkirk became sick with the disease in early December. He died on 13 December 1721, along with shipmate William King. Both were buried at sea.[43] When Daniel Defoe published The Life and Surprising Adventures of Robinson Crusoe (1719), few readers could have missed the resemblance to Selkirk. An illustration on the first page of the novel shows "a rather melancholy-looking man standing on the shore of an island, gazing inland", in the words of modern explorer Tim Severin. He is dressed in the familiar hirsute goatskins, his feet and shins bare.[44] Yet Crusoe's island is located not in the mid-latitudes of the South Pacific but 4,300 km (2,700 mi) away in the Caribbean, where the furry attire would hardly be comfortable in the tropical heat. This incongruity supports the popular belief that Selkirk was a model for the fictional character,[45] though most literary scholars now accept that he was "just one of many survival narratives that Defoe knew about".[46] In other literary works Title page from The Life and Adventures of Alexander Selkirk, the Real Robinson Crusoe (1835), by an unknown author William Cowper's "The Solitude of Alexander Selkirk" is about Selkirk's feelings as the castaway who lived all alone on the island. This poem gave rise to the common phrase "monarch of all I survey" via the verse: I am monarch of all I survey, My right there is none to dispute; From the center all around to the sea, I am the lord of the fowl and the brute.[47] Jorge Luis Borges wrote a sonnet named after Selkirk. In it, Selkirk wakes from a dream of the island to find himself "returned to the world of men", and thinks of his past, castaway self as a separate person he wishes to comfort. Charles Dickens used Selkirk as a simile in Chapter Two of The Pickwick Papers (1836): "Colonel Builder and Sir Thomas Clubber exchanged snuff-boxes, and looked very much like a pair of Alexander Selkirks—' Monarchs of all they surveyed. '"[48] This is also a reference to William Cowper's poem.[47] Poet Patrick Kavanagh likens his loneliness on the road to that of Selkirk, in his poem "Inniskeen Road: July Evening": Oh, Alexander Selkirk knew the plight Of being king and government and nation. A road, a mile of the kingdom, I am king Of banks and stones and every blooming thing.[49] In "Etiquette", one of W. S. Gilbert's Bab Ballads, Selkirk is used as a model for the English castaways: These passengers, because they clung to a mast, Upon a desert island were eventually cast. They hunted for their meals, as Alexander Selkirk used, But they couldn't chat together—they had not been introduced.[50] Joshua Slocum mentions Selkirk in the book Sailing Alone Around the World (1900). During his visit to the Juan Fernández Islands, Slocum runs across a marker commemorating Selkirk's stay.[51] Diana Souhami draws on testimony from Selkirk and many others in her Selkirk's Island (2001), from a journey to rescue to arrival home and inspiration for the prolific Daniel Defoe. In Allan Cole and Chris Bunch's Sten science fiction series, Book Two, The Wolf Worlds, the Scottish character Alex bemoans their predicament after crash landing: "'A slack way for a mon,' Alex mourned to himself. 'Ah, didnae ken Ah'd ever been Alex Selkirk. '"[52] In film Selkirk, the Real Robinson Crusoe is a stop motion film by Walter Tournier based on Selkirk's life. It premièred simultaneously in Argentina, Chile, and Uruguay on 2 February 2012,[53] distributed by The Walt Disney Company. It was the first full-length animated feature to be produced in Uruguay.[54] Commemoration Bronze plaque in memory of Selkirk affixed to a building Plaque for Selkirk in Lower Largo, Scotland, which reads: "In memory of Alexander Selkirk, mariner, the original of Robinson Crusoe who lived on the island of Juan Fernández in complete solitude for four years and four months. He died 1723 [sic], lieutenant of HMS Weymouth, aged 47 years [sic]. This statue is erected by David Gillies, net manufacturer, on the site of the cottage in which Selkirk was born." Selkirk has been memorialized in his Scottish birthplace. Lord Aberdeen delivered a speech on 11 December 1885, after which his wife, Lady Aberdeen, unveiled a bronze statue and plaque in memory of Selkirk outside a house on the site of his original home on the Main Street of Lower Largo. David Gillies of Cardy House, Lower Largo, a descendant of the Selkirks, donated the statue created by Thomas Stuart Burnett.[55] The Scotsman is also remembered in his former island home. In 1869 the crew of HMS Topaze placed a bronze tablet at a spot called Selkirk's Lookout on a mountain of Más a Tierra, Juan Fernández Islands, to mark his stay.[56] On 1 January 1966 Chilean president Eduardo Frei Montalva renamed Más a Tierra Robinson Crusoe Island after Defoe's fictional character to attract tourists. The largest of the Juan Fernández Islands, known as Más Afuera, became Alejandro Selkirk Island, although Selkirk probably never saw that island since it is located 180 kilometres (110 miles; 100 nautical miles) to the west.[57] Archaeological findings An archaeological expedition to the Juan Fernández Islands in February 2005 found part of a nautical instrument that likely belonged to Selkirk. It was "a fragment of copper alloy identified as being from a pair of navigational dividers"[58] dating from the early 18th (or late 17th) century. Selkirk is the only person known to have been on the island at that time who is likely to have had dividers and was even said by Rogers to have had such instruments in his possession.[59] The artifact was discovered while excavating a site not far from Selkirk's Lookout where the famous castaway is believed to have lived.[60] In 1825, during John Howell's research of Alexander Selkirk's biography, his "flip-can" was in the possession of his great-grand-nephew John Selkirk, and Alexander's musket was "in the possession of Major Lumsden of Lathallan."