Vita di Walt Disney. Uomo, sognatore e genio

by Michael Barrier

Walt Disney (1901-1966) è stato uno delle più importanti forze creative del ventesimo secolo, un uomo che ha esercitato un'influenza duratura sull'arte del film d'animazione e sulla storia del business americano. Michael Barrier ne scrive una biografia che si allontana da quelle già pubblicate, per una descrizione di Walt Disney focalizzata sul lato personale, che parte dalla trasformazione da ragazzo nato e cresciuto in una fattoria del Midwest, a imprenditore di successo.

Genres: Biography, Nonfiction, Film, History, Business, Autobiography, Media Tie In

579 pages, Paperback

First published April 30, 2007

Reviews

[Starlak · Rating 2 out of 5]

Michael Barrier took a lot of well known information about Walt Disney and combined it with an equal amount of guessing and opinions - at least he didn't try to hide the fact that he was guessing. The author skipped from one year to another; at times I felt like I was reading random notes rather than a well written biography.

[Brian Daniel · Rating 4 out of 5]

I've read Gabler's definitive biography and the family-commissioned Bob Thomas biography and even though they were both great, I found myself enjoying this one the most. Given Barrier's obvious bent toward the history of animation and Disney's place in it, I didn't have the highest expectations. I am generally more interested in Walt's life than in the medium itself. But the fact is that Michael Barrier made me care. He made Walt's life through the lens of historical animation even more interesting. I'm not sure I would make this my first biographical endeavor into the life of one of the most influential people of the Twentieth Century. But I would recommend it as the second.

[L'aura]

I ventured into this book expecting to hate Walt Disney by the time I'd be finished with it--in fact, I was a bit scared I really would, and this is one of the reasons it took me forever to be done with it. I had just seen "Saving Mr. Banks", and I had seen the Mary Poppins bts features years before that, and needless to say the former glorified Mr. Disney and the latter was crowded with people who obviously adored him and spoke of him with tears in their eyes. Who can possibly believe a person can be so perfect? Where was the trick?
Well, I read this and I just liked Disney more. He was no saintly icon, granted, and of course he wouldn't be. And while Barrier doesn't seem to love him , the portrayal he gives of him is sympathetic enough for the reader to meet a flawed, pretty much human man. A shy one, even. Nobody likes a saintly icon. Am I supposed to hate Disney or dismiss him as a bad person because he was every inch business man, or because he was a Republican or he no longer dined with his wife by the time he was sixty? He was in love with his job. He made films he liked to watch himself, and it shows. What else can I want from him?
Still, I won't rate this book. It was a strange biography to read, I don't think Barrier even liked writing it. I found no interview to either of the Sherman brothers, which I found strange. I wasn't expecting to find the "Poppins" bts interviews transcripted here, but don't Disney actors matter? Don't the Shermans? As someone who saw "Banks", then, I'd also have expected something about the feud with Travers, who claimed Disney called her ungrateful. Travers was the perfect nemesis for Disney, someone he would have called a "snob" and wouldn't like sentiment and "a good cry" as he did. I think that section of his life would have been more interesting than Barrier's review of Poppins, to be honest.
In conclusion, I'd like to read another Disney bio before I make up my mind about this one.

[Mark Baker · Rating 4 out of 5]

I found this to be an interesting and balance biography of Walt Disney. The author played media critic a bit too much, which bothered me, but in the end I walked away with a clearer picture of a true American success story.

Read my full review at Carstairs Considers.

[Brent · Rating 5 out of 5]

Mike Barrier began this scholarship in his great fanzine, Funnyworld, which I was able to read in the 1970s. He uses his earlier interviews with the great animators under Disney to great effect here.
If you must read about Disney, read this book.
Highest recommendation.

[Farren]

An abridged version of Gabler’s authoritative bio, with a distinct editorial voice I found sometimes annoying but often insightful.

