Tag Archives: An AMerican Tail

DTV Wonders An American Tail IV The Mystery of the Night Monster

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An American Tail Four was made shortly after the third one with the same cast, except for Mama’s Mousekewitz’s actor, the same writer and director.  It takes place after the third film and… Why is this an American Tail film?  Fievel is really out of character, and most of the other important things are done by a new character, Nellie Brie.  It has little to no talk of America.  I think this makes more sense as a Chipmunks movie or something new.

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Meh, too bright

 

Unlike the other films in the franchise I actually have a tad of nostalgia for this, since I saw the beginning until “Get the facts” on TV, and like Fievel’s American Tails I had no interest in more.  In fact it is why I did not borrow the first one from Blockbuter when mom asked if I wanted to see it.  My target demographic mind found this opening nightmare scene dull.  Well it begins with a not scary nightmare, with a thankfully good score from Michael Tavera.  Basically Fievel is a coward in this film, and that is one reason why being An American Tail film was a mistake.  At least Dekker is much better at this out of character Fievel than he was last film.  In the morning Papa talks about how great a reporter (Nellie Brie) is, and Fievel wonders how brave she is.  All Fievel has done after all is defeat a corrupt police chief, keep a clear head amidst booby traps in order to solve them, which these same people made a movie about.  Not to mention every thing he did in the first film.  Since Tanya works at the newspaper office Mama demands she takes Fievel to wok so Nellie Brie can convince him there is no monster.  She must do it as Tony got her the job (Tony is later established as being a nobody there), and Tony is Fievel’s friend. Did the makers pay attention to the third film where he eats with the entire family?

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The next few parts at least have some really good mouse world parts like them using a mail chute as a train, and I enjoy those.  It also has some music from the seventh The Land Before Time film, but getting to work takes up way too much of a seventy-five minute film.  Fievel briefly meets Nellie Brie due to some more out of character cowardice, which does not really affect the story anyway.  They meet Tanya’s boss whose contributions to the plot are also completely unimportant besides assigning Brie to work with Fievel, because he wants to bug her, renaming Fievel “Rembrandt,” and making headlines that make the whole town scared, since apparently everyone is seeing the night monster.  After that the boss repeatedly shows up for useless scenes that go nowhere.  This leads to Tony and Tiger trying to sell papers, Fievel is wondering why he got a new name in three out of four movies, Tanya is now always super embarrassed, and  hordes of extras working at the sweatshop in Three are now working at the newspaper, so I guess the strike did not work so well, and Brie seems to love insulting people.  Also the mice built a wall that successfully keeps the cats out.

 

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I guess he was less controversial in the mouse world

 

I plan for that to be y first and last Trump joke.  Brie sings to Fievel “Get the facts.”  She is voiced by Susan Boyd known for her singing and for acting…  She has no acting experience except for extras, and she almost always sounds the same.  Dekker is outperforming her big time.  The writer Len Uhley also wrote The Land Before Time 7 and he takes many shots at this film there, so I think that supports my theory that this was not a fun film to make.  The song keeps saying that knowing details about something makes it less scary, but based on my study of demos that is really false.  Also the song is bad, and repeats the main lyrics way too much.  This is contradicted with “Beyond the Mysterious Beyond” where they instead sang about how mystery makes life more interesting, that answers raise more questions, and we must accept not knowing many things.  The screenwriter is debunking the nonsense for me, thanks Uhley.  They interview a few people whose homes were destroyed by the monster, and many mice have been kidnapped.

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A poodle named Madame Mousey is a fortune teller who offers some sort of essence that will keep the monster away.  I guess the writers wanted their own Scooby-Doo film.  When asked why Brie does not believe in the monster she responds with, “Not unless I see it with my own eyes.”  How will Uhley counter this in Land Before Time 7?

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“If they don’t see it with their own eyes it doesn’t exist.   What limited thinking.”  I now like that film even more.  The show then cuts to one of Fievel’s nightmares about Yasha dying, but the problem is later scenes will feel like a fake nightmare instead of real.  At the next attack Fievel and Brie find a cat’s hairball.

