Pinocchio Part 31C

While there were supervising animators used on Pinocchio, they animated fewer shots of a character than you might think. Ward Kimball was the supervisor for Jiminy Cricket. A fast count shows 285 shots of Jiminy, of which Ward Kimball animated only 47, or 16.5 %. Kimball's animation is most visible in the early sections of the film where Jiminy first enters Geppetto's workshop and Pinocchio comes to life. After Pinocchio's release from Stromboli's birdcage, Kimball's shots don't appear again until Pinocchio and Lampwick are playing pool on Pleasure Island. Then his animation doesn't show up again until the film's final shots, with Jiminy talking to the wishing star.

Bernie Wolf does 40 shots of Jiminy. Don Towsley does 51. Woolie Reitherman does 46. John Elliotte does 42. The shot count doesn't necessarily reflect footage, but it does give an indication that Kimball's contribution, on screen at least, was a minority of Jiminy.

There are roughly 186 shots of Geppetto, admittedly many of them only hands or feet as he's interacting with pets or clocks. Of these, Art Babbitt animated 67, or slightly more than a third of all shots. Bill Tytla animated 23 Geppetto shots, all in the opening sequences.

How much did the supervising animators contribute to other animators' shots? Did the supervisors supply poses or timing? Were they responsible for the hand-outs, where they would go over what was needed in each shot with another animator before that animator would start work? Would they call for changes on other animators' work before it was viewed by the sequence director and the overall directors?

I'm sure that involvement varied by supervisor and by which animator they were supervising. I doubt that Art Babbitt had to work as carefully with Bill Tytla on Geppetto as he did with Bill Shull, Walt Kelly or Don Patterson. Did the supervising animators give as much attention to action scenes as they did to personality scenes?

While Ward Kimball and Art Babbitt were interviewed multiple times, I don't recall reading anything detailing how they worked a supervisors. I certainly wish more of that information was available in print.

This is probably my last post on Pinocchio, at least as part of this series. I want to thank Hans Perk and Michael Sporn again for supplying the animator draft. While I've never had any contact with Alberto Becattini, I owe him a thanks for his database of animators. Many of the less well-known animators and effects animators on Pinocchio were new to me and Becattini's database allowed me to make intelligent guesses as to first names.

For those of you with long memories (or have bothered to access my archives), you'll know that I did mosaics for shorts before tackling Pinocchio. I think that I'll be returning to the shorts for at least a while, though I wouldn't rule out another feature sometime in the future. One other thing I very much want to try is to analyze individual animated shots. I don't know if words are sufficient to explain everything happening on screen, but I want to take a stab at it.

Pinocchio Part 31B

Click to enlarge.

Will Finn published a rough of what he says is an early version Pinocchio as a real boy. I've placed it next to a frame from the film that seems to be the closest to the pose. The differences are not all that striking. The shape of the nose is definitely different, as are the pupils. The cheek and jaw line in the rough is softer and more appealing than in the final frame.

Beyond that, though, there's not much difference outside of what a clean-up artist would normally do to a rough. Will mentions how doughy the hands look in the rough, but except for getting rid of fingernails and slimming down the right thumb, the finished frame doesn't change the hands significantly.

There's not a lot more to say about this, but I do think the direct visual comparison is interesting.

Pinocchio Part 31A

Pinocchio has successfully rescued Geppetto from inside the whale, but has seemingly died in the attempt. Since Pinocchio is physically whole, how can he be dead when he is able to breathe underwater? The film speeds past this, hoping the audience won't notice.

As in Snow White, the main character appears to be dead and the supporting characters cry over the body. I wonder if the story crew considered how similar the endings of the two films are? Later animated features made during Disney's lifetime would avoid the appearance of good guys dying at the climax except for Lady and the Tramp and The Jungle Book, and in those cases Trusty and Baloo were supporting characters, not the stars of the picture.

The Blue Fairy recedes as the picture progresses. We see her twice early in the film, but she disappears after freeing Pinocchio from Stromboli's birdcage. Her dove delivers the message about Geppetto and Monstro and her voice alone revives Pinocchio. Was this decision based on story concerns? Once Pinocchio starts taking positive action, would her presence detract from the danger and undercut Pinocchio's accomplishments? Perhaps it was simply done for economic reasons; losing a realistic character is a good way to save money.

