| Balto | |
| Director: | Simon Wells |
| Producer: | Steve Hickner |
| Screenplay: |
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| Story: |
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| Music: | James Horner |
| Cinematography: | Jan Richter-Friis (live action) |
| Editing: |
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| Studio: | |
| Distributor: | Universal Pictures |
| Runtime: | 78 minutes |
| Country: | United States[1] United Kingdom |
| Language: | English |
| Budget: | $31 million[2] |
| Gross: | $11 million[3] |
Balto is a 1995 live-action/animated adventure film directed by Simon Wells, produced by Amblin Entertainment and distributed by Universal Pictures.[4] It is loosely based on the true story of the eponymous dog who helped save children infected with diphtheria in the 1925 serum run to Nome. The film stars the voices of Kevin Bacon, Bridget Fonda, Phil Collins, and Bob Hoskins. Though primarily an animated film, it uses a live-action framing device that takes place in New York City's Central Park and features Miriam Margolyes as an older version of one of the children. This was the third and final film to be produced by Steven Spielberg's Amblimation animation studio, before the studio's closure in 1997.
Although the film was a financial disappointment due to being overshadowed by the success of Pixar's Toy Story, its subsequent sales on home video led to two direct-to-video sequels: (2002) and (2005), though none of the original voice cast reprised their roles.
In New York City, an elderly woman and her granddaughter are walking through Central Park, looking for a memorial statue. As they seat themselves for a rest, the grandmother recounts a story about Nome, Alaska.
In 1925, a wolfdog named Balto lives on the outskirts of Nome with his adoptive father, a Russian snow goose named Boris, and two polar bears, Muk and Luk. Being a half-breed, Balto is ridiculed by dogs and humans alike. His only friends in town are a little girl named Rosy and her red husky Jenna whom Balto has a crush on. He is challenged by the town's favorite sled dog Steele, a fierce and arrogant Alaskan Malamute, and his teammates, Nikki, Kaltag and Star.
That night, Rosy and all the children fall ill with diphtheria. Severe winter weather conditions prevent medicine from being brought by air or sea from Anchorage, and the closest rail line ends in Nenana after authorization to transport the antitoxin by rail is given by the Governor of Alaska in Juneau. A dog race is held to determine the best-fit dogs for a sled dog team to get the medicine. Balto enters and wins, but is disqualified after Steele exposes his wolf-dog heritage, and Jenna is sad. The team departs that night with Steele in the lead and picks up the medicine successfully. On the way back, conditions deteriorate and the disoriented team ends up stranded at the base of a steep slope with the musher knocked unconscious.
When the word reaches Nome, Balto sets out in search of them with Boris, Muk, and Luk. On the way, they are attacked by a huge grizzly bear, but Jenna, who followed their tracks, intervenes. The bear pursues Balto out onto a frozen lake, where it falls through the ice and drowns. Muk and Luk save Balto from a similar fate. However, Jenna is injured and cannot continue on. Balto instructs Boris and the polar bears to take her back home while he continues on alone. Balto eventually finds the team, but Steele refuses his help and attacks him until he loses his balance and falls off a cliff. Balto takes charge of the team, but they lose their way again since Steele had destroyed the trail by scratching trees. Balto seemingly falls to his death while attempting to save the medicine from falling down a cliff.
Back in Nome, Jenna is explaining Balto's mission to the other dogs when Steele returns, saying the team, including Balto, is dead. However, Jenna sees through his deception and she assures Balto will return with the medicine. Using a trick Balto showed her earlier, Jenna places broken colored glass bottles on the outskirts of town and shines a lantern on them to simulate the lights of an aurora, hoping it will help guide Balto home. When Balto, still alive, regains consciousness, he is ready to give up hope. When a large, white wolf appears and he notices the medicine crate still intact nearby, he realizes that his part-wolf heritage is a strength, not a weakness, and drags the medicine back up the cliff to the waiting team. Using his advanced senses, Balto is able to filter out the false markers Steele created.
After encountering further challenges though an ice bridge, an avalanche, and an ice cavern, and losing only one vial, Balto and the sled team finally return to Nome. A pity-playing Steele is abandoned by the other dogs who realized the truth about him. Reunited with Jenna and his friends, Balto earns respect from both the dogs and the humans. He visits a cured Rosy, who thanks him for saving her.
Back in the present day, the elderly woman and her granddaughter finally find the memorial commemorating Balto and she explains that the Iditarod trail covers the same path that Balto and his team took from Nenana to Nome. The woman, who is actually Rosy, repeats the same line "Thank you, Balto. I would have been lost without you". She walks off to join her granddaughter and her Siberian Husky Blaze. The Balto statue stands proudly in the sunlight.
