193 quotes found
"If you can't say somethin' nice.., don't say nothin' at all."
"Eating greens is a special treat. It makes long ears and great big feet. [to Bambi, aloud] But it sure is awful stuff to eat. [looks at his mother and turns to Bambi] [whispering] I made that last part up myself."
"[after thumping his foot by a old trunk] I'm thumpin'. That’s why they call me Thumper! [his echo comes on 'call me Thumper'] Thumper! [his echo comes on 'Thumper!']"
"You must never rush out on the meadow. There might be danger. Out there, we're unprotected. The meadow is wide and open, and there are no trees or bushes to hide us. So we have to be very careful. Wait here. I'll go out first. And if the meadow is safe, I'll call you."
"Yes. I know."
"Everyone respects him. He is the oldest deer to have lived. He is very brave and very wise. That's why he is known as the great Prince of the Forest."
"[her last words before she dies] FASTER, FASTER BAMBI! DON'T LOOK BACK! KEEP RUNNING! KEEP RUNNING!"
"[to Bambi after his mother died at the hands of Man] Your mother can't be with you anymore. Come, my son."
"[to Bambi] It is Man. He is here again. There are many this time. We must go deep into the forest. Hurry! Follow me!"
"The first movie I ever saw was a horror movie. It was Bambi. When that little deer gets caught in a forest fire, I was terrified, but I was also exhilarated. I can't explain it."
"Walt Disney's multiplane technicolor feature"
"Love Comes To The Forest Folk . . . and to you, in one of the world's greatest love stories !"
"Rediscover the wonder of this beautifully crafted animated film. [1982 re-release]"
"Enchanting Entertainment for Everyone! (1966 re-release)"
"BUBBLING WITH Laughter! TINGLING WITH Excitement! SPARKLING WITH Delight! (1966 re-release)"
"5 HAPPY SONG HITS... to Warm Your Heart! (1966 re-release)"
"A great love story."
"Bobby Stewart as Baby Bambi"
"Donnie Dunagan as Young Bambi"
"Hardie Albright as Adolescent Bambi"
"John Sutherland as Adult Bambi"
"Paula Winslowe as Bambi's Mother"
"Peter Behn as Young Thumper"
"Tim Davis as Adolescent Thumper and Adolescent Flower"
"Sam Edwards as Adult Thumper"
"Stan Alexander as Young Flower"
"Sterling Holloway as Adult Flower"
"Will Wright as Friend Owl"
"Cammie King as Young Faline"
"Ann Gillis as Adult Faline"
"Jon Provost as Mrs. Rabbit"
"[First Lines and Introduction to "Toccata and Fugue in D Minor"] How do you do? Uh, my name is Deems Taylor, and it's my very pleasant duty to welcome you here on behalf of Walt Disney, Leopold Stokowski and all the other artists and musicians whose combined talents went into the creation of this new form of entertainment, Fantasia. What you're going to see are the designs and pictures and stories that music inspired in the minds and imaginations of a group of artists. In other words, these are not going to be the interpretations of trained musicians, which I think is all to the good. Now, there are three kinds of music on this Fantasia program. First, there's the kind that tells a definite story. Then there's the kind, that while it has no specific plot, does paint a series of more or less definite pictures. Then there's a third kind, music that exists simply for its own sake. Now, the number that opens our Fantasia program, the Toccata and Fugue, is music of this third kind, what we call absolute music. Even the title has no meaning beyond a description of the form of the music. What you will see on the screen is a picture of the various abstract images that might pass through your mind if you sat in a concert hall listening to this music. At first, you're more or less conscious of the orchestra, so our picture opens with a series of impressions of the conductor and the players. Then the music begins to suggest other things to your imagination. They might be, oh, just masses of color. Or they may be cloud forms. Or great landscapes or vague shadows or...geometrical objects floating in space. So now we present the Toccata and Fugue In D Minor by Johann Sebastian Bach, interpreted in pictures by Walt Disney and his associates, and in music by The Philadelphia Orchestra and its conductor, Leopold Stokowski."
"[Introduction to "The Nutcracker Suite"] You know, it's funny how wrong an artist can be about his own work. Now, the one composition of Tchaikovsky's that he really detested was his Nutcracker Suite, which is probably the most popular thing he ever wrote. It's a series of dances taken out of a full-length ballet called The Nutcracker that he once composed for the St. Petersburg Opera House. It wasn't much of a success and nobody performs it nowadays, but I'm pretty sure you'll recognize the music of the suite when you hear it. Incidentally, uh, you won't see any nutcracker on the screen. There's nothing left of him but the title."
