Los tres caballeros

Donald Duck celebrates his birthday opening several presents from his Latin American friends and with his friend Jose the Parrot from Brazil, and Pachito the Rooster from Mexico is given a vibrant energized look at Brazilian and Mexican culture and music with several strange and surreal tangents.

Following the success of Saludos Amigos which had come about from the State Department's Good Neighbors Policy to improve relations between neighboring South American countries whom had diplomatic and commercial ties to Axis powers such as Nazi Germany, Walt Disney Animation studios returned to produced a spiritual follow-up with The Three Caballeros which basically serves as a sort of expansion on the Saludos Amigos. While not a direct follow up, the film did feature the return of Jose the Parrot as well as the same mixture of Live-Action and animation footage, but this time the film gets more experimental with many sequences built around the concept of Live-Action characters interacting with animated characters in one of the earliest attempts at doing so that would later be revisited with more technical polish in Song of the South. Caballeros was a solid success upon its release making more than Dumbo's run and raking in $700,000 in Mexico alone. There's a lot of energy in Three Caballeros and on a technical level it ambitiously (but roughly) mixes Live-Action and animation to good immersive effect, but with a rather anemic plot and repetitive structure the movie begins to feel its length.

The animation and art direction while not the pinnacle for a Disney feature film is still really strong probably falling just shy of the level of Dumbo in terms of technical craft. The characters and designs are lively and energized, and there's a surreal but colorful and party like atmosphere to the film that immerses you into the songs, dances, and environments. While the live action/animation hybrid style is still very much in its infancy with certain sections with the characters not as well incorporated as the filmmakers want(some scenes feel like the characters are floating in the foreground), it's still a very strong effort regardless and show's the possibilities with the medium in such a format. Some sequences such as the Acapulco sequence where Donald not only has a drop shadow, but also interacts with elements in the environment including beach blankets and bodies of water.

Story wise it's a pretty thin set up with Donald celebrating his birthday and each present leading to a different segment. The first present is a film strip which is basically a bunch of four to seven minute shorts tied to Latin American culture in some fashion. The shorts are varying degrees of okay playing like standard Silly Symphonies that just happen to be loosely strung together. The next present he opens is his Brazilian present with a pop up book that contains Jose the Parrot that serves as our framing device for the Brazil segment, and lastly Donald's present from Mexico with Pachito the Rooster which is pretty similar to the Brazil segment save for the final 15 minutes where the segment goes off the rails with surreal imagery of dancing flowers and cactuses that seems like it's trying to out do the Pink Elephants scene from Dumbo in terms of "wha?" and basically forgets any plot the movie might've had at one point instead going through a series of increasing bizarre and exaggerated imagery until the film's final crescendo.

You could watch any twenty minute stretch of Three Caballeros and feel entertained and engaged, the problem is with all these segments strung together playing at the same jubilant level for nearly the entirety of the film's running time it becomes quite exhausting to sit through and the film's constant energy became more draining than exciting as the film went on. Disney chopped pieces of this film up for broadcast on TV programs like Mouse Works or Mouse Tracks and given the structure of the film that's really the best way to experience this movie, in small manageable segments rather than taken as the gauntlet it is. In terms of its historical value and technical merit there's a lot here to appreciate from the dances, to the music, to the crude but innovative mixture of Animated characters in live-action environments, but with its thin plot and near constant levels of exuberance Three Caballeros is like a party that starts out fun, but as time wears on your looking for an excuse to leave and head home.

It was a cold January Saturday evening. The park was beautifully lit. People were cheery. We could see the Matterhorn on our right hand side. Magical is the best description I could find.

Suddenly, I started singing...

"Somos los tres carros, los Tres Caballeros, y nadie es igual a nosotros..."

What do I know. My friends all knew the words. 4 guys, ranging from 27 to 31 years old, began forming a chrous line and singing off the top of our lungs...

I don't know how this happened. This is not, by any stretch of imagination, a popular or wildly succesful film. I guess it just touched us, the way Donald Duck had a mexican friend (Panchito), or the wild "Piñata" scene, or the strong latin flavour of the film.

Memories notwithstanding, we kept on singing... and singing... and singing.

People around us seemed to enjoy the show, too.

"Valientes brillamos, como brilla un peso

-Quien dice?!?

NOSOTROS, LOS TRES CABALLEROS!"

The Three Caballeros is a lot of fun, using a mix of live action and animation to bring Brazil and Mexico alive to birthday boy Donald Duck. As he's joined by Panchito and José he realises what he has been missing all these years, falls in love with Aurora Miranda (sister of Carmen), learns to dance, and much more.

With eye-poppingly beautiful animation and lovely colours, it is no surprise that that was the one cartoon Disney veteran Ward Kimball claimed he was truly proud of. The idea of the three birds as international musketeers living the good life is inspired and the running time is just about right.

A lot of things can be said about this movie, but no one can say it is dull. Disney's Donald Duck takes us on a scenic and musical tour of Latin America with episodes in Argentina, Brazil, and Mexico. It begins in a lively tempo and speeds up until it explodes in fireworks at the end.

It was a big and necessary hit for Disney at the time but, in a way, it's too bad the film couldn't have been released about 1968, when so many youngsters were doing acid and weed, because this is one trippy movie. It belongs right up there with "2001: A Space Odyssey." A live figure may begin to dance and sing through a cartoon village. Soon Donald Duck joins the dance. Then the lamp posts begin to sway rhythmically, and soon the buildings are bouncing up and down, and then the moon darts from side to side. The viewer may twitch a bit too, because some of the rhythm is very catchy. America gave the world jazz, and Latin America gave us the samba, the conga, the bossa nova, the tango, Carmen Miranda, Heitor Villa-Lobos, and the transplanted Manuel de Falla. And the piñata.

It's a pageant of color and music. All but one of the tunes are converted from earlier Latin American songs and they're very catchy. Two made the Hit Parade, which was a big deal at the time -- "Baia", "Brazil", and "You Belong To My Heart." It's unsophisticated cornball resembling nothing real but you can't find the exit.

President Roosevelt was all in favor of making a movie like this, for several reasons, none of them musical. He called it "the good neighbor policy." South American countries were a supply source for the Allies. We needed access to airfield like Recife in Brazil to shorten the hop to Europe. And few of us found is a sound idea to encourage the pro-Nazi population of countries like Paraguay and Argentina.

See it -- and have yourself an extended myoclonic spasm.

Similar to it's predecessor, but with higher highs and lower lows. The first segment (Pablo the penguin) is my favorite and I gladly go back to it. It gives me cozy vibes and drives me down memory lane. The second segment (the flying donkey) is also good but not at the same level. The third one (Brazil) has great songs and interesting animation, but introduces the issues of the film. First, the blend between live-action and animation is subpar, as we are now used to the post-Roger Rabbit standard; secondly, Donald Duck turns into a horny beast who just wants to hunt pretty girls (??). And then comes the nail in the coffin, the final needlessly lengthy segment about Mexico: boring, uninspired, and with a Donald as turned on as he can get. It didn't age well, and I'm sorry because the first part is just so good.