Tail 7.pngIt is then revealed that Mousey is working with cats as a Scooby-doo scam to get rich, while the cats sell the mice to other cats with a mechanical monster (big surprise as the trailers ruined that part).   For “Mystery” everything is wrapped up less than thirty minutes into the film.  Well Mousey is a poor villain.  They repeat the same gags with her like characters pronouncing her name as “Mouse-ey,” being mistaken for a rat, or her getting very angry only to calm down before talking.  At least somewhat smart green cat comes off as competent and fairly murderous making him by far the best villain.  Mousey shows her dominance with a villain song.  fortunately Michelle Brourman and Amanda McBroom wrote the songs, but unfortunately this is just dull, and hard to understand.  She wants to remove Brie, and instead of just using the monster on her at night she leads a direct trail back to herself by telling Tony a spot, and that leads to Brie and Fievel going there.  Well Tony is mad about not being assigned to reporting it (partly as he is not a reporter), and save Fievel and Brie from the monster by dropping a chandelier on it.  They also find a jewel from Mousey’s collar.  Tony hopes they have more chandeliers in the future, as the others note a terrible smell.

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This leads them to the dog park from some sort of thing to do with contacts, and five and a half minutes of screen time later they find out that Mousey is a lost poodle, which… somehow proves she is behind it.  In the process they meet some dogs, and have a song, “Who Will.” Best of the movie, but way too basic in lyrics.  It does however, stick out as the only song of the franchise where Tony sings. The lost dog poster means nothing until they connect the dots based on Tony’s tip coming from Mousey.  The newspaper writes that she is behind it, and leaves the papers vulnerable except for the boss, Brie, and Tanya who stay late to work.  Meanwhile hordes of captured mice try to escape, as for some reason they have not been sold yet.   With machine broken green cat wants to rebel against Mousey (good idea), but she says she is needed to fix the machine, and she will then destroy the papers.  Also Brie is talked like she is super famous, when reporters are not famous.

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They first kidnap Fievel’s family, despite it doing nothing to help them.  Seriously if they did not then Fievel would have gone to bed, and the villains would have won.  Way to ruin your own plans by being pointlessly evil.  Well Tiger and Tony show up, and they decide that Tiger has to get the dogs to help, as in a surprisingly hard to follow storyline they want to catch Mousey to get her back to her owner.  Meanwhile Papa needlessly angers his captures making them want to eat him.  Tony and Fievel arrive, but Fievel insists the best thing to do is get Brie despite her showing no skill at quick thinking, while Fievel and Tony have.  Even worse there was no need to take up that much time, because Tony then just gets everyone rescued all by himself.   He does it with enough water that all of the mice should be very dead.  When Fievel gets back to the newspapers Mousey, and a few cats with the machine destroy the papers and capture the late workers, but Fievel electrifies Mousey, and then a  chase scene ensues.  Thanks to Fievel distracting it Brie is able to destroy the monster by using the mailing tube to shoot some machine parts at it.  With Fievel actually acting like Fievel he easily defeats the only serious villain, the green cat, and the dogs show up thanks to Tiger (a little late there Cavalry) finishing the cats and Mousey off.  Shouldn’t the mice be worried about dogs, which kill mice being in their wall?  A dull brief scene at the beach ends the film.

The songs are bad, the plot is too Scooby-Doo, the mystery is not a mystery, the lesson about bravery is extremely basic, and this might be worse than The Land Before Time 13.  It lacks any of its complex moral attempt and scattered but some good scenes.  It has inferior humor, but it gets its major attacks on its own franchise out of the way quickly, and it is overall better acted.  It also has more complexity in its plot, and it is actually pretty fun to make fun of this, so I think it is a little better.  It is certainly not as bad as The Lion King 2, but certainly bad.  This was a poor way for a franchise to end, and Universal Cartoon Studios quickly went back to the Land Before Time, and a new franchise, Balto. 

 

 

 

 

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DTV Wonders: An American Tail III


 

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First thing is this could be more accurately titled An American Tail I 1/2, as they made the very understandable choice to be a sequel in New York instead of the Wild West.  Fievel’s American Tails was a TV show that came out to directly after the second movie, and it stank.  Also the first film made considerable more money despite four years of inflation and renewed interest in animation, so it takes place in New York and is modeled after the first film.   Both the franchises’s wiki and TV tropes says this movie recons the second film, but that is false.  The second movie started with Fievel dreaming of being in the Wild West and being a famous gunfighter, which is way more accurate to the opening dream of the second film than the actual second movie.  That gives it a connection to both films.  It is directed by Larry Latham (nothing else important) and written by Len Uhley (writer of The Land Before Time Seven).

