One Hundred and One Dalmatians, as it was referred to in its original posters, but quickly abbreviated to 101 Dalmatians, was released in 1961. It was the first animated feature to make use of the newly developed Xerox process. Traditionally, drawing were made in pencil by the animators, then traced in ink onto the transparent cels by inkers, before being painted and ultimately photographed. Starting with 101 Dalmatians, the drawings were transferred to the cel via a Xerox photocopy. The reason for this was twofold. First, the box office failure of the very expensive Sleeping Beauty made the studio eager for ways to cut costs and eliminating the inking step was a good way to do this. Second, spots are notoriously difficult to animate and the exacting nature of the Xerox moved the prospect of animating 101 spotted dogs into the realm of possibility.
Following in the footsteps of Sleeping Beauty, 101 Dalmatians also features highly stylized visuals. Rather than the lavish backgrounds seen in Beauty, Dalmatians uses slightly abstract backgrounds, with the colouring often over- or under-filling the drawn borders of objects. The animation of the characters is noticeably different as well, owing to the Xerox process. The lines are much rougher and have more of a sketch quality, but this also allows for the retention of the “character” of the original pencil lines. Script wise, the film shines. This is the first solo effort by Bill Peet, who would go on to be a staple of both the studio and children’s literature, and it bears all of his hallmarks: slightly outrageous situations, humour, strong characters, and loads of heart.
Re-watching this film for the first time in many years, I was surprised by how much I enjoyed it. I don’t remember having any particular affection for it as a child, but this time through I loved it. It is funny, fast paced, original, and filled with unique, very ‘60s looking animation. There’s plenty here for both young and old to enjoy and it is certainly one which should not be missed.
Up next: The Sword in the Stone (1963)
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