Screenwriter Elana Lesser first recalled being told the story of Balto by her grandfather as a child, and as an adult, felt that it would make an excellent animated film. She and screenwriter Cliff Ruby, pitched a screenplay to Amblin Entertainment in Universal City, California, and executives Douglas Wood and Bonne Radford subsequently relayed it to co-directors Phil Nibbelink and Simon Wells at Amblin's London-based animation studio, Amblimation. Although Steven Spielberg agreed that the story had potential, he was initially concerned that such a film would not be colorful enough. To reassure Spielberg, Wells showed him several color studies by production designer Hans Bacher, which showed that the film would not simply depict black and white dogs against a desolate scenery. Nibbelink and Wells had initially developed Balto together, before Nibbelink left to continue working on We're Back! A Dinosaur's Story (1993), and screenwriters Roger S. H. Schulman and David Steven Cohen, as well as several uncredited writers, did further development.
Balto was officially put into production in March 1993, under the working title Snowballs.[6] [7] To have a source for the dogs' character animation to be based on, the filmmakers set up special drawing classes, in which they brought in about seven Siberian Huskies and videotaped them walking around in the studio, while the animators studied their movements and anatomy.[8] During these classes, Kristof Serrand, who was assigned to supervise the animation on Boris, gave a lecture on the locomotion of dogs.[9] Former Disney animator Jeffrey J. Varab, who had trained under Eric Larson, was assigned to co-supervise the animation on Balto alongside Dick Zondag. At the behest of Wells, Varab also gave a dog anatomy lecture that focused on how Balto was to be drawn, drawing on his prior knowledge from his work on The Fox and the Hound (1981), as well as citing preliminary character sketches drawn by character designer Carlos Grangel and original model sheets of Tramp from Lady and the Tramp (1955).[10] Prior to his departure from the project, Nibbelink gave a lecture on how to apply spacing and weight to the dog animation, using the "bouncing ball" animation exercise, which he had learned from Frank Thomas while working as an animator at Disney alongside Varab.[11] In addition, Wells and several other crew members took special trips to Finland, where they studied dog sledding.
The tight budget necessitated many difficult decisions; for instance, it was calculated that in most shots, the effects animators could not afford to include both footprints and shadows, and had to figure out what they could get away with omitting. Another principal difficulty that the crew faced was that in order to achieve the snow colors and textures that Bacher's production design mandated, the background artists needed to use oil paint, instead of gouache, like most other animated films. Because oil paint dries slower than gouache, the filmmakers had to schedule in extra days to allow each background to dry before they could shoot their scenes. According to producer Steve Hickner, an advantage that came from the longer drying time was that the artists could "work back into their art" days later, while the paint was still wet.[12]
Although the film was mainly hand-drawn animated, considerable computer animation was implemented into the film's more challenging visual elements; all of the falling snow was animated using an early CGI particle animation system. All of the ink-and-paint work was also done using the 2D animation software program Toonz, making Balto the first animated film to use it. The program was still in its trial stages at the time, which necessitated an intense interaction with the developers.[13] [14] Principal animation lasted from 1993 to 1994, with each animator completing five seconds of animation a week on average.[15] [16] Additional animation and clean-up work was done by the Danish studio A. Film Production.[17]
Because the characters were designed before the voices were cast, the actors were given several inspirational character sketches to look at before each recording session, in order to get a sense of the characters they were portraying. Initially, it was reported that Kevin Anderson had been cast as Balto. Anderson had finished all of his voice-over work and the animation had been done around his performance, but late in production, Universal Pictures insisted on having a bigger name in the role, so he was replaced by Kevin Bacon, who had been filming Apollo 13 (1995) at Universal around the same time. Because of the completed animation, Bacon had to precisely match his timing to Balto's mouth movement.[18] According to Bacon, "It was very hard. I didn't like it. They would play his dialogue in the way that he had said it in my head right before I'd say my line."[19] Wells contradicted this, however, stating that though Bacon admitted to feeling constricted, he "did a terrific job and was really enthusiastic."[18]
