Scene 10: A lesson in Rhythm and Weight Transfer
I love this scene by Frank Thomas. It’s got everything that makes animation so unique and appealing. Frank begins the shot with a wonderful moment of anticipation; Baloo’s body is curved and bent over as he build’s himself up before the action. Despite the twinned action, it feels natural and appropriate as his body does as much of the talking as his words do:
As he pops into action, you can feel both the weight and energy transfer elegantly from one hip to the other as the head weaves and guides the action, all in perfect application of the lead and follow principle. Watch the flow of change in the overall shapes as we view this in slow-motion:
I especially love the play with the hands where Baloo circulates them in tight loops, winding himself up and building energy as he hops up and down boxer-like before opening up and outwards into broader action. Notice the extension of the arm in between the circular movements and that wide opening gesture which lends great texture and variety to the overall scene, as can be seen here as we focus specifically on his paws:
scene 11: A lesson in story-telling poses
This section with Mowgli is perhaps the most entertaining bit of this sequence because it’s got so much character. And it’s told primarily with a fantastic selection poses — poses that tell you everything about the state of the man-cub. Enthusiastic and not to be outdone, he’s jumping up and down like popcorn in a kettle, all the while holding on to that serious face and displaying overdone athleticism. It’s so perfectly like a little boy wanting to be a man (or a big bear in this case) before he’s ready. The poses are playful, dynamic and show great compression and expansion (hint: look carefully at the relationships between the solids and flexibles in the body) — all the while maintaining a consistent character attitude as evidenced by the hunched shoulders and determined expression:
Scene 12: A lesson in Framing and Choreography
In this scene, we pull back out to a long shot to get a full sense of the relative position of the two characters. The size differential is important here, as you can see Mowgli “framed” under the arm of Baloo.
As the big bear circles around, you get a great sense of grounding the scene to its environment. The characters shift back and forth, side to side and across the frame. Watch how Baloo dictates the direction of movement as he pushes into the boy before circling around him. This gives dimension to the shot as Mowgli is forced to back up and adjust his footing away from the bear and the two end up overlapping each other in 2D space. At the end you’ll notice that the characters have switched sides in the frame, setting things up perfectly for the shot to come.
Stay tuned for Part 5, as we conclude our analysis of this excellent animated sequence by Frank and Ollie.