By the mid-1980s,The Rescuers had become one of Disney's most successful animated releases. Under the new management ofMichael Eisner andJeffrey Katzenberg, a feature-length sequel was approved, making it the first animated film sequel theatrically released by the studio.[2] Following their duties onOliver & Company (1988), animators Butoy and Gabriel were recruited to direct the sequel.[3] Research trips to Australia provided inspiration for the background designs. The film would also mark the full use of theComputer Animation Production System (CAPS), becoming the first feature film to be completely created digitally.[4] The software allowed for artists todigitally ink-and-paint the animators' drawings, and then composite the digital cels over the scanned background art.
The Rescuers Down Under was released in theaters on November 16, 1990, it received positive reviews from critics. However, it underperformed at the box office and garnered $47.4 million worldwide.
In theOutback, a young boy named Cody rescues and befriends Marahute, a raregolden eagle, who shows Cody her nest and eggs and gives him one of her feathers. Cody later falls into an animal trap set by Percival C. McLeach, a local poacher who killed Marahute's mate and is wanted by theAustralian Rangers, while rescuing a mouse who was the bait in the trap. Realizing Cody has Marahute's feather and must know her location, McLeach kidnaps the boy and throws his backpack to a float ofcrocodiles to fake his death to the Rangers.
The rescued mouse hurries to an RAS outpost shortly after Cody's capture to inform the operator of the kidnapping, from which a telegram is sent to the Rescue Aid Society headquarters in New York City. Bernard and Miss Bianca, the RAS's elite field agents, are assigned, interrupting Bernard's attempts to propose marriage to Bianca. They go to find Orville thealbatross, who aided them before, but discover he is no longer in service and his brother Wilbur has taken over for him. Despite the harsh winter conditions, he agrees to fly them to Australia when he learns of Cody's abduction. There, they meet Jake, ahopping mouse who is the RAS's local regional operative. Jake becomes infatuated with Bianca and flirts with her, much to Bernard's dismay. He serves as their "tour guide" and protector in search of Cody. Wilbur accidentally bends hisspinal column out of shape trying to help them, so Jake sends him to the hospital (an old ambulance). Wilbur refuses to undergo surgery (due to the doctor planning to use dangerous tools), but his back is straightened as he fights to escape the medical mice. He flies away in search of his friends.
At McLeach's hideout, Cody refuses to divulge Marahute's whereabouts. Realizing that protecting Marahute's eggs is Cody's weak spot, McLeach tricks Cody into thinking someone else killed Marahute and releases him, knowing that Cody will go to her nest. Cody does so and McLeach soon captures Marahute along with Cody, Jake, and Bianca. Bernard manages to hide Marahute's eggs from McLeach's petgoanna, Joanna. Wilbur catches up to Bernard, who orders him to watch the eggs, much to his dismay.
McLeach takes his captives to Crocodile Falls, a hugewaterfall at the end of the river he threw Cody's backpack into. He ties Cody up and hangs him over the float ofcrocodiles, intent on feeding Cody to them to eliminate him as a witness. Bernard, riding arazorback pig he tamed using ahorse whispering technique he learned from Jake, arrives and disables McLeach's vehicle before he can succeed. McLeach then attempts to shoot the rope holding Cody above the water, but Bernard tricks Joanna into crashing into McLeach, sending both of them into the water. The crocodiles turn their attention to McLeach and Joanna; behind them, Cody falls into the water as the damaged rope breaks. As Joanna flees to the bank, McLeach fends off and taunts the crocodiles, forgetting about the waterfall until it is too late; he desperately attempts to swim to shore, but is washed over the waterfall to his death. Bernard dives into the water and holds Cody long enough for Jake and Bianca to free Marahute, allowing the eagle to save Cody and Bernard just as they go over the waterfall.
Bernard, desperate to prevent any further interruptions, finally proposes to Bianca, which she immediately accepts, after which Jake salutes him with new-found respect. Safe at last, the group departs for Cody's home. Meanwhile, Wilbur is still protecting Marahute's eggs; they hatch, and one of the eaglets bites him, to his dismay.
The Rescuers Down Under features three characters from the first film; Bernard, Bianca and the Chairmouse, all of whom feature the same actors reprising their roles fromthe original 1977 film.
