Whereas The Hunchback of Notre Dame took that structure in a new direction, Herculese – charming as it is – brought it all back. By this point in the Disney Renaissance, the structure of Disney films was teetering on formulaic. In the end, Hercules is a very enjoyable movie, though it plays things safe. It’s also among the most colorful films Disney has made, with characters and locations so full of colors that ever moment of the film is a joy to look at. Fun little details like the swirls at the ends of Megara’s hair or Hades’ flaming mane add to the film’s overall personality. The character designs are fun, working as a sort of caricature of Greek artwork. The animation once again displays Disney at the top of their game. Some of the songs end up being a little repetitious (Zero to Hero may as well be another verse in Gospel Truth), and the lack of a villain song is a bit of a downer, given Hade’s exuberant personality. It’s a solid assortment of songs, though they ultimately fall short of Disney’s better soundtracks. The best of the lot is “I Won’t Say (I’m in Love)” which is a unique spin on the Disney love song, in which Megara denies her romantic feelings. “One Last Hope” works as a training montage for Phil and Herc, and provides some laughs. A similar setup is used for the song “Zero to Hero.” Hercules gets his signature number with “Go the Distance,” which is uplifting and catchy, if maybe not one of the better character songs in Disney’s repertoire. “Gospel Truth” is sung in multiple verses by the narrating Muses, and serves to segue into different chapters of the story, with clever rhyme schemes strung throughout. Younger viewers might get a kick out of them, but they aren’t as memorable as the main characters in the film. There’s also a small assortment of sidekicks, with Hercules’ flying horse Pegasus and Hades’ minions Pain and Panic. James Woods – much like Robin Williams’ Genie – ad-libbed a good deal of his lines, which adds to Hades’ humor and villainous charisma. Hades has the slick personality of a Hollywood agent with the fast talking of a used car salesman. Hades ranks alongside Aladdin’s Genie as one of the great comedic Disney characters. Hercules finds a love interest in the vivacious Megara (Susan Egan), who is more troubled than your average Disney heroine.īut, like so many Disney movies before it, it’s the villain who steals the show. His mentor in heroism, Philoctetes (Danny DeVito) – otherwise known as Phil – is a grumpy satyr who serves as the Mickey to Herc’s Rocky. He’s simple and good natured, with some added naivety and clumsiness to make him more humorous than most of Disney’s leading men. But it’s the characters who are the real highlight. It’s a fun plot that combines Greek mythology with the Superman origin story, all wrapped up with Disney style and flair. Herc then learns that he must become a ‘true hero’ in order to return to Mount Olympus. After Hercules accidentally destroys a small town, Hercules’ parents tell him how they found him, and he then seeks guidance from Zeus to find out where he truly belongs. The farmers raise Hercules as their own child, and although Hercules has a good life with them, his substantial strength makes it difficult to adjust to life among mortals, who don’t take kindly to his differences. The interruption prevents Hercules from drinking a last, vital drop, and he retains his Godlike strength. Hades’ lackeys succeed in kidnapping the baby and turning him mortal, but are interrupted by some farmers. Hades, hoping to ensure his future victory, sends his minions to kidnap the newborn Hercules, turn him mortal with a dark potion, and get rid of him before he can become a threat. But there’s a wrinkle in Hades’ plan, as the Fates foresee his downfall should Zeus’ newborn son Hercules (Tate Donovan) grow up to become a great warrior. Hades (James Woods), god of the Underworld, plans to overthrow Zeus and take over Mount Olympus by freeing the long-dormant Titans, whom Zeus trapped long ago. With Hercules, Disney took the most basic elements and figures of Greek mythology, and used them as a backdrop for one of their most energetic comedies. Though it lacks the sophistication that made The Hunchback of Notre Dame a standout Disney feature, Hercules remains an entertaining and humorous entry in the Disney canon. Although not as iconic as Aladdin – with which it shares its directors and a similar tone – Hercules is every bit as fun as its predecessor. Released in 1997, Hercules was another successful notch in Disney’s belt during their Renaissance era.
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