When Pinocchio awakes, Geppetto once again deflates the potential sentimentality with humorous behavior in a Chaplinesque fashion. Inside Monstro, Geppetto kisses a tuna instead of Pinocchio. Here, he insists that Pinocchio is dead and must lie down before realizing the truth.

Pinocchio's transformation puts some distance between us and the character. Like the end of Disney's Beauty and the Beast, we've spent the whole film identifying with someone who is visually odd by the standards of his world but is accepted by us. Once the character becomes "normal" at the end, he's no longer someone we recognize. The character gains, but the audiences loses. Luckily, both films end very soon after the transformation occurs. Pinocchio, as a boy, appears in only 8 shots and the end of the film is given over to Jiminy and the wishing star, taking the film full circle.

Pinocchio Part 31

Pinocchio Part 30C

We've all seen chase sequences. One of the things that makes them work is recognizable geography. One party in the chase goes past an identifiable landmark and then a shot or two later, the other party passes the same landmark. It's a way for the audience to know who is in front and how much space is between the two parties.

One of the most interesting things about the whale chase is that there is almost no recognizable geography. Until the end, when Pinocchio swims towards a gap in the rocky shoreline, all we've got is water and sky. There are rocks that go by in the foreground to add depth to shots, but these rocks are fairly generic. We're not using them as landmarks to measure the relative positions of the characters.

In a situation like this, screen direction becomes the only tool to communicate location to the audience. It's one of the reasons I'm so impressed with this sequence and the credit goes to sequence director Bill Roberts and layout supervisor Al Zinnen. In the hands of lesser film makers, a chase on the open ocean could be confusing; the audience could easily lose its bearings. Roberts and Zinnen make sure that we always understand where the characters are relative to each other and they do it with screen direction.

As the sequence starts, Pinocchio and Geppetto are pushing their raft screen left, trying to get past Monstro's teeth. Monstro sneezes them out and then on his inhale, begins to pull them back towards screen right. We can easily tell by their direction whether they're getting farther or closer to Monstro.

Monstro then starts to chase them towards screen left and dives below the water. When he rises below the raft in shot 12, he's still heading towards screen left as the raft is lifted and Geppetto and Pinocchio bounce along Monstro's back. This shot always astounds me. For one thing, the use of scale contrasts the fragility of Geppetto and Pinocchio relative to Monstro's bulk. For another, this shot trumps any in John Huston's version of Moby Dick. Here is animation doing something that live action could not duplicate until the advent of cgi.

Geppetto and Pinocchio fall into the water and then there is a clear shot of Monstro turning around and swimming towards screen right. There's no ambiguity here as to where Monstro is going next. Geppetto and Pinocchio climb back on the raft and start to paddle towards screen right. When Monstro catches up with them and looms over them, they reverse direction and paddle screen left. Monstro's tail descends and smashes the raft before he continues under water off screen towards the right.

Pinocchio swims to save Geppetto and Monstro emerges from the water now heading screen left towards the pair. Pinocchio looks screen right and sees Monstro approaching. Then he looks screen left and sees the gap in the rocks at the shoreline. He starts swimming towards screen left, pulling Geppetto behind him, while Monstro pursues.

When Pinocchio has reached the rocks, we get a point of view shot where Monstro is swimming towards the camera. Monstro leaps over some rocks heading screen left. Pinocchio frantically tries to swim into the gap screen left. Monstro leaps towards the camera in shot 39, almost devouring the audience in the most dramatic shot of the sequence.

(And I wonder if there was a debate as to how close to bring Monstro to the camera. After the criticism that Snow White was too scary for young children, did they cut this shot before Monstro's mouth enveloped the camera? My modern sensibility wishes that they'd let Monstro get closer before cutting.)

Monstro then smashes into the rocks going screen left and beyond the rocks, the tide moving screen left washes up Geppetto and then follows by washing up Figaro and Cleo in a terribly unbelievable coincidence. A close examination of the sequence shows that Figaro and Cleo disappear in shot 12 and are definitely not on the raft in shot 15 when Pinocchio and Geppetto climb back on. I've often wondered why there wasn't a shot of Geppetto putting them into the trunk on the raft and have the trunk wash up onto shore. It's not a perfect solution, but better than the one that was chosen.

Forgetting about Figaro and Cleo, there is never a moment where the audience is confused about the relative locations of the characters. That allows the audience to concentrate on the danger and as a result the suspense never lets up. The storytelling here is exquisitely clear in a difficult setting for a chase.