[Jack Herbert Christal Gattanella · Rating 4 out of 5]

"I only hope that we never lose sight of one thing... that it was started by a mouse." - (Walt Disney in a promotional video clip on one of the early 80's VHS tapes I used to watch when I was really little which told the "Story of Disney's origins" in five minutes, i.e. how he made Steamboat Willie, from how it would tell us, out of his garage)

I think if you come to this book about Walt Disney what you think about the man, whatever it is, should be put to the wayside. If you come to this book already convinced that he was a Jew-hating massive asshole who may or may not be frozen in carbonite just awaiting to be unlocked by Princess Leia (spoiler: he was cremated apparently... OR WAS HE?!) then you may be disappointed. And if you revere him as THE unflappable God of animation and innovation, put that aside too. This author Michael Barrier isn't interested in exploring any of that s**t, whether you believe it or not, and YET this is a very good read for the simple reason that it does explore Disney's contradictions.

Case in point, in the chapter called "Where am I Happy" there's this quote from Disney (this is kind of in regards to critics but I think it can apply elsewhere): "I am not a literary person. As far as realism is concerned, you can find dirt anyplace you look for it. I'm one of those optimists. There's always a rainbow. The great masses like happy endings. If you can pull a tear out of them, they'll remember your picture... Some directors in Hollywood are embarrassed by a sentimentality. As for me, I like a good cry." Look at that first sentence, 'I am not a literary person.' Hmm.

And then on the same page there's this quote from someone interviewing Disney in a separate piece: "While the public thinks of Disney as playing with trains and exchanging pleasantries with juvenile alumni of the now-defunct Mickey Mouse Club, he actually is one of the most widely read, most widely traveled, most articulate men in Hollywood... at lunch... he spouted rustic witticisms with the aplomb of a modern-day Bob Burns. But every once in a while his eyes would narrow, the rural twang would disappear from his voice and he'd discuss financial projections for 1962, the modern art of Picasso and Diego Rivera, and Freudian psychiatry. In a few moments, however, he'd catch himself and revert to homespun stories."

This is the fascination with the life of Disney and how he made his films and parks and everything else. And the other good thing is that the author is not someone who is kissing Disney's ass (past pushing aside any of the things I mentioned at the start, again if you're looking for like hardcore gossip and rumors, whether true or not, I'm sure there's like 5 other books for that). Notice the title is THE ANIMATED MAN, and this is an author who has a magazine called Funnyworld all about animation and comic books and wrote a separate book about Hollywood animations. So as someone who is clearly an afficonado of that world, as well as a good critic of films and art in general, this is someone who won't mince words and won't cut corners. It makes for a read that if you don't really know much concrete stuff about Disney it paints a fuller picture than anyone could reasonable ask for.

It's certainly typical in its structure, from rural upbringings on a farm and then Kansas City in the early part of the 20th century on to Hollywood and his start-up of drawing (with good ol' Ub Iwerks!) and on to the Oswals and Mickey Mouses and Silly Symphonies and what Barrier kind of considers his masterwork Snow White (and, possibly, I might as well, though Dumbo is a more personal favorite, oddly enough he's dismissive a bit much of Pinocchio or whatever), we see someone who is fairly, um, 'pure' in his aims with storytelling. This is a Disney who comes from basic, moral Mid-Western "All-American" roots. I put that in quotes since being American is really a thousand different things, but I mean in the sense that often is painted as the "good ol' days by Conservatives (and, by the way, Disney was certainly one of those and take that for what you will).

A lot of what makes the book work is not so much the academic writing - this has a TON of notations, to the point where the end notes is longer than some of the chapters, which is fine, he did the research good for him - but the portrait that the author keeps coming back to of a man who was both extremely complex and yet wanted to be ultimately free from guile, or tap into that with his audiences. This doesn't mean that his own uber-creative nature made things complicated by the fact that this was the age of the movie mogul when he was the one in charge (in case you don't care much for Sleeping Beauty, and I'm glad to see an author articulate so well, better than I could, why it doesn't work as well as it should, it's due to Disney's OCD on Disneyland and live action taking him away from his original passion).

What it does mean though is that someone who started out without much and made something of himself, genuinely so, whatever you think of him, and then became a, well, Conservative, up-tight, things-should-be-pure-and-innocent-and-oh-look-at-the-silly-doggy-and-mechanical-train-and-birdie is a compelling character for a story that spans decades and involves shaping the popular culture and even consciousness of parts of the public. I think if I had a general criticism it's that I was more engaged by the sections and chapters on the making of the cartoons and the process involved with the animated films than with the stories involved in making Disneyland (not that it isn't interesting, it actually gets more involving as the park is completed and faces its, uh, problems).

