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Could “Tarzan” ‘s lousy reviews translate into an early exit for Josh Strickland?

In the wake of the critical drubbing that Disney Theatrical’s newest production just received, the Mouse’s marketing department is now struggling to come up with ways to make this new musical more appealing to ticket-buyers. And among the ideas that are allegedly being floated is replacing the “American Idol” contestant who now plays the show’s title role and bringing in a new name performer to play the Lord of the Apes

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First there was Disney’s “Tarzan,” the movie. Which was closely followed by Disney’s “Tarzan,” the soundtrack; Disney’s “Tarzan,” the action figure; Disney’s “Tarzan,” the Happy Meal toy; Disney’s “Tarzan,” the theme park attraction; Disney’s “Tarzan,” the animated television series and — inevitably — Disney’s “Tarzan,” the direct-to-video sequel.


And now there’s Disney’s “Tarzan,” the new Broadway musical. Or — as the New York critics prefer to call this show — Disney’s “Tarzan,” the pinata.



Copyright Disney Enterprises, LLC


I mean, have you heard about the critical drubbing that this new musical (which just opened on Broadway this past Wednesday night) received? The critics were absolutely brutal.


Here’s a sampling of what they had to say:



Tarzan Arrives on Broadway, Airborne



The tree-surfing title character is not the only creature sailing through the air in “Tarzan,” the giant, writhing green blob with music that opened last night at the Richard Rodgers Theater. Apes, flowers, moths, a snake, a leopard, a hut-size spider, two shipwrecked Victorians, an English botanist in her underwear: no sooner do such figures make their entrances in this restless adaptation of the 1999 Disney animated film than they find themselves pulled into some kind of airborne aerobics.


Almost everybody and everything swings in “Tarzan.” Which is odd, since the show itself, to borrow from Duke Ellington’s famous credo, definitely ain’t got that swing.



— Ben Brantley, The New York Times


Bungle in the Jungle



YOU, “Tarzan”! Me, Agonized!

Disney’s new musical swung shakily into the Richard Rodgers Theatre last night, and as far I’m concerned, it can swing right back out again.



— Clive Barnes, New York Post


‘Tarzan’: Me, critic; you lame!



I found myself consulting my watch frequently during “Tarzan,” the Disney musical that brings the current Broadway season to an inglorious close.



— Howard Kissel, the New York Daily News


This apeman’s story lacks in hang time



Tarzan wears a leather loincloth and flies over the audience on a rope. Gorillas spin around in aerial cartwheels like hairy tumbleweeds. Even Jane finds herself airborne in the clutches of a gigantic spider web.


Flora and fauna and fur balls hang in the jungle stratosphere with agile beauty in “Tarzan,” Disney’s latest animation-to-Broadway musical. The only hanging the show doesn’t do is hang together.



— Linda Winer, New York Newsday


Beastly “Tarzan”



“Tarzan” does for gorillas what “Lestat” does for vampires — very little.



— John Simon, Bloomberg


“Tarzan” : 4 out of 10 Stars



“Tarzan” has a promising start — a brilliantly staged shipwreck — but the musical itself doesn’t fly at all.



— Jess Cagle, WCBS


Fumble in the Jungle: Disney’s Tame ‘Tarzan’



You Tarzan. Me looking at watch.



— Peter Marks, the Washington Post


King of the bungle: Monkeys at typewriters could write a better show than ‘Tarzan’



The Disney organization spent a rumored $15 million to $20 million to bring Tarzan to the stage. And what they have to show for it is a wimpy, shifty-eyed, lost little boy.



— Lawson Taitte, the Dallas Morning News


“Tarzan” will have you yelling



Orthopedists and chiropractors, take note: A golden career opportunity may have just arrived on Broadway.



— Elysa Gardner, USA Today


Disney Brings Tarzan to Broadway



Tarzan, baby, you’ve come a long way from the days of Johnny Weissmuller — and that’s not necessarily a compliment.



— Michael Kuchwara, Associated Press


Mind you, those folks who checked out “Tarzan” ‘s reviews on line yesterday got a rather gruesome chuckle from some of the ad buys that Disney Theatrical had supposedly done prior to “Tarzan” ‘s official opening on Wednesday night. As you can see by looking at these image captures of the New York Times webpage



Copyright 2006 the New York Times


… as well as the New York Newsday webpage …



Copyright 2006 New York Newsday


… you have these incredibly brutal reviews of “Tarzan” in ridiculously close proximity to brightly colored ads that loudly trumpet that “More tickets (are) on sale now!”