Similarly, Brendan Fraser, who was filming Airheads (1994) at the time, was originally cast as Steele, because Wells had envisioned Steele as a school quarterback jock carried away by his sense of importance, and felt that Fraser fit that personality well. According to Wells, "I liked Brendan a great deal, and we did one recording session with him that was terrific." However, Spielberg wanted to feel a clearer sense of Steele's "inherent evil", so Fraser was replaced by Jim Cummings. Wells stated that Cummings "did a fantastic job, and totally made the character live, so I don't regret the choice." Cummings was officially cast by January 1995, though Anderson was still listed at the time. According to Cummings, several other on-camera actors were brought in to replace Fraser, before the role ultimately went to him. Spielberg, having not been present for Fraser's recording sessions due to his contract with Schindler's List (1993), and not wanting to reject yet another unsatisfactory performance based on footage viewings, also insisted on directing Cummings personally, as well as completing his recording in one day.[20]
Jennifer Blanc also originally voiced Jenna, but she was also subsequently replaced by Bridget Fonda.[21] Fonda explained in an interview with Bobbie Wygant that she was offered the role of Jenna via phone call, and accepted after being shown a rough cut on tape, which showed some shots in finished form, some still in pencil test form, and some missing. When asked how hard it was to be doing voice-over work for animation for the first time, she explained, "It was odd, it was different. It was challenging. It was exhausting in that I had to be more active, and more outgoing vocally than usually. And syncing up to animated is very difficult. But, y'know, it was just so imaginative, and satisfying in a different way."[22]
Bob Hoskins, who had previously worked with Spielberg on Who Framed Roger Rabbit (1988) and Hook (1991), voiced Boris, and Wells stated that his performance proved to be helpful in shaping the character, praising it as "a lot more emotional and effusive than we had originally conceived the character to be." However, Wells also recalled a brief point at which, while struggling with Boris's accent, Hoskins vented his anger that he "used to have a career", before "playing a goose."[18] Phil Collins, despite having never done voice-over work before, actively expressed interest in the role of Muk and Luk, and even called Amblimation to ask for the role. Wells praised his voice for Muk as "just head and shoulders better than anything else we heard."[23] In his autobiography, Jack Angel stated that he, Danny Mann and Robbie Rist were flown to London to record their respective roles as Nikki, Kaltag and Star together, with his wife, Arlene Thornton in tow. Angel added that even though they had no personal interaction with Spielberg, he flew Angel, Mann and Rist out again after they had finished their recording, because "somebody apparently didn't get it right the first time."[24]
The film score was composed by James Horner, who had previously scored (1991) and We're Back!. According to Wells, because Horner worked in California, and Amblimation was based in London, he "preferred to present his score as the orchestral finished product, and make alterations based on notes from that finished product."[25] Horner also collaborated with songwriting duo Barry Mann and Cynthia Weil to write an original song, "Reach for the Light", sung by Steve Winwood, which plays over the film's end credits. It was initially reported that the end credits would feature a song co-written by Neil Diamond and Carole Bayer-Sager, but this song never materialized.[21]
The film's live-action prologue and epilogue segments were filmed on-location in Central Park over a period of one to two days. Closing down the area for filming proved to be a challenge, due to uncooperative locals. However, Wells greatly enjoyed working with Miriam Margolyes, and was impressed with how well she worked with Lola Bates-Campbell, who played Rosy's granddaughter.[18]
The film has many historical inaccuracies:
The film was theatrically released in the United States on December 22, 1995, and then international theatres on January 13, 1996, when it first premiered in Brazil.[45] Its release was vastly overshadowed by that of Pixar Animation Studios' first feature film, Toy Story, which had premiered a month earlier.[46]
The film ranked 15th on its opening weekend and earned $1.5 million from a total of 1,427 theaters.[47] The film also ranked 7th among G-rated movies in 1995. Its total domestic gross was $11,348,324.[46] Despite being a disappointment at the box-office, it was much more successful in terms of video sales. These strong video sales led to the release of two direct-to-video sequels: and being created, though neither sequel received as strong a reception as the original film.
