A Boy Named
Charlie Brown
(1969) color/animated 80 minutes
Voices: Peter Robbins (Charlie Brown), Pamelyn Ferdin (Lucy Van Pelt), Glenn Gilger (Linus Van Pelt), Andy Pforsich (Schroeder), Sally Dryer (Patty), Ann Altieri (Violet), Erin Sullivan (Sally), Lynda Mendelson (Frieda)
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SYNOPSIS: Young friends Charlie Brown, Linus and Lucy Van Pelt lay in a field, watching the clouds at the end of their summer vacation. Later, Charlie Brown attempts to fly a home-made kite with his friends, but his simply will not fly until Snoopy, his dog, takes control of it.
Soon, it is time for the first baseball game of the season. Snoopy plays the national anthem on his snazzy stereo system. Charlie Brown is the pitcher, and he delivers his usual poor game, to the derision of his teammates.
Charlie Brown is depressed about being a constant failure in everything he does. Linus tries to cheer him up, to no avail. Snoopy demands supper, falls asleep afterwards, and dreams of being a famous World War I Flying Ace. The dream ends badly, and Snoopy runs into the house to sleep with his boy master.
Next day, an utterly depressed Charlie Brown goes to see his friendly
neighborhood psychiatrist, Lucy Van Pelt. Lucy has developed a new system for uncovering neuroses; she subjects the patient to a slideshow of all his faults! Charlie Brown is horrified by this revelation of his raw, existential ugliness, and leaves even more despondent.
Next morning, Lucy and Linus wake up in the dark, to attend their second day of school. Charlie Brown joins them as they walk, and announces his new philosophy: "Take one day at a time." Linus suggests that Charlie Brown's self-esteem might rise if he were to successfully compete in the upcoming school spelling bee. Lucy and the girls laugh at the very thought, but Charlie Brown performs admirably in his first series of spelling contests.
Charlie Brown studies hard for the upcoming All-School Spelling Bee, but "I before E, except after C" remains his weak point. At the next Bee, Charlie Brown almost fumbles spelling "perceive", but Snoopy reminds him of the rules via music, and he wins again. His friends celebrate his latest victory in song.
Flush with his rival's success, Lucy presumes herself Charlie Browns's agent, and promptly offers herself 10 percent of his eventual winnings.
Charlie Brown, however, feels that he has succeeded well enough, and wants to quit while he's ahead. His friends won't hear of it, though, and insist he compete in the National Finals! The girls give Charlie Brown a crash course on the proper deportment for a winner.
While Charlie Brown continues studying, his younger sister Sally asks Linus to take her to a movie. Linus is too young and shy to date girls, however, and walks away mortified.
Soon, Charlie Brown in boarding the bus headed for the National Spelling Bee. His friends wish him well, and Lucy reminds him that she gets 10 percent of whatever he does! At the last minute, an emotionally overwrought Linus gives Charlie Brown his security blanket.
Charlie Brown soon arrives in the big city, and immediately gets to work studying.
Meanwhile, back at home, Lucy visits her longtime crush, Schroeder the pianist, but he largely ignores her as he continues to practice his beloved Beethoven. Lucy even kisses Schroeder, and asks if the bust on his piano represents George Washington. It is, of course, Ludwig Von Beethoven, musical genius. Schroeder honors his hero by playing his beautiful sonata, "Pathetique".
Elsewhere, Linus is suffering severe withdrawal symptoms from the loss of his security blanket. He asks Snoopy for assistance, but the sublime canine simply does not understand human addiction.
Regardless, Snoopy agrees to accompany Linus as they head for the big city, to visit Charlie Brown and find the lost blanket. On the bus, Linus has "the blankie DT's" while Snoopy plays his Jews Harp.
In the city, Charlie Brown continues his study far into the night. Soon, Linus and Snoopy arrive, and Charlie Brown greets them warmly. Linus pleads for his blanket, but Charlie Brown has carelessly misplaced it.
Linus and Snoopy go out in the city at night, to find the coveted blanket. The city at night is creepy. Snoopy sees an ice rink, and skates; he pretends he is a famous hockey champion! Linus checks everywhere for the blanket, but it is nowhere to be found. He returns to the hotel, angry and disappointed.
Next morning, an exhausted Charlie Brown prepares for the Spelling Bee. Linus notices him shining his shoes with a familiar blue blanket! Linus grabs his beloved symbol of security, and dances with it.