Pinocchio Part 30B

One of the things I find fascinating about the early Disney features is how much the characters are threatened by death. Snow White goes into a coma and if not for the dwarfs emotional inability to say goodbye to her would be buried alive. Pinocchio dies and has to be resurrected by the Blue Fairy. Dumbo falls from a dangerous height as he grapples with losing the magic feather. Fantasia's "Night on Bald Mountain" has the dead rising from their graves. Bambi's mother dies and Bambi has to survive hunters, dogs and a forest fire, any of which are capable of killing him.

While the Disney shorts play with death, whether it's The Skeleton Dance or The Goddess of Spring, nothing in the shorts comes close to the threats that the early feature characters regularly encounter. Considering that Disney films were always considered family films, why is death such a major part of them?

I suspect that the Depression, the looming second world war and the instability of the Disney studio in the 1930's all contributed to the feeling that life was precarious. The audiences had been through a lot in their own lives, so they had a gut understanding of how quickly someone's well-being could be threatened or destroyed. Of course, as tough as the Disney characters had it, they were saved at the end. The ultimate happy ending is to cheat death and additionally get what you've struggled for, whether it's a prince, humanity, status, or just the ability to live out your life.

What's interesting is this focus on death didn't survive the early features. Perhaps the audience was exhausted after the war or the generation that lived through it and the depression didn't want to upset their own children in the 1950's. Perhaps because the Disney studio was on firmer footing after Cinderella and Disneyland, the threat of collapse was not as strong. In any case, while death is alluded to in films like Peter Pan or Lady and the Tramp, it's not nearly as compelling as it is in the early features. By the time Woolie Reitherman took over direction, death wasn't taken seriously. Baloo's "death" in The Jungle Book is a momentary tug at the heart en route to some baggy pants comedy.

The whale chase in Pinocchio is exciting for many reasons. It's beautifully laid out and cut. The action and effects animation are done well. Monstro is imposing in terms of his size and strength. But it is the life and death nature of the chase that gives it most of its power. Geppetto and Pinocchio are overmatched against Monstro. They are literally swimming for their lives, not hoping to best Monstro in any way, just to avoid his wrath. The threat of death, convincingly portrayed by the artists, means that we fear for the characters and that emotional connection is what makes our hearts race.

Pinocchio Part 30A

There are animation studios that are dominated by producers and animation studios that are dominated by directors. It's true today and it was true in the past as well. Disney was a studio heavily dominated by the producer, Walt Disney. His presence in story meetings and approving all the steps of the process mean that nothing got on the screen without his okay. Directors, regardless of their own points of view, were there to serve Walt Disney.

As a result, we don't really have much of a handle on many of the Disney directors. Those we can take the best measure of are those who directed shorts after the features became Walt Disney's main interest. When his interest in shorts declined, it left openings for directors like Jack Kinney and Jack Hannah to express more of themselves in their work.

However, there are some directors who never got out from under Disney's shadow. What are we to make of them? Which brings us back to the whale chase in Pinocchio and the sequence director Bill Roberts.

Not a lot has been written about Roberts. Shamus Culhane probably wrote the most in Talking Animals and Other People. When Culhane started animating at Disney, he was assigned to do corrections for Roberts, who at the time was a Pluto animator. What we learn from Culhane was that Roberts wasn't very talkative, struggled with his drawing, disdained the cuteness creeping into Disney cartoons but was sincerely interested in the work that he and Culhane were putting on the screen. Jack Kinney, in Walt Disney and Assorted Other Characters, says that Roberts went into real estate and construction after Disney and reportedly became wealthy. Those comments are like bookends on Roberts' career, but the middle part (which is the most interesting) is a blank.

No doubt that the story sketches and the layout team under Al Zinnen contributed many ideas to the whale chase, but Roberts was the director. He's got to deserve some of the credit but how much? Roberts also directed the "Rite of Spring" segment of Fantasia, yet another action sequence with Woolie Reitherman animating, as well as "Mickey and the Beanstalk" in Fun and Fancy Free, another cartoon with a strong bent for adventure. Roberts sequence directed on Dumbo, Bambi, Saludos Amigos, and The Three Caballeros, but I have no idea which sequences he was responsible for.