Speaking of tickets sales … When I spoke with the house manager of the Richard Rodgers theatre on Tuesday night, he told me that — at that time — they were already selling tickets to “Tarzan” through December of this year. Early on Thursday morning, Disney Theatrical reportedly put seats for January & February of 2007 up for sale. Though — given the complete lack of a line at “Tarzan” ‘s box office yesterday — I’m told that most of those new seats are still up for grabs.


So what do all of these awful reviews and/or the public’s seeming disinterest in buying any tickets for performances of “Tarzan” beyond December 2006 mean? Well, I know that a lot of people are already predicting that Disney Theatrical will move quickly to close this $15 million flop. Sweep this expensive embarassment under the rug and then concentrate all of its efforts on successfully transferring “The Lion King” from the New Amsterdam to the Minskoff, and then focusing on “Mary Poppins” Broadway debut in the Fall.


But me? Based on what I’ve been hearing, I think that Disney Theatrical is going to try & make a go of it with “Tarzan.” Take all of the Mouse’s marketing might and then try & turn this critical disappointment into an “Aida” -sized success. I mean, let’s remember that that Elton John musical didn’t exactly get great reviews when it opened at the Palace back in March of 2000. But through careful promotion (as well as regularly dropping new pop divas into that show’s title role), Disney Theatrical was eventually able to eek out a very respectable run for that much maligned musical.


And given that “Tarzan” is a better known brand name than “Aida” ever was, it will probably be that much easier for Mickey to market his new musical to tourists. Particularly given that — even though most of the critics hammered on “Tarzan” for having such a lackluster book and/or uninspired direction — nearly all of the reviews mentioned (at least in passing) how how spectacular the show looked. How impressive this new musical’s flying effects were … At least for “Tarzan” ‘s first 10 minutes, anyway.


To be honest, if there’s anyone who should be worried right now, it’s probably Josh Strickland, the former “American Idol” contestant who plays the title role in the Mouse’s new musical. From what several Disney Theatrical insiders have told me, one of the company’s rescue plans for “Tarzan” (As they desperately search for ways to incite theater-goers to come cough up $100+  for an orchestra seat at their new show) involves quickly buying out Strickland’s contract and then hiring some name performer / celebrity to come in & play the role of “Tarzan.”


So if you want to see Strickland swinging down from the mezzanine at the Richard Rodgers, then you’d best start “Movin’ Out” for this 46th Street theatre. For there may be some other better known performer filling Tarzan’s loincloth in the not-so-distant future.


Anyway, that’s the latest on Disney Theatrical’s latest production. I’ll be back with more information on “Tarzan” and its troubles next week. But — for now — you folks have a great weekend, okay?


Your thoughts?

Jim Hill is an entertainment writer who has specialized in covering The Walt Disney Company for nearly 40 years now. Over that time, he has interviewed hundreds of animators, actors, and Imagineers -- many of whom have shared behind-the-scenes stories with Mr. Hill about how the Mouse House really works. In addition to the 4000+ articles Jim has written for the Web, he also co-hosts a trio of popular podcasts: “Disney Dish with Len Testa,” “Fine Tooning with Drew Taylor” and “Marvel US Disney with Aaron Adams.” Mr. Hill makes his home in Southern New Hampshire with his lovely wife Nancy and two obnoxious cats, Ginger & Betty.

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Before He Was 626: The Surprisingly Dark Origins of Disney’s Stitch

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Hopes are high for Disney’s live-action version of Lilo & Stitch, which opens in theaters next week (on May 23rd to be exact). And – if current box office projections hold – it will sell more than $120 million worth of tickets in North America.

Stitch Before the Live-Action: What Fans Need to Know

But here’s the thing – there wouldn’t have been a hand-drawn version of Stitch to reimagine as a live-action film if it weren’t for Academy Award-winner Chris Sanders. Who – some 40 years ago – had a very different idea in mind for this project. Not an animated film or a live-action movie, for that matter. But – rather – a children’s picture book.

Sanders revealed the true origins of Lilo & Stitch in his self-published book, From Pitch to Stitch: The Origins of Disney’s Most Unusual Classic.

From Picture Book to Pitch Meeting

Chris – after he graduated from CalArts back in 1984 (this was three years before he began working for Disney) – landed a job at Marvel Comics. Which – because Marvel Animation was producing the Muppet Babies TV show – led to an opportunity to design characters for that animated series.

