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Special Features
• Audio Commentary - Director Theodore Thomas and Historian J.B. Kaufman
• Photos In Motion - How the photos literally came to life
• From The Director’s Cut – 3 different segments taking you deeper into the story
• Saludos Amigos – Original theatrical version
• Original Theatrical Trailers: Saludos Amigos (1942); The Three Caballeros (1944)
• Photos In Motion - How the photos literally came to life
• From The Director’s Cut – 3 different segments taking you deeper into the story
• Saludos Amigos – Original theatrical version
• Original Theatrical Trailers: Saludos Amigos (1942); The Three Caballeros (1944)
Editorial Reviews
For ten weeks in 1941, Walt Disney, his wife Lilly, and sixteen colleagues from his studio visited nations in Latin America to gather story material for a series of films with South American themes. The feature documentary film Walt & El Grupo uses this framing device to explore inter-American relations, provide a rare glimpse into the artists who were part of the magic of Disney’s “golden age” and give an unprecedented look at the 39 year-old Walt Disney during one of the most challenging times of his entire life.
Customer Reviews
Most Helpful Customer Reviews
12 of 13 people found the following review helpful
By Dave
Format:DVD
In 1941, the Walt Disney Studio was not in a good place; "Fantasia" had floundered at the box office and a nasty strike had taken a toll on the animation team and especially Walt himself who was crestfallen at the rebellion. The U.S. government stepped in at a most opportune time, requesting that Disney & his team make a goodwill trip to South America. Not only did the trip produce two classic Disney films ("Saludos Amigos" and "The Three Caballeros"), it helped bolster the spirits of the animation team, added a new dimension of culture, and forged a positive relationship between South America and the U.S. that is still talked about to this day. It is touching to hear the interviews and see Walt fleshed out as a human who wanted to soak up knowledge and culture like a sponge. Rather than swoop in like the celebrity that he was, Walt & his team infiltrated the culture, the people (especially local artists), making a lasting impression. The example given was that nobody really cared about Bing Crosby coming during the same time; but Walt...THAT was a big event! Diane Disney (Walt's daughter) is interviewed, and shows a cherished doll that was given to her by her dad when he returned. One South American local tells of his father and how he met Walt and was taken under his wing, eventually culminating in a trip to the states. Many more tales like that are expertly told her, using current interviews and vintage footage.
As a bonus, you'll find a fold-out printed timeline showing what was occurring during World War II and what was happening at Disney during the same time. Very interesting piece.
Extras also include:
* Audio Commentary -- With director Theodore Thomas and historian J.B. Kaufman.
* Photos in Motion -- A demonstration showing the technical process of how rare photos from the original trip shared in Walt & El Grupo transcended time and literally came to life for a unique viewing
experience.
From the Director's Cut:
o Home Movies for the Big Screen-- The 16mm Kodachrome footage shot by El Grupo (the nickname given for Disney's team) was originally intended to be reference material. These "home movies" were eventually incorporated into the film; scenes that weren't shot were actually recreated at the Disney Studio and at the local airport (thus you'll note a difference in quality between some of the scenes in "Saludos Amigos").
o My Father's Generation-- Cecilia Acle, daughter of a Chilean passenger, and Cindy Garcia, daughter of Disney story man Ted Sears, discuss the return voyage from South America on the SS Santa Clara, framing their parents within the context of the times.
o Artists and Politicians--Conductor/music historian Roberto Gnattali takes a walk through the ruins of the waterfront Urca Casino, discussing the golden age of the samba and the Brazilian government at the time. It really makes one yearn for a restoration of what was once the entertainment palace where Carmen Miranda performed.
* SALUDOS AMIGOS -- This is billed as the original 1943 version; however, as another reviewer pointed out, the credit title shows Buena Vista, not RKO. Still, it clearly does show Goofy smoking in a cartoon sequence that had been previously edited out.
