The Little Mermaid is a 1989 American animated musical film produced by Walt Disney Feature Animation and based on the Hans Christian Andersen fairy tale of the same name. Distributed by Walt Disney Pictures, the film was originally released to theaters on November 14, 1989 and is the 28th film in the Walt Disney Animated Classics series, and the first of the Disney Renaissance. During its initial release, The Little Mermaid earned $84 million in North American box office revenue,^[3] and has to date earned $211 million in total lifetime gross.^[2]

After the success of the 1988 Disney/Amblin film Who Framed Roger Rabbit, The Little Mermaid is given credit for breathing life back into the art of Disney animated feature films after a string of critical or commercial failures produced by Disney that dated back to the early 1970s. It also marked the start of the era known as the Disney Renaissance.

A stage adaptation of the film with a book by Doug Wright^[4] and additional songs by Alan Menken and new lyricist Glenn Slater opened in Denver in July 2007 and began performances on Broadway January 10, 2008.^[5][6]

Plot[link]

Ariel, a sixteen-year-old mermaid princess, is dissatisfied with life under the sea and curious about the human world. With her best fish friend Flounder, Ariel collects human artifacts and goes to the surface of the ocean to visit Scuttle the seagull, who offers very inaccurate knowledge of human culture. She ignores the warnings of her father King Triton and his adviser Sebastian that contact between merpeople and humans is forbidden, longing to join the human world and become a human herself.

One night, Ariel, Flounder and an unwilling Sebastian travel to the ocean surface to watch a celebration for the birthday of Prince Eric on a ship, with whom Ariel falls in love. In the ensuing storm the ship is destroyed and Ariel saves the unconscious Eric from drowning. Ariel sings to him, but quickly leaves as soon as he regains consciousness to avoid being discovered. Fascinated by the memory of her voice, Eric vows to find who saved and sung to him, and Ariel vows to find a way to join him and his world. Noticing a change in Ariel's behavior, Triton questions Sebastian about her behavior and learns of her love for Eric. In frustration, Triton confronts Ariel in her grotto, where she and Flounder store human artifacts, and destroys most of the objects with his trident. After Triton leaves, a pair of eels, Flotsam and Jetsam, convince Ariel to visit Ursula the sea witch in order to be with Eric.

Ursula makes a deal with Ariel to transform her into a human for three days in exchange for Ariel's voice, which Ursula puts in a nautilus shell. Within these three days, Ariel must receive the "kiss of true love" from Eric; otherwise, she will transform back into a mermaid and belong to Ursula. Ariel is then given human legs and taken to the surface by Flounder and Sebastian. Eric finds Ariel on the beach and takes her to his castle, unaware that she is the one who had saved him earlier, assuming her to be a mute shipwreck survivor. Ariel spends time with Eric, and at the end of the second day, they almost kiss but are thwarted by Flotsam and Jetsam. Angered at their narrow escape, Ursula disguises herself as a beautiful young woman named Vanessa and appears onshore singing with Ariel's voice. Eric recognizes the song and, in her disguise, Ursula casts a hypnotic enchantment on Eric to make him forget about Ariel.

The next day, Ariel finds out that Eric will be married to the disguised Ursula. Scuttle discovers that Vanessa is Ursula in disguise, and informs Ariel who immediately goes after the wedding barge. Sebastian informs Triton, and Scuttle disrupts the wedding with the help of various animals. In the chaos, the nautilus shell around Ursula's neck is broken, restoring Ariel's voice and breaking Ursula's enchantment over Eric. Realizing that Ariel is the girl who saved his life, Eric rushes to kiss her, but the sun sets and Ariel transforms back into a mermaid. Ursula reveals herself and kidnaps Ariel. Triton confronts Ursula and demands Ariel's release, but the deal is inviolable. At Ursula's urging, the king agrees to take Ariel's place as Ursula's prisoner. Ariel is released as Triton transforms into a polyp and loses his authority over Atlantica. Ursula declares herself the new ruler and a struggle ensues in which Ursula accidentally kills Flotsam and Jetsam. In her rage, Ursula uses the trident to grow to monstrous proportions.

Ariel and Eric reunite on the surface just before Ursula grows past and towers the two. She then gains full control of the entire ocean, creating a storm with a maelstrom and shipwrecks, one of which Eric commandeers. As Ursula attempts to destroy a trapped Ariel in the maelstrom, Eric runs Ursula through the abdomen with the ship's splintered bowsprit, killing her. Ursula's power breaks, causing Triton and all the other polyps in Ursula's garden to revert back into their original forms. Realizing that Ariel truly loves Eric, Triton willingly changes her from a mermaid into a human. Ariel and Eric marry on a ship and depart.

Cast[link]

• Princess Ariel, voiced by Jodi Benson:

Benson, who was predominantly a stage actress when she was cast, was the choice to voice Ariel because the directors felt "it was really important to have the same person doing the singing and speaking voice". Co-director Ron Clements stated that Benson's voice had "sweetness" and "youthfulness" that was unique.^[7]

• Prince Eric, voiced by Christopher Daniel Barnes
• Ursula, voiced by Pat Carroll
• Sebastian, voiced by Samuel E. Wright
• Flounder, voiced by Jason Marin
• King Triton, voiced by Kenneth Mars
• Scuttle, voiced by Buddy Hackett
• Grimsby, voiced by Ben Wright
• Flotsam and Jetsam, voiced by Paddi Edwards
• Carlotta the maid, voiced by Edie McClurg
• Ariel's Sisters, voiced by Kimmy Robertson and Caroline Vasicek
• Harold the Seahorse, voiced by Will Ryan
• Max the Sheepdog, vocal effects by Frank Welker
• Chef Louis, voiced by top-billed Rene Auberjonois

Production[link]

Story development[link]

The Little Mermaid was originally planned as part of one of Walt Disney's earliest feature films, a proposed package film featuring vignettes of Hans Christian Andersen tales.^[8] Development started soon after Snow White and the Seven Dwarfs in the late 1930s, but was put on hold due to various circumstances.

