This sequence is all about character relationships, something that in later years at Disney would see both characters handled by the same animator. If casting by character, you would think that you'd pick two animators and let them work out the acting between them. However, while Pinocchio is handled by Ollie Johnston, Jiminy is split among Ward Kimball, John Elliotte, Lynn Karp and Walt Clinton. The heavy acting scenes are split between Kimball and Elliotte. As I go through these mosaics, I'm constantly surprised at how little of Jiminy is by Ward Kimball and how good the scenes by the other Jiminy animators are.
The sequence works well. There's a palpable warmth between the characters and there's some nice physical interaction when Pinocchio helps Jiminy put on his hat and coat in shot 27. Jiminy never lets go of the umbrella while putting on his coat, but John Elliotte hides that arm behind Jiminy's body so as not to call attention to it.
The rain in this sequence is beautiful. The cheapest way to do rain is just put a level over the top of the rest of the artwork. Disney goes way beyond that, showing drops hitting the ground and the water reacting to whatever surface it hits. There's water dripping off Jiminy's umbrella and splashing as he runs through puddles to catch up to Stromboli's wagon.
The rain is not just there to show off. It's expressionistically used to show Pinocchio's sorrow at being captured and Jiminy's sorrow over the end of his relationship with Pinocchio. In the next sequence, it will also represent Geppetto's sorrow over the loss of his son and later when the Blue Fairy has freed Pinocchio and Jiminy, the skies will be clear as they head for home. Expressionistic use of backgrounds and effects was one of Disney's strongest tools and the early features are full of this type of storytelling.