"[Introduction to "The Sorcerer's Apprentice"] And now we're going to hear a piece of music that tells a very definite story. As a matter of fact, in this case, the story came first and the composer wrote the music to go with it. It's a very old story, one that goes back almost 2,000 years. A legend about a sorcerer who had an apprentice. He was a bright young lad, very anxious to learn the business. As a matter of fact, he was a little bit too bright, because he started practicing some of the boss's best magic tricks before learning how to control them. One day, for instance, when he'd been told by his master to carry water to fill a cauldron, he had the brilliant idea of bringing a broomstick to life to carry the water for him. Well, this worked very well, at first. Unfortunately, however, having forgotten the magic formula that would make the broomstick stop carrying the water, he found he'd started something he couldn't finish."
"[Introduction to "Rite of Spring"] When Igor Stravinsky wrote his ballet, The Rite of Spring… [a chime sound is heard; somebody has knocked over a set of tubular bells] I repeat, when Igor Stravinsky wrote his ballet, The Rite of Spring, his purpose was, in his own words, to "express primitive life." And so Walt Disney and his fellow artists have take him at the word. Instead of presenting the ballet in its original form, as a simple series of tribal dances, they have visualized it as a pageant, as the story of the growth of life on Earth. And that story, as you're going to see it, isn't the product of anybody's imagination. It's a coldly accurate reproduction of what science thinks went on during the first few billion years of this planet's existence. Science, not art, wrote the scenario of this picture. According to science, the first living things here were single-celled organisms, tiny little white or green blobs of nothing in particular that lived under the water. And then, as the ages passed, the oceans began to swarm with all kinds of marine creatures. Finally, after about a billion years, certain fish, more ambitious than the rest, crawled up on land and became the first amphibians. And then, several hundred million years ago, nature went off on another tack and produced the dinosaurs. Now, the name "dinosaur" comes from two Greek words meaning "terrible lizard", and they certainly were all of that. They came in all shapes and sizes, from little, crawling horrors about the size of a chicken to hundred-ton nightmares. They were not very bright. Even the biggest of them had only the brain of a pigeon. They lived in the air and the water as well as on land. As a rule, they were vegetarians, rather amiable and easy to get along with. However, there were bullies and gangsters among them. The worst of the lot, a brute named Tyrannosaurus Rex was probably the meanest killer that ever roamed the earth. The dinosaurs were lords of creation for about 200 million years. And then...Well, we don't exactly know what happened. Some scientists think that great droughts and earthquakes turned the whole world into a gigantic dustbowl. In any case, the dinosaurs were wiped out. That is where our story ends. Where it begins is at a time infinitely far back, when there was no life at all on earth. Nothing but clouds of steam, boiling seas and exploding volcanoes. So now, imagine yourselves out in space billions and billions of years ago, looking down on this lonely, tormented little planet, spinning through an empty sea of nothingness."
"And now, we'll have a 15-minute intermission."
"[Introducing The Soundtrack] Oh, yeah. [clears throat; chuckles] Before we get into the second half of the program, I'd like to introduce somebody to you, somebody who's very important to Fantasia. He's very shy and very retiring. I just happened to run across him one day at the Disney Studios. But when I did, I suddenly realized that here was not only an indispensable member of the organization, but a screen personality whose possibilities nobody around the place that had ever noticed. And so I'm very happy to have this opportunity to introduce to you...the soundtrack."
"All right. Come on. That's all right. Don't be timid. [the soundtrack timidly comes to the center of the screen] Atta soundtrack. Now, watching him, I discovered that every beautiful sound also creates an equally beautiful picture. Now, look! Will the soundtrack kindly produce a sound? [it is silent] Go on, don't be nervous. Go ahead. Any sound. [blows a "raspberry", vibrating as it does so; chuckles] Well, that isn't quite what I had in mind. Suppose we hear and see the harp. [it plays a glissando of the harp] Now one of the strings, say, oh, the violin. [it plays a violin ascending up, then down, then strings plucked] And now-now, one of the woodwinds, a flute. [the soundtrack plays the flute] Very pretty. Now, let's have a brass instrument, the trumpet. [the soundtrack plays the trumpet, and blows a loud note of the last one] All right. Now, how about a low instrument, the bassoon? [the soundtrack plays a minor scale on bassoon, ending on a very low note] Go on. Go on. Drop the other shoe, will you? [it sounds an even deeper note, obviously the lowest] Well, now to finish, suppose we see some of the percussion instruments, beginning with the bass drum. [it starts with the bass drum, the crash of the cymbals, drum snare, plays the drum roll of the snare, and ends with the ding of the triangle; laughs] Thanks a lot, old man."