In 1985, The Great Mouse Detective co-director Ron Clements discovered a collection of Andersen's fairy tales while browsing a bookstore. He presented a two-page draft of a movie based on "The Little Mermaid" to CEO Michael Eisner and Walt Disney Studios chairman Jeffrey Katzenberg at a "gong show" idea suggestion meeting. Eisner and Katzenberg passed the project over, because at that time the studio was in development on a sequel to their live-action mermaid comedy Splash (1984) and felt The Little Mermaid would be too similar a project.^[9] The next day, however, Walt Disney Studios chairman Katzenberg greenlit the idea for possible development, along with Oliver & Company. While in production in the 1980s, the staff found, by chance, original story and visual development work done by Kay Nielsen for Disney's proposed 1930s Anderson feature.^[8] Many of the changes made by the staff in the 1930s to Hans Christian Andersen's original story were coincidentally the same as the changes made by Disney writers in the 1980s.^[9]

That year, Clements and Great Mouse Detective co-director John Musker expanded the two-page idea into a 20-page rough script, eliminating the role of the mermaid's grandmother and expanding the roles of the Merman King and the sea witch. However, the film's plans were momentarily shelved as Disney focused its attention on Who Framed Roger Rabbit and Oliver & Company as more immediate releases.

In 1987, songwriter Howard Ashman became involved with the writing and development of Mermaid after he was asked to contribute a song to Oliver & Company. He proposed changing the minor character Clarence, the English-butler crab, to a Jamaican Rastafarian crab and shifting the music style throughout the film to reflect this. At the same time, Katzenberg, Clements, Musker, and Ashman revised the story format to make Mermaid a musical with a Broadway-style story structure, with the song sequences serving as the tentpoles of the film.^[8] Ashman and composer Alan Menken, both noted for their work as the writers of the successful Off-Broadway stage musical Little Shop of Horrors,^[10] teamed up to compose the entire song score. In 1988, with Oliver out of the way, Mermaid was slated as the next major Disney release.

Animation[link]

More money and resources were dedicated to Mermaid than any other Disney animated film in decades.^[8] Aside from its main animation facility in Glendale, California, Disney opened a satellite feature animation facility during the production of Mermaid in Lake Buena Vista, Florida (near Orlando, Florida), within Disney-MGM Studios Theme Park at Walt Disney World.^[11] Opening in 1989, the Disney-MGM facility's first projects were to produce an entire Roger Rabbit cartoon short, Roller Coaster Rabbit, and to contribute ink and paint support to Mermaid.^[11]

Mermaid's supervising animators included Glen Keane and Mark Henn on Ariel, Duncan Marjoribanks on Sebastian, Andreas Deja on King Triton, and Ruben Aquino on Ursula.^[8] Originally, Keane had been asked to work on Ursula, as he had established a reputation for drawing large, powerful figures, such as the bear in The Fox and the Hound and Professor Ratigan in The Great Mouse Detective. Keane, however, was assigned as one of the two lead artists on the petite Ariel and oversaw the "Part of Your World" musical number. He jokingly stated that his wife looks exactly like Ariel "without the fins."^[12] The character's body type and personality were based upon that of Alyssa Milano,^[8] then starring on TV's Who's the Boss? and the effect of her hair underwater was based on footage of Sally Ride when she was in space.^[8]

The design of the villainous Ursula the Sea Witch was based upon drag performer Divine.^[8] Pat Carroll was not Clements and Musker's first choice to voice Ursula; the original script had been written with Bea Arthur of the Disney-owned TV series The Golden Girls in mind.^[13] After Arthur turned the part down, actresses such as Nancy Marchand, Nancy Wilson^{[disambiguation needed ]}, Roseanne, Charlotte Rae, and Elaine Stritch were considered for the part.^[13] Stritch was eventually cast as Ursula, but clashed with Howard Ashman's style of music production and was replaced by Carroll.^[13]

Another first for recent years was the filming of live actors and actresses for motion reference material for the animators, a practice used frequently for many of the Disney animated features produced under Walt Disney's supervision. Broadway actress Jodi Benson was chosen to play Ariel, and Sherri Lynn Stoner, a former member of Los Angeles' Groundlings improvisation comedy group, acted out Ariel's key scenes.^[9]

The underwater setting required the most special effects animation for a Disney animated feature since Fantasia in 1940. Effects animation supervisor Mark Dindal estimated that over a million bubbles were drawn for this film, in addition to the use of other processes such as airbrushing, backlighting, superimposition, and some computer animation. The artistic manpower needed for Mermaid required Disney to farm out most of the underwater bubble effects animation in the film to Pacific Rim Productions, a China-based firm with production facilities in Beijing.^[8]

An attempt to use Disney's famed multiplane camera for the first time in years for quality "depth" shots failed because the machine was reputedly in dilapidated condition. The multiplane shots were instead photographed at an outside animation camera facility.^[8]

The Little Mermaid was the last Disney feature film to use the traditional hand-painted cel method of animation. Disney's next film, The Rescuers Down Under, used a digital method of coloring and combining scanned drawings developed for Disney by Pixar called CAPS (Computer Animation Production System), which would eliminate the need for cels, the multiplane camera, and many of the optical effects used for the last time in Mermaid.^[8] A CAPS prototype was used experimentally on a few scenes in Mermaid, and one shot produced using CAPS—the penultimate shot in the film, of Ariel and Eric's wedding ship sailing away under a rainbow—appears in the finished film.^[8] Computer-generated imagery was used to create some of the wrecked ships in the final battle, a staircase behind a shot of Ariel in Eric's castle, and the carriage Eric and Ariel are riding in when she bounces it over a ravine. These objects were animated using 3D wireframe models, which were plotted as line art to cels and painted traditionally.^[8]

Music[link]

The Little Mermaid was considered by some as "the film that brought Broadway into cartoons".^[14] Alan Menken wrote the Academy Award winning score, and collaborated with Howard Ashman on the songs.

Songs

• "Fathoms Below" – Sailors
• "Daughters of Triton" – Triton's Daughters
• "Part of Your World" – Ariel
• "Part of Your World (Reprise)" – Ariel
• "Under the Sea" – Sebastian and Sea Creatures
• "Poor Unfortunate Souls" – Ursula
• "Les Poissons" – Chef Louis
• "Kiss the Girl" – Sebastian and Chorus
• "Vanessa's Song" – Vanessa/Ursula*
• "Part of Your World (Finale)" – Chorus

*Note: "Vanessa's Song" is not included on any official Disney soundtrack of The Little Mermaid. It is a reprise of "Poor Unfortunate Souls".