* Original Theatrical Trailers for "Saludos Amigos" and "The Three Caballeros"
As noted, there is some variance in quality of source material, but it definitely does not detract from this very well-made and informative documentary. 106 minutes, 1:78:1, Dolby Digital 5.1 English & Spanish with English and Spanish subtitles.
As a bonus, you'll find a fold-out printed timeline showing what was occurring during World War II and what was happening at Disney during the same time. Very interesting piece.
Extras also include:
* Audio Commentary -- With director Theodore Thomas and historian J.B. Kaufman.
* Photos in Motion -- A demonstration showing the technical process of how rare photos from the original trip shared in Walt & El Grupo transcended time and literally came to life for a unique viewing
experience.
From the Director's Cut:
o Home Movies for the Big Screen-- The 16mm Kodachrome footage shot by El Grupo (the nickname given for Disney's team) was originally intended to be reference material. These "home movies" were eventually incorporated into the film; scenes that weren't shot were actually recreated at the Disney Studio and at the local airport (thus you'll note a difference in quality between some of the scenes in "Saludos Amigos").
o My Father's Generation-- Cecilia Acle, daughter of a Chilean passenger, and Cindy Garcia, daughter of Disney story man Ted Sears, discuss the return voyage from South America on the SS Santa Clara, framing their parents within the context of the times.
o Artists and Politicians--Conductor/music historian Roberto Gnattali takes a walk through the ruins of the waterfront Urca Casino, discussing the golden age of the samba and the Brazilian government at the time. It really makes one yearn for a restoration of what was once the entertainment palace where Carmen Miranda performed.
* SALUDOS AMIGOS -- This is billed as the original 1943 version; however, as another reviewer pointed out, the credit title shows Buena Vista, not RKO. Still, it clearly does show Goofy smoking in a cartoon sequence that had been previously edited out.
* Original Theatrical Trailers for "Saludos Amigos" and "The Three Caballeros"
As noted, there is some variance in quality of source material, but it definitely does not detract from this very well-made and informative documentary. 106 minutes, 1:78:1, Dolby Digital 5.1 English & Spanish with English and Spanish subtitles.
11 of 12 people found the following review helpful
Format:DVD
"Walt & El Grupo", is one of three Disney History DVD's released in November 2010, along with "Waking Sleeping Beauty" and "The Boys, The Sherman Brothers' Story". All three are excellent chronicles of Disney History and worth a watch.
"Walt & El Grupo, The Untold Adventures", is the story of Walt, Lily (his wife) and "The Group" of 16 hand-picked artists and support personnel, during a relatively unknown trip to South America in 1941. It was the genesis of the two "Good Neighbor" movies, "Saludos Amigos" and "The Three Caballeros."
1941 was a particularly hard year for Walt. After the successes of Snow White and Pinnochio, he had a semi-failure with Fantasia in 1940,and as work was being completed on Dumbo in 1941, union organizers struck the Disney Company.
At the same time, WWII in Europe was raging, and he lost the financing of many of the European banks he was working with, leaving the studio (and Walt) over 4 million dollars in debt.
Also during the same time, the US Government was worried about the Nazi influence down in South America, especially in Argentina, Brazil, Chile and Peru. They sent a number of "Good Will Ambassadors" to South America, to try and win over the people and away from Nazi Germany. Many weren't successful.
They asked Walt to do a trip, but declined, he didn't want to go down to South America just to shake hands. But then, this *was* the State Department watching a war in Europe, so they offered additional incentives, including taking a number of people to do research for future movies as well as the underwriting of those movies.
Add up those three events, and Walt was on a 10-week adventure below the equator. (Okay, mostly below the equator.) That's what this documentary is about.
The movie is directed (and commented on) by Theodore Thomas, son of Frank Thomas (not the baseball player) and follows Walt's trip through South America in present day. Some portions seem overly tedious, the film probably could have been a few minutes shorter...
It's produced by The Walt Disney Family Foundation Films, so there's a lot of private and archival film footage (including footage from Walt's 16mm movie camera), as well as correspondence from different members of El Grupo to family back home.
