101 Dalmatians (1961) - Rotten Tomatoes

101 Dalmatians (1961)

101 Dalmatians (1961)

TOMATOMETER

AUDIENCE SCORE

Critic Consensus: With plenty of pooches and a memorable villain (Cruella De Vil), this is one of Disney's most enduring, entertaining animated films.

101 Dalmatians Photos

Movie Info

This Disney animated classic is based on the children's story by Dodie Smith. The story involves the canine pets of a struggling composer and his wife: Dalmatians Pongo (male) and Perdita (female). Perdita gives birth to fifteen spotted pups, cuing the entrance of the scheming Cruella De Vil. She demands that the dogs' owners sell her the pups, but she is shown the door instead. Under cover of night, Cruella arranges for the pups to be stolen. The human police are baffled, but the "dog network" is alerted by Pongo and sent to rescue the pups. It is discovered that Cruella has been rounding up every Dalmatian she can get her hands on, hoping to use their pelts to make one spectacular fur coat. The dogs rescue the 15 pups, plus 86 others stolen by Ms. DeVil. After an eventful escape, the 101 Dalmatians make their way home--whereupon the composer pens a hit tune, "Dalmatian Plantation". 101 Dalmatians represents the Disney animation staff at its very best, and as a bonus introduces the world to Cruella De Vil, one of the greatest movie villains--cartoon or "real"--of all time. ~ Hal Erickson, Rovi
Rating:
G
Genre:
Animation , Classics , Comedy , Kids & Family , Mystery & Suspense
Directed By:
Written By:
In Theaters:
 wide
On DVD:
Runtime:
Studio:

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Cast

Betty Lou Gerson
as Cruella/Miss Birdwell
Cate Bauer
as Perdita
J. Pat O'Malley
as Jasper/Miscellaneous Dogs
Tom Conway
as Collie
Rod Taylor
as Pongo
Ben Wright
as Roger
Lisa Davis
as Anita
Martha Wentworth
as Nani/Goose/Cow
George Pelling
as Great Dane
Mickey Maga
as Patch the Puppy
Barbara Beaird
as Holly the Puppy
Tudor Owen
as Towser
Mimi Gibson
as Lucky
Paul Wexler
as Voice
Mary Wickes
as Voice
Ramsey Hill
as Voice
Bill Lee
as Voice
Max Smith
as Voice
Bob Stevens
as Voice
Dal McKennon
as Barking Dogs
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News & Interviews for 101 Dalmatians

Critic Reviews for 101 Dalmatians

All Critics (45) | Top Critics (6)

It is the wittiest, most charming, least pretentious cartoon feature Walt Disney has ever made.

Full Review… | September 4, 2008
TIME Magazine
Top Critic

While not as indelibly enchanting or inspired as some of the studio's most unforgettable animated endeavors, this is nonetheless a painstaking creative effort.

Full Review… | March 4, 2008
Variety
Top Critic

This was the last Disney animated feature (1961) that Uncle Walt lived to see through personally; it can't be a coincidence that it's also the last Disney animated feature of real depth and emotional authenticity.

Full Review… | February 12, 2008
Chicago Reader
Top Critic

Brilliant entertainment.

Full Review… | January 26, 2006
Time Out
Top Critic

A rather clever idea, if a bit unsettling.

May 20, 2003
New York Times
Top Critic

If there's one thing that's absolutely first-rate about the film, it's the character of Cruella.

Full Review… | January 1, 2000
Chicago Sun-Times
Top Critic

Audience Reviews for 101 Dalmatians

With a gorgeous animation job using xerography that ranks among the best the studio has ever done - though Walt Disney strongly disliked it -, this is a very entertaining film that also offers a memorable villain and knows well how to create suspense in scenes of danger.

Carlos Magalhães
Carlos Magalhães

Super Reviewer

½

Classic in every aspect with a wonderful script and memorable characters, all equaling one of Disney's best animated films.