Release[link]

The film was originally released on November 14, 1989, followed by a November 17, 1997 reissue. After the success of the 3D re-release of The Lion King, Disney announced a 3D re-release of The Little Mermaid scheduled for September 13, 2013.^[15] The film was also screened out of competition at the 1990 Cannes Film Festival.^[16]

Home media[link]

In a then atypical and controversial move for a new Disney animated film, The Little Mermaid was released as part of the Walt Disney Classics line of VHS and Laserdisc home video releases in May 1990, eight months after the release of the film.^[10][17] Before Mermaid, only a select number of Disney's catalog animated films had been released to home video, as the company was afraid of upsetting its profitable practice of theatrically reissuing each film every seven years.^[10] Mermaid became that year's top-selling title on home video, with over 10 million units sold (including 7 million in its first month).^[18] This success led future Disney films to be released soon after the end of their theatrical runs, rather than delayed for several years.^[10]

Following Mermaid's 1997 re-release in theaters, a new VHS version of the film was released in March 1998 as part of the Masterpiece Collection and included a bonus music video of Jodi Benson singing "Part of Your World" during the end credits, replacing "Under the Sea" as the end credit song.^[19] The VHS sold 13 million units and ranked as the third best-selling video of the year.^[20][21]

The Little Mermaid was released in a Limited Issue "bare-bones" DVD in 1999, with a standard video transfer and no substantial features.^[22] The film was re-released on DVD on October 3, 2006, as part of the Walt Disney Platinum Editions line of classic Walt Disney animated features.^[23] Deleted scenes and several in-depth documentaries were included, as well as an Academy Award-nominated short film intended for the shelved Fantasia 2006, The Little Match Girl.^[24] The DVD sold 1.6 million units on its first day of release,^[25] and over 4 million units during its first week, making it the biggest animated DVD debut for October. By year's end, the DVD had sold about 7 million units and was one of the year's top ten selling DVDs.^[26] The Platinum Edition DVD was released as part of a "Little Mermaid Trilogy" boxed set on December 16, 2008.^[27] The Platinum Edition of the movie, along with its sequels, went on moratorium in January 2009. The film is set to be re-released as part of the Walt Disney Diamond Editions line.^[28]

Reception[link]

Box office[link]

Early in the production of The Little Mermaid, Jeffrey Katzenberg cautioned Ron Clements, John Musker, and their staff, reminding them that since Mermaid was a "girl's film", it would make less money at the box office than Oliver & Company, which had been Disney's biggest animated box office success in a decade.^[9][10] However, by the time the fim was closer to completion, Katzenberg was convinced Mermaid would be a hit and the first animated feature to earn more than $100 million and become a "blockbuster" film.^[9][10]

During its original 1989 theatrical release, Mermaid earned $84,355,863 at the North American box office,^[2] falling just short of Katzenberg's expectations but earning 64% more than Oliver.^[10] The Little Mermaid was reissued in theaters on November 17, 1997, on the same day as Anastasia, a Don Bluth animated feature for Fox Animation Studios. The reissue brought $27,187,616 in additional gross.^[2] The film also drew $99.8 million in box office earnings outside of the United States and Canada between both releases, resulting in a total international box office figure of $211 million.^[2]

Critical reception[link]

The Little Mermaid received positive reviews and on Rotten Tomatoes, based on 52 reviews collected, the film has an overall approval rating of 90% based on various reviews collected since its 1989 release.^[29]

Roger Ebert, film critic for the Chicago Sun-Times, was enthusiastic about the film and wrote that, "The Little Mermaid is a jolly and inventive animated fantasy—a movie that's so creative and so much fun it deserves comparison with the best Disney work of the past." Ebert also commented positively on the character of Ariel, stating, "... Ariel is a fully realized female character who thinks and acts independently, even rebelliously, instead of hanging around passively while the fates decide her destiny."^[30] The staff of TV Guide wrote a positive review, praising the film's return to the traditional Disney musical as well as the film's animation. Yet they also wrote that the film is detracted by the juvenile humor and the human characters' eyes. While still giving a positive review, they stated that the film "can't compare to the real Disney classics (which appealed equally to both kids and adults)."^[31] The staff of Variety praised the film for its cast of characters, Ursula in particular, as well as its animation. Stating that the animation "proves lush and fluid, augmented by the use of shadow and light as elements like fire, sun and water illuminate the characters." Also praised was the musical collaboration between Howard Ashman and Alan Menken "whose songs frequently begin slowly but build in cleverness and intensity."^[32] Todd Gilchrist of IGN wrote a positive review of the film, stating that the film is "an almost perfect achievement." Gilchrist also praised how the film revived interest in animation as it was released at a time when interest in animation was at a lull.^[33] Hal Hinson of The Washington Post wrote a mixed review of the film, referring to it as a "likably unspectacular adaptation of the Hans Christian Andersen classic." Hinson went on to write that the film is average even at its highest points. He wrote that while there is nothing wrong with the film, it would be difficult for children to identify with Ariel and that the characters seemed bland. Hinson concluded his review saying that the film is "accomplished but uninspiring, The Little Mermaid has enough to please any kid. All that's missing is the magic." ^[34] Empire gave a positive review of the film, stating that "[The Little Mermaid is] a charmer of a movie, boasting all the ingredients that make a Disney experience something to treasure yet free of all the politically correct, formulaic elements that have bogged down the more recent productions."^[35]

In April 2008 – almost 20 years after the film's initial release in 1989 – Yahoo! users voted "The Little Mermaid" as #14 on the top 30 animated films of all time. Later, when Yahoo! updated the list in June of the same year, the film remained on the list but dropped six slots to end at #20. (Only three other traditionally animated Disney animated films- Aladdin, Beauty and the Beast, and The Lion King, respectively- scored above it in the poll even after the update.)^{[36][dead link]}

In 2011, Richard Corliss of TIME Magazine named it one of "The 25 All-TIME Best Animated Films".^[37]

The Little Mermaid, Disney's first animated fairy tale since Sleeping Beauty (1959),^[9] is an important film in animation history for many reasons. Chief among these are its re-establishment of animation as a profitable venture for The Walt Disney Company,^[10] as the company's theme parks, television productions, and live-action features had overshadowed the animated output since the 1950s.^[10] Mermaid was the second film, following Oliver and Company, produced after Disney began expanding its animated output following its successful live action/animated film Who Framed Roger Rabbit, and became Disney's first animated major box office and critical hit since The Rescuers in 1977.^[10] Walt Disney Feature Animation was further expanded as a result of Mermaid and increasingly successful follow-ups—Beauty and the Beast (1991), Aladdin (1992), and The Lion King (1994). The staff increased from 300 members in 1988 to 2,200 in 1999 spread across three studios in Burbank, California, Lake Buena Vista, Florida, and Montreuil, Seine-Saint-Denis, France.^[11] This period of Disney's animation history is sometimes referred to as the "Disney Renaissance".

