Thumper (Bambi) - Wikipedia
) Later, Bambi sets off for his first walk during which he meets new friends including Thumper, the rabbit, and Flower, the skunk, and learns to talk.(4) He and. Guests will be able to celebrate the movie Bambi's 75th anniversary by meeting Thumper and Miss Bunny at Disney's Animal Kingdom. Bambi meets her for the first time in the field when they are young and becomes When they first meet, Bambi mistakenly calls him a flower. Thumper.
The next day, Bambi's mother takes him to visit the meadow. She cautions that although it is a wonderful place, it also can be a very dangerous place.
He must always be careful when he approaches the meadow. In the meadow he meets and plays with another fawn, his cousin Faline. The greatest of them all, his father, stops to look at Bambi and then walks away. He returns quickly though, to warn that Man is nearby, and the deer race off to the sound of a gunshot.
Time passes and Bambi wakes to discover snow on the ground. Thumper appears and introduces Bambi to ice skating, but Bambi can do little but fall. This happy segment is followed by scenes of winter's harshness as the deer must strip bark from high in the trees to stave off starvation.
Eventually there is none within reach. Suddenly, as they are eating, his mother senses that Man is near and warns Bambi to run and not to look back. A shot rings out. Bambi reaches safety, but cannot find his mother and wanders off in a snowstorm looking for her. His father appears and tells him, "Your mother can't be with you anymore. Bambi has grown and proudly sports a rack of antlers.
Special Bambi Meet and Greet at Disney's Animal Kingdom This Weekend
All the forest creatures are in love, but Bambi, Thumper, and Flower are determined to have nothing to do with females. Their resolve is short-lived as each finds a mate, including Bambi who falls in love with the beautiful Faline. He wins her, however, only after fighting with another stag, Ronno. Some time later, Bambi's father appears to announce the arrival of Man and warns him to seek safety deep in the forest. But Bambi must first find Faline who is being chased by a pack of hunting dogs.
He saves her, but as he leaps to safety Bambi is shot. Meanwhile, the hunters' campfire escapes and quickly becomes a major forest fire. The Great Prince of the Forest appears beside the fallen Bambi and urges him to get up, despite his wound. After a great effort Bambi rises and they flee to safety on an island, where Bambi and Faline are reunited.
In the concluding segment, life returns to the scorched forest and Faline gives birth to twins. Bambi and his father watch together from a height. His father then walks off, leaving Bambi the new Great Prince of the Forest. The cycle is complete. The Death of Bambi's Mother The scene with the single greatest impact on the public was the death of Bambi's mother, an impact compounded by Bambi's vulnerability and dependence upon her.
It followed the scene in which Bambi and his mother found the new spring grass, giving the impression that the winter's danger was over. Walt Disney proposed that the mother be the one who finds the grass rather than Bambi, because it would make the audience "feel he's more helpless and everything.
He finally decided that this would be too much for the viewer. The mother's death happens completely offscreen. Nevertheless, its impact is so great that many people will swear that they actually saw her shot. It was an emotionally compelling scene and even one of Disney's daughters chastised him for allowing Bambi's mother to be killed. I have never heard children screaming in fear at any of those movies we're always told they should be protected from as they screamed at Bambi and Dumbo.
Bambi's mother is murdered, Dumbo's mother is goaded to madness and separated from Dumbo; those movies really hit children where it counts. In the summer offor example, a psychologist told USA Today that the film "feeds into a young child's worst fear, that of losing a parent," and advised that children under the age of seven should not be allowed to see the movie.
However, many parents found that their children handled the film well, especially if they prepared their children in advance for the death scene.
One parent remarked, "I wonder if it was my own anxiety that played into what I'd heard about the movie.
I'm a working mother and I'm loaded with guilt. A Chicago Tribune editorial argued that it is really the parents who are most frightened by the scene.
Besides, how are [children] going to know what to worry about when it's their kids' turn to see 'Bambi,' if they don't get to cry at the movie now? The dog pack chasing Faline, the shooting of Bambi, and the general panic among and killing of the wild animals during the hunt certainly contribute to this message.
It is, however, the death of Bambi's mother that people remember. Disney spent nearly three-quarters of the film building sympathy for Bambi as a cute, lovable, vulnerable child. His mother nurtured and cared for him, and then, just as they had come through winter's hardships, she was killed. Bambi was left a virtual orphan, without his principal caregiver, alone until his loving but aloof and uncommunicative father appeared.
