You Won’t Believe the Disney Movie That’s a Total Flight Risk…

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We are reviewing the Disney animated features in chronological order.

1990 saw the release of RESCUERS DOWN UNDER, a film often overlooked when discussing Disney’s Renaissance period, although it followed closely on the heels of THE LITTLE MERMAID (1989). If included within this group of Renaissance films, it holds the unfortunate title of being the one with the poorest box office performance among them.

Rescuers Down Under can be more accurately classified alongside Oliver and Company or The Great Mouse Detective, as it falls under Disney’s period of creative drought, often referred to as their dry spell.

Disney notably instructed his studio not to produce sequels. However, this rule was exceptionally disregarded in one instance, a decision that, in retrospect, appears unwise.

Just as many Disney movies from your childhood may hold a special place in your heart, they might even be some of your favorites. However, when evaluated alongside true masterpieces within the realm of classic Disney productions, they don’t quite reach the same level of excellence.

The movie uses computer animation methods that were novel back then, and even now, it’s visually captivating, especially the sequences featuring the majestic eagle soaring. However, the storyline is somewhat unclear, there’s a lack of tension, the characters aren’t memorable, and unfortunately, the comedy relief albatross is overused with slapstick humor.

In this tale, the plotline mirrors its predecessor’s structure: a child finds himself in peril, prompting an elite team of rodent rescuers, comprising the graceful Bianca (portrayed by Eva Gabor) and the timid Bernard (Bob Newhart), to embark on a mission to save him.

In this scenario, we have a young Australian lad named Cody, who has saved and formed a bond with an uncommon golden eagle called Marahute. Unfortunately, a merciless poacher named Percival C. McLeach (brilliantly portrayed by George C Scott) abducts the boy in an attempt to force or deceive him into revealing the whereabouts of the rare bird.

To emphasize the wickedness of the poacher, it’s disclosed that he had murdered Marahute’s partner, intended to destroy her eggs, and in doing so, aimed to increase her rarity as the sole survivor of an extinct species.

While Bernard gathers his courage to propose to Bianca, he keeps being humorously cut off.

As Bernard tries to gather the nerve to pop the question to Bianca, he’s repeatedly interrupted in a comical fashion.

In a different rendition, the duo embarks on an Australian journey, riding on comedic albatross Wilbur (John Candy), who is the sibling of Orville from the initial movie. Upon arrival, they encounter a brave and capable rodent named Jake, a kangaroo mouse.

In the movie, it’s unclear if charming character Jake poses a romantic threat to Bernard regarding Bianca, as neither of them directly challenges each other or takes clear actions to court her. However, Jake does exude an appealing Australian charisma that might be perceived as competition by Bernard.

In this scenario, Wilbur gets hurt while flying and ends up on an operating table in a humorous yet frightening rodent doctor’s clinic. This rodent doctor, who specializes in scaring easily frightened birds, like the albatross here, uses various chainsaws and dangerous tools to unnerve him. This scene is reminiscent of horror movies but is presented comically for humor. However, this extended scene feels too prolonged, offers no significant plot advancement, and serves no real purpose other than potentially amusing those with a dark sense of humor, especially young, sadistic-leaning children. Eventually, Wilbur manages to free himself from the table.

In the storyline, Jake’s presence isn’t essential beyond showcasing his extraordinary talent of hypnotizing a snake, which later inspires Bernard to hypnotize a wild boar. Unlike the initial movie, Bianca and Bernard don’t engage in detective work, question any witnesses, or actively search for Cody. Instead, they stumble upon him effortlessly.

In a poacher’s hidden lair, Cody finds himself confined alongside several other animals, all unlawfully imprisoned by the poacher. Together, they try various ways to break free, but these efforts are consistently foiled by Joanna, the poacher’s amusing monitor lizard. However, these failed escape attempts become less significant as the story progresses, as they seem to occur more by accident than through deliberate planning, and are often filled with excessive, comedic mishaps that border on the irritating for some viewers. The neurotic monitor lizard, in particular, becomes quite grating, causing some spectators to hope for his unfortunate demise.

In simpler terms, neither the fellow prisoners nor Bianca play significant roles in advancing the storyline. They don’t contribute to problem-solving, offer inspiring speeches, or have any other notable actions. However, it’s worth noting that Bernard bravely rescues Bianca when she is in danger.

