The animated story of Bambi, a young deer hailed as the 'Prince of the Forest' at his birth. As Bambi grows, he makes friends with the other animals of the forest, learns the skills needed to survive, and even finds love. One day, however, the hunters come, and Bambi must learn to be as brave as his father if he is to lead the other deer to safety. Written by
Jean-Marc Rocher <firstname.lastname@example.org>
Animation from this film has been reused more often than animation from any other Disney film. Usually it is used as incidental animation of birds, leaves and the like. Only a few of the major characters have been reused. Bambi's mother, for example, appears in the very first shot of Beauty and the Beast (1991), and is the quarry of both Kay in The Sword in the Stone (1963) and Shere Khan in The Jungle Book (1967). Bambi and his mother fully appear then in The Rescuers (1977). See more »
When Bambi runs to warn Faline of the hunters, a flock of crows flies from the camp in the background. As the scene cross-dissolves to the next scene, the leading crows disappear. See more »
Walt Disney didn't make another full-length animated film until 1950, by which time his golden age had well and truly passed. Was `Bambi' a quiet, gentle farewell, then? If you haven't seen it you could be forgiven for thinking so; and the slightly over-sugared opening scenes might confirm this view. But prepare to be jolted out of your seat. The forest contains darkness as well as light. The gunshots that ring out across the silences are truly alarming (and there are many ways Disney and Hand make them more alarming: consider the scene where a flock of birds are cowering in the grass, until one decides to fly into the air and risk death rather than put up with the suspense). Also worth noting about `Bambi' is its use of psychological colour. In at least three key scenes, the colour scheme shifts wildly, not because the sun has set or anything of that kind, but in order to illustrate Bambi's psychological state. Particularly fine is the scene where he is running away from the clearing in fear and the world turns into just a few pale and dirty shades of yellow.
The greatest thing is the way Disney manages to convince us that there is nothing else in the world, outside the forest. Not once do we see a horizon. Nor do we sense one. By some standards not much happens in the forest - a few deaths, a few births, what else is new? But when the forest is the whole world they matter a good deal.
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