Meg doesn’t trust men and barely trusts herself-it might mean she’s not a Disney Princess, but it makes her a relatable queen.Īndrew Gruttadaro : Opening songs are a tradition in Disney canon (“Circle of Life,” “Fathoms Below,” etc.), and while “Two Worlds” isn’t the best of them-nor is Tarzan the best of animated Disney films-it certainly gets the job done. It’s a love song from someone who doesn’t want to be in love, who knows enough to assume things aren’t going to work out. “I Won’t Say (I’m in Love)” is, like its singer, a refreshing change of pace for Disney. She would be the only Disney princess with a shitty ex-boyfriend, except she’s not an official Disney princess-and perhaps that’s for the best, because she’s also the female Disney character who seems like she’d care the least about the distinction. Kate Knibbs : Female characters tend to be fully good or fully bad in Disney movies-a Maleficent or a Sleeping Beauty, if you will-but Meg is a little harder to neatly categorize, as she’s a good person with an attitude problem who makes some bad choices. Maybe it’s time for a re-examination of this forgotten oddity of Disney’s Golden Age, because “Out There,” at least, is as stirring as any Disney musical set piece.
Disney rest time music movie#
That’s in keeping with Hunchback’s weird, dark, and sinister tone, which never really sat right when I saw this movie as a fourth-grader. This isn’t a song to sing along to, it’s a song to sit and be moved by. Michael Baumann : This is just great musical songwriting-in fact, if anything, it’s a little overambitious for a children’s movie, with its countermelodies, key changes, and Tom Hulce’s piercing upper-register tenor. The point is that all of this wanting will either kill you or consign you to a fate worse than death, which, again, is metal for a children’s movie. “Poor Unfortunate Souls” is great-first because it slaps, second because it’s a song in a children’s movie about how avarice is diseased, as demonstrated by a big, shaky baritone and pink wisps of smoke that occasionally take the shape of men who want to be taller and buffer, and women who want to be slimmer, more stylish, and more beautiful. Instead we get a thin-sliced version of her worldview in song, which is a million times better. Micah Peters : We never really get Ursula’s backstory in The Little Mermaid. “Poor Unfortunate Souls,” The Little Mermaid Fox, if you need further indication of the song’s enduring gorgeousness, which, of course, you don’t. (It lost to “The Way We Were.”) Written by Disney music guru George Bruns and Floyd Huddleston and sung by Nancy Adams, it’s a breathy bit of romantic melancholia that Lana Del Rey really ought to cover this instant: “Once we watched a lazy world go by / Now the days seem to fly / Life is brief, but when it’s gone / Love goes on and on.” Indeed, in 2009, “Love” made the soundtrack to Wes Anderson’s The Fantastic Mr. Rob Harvilla : With apologies to Mean Streets, Serpico, The Sting, or The Long Goodbye, Robin Hood was the coolest movie of 1973, a suave ramble through Sherwood Forest soundtracked by the likes of profound-goofball country deity Roger Miller and the gorgeous guitar-and-orchestra torch song “Love,” which scored a Best Song nomination at the ’74 Oscars. Their spins aren’t exactly convincing, but they get an A for effort. Instead of calling him ugly, they refer to him as “one-of-a-kind.” The song, in true Disney fashion, moves through three different key changes and several different beats, all the while making you feel like the gargoyles are your personal cheer squad. The gargoyles take all of Quasimodo’s imperfections and insecurities and turn them into desirable features. The gargoyles use this opportunity to serenade him into thinking that wherever she is, she is thinking about him and totally digs him. Quasi wants to be noticed by Esmeralda, the woman with whom he has fallen in love, and as he looks out over the burning city of Paris, he wonders whether she is safe.
“A Guy Like You,” The Hunchback of Notre DameĪnalis Bailey: Quasimodo is a lonely character who simply wants to be loved, but all he has are the creepy gargoyles who lead this song.
Before you ask, no, Pixar films were not included.Ĥ0.
With Jon Favreau’s live-action-ish remake of The Lion King out later this week, we decided to rank the 40 best musical numbers ever from animated films put out by Disney.
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