Last FriÂday, we postÂed Saul Bass’ Why Man CreÂates. For anothÂer short film which drew AcadÂeÂmy recogÂniÂtion by using aniÂmaÂtion to illuÂmiÂnate basic human impulsÂes, you could do worse than DisÂney’s ReaÂson and EmoÂtion. Just as Bass’ picÂture, a prodÂuct of 1968, bears the mark of that era’s ascenÂdant free-your-mind counÂterÂculÂture, DisÂney’s picÂture reflects the conÂcerns of 1943 AmerÂiÂca. Mankind has always and probÂaÂbly will always strugÂgle with the conÂflicts between what we conÂsidÂer our ratioÂnal minds and what we conÂsidÂer our emoÂtionÂal impulsÂes, but at that parÂticÂuÂlar time and in that parÂticÂuÂlar nation, mankind found itself even more conÂcerned with the conÂflict between the Axis and the Allies. UnderÂstandÂing how perÂsuaÂsive a mesÂsage they could send by unitÂing the curÂrent with the eterÂnal, DisÂney’s wartime proÂpaÂganÂda came up with this eight-minute comedic illusÂtraÂtion of how our reaÂson and emoÂtion coexÂist, what an ideÂal balÂance between them looks like, and why you, a good AmerÂiÂcan, should hold your emoÂtion in check. “That’s right, emoÂtion,” insists the narÂraÂtor, “go ahead, put reaÂson out of the way. That’s great, fine — for Hitler.”
EnlightÂened 21st-cenÂtuÂry viewÂers will find plenÂty of the stiff, the square, and the stereoÂtypÂiÂcal to object to here. VenÂturÂing inside the head of an averÂage AmerÂiÂcan man, the film sees a sober, bespecÂtaÂcled embodÂiÂment of ReaÂson at the steerÂing wheel. Behind him sits the jitÂtery, club-swingÂing caveÂman EmoÂtion. When our man spies a “classy dish” on the sideÂwalk, EmoÂtion wrests conÂtrol from ReaÂson, but sucÂceeds only in getÂting their humanoid vehiÂcle slapped.
We then enter the mind of the slapÂper to find ReaÂson’s female equivÂaÂlent, a synÂtheÂsis of all charÂacÂters ever named “PruÂdence,” at the wheel. Back-seat driÂving is a rotund, excitable, (relÂaÂtiveÂly) skimpiÂly dressed EmoÂtion. ReaÂson believes she has done jusÂtice with the slap, but EmoÂtion argues, “He was cute! You wanÂna be an old maid?” She then proÂposÂes an eatÂing binge, while ReaÂson looks on in horÂror at their conÂtrol room’s rapidÂly balÂloonÂing, sagÂging, “CHIN,” PROFILE,” and “FIGURE” charts.
Yet in its old-fashÂioned, superÂcilÂious, and simÂplisÂtic way, ReaÂson and EmoÂtion looks frankly at the chalÂlenges we all face on a regÂuÂlar basis when decidÂing, whether we be male or female, what to do, which foods to eat, and whom to try to meet. Research on what our cenÂters of reaÂson and emoÂtion actuÂalÂly are and how they deterÂmine our choicÂes has risen to the height of neuÂroÂsciÂenÂtifÂic fashÂion, and as for the film’s indictÂment of the Third Reich as a vast emoÂtion-manipÂuÂlaÂtion machine, the unsetÂtling but subÂstanÂtial field of dicÂtaÂtoÂrÂiÂal mind conÂtrol in all its forms has accuÂmuÂlatÂed its own enorÂmous body of acaÂdÂeÂmÂic study. We’ve grown just a litÂtle smarter about reaÂson and emoÂtion, war and peace, and men and women in the past 69 years, which makes ReaÂson and EmoÂtion a richÂer and more fasÂciÂnatÂing watch now than it would have been then. The film has been added to the AniÂmaÂtion secÂtion of our colÂlecÂtion of Free Movies Online.
Find more DisÂney ProÂpaÂganÂda Films Here:
The MakÂing of a Nazi: Disney’s 1943 AniÂmatÂed Short
DonÂald Duck’s Bad Nazi Dream (1942)
DonÂald Duck Wants You to Pay Your TaxÂes (1943)
ColÂin MarÂshall hosts and proÂduces NoteÂbook on Cities and CulÂture. FolÂlow him on TwitÂter at @colinmarshall.
