"The Fox and the Hound": Disney's Frist Gay Couple
by Danielle Leitzke
writen for WST484 WSU course
At first glance, The Fox and the Hound is an innocent children’s film released by Disney in 1981; however, underneath the playful surface of the movie lays a queer subtext. In this paper I will analyze and dissect the latent message that the movie conveys subliminally to viewers.
In the movie, Copper (the hound) and Tod (the fox) have a taboo relationship, not only as a fox and a hound, but as lovers. Chief (senior dog) and Amos Slade (dogs’ owner) try to keep Copper and Tod from each other. Foxes and hounds are not supposed to be friends because it is not “natural”; this correlates with the belief that gay relationships should not exists since gay people are not “natural”. The movie is one that agrees with Linda Puller’s view that, “love in the movies nowadays… oftentimes is obsessive and downright sad” (149). Copper and Tod are played off to be obsessed with one another, yet they can never truly be together. Throughout the movie Amos Slade, Chief, Widow Tweed, and at times Big Mama try to get Copper and/or Tod to act “normal”. They want the two boys to be straight, and like everybody else.
Copper is purchased by Amos as a fox hunting hound. He is bought to eventually replace Chief. When Copper tries to snuggle up with Chief, the old dog shoves him away and looks disgusted. This part of the movie is demonstrating the homophobic nature of society. The old dog can be seen as a symbol of homophobic society and Copper as a representation of the gay community. Chief does not want his masculinity to be questioned or taken away by a puppy snuggling up to him. He fears that if his masculinity is taken away then he will appear to be a “sissy”. According to Vito Russo “homosexuality in the movies, whether overtly sexual or not, has always been seen in terms of what is or is not masculine” (4), therefore Copper acting “un-masculine” is “homosexual”.
Next door to Amos and the dogs, an elderly woman, Widow Tweed, discovers Tod hiding in the tall grass. It is apparent to Widow Tweed that Tod’s mother was killed by hunters. Widow Tweed takes Tod in and cares for him. One morning Tod is out in the yard playing when Copper picks up his scent. The curious pup runs off to find out what the smell is. Chief warns Copper that running off will just get him in trouble with Amos, but Copper does not listen.
When Copper finds Tod they become instant friends. The two roll around on the ground together and play hide-and-go-seek. In the scenes with the two playing together it is apparent that they are becoming more than just friends. During this scene, Big Mama sings “Best of Friends”. This song really shows the queer sub-text of the movie. Some of the most interesting lines from the song are:
…………………………………………………..
You're not even aware, you're such a funny pair
…………………………………………………..
Neither one of you sees, your natural boundaries
…………………………………………………..
If only the world wouldn't get in the way
If only people would just let you play
They say you're both being fools
You're breaking all the rules
They can't understand, the magic of your wonderland
The song “Best of Friends” points out that Copper and Tod are “a funny pair” and that neither of them sees their “natural boundaries”. “Natural” or “normal”, according to Larry Gross, is defined as “white, male, Christian, and heterosexual” (Gross, 12). When Tod and Copper are rolling around in the grass together they are not demonstrating heterosexuality. The two pups are too close to each other given the stereotype of two male friends. The song points out that their society does not like the two being so close to one another since this breaks the “standards” or “norms” that their society has. It goes on to say that Tod and Copper are stuck in a “magical wonderland” and that they are “breaking all the rules”. The rules being the “norms” set by society. Once they leave this wonderland they will have to face the harsh reality that society will not accept them the way they are. The full lyrics to “Best of Friends” can be found in appendix I.
This is the first time that the movie alludes to Copper and Tod’s sexual orientation. Up until this point it is assumed the two are straight since society makes it clear that everyone “is expected to grow up, marry, have children, and live in nuclear familial bliss, sanctified by religion and licensed by the state” (Gross 15). After a while of playing, Copper is called home by Amos. The pup is in trouble, and gets yelled at for running off. The next scene shows Tod and Copper together, Tod rolls beneath Copper and says “Copper, you’re my very best friend”, Copper smiles at the fox and responds, “Yeah, you’re mine too, Tod”. The body language in this scene gives away that the two animals are more than just platonic friends; they are an amorous couple.