The big day is here! Charlie Brown, Linus and Snoopy go to the theatre, and their friends watch the big event on TV. Lucy gasps in horror as she sees Charlie Brown falling asleep right on stage!
However, Charlie Brown performs admirably, and soon, only he and one rival are left! His friends at home cheer him on. Unfortunately, Charlie Brown's next word is one perhaps a little too close to home: "Beagle"! He misspells, and loses the contest. His friends are mortified.
Later, the sad trio hop on a bus and head home. When they arrive, there is no-one to greet them, and Charlie Brown crawls into bed, utterly despondent.
Next day, Linus comes to see Charlie Brown, who did not attend school. The losing lad is bedridden, and vows never to arise again. Linus reminds him of an important lesson; "Even though you lost, the world didn't come to an end."
Charlie Brown finally "gets it". He hops out of bed and rejoins the world, which continues exactly as he left it. He sees Lucy playing with a football, and he tries to sneak up on her and kick it, but she whisks it away in the nick of time, as she always does. Charlie Brown falls flat on his back. Lucy walks up to him, smiles, and says, "Welcome home, Charlie Brown!"
THE END
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A BOY NAMED CHARLIE BROWN is a highly entertaining, wildly innovative animation feature. It sports some marvelous, cutting-edge visual f/x, and some downright contemplative scenarios. It takes the microcosmic "Peanuts" universe of Charles Schulz and expands it to mythic proportions, all the while keeping that certain insular quality of Charlie Brown's world.
A pithy sixty-three second prologue really sets the pace. More than that, it sets up the psychological profile of our three main characters in record time. Charlie Brown, Lucy Van Pelt, and kid brother Linus recline on a field, watching the clouds go by. Lucy coos, "Aren't the clouds beautiful?" This leisurely contemplation of beauty, art, and life reveals more than one might guess. Lucy asks her friends what they see in the clouds. Linus sees shadows of complex historic icons and events, while Charlie Brown sees bunny rabbits!
Thus, Linus is the quixotic, overachieving intellectual, while Charlie Brown is the good-hearted but dull "Everyman". He has no particular vision, no imagination to speak of, and no significant abundance of intelligence. Is he thus still a good person? This is the prime existential question of the “Peanuts” mythos, and the film reveals the ultimate truth of the matter.
Charlie Brown is a revelation of mediocrity that is aware of itself, leading to low self-esteem, which is of course the birth of modern neurosis. This is certainly the Babyboomer generation's key psychological quandary, expertly sketched with Charles Schulz’ bright pen.
Lucy Van Pelt is by far the most complex character of the "Peanuts" gang. She is obviously very bright, but she uses her intelligence for questionable purposes. She enjoys manipulating people more than helping them. She is psychologically-minded, as witness her free-lance therapy business. Lucy excels in shining a light on people and their faults; is this so that they may grow mentally healthy, or is she just being mean?
The opening credits unfold over a snappy visual montage. (Trivia buffs may care to note that A BOY NAMED CHARLIE BROWN likely takes the credit for world's shortest main title: 2.5 seconds!)
We then enter the "peanuts" universe proper, which takes place in a placid suburban netherworld. The world of Charlie Brown depicts a micro-cosmic evaluation of modern life and its neurotic underpinnings, ala GILLIGAN’S ISLAND, another pop culture juggernaut with a similar socio-political framework.
Episodic scenes depict generic childhood activities, such as flying a kite, taking a walk, playing ball, looking at the clouds. These blank actions are a canvas upon which the characters can enact intensely revealing scenes of sociological conflict and psychological revelation.
For instance, Charlie Brown’s ill-fated attempts to build his own kite and fly it suggest not only his inherent ineptitude, but his spiritual karma as well. Frustration seems to be a cornerstone of Charlie Brown’s existence, and yet he keeps trying. His attempts to “reach the heavens” surely boast a spiritual side, but the child is also attempting to become an autonomous adult, thwarted at every turn not only by his own flaws, but a hostile environment.
In fact, Linus chants the film’s final mantra early on, but Charlie Brown cannot hear it; when Linus offers, "We learn more from losing than from winning", Charlie Brown counters, "Then I must be the smartest person in the world!"
Feeling hopeless, Charlie Brown goes to see his friendly neighborhood psychiatrist, Lucy Van Pelt. Lucy is thus depicted as a symbol of not only the healing sciences, but of professional woman in general, and certainly an icon of the “Woman’s Lib” movement of the day. But at root, is she merely a bossy female?