I should also note that the section on his vision for EPCOT is strangely riveting, if only because near the end of his life (not that he knew it would be, albeit the cigarettes should've been an indicator), he wanted to put forward as his follow-up to Disneyland as a.... vaguely if not outright representation of a totalitarian society where a city would be under total control without slums or ghettos and so many other things that just make me want to seek out the promotional films that Disney was in for the potential investors just weeks before his diagnosis of cancer and death. I mean, wow!

So if you want to know more about animation and about Disney in general this is a good way to start. Again, if you have notions about him already I don't think this will change it, and if anything you may be mad it's not addressed (it comes up literally in the last two pages). As a straightforward, as many-warts-and-all-as-possible biography of a very smart and clever and, frankly, difficult person, this is one to seek out.

[Jude Walko · Rating 4 out of 5]

Like many geniuses of their time and field, Walt seemed driven and singularly obsessed with perfection. A lot of creatives, myself included, can relate to this.

But this always doesn't make for smooth business decisions or relationships. Walt, often followed his passions, even against the advice of the almighty dollar. That's a double edged sword. On one hand, we wouldn't have Disneyland or classics like Bambi, but on the other hand, it drove his company to the brink of bankruptcy on more than one occasion. He too, often would get bored with projects halfway though their completion, making it difficult for them to see the finish line, especially since he had final say on EVERYTHING!

This book, although something feels a tad bit archaic about it, is a behind-the-curtain peek at animation's most beloved proponent, and a very good way to get to know Walt, his ideas, and his modis operandi a little more intricately.

Walt's management style also made for hard adjustments in relationships with employees and at times even family members. He was a visionary, no one denies that, even his biggest supporters / critics like his brother Roy and wife Lillian. Regardless his imagineering and perseverance have made an indelible mark on pop culture as we know it. Despite the idiosyncrasies and sometimes faults of the man, the Legend of Walt Disney will live on forever.

[Dalton Pittenger · Rating 2 out of 5]

Not a bad Disney bio, but it doesn’t do anything specifically better than any other. There are books that are more favorable looks at Walt and there are books that are more critical. Being down-the-middle isn’t enough to make this one worthwhile. The author criticizes other books for writing about the aspects of Disney that they find most interesting but that’s also EXACTLY what this book is guilty of. There are lots of legitimate criticisms of Walt Disney but many of them are skipped over in favor of lesser offenses.

The only thing Barrier brings to the table is his CinemaSins style takedown of Mary Poppins and outwardly stated opinions on other Disney films, but none of this is all that enjoyable to read or valuable.

All in all this is an adequate piece to add to other writings on Walt Disney, but, if, you’re going to read only one book about Walt, I can think of about 5 more that I would recommend before this.

[Dianne Lipe · Rating 2 out of 5]

I really enjoy reading about Walt Disney and the Walt Disney Company and have read 14 Walt Disney biographies alone. This one, however, I found to be awfully dry--lots of technical and financial information. The author should be commended for all his research. There were 50 pages of notes at the end.

[Amanecia · Rating 5 out of 5]

The biography of Walt Disney

[Bailey]

Abandoning because I guess I didn’t want THAT much information. It felt like a chore to read

[Shereen · Rating 1 out of 5]

I was disappointed by the author, I know that Walt’s life is more interesting then what this book is talking about. I’m sorry but it’s a super boring book and not well written.

[Erika Pomella · Rating 3 out of 5]

Molto capitoli sono estremamente dispersivi. Si passa da un argomento un altro a distanza di un paio di righe, per poi tornare all'argomento di partenza.

[Gijs Grob · Rating 4 out of 5]

