The 1970s were not one of the high points for Walt Disney Animation Studios. This “Bronze Age” came about after the death of Walt Disney, and during a dark age for animation as a whole. That’s not to say that every Disney film released during this time was a total dud, but it might be saying something that the studio’s best film in this timeframe was a compilation of previously released shorts.
Yes, Disney was in such a state that they dipped back into the package film well in 1977, though they went even further with the concept this time around by stringing together short films that had already seen prior releases (the package films of the 1940s were at least all new shorts at the time).
On the plus side, these short films were those featuring the characters of the Winnie the Pooh universe, and is there a cast of Disney characters more charming than the studio’s adaptations of A.A. Milne’s creations? As a bonus, Disney did provide new animation in between the shorts in order to more properly mesh them together. Thus The Many Adventures of Winnie the Pooh, the 22nd Walt Disney Animation Studios film, was born. Although its Frankenstein’s monster approach of merging previously-released material may not exactly make it the most original Disney flick, I’d have to have a heart of stone to say anything too harsh about Winnie the Pooh.
Yes, even if its production may have been tying together tried-and-true past successes and calling them new, there’s a charm, innocence and whimsy of the Winnie the Pooh universe that makes it all too likable, and impossible to resist.
Like many of the classic Disney films, The Many Adventures of Winnie the Pooh begins by opening up a storybook (this time, however, the characters are well aware that they exist in a book, even interacting with the written-down words on the pages). The book tells different stories by Christopher Robin, the young boy who brought Winnie the Pooh and his friends to life with his imagination.
We’re introduced to characters like Owl and Rabbit and Piglet and Kanga and Roo, as well as Gopher (the only character not from A.A. Milne’s original books, which the film points out on a few occasions), Eeyore, Tigger and, of course, Winnie the Pooh, the bear of very little brain himself.
These characters are just so likable and endearing. Because within the context of the story, they’re all part of a kid’s imagination, they all have a childlike simplicity about them (even Owl, the oldest and wisest of the lot, isn’t as knowledgable as everyone – including himself – thinks he is). Pooh’s primary concern is when and where he’ll get his next “smackeral” of honey, while Tigger just wants to bounce everywhere he goes, and Rabbit, being something of a less jaded and cynical precursor to Squidward, just wants a neat and tidy house, and to prevent Pooh from eating all of his honey.
As you may have guessed from the title The Many Adventures of Winnie the Pooh, or from the fact that the film is comprised of previously released shorts, there’s not really an overarching plot here. The film plays out like a series of episodes that each contain their own little plot or two. This episodic nature may not be ideal for a movie with a more traditional plot, but for something like this – in which these characters exist in a world void of any real conflict – it plays to the film’s benefit.
We have storylines like Pooh trying to get to a beehive high in a tree to get to its honey, Pooh eating all of Rabbit’s honey and getting stuck in the rabbit hole of his house, Tigger bouncing so high he gets stuck in a tree, and Eeyore trying to find a new house for Owl, after the latter’s treehouse is blown away on a windy day.
Not every movie needs to be a grand epic, and not even every Disney movie needs to be an adventurous fairy tale. Sometimes a little slice of lighthearted entertainment is all you need. And The Many Adventures of Winnie the Pooh provides just that. It’s an enjoyable, relaxing, charming series of (relative) adventures by an endearing cast of characters.
Winnie the Pooh would become of of Disney’s bigger franchises, with a television series in the 1990s, a series of straight-to-video movies, and even some that made their way to the big screen (one of which, 2011’s oddly titled Winnie the Pooh, being something of the “official sequel,” as it is counted as one of Walt Disney Animation Studio’s proper films, as opposed to a subsidiary). While that may seem like overexposure for some franchises, the simple charms of Winnie the Pooh make it easy to want to revisit its world again and again. The Many Adventures of Winnie the Pooh epitomizes this infectious charm.