"[Introduction to "The Pastoral Symphony"] The symphony that Beethoven called the Pastoral, his sixth, is one of the few pieces of music he ever wrote that tells something like a definite story. He was a great nature lover, and in this symphony, he paints a musical picture of a day in the country. Now, of course, the country that Beethoven described was the countryside with which he was familiar. But his music covers a much wider field than that, and so Walt Disney has given the Pastoral Symphony a mythological setting, and that setting is of Mount Olympus, the abode of the gods. And here, first of all, we meet a group of fabulous creatures of the field and forest, unicorns, fauns, Pegasus, the flying horse, and his entire family, the centaurs, those strange creatures that are half-man and half-horse. And their girlfriends, the centaurettes. Later on, we meet our old friend, Bacchus, the god of wine, presiding over a bacchanal. The party is interrupted by a storm, and now, we see Vulcan forging thunderbolts and handing them over to the king of all the gods, Zeus, who plays darts with them. As the storm clears, we see Iris, the goddess of the rainbow. And Apollo, driving his sun chariot across the sky. And then Morpheus, the god of sleep, covers everything with his cloak of night, as Diana, using the new moon as a bow, shoots an arrow of fire that spangles the sky with stars."
"[Introduction to "Dance of the Hours"] Now we're going to do one of the most famous and popular ballets ever written, The Dance of the Hours from Ponchielli's opera La Gioconda. It's a pageant of the hours of the day. We see first a group of dancers in costumes to suggest the delicate light of dawn. Then a second group enters dressed to represent the brilliant light of noon day. As these withdraw, a third group enters in costumes that suggest the delicate tones of early evening. Then a last group, all in black, the somber hours of the night. Suddenly, the orchestra bursts into a brilliant finale in which the hours of darkness are overcome by the hours of light. All this takes place in the great hall, with its garden beyond, of the palace of Duke Alvise, a Venetian nobleman."
"[Closing Lines and Introduction to "Night on Bald Mountain/Ave Maria"] The last number on our Fantasia program is a combination of two pieces of music so utterly different in construction and mood that they set each other off perfectly. The first is A Night On Bald Mountain, by one of Russia's greatest composers, Modest Mussorgsky. The second is Franz Schubert's world-famous Ave Maria. Musically and dramatically, we have here a picture of the struggle between the profane and the sacred. Bald Mountain, according to tradition, is the gathering place of Satan and his followers. Here on Walpurgis Night, which is the equivalent of our own Halloween, the creatures of evil gather to worship their master. Under his spell, they dance furiously until the coming of dawn and the sounds of church bells send the infernal army slinking back into their abodes of darkness. And then we hear the Ave Maria, with its message of the triumph of hope and life over the powers of despair and death."
"Deems Taylor - Himself - Narrative Introductions"
"Leopold Stokowski - Himself - Conductor of The Philadelphia Orchestra"
"Philadelphia Orchestra - Themselves"
"Walt Disney - Mickey Mouse (segment "The Sorcerer's Apprentice") (voice) (uncredited)"
"It's my daughter's right to listen to what her little heart says, and it just don't seem to say "Beetle"."
"Boy bug on skyscraper rooftop: Look at the Human Ones down there! They look just like a lot of little bugs!"
"Mrs. Ladybug: Those Human Ones! Why, the way they're taking to tramping through the lowlands, it's getting so your life ain't worth a sunflower seed anymore. One never know who's gonna get it next."
"The screen's first full-length musical comedy cartoon"
"The first full-length animated musical comedy!"
"THE SCREEN'S FIRST FULL-LENGTH MUSICAL COMEDY CARTOON! (original posters-all caps)"
"BOY, OH BOY! HERE'S MUSIC, LAUGHTER LOVE AND JOY! (original poster-all caps)"
"SONGS that lead the Hit Parade...LAUGHS that'll tickle even the staid...LOVE that'll thrill...and FUN that'll fill Your heart with a memory that never will fade. (original poster)"
"The people you meet you'll remember forever - HONEY and HOPPITY, whose love none can ever sever. (original poster)"
"C. BAGLEY BEETLE and his two evil spies and hundreds others to startle your eyes. (original poster)"
"Boy, Oh Boy! Here's Music, Laughter, Love and Joy!"