In addition, Mermaid signaled the re-establishment of the musical film format as a standard for Disney animated films. The majority of Disney's most popular animated films from the 1930s on had been musicals, though by the 1970s and 1980s the role of music had been de-emphasized in the films.^[9] 1988's Oliver and Company had served as a test of sorts to the success of the musical format before Disney committed to the Broadway-style structure of The Little Mermaid.^[9]

Accolades[link]

In January 1990, The Little Mermaid earned three Academy Award nominations, making it the first Disney animated film to earn an Academy Award nomination since The Rescuers in 1977. The film won two of the awards, for Best Song ("Under the Sea") and Best Score. The film also earned four Golden Globe nominations, including Best Picture—Comedy or Musical, and won the awards for Best Song ("Under the Sea") and Best Score.^[38]

In addition to the box office and critical success of the film itself, the Mermaid soundtrack album earned two awards at the 33rd Grammy Awards in 1991: the Grammy Award for Best Album for Children and the Grammy Award for Best Score Soundtrack Album for a Motion Picture, Television or Other Visual Media.^[39] Bolstered by the film's success and the soundtrack's Oscars, Golden Globes and Grammy Awards, was certified double platinum by the Recording Industry Association of America in September 1990 for shipments of two million copies of the soundtrack album, an unheard of feat for an animated film at the time.^[40] To date, the soundtrack has been certified six times platinum.^[40]

The Little Mermaid won two Academy Awards for Best Original Score as well as Best Song for Alan Menken and Howard Ashman's "Under the Sea", sung by Samuel E. Wright in a memorable scene. Another song from the film, "Kiss the Girl," was nominated but lost to "Under the Sea." The film also won two Golden Globes for Best Original Score as well Best Original Song for "Under the Sea." It was also nominated in two other categories, Best Motion Picture and another Best Original Song. Alan Menken and Howard Ashman also won a Grammy Award in 1991 for "Under the Sea."

American Film Institute Lists

• AFI's 100 Years...100 Passions—Nominated^[41]
• AFI's 100 Years...100 Heroes and Villains:
  • Ursula—Nominated Villain^[42]
• AFI's 100 Years...100 Songs:
  • Under the Sea—Nominated^[43]
• AFI's Greatest Movie Musicals—Nominated^[44]
• AFI's 10 Top 10—Nominated Animated Film^[45]

Controversy[link]

Controversy arose regarding the artwork for the cover for the Classics VHS cassette when the film was first released on video when close examination of the artwork revealed an oddly shaped structure on the castle, closely resembling a penis.^[46][47] Disney and the cover designer insist it was an accident, resulting from a late night rush job to finish the cover artwork. The questionable object does not appear on the cover of the second releasing of the movie.^[46] A second allegation is that a clergyman is seen with an erection during a scene late in the film.^[48][49][50] The clergyman is a short man, dressed in Bishop's clothing, and a small bulge is slightly noticeable in a few of the frames that are actually later shown to be the stubby-legged man's knees, but the image is small and is very difficult to distinguish. The combined incidents led an Arkansas woman to file suit against The Walt Disney Company in 1995, though she dropped the suit two months later.^{[49][50][51][52][53]}

See also[link]

• Mermaids in popular culture
• List of Disney theatrical animated features

References[link]

External links[link]

• The Little Mermaid—Official The Little Mermaid Platinum Edition DVD site
• The Little Mermaid at the Internet Movie Database
• The Little Mermaid at AllRovi
• The Little Mermaid at Rotten Tomatoes
• The Little Mermaid at Box Office Mojo
• The Little Mermaid at the Big Cartoon DataBase

Walt Disney
Walt Disney on January 1, 1954
Born	Walter Elias Disney (1901-12-05)December 5, 1901[1] Hermosa, Chicago, Illinois, U.S.
Died	December 15, 1966(1966-12-15) (aged 65) Burbank, California, U.S.
Cause of death	Lung Cancer
Resting place	Forest Lawn Memorial Park, Glendale, California, U.S.
Residence	Burbank, California
Nationality	American
Education	McKinley High School
Occupation	Film producer, Co-founder of The Walt Disney Company, formerly known as Walt Disney Productions
Years active	1920–1966
Home town	Chicago, Illinois
Political party	Republican
Board member of	The Walt Disney Company
Religion	Christian (Congregationalist)[2]
Spouse	Lillian Bounds (1925–1966; his death)
Children	Diane Marie Disney Sharon Mae Disney
Parents	Elias Disney Flora Call Disney
Relatives	Ronald William Miller (son-in-law) Robert Borgfeldt Brown (son-in-law) Roy Edward Disney (nephew)
Family	Herbert Arthur Disney (brother) Raymond Arnold Disney (brother) Roy Oliver Disney (brother) Ruth Flora Disney (sister)
Awards	7 Emmy Awards, 22 Academy Awards, Cecil B.DeMille Award
Signature

Walter Elias "Walt" Disney (December 5, 1901 – December 15, 1966) was an American film producer, director, screenwriter, voice actor, animator, entrepreneur, entertainer, international icon,^[3] and philanthropist, well known for his influence in the field of entertainment during the 20th century. Along with his brother Roy O. Disney, he was co-founder of Walt Disney Productions, which later became one of the best-known motion picture producers in the world. The corporation is now known as The Walt Disney Company and had an annual revenue of approximately US$36 billion in the 2010 financial year.^[4]

Disney is particularly noted as a film producer and a popular showman, as well as an innovator in animation and theme park design. He and his staff created some of the world's most well-known fictional characters including Mickey Mouse, for whom Disney himself provided the original voice. During his lifetime he received four honorary Academy Awards and won 22 Academy Awards from a total of 59 nominations, including a record four in one year,^[5] giving him more awards and nominations than any other individual in history.^[6] Disney also won seven Emmy Awards and gave his name to the Disneyland and Walt Disney World Resort theme parks in the U.S., as well as the international resorts Tokyo Disney Resort, Disneyland Paris, and Hong Kong Disneyland.

The year after his December 15, 1966 death from lung cancer in Burbank, California, construction began on Walt Disney World Resort in Florida. His brother Roy Disney inaugurated the Magic Kingdom on October 1, 1971.