This is more in the vein of a talking head documentary, and Thomas takes you to locations in South America as they are today (with some *remarkable* present day to 1941 (and vice-versa) transitions), panning pictures using a multi-plane camera simulation and interviews with surviving people (or the sons or daughters in some cases) who Walt had an influence on.
I think it's the weakest of the three released. It does document Walt's life in the first half of 1941, right before the U.S.'s involvement in WWII. Both events would cause significant changes to the studio, so it's a story I suppose that needs to be told.
It's a must for Disney History and Walt fans.
"Walt & El Grupo, The Untold Adventures", is the story of Walt, Lily (his wife) and "The Group" of 16 hand-picked artists and support personnel, during a relatively unknown trip to South America in 1941. It was the genesis of the two "Good Neighbor" movies, "Saludos Amigos" and "The Three Caballeros."
1941 was a particularly hard year for Walt. After the successes of Snow White and Pinnochio, he had a semi-failure with Fantasia in 1940,and as work was being completed on Dumbo in 1941, union organizers struck the Disney Company.
At the same time, WWII in Europe was raging, and he lost the financing of many of the European banks he was working with, leaving the studio (and Walt) over 4 million dollars in debt.
Also during the same time, the US Government was worried about the Nazi influence down in South America, especially in Argentina, Brazil, Chile and Peru. They sent a number of "Good Will Ambassadors" to South America, to try and win over the people and away from Nazi Germany. Many weren't successful.
They asked Walt to do a trip, but declined, he didn't want to go down to South America just to shake hands. But then, this *was* the State Department watching a war in Europe, so they offered additional incentives, including taking a number of people to do research for future movies as well as the underwriting of those movies.
Add up those three events, and Walt was on a 10-week adventure below the equator. (Okay, mostly below the equator.) That's what this documentary is about.
The movie is directed (and commented on) by Theodore Thomas, son of Frank Thomas (not the baseball player) and follows Walt's trip through South America in present day. Some portions seem overly tedious, the film probably could have been a few minutes shorter...
It's produced by The Walt Disney Family Foundation Films, so there's a lot of private and archival film footage (including footage from Walt's 16mm movie camera), as well as correspondence from different members of El Grupo to family back home.
This is more in the vein of a talking head documentary, and Thomas takes you to locations in South America as they are today (with some *remarkable* present day to 1941 (and vice-versa) transitions), panning pictures using a multi-plane camera simulation and interviews with surviving people (or the sons or daughters in some cases) who Walt had an influence on.
I think it's the weakest of the three released. It does document Walt's life in the first half of 1941, right before the U.S.'s involvement in WWII. Both events would cause significant changes to the studio, so it's a story I suppose that needs to be told.
It's a must for Disney History and Walt fans.
15 of 21 people found the following review helpful
Format:DVD
[Award winning documetarist Ted Thomas (and son of one of Walt's legendary "nine old men," Frank Thomas) talked to me about the extraordinary, evocative, lyrical feature length film, "Walt and el Grupo.]
GREG: Let's start with the chicken-or-the-egg thing. Was this project ignited by J.B. Kaufman's book, "South of the Border with Disney," or did it originate with Diane Disney Miller and The Walt Disney Family Museum?
TED: Kind of all of the above. Diane was interested in having stories told about her father that would bring his life story back to center stage. J. B. had been working on the idea for a book on the entire "Good Neighbor" film project, which was at least a decade. In the course of that, I came across what I call it "the magical shoe box" of photographs that [Disney animator] Norm Ferguson's daughter had given to J.B.--travel snapshots that were taken throughout the trip. When I was introduced to J.B. and Diane, she said, "You ought to take a look at JB's shoe box," which I did.
Immediately I began to look at each photo and think, "Where was this taken? When was this? Who are they with? What's the story here?" Those, to me, are all things that I turn over in my head when beginning a project and deciding whether or not there is a film to be told.
GREG: Diane surely was pleased that so many of the clips and photos showed Walt having fun and being a "regular guy."
TED: Yes. I am very happy we were able to do that. I think that, outside of the Disney family films, there is more footage of him in this project than any film I know of.