The film never voiced a word against hunting. The antihunting message was conveyed on a completely emotional level through sympathy with its characters. It was targeted at children in their most impressionable, formative years. The memory of the incident remains with them even into adulthood.
The film's immediate impact was not limited to children. It also shaped the opinions of many adults. For example, one man told how his grandfather, an avid hunter, had taken him to the theater to see Bambi when he was a child. When the film was over and they were walking out into the sunlight, his grandfather said, "I'll never hunt again. Following a preview of the film, Raymond J. Brown, editor of Outdoor Life, sent Walt Disney a telegram pointing out that it was illegal to shoot deer in the spring.
The film, he argued, unfairly implied that the nation's law-abiding hunters were "vicious destroyers of game and natural resources. Receiving no satisfaction, he tried to have the film's distributor force Disney's company to attach a foreword to the him.
When this failed, he condemned the film as an insult to American sportsmen and called upon the nation's hunters to rally to their own defense, confident that they would have the last laugh. Commenting on the flap, the managing editor of Nature Magazine wrote that "few rod and gun editors who have rushed into print on Mr.
Brown's say-so" had probably even seen the film. For his part, though, he could not "believe that any real sportsman or conservationist will regard himself as the prototype of the invisible man in Bambi.
As for the rest, we do not care what they think. Public opposition to hunting did not originate with Bambi. Even before the twentieth century many people, particularly those who were economically comfortable, appreciated the grace and beauty of deer and regretted seeing them killed. This attitude became increasingly widespread in the late nineteenth century. An primary school reading lesson, for example, told of a child's delightful encounter with deer and ended with the hope that "the hunters will not find those deer.
For example, although public outcries against killing does were not new, Bambi fueled the fire. Inthe year after the film was released, Aldo Leopold pressed for an antlerless deer season to control an overpopulated Wisconsin herd by reducing both its size and its rate of reproduction. Public opposition killed the proposal. Both Susan Flader and Curt Meine have suggested that Bambi played a role in shaping public opinion on the issue. He complained that, whether from a misplaced sense of sportsmanship and sentimental reluctance to kill females or a fixation on antlered trophies, hunters are themselves responsible for much of the opposition to policies that encourage shooting does.
Some of these hunters, he suggested a bit facetiously, "still felt responsible for Bambi's losing his mom. On the same issue, Peter Benchley, author of Jaws, called the deer "wretched, sickly creatures starving to death" and lamented, "If only they didn't have those saucer eyes and Walt Disney behind them. The Bambi complex seems to have taken over around here.
They are usually used derogatorily and reflect a backlash against the humane, antihunting, and preservationist values, and the excessive sentimentality that Bambi has often come to symbolize. Anthropologist Elizabeth Lawrence found that, "Ranchers invariably 'love deer,' both by their own admission and the observations of wildlife personnel, who call this mystique 'the Bambi complex. Cattlemen are very proud of the fact that in winter they willingly let deer eat from their haystacks, 'even with the high price of hay.
People who oppose hunting have been diagnosed by those who support hunting as suffering from the Bambi complex. It can also be seen in the black humor voiced by the owner of a herd of fifteen hundred deer on his New York venison farm. He worried that the "Bambi syndrome" might cut into his market, but "[w]hen asked how he can possibly kill such beautiful animals, his response was: There have been many satirical jabs at people suffering from the Bambi syndrome. A magazine article titled "Should They Shoot Bambi" began with a full page illustration of Bambi standing in the sights of a hunter's rifle, with Thumper watching aghast.
This was part of a controversy over the use of hunting to reduce an overpopulated herd of white-tailed deer on the Crane Memorial Reservation in Ipswich, Massachusetts.
The controversy led to a number of tongue-in-cheek articles using and abusing Bambi. The Boston Globe published a hypothetical conversation among Bambi, Thumper, and Flower in response to an opponent of the hunt who proclaimed, "I'd rather see [the deer] starve to death than shot.
His mother was already dead, not by hunters' guns, but killed by pet dogs when she was too weak from starvation to run. Science writer Chet Raymo concocted a conversation between Bambi and his father.
They tell me lots of things. I know all about the birds and the bees. The reviewer wrote that McKibben "yearns to return to a nature 'independent' of mankind. People like McKibben and his admirers weren't raised on history but on a Walt Disney view of nature. For McKibben, nature is solely a 'sweet and wild garden. Walt Disney and his staff went to great lengths to present an accurate representation of deer and other wild animals in Bambi.
