Peter and the Wolf (1946)
Directed by Clyde Geronimi
Disney's animated adaptation of Prokofiev's masterpiece, in which every character is represented musically by a different instrument. Young Peter decides to go hunting for the wolf that's been prowling around the village. Along the way, he is joined by his friends the bird, the duck and the cat. All the fun comes to end, however, when the wolf makes an appearance. Will Peter and his friends live to tell of their adventures?
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What critics compared Peter and the Wolf to
Scarlett Overkill’s bedtime story about three little pigs (the Minions) and a Big Bad Wolf (herself) unfolds in cut-out and puppet animation that pays madcap homage to legendary puppet animators of the 1950s and 1960s, like Jiri Trnka, while Prokofiev’s Peter and the Wolf plays on the soundtrack.
First we meet the Bishop family through a perpendicular tracking shot: a roomful of children listen to a record that introduces all the instruments of the orchestra, a la Peter and the Wolf.
That's where the dynamic between Hawke and Thames (excellent as the panic-wrecked Finney) finds a strange optimism, like a psychodrama riff on Peter and the Wolf.
Rockwell’s Mr. Wolf turns to the camera and calls in closer as he lays out the plight of the Canis lupus, noting, “I am the villain in every story,” as we see a montage of famous fairy tales, from “Little Red Riding Hood” to “The Boy Who Cried Wolf” to “The Three Little Pigs” to “Peter and the Wolf.”
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K, whose ring tone is Prokofiev’s “Peter and the Wolf,” is on the trail of none other than Rick Deckard, who as it turns out is a Robert Louis Stevenson fan.