Felix Salzen and Bambi - Felix Salten (Siegmund Salzmann)
It was necessary to find out how the name of the author of "Bambi" is written in Russian. He already knew German, but it was necessary to clarify who he is in Russian transcription.
And here's what, surprisingly, it turned out. I did not find in Russian who the writer was, what his roots were, with whom he was friends, what values he was guided by.
Briefly, exhaustively - "Austrian writer". On one Russian site, it’s generally nice: “in connection with views close to Nazism and support for the annexation of Austria by Germany, young people turned away from him.” Yeah, it turns out that the Austrian Salzen became a Nazi in his old age.
However, what to expect from the spiritual Internet community, where dozens of idiotic resources with naked women fall on the word "Bambi" in the first place.
Any normal person, who does not even know the biography of Salzen, at the sight of the "fascist Austrian" will have a question - how was the famous "Bambi" released in the USA in 1942, in the most difficult year of the war, to maintain morale and amuse the people. Have they really found nothing better than a Nazi novel? Well, God bless them, with stupid biographies.
Okay, Austrian, so Austrian. But why not find any mention of the fact that Salzen was born in Hungary in an old Jewish family, considered himself (by right!) a representative of Jewish culture all his life, is considered one of the outstanding Jewish writers who wrote in Yiddish and in German.
I am not talking about the fact that this “old man who supported the Nazis” actually emigrated from Austria immediately after the Anschluss. And he was seventy years old.
Sigmund Salzman was born in Budapest on September 6, 1869. In infancy, he was taken by his family to Austria, which in 1867 granted Jews full civil rights.
As usual, the family is poor, there is no money, the boy studied a little at a small-town school, started working early in an insurance company (like Einstein, by the way). Well, like all young people of that era, he began to write, sending his poems, short stories, essays to all newspapers and magazines. Sometimes they printed, and sometimes they even paid money.
Finally, in 1902 he became famous, after the obituary on the death of Emile Zola. They began to print more and more regularly. And in 1910, Salzen published a powerful "anti-obituary" on the death of the mayor of Vienna, Karl Luger. Salzen accuses Luger of anti-Semitism. By the way, at the same time, a certain Adolf Schilkgruber, also living in Vienna, publicly declares that Luger was the ideal of the Austrian youth, an example to follow.
By the age of forty, Salzen becomes one of the leading intellectuals of the so-called Café Grienstedl generation. Among the leading representatives of this trend in art and literature are Fran Lehar (the same as The Merry Widow, Oscar Strauss, Theodor Herzl, the ideologue of Zionism and many other very famous personalities. Salzen is friends with Freud and publishes significant philosophical works.
But, of course, the immortality of Salzen provides a thin romance bambi, forest fairy tale, written in 1923. I won't talk about the novel. For what? Who read in childhood, he sobbed and rejoiced. And who did not read, well, God bless them.
It's curious that Bambi was conceived and published as an allegory for the life of Jewish society in Europe and as Salzen's opinion on the development of Jewry, primarily in the context of world politics in the twenties.
In 1936 in Germany Bambi was banned, and in May 1938, after the annexation of Austria, the book was banned in Austria (and yet, what idiot decided to explain to us that “the Austrian Salzen supported Nazism, therefore, progressive humanity turned away from him?). Salzen and his family manage to emigrate to Switzerland. Not knowing about this, the Nazis come to arrest him. Late.
In 1939, Toman Mann, also a political immigrant, shows the novel to Walt Disney. He puts the book in line for production in 1944. But the war begins and Disney, among a pile of military propaganda films (see review on "Kill Hitler" decides to put Bambi. This American film premiered in London on August 8, 1942, under bombs. And in the US - only 13 August.
It should be noted that after the film there were protests: the American Hunters Association strongly condemned the film's comparison of hunters with Nazis and fascists.
IN THE USSR Bambi was shown in 1943. It was banned in the late 1940s. And there is nothing to show Zionist propaganda, here we still need to deal with pest doctors.
, George Rowley , Louis Smith , Art Palmer , Art Elliott
USA USA
English
The cartoon begins with the birth of the new Prince of the forest - the deer Bambi. Together with his first friends - the hare Stomp and his sisters - he learns to walk, talk and get acquainted with other inhabitants of the forest. Unexpected for him is a meeting with Falin - a little doe, who finds communication with Bambi a very funny pastime. Bambi, however, does not share Faline's joy at all. Bambi meets his father - the Great Prince of the forest - the most respected deer in the entire forest.
After autumn comes winter - the most difficult time in Bambi's life - but it does not last forever. The first rays of the spring sun appear, and Bambi and her mother again go to the meadow, where they find the first spring grass.
Alas, a peaceful walk ends in tragedy - this time the bullet of the newly appeared hunter still overtakes Bambi's mother. Not understanding what happened, Bambi tries in vain to find his mother in the forest plunging into the darkness of the night. But unfortunately, instead of his mother, he finds the Grand Duke, who makes it clear that his mother will never come.