I heard (with an unreliable source) that The Land Before Time Six The Secret of Saurus Rock was supposed to be the last Land Before Time film, and both an American Tail DTV sequels came out with two Alvin and Chipmunk movies cam out within two years.  Considering they went back to The Land Before Time so quickly after these came out I think that production liked making Land Before Time films more.

The commercials are very similar to those in The Land Before Time Six only it has one for October Sky.

Tail 3.png                                 The first song is “We Live in Manhattan,” and this song actually really sticks out for the studio.  Unlike The Land Before Time, An American Tail is a musical, in fact this film got accused of using too few songs.  Also this is a crowd song, and I just counted that four of the forty-four songs in The Land Before Time franchise are crowd songs.  The song itself is really forgettable unless the viewer already knows the plot, as they sing about how happy they are to work, which will be contradicted later.  When it cuts to the family more good news, they got most of the actors back.  Papa, Mama, Tony, and Tiger all have heir actors back leaving Fievel and Tanya as the only exceptions.  This is Tanya’s third actress, so it is not like that is new.  For Fievel they cast Littlefoot’s singing voice from the fifth film and full voice all the way to Nine, Thomas Dekker.  That does not make it a good choice, as Littlefoot like Dekker’s voice is less assertive and more meek.  Ironically Dekker’s Littlefoot in the sixth film is more like Fievel than he is in the next An American Tail film.  The basic plot is first revealed that the working conditions are too hard (they had fourteen hour days then), and Papa is overworked along with most of the blue collar workers.  This scene mainly works due to how it obviously does take a toll on the family, yet they are still proud Americans due to America’s many chances to get ahead.

I love America.

If someone is not an American I think they will not care for this much mostly because it is very American dream focused and loses the parts from the first film about being foreign immigrants.  Also I keep unintentionally playing the game of guessing whether the music is from the first film (“Somewhere out there” plays frequently) or which Land Before Time movie.         

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Fievel, Tony, and Tiger then find a treasure map (and remind me that the old subways were powered by a fan).  Some fans have wondered why Tony is hanging out with little Fievel, but I always just presumed that saving the mouse population of a city brings very good friendship bonds.  They bring it to Dr. Dithering who realizes it is from the Delaware Indians.  His assistant is a fat mouse named Scuttlebutt.  Why do you love names that are so hard to spell Uhley?  First Pterano and Sierra and now these two.  Scuttlebutt’s grumpiness is pretty funny, and they decide to go on a treasure hunt for whatever is down there, but Tony quickly realizes he is late for work, and the main villains, his and Papa’s bosses, are introduced.

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The lesser villains want to fire him, but the main one (middle of course) wants to keep him around thinking it will make him the definition of punctual if he gets to keep him job.  Yes robber barons are the villains, and they are mice, not cats.  Earlier mice were immigrants and cats were established Americans, so I guess with the old rich gone thanks to Fievel these guys took over.   It is later established they also took a week’s pay from him, and then shown that they own the police and Scuttlebutt.  Also they have an overly long scene about getting Mama to let Fievel go look for the treasure.  Thus Tiger, Fievel, Dithering, Tony, and Scuttlebutt are going.

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No wonder he hates his boss if that is what he constantly has to do.  At least Fievel constantly encourages him.  They then get stuck in an exciting and comedic booby trap scene, which is probably too cartoony.  The best part is Scuttlebutt giving his boss all the supplies and leaving until he realizes the supplies are a great shield.

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They eventually get through and find an underground Indian civilization.  Based on the pictures I just saw of the Delaware tribes these clothes look accurate except for the feathers.  The chief discusses how they hid to avoid the upper worlds greed from the Europeans, and in a nice touch Scuttlebutt yawns throughout it.  One criticized aspect is that Tony was falling in love with Bridget in one, and in a cameo he was showed married to her in two.  In this film he flirts with Cholena, the chief’s daughter.  I explain this as he temporarily broke up with Bridget, and then they got back together.  The Indians give them a feast, but Scuttlebutt is caught stealing food.  At least steal potentially valuable items you idiot thief.  Oddly if Scutlebutt was not prone to dumb mistakes and pushed around so much he could be a great villain.  This leaves Fievel turning on his American ways considering them to be centered on greed.  Cholena counters that the American Dream is great despite some not “taking it to heart.”  The theme is advancing your own life is good, as long as it does not get in the way of others living their life.  It is very basic to me, but definitely something everyone I know has problems with acting on.