While Alberto Becattini has Roberts working in the animation business as early as 1919, I have no idea when he was born or died. It appears that he left Disney in the late 1940's, but did he quit or was he caught in one of the post-war layoffs? By now, even his children (if he had any) may have passed on. So we've got a name and a few reminiscences, but no real way to judge a director who worked on some of the most important animated films in history.

Pinocchio Part 30

Pinocchio Part 29

The whale chase begins. It's certainly one of the most exciting sequences in Disney films to that time and one that remains impressive today. The action is intense. Monstro is an enormous physical threat due to his size and power. The water is convincingly portrayed, making the threat of drowning real. We don't doubt for a second that Pinocchio and Geppetto are fighting for their lives.

This sequence showcases the sophisticated understanding of water that the Disney effects animators had. If you compare the portrayal of water in this film with the water in Gulliver's Travels, released just a year earlier, the difference is striking. Gulliver opens with a storm at sea, but the water simply doesn't feel as liquid as the water in Pinocchio. In some Gulliver scenes, the foam on the waves seems to be sewed on, not sliding over the surface or changing its shape enough to be convincing.

The water here works due to a combination of elements. There is the undulating surface, marked by independently moving masses which sometimes overlap. The undulation is helped by the colour-separated detail that flows over it and which constantly changes shape. There are also the foam and the splashes which break up and change shape over time. Colour, too, is critical, as the water has to reflect the environment it is in.

Art Palmer, Josh Meador and Don Tobin did fantastic work on the water here. With the exception of Meador, few Disney effects animators have any sort of reputation. Sequences like this show that they deserve to.

Pinocchio Part 28A

Pinocchio and Geppetto are finally reunited. This sequence is rich in emotion and once again Pinocchio takes postive, independent action to save his father.

The sequence works despite the fragmented animation assignments. Geppetto, in particular, is played by many animators in the early section. For Pinocchio, this is a great sequence for Les Clark, but he loses some of the shots to other animators, including some important ones (10.1, 12 and 24.3) to Milt Kahl.

Sentiment is always dangerous, which is why comedy is often used to soften it. Here, when Pinocchio calls out to his father, Geppetto brushes him off as he's focused on bringing in the tuna. When he finally realizes that his son is there and reaches to embrace him, he grabs a tuna by accident and kisses it, getting another laugh. No doubt Disney learned this kind of thing from Chaplin. City Lights features a sequence where the tramp falls in love with the blind flower girl and as he stares longingly at her, she unknowingly tosses water in his face.

Physical contact between characters is very powerful, especially when the characters are flexible enough to squash in the manner of real flesh. There are several hugs between Geppetto and Pinocchio here. It's interesting that only one of them (24.3) is by a single animator, in this case Milt Kahl. In the previous hugs, Bill Shull and Les Clark enact one (10.3) and Art Babbitt and Harvey Toombs enact the other (12.1). All, however, are emotionally satisfying.

Les Clark's posing of Pinocchio in 21.1 and 24 is just fantastic. I made negative comments about Clark's drawing of Pinocchio back in Part 6. While there were some rough edges on Clark's drawing in those early scenes, these two scenes are ones that any animator would be proud of. The sweep of the legs and spine captures Pinocchio's hesitation, embarrassment and shame simultaneously. Clark isn't known for a particular performance the way some of the other animators are, but this sequence is definitely one that should be mentioned whenever Clark is discussed.

We get a brief glimpse of Jiminy, re-establishing that he's outside Monstro, before going back inside while Pinocchio plans the escape. Here, the whole show is pretty much Clark and Art Babbitt, and there's solid acting for each of the characters. Babbitt's phrasing of Geppetto's body during dialogue is excellent. The two characters are thinking along very different paths and yet Geppetto stays in the conversation with Pinocchio while not understanding his intentions. That's good writing and Babbitt makes it work, keeping Geppetto calmly focused on cooking the fish until he realizes Pinocchio's intent and what it will lead to: one very angry whale.

Pinocchio Part 28

Pinocchio Part 27

We're back outside Monstro and once again, Woolie Reitherman handles all the main characters in this sequence, a real rarity in this film. The sense of scale is again reinforced by the size of the tuna relative to Monstro. Shot 8 has some lovely perspective animation of Monstro coming towards the camera. Once Monstro breaks the surface of the water, there are gulls to emphasize Monstro's great size. Finally, we see Jiminy floating past Monstro's giant eye and then his substantial teeth.