GREG: Would you say that, percentage-wise, that a lot of what we see in "Walt and el Grupo" has never been seen by the general public before?
TED: Oh yes, oh yes. I would definitely say that is the case. Both for the photographs and the sixteen millimeter Kodachrome footage.
GREG: In the DVD audio commentary with you and J.B., it is mentioned that the group actually traveled in two parts for insurance reasons. It is edited to give the impression they are all going on the same flight?
TED: Yes. One of our bonus features covers this. The footage of them boarding the plane in Burbank it is not "verite" documentary footage. It was reconstructed several months later once they realized that they needed shots like that in "Saludos Amigos." There are a few other documentaries that have used this basic idea, but I would like to think that we finessed it a lot more than has ever been done before.
GREG: "Walt and el Grupo" is particularly entertaining because of a special three dimensional process in which the vintage photos are manipulated to create the illusion of depth. Can you explain how this was done?
TED: You start out by finding a photograph that is composed so it has a natural foreground, middle ground and background. If everybody is lined up in the background it doesn't work. But if it is something that already has an inherent depth to it, then you can use Photoshop to splice those three planes apart to create a foreground, middle ground and background. Then, using a program called "after effect," you can create your own version of a multiplane camera.
GREG: Also impressive were the shots of the studio that Walt and the artists set up in a hotel penthouse that were blended with current images of the same room today.
That is one of my favorite shots in the picture actually is when they "vanish." Everybody has left town and is going off different points of the compass. We faded away the studio and then we are left with the room today.
GREG: And then there's that rooftop dance scene, which you recreated for the film with people who had been there in the '40s. For those of us who watched "Saludos Amigos" and "The Three Caballeros" countless times, and seeing the people doing the traditional dances, it was fascinating to discover who some of the people actually were.
TED: Yeah. And to me, on some level, that makes a difference because now they no longer seem anonymous. They are people with lives, families and histories and a connection.
GREG: On a larger scale, I've always felt that, the South America Walt Disney films accomplished a lot in an era long before diversity was a corporate initiative or a big buzz word.People generally didn't know much about other cultures in those days. Walt Disney, probably more than any other filmmaker, was most instrumental in bringing the artwork and especially the music to America and to this day, we're benefiting from it.
TED: Absolutely! I couldn't have said it better. I agree completely and I think it was indicative of the kind of homework that was done on every single film. That what they observed and what they put through their own prism and made into their films is much more sympathetic to the cultures they came from than any other films that were being made at the time.
GREG: And "Aquarela de Brasil" and "Tico Tico" were not known at all in the U.S. and became standards.
TED: They became international standards, along with "Magic is the Moonlight". And "You Belong to My Heart" ["Solamente una vez"] became big hit. It is an incredible song.
GREG: I loved James Stemple's new musical score. Is there going to be a soundtrack album?
TED: We are still working on that. With the different parties involved there is a lot of sorting out that has to be done. Number one just get approval for that idea and number two convince people that in today's climate people would want it.
GREG: The new score captured the mood of the period yet was very contemporary.
TED: Plus I wanted the music to give audio signposts about where we were geographical. It was a real tough assignment on an independent film to say "Okay, I want to be geographic specific. I want it to feel like we are in Brazil or feel like we are in Chile," but you can't hire a separate musical ensemble for each place.
GREG: You also mentioned in the commentary that there were a lot of, to quote the Sherman Brothers, "happy happenstances" in making the film. Certain things just fell into place -- like finding the handmade dolls that Walt had brought back from South America as gifts for Diane and Sharon.
TED: The dolls were found on the day of shooting! That really is serendipity. Diane had talked about them but hadn't been able to locate them. When we showed up on that day, she arrived and said, "I am so sorry. It would have been really nice if I had found them but I just don't know where they are." Then Michael Labre, the curator, said, "Diane, we have been cataloging this stuff, do you have any idea what these are?" And it was the dolls. It was literally like that.
GREG: And they've held up very well over the years.