About a year into this gig (we’re now talking 1985), Sanders – in his time away from work – began noodling on a side project. As Chris recalled in From Pitch to Stitch:

“Early in my animation career, I tried writing a picture book that centered around a weird little creature that lived a solitary life in the forest. He was a monster, unsure of where he had come from, or where he belonged. I generated a concept drawing, wrote some pages and started making a sculpted version of him. But I soon abandoned it as the idea seemed too large and vague to fit in thirty pages or so.”

We now jump ahead 12 years or so. Sanders has quickly moved up through the ranks at Walt Disney Animation Studios. So much so that – by 1997 – Chris is now the Head of Story on Disney’s Mulan.

A Monster in the Forest Becomes Stitch on Earth

With Mulan deep in production, Sanders was looking for his next project when an opportunity came his way.

“I had dinner with Tom Schumacher, who was president of Feature Animation at the time. He asked if there was anything I might be interested in directing. After a little reflection, I realized that there was something: That old idea from a decade prior.”

When Sanders told Schumacher about the monster who lived alone in the forest…

“Tom offered the crucial observation that – because the animal world is already alien to us – I should consider relocating the creature to the human world.”

With that in mind, Chris dusted off the story and went to work.

Over the next three months, Sanders created a pitch book for the proposed animated film. What he came up with was very different from the version of Lilo & Stitch that eventually hit theaters in 2002.

The Most Dangerous Creature in the Known Universe

The pitch – first shared with Walt Disney Feature Animation staffers on January 9, 1998 – was titled: Lilo & Stitch: A love story of a girl and what she thinks is a dog.

This early version of Stitch was… not cute. Not cuddly. He was mean, selfish, self-centered – a career criminal. When the story opens, Stitch is in a security pod at an intergalactic trial, found guilty of 12,000 counts of hooliganism and attempted planetary enslavement.

Instead of being created by Jumba, Stitch leads a gang of marauders. His second-in-command? Ramthar, a giant, red shark-like brute.

When Stitch refuses to reveal the gang’s location, he’s sentenced to life on a maximum-security asteroid. But en route, his gang attacks the prison convoy. In the chaos, Stitch escapes in a hijacked pod and crash-lands on Earth.

Earth in Danger, Jumba on the Hunt

Terrified of what Stitch could do to our technologically inferior planet, the Grand Council Woman sends bounty hunter Jumba – along with a rule-abiding Cultural Contamination Control agent named Pleakley – to retrieve (or eliminate) Stitch.

Their mission must be secret, follow Earth laws, and – most importantly – ensure no harm comes to any humans.

Naturally, Stitch ignores all that.

After his crash, Stitch claws out of the wreckage, sees the lights of a nearby town, and screams, “I will destroy you all!” That plan is immediately derailed when he’s run over by a convoy of sugar cane trucks.

Waking up in the local humane society, Stitch sees a news report confirming the Federation is already hot on his trail. He needs to blend in. Fast.

Enter Lilo

Lilo is a lonely little girl, mourning her parents, looking for a pet. Stitch plays the role of a “cute little doggie” because it’s a means to an end. At this point, Lilo is just someone to use while he builds a communications device.

Using parts from her toys and a stolen police radio, Stitch contacts his old gang. But Ramthar, now the leader, isn’t thrilled. Still, Stitch sends a signal.

Then he builds an army.

Stitch Goes Full Skynet

Stitch constructs a small robot, sends it to the junkyard to build bigger robots. Soon, he has an army. When Ramthar and crew arrive, Stitch’s robots surround them. Ramthar is furious, but Stitch regains command.

Next, Stitch sets his robotic horde on a nearby town. Everything goes smoothly until a robot targets the hula studio where Lilo is dancing. As it lifts her in its claw, Stitch has a change of heart. He saves her.

From here, the plot begins to resemble the Lilo & Stitch we know today. Sort of.

The Ending That Never Was

In Sanders’ original version, it’s not Captain Gantu who kidnaps Lilo, but Ramthar. And when the Grand Council Woman comes to collect Stitch, Lilo produces a receipt from the humane society.

“I paid a $4 processing fee to adopt him. If you take Stitch, you’re stealing.”

The Grand Council Woman crumples the receipt and says, “I didn’t see it.”

Nani chimes in: “Well, I saw it.”