"Billy Bletcher as Spike the Bulldog/Tom (laughing) (uncredited)"
"William Hanna as Tom (uncredited)"
"Lee Blair – Himself"
"Mary Blair – Herself"
"Pinto Colvig – Goofy"
"Walt Disney – Himself"
"Norman Ferguson – Himself"
"Frank Graham – Himself"
"Clarence Nash – Donald Duck"
"José Oliveira – José Carioca (also dubbed the Brazilian Portuguese version)"
"Fred Shields – Narrator"
"Frank Thomas – Himself"
"Stuart Buchanan – Flight attendant"
"Billy Bletcher as Devil Dog (uncredited)"
"Daws Butler as Conductor (uncredited)"
"BING and WALT COMBINE THEIR TALENTS...IN A NEW AND THRILLING CARTOON FEATURE! (original print media ad - mostly caps)"
"HEAR BING SING: "THE HEADLESS HORSEMAN" "KATRINA" "ICHABOD CRANE" (original print media ad - all caps)"
"BING and WALT wake up Sleepy Hollow with a BANG! (Lobby card)."
"As told and sung by Bing Crosby and told by Basil Rathbone. (Lobby card)"
"Bing and Walt ride herd on The Headless Horseman!"
"Two Tall Tales by the world's top story-tellers in one hilarious All-Cartoon Feature!"
"Bing Crosby - Ichabod Crane, Brom Bones, Narrator (The Legend of Sleepy Hollow)"
"Basil Rathbone - Narrator, Policeman (The Wind in the Willows)"
"Eric Blore - J. Thaddeus Toad"
"J. Pat O'Malley - Cyril Proudbottom"
"John McLeish - Prosecutor"
"Colin Campbell - Moley"
"Barbara Luddy - Katrina Van Tassel"
"Campbell Grant - Angus MacBadger"
"Claude Allister - Ratty"
"Pinto Colvig - Ichabod Crane (screaming like Mickey's pet dog, Pluto)"
"Leslie Dennison - Judge, Weasel #1"
"Clarence Nash - Gunpowder (Ichabod's horse)"
"Edmond Stevens - Weasel #2"
"Ollie Wallace - Mr. Winky, Ichabod Crane (whistling)"
"Walt Disney's miracle musical FEATURE"
"UTTERLY FASCINATING! ENTIRELY DIFFERENT! (original print ad - all caps)"
"A CARTOON FIESTA of FUN and FANTASY! [1977 re-release]"
"Amazing! Real People With Disney Characters!"
"Newest Idea Since "Snow White""
"Wondrous Technicolor Feature!"
"Clarence Nash as Donald Duck"
"José Oliveira as José Carioca (also dubbed the Brazilian Portuguese version)"
"Joaquin Garay as Panchito Pistoles (also dubbed the Mexican version)"
"Aurora Miranda as Yaya"
"Carmen Molina"
"Sterling Holloway as Narrator (Pablo, the Cold-Blooded Penguin)"
"Frank Graham as Narrator"
"Fred Shields as Narrator (The Flying Gauchito)"
"Frankie Darro as Burrito the Flying Donkey (braying)"
"James MacDonald as Aracuran Bird"
"Francisco "Frank" Mayorga as Mexican Guitarist"
"Nestor Amaral"
"Trío Calaveras"
"Trío Ascencio del Río"
"Padua Hills Player"
"Carlos Ramírez as Mexico"
"Well, that's splendid!"
"I promise not to rant or roar, and scourge the countryside anymore!"
"Radish so red. Radish so red. Plucked from the heart of your warm little bed. Sprinkled with salt on the top of your head. [eats radish] Delicious."
"The big feature show with a thousand surprises!"