In a clever turn of events, the foolish poacher tricks Cody into guiding him to a golden eagle, which is quickly captured. On the other hand, Bernard outwits the idiot monitor lizard by swapping the golden eagle eggs with rock-shaped imitations, thus protecting them from harm. This demonstrates two skillfully crafted plot twists.

Out of nowhere, we see Wilbur, who gets humorously coerced by Bernard into incubating the eggs, a task that ultimately prevents the near-extinction of a vulnerable species.

As Jake and Bianca try to save Cody, they are both taken captive by the poacher instead. Consequently, it seems that Bianca’s character plays no significant part in the storyline, and neither does Jake’s.

Bernard uses hypnosis on a pig, causing it to transport him towards the adversary’s half-track. There, he tinkers with the machinery to delay its operation, although it could also be said that he ends up being pursued by Joanna, who accidentally damages the equipment in the process.

While the poacher was cruelly planning to hang Cody over a crocodile-infested pool and shoot him with bullets, he accidentally fell into the water along with his pet lizard. They were carried away by the current towards a waterfall, meeting their end tragically. Bernard couldn’t save Bianca directly, but in a roundabout way, he managed to help Cody. He released a golden eagle that swooped down and saved Cody. Bernard proposed, Jake agreed, the eggs hatched successfully, and peace was restored in Australia.

The scene is skillfully depicted, showcasing the outback with meticulous attention to detail. The intricate portrayal of Australian wildlife and structures reflects the finest Disney precision. Long after other parts of the movie fade away, a vivid image of the soaring golden eagle remains etched in one’s mind.

The movie isn’t a musical, and it’s regrettable because it’s positioned between “The Little Mermaid” and “Beauty and the Beast,” which garnered both audience and critical praise for their exceptional showtunes and lyrics in the Broadway production, arguably Disney’s finest musical creations.

The ecological message in this movie has been overemphasized by some reviewers, and I believe that if it does exist, it actually takes away from the film’s enjoyment. To clarify, an antagonistic poacher is a common character in animal-themed tales, and promoting kindness towards woodland creatures has long been a tradition in Disney films, as well as many English-speaking children’s stories in general.

A more compelling motive than the straightforward avarice of this poacher might be found in characters like the witch-queen from Snow White, Honest John from Pinocchio, or Captain Hook from Peter Pan. In contrast, the poacher’s intent to ruin the golden eagle’s eggs seems irrational when we consider his readiness to gather and trade other scarce creatures, as evidenced by his cave filled with such treasures.

It’s unlikely that a poacher would want to eliminate a species just to increase the value of what remains alive: the passenger pigeon and the Dodo bird weren’t exterminated simply because they were to be destroyed. This type of motivation is more fitting for a villain from Captain Planet, rather than one from Disney, whose motives are usually driven by other factors.

In this film, there seems to be a recurring theme similar to Terry Gilliam’s whimsical “THE ADVENTURES OF BARON MUNCHAUSEN”. It appears that the film cautions against doctors. The message here is clear: steer clear of doctors! They can subject even the bravest innocents and jesters to tortures reminiscent of gruesome Japanese horror films. Contrastingly, the film’s portrayal of the perilous creatures of Australia seems less emphasized compared to this warning against medical professionals.

A second message in the film is: ask your girl for her hand right away.

In the movie, a third significant theme conveys the extraordinary nature of Australians. Just as the Femen in Frank Herbert’s DUNE are transformed by the harsh environment of Arrakis, the Outback’s constant peril seems to mold Aussies into extraordinary individuals. Even the smallest creatures, like kangaroo rats, embody figures akin to Crocodile Dundee or Steve Irwin. A brief trip to Australia can empower a small creature to communicate with wild pigs and call upon animal allies, resembling a rodent version of Tarzan.

It’s intriguing to ponder why some animals can communicate with humans and others cannot, or why Dr. Dolittle can talk to beasts but not always, and why Jake needs hypnosis while speaking directly works for other animals. This question delves into the realms of theological and metaphysical concepts that I’m not equipped to explain satisfactorily in this context.

The primary issue with this movie is that it feels like another Rescue Aid Society film, as the story could have equally been told featuring Cody’s animal companions instead of Bianca and Bernard from the RAS. These animals, being just as capable, could have rescued Cody on their own or with the help of an alternate mouse character such as Jake the Kangaroo Mouse.

In summary, while the movie showcases impressive animal portrayal, breathtaking landscapes, and a particularly stunning eagle scene, it may not be generally recommended for viewing.

Originallly published here.

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2025-04-20 15:31