1994 in Film: Thumbelina

Thumbelina is one of the creations to come from the mind of well known animator Don Bluth… The film that is, the original story was written by Hans Christian Anderson. Although one could argue this isn’t a very strict adaptation of the tale. I am well aware that many in my own age bracket have a good deal of nostalgia wrapped up in this film. I didn’t have that though.

This recent watch of it for this piece you are reading is essentially a first time watch. Because the foggiest memory containing snippets of this film as a four year old at a neighbor’s home doesn’t count. I’ll admit that I’m not well versed in the animated films of Don Bluth. The exception of course being Anastasia (1997), which was a childhood favorite and remains so to this day. I went in with that knowledge making me hopeful, though sadly the film didn’t have the “wings” to really soar in my opinion.

Don Bluth is an interesting character. Originally an animator at Disney Animation Studios, he and nine other fellow animators jumped ship in 1979 due to fatigue and disenchantment with the way the studio was running things. This of course being the midst of “The Bronze Age”, where most of the films being churned out were mediocre at best.

The studio had lost it’s spark after the passing of Walt Disney, and movie after movie failed to re-capture the magic. This frustrated Bluth left with his eyes set on making his own animation studio. This would be a whole decade before 1989 would usher in Disney’s renaissance period with The Little Mermaid.

1994 IN FILM: Pom Poko

Bluth had his heart in the right place. And was able to present many charming films under Don Bluth Productions/The Bluth Group that remain memorable to viewers – and did well at the box office to boot. Most notably The Secret of NIMH (1982), An American Tail (1986), and The Land Before Time (1988) – with the latter two being joint works alongside Steven Spielberg.

Things would start to go south after the success of All Dogs Go to Heaven (1989). With subsequent films failing to make back their budgets and the studio later shuttering with Bluth, moving on for a brief period at Fox Animation Studio (Anastasia arguably being his last big hit during his time there).

Thumbelina was the third to last film released under Bluth’s own studio before closing up shop. Though the ground was beginning to already crack. At this point in time Bluth was borrowing a lot from the current successes from Disney, who in 1994 would experience the biggest financial success of their decade with The Lion King roaring into theaters. Thumbelina doesn’t try to hide it’s slip with its heavy borrowing of what had successfully came before. Making it feeling tired, bloated and easily dated.

Thumbelina tells the story of a young girl who is born from the bud of a flower. And subsequently never grows larger than the size of a human thumb (hence the name). Her difference doesn’t seem to hinder her too much, and she lives a relatively carefree life, prancing around her mother’s farm and playing with the animals.

1994 IN FILM: The Lion King, Memory and Self Actualisation

After being read a story about fantastical romance and mystical fairies, she becomes enraptured by the idea of others out there who are, for the most part, just like her. It should be noted that Thumbelina is voiced here by none other than Jodi Benson, who was behind the voice of Ariel in Disney’s The Little Mermaid.

With dreams of love and true belonging filling her heart and mind, late one night she is surprised to be visited by none other than a fairy prince named Cornelius (Gary Imhoff). This film has quite the penchant for puns. And none more as glaring as the one that introduces the Prince Cornelius to Thumbelina, who rips through a page in her story book proclaiming “May I cut in?”. One can almost hear the crickets, and if it doesn’t make you roll your eyes it will at least warrant a pathetic laugh at how cheesy it is.

The two naturally fall in love after a mini whirlwind ride atop a bumble bee, and twirling through the air as the Prince holds onto the wing-less Thumbelina. A montage that feels as if Bluth had frankensteined together the “A Whole New World” scene from Aladdin (1992), with Clark Kent and Lois Lane’s late night flight in Superman (1978), to music composed by none other than Barry Manilow (who composed the film’s soundtrack *yay?*).

1994 IN FILM: Street Fighter II: The Animated Movie

Unfortunately for these two love birds, Thumbelina gets stolen away in the night by the enterprising Mrs. Toad (voiced by Charo *yes that Charo*). She intends Thumbelina to join her show-biz family and marry one of her sons. After a cringe musical number, she escapes their eyes and attempts to find her way home, back to the loving arms of Prince Cornelius.

Along the way she encounters some woodland friends. Most notably Jacquimo the sparrow (Gino Conforti). Who in his wake brings most of the film’s most frustrating plot-holes. He comes as Thumbelina is about to slip right off the edge of a waterfall, and tries to help before some fish and a few tiny little jitterbugs come in and get the job done.

PODCAST: Rewind to Oscars 1994

Naturally though, a fairy-tale ending is guaranteed, after trial and tribulation. And as the audience bids adieu, one can’t help but feel overwhelmed by the flaws of this peculiar piece. Maybe if I was a child watching this I could’ve found more to enjoy. But even still I feel there are much better animated films out there for kids. Ones that deftly do their job by being both entertaining to their children audience, as well as being enjoyable for adults and those young at heart.

There isn’t much I can say about Thumbelina that is positive or encouraging. At best I think, it is interesting to look at it in regards to Don Bluth’s work. And how it represents the weariness of his once promising, fledgling animation studio. Compared to those earlier works in his post-Disney time which had originality and freshness to them, Thumbelina feels worn-out. While standing as a symbol for a studio that the progress of animation was quickly leaving behind.

As a viewer, it’s simple to try and gleam the good and make excuses, when you want to believe some good-intentions were behind a product. But Thumbelina feels without heart, lacking a genuine feeling that is crucial in animation – or films in general. The impression that the people behind the scenes believed in what they were doing and put their all into it. Thumbelina lacks there, and that may be its worst crime of all.