Walt Disney passed away more than 50 years ago, but there is still plenty to cover from his life. That includes exploration about issues that don’t fit so well with the positive legend. In 2014, Meryl Streep ignited a firestorm when she called Walt a “gender bigot” with “some racist proclivities”. There were affirmations and rebukes on both sides of the issue, and the truth is likely somewhere in between. It is also important when labeling Walt to remember the context of the time period.
I’m not qualified to call Walt a racist or clear him. We can definitely analyze Disney’s animated films but could also read them as collective works of art, not a single man’s ideas. In his book Walt’s Original Sins, Josh Spiegel investigates problematic issues from Disney’s past. He considers films produced under Walt and more recent Disney releases. In his introduction, Spiegel explains his goal to “explore the deeper truth” about Walt, the Disney animators, and the company. It’s a touchy subject but definitely worth discussing in the right context.
The book’s title Walt’s Original Sins implies that films under Walt’s oversight laid the groundwork for problematic themes across the company’s history. It places the onus on those issues at Walt’s feet, and it is a bold statement from Spiegel. Exploring the treatment of non-white cultures during the Disney Renaissance is definitely a worthwhile topic. Spiegel correctly points out that we should not ignore them. On the other hand, it’s trickier to connect those more recent films with examples of movies from during Walt’s lifetime.
Song of the South and Troubling History
I have vague memories of watching Song of the South as a kid on the Disney Channel or in a re-release. Books like Jim Korkis’ Who’s Afraid of the Song of the South? gives a strong overview of the awful depictions of race in the film. In this book, Spiegel points out the odd situation where a flagship Disney theme park attraction is connected with a movie they have locked away in a vault. Spiegel gives a fair appraisal of the film, which should be interesting to readers that haven’t seen or barely remember it like me.
It’s a different situation with Peter Pan, which remains prominent among Disney releases. Watching it with my girls a few years ago, I was surprised by its poor depiction of Native Americans. Spiegel questions why this film doesn’t receive the same negative attention as Song of the South. I agree with his point that certain sequences fall apart due to racial stereotypes, but maybe not the entire film. It doesn’t improve the situation, but it is more understandable. We can recall Peter Pan and just think of Captain Hook, Tinker Bell, and Tick-Tock the Crocodile.
Spiegel investigates other films depicting non-white cultures made under Walt’s watch. Saludos Amigos and The Three Caballeros arrived after the South America trip. Spiegel explains how they simplified the cultures into easily digestible packages. I’ve watched both films recently, and they felt odd more than backward. In particular, the scenes with Donald trying desperately to find romance seem awkward because the character has changed so much. This is not Mickey Mouse Clubhouse. With The Jungle Book, Spiegel effectively spotlights both over reaches by critics and places where they have a point. Caricatures in particular stand out in that film.
Shifting to the Modern Disney Company
We take a big leap from the ‘60s right into the ‘90s and beyond with Spiegel’s chapter on Pocahontas and The Princess and the Frog. Like I mentioned earlier, it’s a stretch to place them under Walt’s Original Sins. Spiegel describes these films as a “direct commentary” on Peter Pan and Song of the South, respectively. I don’t really buy it, but I can see the connections from a critical perspective. Spiegel’s analysis of both films are engaging and make numerous valid points. I have not returned to Pocahontas recently but remember it feeling like a missed opportunity. There are striking moments, but it never comes together into a smooth whole.
The Princess in the Frog is quite charming, and I wish it had been more successful commercially. Spiegel calls it the “most successful attempt from a modern Disney studio to balance political correctness with creative ambitions”. I agree and am surprised by how light on its feet this story is given the potential obstacles. There are moments that share this success in Mulan, but the creative exuberance never reaches the same level. Spiegel closes out his book by discussing that film and Aladdin, which hasn’t aged well in its treatment of Middle Eastern culture.
Interesting Analysis of a Pivotal Issue
Spiegel concludes Walt’s Original Sins by looking to the future for Disney and other giant entertainment companies. I appreciate that he calls out the lack of diversity especially with directors of major animated releases. Spiegel also states that Disney should embrace its past, and I agree with that point. Learning from history can only help us during such a divisive time. If presented in the right context, Song of the South could be educational. In a similar vein, this book tackles blemishes in Disney’s storied past. Spiegel reminds us that history is complicated and sometimes ugly, and learning that point should help us all as we move forward in challenging times.
Learn more about Walt’s Original Sins at the Theme Park Press website. Purchase a copy in the Print or Kindle edition.
Related Book Reviews: Josh Spiegel
Walt Disney’s Melody Makers by Kathryn M. Price
Beyond the Wisdom of Walt by Jeffrey A. Barnes
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Chris says
Ol Walt was far from a perfect man. But many geniuses have deep flaws. I enjoyed reading the Steve Jobs biography a few years back. His genius was unmistakable, but he could be a merciless tyrant if you got on his bad side.
Walt was a capitalist through and through. I remember being taken aback the first time I saw the account of his dealings with the unions back in the early days. He just could not see the unfairness of paying some of his workers pennies on the dollar compared to his most prized animators. By some accounts, Walt felt regret in his later years, that he was not the same man he appeared on TV.
All in all, he left the world a better place, which in the end is what matters most.
Dan Heaton says
I agree. The interesting part about this book is that the title is a bit misleading. Spiegel does investigate cultural depictions in Disney films, but much of it isn’t really about Walt. Personally, I find Walt a lot more interesting as a real person than as a mythic figure either way. It makes what he accomplished even more amazing.