1901–1937: Beginnings[link]

Childhood[link]

Disney was born on December 5, 1901, at 2156 N. Tripp Avenue in Chicago's Hermosa community area to Irish-Canadian father Elias Disney and Flora Call Disney, who was of German and English descent.^[7][8] His great-grandfather, Arundel Elias Disney, had emigrated from Gowran, County Kilkenny, Ireland where he was born in 1801. Arundel Disney was a descendant of Robert d'Isigny, a Frenchman who had travelled to England with William the Conqueror in 1066.^[9] With the d'Isigny name anglicised as "Disney", the family settled in a village now known as Norton Disney, south of the city of Lincoln, in the county of Lincolnshire.

In 1878, Disney's father Elias had moved from Huron County, Ontario, Canada to the United States at first seeking gold in California before finally settling down to farm with his parents near Ellis, Kansas, until 1884. Elias worked for the Union Pacific Railroad and married Flora Call on January 1, 1888, in Acron, Florida. The family moved to Chicago, Illinois, in 1890,^[10] hometown of his brother Robert^[10] who helped Elias financially for most of his early life.^[10] In 1906, when Walt was four, Elias and his family moved to a farm in Marceline, Missouri,^[11] where his brother Roy had recently purchased farmland.^[11] In Marceline, Disney developed his love for drawing^[12] with one of the family's neighbors, a retired doctor named "Doc" Sherwood, paying him to draw pictures of Sherwood's horse, Rupert.^[12] His interest in trains also developed in Marceline, a town that owed its existence to the Atchison, Topeka and Santa Fe Railway which ran through it. Walt would put his ear to the tracks in anticipation of the coming train^[8] then try and spot his uncle, engineer Michael Martin, conducting the train.

10-year old Walt Disney (center right) at a gathering of Kansas City newsboys in 1912.

The Disneys remained in Marceline for four years,^[13] before moving to Kansas City in 1911^[14] where Walt and his younger sister Ruth attended the Benton Grammar School. At school he met Walter Pfeiffer who came from a family of theatre aficionados, and introduced Walt to the world of vaudeville and motion pictures. Before long Walt was spending more time at the Pfeiffers' than at home.^[15] As well as attending Saturday courses at the Kansas City Art Institute,^[16] Walt often took Ruth to Electric Park, 15 blocks from their home, which Disney would later acknowledge as a major influence of his design of Disneyland.^{[citation needed]}

Teenage years[link]

In 1917, Elias acquired shares in the O-Zell jelly factory in Chicago and moved his family back to the city,^[17] where in the fall Disney began his freshman year at McKinley High School and took night courses at the Chicago Art Institute.^[18] He became the cartoonist for the school newspaper, drawing patriotic topics and focusing on World War I. Despite dropping out of high school at the age of sixteen to join the army, Disney was rejected for being underage.^[19]

After his rejection by the army, Walt and a friend decided to join the Red Cross.^[20] Soon after joining he was sent to France for a year, where he drove an ambulance, but only after the armistice was signed on November 11, 1918.^[21]

Disney as an ambulance driver immediately after World War I

Hoping to find work outside the Chicago O-Zell factory,^[22] in 1919 Walt moved back to Kansas City to begin his artistic career.^[23] After considering whether to become an actor or a newspaper artist, he decided on a career as a newspaper artist, drawing political caricatures or comic strips. But when nobody wanted to hire him as either an artist or even as an ambulance driver, his brother Roy, then working in a local bank, got Walt a temporary job through a bank colleague at the Pesmen-Rubin Art Studio^[23] where he created advertisements for newspapers, magazines, and movie theaters.^[24] At Pesmen-Rubin he met cartoonist Ubbe Iwerks^[25] and when their time at the studio expired, they decided to start their own commercial company together.^[26]

In January 1920, Disney and Iwerks formed a short-lived company called, "Iwerks-Disney Commercial Artists". However, following a rough start, Disney left temporarily to earn money at the Kansas City Film Ad Company, and was soon joined by Iwerks who was not able to run their business alone.^[27] While working for the Kansas City Film Ad Company, where he made commercials based on cutout animations, Disney became interested in animation, and decided to become an animator.^[28] The owner of the Ad Company, A.V. Cauger, allowed him to borrow a camera from work to experiment with at home. After reading the Edwin G. Lutz book Animated Cartoons: How They Are Made, Their Origin and Development, Disney considered cel animation to be much more promising than the cutout animation he was doing for Cauger. Walt eventually decided to open his own animation business,^[29] and recruited a fellow co-worker at the Kansas City Film Ad Company, Fred Harman, as his first employee.^[29] Walt and Harman then secured a deal with local theater owner Frank L. Newman, arguably the most popular "showman" in the Kansas City area at the time,^[30] to screen their cartoons at his local theater, which they titled Laugh-O-Grams.^[30]

Laugh-O-Gram Studio[link]

Presented as "Newman Laugh-O-Grams",^[30] Disney's cartoons became widely popular in the Kansas City area^[31] and through their success, he was able to acquire his own studio, also called Laugh-O-Gram,^[32] for which he hired a vast number of additional animators, including Fred Harman's brother Hugh Harman, Rudolf Ising, and his close friend Ubbe Iwerks.^[33] Unfortunately, studio profits were insufficient to cover the high salaries paid to employees. Unable to successfully manage money,^[34] Disney's studio became loaded with debt^[34] and wound up bankrupt^[35] whereupon he decided to set up a studio in the movie industry's capital city, Hollywood, California.^[36]

Hollywood[link]

Disney and his brother Roy pooled their money and set up a cartoon studio in Hollywood^[37] where they needed to find a distributor for Walt's new Alice Comedies, which he had started making while in Kansas City^[35] but never got to distribute. Disney sent an unfinished print to New York distributor Margaret Winkler, who promptly wrote back to him that she was keen on a distribution deal for more live-action/animated shorts based upon Alice's Wonderland.^[38]

Alice Comedies[link]

Virginia Davis, the live-action star of Alice’s Wonderland and her family relocated from Kansas City to Hollywood at Disney's request, as did Iwerks and his family. This was the beginning of the Disney Brothers' Studio located on Hyperion Avenue in the Silver Lake district, where it remained until 1939. In 1925, Disney hired a young woman named Lillian Bounds to ink and paint celluloid. After a brief courtship, the pair married that same year.

