I’m a huge fan of animated cinema. I’ve watched—and enjoyed most—films from Snow White to Ratatouille, and while I’ve seen the majority of that list out of the context of the original release dates, I feel I’ve got a pretty strong grip on the technologies, reactions and social impact these films had from my research. Whether this opinion is shared by others is irrelevant to me, but I feel that animated film hit a decline with the advent of three-dimensional rendering; I just don’t think there has been another Jungle Book, Lion King or Aladdin yet.
For the purposes of this article, I’m going to assume that Pixar and DreamWorks are essentially the same—I realize there is a big difference, but it doesn’t affect my point a whole lot, so I’ll refer to the two corporations collectively as Pixar. Yes, I picked my favorite.
Gun to my head, I’d have to say Aladdin is my favorite animated film. There are some heavy contenders; the aforementioned Jungle Book, Lion King, Ratatouille and other classics like Fantasia are phenomenal films in their own right, but Aladdin stands a cheeky monkey taller than the rest. I don’t know if it is the almost perfect score, the breathtaking visuals, the pull-you-in world or the quirky and charming characters and plot that gets me, but a smart guy would say it is a little bit of them all. I sit on the edge of my seat every time I watch the thrilling race to leave the Cave of Wonders on Carpet and I feel a chill every time I see Genie under the command of Jafar. Disney magic?

I think there are two big things that Pixar films lack compared to Disney’s two-dimensional cartoon film days. The first is the music. There is nothing that’s going to change my mind away from the fact that The Lion King has what is one of the greatest and most relevant film scores of not just animated cinema. The opening sequence of the film sends shivers down my spine every time. As much as I love Ratatouille or The Incredibles, these films couldn’t capture me with what was really just a generic, run-of-the-mill soundtrack. The Shrek series of films tried hardest to fill what seems to me is a gaping void, but except for the hilarious Welcome to Duloc, I didn’t enjoy much.
I don’t know why the musical as a concept was ditched—it’s not like it wasn’t working. Adjusted for inflation, Shrek 2 is the twenty-ninth highest grossing film of all time, a remarkable achievement. However, it still stands behind Snow White (tenth), 101 Dalmations (eleventh), Fantasia (twentieth), Lion King (twenty-fourth), Jungle Book (twenty-seventh) and Sleeping Beauty (twenty-eigth). Aladdin pulled in at eighty-four, with other very recognizable old-school classics appearing throughout the list. Music was a big part of these films—not only did it serve to create a soundtrack, but it did what Bollywood is now famous for: escapism. Sure, there are talking vehicles in Cars, but they don’t pull you in quite the same as a lion cub, meerkat and warthog singing about having no worries. I don’t think it’s too much of a stretch to say that this is essentially brainwashing little kids, but the concept worked on adults, albeit differently. A hardworking parent takes their child to see Lion King and doesn’t have to think: she can just sit back and sing-a-long to some of the catchier tunes—she can just relax.

That brings me on to my second argument: the characters. Try as I might, I just don’t find any Pixar-animated character to be as in-depth, sincere and well-thought out as Aladdin, Simba or Baloo. I can’t find a Pixar villain that compares to Jafar or Shere Khan. Syndrome (of The Incredibles), for example, is a weak and under-developed villain. Lightning McQueen (of Cars) is a dull character with no real vigor or plot-driving characteristics. It seems that animated films went through a quick change from where they originally depicted characters you could put a plot around to plots with characters shoehorned in. I find it ironic that most, if not all fairy tales are named after the character they depict.
It’s hard to pin down just what exactly the fault of Pixar is here—and again, let me emphasize that despite their shortcomings, I adore many, many three-dimensionally animated films—but I’d say that for the most part, the characters aren’t human enough. I understand this being a bit rich coming from a self-proclaimed Lion King and Jungle Book fan, but even in those films, the characters were truly human. Maybe not so much for The Jungle Book, but The Lion King could pretty easily be adapted into a story about people. Pocahontas, Mulan, Cinderella and The Little Mermaid already are. The only Pixar films which feature humans in any sort of lead role are Ratatouille and The Incredibles, and even then those films barely scrape through that metric. I’m not quite sure when we, as audiences, decided that humans just aren’t good enough for animated films anymore, but clearly somebody did, and the decision seems to be quite consistent throughout the last few years and what little we know of tomorrow. Bambi is one of the most timeless animated films of all time, but sixty years from now, can you see Madagascar being held with the same regard? I can’t, but the film still grossed over half a billion dollars.
Maybe I’m just old-school that way. The new-age films aren’t doing badly by any metric, and I do enjoy them (as I’ve mentioned multiple times), but I would love for Disney to surprise me with the courage to pull off a Hayao Miyazaki and create a hand-drawn film with great, human characters and silly songs. Bah, I’ll take Wall-E for now, I guess.