Spring is coming, and old friends - Bambi, Flower and Thumper - meet again. Bambi is no longer the same as before - his antlers have grown, and from a shy and shy child he turns into a young deer. Spring is a period of love, and, having met with an old acquaintance Faline, Bambi falls in love with her. However, the main danger is yet to come - a man starts a fire.
The forest turned into ashes begins to be reborn. The final chord of the cartoon is the birth of two deer by Bambi and Falin, surprisingly similar to their parents. Realizing that his time has passed, the Grand Duke of the forest gives way to the finally matured Bambi.
The film was dubbed by Pythagoras Studio in 2004 by order of Disney Character Voices International.
In 1933, the rights to create a film based on the book by Felix Salten were bought by Sydney Franklin, one of the employees of the MGM studio. However, after some time it became obvious that such a film could not be made using traditional cinematography, and in 1935 Walt Disney was asked to create a full-length animated film. As a result, "Bambi" became Walt Disney's favorite brainchild and one of the most time-consuming projects of the time, the approach to which differed in many ways from previous works by the studio.
In the early stages of development, the artists tried to achieve the most detailed and reliable reflection of reality, but under the influence of Tyrus Wong's painting, the course changed dramatically, and the emphasis was not on authenticity, but on the emotionality and minimalism of the drawing, allowing the viewer's imagination to independently complete the overall picture. A similar minimalist approach can be seen both in the music and in the construction of the plot - only about 800 words were said by the cartoon characters in 70 minutes of screen time.
Many of the materials from "Bambi" were later used in other Walt Disney cartoons. The most frequently used animation of Bambi's mother (the episode in the meadow shortly before her death) - she can be found in The Sword in the Stone, The Jungle Book, The Rescuers and Beauty and the Beast. Often, the animation of leaves, petals, secondary characters, etc. was reused. One of the striking examples is the rain in The Fox and the Hunting Dog: here the animation of a pheasant running from the rain with chicks was reused. Notably, the 2006 midquel, Bambi 2, makes heavy use of the original Bambi's computer-edited backgrounds, as well as many of the ideas discarded during the production of the original cartoon.
The plot and artistic techniques of "Bambi" largely influenced another popular Disney cartoon - "The Lion King". For example, both cartoons begin with the birth of the main character, in both cartoons the main character loses a parent, both cartoons end in a big fire and the subsequent rebirth of nature, and one of the characters in both cartoons is the main character standing on top of a cliff. Even the creators of The Lion King do not deny the significant influence of Bambi on their offspring.
Since 1989, the cartoon has been released by Walt Disney Home Video and Walt Disney Classics on VHS. In the USSR and Russia, the cartoon was distributed on video cassettes and shown on cable TV in translations by Alexei Mikhalev, Vasily Gorchakov, Andrei Gavrilov and Mikhail Ivanov.
In February 1997, the cartoon was re-released on VHS in the collection of masterpieces (Eng. Walt Disney Masterpiece Collection ). In Russia in the late 1990s, it was released under license from Odeon Video.
In the early 2000s, the cartoon was re-released on VHS and DVD by Disney DVD. In Russia, the cartoon was released on VHS and DVD translated by Yuri Zhivov, later with a multi-voiced off-screen translation by the DVD Magic distributor on discs of the same format, with Russian and English subtitles. The platinum edition of the cartoon on VHS and DVD was released on March 1, 2005. In Russia, officially released with Russian dubbing.
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The next day, early in the morning, the decrepit Kutuzov got up, prayed to God, dressed, and with the unpleasant consciousness that he had to lead the battle, which he did not approve of, got into a carriage and drove out of Letashevka, five versts behind Tarutin, to the place where the advancing columns were to be assembled. Kutuzov rode, falling asleep and waking up and listening to see if there were shots on the right, was it starting to happen? But it was still quiet. The dawn of a damp and cloudy autumn day was just beginning. Approaching Tarutin, Kutuzov noticed cavalrymen leading horses to a watering hole across the road along which the carriage was traveling. Kutuzov took a closer look at them, stopped the carriage and asked which regiment? The cavalrymen were from that column, which should have been already far ahead in the ambush. “A mistake, perhaps,” thought the old commander-in-chief. But, driving even further, Kutuzov saw infantry regiments, guns in the goats, soldiers for porridge and with firewood, in underpants. They called an officer. The officer reported that there was no order to march.
- How not to ... - Kutuzov began, but immediately fell silent and ordered the senior officer to be called to him. Climbing out of the carriage, head down and breathing heavily, silently waiting, he paced back and forth. When the requested officer of the General Staff Eichen appeared, Kutuzov turned purple not because this officer was the fault of the mistake, but because he was a worthy subject for expressing anger. And, shaking, panting, the old man, having come into that state of rage into which he was able to come when he was lying on the ground from anger, he attacked Eichen, threatening with his hands, shouting and cursing in public words. Another who turned up, Captain Brozin, who was not guilty of anything, suffered the same fate.
