Contrary to current Disney policy, Walt didn't like to rely on repeats.
I wonder how aware the kids these days are of the Three Little Pigs. Not the fairy tale itself, the Disney pigs. My generation at least knew of them through singalong VHS tapes and the odd appearance on the Disney Channel, but they’ve never been mainstays of Mickey’s gang. Yet in 1933, “Three Little Pigs” was Walt Disney’s first runaway hit since Mickey Mouse.
“The Three Little Pigs” was one of the Silly Symphonies, the companion series to the Mickey Mouse shorts. By design, the Symphonies did not have a star or any recurring characters. This was partly a business consideration; having lost Oswald the Lucky Rabbit to his distributor, Walt didn’t want to depend on a single character. But there were artistic considerations behind this set-up as well.
Always creatively restless, Walt didn’t like to repeat himself. A series starring his alter-ego Mickey was one thing; Mickey and pals always got up to new adventures. But a direct sequel in a series that wasn’t meant to have any recurring characters held no interest for Walt. His instinct was to take the lessons learned from “The Three Little Pigs” and carry them forward into new productions. Thomas puts brother Roy down as the one who persuaded him otherwise.
I don’t know whether 1930s audiences felt the same way; with these shorts coming out several years apart and almost never screened together, I suspect not. At least one of them picked up polite reviews. But if viewers were content with more pigs, they weren’t electrified by them either. None of the sequels replicated the success of “Three Little Pigs,” and none of them satisfied Walt either.
Not that there wasn’t a temptation to do otherwise. Wallis considered sequels to hits like Captain Blood, and Warner Bros. even flirted with one for such a classic as Casablanca. Laemmle eventually would produce sequels to both Dracula and Frankenstein. Even Walt was briefly tempted to do a cartoon short that would serve as something of a coda to Snow White. And there’s no point in pretending that sequels, remakes, and series are anything new in Hollywood.
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