'The Animated Man: A Life of Walt Disney' is animation historian Michael Barrier's attempt to grasp Disney's life and persona. Barrier's focus is on facts, shunning everything remotely hagiographic, and on animation, especially that of the Disney studio's golden age (1930-1940). This means that the first chapter, on Disney's youth, is dense with facts, to the brink of the unreadable. It also means that the chapters on Disney's golden age are the most elaborate and the most interesting. Unfortunately, Barrier sometimes drifts away from his main subject, especially when venturing into the careers of top animators Vladimir Tytla and Art Babbitt. Moreover, like in his book 'Hollywood Cartoons: American Animation in Its Golden Age' Barrier's personal opinions on animation shine through all too clearly, hampering the text. It's clear that Barrier regards the 1940 Disney strike as a turning point, and he clearly loses interest afterwards. The later animated films are covered much less intense, with 'Lady and the Tramp' being hardly mentioned, at all. Barrier nevertheless follows Disney in his ventures into live action film, nature documentary, and of course theme parks. But he adds little to Thomas's book in this respect, except for extra criticism. In all, 'The Animated Man: A Life of Walt Disney' is far from the definitive Disney biography, but it's a welcome addition to the Disney biography list, especially because of its focus on facts and because of its great analysis of the Disney studio during its golden age.

[Damian · Rating 5 out of 5]

A great book about a great -- and oh, how flawed -- man.

Lots of surprises to come out of this admiring but very tough look at the man's life.

Here's maybe the biggest: The success of Walt Disney, the company, though not an inevitability, makes a lot more sense when we realize that Disney the man was first and foremost a businessman and only secondarily, almost accidentally, an artist and the practical inventor of modern animation. In the early days it was his artist employees that were on the cutting edge, dragging him, somewhat reluctantly, along for the ride (Barrier wryly notes early-Walt's obsession with "gags"). In the later days, Disney's attention -- split between the theme parks, the live-action films, the animation studio, his political activities, the establishment of Cal Arts and much more -- was far too fragmented to provide anything but cursory notes to his animation teams. It was only in the brief magical period leading up to and following the release of Snow White that Walt was directly and crucially engaged in the active development of the artform.

Indeed his personal shift away from animation is likely what allowed Disney Company animation to continue at all. In the 40s, with the European market lost to World War II, the studio shifted to producing educational films for the armed forces. Later they went on to documentary (the "True Life" series), live action film and television. What we see, in fact, is a talented entrepreneur astutely following the money over the decades. He loved animation, to be clear, but he also knew that it was risky and incredibly expensive, unlike the enormously profitable live action stuff.

It's shocking to read this book and learn that many of the classics of animation were, in the majority of cases, only moderately successful, and some were outright disasters (Pinocchio!?) Despite this Disney insisted on continuing to make them. Maybe we can therefore think favorably on Disney as the dedicated father who must leave home in search of work to support his children -- becoming alienated from them in the process.

Whatever his dedicated to his child-artform, what comes across clearly was the fact that Disney was absolute tyrant of a boss. There are unmissable echoes of Steve Jobs in this descriptions of Disney's intense and often withering attention to detail, the awe and terror that he inspired in his underlings, and before long, the pettiness and power games he played with even his closest associates. Even as a manager of a 1000+ person company, Disney retained the right to override any decision made by anyone at any level whether it be a casting or budgeting choice or the choice of a background color in a particular shot. Like Job, Disney was almost always right. But the devastating result was a corrosion in morale, an often antagonistic relationship with his employees (particularly when they decided to unionize, a move he attributed unironically to "Communism") and, as Barrier puts it, a pervasive sense that Disney's was "the only opinion that really mattered." As Walt became busier with the theme parks and other diversions, his animation directors took to pretending to implement his demands, showing him the same footage twice, garnering enthusiastic approval the second time around.

I love the tone of this autobiography, because what comes across in Barrier's book is his great admiration for Walt Disney, and simultaneously, his great disappointment in him. There is a sense in Barrier's work that Disney could have gone much further with the art he did so much to create, but was instead distracted by shiny but superficial pursuits. In one particularly devastating passage, he describes Disney's ultimately modest success with audio-animatronics, which Disney had hoped to use as a storytelling device. It was of course, not to be, as neither the technology nor the design of the experience lent itself to storytelling. Barrier observes that Disney's career had thus seemed to "run in reverse", creating a great achievement of storytelling and art in Snow White in the 20s, and regressing to "playing with toys" by the 60s. Ouch. But something in there feels true.

Of course, what did NOT move in reverse was Disney's fortune, and the scale of his ambitions and the scope of his power. Perhaps as an animation fan Barrier is less concerned with those things. I admit, I feel the same way.

MASSIVE recommendation for anyone excited about the history of animation.