In an effort to ensure accuracy in the film's backgrounds, he had an artist spend six months sketching forest scenes in Maine's Baxter State Park.
A pair of fawns, named Bambi and Faline of course, was shipped from Maine to Disney's California studios where they became models for his artists, who underwent special training in drawing wildlife. Bambi, a Black Forest roe deer in Salten's book, thus became a white-tailed deer in Disney's film.
The task of animating accurately the movements of four-legged deer as they walk, lie down, and get up, and of maintaining correct perspective for a rotating rack of antlers as a buck moves his head was daunting.
The film set a new standard for naturalistic realism in animated films. The splash of the raindrops is accurate even to the momentary central pillar that rises when the drop hits the water, although viewers must slowly advance their Bambi video frame by frame to notice it.
Disney, like Salten, tried to establish a relationship between Bambi and his father while respecting the biological fact that male deer do not form a lasting bond with females and do not participate in rearing the young.
This is why the Great Prince remains a loner, aloof and uncommunicative. Bambi's father stands on the distant rock ledge because a buck would not be present at the birth of his offspring.
In Salten's Bambi even Bambi and Faline are only temporary mates. Although Disney's version does not progress beyond their first mating season, Bambi joins his father on the ledge when Faline gives birth.Diamonds Are Forever (1971) Bambi & Thumper . 1080p
Nevertheless, for the sake of the story both Salten and Disney set a limit to authenticity and anthropomorphize deer by establishing a caring relationship between father and son. Disney, however, changed the nature of this relationship.
The ability of Bambi's father to live a solitary life, to appear without warning, and then to vanish into the forest, are keys to his survival. To be visible is to be vulnerable. Bambi's maturation in Salten's story is a process of learning the lessons of survival. In Salten's book, the Great Prince is a teacher who passes his survival wisdom on to Bambi. He teaches mostly by example, but also with words.
His first words to Bambi come at a time when the fawn is alone, crying for his mother. The stag suddenly appears and scolds, "Can't you stay by yourself? In the process, Disney made Bambi's father primarily a protector rather than a teacher and turned Bambi and Faline's love story into the film's central plot.
It is a story of childhood's end as Bambi matures from an awkward child, who continually falls down, into a buck who must learn to stand up for himself and for his mate.
This is best symbolized when he lies shot and in the path of the forest fire and his father appears and urges, "Get up, Bambi. You must get up. From Bambi, children learn accurate information as well as feel deep concern and tenderness for the characters. The forest fire segment even shows an opossum finding safety on the island, with her children hanging by their tails from her tail!
Although opossums are capable of hanging by their tails, this is not a preferred behavior and they certainly do not sleep hanging by their tails. The Disney Stores are even selling coffee mugs emblazoned with this scene. The film is an extraordinary work of animation artistry. On another level, it is an odd mixture of beautiful, impressionistic backgrounds, naturalistic forest and wildlife images, and classic Disney cartoon characters. Virtually all of the film's birds are cartoon fantasies.
Friend Owl can even turn his head completely around two or more times without choking to death or breaking his neck. The artists give Bambi antlers in springtime; fanciful appendages necessary to help the viewer distinguish his sex from Faline's. Bambi's touted authenticity is severely limited. The film is faithful to visual, artistic accuracy in the general appearance and movements of many of its animals, not to a scientific or ecological accuracy.
Even the visual accuracy is compromised for the sake of cuteness: In short, despite their efforts to be accurate, Salten's original version of Bambi underwent a transformation as Disney and his staff reshaped it to fit a different medium, their own sensibilities, and a mass market.
In the process much of Salten's ecological and moral subtlety were winnowed away. From the start, what attracted Disney to Bambi was its potentially interesting cast of characters. Nevertheless, Disney realized that to win the viewing public's attention he had to provide an upbeat story with sympathetic animal characters. The spotted fawn has long been recognized as a particularly cute and attractive image.
This image of cuteness has become so popular that even adult deer are sometimes mistakenly shown with spots. Both Salten and Disney gave their characters distinctive personalities. However, Disney's medium required that he accomplish this quickly and visually, and the film lost much of the subtlety of Salten's novel.
His artists habitually exaggerated the size of their cartoon characters' heads and eyes and reduced their muzzles, thus giving them the proportions of human infants. Initially, Disney's staff had tremendous difficulty rendering the deer in Bambi as sympathetic personalities capable of dramatic expression because they were trying to draw them too realistically.
