“My only true love, darling,” she tells Anita re: furs. The pairs fall in love and settle down together in a neat row home near Regents Park (with a housekeeper known as “Nanny”), and it’s not long before Perdita gives birth to puppies: fifteen.īut when the puppies are born in the wintertime, Anita is visited by an old acquaintance, Cruella de Vil (incomparably voiced by Betty Lou Gerson), who attempts to buy the puppies to have their skins made into fur coats. The film is set in London in 1958, and tells the story of an affable dog named Pongo (voiced by Rod Taylor) who wants to start a family, and so concocts a plan to set up his human, a musician named Roger Radcliffe, with a young woman named Anita, who (more relevant to Pongo’s interests) just happens to own a beautiful female dalmatian named Perdita. If you have seen it (or even if you haven’t) you probably know the gist, but here’s a deeper dive. One Hundred and One Dalmatians (which IS a crime film) is a timeless joy, and an aesthetic marvel. All I can say about it is that I’ve noticed that, in preparation for or perhaps inspired by its release, many have taken to watching or rewatching Disney’s original 1961 film. I probably won’t see the new film (simply because I’m not very interested in Disney’s live-action remakes and such), but I’m not writing this to knock it. I haven’t seen this new film, Cruella, which stars Emma Stone and sets itself up as a pseudo-prequel to Disney’s live-action 101 Dalmatians film from 1996, which starred Glenn Close as the diabolical, piebald, puppy-stealing termagant. As I type this, a new film has been released which offers a backstory into the motivations of the Disney villainess Cruella de Vil, a character who needs no introduction (or even, some might say, explanation) but has been given one anyway.
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