Indeed, Lucy’s cruel system for routing neurosis is both comical and diabolical; she forces the patient to view a lengthy slideshow of all his faults! (This concept, which reminds one of the “therapy” in A CLOCKWORK ORANGE, was likely lifted verbatim by Albert Brooks for his hilarious DEFENDING YOUR LIFE.) Charlie Brown of course is traumatized by this ugly parade of his raw existential shortcomings, and leaves more broken than ever. Is Lucy thus poking fun at the profession she purports to uphold, or is she slyly revealing the cardinal therapeutic truth, that one must face one’s inner demons if one ever hopes to tackle them?
Last but not least, super-beagle Snoopy is the mute genius creature, a wise man in a funny suit. He remains aloof and untouched by all human affairs. Yet his constant Flying Ace fantasies reveal, somewhat oddly, that this perfect beast actually wants nothing more than to be an ego-fueled human hero! So much for animal perfection!
The film shifts from literal to metaphorical in a breath; Charlie Brown studies and suffers in real-time, and then spirits himself off to the big city by himself. A boy going all alone into the big city must have been metaphorical, even in the safe 1960’s. This frequent structural shift clearly shows the brilliance of the screenplay.
The spelling bee sequence is quite contagious; you may find yourself spelling along with the contestants, and even getting the same words wrong that they do!
The final lesson of the film is a profound one. When Charlie Brown declares that he will never try anything again, Linus intones, “Even though you lost, the world didn't come to an end." Charlie Brown walks outside, and see that the world still revolves, even with his myriad failures. What’s more, the world still accepts him as he is.
The voices are all great, with the exception of Glenn Gilger as Linus; we prefer the breathy lisp of Christopher Shea, the original voice of Linus in the TV specials.
On the other hand, Peter Robbins and Pamelyn Ferdin simply ARE Charlie Brown and Lucy Van Pelt. The generic faces and their singular vocal counterparts are so perfectly matched, it is the combination thereof, not the separate elements, which have become enduring cultural icons.
A wild, jazzy score by Vince Guaraldi accents the piece well, as do the pleasant, poppish songs by Rod McKuen. The original soundtrack album to the film sold exceedingly well, and can be obtained currently on audio CD.
Visually, A BOY NAMED CHARLIE BROWN is pleasant and attractive, with that minimal production design borrowed from the comic strip and the TV specials. There is some innovative use of split-screen technology, perhaps an overused technical gimmick of the time period, but well-used here. There are in addition, some amazing transitional scenes, quick abstract sketches of locales and segways, such as the Los Angeles Freeway!
The film also boasts some incredible montage work; as Snoopy plays the national anthem before the big baseball game, there is an exciting psychedelic montage which depicts an undulating pop art revision of the American star and stripes.
The centerpiece of the film from a visual standpoint is the scene where Schroeder plays Beethoven's sonata "Pathetique". We are treated to an extraordinary visual collage which borders on the psychedelic, a collage which aptly suggests how music might really come alive inside the creative mind. The swirling colors, quick glimpses of real locations and personalities, and heady rhythmic editing all make for a rather breathtaking sequence, reminding one that, although largely forgotten now, A BOY NAMED CHARLIE BROWN was considered a popular "head film" of its day. This sequence alone certainly suggests that the film might have been enjoyed by anyone of a certain higher mind, along with films such as YELLOW SUBMARINE.
The unusual end credits feature photographs of many of the cast and crew, a final avant-garde touch to a wonderful, refreshing animation adventure with many wise lessons to share, including a marvelous meditation on modern childhood, and abundant allegories for our adult world.
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There is supposedly a 1965 TV version of this same screenplay, as witness a soundtrack album, but we have been unable to verify this rare video production.
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Video/DVD availability: VHS (Fox Video)
The doctor is "in".
The World War I Flying Ace fears no man!
Charlie Brown sweats it out on National TV!
Lucy is mortified that her "client" has lost his claim to fame.
Snoopy, hockey superstar!
"Welcome home, Charlie Brown!"
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Schroeder's beautiful music manifests a psychedelic art collage...
Mendelson Film Productions, Inc. / Melendez Features, Inc.
Cinema Center Films
a National General release
20th Century Fox (re-release)
Story: Charles Schulz (based on his comic strip "Peanuts")
Screenplay: Charles M. Schulz
Songs: Rod McKuen
Music: Vince Guaraldi
Cinematography: Wally Bulloch, Nick Vasu
Produced by Bill Melendez, Lee Mendelson
Directed by Bill Melendez
