WHITE FANG 2: MYTH OF THE WHITE WOLF (Dir: Ken Olin, 1994).

WHITE FANG 2: MYTH OF THE WHITE WOLF (Dir: Ken Olin, 1994).

Walt Disney Pictures’ action/adventure sequel to their 1991 hit White Fang (Randall Kleiser).

White Fang told the story of Jack Conroy (Ethan Hawke) and his adventures during the Klondike Gold Rush with the wolfdog of the title. White Fang 2 picks up with Jack now in San Fransisco having left White Fang in the care of his friend Henry Casey (Scott Bairstow). Nearly drowning in a boating accident, Henry is rescued by Lily Joseph (Charmaine Craig) of the native Haida village. Lily Joseph believes Henry to be the human form of a mythical white wolf sent to help her starving tribe. Henry decides to help the Haida locate the caribou while also dealing with a corrupt mining organisation who are exploiting the Haida.

Published in 1906 Jack London's White Fang was a partly autobiographical novel inspired by his experiences in the Klondike. A sequel to a film based on an iconic literary work is unusual. It also seems a little unnecessary, especially one that largely deals with a different set of characters.

His uncredited appearance, limited to the prologue, suggests that Ethan Hawke declined a larger role in the film. As his replacement Scott Bairstow is a somewhat bland leading man and looks like he would be more comfortable in a 90s boy band than in the Klondike. In fairness, the role demands little of him, other than looking pretty while carrying out some mild heroics. Meatier roles are given to Alfred Molina and Geoffrey Lewis as the bad guys, but in general the movie suffers from too much focus on the humans and not enough of the magnificent White Fang; the beautiful half dog/half wolf reduced to supporting player in his own movie.


White Fang 2 is not without entertainment value. Its old fashioned adventure story is pleasant but unspectacular. Those young enough to forgive its simplistic storytelling will enjoy it but older audiences will be wishing this canine caper had a little more bite. Worth a look, especially if you enjoyed the original but, ultimately a bit of a disappointment.

Visit my blog jinglebonesmovietime.blogspot.com for a longer, more in-depth review of White Fang 2: Myth of the White Wolf!

THE BLACK CAULDRON (Dir: Ted Berman & Richard Rich, 1985).

Walt Disney Pictures' The Black Cauldron is an ambitious animated fantasy based upon Lloyd Alexander's The Chronicles of Prydain, an acclaimed series of novels with a medieval setting.


With dreams of becoming a great warrior, assistant pig keeper Taran embarks on a quest to rescue his missing porcine ward, Hen Wen. The evil Horned King kidnaps the pig to use her oracular powers to secure a magical black cauldron in order to resurrect a skeletal army. Joining him are Eilonwy (Disney's forgotten princess), minstrel Fflewddur Fflam and the eternally hungry Gurgi, a furry creature of undisclosed origin. The gang must locate the cauldron and destroy it before it falls into the Horned King's hands.

The Black Cauldron had a famously troubled production and was subject to editing by a new studio regime who found it too dark for family audiences.


As might be expected from a film based on a five volume series of books, the movie suffers from an episodic, rambling narrative. The detrimental effect of editing is felt most in the sequence in which the Horned King unleashes his army of skeletal deathless warriors; it is all too brief and feels anti-climatic. The overall pacing of The Black Cauldron feels slightly off, languid at time.

However, those lucky enough to see this on original release in all its 70mm glory were treated to the most visually stunning of all Disney movies in years. The looser, sketchier art which chracterised Disney features of the 1960s and 70s is replaced by a fuller, bolder animation style, recalling the Disney product of earlier decades. The extensive use of the multi-plane camera and effects animation, particularly effective use of light and shadow, giving the film a rich texture and lavish quality.

The Black Cauldron is fresh, experimental and edgy while retaining an old-school Disney feel. Its arresting visuals alone make it worthy of far more recognition than it receives; an underrated movie from an overlooked period in Disney history and one that I believe is long overdue for reassessment.

Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of The Black Cauldron! Link below.

CANDLESHOE (Dir: Norman Tokar, 1977).


Walt Disney Poductions' Candleshoe is a comedy crime caper based upon Michael Innes' novel Christmas at Candleshoe.


Leaving the mean streets of Los Angeles, Casey Brown (Jodie Foster) heads to England to hustle the elderly Lady St Edmund (Helen Hayes) out of her dilapidated stately home Candleshoe. Within Candleshoe lays the hidden treasure of pirate Captain St Edmund to which Casey holds the first clue. In cahoots are disgraced former Candleshoe employee Clara (Vivien Pickles) and her brother Bundage (Leo Mckern) who masterminds the misdemeanour. Welcomed into the Candleshoe family, Casey turns the tables on Bundage and sets about the treasure hunt with intent to save the debt racked estate from foreclosure.


