Pocahontas (1995)

Directed by: Mike Gabriel, Eric Goldberg | 81 minutes | animation, adventure, drama, family, history, musical, romance | Original voice cast: Irene Bedard, Judy Kuhn, Mel Gibson, David Ogden Stiers, John Kassir, Russell Means, Christian Bale, Linda Hunt, Danny Mann, Billy Connolly, Joe Baker, Frank Welker, Michelle St. John, James Apaumut Fall, Gordon Tootoosis, Jim Cummings

Disney’s 33rd full-length animated feature is the first to feature real-life characters, and it delivers a film that may be heartfelt, solemn and serene, but also less action-packed, romantic, or humorous than some of the major animation studio’s previous works of art. Pocahontas is probably interesting and instructive for viewers unfamiliar with this story – although not everything is factually correct of course – and the attention that there is for the culture of the Native Americans (from the filmmakers that is) is refreshing, but the usual entertainment content is not achieved.

To make the romantic aspects a little less dubious or controversial, Pocahontas was made about ten years older than the 14 years she was originally when she met John Smith. An understandable decision, although given the tame and platonic nature of the romance in the film, it could have been. Perhaps the subject matter and lesson taught to Smith would have been even sharper. It’s already quite a reality check for Smith when a strange, supposedly uncivilized woman opens his eyes, and he is rather the short-sighted barbarian, and she the enlightened, intelligent lady. If it had been a child too, it would have been a lesson in humility for Smith altogether.

But now it works, and the scenes in which the two learn from each other and especially Smith learns to open up to other customs and nature (and learns to “paint with the colors of the wind”) are among the most successful of the series. movie. Things get beautifully lyrical and poetic when Pocahontas sings the Oscar-winning song “Colors of the Wind,” and the viewer forms a beautiful stream of pastel-colored leaves that are carried by the wind, and swirl around Pocahontas’ beautiful long black hair. This song is also the best part of the film music, or rather the selection of songs as a whole. Unfortunately, most of the songs are often dull, chaotic and not very melodic.

A strong point of Disney films is often the comic relief, which the usual sidekicks provide. Whether it’s Jiminy Cricket, Thumper, or Mushu, a good comedic character can often steal the show. In ‘Pocahontas’ this is a bit sparse. Raccoon Meeko does his best as Pocahontas’ best friend, and there’s also a spoiled little dog and a hummingbird that make a comeback, but the antics of these beasts can’t do more than a faint smile.

Unfortunately, the villain will also not get a place in the row of classic Disney villains. Governor Ratcliffe is a bloated, ridiculously looking individual who, rather than fright, provokes fatigue and annoyance. There is hardly any threat from him, which may also have to do with the futility of his mission. He just goes to war with the Indians because he thinks there is gold in their country, without having a single concrete indication of this.

The animation style should be your taste. with angular shapes of the faces, minimalist facial features, and little depth or dynamism in the backgrounds. In any case, the soft use of color enhances the atmosphere and fits well with the earthly, Indian culture. Interestingly, unlike most of the other characters, the talking tree, Grandmother Willow, is animated in quite a bit of detail, especially in the dynamics of the bark when she goes to talk.

The battle between the English and the Indians looks nonsensical to any outsider, and without a really clear, engaging subject to drive the plot forward, the interest is probably not optimal. The message of fraternization and peacefulness is clearly communicated and in the end, of course, it is the noble Indians who triumph (and then we forget for a moment how it went). The way in which the relationship between Smith and Pocahontas takes shape at the end of the film is surprising. Whether it benefits the film experience is up to the viewer to decide.