I had some pretty big fears about Walt Disney's "Toy Story";After all it was the first feature film done completely with computer animation. Visions of Tim Burton's abysmal "Nightmare before Christmas" swept through my head. I mean, computer animation is interesting but, much like Burton's stop-motion, it would surely wear thin after 10 or 15 minutes. Then the boredom will set in (or so I thought). First and foremost, I forgot this was a Disney product. The company is practically faultless in the 90's.

What I learned is this: Even in animation; especially in animation, a great story is the key to success. "Toy Story" has a great story. It also has a lovable cast of good guys, a rather harrowing albeit practically harmless bad guy, great animation, likable music and talented voices behind the scenes.

The story is key here. It revolves around a group of toys belonging to a particularly normal little boy named Andy. Excitable and imaginative, Andy leads us into the picture's inventive plot by first showing us his creativity in the opening sequence. Andy's playfulness is so fantastic and he uses his toys so wonderfully that we cannot help but be captivated. One wishes it was possible to go back in time and use our childhood toys with such creativity. And soon after our introduction, we find out two key ingredients to the plot; it is Andy's birthday AND he will be moving soon. This, of course, causes quite a stir in the toy's world because in this world, the toys come to life when Andy is absent from the room. Once he is away, they meet secretly and discuss how to be better toys for him, as well as while away the hours with games and conversations of their own (with just a touch of romance thrown in).

The coexistence of these two worlds gives the animators ample opportunity to show off their craft. Quite animated on their own, the toys become limp and pliable in a child's hands. It is nice to note that no matter how slightly misused by Andy the toys are, they have only love in their heart for the boy and hope to please him. Andy doesn't mistreat the toys but he does use them quite vigorously. The main toy, their leader, a cowboy named Woody, reminds the toys that making Andy happy is their main goal. How Woody moves when on his own, compared to his limber state in Andy's hands is quite interesting. Another gift to the animators here is the creation of Andy's neighbor, the toy's nemesis, a boy named Sid. With spiky hair, a metallic smile and a rabid dog named Scud, Sid is the perfect anti-hero in a Disney film. Even with his menacing looks and his dark dwelling, Sid isn't bad because of how he lives. He is considered bad because he misuses toys. He is misguided at worst. It adds the perfect element to the film's plot.

Sid's ugly, oddly reassembled toys are the perfect oppositeof Andy's more normal toys and our heroes here. And while Sid's toys are shown to be equally nice, when given a chance, Andy's toys are more accessible. A Mr. Potato Head, a toy pig, a toy Dinosaur, a slinky dog, a Bo Peep doll, an Etch-a-Sketch, and several other familiar toys are featured in Andy's toy box. It's nice to note that toys any child might be familiar with are featured here with only nominal mention of their conglomerations uttered. A rather humorous statement is even told by one toy about his company of origin although only adults may chuckle at it. Given touches of amusing and lovable moments, the cast of secondary toy characters is quite interesting.

Of course, the two main attractions are Woody and Andy's new toy, a Buzz Lightyear action figure. How once king-of-the-hill Woody deals with his new, seemingly better liked, counterpart in the toy kingdom is really the heart of the story. Woody must rise above his jealousy to overcome being lost in the film's plot - and in andy's heart. Buzz, meanwhile, has a much larger difficulty to deal with - the quandary of his own existence. In one of the film's most sad and insightful moments, Buzz learns that he is not a "SpaceRanger" after all but simply a toy. It is a devastating crush to his ego and a sharp blow to his whole value system. Not lost on children and even more profound on adults, this textural element of the film, it's true moral, is handled skillfully and with love. One actually becomes quite choked up as Buzz wallows in depression upon his self-discovery. It's a touching moment in the film that, of course, leads to a Disneyesque climax and warm fuzzy ending. However, it is never sappy or overblown. It is handled with just the right amount of subtlety and soberness.

What really makes all of this work is the great skill with which the piece is voiced. Calling upon very well-known talent, Disney should have had no doubts that all of those involved would deliver the goods. Tim Allen is perfectly bold and stoic as Buzz. Delivering just the right amount of courage with conviction, Allen sounds like the voice of the image we see on screen. The case is the same with Woody who is voiced by Tom Hanks. Full of light energy and aplomb, Hanks' Woody also is allowed to be a real character with real emotions. Hanks' voice can be full of bravado in one moment and literally fearful with vibrato the next. Hanks, as usual,deserves an Academy Award for his work but here he earns it with only his tone and his verbal skills to aid him. It is agreat performance.

The second bananas have fun too. Don Rickles' voice is obviously his own yet it is still perfect for Mr. Potato Head. He isn't allowed to ad-lib (thank goodness) and yet the filmmakers still find one opportunity to allow his trademark verbal abuse to be a visual pun in the film. Wallace Shawn ("The Princess Bride") is, likewise, recognizable and still perfectly cast. As the voice of the large, goofy Dinosaur who wishes to be more ferocious, Shawn's pleading tone tells us all we need to know about the character. Jim Varney ("Ernest"et al) is unrecognizable as the slinky dog as is Annie Potts (TV's "Designing Women") as Bo Peep and Laurie Metcalf (TV's Roseanne") as Andy's mom. Yet, like their more noticeable counterparts, each one gives a performance that seems to be the perfect articulation of their character. Every piece fits perfectly here.

Finally, mention must be made of Randy Newman's score. Luckily, none of the characters sing a song here (a first in a Disney cartoon?) but Newman's voice pops up a couple of times mid-film after he sets the tone by singing the wonderful theme song. Yes, one time it does seem a bit out of place, but over all his work is impeccable here. Newman's score is equally adept at underscoring the fanciful elements, as it is the sorrowful ones. This is some of his best work.

"Toy Story" is a marvelous film. The animation, though made through a new technique, is crisp and perfect. We never get tired of the technology because it is used so adeptly. If this is the shape (and texture) of things to come in movie animation then I'm all for it. Quality is all that really matters in a film. If computer animation is used to bring a wonderful story full of interesting characters to life on the screen then it can't go wrong. "Toy Story" breaks new ground here but it also sets the precedent for how rich and intriguing an animated film must be. If those that follow live up to this film in those areas, film-goers will be enjoying the animation genre, wherever it may go, for generations to come.

Notes:

Directed by John Lasseter. Made with his computer animation company called Pixar.

Lyle Lovett helps on a song used in the film. Elton John and Tim Rice's "Hakunna Matada" from Disney's last epic, "The Lion King," makes a brief appearance on the soundtrack.

That's the voice of Penn Gilette on the Buzz Lightyear commercial in the film.

Note that a tool box in the film has the Binford logo on it. This is the fictional tool company Tim Allen represents on his TV show "Home Improvement."

Note that Andy and Sid look suspiciously alike and also that Andy's father is (literally) not in the picture. Likewise, we never really see Andy's mother.

Oscar Nominations: Best Original Screenplay (Joss Whedon, Andrew Stanton, Joel Cohen, Alec Sokolow, John Lasseter, Peter Docter, Joe Ranft), Best Original Musical or Comedy Score (Newman), Best Original Song ("You've Got a Friend").

A "Special Achievement Award" Oscar went to Lasseter.

(Review written in 1996)

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