The new series, Alice Comedies, proved reasonably successful, and featured both Dawn O'Day and Margie Gay as Alice with Lois Hardwick also briefly assuming the role. By the time the series ended in 1927, its focus was more on the animated characters and in particular a cat named Julius who resembled Felix the Cat, rather than the live-action Alice.

Oswald the Lucky Rabbit[link]

By 1927, Charles Mintz had married Margaret Winkler and assumed control of her business. He then ordered a new all-animated series to be put into production for distribution through Universal Pictures. The new series, Oswald the Lucky Rabbit, was an almost instant success, and the character, Oswald — drawn and created by Iwerks — became a popular figure. The Disney studio expanded and Walt re-hired Harman, Rudolph Ising, Carman Maxwell, and Friz Freleng from Kansas City.

Disney went to New York in February 1928 to negotiate a higher fee per short and was shocked when Mintz told him that not only did he want to reduce the fee he paid Disney per short but also that he had most of his main animators, including Harman, Ising, Maxwell, and Freleng—but not Iwerks, who refused to leave Disney—under contract and would start his own studio if Disney did not accept the reduced production budgets. Universal, not Disney, owned the Oswald trademark, and could make the films without Walt. Disney declined Mintz's offer and as a result lost most of his animation staff whereupon he found himself on his own again.^[39]

It subsequently took his company 78 years to get back the rights to the Oswald character when in 2006 the Walt Disney Company reacquired the rights to Oswald the Lucky Rabbit from NBC Universal, through a trade for longtime ABC sports commentator Al Michaels.^[40]

Mickey Mouse[link]

After losing the rights to Oswald, Disney felt the need to develop a new character to replace him, which was based on a mouse he had adopted as a pet while working in his Laugh-O-Gram studio in Kansas City.^[41] Ub Iwerks reworked the sketches made by Disney to make the character easier to animate although Mickey's voice and personality were provided by Disney himself until 1947. In the words of one Disney employee, "Ub designed Mickey's physical appearance, but Walt gave him his soul."^[41] Besides Oswald and Mickey, a similar mouse-character is seen in the Alice Comedies, which featured "Ike the Mouse". Moreover, the first Flip the Frog cartoon called Fiddlesticks showed a Mickey Mouse look-alike playing fiddle. The initial films were animated by Iwerks with his name prominently featured on the title cards. Originally named "Mortimer", the mouse was later re-christened "Mickey" by Lillian Disney who thought that the name Mortimer did not fit. Mortimer later became the name of Mickey's rival for Minnie – taller than his renowned adversary and speaking with a Brooklyn accent.

The first animated short to feature Mickey, Plane Crazy was a silent film like all of Disney's previous works. After failing to find a distributor for the short and its follow-up, The Gallopin' Gaucho, Disney created a Mickey cartoon with sound called Steamboat Willie. A businessman named Pat Powers provided Disney with both distribution and Cinephone, a sound-synchronization process. Steamboat Willie became an instant success,^[42] and Plane Crazy, The Galloping Gaucho, and all future Mickey cartoons were released with soundtracks. After the release of Steamboat Willie, Disney successfully used sound in all of his subsequent cartoons, and Cinephone also became the new distributor for Disney's early sound cartoons.^[43] Mickey soon eclipsed Felix the Cat as the world's most popular cartoon character^[41] and by 1930, despite their having sound, cartoons featuring Felix had faded from the screen after failing to gain attention.^[44] Mickey's popularity would subsequently skyrocket in the early 1930s.^[41]

[edit] Silly Symphonies

Following in the footsteps of Mickey Mouse series, a series of musical shorts titled, Silly Symphonies were released in 1929. The first, The Skeleton Dance was entirely drawn and animated by Iwerks, who was also responsible for drawing the majority of cartoons released by Disney in 1928 and 1929. Although both series were successful, the Disney studio thought it was not receiving its rightful share of profits from Pat Powers,^[45] and in 1930, Disney signed a new distribution deal with Columbia Pictures. The original basis of the cartoons was their musical novelty with the first Silly Symphony cartoons featuring scores by Carl Stalling.^[46]

Iwerks was soon lured by Powers into opening his own studio with an exclusive contract, while Stalling would also later leave Disney to join Iwerks.^[47] Iwerks launched his Flip the Frog series with the first voiced color cartoon Fiddlesticks, filmed in two-strip Technicolor. Iwerks also created two other cartoon series, Willie Whopper and the Comicolor. In 1936, Iwerks shut down his studio in order to work on various projects dealing with animation technology. He would return to Disney in 1940 and go on to pioneer a number of film processes and specialized animation technologies in the studio's research and development department.

By 1932, although Mickey Mouse had become a relatively popular cinema character, Silly Symphonies was not as successful. The same year also saw competition increase as Max Fleischer's flapper cartoon character, Betty Boop, gained popularity among theater audiences.^[48] Fleischer, considered Disney's main rival in the 1930s,^[49] was also the father of Richard Fleischer, whom Disney would later hire to direct his 1954 film 20,000 Leagues Under the Sea. Meanwhile, Columbia Pictures dropped the distribution of Disney cartoons to be replaced by United Artists.^[50] In late 1932, Herbert Kalmus, who had just completed work on the first three-strip technicolor camera,^[51] approached Walt and convinced him to reshoot the black and white Flowers and Trees in three-strip Technicolor.^[52] Flowers and Trees would go on to be a phenomenal success and would also win the first 1932 Academy Award for Best Short Subject: Cartoons. After the release of Flowers and Trees, all subsequent Silly Symphony cartoons were in color while Disney was also able to negotiate a two-year deal with Technicolor, giving him the sole right to use their three-strip process,^[53][54] a period eventually extended to five years.^[46] Through Silly Symphonies, Disney also created his most successful cartoon short of all time, The Three Little Pigs (1933).^[55] The cartoon ran in theaters for many months, featuring the hit song that became the anthem of the Great Depression, "Who's Afraid of the Big Bad Wolf".^[56]

One of two stars dedicated to Walt Disney on the Hollywood Walk of Fame.