George C. Scott as Percival C. McLeach, a sinister and nefariouspoacher who wants to capture Marahute for money.
Adam Ryen as Cody, a young boy able to converse with most animals, the same as Penny in the first film.
Bob Newhart as Bernard, a male grey mouse; the American representative of the Rescue Aid Society, promoted from his role as janitor to full-fledged agent after proving a success with the previous rescue and later successfully proposed to Miss Bianca after many interruptions.
Eva Gabor as Miss Bianca, a female white mouse; the Hungarian representative of the Rescue Aid Society and later Bernard's fiancée. This was Gabor’s last film role before her death in 1995.
Carla Meyer as Faloo, a female red kangaroo who summons Cody to save Marahute. Meyer also voices Cody’s mother.
Bernard Fox as Chairmouse, the chairman of the Rescue Aid Society. Fox also voices Doctor Mouse, the supervisor of the surgical mice who examine Wilbur when he is injured.
Russi Taylor as Nurse Mouse, the operator of Doctor Mouse's instructions and a competent second-in-command.
Peter Greenwood as The Airplane Captain and The Radio Announcer.
Frank Welker as Marahute, a largegolden eagle. Welker also voiced Joanna, McLeach's petgoanna, who enjoys intimidating her captives and has a fondness for eggs; and additional special vocal effects.
By 1984,The Rescuers had become one ofDisney's most successful recent animated films, earning $41 million in worldwide box office rentals.[5] Under the new studio management of then-CEOMichael Eisner and studio chairmanJeffrey Katzenberg, it was decided that a sequel should be produced.[3] Writing began in 1986 and it was determined the film would be set in Australia, due to the success ofCrocodile Dundee (1986), which had enhanced the appeal of Australian culture to a mainstream American audience.[3][6]
WhenOliver & Company (1988) was nearly complete,Peter Schneider, then-president of Walt Disney Feature Animation, asked supervising animatorMike Gabriel if he would consider directing. At the time, Gabriel declined the offer, stating, "Well, after watchingGeorge [Scribner], it doesn't look like it would be much fun." A few months later, Schneider called Gabriel into his office, and asked him if he would directThe Rescuers Down Under, to which Gabriel accepted.[7] After animating the character Tito onOliver & Company, which was met with praise from general audiences, Hendel Butoy was added as the film's co-director.[8] Meanwhile, Schneider recruitedThomas Schumacher, who had worked at theMark Taper Forum, to serve as producer on the film.[9]
As the film's producer, Schumacher selected storyboard artistJoe Ranft to serve as story supervisor, believing he had the "ability to change and transform through excellence of idea".[10] Throughout the storyboarding process, Ranft constantly bolstered the creative morale of his crew, but he rarely drew storyboard sequences himself. Ranft also had creative disagreements with the studio's management and marketing executives, including one where he and the story team advocated for anAboriginal Australian child actor to voice Cody. According to storyboard artistBrenda Chapman, Katzenberg overrode this idea, casting "a little white blonde kid" and giving Cody a matching design.[10][11]
Because of the rising popularity of Australian-themedaction films, and with Americans becoming more environmentally conscious, the filmmakers decided to abandon the musical format from the original film. They had decided that the placement of songs would slow down the pacing for the new film. Instead, they decided to market it as the studio's first action-adventure film, with Butoy and Gabriel taking inspiration from live-action films byOrson Welles,Alfred Hitchcock, andDavid Lean.[12] It would also be the studio's first animated film sinceBambi (1942) to have ananimal rights and environmental message.[13] In December 1988, original cast membersBob Newhart andEva Gabor were confirmed to be reprising their roles.[14] However,Jim Jordan, who had voiced Orville in the original film, died earlier that same year in April following a fall at his home.[15] In acknowledgment of Jordan's death,Roy E. Disney suggested that the character of Wilbur be written as Orville's brother, to serve as his replacement. Intentionally, the names were in reference to theWright brothers.[16]