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This leads to the film’s only remembered song “Anywhere in your Dreams.”  It is better than any from two, but inferior to all songs from one.  It does have very good visuals, and the singing voices are very good.  Fievel and Cholena come up with a plan for Cholena to come with them to the surface to see if it is kind enough for the Delaware tribe to return.  Unfortunately Fievel tempts fate by asking “besides, what can happen?”

First problem is the main villains now have a complete monopoly, and when a worker speaks out against the new longer hours he is beaten by the police.  This movie seems to have too much plot.  Papa speaks against revolting and villains somehow interpret it as being against them.  Yeah, how did these idiots get a monopoly?  Well after showing Cholena enjoying New York dressed in some of Tanya’s clothes the main five villains are discussing plans as Scuttlebutt (clearly their second most useful member) told them about the Indians, but the police chief is certain his little army would beat them if they ever invaded, but absolute main villain has a plan that is actually good.  Make everyone think they are being invaded, and they will be set up as the heroes who discovered and stopped it.  Again teaching children that people in authority are likely evil is a good message they have to learn eventually, but the first film already taught it.  They then sing a poor villain song.  William Anderson wrote the first song as well, and he did not do a good job.  They tell the workers about in an invasion from within New York, a young female spying on them, and traitors in their midst.  They also appeal to it being their American duty, and the workers are off.  The police lead them and hand out weapons.  They also go after Papa, as Scuttlebutt told them he is harboring Cholena.

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Well Fievel got his escape ability from somewhere, and Papa gets away.

Dr. Dithering is captured and surprised when Scuttlebutt does not help him.  Next time carry some of the load you bad boss.  Papa reunites with Mama and Tanya saying he will get help, and since help is not Gussie I assume she died between movies.  Cholena is caught, but Fievel and Tony save her by… Smashing a window on the cops.  More on that later.

Scuttlebutt and the Robber Barons put Dithering on a trial to be made guilty, but Tiger (the help) saves him, and blows away members of the mob.  This could be seen as contradicting Tiger’s cowardice in Two, except standing up to cats is no where near as heroic as standing up to mice, and Two just made that character flaw up anyway.  The only problem is Tiger barks at first, which is just a terrible continuity nod.  Papa then turns the workers on the Robber Barons, by pointing out how they have always been their enemies and are now trying to kill dithering.  After escaping the villains send the police to destroy the tribe worried they will side with the workers in an uprising, and Scuttlebutt is forced with them as a guide, and Scuttlebutt and the chief are very funny together.

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Fievel, Tanya, and Tony are taking Cholena back underground, and Fievel always being the hero finds out how to skip the booby traps.  The police go though them, but all live.  These traps are nearly useless.  The chief is certain they will die, but through Fievel’s plan of throwing food at them the police all run off but the chief and Scuttlebutt who is being held back.  Despite sounding dumb the food is nearly as big as the mice are, they are worn out, and they do not know the Indians have no normal weapons.  New plan is Fievel, Tony, and Tanya will blow up the pathway, as the Indians can still return in a future date with other secret routes.  They have little Fievel, nearly adult Tony, and in between their ages Tanya, so naturally little Fievel is given the job of using the match.  Well, Scuttlebutt and the chief show up.  Scuttlebutt is overweight and weak, while the chief is incredibly muscular so naturally Tanya and Tony double team the non threat leaving Fievel to face the powerhouse.  It is no harder than facing Warren in the first film.  In a fine fight scene Fievel beats him hard enough to regain the match and throw it at the fuse presumably killing the chief and Scuttlebutt in the explosion, which nearly kills Fievel.  A universal workers’ strike organized by Papa and Tiger taking over as police ruin the Robber Baron’s power.

This is too comedic of a tone for its dark plot, but at least it has some good comedy and a child friendly lesson on the good and bad of the American dream and economics that only has boring parts in the beginning along with a complex plot that always has something going at multiple angles.  It is not as good as The Land Before Time II.  It has inferior designs due to no dinosaurs and well inferior songs than what The Land Before Time franchise had been giving.  I think it is around the quality of the eighth film in the series.  On the bright side it does not feel like a Disney, but instead a Bluth like Universal Cartoon Studios film helping the studio to have an identity beyond The Land Before Time.

