Mickey has been reading Lewis Carroll's "Through the Looking-Glass, and What Alice Found There", and falls asleep. He finds himself on the other side of the mirror, where the furniture is ...
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Mickey is looking after the orphans. He tells them the story of Gulliver (with Mickey in that role) in Lilliput, though without the satire and bawdy bits. The story ends with Mickey fighting a giant spider, about twice his size.
Mickey, Donald, and Goofy are cleaning a large clock. Among the complications: Mickey fights a sleeping stork that doesn't want to leave, Donald gets tangled up in the main-spring, and Goofy is inside the bell when the clock strikes four.
Mickey is heading out on vacation from Burbank to Pomona, taking the train. The conductor, Pete, won't let him on with Pluto, so he hides Pluto in his suitcase, and tries to hide him all ... See full summary »
Mickey, Donald and Goofy are fire fighters. As you might expect, their attempts at fighting a boarding house fire are not particularly effective. They hear Clarabelle singing in the bathtub... See full summary »
Goofy's in the driver's seat, Mickey's in the kitchen, and Donald's in bed in Mickey's high-tech house trailer. When Goofy comes back to eat breakfast, leaving the car on autopilot, it ... See full summary »
Max Hare and Toby Tortoise are having a foot race. Max has much more style, and is generally cocky. He pauses for a short nap, to chat up the bunnies outside a girl's school (and show off ... See full summary »
Mickey, Donald, and Goofy live in a land where everything is dried up and dead. The only food they have is one loaf of bread, even Donald's plans of killing their cow fail. So Mickey ... See full summary »
The two foolish little pigs think crying "wolf" on their brother is great sport. Then the real wolf comes around, with his three little wolves. He dresses as Little Bo Peep, with his sons ... See full summary »
Mickey has been reading Lewis Carroll's "Through the Looking-Glass, and What Alice Found There", and falls asleep. He finds himself on the other side of the mirror, where the furniture is alive. He eats a walnut, which makes him briefly larger, then small. He dances around a lot, ultimately doing a major number with a deck of cards. He dances with the queen, making the king jealous. He comes after Mickey with swords, and Mickey defends himself with a sewing needle. Mickey gets the upper hand, and the king calls for reinforcements. Mickey finds himself chased by several decks, which throw their spots at him. He turns on a fan and blows them away, back through the mirror, where his alarm is ringing. Written by
Jon Reeves <email@example.com>
A riff on the greatest hits of Alice, and it's one of the color-sound 30's Mickey Mouse greats
In full Technicolor, and with music by Frank Churchill, Leight Harline, and Paul J Smith (all uncredited), Thru the Mirror is one of the masterworks of the era when Walt Disney studios could have a lot of fun while keeping toes from the silent era. A lot of what happens in this story could have been one of the black and white silent/early sound-era Mickey Mouse movies, where Mickey finds himself in some bizarre situations with cartoon things that have come to life in ways that make him dance, fight and run in chase-mode. Only here the animation has become sophisticated, due to years of practice and trial and (minimal) error, with moments like Mickey eating the walnut (aka the mushroom) that makes him grow really big and then really small.
And of course there's everything with the cards, which at first are like dancers from a Busby Berkley musical (I'm sure the animators had influences from those movies, in full formation they do it up), and then the way that Disney and his writers bring in the Queen of Hearts and the King (the latter on both bottom and top levels with swords). It's also wonderful to see all the cards chasing after Mickey; I have to wonder if the animators (or just Disney himself) knew the potential to have mass figures overpowering the flagship character, and brought it over when doing something like Fantasia, as the cards have that unstoppable-holy-crap quality of the ravenous brooms.
The imagination here is boundless, and when there are gags (the chair and its baby, the umbrella, the radio that shouts out "Calling All Cards") they work well, but ever since I saw this as a kid - and through some repeat, partly from the first Mickey Mouse VHS and play from back when the Disney channel actually played these old-time cartoons I've seen it many times - I knew it had a special quality. The pacing is electrifying, the comic timing excellent, and the music combines Big-Band Jazz, musical and adventure/chase music. In a way this is one of the great Alice adaptations, distilled to just a few points like a song, and the notes played by some smart people. Did I mention in that bright, excellent early cartoon-Technicolor to boot?
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