Wednesday, May 6, 2009
The Mickey of the 30's was neither aggressive, nor cruel. In turning animals into sources of sound, in "Steamboat Willie", Mickey was only echoing the importance of music, as the single, pervasive heartbeat of the short. In "Plane Crazy", Mickey steals from Minnie, the most innocent, however daring, kiss. He "knew" that if she jumped out of the plane, she would not be hurt.
The early Mickey's behavior was an assertion of and a response to the infinite possibilities Walt Disney was starting to give animation. He was a reflex of the pantheistic world around him, a voice to resonate, in an amusing way, the choir of which he was the main part.
Mickey has always been the loudspeaker for Walt Disney's world of synchrony: for the generoxity of pure, all-encompassing meaningfulness.