Balto generally received mixed reviews from critics. On the review aggregator website Rotten Tomatoes, the film has an approval rating of 56% based on 25 reviews, with an average rating of 5.90/10. The website's critical consensus reads, "Balto is a well-meaning adventure with spirited animation, but mushy sentimentality and bland characterization keeps it at paw's length from more sophisticated family fare."[48] The film received a "thumbs down" from Gene Siskel and a "thumbs up" from Roger Ebert in a 1996 episode of their television program At the Movies. Siskel found the film to be a weak attempt at aping Lady and the Tramp, criticizing the animation style as "sketchy", and the story as "all over the map, from the rousing adventure, to the sweet and cloying scenes", whereas Ebert liked the film, stating that despite not being in the "category of the great animated film" and the animation not being as strong as that of Disney, it was "adequate", the story was "interesting", and the film was a "nice, little children's adventure movie about a brave dog."[49]
Roger Ebert gave the film a three-out-of-four-star review, praising it as "a kids' movie, simply told, with lots of excitement and characters you can care about", and though he criticized Balto's refusal to fight Steele and stated that it compared poorly to Disney's output, he found it to be a satisfactory film in its own right.[50] Paul Merrill of Empire Magazine gave the film three out of five stars, commending the film as "enchanting, highly enjoyable and impressively crafted, not least for its adventurous 'camera work'", and praised the voice cast, "barnstorming" chase sequences and lack of "cheesy songs to slow proceedings down."[51] Nell Minow of Common Sense Media gave the film three out of five stars, calling it a "fun-but-tense fact-based film."[52] Stephen Holden of The New York Times praised the film for "avoiding the mythological grandiosity and freneticism that afflict so many animated features these days", and "making modesty a virtue."[53] Brian Lowry of Variety gave the film a more middling review, praising its pro-social messages and James Horner's "blaring" score, and finding the action sequences decent, but also criticized the humor as scant, and Balto himself as "rather blandly heroic."[54]
On the negative side, Nick Bradshaw of Time Out criticized the film as a "half-hearted animated feature" that "rambles on" with "second-hand plotting and characterization", and criticized the animation style as "TV-standard."[55] David Kronke of The Los Angeles Times criticized the film's historical inaccuracy and slow-paced premise establishment, criticized the animation as competent at best, and criticized the voice cast, stating that "even as voiced by [Kevin Bacon], Balto doesn't have the sort of charisma to get kids to truly root for him."[56] Rita Kempley of The Washington Post gave the film a negative review, calling it a "mushy animated melodrama", criticizing its storyline as "prosaic" and "sappy", and unfavorably comparing the film itself to Toy Story, as well as Disney's other output, and its artistry to Dogs Playing Poker.[57]
Balto was released on VHS and Laserdisc on April 2, 1996, by MCA/Universal Home Video in North America and CIC Video internationally. The VHS version was made available once more on August 11, 1998, under the Universal Family Features label.
The film was released on DVD on February 19, 2002, which includes a game, "Where is the Dog Sled Team?". This version was reprinted along with other Universal films such as An American Tail, and The Land Before Time. It was initially released in widescreen on Blu-ray for the first time exclusively at Walmart retailers on April 4, 2017, before its wide release on July 4, 2017.
| Balto | |
| Type: | Soundtrack |
| Artist: | James Horner |
| Released: | December 5, 1995 October 29, 2018 (expansion) |
| Recorded: | July 1995 |
| Studio: | Abbey Road Studios Todd-AO Scoring Stage (additional music; expansion only) |
| Genre: | Pop, modern classical, film score[58] |
| Length: | 53:30 (original release) 78:55 (2018 expansion) |
| Label: | MCA (1995) Intrada (2018) |
| Producer: | James Horner |
| Prev Title: | Jumanji |
| Prev Year: | 1995 |
| Next Title: | The Spitfire Grill |
| Next Year: | 1996 |
Balto: Original Motion Picture Soundtrack contains the score for the film, composed and conducted by James Horner, and performed by the London Symphony Orchestra.[58] The soundtrack was released on December 5, 1995, by MCA Records. It includes the film's only song, "Reach for the Light" performed by Steve Winwood. The original album release went out of print when MCA Records went out of business in 1997.
A limited edition expansion of the soundtrack album was released by Intrada Records on October 29, 2018. This release includes newly remastered versions of the tracks from the original release and previously unreleased material, as well as alternate tracks that were ultimately unused in the finished film.[59]
The film received five Annie Award nominations, including Best Animated Feature, but lost to Toy Story.[60]
Two direct-to-video sequels that soon became a trilogy followed, made by Universal Cartoon Studios, with their animation done overseas by the Taiwanese studio Wang Film Productions, as Amblimation had gone out of business. Due to the significantly lower budgets and different production personnel of the sequels, Kevin Bacon, Bob Hoskins, Bridget Fonda, and Phil Collins did not reprise their roles in either of them. Instead, Bacon was replaced by Maurice LaMarche as the voice of Balto, Hoskins was replaced by Charles Fleischer as the voice of Boris, Fonda by Jodi Benson as the voice of Jenna, and Collins by Kevin Schon as the voices of Muk and Luk. In addition, numerous supporting characters from the original (such as Steele, Nikki, Kaltag and Star) either did not return in the sequels or became background characters in them.
The first sequel, , was released in 2002 and follows the adventures of one of Balto and Jenna's pups, Aleu, who sets off to discover her wolf heritage.[61] Characters from the first sequel could not be brought back owing to Mary Kay Bergman’s suicide in 1999, which caused Balto II to be delayed for two years.
The second, Balto III: Wings of Change, was released in 2004. The storyline follows the same litter of pups from Balto II, but focuses on another pup, Kodi, who is a member of a U.S. Mail dog sled delivery team, and is in danger of getting put out of his job by Duke, a pilot of a mail delivery bush plane.[62]
Unlike the original movie, none of the sequels took any historical references from the true story of Balto, and neither contained live-action sequences.
