Alice stumbles into the world of Wonderland. Will she get home? Not if the Queen of Hearts has her way.Alice stumbles into the world of Wonderland. Will she get home? Not if the Queen of Hearts has her way.Alice stumbles into the world of Wonderland. Will she get home? Not if the Queen of Hearts has her way.
- Nominated for 1 Oscar
- 1 win & 2 nominations total
Kathryn Beaumont
- Alice
- (voice)
Ed Wynn
- Mad Hatter
- (voice)
Richard Haydn
- Caterpillar
- (voice)
Jerry Colonna
- March Hare
- (voice)
Verna Felton
- Queen of Hearts
- (voice)
J. Pat O'Malley
- Walrus
- (voice)
- (as Pat O'Malley)
- …
Bill Thompson
- White Rabbit
- (voice)
- …
Heather Angel
- Alice's Sister
- (voice)
Joseph Kearns
- Doorknob
- (voice)
Larry Grey
- Bill
- (voice)
Dink Trout
- King of Hearts
- (voice)
Doris Lloyd
- The Rose
- (voice)
James MacDonald
- Dormouse
- (voice)
The Mellowmen Quartet
- Card Painters
- (voice)
- (as The Mellomen)
Don Barclay
- Other Cards
- (voice)
Lynn Bari
- Lily of the Vally
- (uncredited)
Storyline
Did you know
- TriviaIn the Walrus and the Carpenter sequence, the R in the word "March" on the mother oyster's calendar flashes. This alludes to the old adage about only eating oysters in a month with an R in its name. That is because those months without an R (May, June, July, August) are the summer months in England, when oysters would not keep due to the heat, in the days before refrigeration.
- GoofsIn the opening credits, Lewis Carroll is spelled Lewis Carrol, missing the last letter L.
- Crazy creditsThe RKO Radio Pictures logo appears on a banner held by two playing cards.
- Alternate versionsThe 1954 TV screening on the The Magical World of Disney (1954) series was edited down to a one hour running time, and contained an introduction from Walt Disney at the start. This introduction appears on the Region 1 Masterpiece Edition of the film.
- ConnectionsEdited from Bambi (1942)
- SoundtracksVery Good Advice
(1951) (uncredited)
Lyrics by Bob Hilliard
Music by Sammy Fain
Performed by Kathryn Beaumont
Featured review
Timeless magic of warped genius.
Most films age over time. In 20 years will Titanic still be as amazing as it was in 1998? Will Jurassic Park still have people gawping open mouthed at the cinema screen? I think not. Its a rarity, but sometimes, just sometimes, there comes a movie that is timeless, magical and eternal, one such film is Alice in Wonderland.
It seems to me, when watching most Disney films, that Walt Disney had an evil masterplan to mess with the minds of children, young and old. Dumbo is a film about an outsider, Pinocchio is a film about a freak child who cannot stop lying. Walt only made these films family viewing through constantly having a moral ending. Dumbo can fly and Pinocchio is rewarded for risking his life to save another, however, these moral endings do not disguise the fact that, at times, Disney films were quite peculiar.
Alice in Wonderland on the surface is a dreamlike fantasy about a child nodding off and visiting a wonderful wonderland where flowers sing, caterpillars smoke and rabbits talk. However, similarly to Blue Velvet, this film is not about the surface values, its is about the dark, seedy undertones that exist beneath the aesthetic surface.
Below its surface lies a wealth of wholly unlikeable and unhelpful creatures. Aside from the King (Hooray) of Hearts, each character only serves to hinder Alice in her attempts to come to terms with her warped dream. The Cheshire Cat is responsible for putting Alice in court, the White Rabbit wants to have Alice destroyed when he finds her at his home, the flowers shun Alice when they incorrectly perceive her to be a common garden weed, the Mad Hatter and the March Hare also shun Alice for no reason whatsoever, this list is as long as the tunnel that leads Alice into her Wonderland.