Monstro's eye does not get treated consistently. In sequence 10-2 in shots 2 and 5, Monstro's eye goes from cartoony to more realistic. In this sequence in shot 14, the eye is a painted background with airbrush highlights, the most realistic rendition of it yet.

Reitherman's Pinocchio still has a longer than average nose. Pinocchio climbing over the tuna to gain ground on Monstro is a repeat of the gag with Jiminy climbing on Pinocchio in sequence 10.4.

Shot 9, with Monstro breaking the surface of the water and slamming his jaws shut is a powerful. The frame after the one in the mosaic has Monstro's mouth totally closed, very wide spacing between the drawings for a character who takes up so much of the screen. Monstro has all sorts of rendering on him to give him more surface detail to enhance his reality. The animation of the water appears to be a moving painting, possibly painted on top of the cels instead of the underside.

These early Monstro scenes are all about size and power. It's necessary to see Monstro in action before Pinocchio and company make their escape. The audience needs to know the magnitude of Monstro's threat so that the suspense of the escape will carry the maximum emotional impact.

Pinocchio Part 26

We're back inside Monstro, with Walt Kelly animating Geppetto, Eric Larson doing Figaro and John McManus handling the tuna. Carl Barks was known as "the duck man" and I have to wonder if poor McManus wasn't known as "the tuna man" for a period of time.

Walt Kelly, to his credit, gets a tremendous sense of weight and effort into Geppetto pulling on his fishing line in shot 1. There is also a great combination of camera moves, background animation on the ship and water animation in shots 1 and 2. The Disney artists were always great at creating a sense of objects moving through a three dimensional space. That and the fast cutting create a visceral sense of excitement.

Larson's animation of Figaro is a comic battle, with Figaro only tentatively in control of the fish. The cut between shots 5 and 6 is a little rough, though the numbering doesn't imply any deleted shots between them. The cut would have worked better if it was on some of Figaro's action.

It's typical of Disney to include comedy, like Figaro's tuna tussle, in action/suspense sequences so that the suspense doesn't get too intense. A higher level of intensity will be saved for the climactic escape from Monstro, where comedy will be completely absent.

Pinocchio Part 25

This is an unusual sequence in that it's cast by animator. Woolie Reitherman handles all three main characters in this sequence: Pinocchio, Jiminy and Monstro. His Pinocchio has a much longer nose than usual. His Jiminy has a smaller head than Ward Kimball draws for the character.

Reitherman was known as an action animator and that's certainly how he's cast here. The action is frantic on the part of all the characters.

The sense of scale and power are preserved by Monstro's relationship to the tuna and the destruction of the underwater arch.

Mention must be made of John McManus's tuna animation. The tuna are not characters but they're believable fish and they're animated in ways that don't confuse the eye. I assume that Cornett Wood did most of the bubble and airbrush streak work, two things that add to the richness of the scene. I also assume that Sandy Strother is responsible for the fracturing rock archway in shot 3, which is very effective.

Jiminy's cowardice, swimming ahead of Pinocchio in order to save himself, leads to him being locked out of Monstro and much of the climactic action. As always in this film, doing something to help others leads to positive results and doing something selfishly leads to trouble. However, just as it was necessary for Pinocchio to go after Geppetto without Jiminy's prompting, it's necessary for Pinocchio to save Geppetto without Jiminy's help. While Jiminy's actions fit with the worldview of the film, they are also a script convenience to get him out of the way.

Pinocchio Part 24

Another very short sequence. Monstro starts to eat and Geppetto madly pulls the tuna into the boat to nourish himself and his pets.

Geppetto is handled by Walt Kelly here, whose birthday (he would have been 94) was just a few days ago. While Kelly learned an enormous amount while at Disney, he was never in the first rank of animators. At Disney, action was not as respected as acting, so lesser animators were given action shots so the top animators could be saved for acting.

While the layout of scene 4.1, looking out from inside Monstro's mouth, is similar to one used in The Brave Little Tailor (see shot 61 here), it is beautifully animated by Don Tobin. There's a tremendous sense of scale in the contrasting sizes of Monstro's teeth and the water and fish that pass over them. Tobin's water animation is just excellent; there's a level of complexity that's very difficult to achieve.

Eric Larson contributes some good comedy with Figaro swatting the flailing tuna to prevent them from escaping. This pays off in a later sequence.