TED: Considering. They are in very good condition.
GREG: There was another image that was very striking to me, and I'm sure to those who love these "Good Neighbor" Disney films. At the end of "Saludos Amigos," we see the lighted URCA nightclub/casino sign flashing and never really knew much about it, just figured it was some famous place and that's it. But in "Walt and el Grupo," it becomes part of one of the most touching sequences because of how you combines images of then and now. It's very haunting.
TED: Yeah, I'm glad it touched you because it did me also. When we went on the scouting trip and saw the exterior, from that moment on I wanted to go inside. We worked very hard and very long and got turned down many times before we got permission to go in there. The neat thing about it is that in addition to being able to film inside this "temple of pleasure," as it was called, was the fact that the city government had taken an interest in renovating part of it which since we made the movie has been done. Part of it has been renovated as a design school. That is the seaside, the side that faces the water. The side with the grill room and that stage is still a ruin.
GREG: That must have been gigantic underneath too, because that stage moved and closed and opened.
TED: And dropped. It was. When the stage went down it must have been pretty low overhead, pretty low ceiling, but you could see pullies and different mechanisms left and you could also go back and see where some of the dressing rooms were. Nothing palatial, believe me, but what shows they put on there!
A lot of these encounters took a couple of hours and, with some people, even longer periods of time. But the impression that was left [by the Walt Disney visit] and the stories that were told lasted for generations. It's been sixty years yet people would talk about it as though it happened last week. I found that quite remarkable.
GREG: Since the film has been in limited theatrical release and more people have learned about this moment in cultural history, have you learned about any contemporary Hispanic performers? Have some artists come to realize or were they impacted by the fact that so much music came to this U.S. as a result of these efforts and that it has sort of grown from that?
TED: Well, like many things between the Americas, there is more awareness of that in Latin American than there is here. Like the huge popularity of songs like "Brazil," "Tico Tico" and "Solamente una vez." They're huge worldwide hits, but what might not be known is the fact that it was a Disney film that made it popular around the world.
Maybe you already know this from J.B.'s book, but the fascinating thing was that they did recording sessions in Rio during this trip but the miking of it wasn't satisfactory. Read more ›
GREG: Let's start with the chicken-or-the-egg thing. Was this project ignited by J.B. Kaufman's book, "South of the Border with Disney," or did it originate with Diane Disney Miller and The Walt Disney Family Museum?
TED: Kind of all of the above. Diane was interested in having stories told about her father that would bring his life story back to center stage. J. B. had been working on the idea for a book on the entire "Good Neighbor" film project, which was at least a decade. In the course of that, I came across what I call it "the magical shoe box" of photographs that [Disney animator] Norm Ferguson's daughter had given to J.B.--travel snapshots that were taken throughout the trip. When I was introduced to J.B. and Diane, she said, "You ought to take a look at JB's shoe box," which I did.
Immediately I began to look at each photo and think, "Where was this taken? When was this? Who are they with? What's the story here?" Those, to me, are all things that I turn over in my head when beginning a project and deciding whether or not there is a film to be told.
GREG: Diane surely was pleased that so many of the clips and photos showed Walt having fun and being a "regular guy."
TED: Yes. I am very happy we were able to do that. I think that, outside of the Disney family films, there is more footage of him in this project than any film I know of.
GREG: Would you say that, percentage-wise, that a lot of what we see in "Walt and el Grupo" has never been seen by the general public before?
TED: Oh yes, oh yes. I would definitely say that is the case. Both for the photographs and the sixteen millimeter Kodachrome footage.
GREG: In the DVD audio commentary with you and J.B., it is mentioned that the group actually traveled in two parts for insurance reasons. It is edited to give the impression they are all going on the same flight?
TED: Yes. One of our bonus features covers this. The footage of them boarding the plane in Burbank it is not "verite" documentary footage. It was reconstructed several months later once they realized that they needed shots like that in "Saludos Amigos." There are a few other documentaries that have used this basic idea, but I would like to think that we finessed it a lot more than has ever been done before.