[Brett · Rating 4 out of 5]

As a child who grew up visiting Disney World, and recently returned from one of many trips to Disneyland with my kids, I wanted to learn more about the man behind it all. I have heard several different stories about Walt Disney (some very harsh), and as such, I found this easily readable, but very detailed, biography an entertaining read.

There are many revelations to be had, and I'll try not to spoil them for the reader. This is the story of a man who grew up in a small Missouri town and worked non-stop from childhood until his final days to become one of the most well-know figures in all of history. From beginning to end, Walt took extreme financial risks in pursuit of his many visions. You would think a man who scraped by in literal poverty during the Great Depression to build an entertainment empire would secure that hard-won fortune, but he risked it again and again on new ventures. When developing Disneyland years later, his wife even worried, "He's always telling us how wealthy we are...we haven't got anything."

We tend to view Walt Disney as the brains behind Mickey Mouse, the man with the golden touch whose animation features are forever etched in history as untouchable classics for all generations. One after another, they have been re-released and treasured by children, grandchildren and great-grandchildren. And yet, for the timelessness they enjoy now, several classic Disney films were commercial failures at the time of their releases. In fact, many were still considered to be disappointments by the man himself years later.

The book focuses a great deal on the making of films themselves, but I enjoyed watching the man transition his attention from films to trains and ultimately to the theme parks that still draw our children back time and again. People marvel at how well they are run and how perfect everything seems to be synced. That was always Disney's intention, but it wasn't even close to that at the beginning. Like many projects he worked on, critics doubted the idea of Disneyland, and they were certainly right when it opened. What they missed on, however, was Walt's philosophy that the park was a work in progress- never finished. He never even got to see his Pirates of the Caribbean completed. The poor assumptions made during the planning were corrected by spending plenty of time joining guests on the rides and walking through the park. He not only picked up trash himself, but he adapted the park to how people wanted to use it, not how he thought they should use it. There are good lessons in this for working through problematic and occasionally haphazard conditions to achieve a desired goal.

Disney magic is a strange entity in and of itself. To some, he had little involvement in many of the later projects under his growing enterprise, while others marveled that somehow he still managed to touch everything. The man could dream, but not every decision was a good one. For example, his vision for Epcot Center was problematic and was immediately scrapped after his death. Only the name survived. I wonder what Walt would say today about the accolades bestowed upon animated films that he was initially embarrassed to release and he considered failures. Time seems to have smoothed over many of Walt's blunders, leaving behind a legacy and an enduring brand. This is a testament to his incredible vision and his focus on the arts that appealed to people's emotions, and I thought of Steve Jobs again and again while reading this book. Take for example, the 20,000 Leagues Under the Sea ride, one of my favorites I had taken many times as a child. Kids now have likely never even heard of Jules Verne's classic book or seen the live-action Disney movie. Yet, they all line up today to take the same ride I did- in its current incarnation as Finding Nemo. Just like the "Hidden Mickeys" placed all throughout the park that you may spot or miss, the famous fish himself is a secret gem keeping the spirit of that original Disneyland attraction intact. In a wink to the past, the Captain of the Nautilus in 20,000 Leagues is none other than Captain Nemo. That is the magic of Disney.

[Michael · Rating 2 out of 5]

Fairly brief bio. Not very deep, not profound, highly critical. Author did not appear to have access to closely-guarded Walt Disney Archives.

[Sem · Rating 5 out of 5]

There's a great deal of what some readers would consider extraneous matter in the early chapters of this book although, for my part, I prefer the subject to be placed firmly within a particular environment. One could always skip the peregrinations of the Disney family even if what happened then bears on what follows.

What struck me the most as I read the later chapters was how little this is a biography in the usual or expected sense. It charts Disney's progress through his many enthusiasms and as he leaves one behind - often of necessity - new aspects of his personality come into view. This means, inevitably, that after a close narration of the making of Snow White and the Seven Dwarfs with which Disney was intimately involved, and a less detailed discussion of the animated features that immediately followed it, the book shifts perspective from Disney as animator and supervisor, to his interest in educational films and nature documentaries, his ventures into live action features and television, his excitement and talent for miniature-building and steam trains and, finally, Disneyland and EPCOT. It might seem as if much that the reader would like to know is passed over too quickly or ignored, but Barrier has a different goal and in the end he gets there. I came away with a clear sense of who Disney was as well as a great admiration for him.