To look back at the film nowadays, one could surmount that the ending is nothing more than a cop-out (these thoughts were true for Lynch's Boxing Helena). She dreamt it all along is nothing more than saying, here, we'll give you licence to create a magical world, no boundaries because it all exists inside a young girls mind.
I'll admit this review might seem overly critical of the film, but it is for these warped reasons and the context of what the film represents or least what it should represent that I absolutely adore it. Walt Disney might have had a masterplan to screw with the minds of his children, but I say, good luck to him. A subtle undertone to the magical shell of the movie shows that the yolk is in fact sour. I daren't but will compare this movie to Adrian Lyne's Jacob's Ladder, another film about a false surface level and the warped undertones of life and death.
Sleep is only a state of mind, it's what happens in this state of mind that really matters. Or at least, what mattered to Walt.
Classic.
It seems to me, when watching most Disney films, that Walt Disney had an evil masterplan to mess with the minds of children, young and old. Dumbo is a film about an outsider, Pinocchio is a film about a freak child who cannot stop lying. Walt only made these films family viewing through constantly having a moral ending. Dumbo can fly and Pinocchio is rewarded for risking his life to save another, however, these moral endings do not disguise the fact that, at times, Disney films were quite peculiar.
Alice in Wonderland on the surface is a dreamlike fantasy about a child nodding off and visiting a wonderful wonderland where flowers sing, caterpillars smoke and rabbits talk. However, similarly to Blue Velvet, this film is not about the surface values, its is about the dark, seedy undertones that exist beneath the aesthetic surface.
Below its surface lies a wealth of wholly unlikeable and unhelpful creatures. Aside from the King (Hooray) of Hearts, each character only serves to hinder Alice in her attempts to come to terms with her warped dream. The Cheshire Cat is responsible for putting Alice in court, the White Rabbit wants to have Alice destroyed when he finds her at his home, the flowers shun Alice when they incorrectly perceive her to be a common garden weed, the Mad Hatter and the March Hare also shun Alice for no reason whatsoever, this list is as long as the tunnel that leads Alice into her Wonderland.
To look back at the film nowadays, one could surmount that the ending is nothing more than a cop-out (these thoughts were true for Lynch's Boxing Helena). She dreamt it all along is nothing more than saying, here, we'll give you licence to create a magical world, no boundaries because it all exists inside a young girls mind.
I'll admit this review might seem overly critical of the film, but it is for these warped reasons and the context of what the film represents or least what it should represent that I absolutely adore it. Walt Disney might have had a masterplan to screw with the minds of his children, but I say, good luck to him. A subtle undertone to the magical shell of the movie shows that the yolk is in fact sour. I daren't but will compare this movie to Adrian Lyne's Jacob's Ladder, another film about a false surface level and the warped undertones of life and death.
Sleep is only a state of mind, it's what happens in this state of mind that really matters. Or at least, what mattered to Walt.
Classic.
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Details
- Release date
- Country of origin
- Official site
- Sprache
- Also known as
- Alicia en el país de las maravillas
- Filming locations
- Production company
- See more company credits at IMDbPro
Box office
- Budget
- $3,000,000 (estimated)
- Gross worldwide
- $865
- Runtime1 hour 15 minutes
- Aspect ratio
- 1.37 : 1
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![Mel Blanc, Sterling Holloway, Heather Angel, Kathryn Beaumont, Lucille Bliss, Jerry Colonna, Pinto Colvig, Verna Felton, Larry Grey, Richard Haydn, Joseph Kearns, Bill Lee, Queenie Leonard, Doris Lloyd, Tommy Luske, James MacDonald, Marni Nixon, J. Pat O'Malley, Thurl Ravenscroft, Max Smith, Bill Thompson, Dink Trout, Ed Wynn, Norma Zimmer, The Mellowmen Quartet, and Bob Hamlin in Alice in Wonderland (1951)](https://m.media-amazon.com/images/M/MV5BMTgyMjM2NTAxMF5BMl5BanBnXkFtZTgwNjU1NDc2MTE@._V1_QL75_UX90_CR0,0,90,133_.jpg)