The Animated
Man: A Life of Walt Disney
by Michael Barrier
University of California
Press, Berkeley, CA, 2007
411 pp. Trade, $ 29.95
ISBN: 0-520-24117-6.
Reviewed by Wilfred
Niels Arnold
University of Kansas
Medical Center
warnold@kumc.edu
Walt Disney (1901-1966)
is an entertainment industry icon, whose
contributions include creation of films
(both animated and live), production of
television shows, and construction of
theme parks. His success and visibility
were so great in his lifetime that a generic
term, Disney Cartoon, crept
into the vernacular for all manner of
animated screen items, which must have
upset his predecessors in the medium and
his subsequent competitors. But he was
the first to develop a full-length feature
film in animation, Snow White and the
Seven Dwarfs. And Disneys Fantasia,
1940, was the first successful realization
of music as images: I remember being deeply
impressed by this a year or so later in
Australia; the more so as a pleasant distraction
during WW II worries about Europe and
the Pacific.
While The Animated
Man succeeds in capturing day-to-day
activities of the developing Disney industry,
a large proportion of the book is devoted
to labored detail. The narrative is sometimes
difficult to follow at first reading because
of a paucity of chronological hallmarks
and unconvincing chapter headings. Readers
of Leonardo Reviews will probably
expect a more analytical view of the man
who became a household name, and anticipate
a more philosophical discussion on the
strengths and weaknesses of animation
techniques as developed by one of its
prime movers. They will be disappointed
on both scores. On the other hand, the
attention to Walts older brother
Roy Disney (1893-1971) is welcome, and
he certainly comes across as a steadying
influence in their overlapping careers.
Snow White and the
Seven Dwarfs
opened in December 1937, and just six
months later Disney received honorary
degrees from Harvard and Yale Universities.
At the former ceremony, the recipient
had the good grace to acknowledge that
he wished he had a college education.
Michael Barrier was surprised that each
honor was only a Master of Arts. On the
other hand, some of us think that the
honorary doctorate has become a bit of
a give-away in recent years.
During the early corporate
years Disney was always self-confident
but bordered on being a benign despot
according to Barrier. Things reached a
head in the spring of 1941. Under economic
pressure from their bank and shareholders,
Walt Disney Productions felt a necessity
to scale back costs. Each laid-off employee
was assured by Walt himself that "this
release is not based on unsatisfactory
performance on your part." Not unreasonably,
one of them had the temerity to ask what
he should do instead, and Disney replied
"Start a hot-dog stand." A picket
line of dissident workers went up at the
end of May. Thereafter, Disney remained
generally disturbed about organized labor,
and in 1947 he actually testified before
the House Un-American Activities Committee
that some former workers who had instigated
the 1941 strike were Communist sympathizers.
Some of the black and
white illustrations are curious choices
and suggest deficiencies in research,
fact-checking, and editing. For example,
below one of the ganged photographic reproductions
starting after page 236 the caption refers
to a Disneyland "monorail" when
obviously it is a regular pair of rails,
albeit of small gauge. A photograph of
Walt Disney and actor Richard Todd could
easily have been cropped rather than include
an "unidentified third man." Again, an
"unidentified lawn-bowler" at the clubhouse
of Smoke Tree Ranch, Palm Springs, is
given equal weight to Walt within a half-page
photograph surely a more informative
action shot of Disney on his own could
have been discovered.
Walt Disney died of
lung cancer in Los Angeles, December 15,
1966. Two years later his image appeared
on a U.S. postage stamp (6 cents); just
one of many recognition items befitting
his substantial contributions. The old
studios are now part of a multi-billion
dollar media corporation that carries
his name. Michael Barrier resides in California
and is the founding editor of the magazine
Funny-World. He is also the author
of Hollywood Cartoons: American Animation
in Its Golden Age, published
in 1999.