The author remarks in a commentary on his website that "Disney insisted on control, and wanted a docile and harmonious work force, for one simple reason: he was a classic entrepreneur. Not just a plain-vanilla small-business owner, like today's franchisees, but someone burning with his own ideas, eager to put them into practice, and impatient with limitations of any kind (financial, governmental, familial)...Disney was immersed in his own dreams; what made him different, and so much more exciting and interesting than most entrepreneurs, was that he emerged as an artist through realizing his ambitions for his business."

That's a good summary of what this book is about.

[Jake · Rating 5 out of 5]

If you are looking for a Disney-sanctioned biography of one of the Twentieth Century's greatest entrepreneurs, this isn't it. Having said that, it's vital to point out that author Michael Barrier also doesn't turn this into a tabloid biography by dwelling on rumors of some of Walt Disney's faults. Some lesser ones are acknowledged (chain-smoking and a penchant for profanity) but never used as sensationalist crutches. They are merely presented as parts of the Walt Disney personality. As are his impatience, ambition, egotism, entrepreneurship, creativity, and devotion.

Barrier is an animation historian, and this is the angle that he uses to enter Disney's life. Walt was never known as an accomplished animator or an erudite scholar (he had only an 8th grade education), but his rise from a poor Midwestern family to arguably one of the most colossal figures of American culture, and now World culture, in the twentieth century is chronicled here in captivating fashion. Disney was the ultimate American Self-Made Man, and faced a number of challenges in the Studio's first twenty years. Walt's studio hasn't always been the super-ultra-mega powerhouse that we know today, and its ascension to that position isn't even complete by the time of Walt's death in 1966. I'd love to read another book by this author chronicling the Disney Studios after his death. I'm sure there are other books that cover this period as well, but I particularly appreciate this author's completely unbiased, honest, inspiring(without relying on cheesiness)chronicle of the man, the people who worked for him, and the art of Disney animation.

As a mildly interesting side note, and an example of some weird synchronicity, I wanted to point out that I started this book on the anniversary of Walt's birth (December 5) and finished it on the anniversary of his death (December 15th). The importance of neither of those dates was known to me.

[Ivan Probst · Rating 4 out of 5]

The book itself gives a great account on Walt's life, with loads of interviews and quotes from people who knew him, personally or not. Mostly not emitting any judgements, but letting facts and others' words tell the story, you read through these discovering the man, and always relearning who he is as his personality is changing over the years. It's a long and exciting adventure about somebody very famous who actually isn't well known from the public, except surface stories.

I don't know if we can call Walt Disney an example of entrepreneurship. It's kind of the same than Steve Jobs, highly successful goes with highly controversial, it seems.

Still, it's worth reading about the man for his willpower and his taste for new things. He was always moving forward, innovating, and experimenting. He wanted to create new things, and to bring amusements and fun to the masses. He clearly didn't seem to have the healthiest life ever, or has not always been the nicest person to have as your boss. Tough struggles with his employees in the 40s, omnipresent when the studio was young and totally absent the last years of his life... In any case the balance was never quite stricken, and he remained a man respected but also feared.

But he was a doer, and was not afraid to go against public opinion and try new concepts. And very resolute, with all the hassles he went through at the beginning. Betrayal from colleagues, from associates, from clients. A man able to focus and go where he wants, whatever is happening. That suits the man very well!

[Nathan Phillips · Rating 4 out of 5]

Barrier’s Disney biography isn’t nearly as fat and slick-looking as Neal Gabler’s, published around the same time, but even after just sampling them both I knew which was the more valuable volume, and finally reading the Barrier book cover to cover validated my instinct. This is a much more straightforward narrative than Barrier’s extraordinary, sprawling, passionate Hollywood Cartoons, which covers virtually everything that happened in the studios during the golden era; but it’s no less well-researched, and offers considerable insight into Disney’s working methods — much more than his personal life, which Barrier feels (probably correctly) isn’t nearly as unusual or interesting as his work. Barrier doesn’t gloss over the problems with Disney, his politics especially, but you come away with a more intense than ever admiration of the man, and for me personally it’s helpful that Barrier agrees with my general feeling about Disney, that animation was what he was best at and that the 1930s were his zenith. Even if you don’t agree with some of Barrier’s more eccentric opinions (among those would be his distaste for Pinocchio, which comes from a valid place but still seems totally nuts to me) you’ll find the best, most entertaining and streamlined survey of a truly great artist’s career.