"A NEW WORLD OF WALT DISNEY WONDERS! (original print media ad - all caps)"
"Walt Disney's AMAZING, NEW FULL-LENGTH FEATURE PRODUCTION (original print media ad - many caps)"
"Sequences in MULTIPLANE TECHNICOLOR (original print media ad - many caps)"
"[introduction to "Bumble Boogie"] Freddy Martin, an admirer of the classics, inspired by Rimsky-Korsakov's "Flight of the Bumblebee", interprets this fantasy in his unique style. In a furious flight, a confused character tries to escape from the hectic harmony of an instrumental nightmare"
"[introduction to "The Legend of Johnny Appleseed"] In American folklore, mighty men have left the symbols of their greatness. There was Paul Bunyan's axe. John Henry's hammer. Davy Crockett's rifle. Then, unexpectedly, one comes upon a tinpot hat, a bag of appleseed and a holy book. These are the symbols of one of the mightiest men of all, John Chapman, a real-life pioneer. However, reality has given way to legend. Today, we know him simply as Johnny Appleseed. This is his story, told by an old settler who knew Johnny well. Listen. Every time I see an apple-blossom sky, I think of Johnny Appleseed. Them clouds up there ain't really clouds at all, no, sir! There wouldn't be no apple-blossom sky if it weren't for...But now, hold on here. I'd better start at the beginning. Johnny lived on a farm near Pittsburgh. The year was 1806 or there around. You'd say Johnny Appleseed never would make a pioneer, he was such a scrawny little fellow. That didn't faze Johnny. He had his apple trees, the morning sun and the evening breeze."
"[introduction to "Little Toot"] There's drama, there's excitement, and there's harmony for three in a story of adventure on the sea. Now, featured in this epic is a ship of proud design. No, it's not this ocean liner. We take a different line. So with a huff and a puff and a chug-chug-chug, and a perky little hoot, we introduce our hero, the tugboat, Little Toot."
"[introduction to "Trees"] There's poetry in trees. Then one day a poet found it. Then a music master wove around it a melody. An artist touched it, gave it form in colors rich and warm. Now we bring to you these three, poem, picture, melody. A simple tribute to a tree."
"[introduction to "Blame It On the Samba"] The intoxicating rhythm of the samba. A talented miss serves a musical cocktail with a true Latin American fling. So if three boisterous birds of a feather fall under the influence of this torrid tropical tempo, don't blame them, blame it on the rhythm of the samba."
"[introduction to "Pecos Bill"] Here's a tall tale straight from the chuck wagon, just the way the old-timers used to tell it. According to them, Pecos Bill was the roughest, toughest, rootin'est, tootin'est, shootin'est cowpoke that ever lived. Well, any story about old Pecos is bound to be right strong medicine, so maybe it's best to sashay into it kinda gentle-like."
"Roy Rogers as Himself / Narrator / Singer. (Pecos Bill)"
"Trigger, the smartest horse in the movies as Himself."
"Dennis Day as Narrator / Singer / Characters. (Johnny Appleseed)"
"The Andrews Sisters as Singers. (Little Toot)"
"Fred Waring and the Pennsylvanians as Singers. (Trees)"
"Freddy Martin as Music composer. (Bumble Boogie)"
"Ethel Smith as Organist. (Blame It On the Samba)"
"Buddy Clark as Singer / Narrator."
"Bob Nolan as Himself / Singer / Narrator. (Pecos Bill)"
"Sons of the Pioneers as Themselves / Singers / Narrators. (Pecos Bill)"
"The Dinning Sisters as Singers. (Blame It On the Samba)"
"Bobby Driscoll as Himself. (Pecos Bill)"
"Luana Patten as Herself. (Pecos Bill)"
"You know, you worry too much. In fact, everybody worries too much."
"[reading in a newspaper] Here, just look at the morning paper. Turn to any page. You'll find the whole world worryin' about some future age. But why get so excited? What's gonna be is gonna be. The end of the world's been comin' since 1903. That's, uh, B.C., of course."
"[comes across an envelope] Miss Luana Patten? [walks off] Hmm, well! Of course, it's not cricket to read other folk's mail, but... [stops in his tracks and sees an invitation] A party? [opens and reads] "Tonight! The house across the street. Charlie McCarthy, Mortimer Snerd, Edgar Bergen." Hmm. Never heard of him. "Please come." Why, I'd be delighted!"
"Now, some folks like the heavy stuff with titles five feet wide. Not me, I'm always out for fun. I like the lighter side, yes, sir!"
"Life is a song, happy, gay. So let's have some music. Come on! What do you say?"
"Never saw such a dismal pair. A deadpan doll and a droopy bear."
"Three is a crowd, they say, so I'll drop back another day."