Pinocchio Part 23

This sequence is so short it would be a crime not to comment on it immediately. What we learn here, after knowing that Geppetto and company are close to starvation, is that Monstro is waking up and hungry.

Woolie Reitherman handles Monstro in shot 2 and I'm guessing that John McManus animates Monstro in shot 5. I find the contrast between the handling of Monstro's eye on these shots very interesting. Reitherman has drawn Monstro's eye in a much more cartoony fashion than McManus. Furthermore, Monstro's timing is rather fast in Reitherman's hands. I think that it works against conveying Monstro's bulk. Reitherman doesn't just move the eye, he moves the whole whale in order to register Monstro's reaction to seeing the tuna. McManus's rendition, besides being drawn more realistically, emphasizes only the movement of the eye; he doesn't move the body. Reitherman takes over Monstro for shot 6 and times his movement appropriately for his bulk.

Personally, I think that the sequence would play better without shot 2. The shock of that eye opening in shot 5 is very powerful as is Monstro leaving the ocean floor. Shot 2 is timed too much like a typical cartoon take, ignoring Monstro's bulk and reducing him from a force of nature to a scheming cartoon character.

Pinocchio Part 22A

This scene is more exposition. We see Monstro for the first time, see Geppetto's circumstances inside the whale and learn that he is near starvation.

Because Geppetto only has mute animals to talk to, the exposition is naked. Geppetto can't verbally interact with anybody, so he's forced to spell out the information as directly as possible for the audience.

There is some exposition that's visually communicated. We see that Monstro is huge, based on his size relative to the fish and the size of the bubbles he emits in shot 1 as well as his size relative to a full sized boat in shot 2. Geppetto and Figaro both sneeze, foreshadowing Pinocchio's later sneeze and what it inspires. Cleo, nosing around the bottom of her bowl for food, pushes up some rocks that end up looking like tombstones, a visual comment on the threat of starvation.

Eric Larson gets all of Figaro here and Fred Moore does most of Geppetto, with Bill Shull picking up shot 4.3. All that's required of the animators in this sequence is to play the single attitude of despair. It's stated economically, but we don't spend a lot of time looking focusing on Geppetto's mental state. Here's a case where the stage business - petting the cat, checking the fishing line - works against the emotion in the sequence. Geppetto is facing death and still has no idea what's happened to Pinocchio, yet his animation and the choice of shots don't emphasize his anguish all that much.

Pinocchio Part 22

Pinocchio Part 21A

Correction: By mistake, I credited Milt Kahl with shot 21.1 in the mosaic. The Jiminy animation is by Woolie Reitherman. I've edited what's below to reflect the correction. Unfortunately, I'm not going to be able to correct the mosaic itself until early September, as I'm away from home. I'd like to thank The Spectre for catching the mistake and pointing it out in the comments.

Correction 2: Courtesy of Galen Fott, the mosaic has been fixed and edited into Pinocchio Part 21. Thank you, Galen.

This sequence is very typical of the 1930's fantasy genre in animation. In the Silly Symphonies, Happy Harmonies, Merrie Melodies, Color Rhapsodies, etc. animated films would create worlds unfamiliar to audiences purely for their novelty value. It's animation's version of spectacle.

Pinocchio earlier showcased spectacle scenes like Geppetto's clocks and Pleasure Island, but as this film nears the climax, all the stops are pulled out in the scenes revolving around the search for Geppetto and his rescue. We have the creation of an underwater world, chock full of effects animation to make the world as vivid as possible. The art direction and effects are really the stars of this sequence more than anything having to do with story or animation.

After Pinocchio jumps into the water, really nothing happens except that he moves through the environment while searching for Geppetto. It's the variety of ocean life and the vivid detail in the backgrounds and the effects that provide appeal for the audience. The bubbles, the reflections, the ripple glass effects, and the audio distortion are what make this sequence believable.

While there are top animators at work here (Reitherman on Jiminy, Kahl and Clark on Pinocchio), there's really little in the way of acting or gags. Reitherman gets the best raw material with Jiminy taking on ballast and interacting with the fish. One of the most interesting Jiminy moments, when he's stuck in a rapidly filling bubble. While Kahl gets the Pinocchio acting scenes, there's not much interesting here. Like Frank Thomas in the last sequence, I feel that Kahl was wasted. Lesser animators could easily have handled Pinocchio in this sequence.

Pinocchio Part 21