Incannerax What a waste of my time!!!

Lucybespro It is a performances centric movie

Brightlyme i know i wasted 90 mins of my life.

Freeman This film is so real. It treats its characters with so much care and sensitivity.

Horst in Translation (filmreviews@web.de) This 1946 version of the famous "Peter and the Wolf"-story runs 15 minutes and thus considerably longer then most animated short films from that time, roughly twice as long. One reason may be that it was directed by Clide Geronimi who's responsible for quite a few of Disney's magical full feature films, such as "Alice in Wonderland" for example. I really liked the introduction he used, showing the audience each character and linking the music instruments. It was almost a music lesson and very well done.Next, the real story begins. peter goes to catch the wolf, is held back by his grandpa, but finally manages to get away nonetheless. He runs into two birds, a duck and a woodpecker, who become close friends, and a cat, constantly hungry, but still an ally against the big bad wolf. I think the scene was quite funny when the cat caught one of the birds and acts all innocent until Peter forces her to release him. Back to the wolf, the animators did a good job in portraying him in a truly scary fashion. He reminded me a bit off the one from the Three Pigs films, but was probably even more dangerous. A wild beast.This short film did not get the same awards attention like the Academy-Award winning short film 60 years later, but I still prefer this one from 1946. It would be an interesting task to compare both story-wise and about how the characters are portrayed. The animation is completely different of course and one other major difference is, for example, that in the recent version the wolf gets some sort of leniency and is not as evil as the one here. The music is tops in both, Prokofiev's work is just so incredibly catchy. All in all, I recommend this short film. It's an interesting piece of animation from shortly after World War 2 ended and I'm positive it gave delight to the people back in these long-gone harsh times.

rogerc210 Because crocodiles are always getting the hots for them!!LOL More seriously, few animals have had a facial expression mold an image of how they look more than wolves. Some say their howl gave them their reputation, I think it's their growl, & teeth baring. Traditionally, paintings of wolves showed them growling enough to easily lead to the impression that the snarl is a permanent facial fixture, & that image is reflected in the way they're drawn in animations like PATW. If cartoons of the time were all one had to go by, one could easily believe wolves look like hairy crocodiles w/ bushy tails & long legs who's dental daggers are on 24/7 display. Of coarse, their noses aren't that long, & they don't snarl much more than most any other canine, although their growl is a little more menacing. This was my favorite version of the musical, & my favorite portrayal of the wolf. I remember a stage-play version where the wolf was played by some hot babe who shook her booty to the wolf music. Not that my hormones weren't kicking in yet, but I liked the good & ferocious wolf of the 1946 Disney version, & didn't cotton to the awesome score being adapted to sexual overtones. I think I've noticed some versions of this try to downplay the wolf's music, probably because it was too dark & menacing for such a cute story.Probably thought it a genre conflict. However, Disney probably said "That's not conflict! That's CONTRAST!" Disney-true to its nature, is legendary at blendingsomething that's kid-friendly & something that's dark sided enough toentertain older watchers. They don't say it's for all ages for nothing!Best 10 minute feature Disney ever had. Would love to see the RichLittle version. Heard that he used the voice of Carol Channing as theDuck, Paul Lynd as the cat, & Richard Nixon as the wolf.Scene where folks are dancing in the street over the wolf's capture wouldn't go over well where wolves are being reintroduced however.

RosanaE My two boys loved this movie. They wore out the VHS version years ago and I am searching for a DVD copy. It is a great story and captivated them from the first scene. I had heard and seen the story many times, in many formats, but this rendition was appropriate both to the story and for audiences of varying ages. The soundtrack is intriguing and helped me to interest my boys in the sounds of various instruments. Although not as sophisticated as modern animation, the characters are cleverly drawn and engaging. I highly recommend this version of the classic story and hope to see it in DVD form soon. I have two 'teenagers' who would be embarrassed but secretly pleased to see it again.

Ron Oliver A Walt Disney Cartoon.A brave Russian lad, with help from his animal friends, goes hunting the most fearsome beast in the forest.Back in the 1930's the Disney Studios was visited by the Russian composer Sergey Sergeyevich Prokofiev (1891-1953) who performed on an old piano his new composition of Peter and the Wolf (1936). Walt was immediately charmed and determined to make it eventually into a cartoon.A decade later, the result was a fine little film. Although quite a departure from the original's purely aural medium utilizing the listener's imagination, PETER AND THE WOLF works well as a narrated (by Sterling Holloway) cartoon. The animation is excellent, the characters vivid, the streamlined plot straight to the point. An attempt is still made by the animators to keep true to Prokofiev's design of using this tale as a child's introduction to the instruments of the orchestra. But too much analysis becomes arcane. The cartoon does not supersede the orchestral work. It simply gives it a new interpretation.PETER AND THE WOLF was originally a segment of Disney's compilation feature MAKE MINE MUSIC (1946), but it quickly proved popular enough to act as a standalone short subject.Walt Disney (1901-1966) was always intrigued by pictures & drawings. As a lad in Marceline, Missouri, he sketched farm animals on scraps of paper; later, as an ambulance driver in France during the First World War, he drew comic figures on the sides of his vehicle. Back in Kansas City, along with artist Ub Iwerks, Walt developed a primitive animation studio that provided animated commercials and tiny cartoons for the local movie theaters. Always the innovator, his ALICE IN CARTOONLAND series broke ground in placing a live figure in a cartoon universe. Business reversals sent Disney & Iwerks to Hollywood in 1923, where Walt's older brother Roy became his lifelong business manager & counselor. When a mildly successful series with Oswald The Lucky Rabbit was snatched away by the distributor, the character of Mickey Mouse sprung into Walt's imagination, ensuring Disney's immortality. The happy arrival of sound technology made Mickey's screen debut, STEAMBOAT WILLIE (1928), a tremendous audience success with its use of synchronized music. The SILLY SYMPHONIES soon appeared, and Walt's growing crew of marvelously talented animators were quickly conquering new territory with full color, illusions of depth and radical advancements in personality development, an arena in which Walt's genius was unbeatable. Mickey's feisty, naughty behavior had captured millions of fans, but he was soon to be joined by other animated companions: temperamental Donald Duck, intellectually-challenged Goofy and energetic Pluto. All this was in preparation for Walt's grandest dream - feature length animated films. Against a blizzard of doomsayers, Walt persevered and over the next decades delighted children of all ages with the adventures of Snow White, Pinocchio, Dumbo, Bambi & Peter Pan. Walt never forgot that his fortunes were all started by a mouse, or that childlike simplicity of message and lots of hard work will always pay off.