 

 

 

 

 

 

 

 

 

Why An American Tail is Great

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Over a year ago I praised this film.  I recently have been having trouble really enjoying movies, but then I rewatched this as I do every late Winter, and I had the best movie watching experience since at least October when I watched Wreck It Ralph.  I have known for years this film has multiple flaws on paper such as no clear climax, potentially too much focus on the main character, and being very miserable at times.  I still love this movie partly for these reasons.

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I have heard about this film having ending fatigue, due to having a climax with the Mouse of Minsk and Fievel’s family finding him.  Partly because this feels really rare for my favorite films I give it a pass due to it feeling different, but I also love a film’s climax.  I tend to support making sure the greatest tension is at the end, and that is how this film still works.  While the most lives are at stake in the villain defeat, it is really Fievel dealing with a danger made greater by the separation instead of  hi family.  It also shows makes the later events more sad that they follow such a victorious scene, as that does not solve the main character’s main problem.

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One thing that is a matter of opinion is how many main characters are needed.  Traditionally Disney has mostly used the main character very little and instead focused on the villain and side characters, a system its fans love, and people like me hate.  Illumination does it as well.  Pixar puts its focus on two main characters, and Don Bluth puts the main focus on one character (this film, Secret of Nimh, and Bartok the Magnificent are probably the best examples).  This means that viewers who dislike Fievel will have a hard time enjoying this.  I think he carried the movie brilliantly.  He always fun to watch and listen.   While I have no nostalgia for this film having not seen it until I was sixteen I certainly found his issue (at the film’s end) of whether his family really cared about him very relatable, and like my own troubles very sad.  His main heroic qualities are creativity and  determination (common for Bluth’s heroes).  He finds plans where everyone else has given up and regularly deals with the side characters failing him.

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One part I really enjoy that is rarely mentioned is the wake.  It is for a dead mouse named “Mickey.”  I consider a funny take that at Disney who was going through a big dark age at the time.

 

 

 

Contested Sequels: An American Tail vs Fievel Goes West

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Vs

This a really contested sequel.  It seems all animation fans love one more…

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Not necessarily “one” as in first film.

Since many enjoy one or two based on nostalgia I want to start by saying I have no nostalgia for either film.  I first saw two, while fifteen and one while sixteen.  My only nostalgia for the An American Tail franchise is three episodes of Fievel’s American Tails and may trailers.  When I was thirteen I became a huge animation fan with Don Bluth as my favorite animator.  An American Tail is probably his second most well-known film and  I really wanted to see it.  I looked for it for years in thrift stores and online.  I found the sequel and I thought it was a poor film.  I finally found the first one on a website that only allowed me to watch fifteen minutes a day and I still loved it.  I later got the movie and it remains a favorite that I watch every February, while “Fievel Goes West” barely gets watched.  Despite being in my opinion the inferior film it may very well have qualities superior to the original, but they just do not work for me.  The first one is Don Bluth, but the second one is more like a Disney film.

There is the history argument of how ground breaking each film was and without a doubt the first film easily wins here.  Before “An American Tail” animation was in the dark ages.  Very little care went into them and very few made money.  The producer of both films, Steven Spielberg, was having recent troubles, and “An American Tail” ended both problems.  It brought Spielberg back on top and started the renaissance age of animation.  “Fievel Goes West” was the first film made by Amblination.  Only three were made, but the remnants helped form Dreamworks.  Of course Amblination was made from the remnants of Bluth leaving Spielberg, which would mean the original is almost as responsible for Dreamworks as the sequel.

The opening to one makes the crucial credits mistake of misspelling Fievel as “Feivel.”  Still, it has a much better score in the beginning.  It gives really nice animation.  It then begins the action by both describing the American dream and showing the horrors the Mouskowitz are trying to escape.  The beginning of II is more about just showing the West.  The main theme is the same as “Bartok, the Magnificent” that there is a hero in you.  I really do not see that developed.  In one I very much see the theme that despite its flaws America offers the potential to change your life.

Both films offer an early battle and here II is superior with the music.  They use a modified version of the main theme that goes wonderful with an action scene.  One has a mood breaking train sound effect, but one still has the better opening action scene.

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is much more intimidating than An American Tail

Granted, the difference is not by much.  One mostly has a better scene due to a much bigger sense of fear and a better Fievel.

Fievel was redesigned and it really hurt the second one.