[Anthony Murphy]

I thought I wrote a review for this one.

I have read quite a few different biographies on Walt Disney, but this one is the best by far. It didn't really feed into the mythical hero aspect of Walt Disney, but rather was written more as his part in animation history. I also felt that it gave a more neutral telling of his life that didn't try to cover up his darker parts. Walt Disney was a man with positives and negatives, but was never a dull man. He was an obsessed artist who navigated the first half of the 20th century and created one of the most iconic brands in human history.

I particularly liked that Barrier didn't shy away from the controversies and rumors about him and took them head on. As life always tends to be, Disney's was more complicated than it seems. Also, most rumors about him don't really have a lot of historical evidence. For example, the accusation of antisemitism.

The only "downside" is that it was a little dry in some parts. Still, if you are looking for a well researched and somewhat neutral telling of Walt Disney, this one is the best.

[Kay · Rating 4 out of 5]

Nice (and yes a little nostalgic) to be reminded of the days when Walt Disney was a person more than a brand (although he was a brand too from pretty early on). Barrier does an excellent job of showing how and why the Disney studio became prominent and explaining the role of Disney himself in the Disney empire. He didn't write, direct or draw much after the 1920s but everything the studio produced was distilled from his personality. There's a lot of overlap between this book and the Disney chapter in Barrier's excellent "Hollywood Cartoons" but there's lots of new stuff as well. The chapters on Disneyland are fascinating.

[Emily · Rating 2 out of 5]

SLOW. Interesting but overburdened with too many details. Who cares about the address of every place he ever worked?! The first 58 pages are painfully slow. After about 150 pages I finally just decided to skim the rest. How does this have such high reviews?? This book could have been so much better with some tightening and a lot of red ink from a concise editor. At about half the length this would have been readable. As it is, I could only recommend it to animation history buffs and I don't know any of those.
Going to try How to Be like Walt and/or Walt Disney: An American Original next time, which both appear to be much better books.

[Carlotta Borasio · Rating 5 out of 5]

Nelle ultime pagine di questo libro si dice che Walt Disney è spesso considerato un personaggio immaginario, come quelli che ha creato o contribuito a creare. In effetti da bambina mi ci è voluto un po' per capire che Disney fosse una persona in carne e ossa. Ora ne so di più: era un genio, un pioniere, uno che aveva voglia di sperimentare, di provare, di fallire. In questa biografia c'è tutto questo, le sue aspirazioni (a volte folli), i suoi progetti, e i suoi fallimenti, le sue fragilità, i limiti.
Non fatevi spaventare dalla mole, ne vale la pena ed è assolutamente affrontabile.
Faccio anche i complimenti a Tunué per l'ottima edizione e al traduttore per l'ottimo lavoro.

[Melinda Elizabeth · Rating 4 out of 5]

A fairly good biography... I still think Neal Gabler's version is the definitive Walt bio. What let this one down was the rushing through his last few years of life. Also I found it a little unsettling when big films like sleeping beauty etc were glossed over and suddenly sleeping beauty's castle is being built in disneyland, but why ? It ruined my timeline a little bit when I was reading it. Otherwise quite good .

[Mark · Rating 3 out of 5]

"The Animated Man" was OK. I think it's the 6th or 7th biography of Walt Disney that I've read. I'd say read "An American Original" by Bob Thomas and/or "Walt Disney" by Neal Gabler first. Barrier touches on some of the more negative aspects of Disney's personality, temperament, etc than Thomas did, but doesn't get into as much detail as Gabler did, and simply glosses over certain important events in Walt's life/Disney history.

[Sherrie Simpson · Rating 4 out of 5]

What made Walt Disney the man he became? Anecdotes, stories from those who knew him tell the answer. Walt Disney is a hero of mine, and I enjoyed this biography that didn't pull any punches and revealed him as an actual human, faults and genius both.

[Jim · Rating 3 out of 5]

Now that I'm working for his company, I thought it would be interesting to learn more about the man. This was a good, short biography that felt fairly well-balanced to me.