the bull who liked poseys
by Douglas Messerli
Munro Leaf, Robert Lawson and Vernon Stallings
(writers), Milt Kahl, Hamilton Luske, Bill Stokes, John Bradbury, Bernard
Garbutt, Ward Kimball, Jack Campbell, Stan Quachenbush, and Don Lusk
(animators), Dick Rickard (director) Ferdinand the Bull / 1938 [animated
film]
In
short, Ferdinand is “different,” so different that even his understanding
mother, with the bovine female voice of Walt Disney, suggests “Now Ferdinand,
why don’t you play with all the other little bulls and butt your head?”
Ferdinand simply prefers to stay where he is and smell the daisies.
The other bulls show off their macho, but still don’t impress the
committee, while Ferdinand returns to his tree and flowers with utterly no
desire to participate in the Madrid fights. However, at that very moment as he
sits, a bee stings him on the rump, sending Ferdinand on a crazy run, speeding
down the pasture while tearing apart everything in sight, the perfect bull, so
the terrorized committee members all agree.
But
the shy bull is afraid to enter, finally being coaxed in only by the posey in
the matador’s hand. He goes to it and, as usual, smells it, refusing to do
anything else, no matter how the matador screams, pleas, and entreats him.
Tearing off his own shirt in frustration, Ferdinand licks the tattoo on the
center of his chest, a Daisy.
So
Ferdinand is sent back to his pasture and the flowers that grow under his
favorite tree. What Disney doesn’t tell us is that Ferdinand’s fey demeanor has
obviously saved his life.
The animated work was highly popular, winning the 1938 Oscar for Best
Short Subject, and was shown every year in Sweden as a Christmas Eve special
from 1959 to the early 1980s. Indeed, the work has a great deal of similarities
with another Christmas special about an animal different from the others of his
kind, Rudolph the Red-Nosed Reindeer, also often cited as a gay film
that influenced generations of children.
Los Angeles, June 10, 2023
Reprinted from World Cinema Review (June
2023).



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