 

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In II he was made to appear less vulnerable and older.  Since the first one shows Fievel being very heroic it is reasonable to think he would be like that later.  The problem is he gets himself into trouble more often in the second one and is far less successful in being a hero, which hurt the moral of the hero inside you.  Even worse is Philip Glasser’s changing voice could not imitate its previous great performance.  In the first one he comes off as heroic and capable of getting out of trouble.  In II he comes off as an action survivor thanks to others saving him.  From one he is one of my favorite protagonists, but it did not carry over.

One reason for Fievel’s decreased role is the film was disneyfied.  Don Bluth puts the main focus on the hero.  Disney puts the main focus on the villain and side characters.  It comes down to opinion and type of story which one is better, but I almost always prefer focusing on a wonderful protagonist.  II is more of a Disney film than a Bluth film (Bluth did not direct it), which I am sure is a major reason for the broken base.  Tiger is way more of the main hero than Feivel here.  Dom DeLuise gives the best performance of the sequel. The problem is his lines are really bad filler mostly.  The chases he gets in get really old before they even begin.  At least he offers some good jokes and scenes.  Wiley Burp is a horrible name.  It sounds like something a Junior high student will make up.  His whole fandom is based on being voiced by Jimmy Stewart and nothing else.  Shouldn’t he have had a planned replacement already?  Tanya gets a bigger role, which seems to be furry fan service.  Mama and Papa are so much dumber, less caring, and less funny i the sequel.  Mama went from a dead pan snarker to the miserable stereotypical mother.  Papa was an optimistic but grief stricken dad to a straw optimist.  In the first one I loved or really enjoyed every side character and they all had completely different roles.  In II I liked Tiger and found everyone else to be bland.

With their increased focus on the villain II should have an advantage there.  On paper Cat R. Waul is better than Warren T. Rat.  He is smarter, has a more complex plan, he has a better voice actor, better actor gave a great performance, he has a more menacing sidekick.  His sidekick, the tarantula is actually a better villain.  On screen Warre is better.  He is far more threatening.  With Cat R. Waul I doubt he would hurt a fly, mostly because he prefers to not kill anyone personally.  Warren is also more interested in money than killing, but he always comes off as more murderous and optimistic about future success.  He also has a much better plan.

Cat R. Waul wants to use mice for their labor.  The way to do that is to clean the big machines or something.  Instead they are shown struggling with a job that a cat solves in literally three seconds.  I was actually fine with the mouse burgers plot since badly worded plans happen, but it is still a minor problem.  Warren I better at making a believable plan and being a more relatable villain, the oppressive upper class who only want to make money.  Cat R. Waul is still the third best part of II.

The best part of II s its climax.  It is fun and even Miss Kitty works in it.  I liked the slingshots.  Fievel also finally got to do something notably important.  Still the climax in one is leaps and bounds better.  The part with the Great Mouse of Minsk is wonderfully animated.

The songs in An American Tail are my favorite in any musical.  Each one is better than the last, and they add to the story and characters.  “No Cats n America” further ads to why the mice are so scared of cats by focusing on the sadness (earlier scenes focused on the horror).  “Never Say Never” (besides being ripped off by Justin Bieber) is very important to letting the characters get over a sad time and doing the same with the audience.  It also stays in the head and ads hope later.  Why is “Somewhere out There” so great?  It does not try to sound pretty, but true.  The characters do not change their voices.  Besides that it is wonderfully written and fits untrained singers.  “We’re a Duo” is just wonderful.  It really helps with the symbolic message of the cats being the oppressive upper-class to the mice’s immigrants showing how both are needed.  Also to help is by then it is so great to see Fievel finally find a friend who does not get distracted from helping him (Tony was mostly useful later). The final ingredient was Tiger.  He was instantly likable. It is also made even better by the sequel, which is to Fievel Goes West‘s credit.

I never understood the love of “Dreams to Dreams.”  Of the flagship songs from all four movies it is the worst.  It sounds like it was made not sell rather than add to a story that sells, like Disney films typically make.  Her ice is way too focused on sounding pretty rather than getting emotion out.  Miss Kitty’s song is something I always want to fast-forward through.  “At Least ay out West” is a really good song, but overly loud for my tastes even for a crowd song.

I see why some people love the second one.  It offers several things to like for Disney fans and nothing is notably bad to distract from it.  It still cannot compete with the first film.  The first films a wonderful protagonist, my favorite songs from a musical, wonderful animation, a threatening villain, and a wonderful moral both literally and symbolically.