Then Jumba. Then one of Stitch’s old crew. Then a hula girl. And finally, Pleakley pulls out his CCC badge and says:

“Well, I am Pleakley Grathor, Cultural Contamination Control Agent No. 444. And I saw it.”

Pleakley saves Stitch.

How Roy E. Disney Made Stitch Cuddly

Ultimately, this version of Lilo & Stitch was streamlined. Roy E. Disney believed Stitch shouldn’t be nasty. Just naughty. And not by choice – he was designed that way.

Which is how Stitch became Experiment 626. A misunderstood creation of Jumba the mad scientist, not a hardened criminal with a vendetta.

The rest, as they say, is history.

Ricardo Montalbán’s Lost Role

Here’s a detail that even hardcore Lilo & Stitch fans may not know: Ricardo Montalbán—best known as Mr. Roarke from Fantasy Island and Khan Noonien Singh from Star Trek II: The Wrath of Khan—was originally cast as the voice of Ramthar, Stitch’s second-in-command in this early version of the film. He had already recorded a significant amount of dialogue before the story was reworked following Roy E. Disney’s guidance. When Stitch evolved from a ruthless galactic outlaw to a misunderstood genetic experiment, Montalbán’s character (and much of the original gang concept) was written out entirely.

Which is kind of wild when you think about it. Wrath of Khan is widely considered the gold standard of Star Trek films. So yes, for a time, Khan himself was supposed to be part of Disney’s weirdest sci-fi comedy.

Stitch’s Legacy (and Why It Still Resonates)

Looking back at Stitch’s original story, it’s wild to think how close we came to getting a very different kind of movie. One where our favorite blue alien was less “ohana means family” and more “I’ll destroy you all.” But that transformation—from outlaw to outcast to ohana—is exactly what makes Lilo & Stitch so special.

So as the live-action version prepares to hit theaters, keep in mind that behind all the cuddly merch and tiki mugs lies one of Disney’s strangest, boldest, and most hard-won reinventions. One that started with a forest monster and became a beloved franchise about found family.

June 26th is officially Stitch Day—so mark your calendar. It’s a good excuse to celebrate just how far this little blue alien has come.

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How “An American Tail” Led to Disney’s “Hocus Pocus”

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Over the last week, I’ve been delving into Witches Run Amok, Shannon Carlin’s oral history of the making of Disney’s Hocus Pocus. This book reveals some fascinating behind-the-scenes stories about the 1993 film that initially bombed at the box office but has since become a cult favorite, even spawning a sequel in 2022 that went on to become the most-watched release in Disney+ history.

But what really caught my eye in this 284-page hardcover wasn’t just the tales of Hocus Pocus’s unlikely rise to fame. Rather, it was the unexpected connections between Hocus Pocus and another beloved film—An American Tail. As it turns out, the two films share a curious origin story, one that begins in the mid-1980s, during the early days of the creative rebirth of Walt Disney Studios under Michael Eisner, Frank Wells, and Jeffrey Katzenberg.

The Birth of An American Tail

Let’s rewind to late 1984/early 1985, a period when Eisner, Wells, and Katzenberg were just getting settled at Disney and were on the hunt for fresh projects that would signal a new era at the studio. During this time, Katzenberg—tasked with revitalizing Disney Feature Animation—began meeting with talent across Hollywood, hoping to find a project that could breathe life into the struggling division.

One such meeting was with a 29-year-old writer and illustrator named David Kirschner. At the time, Kirschner’s biggest credit was illustrating children’s books featuring Muppets and Sesame Street characters, but he had an idea for a new project: a TV special about a mouse emigrating to America, culminating in the mouse’s arrival in New York Harbor on the same day as the dedication of the Statue of Liberty in 1886.

David Kirschner
David Kirschner (IMDb)

Katzenberg saw the patriotic appeal of the concept but ultimately passed on it, as he was focused on finding full-length feature projects for Disney’s animation department. Kirschner, undeterred, took his pitch elsewhere—to none other than Kathleen Kennedy, Steven Spielberg’s production partner. Kennedy was intrigued and invited Kirschner to Spielberg’s annual Fourth of July party to pitch the idea directly to the famed director.

Spielberg immediately saw the potential in Kirschner’s idea, but instead of a TV special, he envisioned a full-length animated feature film. This project would eventually become An American Tail, a tribute of sorts to Spielberg’s own grandfather, Philip Posner, who emigrated from Russia to the United States in the late 19th century. The film’s lead character, Fievel, was even named after Spielberg’s grandfather, whose Yiddish name was also Fievel.

