Rabbit is tired of Tigger always bouncing him, so he gets Pooh and Piglet together to come up with an idea to get the bounce out of Tigger. Rabbit suggests they take him into the middle of ... See full summary »
A heffalump is heard trumpeting in the hundred acre woods. Winnie the Pooh, Tigger, and Piglet are scared and rush to Rabbit's house for advice. Roo joins them and they all agree that ... See full summary »
Pooh, a bear of very little brain, and all his friends in the Hundred Acre Wood sing their way through adventures that encompass honey, bees, bouncing, balloons, Eeyore's birthday, floods, and Pooh sticks. Written by
The storybook that opens at the beginning of the film has the title "Winnie the Pooh and the Honey Tree" (since it was created specifically for that short), but only reads "Winnie the Pooh" when it closes in the end. See more »
This could be the room of any small boy, but it just happens to belong to a boy named Christopher Robin. Like most small boys, Christopher Robin has toy animals to play with, and they all live together in a wonderful world of make-believe. But his best friend is a bear called Winnie the Pooh, or Pooh, for short. Now, Pooh had some very unusual adventures, and they all happened right here in the Hundred-Acre Wood.
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There are no end credits at the end of this feature. All credits are at the beginning of the feature. See more »
Wonderful evocations of the Pooh world, closely based on the originals
This film is actually comprised of three earlier featurettes ("Winnie the Pooh and the Honey Tree", "Winnie the Pooh and the Blustery Day", "Winnie the Pooh and Tigger, Too"), the first three of the four Disney efforts at filming the world of Winnie The Pooh which (the fourth was "A Day for Eyeore") that were closely based on specific A.A. Milne stories, and were excellently done. Despite not being drawn the way E. H. Sheppard originally illustrated them (which is, perhaps a loss), the characters are played with great respect for the way they were written. They have been Americanized in their speech, and they don't rely so much on the British comedy of manners that Milne mined so successfully, but they are quite solidly the same "people" they were in the books. Sterling Holloway is a marvelous Pooh whose his furry voice seems to convey both his outer softness and his mental fuzziness. Paul Winchell's Tigger is probably an improvement of the original, simply because words alone could never really convey Tigger's manic exuberance the way Winchell's performance does. Ralph Wright's Eyeore is a delight, and the other characters hold their own and uphold their tradition completely.
The one completely un-Milne touch that has been added seems to me entirely acceptable, too. This is the occasional presence, in the story, of the Narrator, whose intervention helps move the characters through some of the more difficult moments. It is a touch of gentleness that is not cloying at all, and is occasionally rather witty.
These stories are genuinely wholesome without being sticky. If you want to feed your kids entertainment that's truly funny, has decent human values, is completely free of potty jokes, and will stand up for 6-year-olds yet won't scare three-year-olds, it doesn't get much better than this.
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