Those who have followed the tumultuous saga of the collapse of Walt Disney’s animation department will remember the sad closing of the unit’s traditional 2D studios in favor of fully-CG projects, leaving little hope for those who appreciate seeing the human touch of Disney’s hard-drawn art on the silver screen.  But all that changed in 2006, with the computer animation powerhouse Pixar’s John Lasseter and Ed Catmull now firmly in charge of Disney’s in-house animation efforts, they’ve kept their promise to bring traditional 2D animation back to the studio, enlisting the writing/directing team of Ron Clements and John Musker (The Little Mermaid, Aladdin) to make The Princess and the Frog the 49th and completely welcome entry from the newly reactivated Walt Disney Animation Studios.

The film introduces us to a young Tiana and her poor, but loving close-knit family unit in 1912 New Orleans.  While her father makes time to regale the young girl with fairy tales of frogs and princes, the two share dreams of bigger things and hope to one day open a family restaurant, Tiana’s Place.  As the years pass we’re introduced to a fully grown Tiana, now working day and night (literally) to save up enough money to finally open her restaurant.  With the death of her father in the First World War, it’s all work and no play for our heroine, leaving little time for relaxation and fun.

Such things aren't a bother for Prince Naveen, fresh off the boat from the fictional country of Maldonia and looking to have a good time in the city of jazz.  You see, the wayward Prince has been cut off from the royal expense account, and unless he finds a rich bride soon his future isn’t looking very bright.  Enter the spindly voodoo street hustler and spirit-channeler Doctor Facilier, aka The Shadowman, with promises of easy fortune and effortless gain.  Soon the Prince and his less-than-faithful butler Lawrence (Peter Bartlett) find themselves entangled in a sticky web of dark magic that leaves the Prince transformed into a frog, the butler into a prince, and an adventure in the classic Disney tradition.

The choice of Tiana as Disney’s first black leading lady never feels politically calculated or the result of some unseen animated affirmative action-style correction.  The lively story and ideal setting of Jazz Age New Orleans practically cries out for a healthy dose of ethnic diversity, and the producers have done much to oblige.  Anika Noni Rose (Dreamgirls) is wonderful at handling both Tiana’s speaking and singing duties, while Brazilian-actor Bruno Campos (Nip/Tuck) strikes just the right balance between obnoxious and charming as Prince Naveen.  Michael-Leon Wooley voices the lovable and musical Lou Armstrong-inspired alligator Louie, and look for an infectious Jenifer Lewis as 197-year old voodoo priestess Mama Odie.  Also, watch for Oprah Winfrey and Terrance Howard in small supporting roles as Tiana’s parents.

A good villain always manages to steal the show, and Keith David’s incredible Shadowman steals it good.  Essentially a repeat of Eartha Kitt’s Yzma from The Emperor’s New Groove, I loved his design and movements, and his classically intoxicating way of breaking down reality that in the absence of fairytales and magic would make perfect sense.  His character is Peter Pan in complete reverse, fully in-tune with his discombobulated shadow and working together for maximum villainy.

Jim Cummings, a true legend in voicing animated characters (look him up) is wonderful as Ray, the malapropism-spouting, lovesick Cajun firefly.  With his thick accent and single-minded devotion to his beloved Evangeline (in reality the planet Venus), this character would have been a mess of stereotypes and potentially offensive material in lesser hands.  Alligator Louie, while fun, seems like a direct riff of the likewise musically-adept King Gator from 1989’s All Dogs Go to Heaven, which also took place in the city of New Orleans.  This can’t be a coincidence, can it?

Apart from the stunning mix of lovingly crafted 2D (with sprinkles of 3D) animation the real fun is watching the traditional princess archetype go topsy-turvy, from lip-smacking gumbo pots to voodoo magic, this new-age fairytale of amphibian transmogrification plays with convention whenever possible, often poking fun at Disney’s own penchant for predictability.

One of the liveliest characters is the buxom Charlotte La Bouff, a sweet, if self-absorbed man-hungry southern debutante who encapsulates nearly every Disney-princess cliché imaginable.  As the daughter of rich sugar mill owner Eli “Big Daddy” La Bouff (John Goodman) she acts as Tiana’s surrogate-sister and best friend, and is completely supportive throughout.  There’s no trace of cruelty or jealous whatsoever, just a playful naivety that’s both syrup sweet and heartwarming.

The infusion of Pixar into traditional animation is strongly felt, with loving detail and strict adherence to both story and respect for all audiences.  Using strong character actors to bring these characters to life was the right one, and I can’t tell you how refreshing it was to sit down and watch an animated film from the Mouse House that wasn’t pandering and trite, instead earning respect from characters that are genuinely appealing and funny.  Hard work and heroism are well represented, but so are their consequences, presenting success more a product of diligence and sacrifice than – as Tiana herself puts it – simply “wishing upon a star.”  Cajun Ray may be the closest thing to Tinkerbell here, and fans of the original (non-Disney) version of Peter Pan will appreciate how his particular story arch plays itself out.

The film also deals with the death of a major character with a maturity and artistic destiny that I found both beautiful and inspired, hinting at where future animated projects from this reactivated studio may be willing to go.  That’s actually pretty exciting to think about, and I can’t wait to see where they take things from here.

I must say that I’m a bit disappointed with Randy Newman’s score and song selection.  Given his deep and substantial roots in New Orleans Jazz culture, I suppose a selection of traditional show tunes should have been out of the question.  The best is Keith David belting out “Friends on the Other Side,” complete with as twisted and suggestive imagery as your likely to see in a Disney animated film.  The rest are pleasant enough and gets the job done, simply moving the story forward and largely forgettable.

While it may not rank among its most accomplished efforts, The Princess and the Frog is a fine return to form for the newly reactivated Disney Animation Studios.  The comical take on the classic story is both charming and brimming with positive energy, and the beautiful Tiana easily takes her place among Disney's most interesting animated princesses.  I wish Randy Newman would have crafted a more memorable suite of songs to help accompany the dazzling animation, but its a small nitpick in an otherwise joyous concoction.  Pixar’s Lasseter and Catmull have lived up to their promise to return traditional-style animation to the Mouse House, and its a future worth looking out for.