Disney’s Loss Becomes Universal’s Gain

An American Tail went on to become a major success for Universal Pictures, which hadn’t been involved in an animated feature since the release of Pinocchio in Outer Space in 1965. Meanwhile, over at Disney, Eisner and Wells weren’t exactly thrilled that Katzenberg had let such a promising project slip through his fingers.

Not wanting to miss out on any future opportunities with Kirschner, Katzenberg quickly scheduled another meeting with him to discuss any other ideas he might have. And as fate would have it, Kirschner had just written a short story for Muppet Magazine called Halloween House, about a boy who is magically transformed into a cat by a trio of witches.

The Pitch That Sealed the Deal

Knowing Katzenberg could be a tough sell, Kirschner went all out to impress during his pitch. He requested access to the Disney lot 30 minutes early to set the stage for his presentation. When Katzenberg and the Disney development team walked into the conference room, they were greeted by a table covered in candy corn, a cauldron of dry ice fog, and a broom, mop, and vacuum cleaner suspended from the ceiling as if they were flying—evoking the magical world of Halloween House.

Katzenberg was reportedly unimpressed by the theatrical setup, muttering, “Oy, show-and-tell time” as he took his seat. But Kirschner knew exactly how to grab his attention. He started his pitch with the fact that Halloween was a billion-dollar business—a figure that made Katzenberg sit up and take notice. He listened attentively to Kirschner’s pitch, and by the time the meeting was over, Katzenberg was convinced. Halloween House would become Hocus Pocus, and Disney had its next big Halloween film.

A Bit of Hollywood Drama

Interestingly, Kirschner’s success with Hocus Pocus didn’t sit well with his old collaborators. About a year after the film’s release, Kirschner ran into Kathleen Kennedy at an Amblin holiday party, and she wasted no time in expressing her disappointment. According to Kirschner, Kennedy said, “You really hurt Steven.” When Kirschner asked how, she explained that Spielberg and Kennedy had given him his big break with An American Tail, but when he came up with the idea for his next film, he brought it to Disney rather than to them.

Hollywood can be a place where loyalty is valued—or, at least, perceived loyalty. At the same time, this was happening just as Katzenberg was leaving Disney and partnering with Spielberg and David Geffen to launch DreamWorks SKG, which only added to the tension. Loyalty, as Kirschner found out, can be an abstract concept in the entertainment industry.

A Halloween Favorite is Born

Despite its rocky start at the box office in 1993, Hocus Pocus has gone on to become a beloved part of Halloween pop culture. And, as Carlin’s book details, its success helped pave the way for more Disney Halloween-themed projects in the years that followed.

As for why Hocus Pocus was released in July of 1993 instead of during Halloween? That’s a story for another time, but it has something to do with another Halloween-themed project Disney was working on that year—Tim Burton’s The Nightmare Before Christmas—and Katzenberg finding himself in the awkward position of having to choose between keeping Bette Midler or Tim Burton happy.

For more behind-the-scenes stories about Hocus Pocus and other Disney films, be sure to check out Witches Run Amok by Shannon Carlin. It’s a fascinating read for any Disney fan!

And if you love hearing these kinds of behind-the-scenes stories about animation and film history, be sure to check out Fine Tooning with Drew Taylor, where Drew and I dive deep into all things movies, animation, and the creative decisions that shape the films we love. You can find us on your favorite podcast platforms or right here on JimHillMedia.com.

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How Disney’s “Bambi” led to the creation of Smokey Bear

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When people talk about Disney’s “Bambi,” the scene that they typically cite as being the one from this 1942 film which then scarred them for life is – of course – the moment in this movie where Bambi’s mother gets shot by hunters.

Which is kind of ironic. Given that – if you watch this animated feature today – you’ll see that a lot of this ruined-my-childhood scene actually happens off-camera. I mean, you hear the rifle shot that takes down Bambi’s Mom. But you don’t actually see that Mama Deer get clipped.

Now for the scariest part of that movie that you actually see on-camera … Hands down, that has to be the forest fire sequence in “Bambi.” As the grown-up Bambi & his bride, Faline, desperately race through those woods, trying to find a path to safety as literally everything around them is ablaze … That sequence is literally nightmare fuel.