The next morning Amos has tied Copper up so he can not run off and play with Tod. When Tod approaches Copper, the hound explains the situation and says that they will just have to play another day. Tod disagrees and tries to play with Copper right there, with Chief sleeping nearby. Copper warns Tod about Chief by saying that Chief is “awful mean and cranky”. The movie here portrays Copper as a “sissy” because he’s not manning up and doing what he wants to; this is a common thing for filmmakers to do when they have a gay character. According to Marc Fajer “many non-gay people believe that gay men and lesbians exhibit "cross-gender" behavior: behavior stereotypically associated with the other gender. In this view, gay men behave like "normal" women and lesbians like "normal" men” (511-651). Copper is acting like a wimp or a “normal” woman; he is showing that he is scared of something, which, by modern standards, is un-masculine. Russo explains that the “popular definition of gayness is rooted in sexism. Weakness in men rather than strength in women has consistently been seen as the connection between sex role behavior and deviant sexuality” (Russo, 4). Copper, acting like a “sissy”, is seen as un-masculine, which plays into the modern day stereotype of a gay male. While Copper’s character plays into this gay stereotype, Tod on the other hand is acting overly daring, asserting his masculinity. The fox feels it is necessary to prove his manhood. The two characters constantly play into these roles that have been created for them. Even when Chief wakes up and goes after Tod, Tod still acts tough at the beginning of the chase. Copper on the other hand hides right away, being the “wimp” in the situation, creating a clear definition between the two character’s personalities.
As the movie progresses, Amos, Chief, and Copper go off on a hunting trip. During this trip Amos and Chief teach Copper how to “be a man”. This includes training him to be more “physically active, aggressive, [and] power-oriented” (110) as Rosenblum explains are necessary behaviors for someone to be/act straight. The hunting scenes show Copper starting out as an awkward adolescent, like a new born deer learning to walk. Chief shows Copper when and how to growl (aggression), as well as when and how to give chase (physically active). The two have a mission to help Copper grow up into a “normal” male hound by chiseling his personality into that of a stereotypical straight male.
Tod watches as Amos, Chief, and Copper leave; Big Mama lands next to him and starts singing “Lack of Education”, found in appendix II. In the song the owl tells Tod that if Copper does not hunt and kill him, that the hunter will kill Copper. This song shows how the film wants to force Tod and Copper to be straight. If they do not act straight then one of them is likely to end up dead. It mirrors how in today’s society, many gays are singled out and often physically threatened or harmed.
Widow Tweed drops Tod off at a game reserve in hopes that it will keep him safe from Amos and Chief. She needs to separate Copper and Tod so they can live out a “normal” straight life. In the game reserve Tod has a rough night trying to fit in with the local animals. The next morning Big Mama wants to help Tod assimilate and act like the fox the animal society wants him to be. Tod does not fight against this attempt from Big Mama because as Stephanie Schroeder points out, minorities “eventually become convention, or at least parts of the group become assimilated and normalized” (course reader, 157). Big Mama finds Tod and leads him to a female fox. Tod does not know what to do with the female. Big Mama breaks into the song “Appreciate the Lady”, found in appendix III. In this song she explains to Tod how to get a girl; and how that is what he is “supposed” to do as a male fox. Tod gives in and does what Big Mama tells him to do. Some of the key lines in the song are:
When you have a natural attraction
You deserve a mutual reaction
………………………………………………
Lead you in a positive direction
………………………………………………
Yes, you gotta appreciate the lady
And, now, that is a natural fact
Big Mama is trying to get Tod to be straight, since she thinks being straight is “natural”. She is also saying that if ones’ attraction is not “natural” then it does not deserve a mutual reaction. Big Mama’s view is that being gay is wrong, and therefore Tod needs to change. In the end Tod gets the girl after making a fool of himself trying to catch a fish and acting in the way that Big Mama wanted him to, essentially acting within the boundaries of a stereotypical masculine, heterosexual, male.
Amos wants to do away with Tod since Tod continues to try to be with Copper. Amos takes Copper and Chief to break into the animal reserve to try to hunt down and kill Tod. Copper finds Tod hiding under a stack of logs near a railroad track. Instead of giving up Tod’s position, Copper tells him to stay hidden and leads Amos away from his lover. Tod eventually gives up his hiding position and “comes out”. Tod does this because he gets tired of hiding his true self. Fajer explains how “most gay people lead a hidden existence with significant details of their lives kept from most, if not all, of their acquaintances, friends, and family members. This Subpart details the lengths gay people go to remain in the closet and the serious emotional costs that concealment generates” (511-651). Chief sees Tod “come out” and goes after him, the hunter is soon to follow. Chief is the one to find Tod because Tod cannot hide his true identity; Tod did not pass as a straight male well enough. Chief chases Tod onto a set of railroad tracks, but right when he is about to get him, a train comes and knocks Chief off the tracks.