First Academy Award[link]

In 1932, Disney received a special Academy Award for the creation of "Mickey Mouse", a series which switched to color in 1935 and soon launched spin-offs for supporting characters such as Donald Duck, Goofy, and Pluto. Pluto and Donald became standalone cartoons in 1937,^[57] with Goofy following in 1939.^[58] Of all Mickey's partners, Donald Duck, who first teamed up with Mickey in the 1934 cartoon, Orphan's Benefit, was arguably the most popular, going on to become Disney's second most successful cartoon character of all time.^[59]

Children[link]

The Disneys' first attempt at pregnancy ended in miscarriage. Lillian became pregnant again and gave birth to a daughter, Diane Marie Disney, on December 18, 1933.^[60] Later, the Disneys adopted Sharon Mae Disney (December 31, 1936 – February 16, 1993).^[61]

Diane married Ron Miller at the age of 20 and is known as Diane Disney Miller. The Millers established and own a winery called Silverado Vineyards in California.^[62] Diane and Ron Miller have seven children: Christopher, Joanna, Tamara, Jennifer, Walter, Ronald and Patrick.^[63] Years later, Diane went on to become the cofounder of The Walt Disney Family Museum, with the aid of her children.^[60] The museum was created to preserve her father's image and reach out to millions of Disney fans worldwide.^[64] The museum displays a chronological view of Walt Disney's life through personal artifacts, interactive kiosks and various animations.^[64]

Sharon Mae Disney was born December 31, 1936, in Los Angeles, California and was later adopted by the Disneys, due to Lillian's several birth complications.^[63][65] In 1950, Sharon went on to star as herself in the Walt Disney Studios special One Hour in Wonderland.^[66] Sharon married Robert Brown in 1958, with whom she had one child, and they remained married until his death in 1967.^[65] Sharon married William Lund in 1969 and had two children with him, but six years later they divorced.^[65][67] Sharon was a philanthropist and had contributed to charities such as the Marianne Frostig Center of Educational Therapy and the Curtis School foundation.^[68] In 1993 at the age of 57, Sharon died from cancer at St. John's Hospital in Santa Monica, California.^[65] After Sharon's death, her estate donated $11 million to the California School of Performing Arts, where she was a member of the board of trustees for almost two decades. Sharon's donation was commemorated by renaming the School of Dance the Sharon D. Lund School of Dance.^[60][69]

1937–1941: Golden age of animation[link]

[edit] "Disney's Folly": Snow White and the Seven Dwarfs

Walt Disney introduces each of the Seven Dwarfs in a scene from the original 1937 Snow White theatrical trailer.

Following the creation of two cartoon series, in 1934 Disney began planning a full-length feature. The following year, opinion polls showed that another cartoon series, Popeye the Sailor, produced by Max Fleischer, was more popular than Mickey Mouse.^[70] Nevertheless, Disney was able to put Mickey back on top as well as increase his popularity by colorizing and partially redesigning the character to become what was considered his most appealing design to date.^[41] When the film industry learned of Disney's plans to produce an animated feature-length version of Snow White, they were certain that the endeavor would destroy the Disney Studio and dubbed the project "Disney's Folly". Both Lillian and Roy tried to talk Disney out of the project, but he continued plans for the feature, employing Chouinard Art Institute professor Don Graham to start a training operation for the studio staff. Disney then used the Silly Symphonies as a platform for experiments in realistic human animation, distinctive character animation, special effects, and the use of specialized processes and apparatus such as the multiplane camera – a new technique first used by Disney in the 1937 Silly Symphonies short The Old Mill.^[71]

All of this development and training was used to increase quality at the studio and to ensure that the feature film would match Disney's quality expectations. Entitled Snow White and the Seven Dwarfs, the feature went into full production in 1934 and continued until mid-1937, when the studio ran out of money. To obtain the funding to complete Snow White, Disney had to show a rough cut of the motion picture to loan officers. The film premiered at the Carthay Circle Theater on December 21, 1937 and at its conclusion the audience gave Snow White and the Seven Dwarfs a standing ovation. Snow White, the first animated feature in America made in Technicolor, was released in February 1938 under a new distribution deal with RKO Radio Pictures. RKO had been the distributor for Disney cartoons in 1936, after it closed down the Van Beuren Studios in exchange for distribution.^[72] The film became the most successful motion picture of 1938 and earned over $8 million on its initial release. These initial release earnings for Snow White and the Seven Dwarfs would be the equivalent of $122,487,945 in 2010.^[73]

Golden age of animation[link]

Following the success of Snow White, for which Disney received one full-size, and seven miniature Oscar statuettes, he was able to build a new campus for the Walt Disney Studios in Burbank, which opened for business on December 24, 1939. Snow White was not only the peak of Disney's success, but also ushered in a period that would later be known as the Golden Age of Animation for the studio.^[74][75] Feature animation staff, having just completed Pinocchio, continued work on Fantasia and Bambi as well as the early production stages of Alice in Wonderland, Peter Pan and Wind in the Willows while the shorts staff carried on working on the Mickey Mouse, Donald Duck, Goofy, and Pluto cartoon series, ending the Silly Symphonies at this time.^{[clarification needed More info needed on end of the Silly Symphonies to make a new and separate sentence.]} Animator Fred Moore had redesigned Mickey Mouse in the late 1930s after Donald Duck overtook him in popularity among theater audiences.^[76]

Pinocchio and Fantasia followed Snow White and the Seven Dwarfs into the movie theaters in 1940, but both proved financial disappointments. The inexpensive Dumbo was then planned as an income generator, but during production most of the animation staff went on strike, permanently straining relations between Disney and his artists.

1941–1945: World War II era[link]

In 1941, the U.S. State Department sent Disney and a group of animators to South America as part of its Good Neighbor policy, at the same time guaranteeing financing for the resultant movie, Saludos Amigos.^[77]

Shortly after the release of Dumbo in October 1941, the US entered World War II. The U.S. Army and Navy Bureau of Aeronautics^[78] contracted most of the Disney studio's facilities where the staff created training and instruction films for the military, home-front morale-boosting shorts such as Der Fuehrer's Face and the 1943 feature film Victory Through Air Power. However, military films did not generate income, and the feature film Bambi underperformed on its release in April 1942. Disney successfully re-issued Snow White in 1944, establishing a seven-year re-release tradition for his features. In 1945, The Three Caballeros was the last animated feature released by the studio during the war.