GREG: "Walt and el Grupo" is particularly entertaining because of a special three dimensional process in which the vintage photos are manipulated to create the illusion of depth. Can you explain how this was done?
TED: You start out by finding a photograph that is composed so it has a natural foreground, middle ground and background. If everybody is lined up in the background it doesn't work. But if it is something that already has an inherent depth to it, then you can use Photoshop to splice those three planes apart to create a foreground, middle ground and background. Then, using a program called "after effect," you can create your own version of a multiplane camera.
GREG: Also impressive were the shots of the studio that Walt and the artists set up in a hotel penthouse that were blended with current images of the same room today.
That is one of my favorite shots in the picture actually is when they "vanish." Everybody has left town and is going off different points of the compass. We faded away the studio and then we are left with the room today.
GREG: And then there's that rooftop dance scene, which you recreated for the film with people who had been there in the '40s. For those of us who watched "Saludos Amigos" and "The Three Caballeros" countless times, and seeing the people doing the traditional dances, it was fascinating to discover who some of the people actually were.
TED: Yeah. And to me, on some level, that makes a difference because now they no longer seem anonymous. They are people with lives, families and histories and a connection.
GREG: On a larger scale, I've always felt that, the South America Walt Disney films accomplished a lot in an era long before diversity was a corporate initiative or a big buzz word.People generally didn't know much about other cultures in those days. Walt Disney, probably more than any other filmmaker, was most instrumental in bringing the artwork and especially the music to America and to this day, we're benefiting from it.
TED: Absolutely! I couldn't have said it better. I agree completely and I think it was indicative of the kind of homework that was done on every single film. That what they observed and what they put through their own prism and made into their films is much more sympathetic to the cultures they came from than any other films that were being made at the time.
GREG: And "Aquarela de Brasil" and "Tico Tico" were not known at all in the U.S. and became standards.
TED: They became international standards, along with "Magic is the Moonlight". And "You Belong to My Heart" ["Solamente una vez"] became big hit. It is an incredible song.
GREG: I loved James Stemple's new musical score. Is there going to be a soundtrack album?
TED: We are still working on that. With the different parties involved there is a lot of sorting out that has to be done. Number one just get approval for that idea and number two convince people that in today's climate people would want it.
GREG: The new score captured the mood of the period yet was very contemporary.
TED: Plus I wanted the music to give audio signposts about where we were geographical. It was a real tough assignment on an independent film to say "Okay, I want to be geographic specific. I want it to feel like we are in Brazil or feel like we are in Chile," but you can't hire a separate musical ensemble for each place.
GREG: You also mentioned in the commentary that there were a lot of, to quote the Sherman Brothers, "happy happenstances" in making the film. Certain things just fell into place -- like finding the handmade dolls that Walt had brought back from South America as gifts for Diane and Sharon.
TED: The dolls were found on the day of shooting! That really is serendipity. Diane had talked about them but hadn't been able to locate them. When we showed up on that day, she arrived and said, "I am so sorry. It would have been really nice if I had found them but I just don't know where they are." Then Michael Labre, the curator, said, "Diane, we have been cataloging this stuff, do you have any idea what these are?" And it was the dolls. It was literally like that.
GREG: And they've held up very well over the years.
TED: Considering. They are in very good condition.
GREG: There was another image that was very striking to me, and I'm sure to those who love these "Good Neighbor" Disney films. At the end of "Saludos Amigos," we see the lighted URCA nightclub/casino sign flashing and never really knew much about it, just figured it was some famous place and that's it. But in "Walt and el Grupo," it becomes part of one of the most touching sequences because of how you combines images of then and now. It's very haunting.
TED: Yeah, I'm glad it touched you because it did me also. When we went on the scouting trip and saw the exterior, from that moment on I wanted to go inside. We worked very hard and very long and got turned down many times before we got permission to go in there. The neat thing about it is that in addition to being able to film inside this "temple of pleasure," as it was called, was the fact that the city government had taken an interest in renovating part of it which since we made the movie has been done. Part of it has been renovated as a design school. That is the seaside, the side that faces the water. The side with the grill room and that stage is still a ruin.