Source: Economist.com

Mind you, the artists at Walt Disney Animation Studios had lots of inspiration for the forest fire sequence in “Bambi.” You see, in a typical year, the United States experiences – due to either natural phenomenon like lightning strikes or human carelessness – 100 forest fires. Whereas in 1940 (i.e., the year that Disney Studios began working in earnest of a movie version of Felix Salten’s best-selling movie), America found itself battling a record 360 forest fires.

Which greatly concerned the U.S. Forest Service. But not for the reason you might think.

Protecting the Forest for World War II

I mean, yes. Sure. Officials over in the Agricultural Department (That’s the arm of the U.S. government that manages the Forest Service) were obviously concerned about the impact that this record number of forest fires in 1940 had had on citizens. Not to mention all of the wildlife habitat that was now lost.

But to be honest, what really concerned government officials was those hundreds of thousands of acres of raw timber that had been consumed by these blazes. You see, by 1940, the world was on the cusp of the next world war. A conflict that the U.S. would inevitably  be pulled into. And all that now-lost timber? It could have been used to fuel the U.S. war machine.

So with this in mind (and U.S. government officials now seeing an urgent need to preserve & protect this precious resource) … Which is why – in 1942 (just a few months after the Japanese bombed Pearl Harbor) – the U.S. Forest Service rolls out its first-ever forest fire prevention program.

Which – given that this was the early days of World War II – the slogan that the U.S. Forest Service initially chose for its forest fire prevention program is very in that era’s we’re-all-in-this-together / so-let’s-do-what-we-can-to-help-America’s war-effort esthetic – made a direct appeal to all those folks who were taking part in scrap metal drives: “Forest Defense is National Defense.”

Source: Northwestern

And the poster that the U.S. Forest Service had created to support this campaign? … Well, it was well-meaning as well.  It was done in the WPA style and showed men out in the forest, wielding shovels to ditch a ditch. They were trying to construct a fire break, which would then supposedly slow the forest fire that was directly behind them.

But the downside was … That “Forest Defense is National Defense” slogan – along with that poster which the U.S. Forest Service had created to support their new forest fire prevention program didn’t exactly capture America’s attention.

I mean, it was the War Years after all. A lot was going in the country at that time. But long story short: the U.S. Forest Service’s first attempt at launching a successful forest fire prevention program sank without a trace.

So what do you do in a situation like this? You regroup. You try something different.

Disney & Bambi to the Rescue

And within the U.S. government, the thinking now was “Well, what if we got a celebrity to serve as the spokesman for our new forest fire prevention program? Maybe that would then grab the public’s attention.”

The only problem was … Well, again, these are the War Years. And a lot of that era’s A-listers (people like Jimmy Stewart, Clark Gable, even Mel Brooks) had already enlisted. So there weren’t really a lot of big-name celebrities to choose from.

But then some enterprising official at the U.S. Forest Service came up with an interesting idea. He supposedly said “Hey, have you seen that new Disney movie? You know, the one with the deer? That movie has a forest fire in it. Maybe we should go talk with Walt Disney? Maybe he has some ideas about how we can better capture the public’s attention when it comes to our new forest fire prevention program?”

And it turns Walt did have an idea. Which was to use this government initiative as a way to cross-promote Disney Studio’s latest full-length animated feature, “Bambi.” Which been first released to theaters in August of 1942.

So Walt had artists at Disney Studio work up a poster that featured the grown-up versions of Bambi the Deer, Thumper the Rabbit & Flower the Skunk. As this trio stood in some tall grasses, they looked imploring out at whoever was standing in front of this poster. Above them was a piece of text that read “Please Mister, Don’t Be Careless.” And below these three cartoon characters was an additional line that read “Prevent Forest Fires. Greater Danger Than Ever!”

Source: USDA

According to folks I’ve spoken with at Disney’s Corporate Archives, this “Bambi” -based promotional campaign for the U.S. Forest Service’s forest fire prevention campaign was a huge success. So much so that – as 1943 drew to a close – this division of the Department of Agriculture reportedly reached out to Walt to see if he’d be willing to let the U.S. Forest Service continue to use these cartoon characters to help raise the public’s awareness of fire safety.

Walt – for reasons known only to Mr. Disney – declined. Some have suggested that — because “Bambi” had actually lost money during its initial theatrical release in North America – that Walt was now looking to put that project behind him. And if there were posters plastered all over the place that then used the “Bambi” characters that then promoted the U.S.’s forest fire prevention efforts … Well, it would then be far harder for Mr. Disney to put this particular animated feature in the rear view mirror.