Eric Alvarez
Eric Alvarez

Super Reviewer

½

As Walt Disney's direct involvement in the Disney Company declined, so too did the overall standard of their work. 101 Dalmatians came at a time when Disney was diversifying into live-action films, television and theme parks; after the box-office failure of Sleeping Beauty, there was even talk of shutting down the animation division. Through a combination of rudimentary technology and priorities being elsewhere, the film is not quite the children's classic it is made out to be. But even the weakest efforts from the Golden Age manage to keep us entertained, and the film comes through thanks to a riveting final act. 101 Dalmatians is notable first and foremost from a personnel point of view. Not only was Walt's direct involvement being reduced, but the film represents a passing of the torch to a new generation who would guide the company through the 1970s and 1980s. In this case Clyde Geronomi and Hamilton Luske, who directed for Disney throughout the 1950s, are paired with Wolfgang Reitherman, who would later helm Robin Hood and The Rescuers. While Reitherman had previously collaborated with Geronomi and Luske on Sleeping Beauty, this was the first Disney film on which his directorial stamp was the dominant one. The major innovation that Reitherman oversaw with Disney was the introduction of Xerox photography. In essence this involved being able to transfer the original pencil drawings by animators directly onto animation cels, eliminating the need for inkers to go in and flesh out the original outlines before colour was added. While this process reduced the number of drawings needing to be reproduced, and thereby saved Disney a lot of money, the standard of animation was visibly lower. The initial animators were used to drawing sketchily, producing drawings of general movement which would have detail added by the inkers. Having fired all their inkers, Disney were left with whatever rough drawings their initial animators produced, and the only way to beautify them was with the choice of colour. The best way to illustrate the point for those who aren't technically minded is to compare 101 Dalmatians with Sleeping Beauty. Though many of its character designs are very angular and striking, Sleeping Beauty looks and feels like a film carefully laboured over, as if every frame had been shaped with a chisel until its edges were smooth enough. Its colours range from the gentle browns of the wood to the demonic red, black and green of Maleficent. With 101 Dalmatians, the animation looks like it has been deliberately simplified, with much less going on in every frame. The colours are a paler assortment of pastel shades, and there has been much less effort expended to cover the replication of characters' faces. You simply don't get the sense that every single one of the Dalmatians was designed and drawn to be different. Instead the same faces turn up time and time again - not to mention the lifting of previous characters in the shop window cutaway, and arguably the recycling of the four elephants from Dumbo into the four cows. For the most part, 101 Dalmatians is an honest, enjoyable, silly little pantomime. It takes the dog's-eye-view conceit of Lady and the Tramp, in which we barely saw a human face, and plays everything in broader strokes with simpler characters. While in Lady and the Tramp there was tension between pet and owner in the form of a child, Roger and Anita (whom we see from the start) get on just fine and there is no obstacle between them and their pets. They're the equivalent of the king and queen in a theatrical pantomime: they don't do much in the story, they just run the kingdom in which the protagonists live. The antagonists in the film are equally broad. Out of all the Disney villains, Cruella De Vil is the most pantomime and exaggerated until Medusa in The Rescuers (who was effectively a rip-off of Cruella). Her name, the fancy dress, the exaggerated movements and the evil laugh - everything is over-the-top funny, in contrast to the gleeful menace of the fairy tale villains. Her goons, Horace and Jasper, obey the double act dynamic that dates back to Laurel and Hardy: one of them is stupid but thinks he's smart, the other one is quite smart but is made to think he's stupid. Not only are the characters straight out of pantomime, but aspects of the plot are as baggy as a sub-par amateur production. There are at least two occasions where the film resorts to the characters watching television - and while the second time there is a point to it, it's an indication of how little is going on that the characters are so easily side-tracked. Moreover, the montages of the dogs covering ground are dragged out so much, that it can feel like entire seasons pass before they get from London to the countryside. The plot of 101 Dalmatians is pretty simple: a woman who wants some fur coats kidnaps a load of puppies, who are rescued by two adult dogs and adopted by the adults' owners. But the first hour is so stretched out that all we have to sustain ourselves is our on-going empathy with the characters and anything that happens which is unintentionally funny. The empathy is assured because both the dogs and their owners are too nice to get in a huff about, while most of the hilarity comes from Nanny. Although she's styled like a plainer version of Merryweather from Sleeping Beauty, she's voiced by the same actress that played Madame Mim in The Sword in the Stone. Whenever she gets excited, you're just waiting for her to change size and shape as she dances and bounces through her lines. Perhaps the biggest problem with 101 Dalmatians is that it doesn't have the same scale or ambition as the earlier works. Some of this is inherent in the source material: for all the appeal of Dodie Smith's novel, the parks and streets of London don't have the grandeur of a castle in a faraway land, or a forest filled with evil trees. But more than that, the more modern, conservative setting corresponds to the lack of anything magical in the animation or the story's execution. Disney himself had deep reservations about the film, and held a grudge against the art director Ken Anderson until a few weeks before his death in 1966. Up to around the hour mark, 101 Dalmatians comes across as a perfectly passable if not particularly engaging children's film. Depending on your attachment to the early works of Disney, that observation will either induce despair or disinterest. There's nothing about the film that is objectionable or striking, but it keeps us engaged on a certain level. And then, as we enter into the last 20 minutes, everything changes for the better, giving us a final act which, in the context of what has gone before, it pretty startling. The shift occurs when all the dogs and Sergeant Tibbs the cat have been backed into a corner by Horace and Jasper. Suddenly the colour scheme shifts from a series of dusty, grey-brown tones to the same full-on, Technicolor red that Alfred Hitchcock used in Vertigo. Not only are things brighter and more intense, but the pace begins to pick up. Having taken its sweet time to get the dogs to the countryside, it becomes a genuine race against time to get them back, and the obstacles keep coming to prevent their journey from being easy. From this moment on, everything about the film that had been harmless and silly suddenly gains a sense of weight. Cruella stops being a pantomime dame who is evil for its own sake, and takes on a more dangerous, obsessive quality. The close-ups of her in the car are quite freaky, with spiralling eyes that foreshadow Who Framed Roger Rabbit and expressions that clearly influenced the design of Ursula in The Little Mermaid. Both her stealthy patrols of the town and the final chase are genuinely tense, with the action building to a great climax and a solid reunion. On the strength of its last 20 minutes, 101 Dalmatians stops being merely a decent film and secures its status as a genuinely good one. While the story has none of the power or memorable qualities of the earlier works of Disney, the characters are always likeable and it has the same enjoyably silly spirit as a pantomime. It can't claim any pride of place within the Disney canon, but it serves as a decent introduction for younger viewers.

Daniel Mumby
Daniel Mumby

Super Reviewer

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