Another thing about the film I would like to mention that this film might be the copy-cat (no pun intended) for another animated film with Parisian cats, “Gay Purr-ee”. I like “Gay Purr-ee” better than “Aristocats” because the story was better, the vocal performance were fine, the songs were great and even though the animation was limited, the art direction was SOOO beautiful.

By the way, if you wondered if “The Aristocats” clashed with “The Swan Princess”, well take a listen to this: https://www.youtube.com/watch?v=onm4wFt_ymU

I love Madame’s character and how she’s not just a stereotypical cat lady, but rather an accomplished actress who finds herself in the early stages of her winter years alone with only her cats and her attorney. Speaking of that attorney, isn’t he great?: “Not as spry as I was when I was 80, ey?” “Elevators are for old people!”

I love how Duchess and her kittens regard Madame. Recall those moments whenever Duchess admonishes Thomas for regarding Madame as just another human. The film doesn’t need those moments in which Duchess imagines Madame alone in her mansion, but man do they really reinforce the strength of the relationship between Madame and the cats.

There’s one scene at the end of the second act, just after “Ev’rybody Wants To Be A Cat”, that blows my mind in terms of how complex it is. The scene involves Duchess and Thomas sitting on the chimney while the kittens are (assumed to be) sleeping. The dialogue may seem like Duchess is just talking about the decrepit state of the neighborhood, but she’s really talking about Thomas himself. And then Thomas compliments her eyes, but in a touching, slow, and genuinely romantic manner compared to when they first met, and Duchess recognizes that. The two recognize that they’ve grown closer and that Thomas also cares for the kittens enough to suggest that they could use a father around. It is only when Thomas reveals that he hasn’t changed his opinion on Duchess or any other human that Duchess decides that they shouldn’t be together.

I appreciate how Edgar becomes a villain simply because he overthinks the implications of being in 2nd place and commits to it. And, with the exception of a few other Disney villains, he actually gets away with his plan at first! That leads to a great dynamic shift with the introduction of the farm dogs Napoleon and Lafayette, who you actually grow to dislike more than Edgar only because their reputation for chasing any vehicle down the road makes them an automatic nuisance, compared to Edgar’s case which can be understandable.

But there’s one thing with Edgar by which I’m thoroughly impressed, and that’s how he behaves after he’s executed his plan. He overthinks things once more by sinking into the pride generated from reading the newspaper report and realizes that the few items he had left behind at the countryside could implicate him in the crime. He backtracks! Someone please suggest another Disney villain who works so hard to make sure no evidence of his involvement remains. This leads to the sequence in which he sneaks to retrieve his hat, umbrella, and motorcycle sidecar from the dogs. I’ve seen plenty of films from all years of cinema and that sequence remains one of the most suspenseful I’ve ever seen in any film.

The songs are all subtly clever and catchy. “Ev’rybody Wants To Be A Cat” is one of the best songs to come out of the Disney music pantheon.

Honestly, aside from the animation, this film’s simplicity hides an understated complexity. It’s my personal gem of the entire Disney canon. It’s certainly no Fantasia, Lion King, or Beauty & The Beast, but it’s the Disney canon film I’d rush to defend the most. ^_^

Although Walt approved a different version, it was eventually created with 101 Dalmatians in mind, so it makes sense that it feels derivative (because it kind of is). I love that song, too – the music through the entire film is fun, including the opening theme (which I’m still trying to learn the French lyrics for)!