"It is Got That DISNEY MAGIC! (original print media ad - many caps)"
"Edgar Bergen as Himself / Charlie McCarthy / Mortimer Snerd"
"Luana Patten as Herself"
"Dinah Shore as Singer / Narrator of Bongo"
"Cliff Edwards as Jiminy Cricket"
"Barbara Luddy as Cleo"
"Walt Disney as Mickey Mouse"
"Pinto Colvig as Goofy"
"Billy Gilbert as Willie the Giant"
"Anita Gordon as Golden Harp"
"[first lines; answering the phone] Eh, start talking. It's your nickel."
"[after reading the script of Life with Father] This'll never be a hit."
"Mel Blanc as Bugs Bunny / Al Jolson / Eddie Cantor / Director."
"Arthur Q. Bryan as Elmer Fudd. (uncredited)"
"Richard Bickenbach as Bing Crosby. (uncredited)"
"The Sportsmen Quartet as Vocalists. (uncredited)"
"Alexander P. de Seversky as Himself (as Major Alexander P. de Seversky)"
"Billy Mitchell as Himself (archive footage)"
"Art Baker as Narrator"
"Now, this here tale didn't happen just yesterday, nor the day before. 'Twas a long time ago. And in them days, everything was mighty satisfactual. The critters, they was closer to the folks, and the folks, they was closer to the critters, and if you'll excuse me for saying so, 'twas better all around."
"Once upon a time - not your time, nor yet my time, but one time - I was goin' fishin', and I was just thinking how the flowers and critters was curious things. They can look into your heart and tell when it sings, if it's whistling a tune, or singing a song, and they all say "Howdy" when you come along."
"Brer Rabbit, bein' little and without much strength, he's supposed to use his head 'stead of his foots."
"You can't run away from trouble. There ain't no place that far."
"It happened on one of them zip-a-dee-doo-dah days. Now that's the kind of day where you can't open your mouth without a song jumping right out of it! [sings] Zip-a-dee-doo-dah, zip-a-dee-ay My, oh, my, what a wonderful day Plenty of sunshine headin' my way Zip-a-dee-doo-dah, zip-a-dee-ay!"
"[after telling the tale of the Tar Baby] Well, sir, you ain't never seen nobody that had humble-come-tumbledness down as fine as what Brer Rabbit had it then. Poor little critter, he learned a powerful lesson. But he learned it too late. But it just goes to show what comes of mixin' up with somethin' you got no business with in the first place. And don't you never forget it."
"Yes sir, that's the way with Br'er Rabbit, sure as I'm named Remus. About the time he get it stuck in his mind that there ain't nobody can outdo him, up somebody'd jump an' do him scan'lous. "What you laughin' 'bout?" says Br'er Fox, says he. An' Br'er Rabbit, he couldn't say nothin'. "Well, then," says Br'er Fox, says he, "I'll settle your hash right now!" And with that, he grab Br'er Rabbit by the tail and made for to dash 'im agin' the ground. But just then, Br'er Rabbit's tail snap off real short, an' he tuck through the cotton patch like the dogs was after 'im. An' from that day to this, the only tail that Br'er Rabbit's got to his name was a little ol' ball o' cotton."
"Please don't throw me in that briar patch!"
"What I take away from the movie, is the following: That Uncle Remus is a warm, good-hearted character who captures the imagination of a lonely little boy who happens to be white. The boy is absolutely colorblind, and the audience relates to him. There is an incredible moment when Uncle Remus takes the boy's hand in his, and there is an insert of the white and black hands clasped together. It's the emotional climax of the movie."
"While Walt Disney can be fairly criticized for his rather naive approach to the post-Civil War South, the Old Maestro can also be praised for his heart warming story of a kindly old gentleman helping a young boy through difficult times."
"An insult to American minorities [and] everything that America as a whole stands for."
"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."
"We're headin' for the Laughin' Place!"
"Here Comes The Zip-A-Dee-Doo-Dah Show!"
"The Story of Brer Rabbit, Brer Bear & Brer Fox."
"Walt Disney's first live-action musical drama"
"James Baskett - Uncle Remus and Br'er Fox"
"Bobby Driscoll - Johnny "John" Doshy, Jr."
"Luana Patten - Ginny Favers"
"Glenn Leedy - Toby"
"Ruth Warrick - Sally Doshy"
"Lucile Watson - Grandmother Doshy"
"Hattie McDaniel - Aunt Tempy"
"Erik Rolf - Johnny "John" Doshy, Sr."
"Mary Field - Mrs. Favers"
"Johnny Lee as Br'er Rabbit"
"Nick Stewart as Br'er Bear"