They finally solved the problem by reverting to some of their standard cartoon techniques. Young Bambi's head became almost as large as the rest of his body.
One of Disney's artists called him "little pumpkin-head.
Disney’s Bambi and Thumper meet for the first time
Lawrence, "Disney's Bambi arouses sympathy and nurturance and a sense of parenthood toward this relatively sociable species that sometimes responds to human attention. Similarly, the large eyed, anthropomorphic face of baby harp seals help to motivate efforts to prevent their slaughter. No wonder that Bambi, Thumper, and Flower win our sympathy; they display the features that elicit our nurturing sympathy for human children.
Disney's Bambi relies on the child Bambi to win viewer sympathy. Although Bambi was an antlered buck through half of Salten's book, he remains a fawn through three quarters of the film.
It is not surprising that most people picture only a cute, vulnerable fawn when they think of Bambi. Disney also presents a distorted image of woodland ecology, one in which all animals live at peace. For example, Friend Owl, who appears to be a great homed owl, is Thumper's and Flower's friend. Apparently great horned owls do not consume their normal quota of rabbits and skunks in Disney's forest because Disney's world is a world without predation. In the world of Disney's Bambi, all wild creatures are friends.
Children's books based on the film, including spin offs only loosely tied to the film, perpetuate this image of nature. For example, a recent children's activity book shows all creatures, predators and prey alike, in happy proximity.
It even has Bambi and Thumper asking a friendly fox for travel directions. Predation does appear in one spin-off book when a fox tries to make a meal of Thumper. Bambi and his father save the day. This rare appearance of predation is placed within a very clear moral framework, however. Flower describes it as "a very mean fox," and it is obvious that the fox is morally flawed. But what alternative has the fox?
Predation must be akin to original sin in this moral universe. Although Salten's vision has its own limitations, comparing the two underscores the trouble with Disney's.
Bambi Characters | Disney Movies
Salten's Bambi found a very different world when, during his first walk in the forest, the fawn heard something rustle in the foliage. A ferret had caught a mouse.
He came slinking by, slid sideways, and prepared to enjoy his meal. The ferret has killed a mouse. She implied, he wrote, "that such creatures have a choice--like man. Reiger also noted that, "because even foliage talks to itself in Bambi and apparently has a soul, if not an afterlife, Bambi does 'kill things' by eating grasses and later destroying shrubs while thrashing the velvet from his antlers. The mouse's death was not an isolated incident.
During a winter that produced far more suffering than Disney's, "the crows fell upon Friend Hare's [the original model for Thumper's] small son who was lying sick, and killed him in a cruel way. He could be heard moaning pitifully for a long while. These incidents are all presented in almost a casual manner.
As a young adult, he hasn't changed much and continues to speak rather loud and thumps his left or right foot. Appearances Bambi One beautiful day in the forest, a doe gave birth to Bambithe young prince of the forest. Thumper and Bambi quickly form a friendship, and Thumper takes it into his hands to teach Bambi the ropes, such as how to walk and talk. During one of these lessons, Bambi and Thumper meet and befriend a skunk named Flower.
At another day, Bambi is out with his mother when Thumper appears again, telling him to eat blossoms and not grass. However, Thumper's mother forces him to eat the grass as well, being that it's healthier. During the winter, Thumper teaches Bambi how to ice-skate, which proves to be rather difficult for the young prince. Later on, Bambi's mother is tragically killed by Man. Young Adult Thumper in the original film. The next scene takes place years after with a now young adult Thumper, Bambi, and Flower.
It is Springtime and Friend Owla good friend to Bambi's family, warns the trio about the "dangers" of becoming twitterpated falling in love. The three claim they'll never fall victim to this, and make their way through the forest. As their walk becomes longer, Flower falls for a female skunk.
Disgusted by the sight, Thumper and Bambi continue on. Eventually, a female bunny becomes smitten with Thumper, and she begins to flirt, luring him into her lap. Soon after, Bambi would fall for his childhood friend Faline. Sometime after, Thumper has revealed to have children of his own, as well as Flower.
Both newly named fathers make way for Faline's den to witness the birth of Bambi's children, with Bambi now assuming the role as Great Prince of the Forest. The events in Bambi II take place after the death of Bambi's mother but before Bambi's young adulthood.