A first rate cast was assembled for this production. 15 year old Jodie Foster was fresh from her Oscar nominated turn in Taxi Driver (Martin Scorsese, 1976). She does excellent work here too and it is to her credit that she is not overshadowed by the acting heavyweights in support. Most notably David Niven, donning multiple disguises as butler, gardener, chauffeur and a visiting Colonel, in what is perhaps his best late career role.

A neat premise also lifts the movie above the usual formulaic fluff the Disney Studios were producing in the late 70s. Rosemary Anne Sisson's and David Swift's screenplay mixes humour and excitement as the race is on to recover the spoils before the bad guys. Norman Tokar directs at a surprisingly steady pace, but one that allows the mystery to unfold and for characters to develop so that Casey's change of heart is completely believable.


Candleshoe’s view of a genteel England of stately homes and steam trains must have seemed downright archaic in 1977. However, in 2019 it feels innocent and charming; nostalgic for an idealised period in British history which never really existed.


With a superior story and a distinguished cast Candleshoe is easily a highlight of the Disney Studios' live-action catalogue. Equally entertaining for children and adults, this treasure hunt movie is a gem.

Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of Candleshoe!

THE LEFTOVERS (Dir: Paul Schneider, 1986).

If there is a more 1980's way to open your movie than with Howard Jones' New Song, than I do not know what it is. I am also unsure as to who this lightweight comedy will resonate with, other than 1980's kids.

The Leftovers stars singer turned actor John Denver as Max Sinclair, director of The Middleburg Orphanage and surrogate father to the ragtag bunch of kids who live there. Cindy Williams is the live in help. Together they fend off plans to redevelop the home by underhanded means, while the kids do all they can to keep from being adopted.

Originally aired on television as part of ABC's The Disney Sunday Movie weekly series in November 1986. It's not hard to imagine that a decade earlier The Leftovers would have been released to cinemas, with Dean Jones and Sandy Duncan as possible leads. It is old fashioned, inoffensive but not without charm.

It may be a generational thing, but I did enjoy this movie. It is nothing spectacular but the leads are likeable and while the plot has a few too many contrivances and conveniences for its own good, most of its laughs are genuine.

However, it is low-key in the extreme and although I had seen this movie at around the age of 12 or 13, only one scene stuck in my head and that was the opening, probably because my tweenage self was a big fan of Howard Jones!

I am sure I enjoyed The Leftovers as a kid because I lapped up anything Disney. Revisiting it as an adult I am aware that it is no classic, even by 80's Disney TV movie standards. But it is an entertaining 90 odd minutes; if you are in the mood for some gentle 1980's nostalgia you might find it hits the spot. Just don't expect to remember much about it afterwards!

Visit my blog jinglebonesmovietime.blogspot.com for more reviews of vintage Disney movies!

THE RICHEST CAT IN THE WORLD (Dir: Greg Beeman, 1986).

By 1986 Walt Disney branded feature films had all but died out, the studio finding greater success with movies released through its adult oriented Touchstone Pictures division. Conversely the opposite was true on television where the success of the fledgling Disney Channel (launched in 1983) and the re-invigorated Disney anthology TV series had created a demand for new made-for-television feature content. One such feature was The Richest Cat in the World.

Palmer the cat stars as Leo, a pampered puss left $5 million in the will of his deceased owner Oscar (Ramon Bieri). When Oscar’s nephew learns of this he and his wife set out to kidnap and dispose of Leo, thereby inheriting the cash themselves. Leo confides his ability to speak (!) to an employee’s children who determine to protect the cat and stop the catnappers from stealing his fortune.

The Richest Cat in the World debuted on the newly re-titled The Disney Sunday Movie on the ABC network. In truth, TV is where this modest comedy-thriller belongs. Greg Beeman directs with a smooth efficiency but cannot disguise the movie's TV origins. The teleplay by Marshall Efron and Alfa-Betty Olsen is satisfactory enough, but with marked similarities to Disney's animated The Aristocats (Wolfgang Reitherman, 1970) is not particularly original. To describe the slapstick humour of the movie as broad would be an understatement. To be fair, there are some laughs to be had, not just ironically; there is something inherently funny about a cat using a touchpad telephone to order a pizza!

The Richest Cat in the World is just silly enough to appeal to young audiences and nostalgic enough to appeal to adults who enjoyed it when they were young. It is wholly innocent and appealing in a ramshackle kind of way, especially if you like cute cats. It is the kind of movie where you can predict the ending in the first five minutes but, if you are in the right mood, it should raise the odd chuckle and honestly, I can think of worse ways to waste 90 minutes.

Visit my blog JINGLE BONES MOVIE TIME to read a longer, more in-depth review of The Richest Cat in the World! Link below.

RIP Richard Williams.