By the time the 1990s rolled around, Mickey Mouse’s media presence had long been stuffed in the nostalgic box. His last regular theatrical short, The Simple Things, was released in 1953. He did return in 1983 in his delightful version of Dickens’ The Christmas Carol playing Bob Cratchit. Outside of those shorts, The Mickey Mouse Club reruns, and occasional novelty stabs (Disco Mickey!), he was mostly known for his role as maestro of the Disney Parks. Granted, it was a prestigious role but a limited one that restricted his character to a perpetual happy-go-lucky band leader who ran the show while his colorful co-stars stole the show.
But somewhere the Disney Company must have realized that
they were letting their icon fade away. Because the late 1980s witnessed a rash
of Mickey Mouse related projects. He appeared in a memorable cameo with rival
Bugs Bunny in the classic hybrid film Who
Framed Roger Rabbit. Notably, Mickey reverts back to his mischievous personality
of early shorts. He willingly participates with Bugs in playing a prank on a free-falling
Eddie Valiant. Mickey’s chuckle, usually reassuring, sounds mocking as Valiant
becoming a victim.
The 1990 short, The
Prince and the Pauper featured Mickey in a dual role. Based off the famous
Mark Twain story, both Mickey and his doppelganger the Prince provide excellent
examples of Mickey’s character. Mickey (as the pauper) is good-hearted and
determined. Repeatedly bullied and financially insolvent, he keeps his spirits
high as he encounters every challenge. The Prince is fun loving and irreverent
referencing Mickey’s utero status. No sense of responsibility is had until the
end of the short. Mickey’s three dimensional personality and history is broken
into two distinct characters with great success.
But the animated arena wasn’t the only area where old school
Mickey returned. Disney Comics launched in 1990 and along with it the Mickey Mouse Adventures line. From the very
first cover (pictured below), Mickey’s adventurous side was emphasized. This
was no bourgeois Mouse; Mickey was ready and willing to engage in action.
Instead of wanting to be left alone and reluctantly engaging in action, Mickey willingly
confronted it for 18 issues. He was the 1930s Gottfredson Mickey returned with
a modern design.
I recently found the entire line for sale on eBay and paid a mere $24 for the whole collection. I consider it the best deal since the Dutch purchased Manhattan (historical joke #1 of the blog. Expect more). Of course, the English (Joke #2) and then the Muppets took it. Having read through the entire series, I consider it a highlight among Mickey’s stories but with some caveats which will be explored.
But enough about the entire line. Let’s start with the first
story in the first issue; The Phantom
Gondolier written by Michael T. Gilbert. (Author note: I will be only
reviewing the cover story in each issue).
Firstly, let’s consider the title. Right off the bat, it
immediately draws a connection to archrival The Phantom Blot. A heady
comparison indeed. The Blot has become one of Mickey’s greatest adversities. The
Gondolier, on the other hand according to INDUCKS, has not reappeared since
this tale. Perhaps, someone needs to wear a necklace?
The story itself doesn’t waste time getting into the action
which isn’t surprising considering the narrative only has 12 pages. There is no
time for Bill Walsh or Scarpa meandering. But there is a glorious shot of
Venice. That’s right, kiddies. We are outside Mouseton. Mickey isn’t restricted
to solving cases for an inept Chief O’Hara. Right on the first page, we have
Mickey worried about the cats trying to swipe the Italian sausage but this isn’t
a peevish Murry era Mickey. He gathers himself while paying for flowers and
dropping a fourth wall glance. This Mickey is mature enough for romance but
young enough to be haughty.
Quickly, Minnie puts on the necklace, a large woman explains the tale of the Phantom Gondolier, and the ghost himself arrives to claim his bride. Within three pages, the action is already set up. The story doesn’t mess around.
Let’s chat about the villain himself. His design is exceptional.
Ghostly but with a touch of human. The mustache is a nice embellishment. His
whole gimmick of using music to lure his victims reminds one of the Pied Piper.
It is not the most original concept but it hits the right notes.
After Minnie is musically lured away, the entire backstory is revealed. Mickey has to rescue Minnie by midnight (because 1 am apparently is too mundane) and the lady, Signora Rosa Di Mousini (gotta love Disney comic names) explains that the Phantom Gondolier, once a great musician, gifted the necklace to her ancestor named Elizabeta.
And by magician, they mean real magic. An interesting take considering the supernatural was often debunked in classic Mickey tales. Before Scooby Doo, the Mouse was ousting hoax artists. But here, the supernatural is played straight.
Anyway, the father of her ancestor orders him arrested for daring to join the nobility (this is how revolutions are started, people). So the Gondolier thinks Minnie is Elizabeta despite Minnie being two feet shorter than the maiden in question. Minnie tries to tell the love-struck ghost he is wrong but his logic, “You wear the necklace I gave you. Therefore you are my Elizabeta even if you look different” prevents any chance of her walking away.
Mickey (having recently watched Indiana Jones and the Last Crusade seizes a boat and chases the ghost version of Dante across the canals.
The Gondolier decides to play his magic flute (risking a lawsuit from Mozart) and sends seaweed after the Mice. Mickey displaying his textbook cleverness turns the seaweed into a lasso to swipe Ghost Petrarch’s instrument away (this doesn’t happen if he plays a tuba). The Phantom jumps on the boat as the clock counts down to the final minute.
Mickey throws the flute straight into the water (90s Mickey is edgy), the clock strikes twelve (Cinderella heads home), the ghost fades away, and the necklace snaps off. Mickey decides to repeat his littering and chucks the necklace into the canal wagering that Di Mousini won’t mind and the whole story ends on a corny but funny joke.
The verdict? Well, props to the writer and editor for allowing the supernatural to exist. No cop-out. Mickey straight up dueled a ghost and won. That is how you launch a line. No Scratch Johnson behind an outfit. He vanquished the ethereal. Secondly, Mickey, as a character, rocked. He was bold, determined, and most importantly, he won because of his efforts. There was no lame luck or the villain tripping over his oar. Sure, the Gondolier isn’t the most dynamic character but he plays his role with a flourish. Besides, this whole tale is about establishing Mickey as a hero. It is a crackerjack start to the line.
Two Ears Up!
Next Up: Mickey and Goofy are in Egypt as a dastardly duo
steal the Sphinx.
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