Members of the production team, including art directorMaurice Hunt and six of his animators, spent several days in Australia to study settings and animals found in theAustralian Outback to observe, take photographs, and draw sketches to properly illustrate the Outback on film. They ventured through theUluru,Katherine Gorge, and theKakadu national parks, the inspiration for Hunt's initial designs emphasizing the spectrum of scale between the sweeping vistas and the film's protagonists.[13][16]
Serving as the supervising animator on the eagle character Marahute,Glen Keane studied six eagles residing at thePeregrine Fund inBoise, Idaho, as well as a stuffed American eagle loaned from theLos Angeles Museum of Natural History and an eagle skeleton. To animate the eagle, Keane and his animation crew enlarged the bird, shrank its head, elongated its neck and wings, and puffed out its chest. Additionally, Keane had to slow the bird's wing movements to about 25–30 percent of an eagle's flight speed. Because of the excessive details on Marahute, who carried 200 feathers, the character appeared for only seven minutes altogether, during the opening and ending sequences.[17]
Furthermore, in order to have the film finished on time, Schumacher enlisted the support ofDisney-MGM Studios, which was originally envisioned to produce independent cartoon shorts and featurettes. On their first assignment on a Disney animated feature film, 70 artists contributed ten minutes of screen time, including supervising animatorMark Henn.[12] As one of the film's ten supervising animators, Henn animated several scenes of Bernard, Miss Bianca, and Percival C. McLeach. For the mice characters, Henn studied the mannerisms of Bob Newhart and Eva Gabor during voice recording sessions, and looked toGeorge C. Scott's performance inDr. Strangelove (1964) for inspiration while animating McLeach.[12] To create believable realism for the Australian animals, additional animators traveled to theSan Diego Zoo to observekangaroos,kookaburras, andsnakes, while aniguana fromWalt Disney World's Discovery Island was brought into the studio for the animators drawing Joanna.[12]
The Rescuers Down Under is notable for Disney as its first traditionally animated film using only the new computerizedCAPS process. CAPS (Computer Animation Production System) was a computer-based production system used fordigital ink and paint andcompositing, allowing for more efficient and sophisticated post-production of the Disney animated films and making the traditional practice of hand-paintingcels obsolete. The animators' drawings and the background paintings were scanned into computer systems instead, where the animation drawings were inked and painted by digital artists.[18] The drawings were later composited with the scanned backgrounds in software to allow fordigital compositing like camera positioning, camera movements,multiplane effects, and other camera techniques.[19][20] Those digital files would then be recorded ontofilm stock.[18]
The film also usesCGI elements throughout, such as the field of flowers in the opening sequence, McLeach's truck, and perspective shots of Wilbur flying aboveSydney Opera House and New York City. The CAPS project was the first of Disney's collaborations with computer graphics companyPixar,[21] which would eventually become a feature animation production studio making computer-generated animated films for Disney before being acquired in 2006. As a result,The Rescuers Down Under was the first animated film for which the entire final film elements were assembled and completed within a digital environment, as well as the first fully digital feature film.[4] However, the film's marketing approach did not call attention to the use of the CAPS process.[22]
The score for the film was composed and conducted byBruce Broughton.[23] Unlike the vast majority of Disney animated features, the film had no songs written for it (although "Message Montage" includes a quotation from "Rescue Aid Society" bySammy Fain,Carol Connors, andAyn Robbins, the only musical reference tothe first film). This was the second Disney film not to include any original songs, the first one beingThe Black Cauldron.
