Disneyanity - Of "Walt" & Religion

 

by Douglas Brode

The shortest possible summary of this very intriguing book: The Bible of Walt Disney.

First, a few words about the author. When Doug and I were both on a cable TV show called "Magazine 13," we conceived a contest called "Stump Doug." The idea was for viewers to come up with difficult film questions for Brode, and he would be asked them, with no preparation or warning, on the show - live. Even I was amazed at the sheer depth of the man's knowledge of film. It was truly encyclopedic, and dare I say, trivia-master-level. "A third remake of a 1920 silent film featured what bit player who had helped design the set in the 1920 film?" He knew. (I'm making that up, so don't bother trying to research it - but if there were such a question, he'd know the answer!)

He has long had, within his overall category of films, some areas of particular interest: westerns; cult classics; B movie femme fatales; and specific actors or directors whose body of work put them in a special category; to name a few. He's also written a number of fictional works.

But there's something special, even in Brode's world of "specials," about Walt Disney. Doug Brode has approached Walt Disney as one might a figurehead of a, in his own words, "secular spirituality." As a child of the early days of Disney-on-TV, I certainly can't argue with the premise that Walt Disney had a powerful impact on the children of the Baby Boom. While he had entertained older kids at the movies, creating Mickey Mouse, a kind of "Little Tramp makes cartoons" character, along with all his pals, a collection of misfits and oddballs who singly or together manage to overcome the odds; with TV, Disney had a direct path to little kids who could quickly name all the Mouseketeers, knew what words came after "Meeska-mooseka-mousekateer..." spoken while aiming "magic fingers" at a spinning dial, and who knew every word to: "Who's the leader of the club that's made for you and me?"

Brode contends, though, that Disney, and his movies and TV specials, and eventually "Magic Kingdoms" were far more than silly entertainment prized by kids of all ages. Walt's "world" was a lens, a magical lens, if you will, through which you viewed the world - and so viewed, it was a better place.

If you were one of those children who saw either "Bambi," or "Old Yeller" at, say, under 10 years of age, you'll understand the power of the stories Walt told. Bambi was a tiny deer destined, King Arthur like, to become King of the Forest - where man was the greatest thing to fear. In "Old Yeller," a noble dog saves his beloved human companions from a rabid animal, only to become rabid himself, requiring his adored boy to put him down, saving him from pain, and others from danger. Both spoke deeply to the hearts and minds of young kids - and, to Brode, helped spawn a kind of spiritual revolution of the young, and spread the Word of Walt.

Brode begins the book with a forthright comparison: what, to the secular fun lover, is akin to a sacred trip for faithful Catholics, or he might have added, a pilgrimage for a believing Muslim? The answer to last two is a trip to the Vatican, and a visit to Mecca, in that order. And for the first? A trip to Walt Disney World! I recall the anticipation with which I approached my first trip (as an adult, even!) to Disneyland in California. And the excitement in the voices of two young family members when they were going to visit - wheeeee! - Disney World!

While not suggesting the two, religion and the world of Disney, are quite the same, Brode does clearly suggest that religion is tied, however loosely, to magic, and Disney, of course, is the magic kingdom. There is something in the human mind and heart, he argues, that was built to recognize and crave magic. And Walt Disney, while not purporting to be a prophet or magician (exactly), certainly did aim to supply some magical fun, and even, if you will, magical thinking.

Brode breaks his book into a combination of concepts/precepts, and the films, characters, cartoons, and nuggets buried in each that represented them. So, for example, Disney was a framer of Nature as a wise, loving, and good Being (often female). Even in films like Davey Crockett, where our hero must do battle with nature to survive, he learns to work as one with her, eventually moving in peaceful harmony. She is often represented in the shape of a tree, he notes, tying that impulse back to the Druidic worship of the trees, each one having a symbol and a purpose. He made films specifically to introduce young (and older) minds and hearts to the wonders of nature, taking us on adventures deep into the wilderness which, according to Brode's reading of it, was not the dangerous nature of the Puritan or Victorian mind, but the gracious mother Gaia, who, if you just took the time and care, could produce wonders.

Another theme is the little oddball who, against all odds and with pluck and "sticktuitivity" is able to overcome challenges and, with a wink and a nod, win the day. The God-King who appeared as something less, but felt his heroism bubbling up from some well deep within him, so he reached down to find it and tap its power.

Yet another Disney insight Brode perceives is anticipation of the feminist movement, in which the woman plays the hero's role and bests a challenge to save the ones she loves - and lives not simply to be "won" and collected as a trophy, but as a champion in her own right, who can follow her own dreams - and "kiss the guy" she wants, when she wants. 

As in scripture, in Disney (or the word according to Walt) the lessons and the stories are entwined. There's no need to try to pry them apart if you don't wish - you can simply sit back and let them wash over you, enjoying the beauty of the music, the fun and wit, the wisdom and insights, and letting the characters become part of your literary and spiritual vocabulary. Or you can inspect them more closely and ask, "why did Disney choose that fairy tale, and change that element? What was he trying to say? What has Disney taught me about the animals of the forest, or why an angry quacking Duck (Donald) reminds me of people I know and what they can teach me?"

With this book, Brode has done a lot of the heavy lifting for you, but as with any body of work as complex, chock-full, and varied as Disney's, there is - once you're looking - always something more to find, prize out, examine, and put back to consider again another day. Brode has given you the key to the Kingdom - explore!