In 1944, Encyclopædia Britannica publisher William Benton, entered into unsuccessful negotiations with Disney to make six to twelve educational films per annum. Disney was asked by the US Coordinator of Inter-American Affairs, Office of Inter-American Affairs (OIAA), to make an educational film about the Amazon Basin, which resulted in the 1944 animated short, The Amazon Awakens.^{[79][80][81][82][83]}

1945–1955: Post-war period[link]

Disney studios also created inexpensive package films, containing collections of cartoon shorts, and issued them to theaters during this period. These included Make Mine Music (1946), Melody Time (1948), Fun and Fancy Free (1947) and The Adventures of Ichabod and Mr. Toad (1949). The latter had only two sections, the first based on The Wind in the Willows by Kenneth Grahame, and the second on The Legend of Sleepy Hollow by Washington Irving. During this period, Disney also ventured into full-length dramatic films that mixed live action and animated scenes, including Song of the South and So Dear to My Heart. After the war ended, Mickey's popularity would also fade.^[84]

By the late 1940s, the studio had recovered enough to continue production on the full-length features Alice in Wonderland and Peter Pan, both of which had been shelved during the war years. Work also began on Cinderella, which became Disney's most successful film since Snow White and the Seven Dwarfs. In 1948 the studio also initiated a series of live-action nature films, titled True-Life Adventures, with On Seal Island the first. Despite its resounding success with feature films, the studio's animation shorts were no longer as popular as they once were, with people paying more attention to Warner Bros. and their animation star Bugs Bunny. By 1942, Leon Schlesinger Productions, which produced the Warner Bros. cartoons, had become the country's most popular animation studio.^[85] However, while Bugs Bunny's popularity rose in the 1940s, so did Donald Duck's,^[86] a character who would replace Mickey Mouse as Disney's star character by 1949.^[87]

During the mid-1950s, Disney produced a number of educational films on the space program in collaboration with NASA rocket designer Wernher von Braun: Man in Space and Man and the Moon in 1955, and Mars and Beyond in 1957.

Walt Disney meets Wernher von Braun in 1954.

Disney and the Second Red Scare[link]

Disney was a founding member of the anti-communist group Motion Picture Alliance for the Preservation of American Ideals.  In 1947, during the Second Red Scare,^[88] Disney testified before the House Un-American Activities Committee (HUAC), where he branded Herbert Sorrell, David Hilberman and William Pomerance, former animators and labor union organizers, Communist agitators. All three men denied the allegations and Sorrell went on to testify before the HUAC in 1946 when insufficient evidence was found to link him to the Communist Party.^[89][90]

Disney also accused the Screen Cartoonists Guild of being a Communist front, and charged that the 1941 strike was part of an organized Communist effort to gain influence in Hollywood.^[88]

1955–1966: Theme parks and beyond[link]

Planning Disneyland[link]

Disneyland: aerial view, August 1963, looking SE. New Melodyland Theater at top. Santa Ana Freeway (US 101 at the time, now I-5) upper left corner.

On a business trip to Chicago in the late-1940s, Disney drew sketches of his ideas for an amusement park where he envisioned his employees spending time with their children. The idea for a children's theme park came after a visit to Children's Fairyland in Oakland, California. It also said that Disney may have been inspired to create Disneyland in the park Republic of the Children located in Manuel B. Gonnet, La Plata, Argentina, and opened in 1951.^[91] This plan was originally intended to be built on a plot located across the street to the south of the studio. These original ideas developed into a concept for a larger enterprise that would become Disneyland. Disney spent five years developing Disneyland and created a new subsidiary company, WED Enterprises, to carry out planning and production of the park. A small group of Disney studio employees joined the Disneyland development project as engineers and planners, and were dubbed Imagineers.^{[citation needed]}

As Disney explained one of his earliest plans to Herb Ryman, who created the first aerial drawing of Disneyland presented to the Bank of America during fund raising for the project, he said, "Herbie, I just want it to look like nothing else in the world. And it should be surrounded by a train."^[92] Entertaining his daughters and their friends in his backyard and taking them for rides on his Carolwood Pacific Railroad had inspired Disney to include a railroad in the plans for Disneyland.

Disneyland grand opening[link]

Disneyland officially opened on July 18, 1955. On Sunday, July 17, 1955, Disneyland hosted a live TV preview, among the thousands of people in attendance were Ronald Reagan, Bob Cummings and Art Linkletter, who shared cohosting duties, as well as the mayor of Anaheim. Walt gave the following dedication day speech:

Carolwood Pacific Railroad[link]

The Lilly Belle on display at Disneyland Main Station in 1993. The caboose's woodwork was done entirely by Walt himself.

During 1949, Disney and his family moved to a new home on a large piece of land in the Holmby Hills district of Los Angeles, California. With the help of his friends Ward and Betty Kimball, who already had their own backyard railroad, Disney developed blueprints and immediately set to work on creating a miniature live steam railroad for his backyard. The name of the railroad, Carolwood Pacific Railroad, came from his home's location on Carolwood Drive. The railroad's half-mile long layout included a 46-foot (14 m) long trestle bridge, loops, overpasses, gradients, an elevated berm, and a 90-foot (27 m) tunnel underneath his wife's flowerbed. He named the miniature working steam locomotive built by Disney Studios engineer Roger E. Broggie Lilly Belle in his wife's honor and had his attorney draw up right-of-way papers giving the railroad a permanent, legal easement through the garden areas, which his wife dutifully signed; however, there is no evidence of the documents ever recorded as a restriction on the property's title.^{[clarification needed]}

Expansion into new areas[link]

As Walt Disney Productions began work on Disneyland, it also began expanding its other entertainment operations. In 1950, Treasure Island became the studio's first all-live-action feature, soon followed by 20,000 Leagues Under the Sea (in CinemaScope, 1954), Old Yeller (1957), The Shaggy Dog (1959), Pollyanna (1960), Swiss Family Robinson (1960), The Absent-Minded Professor (1961), and The Parent Trap (1961). The studio produced its first TV special, One Hour in Wonderland, in 1950. Disney began hosting a weekly anthology series on ABC entitled Disneyland, after the park, on which he aired clips of past Disney productions, gave tours of his studio, and familiarized the public with Disneyland as it was being constructed in Anaheim. The show also featured a Davy Crockett miniseries, which started the "Davy Crockett craze" among American youth, during which millions of coonskin caps and other Crockett memorabilia were sold across the country.^[93] In 1955, the studio's first daily television show, Mickey Mouse Club debuted on ABC. It was a groundbreaking comedy/variety show aimed specifically for children. Disney took a strong personal interest in the show and even returned to the animation studio to voice Mickey Mouse in its animated segments during its original 1955-59 production run. The Mickey Mouse Club would continue in various incarnations in syndication and on the Disney Channel into the 1990s.