The score received positive critical reception, with critics singling out "Cody's Flight" for its sense of majesty, excitement, and freedom.[24][25]AllMusic gave the soundtrack 4.5 out of 5 stars.[26]
In 2002,Walt Disney Records reissued the album on compact disc, including theShelby Flint songs "The Journey", "Someone's Waiting for You" and "Tomorrow Is Another Day" (fromThe Rescuers). In 2016,Intrada Records released the complete Broughton score, including material (in italics) not used in the movie.[27]
The Rescuers Down Under was released in theWalt Disney Classics video series on September 17, 1991, whileThe Rescuers was released on VHS a year later on September 18, 1992.[29] Unlike the original film, however,The Rescuers Down Under was not included in the Walt Disney Masterpiece Collection line. Both home video releases went intomoratorium on April 30, 1993.[30] In its original release, the VHS edition sold 5.2 million units in the United States, generating $72.8 million in revenue.[31]
Launching in January 2000,Walt Disney Home Video began the Gold Classic Collection, withThe Rescuers Down Under re-issued on VHS and DVD on August 1, 2000.[32] The DVD contained the film in its 1.66:1aspect ratio enhanced for16:9 television sets and 4.0surround sound, and was accompanied with special features, including a storybook and trivia as well as an "Animals of the Outback" activity booklet.[33]
The Rescuers Down Under was released alongsideThe Rescuers onBlu-ray in a "2-Movie Collection" on August 21, 2012, to commemorate the first film's 35th anniversary in the United States.[34]
During its opening weekend,The Rescuers Down Under grossed $3.5 million,[1] ranking fourth, afterHome Alone,Rocky V, andChild's Play 2.[35][36] As a result, Katzenberg decided to recall the film's television advertising.[21] The film eventually earned $27.9 million in the United States and $47.4 million worldwide,[1] becoming abox office bomb.[21] In 1991, it was the fourth highest-grossing film inGermany, with admissions of 3.1 million.[37]
On thereview aggregatorRotten Tomatoes,The Rescuers Down Under has an approval rating of 85%, based on 66 reviews. The website's critical consensus reads: "The Rescuers Down Under achieves moments of genuine wonder while adding Outback flavor to its charmingly modest story, making for a sequel that outdoes the original."[25]Metacritic, which uses aweighted average, assigned the film a score of 68 out of 100, based on 20 critics, indicating "generally favorable" reviews.[38]
Roger Ebert of theChicago Sun-Times awarded the film 3 out of 4 stars and wrote, "Animation can give us the glory of sights and experiences that are impossible in the real world, and one of those sights, in 'The Rescuers Down Under,' is of a little boy clinging to the back of a soaring eagle. The flight sequence and many of the other action scenes in this new Disney animated feature create an exhilaration and freedom that are liberating. And the rest of the story is fun, too."[24]Gene Siskel ofThe Chicago Tribune, who also gave the film three stars out of four, summarized the film as a "bold, rousing but sometimes needlessly intense Disney animated feature" where "good fun is provided by a goofy albatross (voiced by John Candy), one in a long line of silly Disney birds".[39]Janet Maslin, reviewing forThe New York Times, praised the animation and the action sequences, though she remained critical of the storyline, labeling it "a trifle dark and un-involving for very small children"; Maslin acknowledged that its "slightly more grown-up, adventurous approach may be the reason it does not include the expected musical interludes, but they would have been welcome".[40] A review inVariety felt the film carried "such a mediocre story that adults may duck", but nevertheless wrote thatThe Rescuers Down Under "boasts reasonably solid production values and fine character voices".[41]
Rita Kempley ofThe Washington Post praised the film as "a gorgeously drawn myth made for plucky children and very brave mice."[42]Halliwell's Film Guide gave it two stars out of four, saying, "[This] slick, lively and enjoyable animated feature [is] an improvement on the original."[43]TV Guide gave the film two stars out of four, saying, "Three years in the making, it was obviously conceived during the height of this country's fascination with Australia, brought on byPaul Hogan's fabulously successfulCrocodile Dundee (1986). By 1990, the mania had long since subsided, and this film's Australian setting did nothing to enhance its box office appeal. Further, the film doesn't make particularly imaginative use of the location. Take away the accents and the obligatory kangaroos and koalas, and the story could have taken place anywhere."[44]
In a 2013 review,Josh Spiegel wrote: "The Rescuers Down Under is not the great undiscovered Disney movie, mind you. The film was done in by bad contextual timing and poor scheduling and marketing, and fans of animation would likely enjoy it for its somewhat large scope and setpieces. However, this is just a decent movie, one that feels as tiny as its leads."[45] Conversely, Ellen MacKay ofCommon Sense Media gave the film four out of five stars, writing, "A rare sequel that improves on the original".[46]
The film is considered to be a part of theDisney Renaissance, a period of time which Disney returned to producing commercially and/or critically successful animated films.[11] Like other Disney animated characters, the characters of the film have recurring cameo appearances in the television seriesHouse of Mouse. Along with other Disney characters, the main characters of the film have cameo appearances in the short filmOnce Upon a Studio.[47]