GREG: That must have been gigantic underneath too, because that stage moved and closed and opened.
TED: And dropped. It was. When the stage went down it must have been pretty low overhead, pretty low ceiling, but you could see pullies and different mechanisms left and you could also go back and see where some of the dressing rooms were. Nothing palatial, believe me, but what shows they put on there!
A lot of these encounters took a couple of hours and, with some people, even longer periods of time. But the impression that was left [by the Walt Disney visit] and the stories that were told lasted for generations. It's been sixty years yet people would talk about it as though it happened last week. I found that quite remarkable.
GREG: Since the film has been in limited theatrical release and more people have learned about this moment in cultural history, have you learned about any contemporary Hispanic performers? Have some artists come to realize or were they impacted by the fact that so much music came to this U.S. as a result of these efforts and that it has sort of grown from that?
TED: Well, like many things between the Americas, there is more awareness of that in Latin American than there is here. Like the huge popularity of songs like "Brazil," "Tico Tico" and "Solamente una vez." They're huge worldwide hits, but what might not be known is the fact that it was a Disney film that made it popular around the world.
Maybe you already know this from J.B.'s book, but the fascinating thing was that they did recording sessions in Rio during this trip but the miking of it wasn't satisfactory. Read more ›
Most Recent Customer Reviews
5.0 out of 5 stars
Mucho Bueno from Disney
There have been many key moments in the life and times of Walt Disney and his associates. Many of those pieces have much deeper stories than what we already know about them. Read more
Published 9 days ago by Zach S.
5.0 out of 5 stars
The uncut Saludos Amigos.
This DVD shows the travel of Walt Disney and his staff to South America in 1942, but the best is that contain THE ORIGINAL, UNCUT, FULL VERSION OF THE MOVIE "SALUDOS AMIGOS",... Read more
Published 17 days ago by A. Felipe Gonzalez Barroso
5.0 out of 5 stars
Fascinating documentary
A terrific documentary about Walt's South American trip, recommended for any fans of the films Saludos Amigos or The Three Caballeros.
Published 28 days ago by M. Flint
3.0 out of 5 stars
Interesting slice of the Walt Disney story
This follows the Walt Disney Company's trip through South America on F.D.R.'s "Good Neighbor Policy" tour to develop new films about the ABC countries. Read more
Published 3 months ago by M. Jackson
5.0 out of 5 stars
Rounds out an important chapter in Disney history
I'm thankful the creators of this film made this film. I read the book about the trip Mr. Disney and some of his staff made to Central and South America during the WWII years and I... Read more
Published 4 months ago by Daniel N. Aument
2.0 out of 5 stars
Disappointing
After viewing other titles in this series and greatly enjoying them. I found this one very disappointing. Too much skipping around
Published 5 months ago by David Hussman
5.0 out of 5 stars
a Disney documentary that stands with the finest
This film documents the most difficult time in Walt Disney's life in a fair and highly entertaining way. Read more
Published 6 months ago by Cerberus
5.0 out of 5 stars
Walt & El Grupo
Excellent travel story.
Set and staged as a Reality-Show, but without the negativity.
This is a great back-story for 'Saludos Amigos' and 'The Three Caballeros'. Read more
Set and staged as a Reality-Show, but without the negativity.
This is a great back-story for 'Saludos Amigos' and 'The Three Caballeros'. Read more
Published 6 months ago by Big-B
2.0 out of 5 stars
A Beautiful but Dull Travelogue with A Must-Have Bonus Feature
This is a beautiful film loaded with pictures, but it is rather dull. It's a travelogue of sorts that doesn't provide much insight into the personalities involved. Read more
Published 6 months ago by Jim
5.0 out of 5 stars
Wonderful! Fun and informative!
I learned so much about Walt Disney, his company, and this core group of employees. It was a very interesting and entertaining tale.
Published 8 months ago by Lori A. Lofgren
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