A few days later Copper and Amos go back to try to killing Tod again. This time Copper does not want to let Tod go since he is to blame for Chief’s injuries. Amos has also upped the ante; not only does he have a gun to go after Tod, but he has various traps as well. As the chase goes on a bear jumps out and attacks Amos. Copper tries to save Amos, but ends up on the ground motionless. Tod sees all this and goes to save his lover, Copper. The bear and Tod end up plummeting down a waterfall, the bear meeting his end, and Tod floating over to the side of the lake. Amos and Copper are there waiting for Tod. Amos points a gun at him, about to kill him when Copper steps in the way. Amos eventually lowers his gun. The hunter does not shoot Tod because he loves his “son”, Copper. Amos takes Copper home and they never see Tod again. This climatic scene shows that one can be accepted if they are gay, as long as they do not act on these feelings. Since Copper and Tod can not be together now, since they live so far apart, Amos does not feel the need to kill Tod.
Throughout the movie the message that is given is that if you are queer it is not “natural”, furthermore society is going to do everything in its power to make you act “un-queer” or “normal/natural”. It also projects a message that each individual should do everything in their power to pass as straight or act “normal/natural”. The characters intentionally portray the “feminine” and “masculine” binaries that truly exist outside of Disney’s fantasy world. Music plays an important role in any movie, and in The Fox and the Hound it perpetuates the message of being straight and “normal” as the ideal goal. The Fox and the Hound is not a queer friendly film.
Works CitedFajer, Marc A. . "Can Two Real Men Eat Quiche Together? Storytelling, Gender-Role Stereotypes, and Legal Protection for Lesbians and Gay Men." University of Miami Law Review. 46.3 (1992): 511-651. Print.
Fuller, Linda K. Media-Meditated Relationships: Straight and Gay, Mainstream and Alternative Perspectives. New York: Haworth Press, 1996. Print.
Gross, Larry. Up From Invisibility. New York: Columbia University Press, 2001. Print.
Rosenblum, Karen E., and Toni-Michelle C. Travis. The Meaning of Difference: American Constructions of Race, Sex and Gender, Social Classm and Sexual Orientation. 2nd. Burr Ridge, IL: McGraw-Hill Higher Education, 2000. Print.
Russo, Vito. The Celluliod Closet: Homosexuality in the Movies. New York: Harper & Row, 1987. Print.
The Fox and the Hound. Producers: Ron Miller, Wolfgang Reitherman, Art Stevens. Directors: Ted Berman, Richard Rich, Art Stevens. DVD. Walt Disney Production 1981.
Fidel, Stan. “Best of Friends.” Lyrics. Perf. Pearl Bailey. The Fox and the Hound. Disney, 1981.
Stafford, Jim. "Lack of Education." Lyrics. Perf. Pearl Bailey. The Fox and the Hound. Disney, 1981.
Stafford, Jim. "Appreciate The Lady" Lyrics. Perf. Pearl Bailey. The Fox and the Hound. Disney, 1981.
Appendix I“Best of Friends”
When you're the best of friends
Having so much fun together
You're not even aware, you're such a funny pair
You're the best of friends
Life's a happy game
You could clown around forever
Neither one of you sees, your natural boundaries
Life's one happy game
If only the world wouldn't get in the way
If only people would just let you play
They say you're both being fools
You're breaking all the rules
They can't understand, the magic of your wonderland
Hu-hu-hu
When you're the best of friends
Sharing all that you discover
When that moment has past, will that friendship last?
Who can say? There's a way!
Oh I hope... I hope it never ends
'Cause you're the best of friends
Appendix II“Lack of Education”
Big Mama
You listen good to I, because it's either education or elimination!
Now, if you're so foxy and old Chief is so dumb
Then why does that hound get the fox on the run?
'Cause he's got the hunter -
and the hunter's got the gun
Ka-blam, elimination!
Lack of education!
If you prowl around with that Copper hound
You're soon gonna be hanging on the wall
Keep you nose to the wind -
if you wanna keep your skin
'Cause you won't be home -
when the hunter comes to call
Tod
Oh, Big Mama, I know Copper would never track me down.
Well, Copper, he's my best friend.
Big Mama
Ho ho, your best friend!
Now, Copper's gonna do what he's been told.
Suppose he won't chase no fox in no fox hole?
Along comes the hunter with a buck shot load.
Boomer
Ka-ka-blam!
Big Mama
Elimination
Dinky
Lack of education!
Big Mama
You better believe it, Tod!
Appendix III“Appreciate the Lady”
When you have a natural attraction
You deserve a mutual reaction
You're gonna get a whole lot of satisfaction
Here's all you gotta do
When you feel that natural affection
Lead you in a positive direction
You gotta stop showing off
Start showing up
With little natural you
Yes, you gotta appreciate the lady
And, now, that is a natural fact
'Cause when you be yourself
With a lady act
You're gonna be appreciated right back