Introducing Smokey Bear

Long story short: Walt said “No” when it came to reusing the “Bambi” characters to promote the U.S. Forest Service’s forest fire prevention program. But given how successful the previous cartoon-based promotional campaign had been … Well, some enterprising employee at the Department of Agriculture reportedly said “Why don’t we come up with a cartoon character of our own?”

So – for the Summer of 1944 – the U.S. Forest Service (with the help of the Ad Council and the National Association of State Foresters) came up with a character to help promote the prevention of forest fires. And his name is Smokey Bear.

Now a lot of thought had gone into Smokey’s creation. Right from the get-go, it was decided that he would be an American black bear (NOT a brown bear or a grizzly). To make this character seem approachable, Smokey was outfitted with a ranger’s hat. He also wore a pair of blue jeans & carried a bucket.

As for his debut poster, Smokey was depicted as pouring water over a still-smoldering campfire. And below this cartoon character was printed Smokey’s initial catchphrase. Which was “Care will prevent 9 out of 10 forest fires!”

Source: NPR

Which makes me think that this slogan was written by the very advertising executive who wrote “Four out of five dentists recommend sugarless gum for their patients who chew gum.”

Anyway … By the Summer of 1947, Smokey got a brand-new slogan. The one that he uses even today. Which is “Only YOU can prevent forest fires.”

The Real Smokey Bear

Now where this gets interesting is – in the Summer of 1950 – there was a terrible forest fire up in the Capitan Mountains of New Mexico. And over the course of this blaze, a bear cub climbed high up into a tree to try & escape those flames.

Firefighters were finally able to rescue that cub. But he was so badly injured in that fire that he was shipped off to the National Zoo in Washington, D.C. and nursed back to health. And since this bear really couldn’t be released back in the wild at this point, he was then put on exhibit.

And what does this bear’s keepers decide to call him? You guessed it: Smokey.

Source: USDA

And due to all the news coverage that this orphaned bear got, he eventually became the living symbol of the U.S. Forest Service’s forest fire prevention program. Which then meant that this particular Smokey Bear got hit with a ton of fan mail. So much so that the National Zoo in Washington D.C. wound up with its own Zip Code.

“Smokey the Bear” Hit Song

And on the heels of a really-for-real Smokey Bear taking up residence in our nation’s capital, Steve Nelson & Jack Rollins decide to write a song that shined a spotlight on this fire-fightin’ bruin. Here’s the opening stanza:

With a ranger’s hat and shovel and a pair of dungarees,
You will find him in the forest always sniffin’ at the breeze,
People stop and pay attention when he tells them to beware
Because everybody knows that he’s the fire-preventin’ bear

Believe or not, even with lyrics like these, “Smokey the Bear” briefly topped the Country charts in the Summer of 1950. Thanks to a version of this song that was recorded by Gene Autry, the Singing Cowboy.

By the way, it was this song that started all of the confusion in regards to Smokey Bear’s now. You see, Nelson & Rollins – because they need the lyrics of their song to scan properly – opted to call this fire-fightin’-bruin Smokey THE Bear. Rather than Smokey Bear. Which has been this cartoon character’s official name since the U.S. Forest Service first introduced him back in 1944.

“The Ballad of Smokey the Bear”

Further complicating this issue was “The Ballad of Smokey the Bear,” which was a stop-motion animated special that debuted on NBC in late November of 1966. Produced by Rankin-Bass as a follow-up to their hugely popular “Rudolph the Red-Nosed Reindeer” (which premiered on the Peacock Network in December of 1964) … This hour-long TV show also put a “THE” in the middle of Smokey Bear’s name because the folks at Rankin-Bass thought his name sounded better that way.

And speaking of animation … Disney’s “Bambi” made a brief return to the promotional campaign for the U.S. Forest Service’s forest fire prevention program in the late 1980s. This was because the Company’s home entertainment division had decided to release this full-length animated feature on VHS.

What’s kind of interesting, though, is the language used on the “Bambi” poster is a wee different than the language that’s used on Smokey’s poster. It reads “Protect Our Forest Friends. Only You Can Prevent Wildfires.” NOT “Forest Fires.”

Anyway, that’s how Disney’s “Bambi” led to the creation of Smokey Bear. Thanks for bearin’ with me as I clawed my way through this grizzly tale.

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