- What kind of canal is this? Shoot the bastards! he shouted hoarsely, waving his arms and staggering. He experienced physical pain. He, the Commander-in-Chief, His Serene Highness, whom everyone assures that no one has ever had such power in Russia as he, he is put in this position - laughed at in front of the whole army. “In vain did you bother so much to pray for this day, in vain did not sleep the night and thought about everything! he thought to himself. “When I was a boy officer, no one would have dared to make fun of me like that ... And now!” He experienced physical suffering, as from corporal punishment, and could not help but express it with angry and suffering cries; but soon his strength weakened, and, looking around, feeling that he had said a lot of bad things, he got into the carriage and silently drove back.
The anger that poured out did not return anymore, and Kutuzov, blinking his eyes weakly, listened to excuses and words of defense (Yermolov himself did not appear to him until the next day) and the insistence of Benigsen, Konovnitsyn and Tolya to make the same unsuccessful movement the next day. And Kutuzov had to agree again.
The next day, the troops gathered in the evening at the appointed places and marched out at night. It was an autumn night with black-purple clouds, but no rain. The ground was wet, but there was no mud, and the troops marched without noise, only the strumming of artillery was faintly audible. It was forbidden to speak loudly, smoke pipes, make fire; the horses were kept from neighing. The mystery of the enterprise increased its attractiveness. The people were having fun. Some of the columns halted, put their guns on their racks, and lay down on the cold ground, believing that they had come to the right place; some (most) columns walked all night and, obviously, went in the wrong direction.
Count Orlov Denisov with the Cossacks (the most insignificant detachment of all others) alone got to his place and at his time. This detachment stopped at the extreme edge of the forest, on the path from the village of Stromilova to Dmitrovskoye.
Before dawn, Count Orlov, who had dozed off, was awakened. They brought in a defector from the French camp. It was a Polish non-commissioned officer of Poniatowski's corps. This non-commissioned officer explained in Polish that he defected because he was offended in the service, that it would be time for him to be an officer long ago, that he is the bravest of all and therefore abandoned them and wants to punish them. He said that Murat was spending the night a mile away from them, and that if they gave him a hundred people in an escort, he would take him alive. Count Orlov Denisov consulted with his comrades. The offer was too flattering to refuse. Everyone volunteered to go, everyone advised to try. After many disputes and considerations, Major General Grekov, with two Cossack regiments, decided to go with a non-commissioned officer.
“Well, remember,” said Count Orlov Denisov to the non-commissioned officer, releasing him, “in case you lied, I will order you to be hanged like a dog, but the truth is a hundred chervonets.”
The non-commissioned officer, with a resolute look, did not answer these words, mounted on horseback and rode off with Grekov, who had quickly gathered himself. They hid in the forest. Count Orlov, shrugging from the freshness of the morning dawning, excited by what he was up to on his own responsibility, having seen Grekov off, went out of the forest and began to look around the enemy camp, which was now visible deceptively in the light of the beginning of the morning and the dying fires. To the right of Count Orlov Denisov, on an open slope, our columns should have appeared. Count Orlov looked there; but despite the fact that they would have been visible from afar, these columns were not visible. In the French camp, as it seemed to Count Orlov Denisov, and especially according to his very vigilant adjutant, they began to stir.
“Oh, really, it’s late,” said Count Orlov, looking at the camp. He suddenly, as often happens, after the person we believe is no longer in front of his eyes, it suddenly became completely clear and obvious to him that the non-commissioned officer was a deceiver, that he had lied and would only spoil the whole attack by the absence of these two regiments, whom he will lead God knows where. Is it possible to snatch out the commander-in-chief from such a mass of troops?
“Really, he’s lying, this rogue,” said the count.
“You can turn back,” said one of the retinue, who, like Count Orlov Denisov, felt distrust of the enterprise when he looked at the camp.
- A? Right?.. what do you think, or leave? Or not?
- Would you like to turn back?
- Turn back, turn back! - Count Orlov suddenly said resolutely, looking at his watch, - it will be late, it will be quite light.
And the adjutant galloped through the forest after Grekov. When Grekov returned, Count Orlov Denisov, excited by this canceled attempt, and the vain expectation of infantry columns, which all did not show up, and the proximity of the enemy (all the people of his detachment experienced the same), decided to attack.
He commanded in a whisper: "Sit down!" Divided, baptized...
- With God blessing!
"Uraaaaa!" roared through the forest, and, one hundred after another, as if sleeping out of a bag, the Cossacks flew merrily with their darts at the ready, across the stream to the camp.
One desperate, frightened cry of the first Frenchman who saw the Cossacks - and all that was in the camp, undressed, half-awake, threw guns, rifles, horses and ran anywhere.
If the Cossacks pursued the French, not paying attention to what was behind and around them, they would have taken Murat and everything that was there. The bosses wanted it. But it was impossible to budge the Cossacks when they got to the booty and prisoners. Nobody listened to the commands. One thousand five hundred prisoners were immediately taken, thirty-eight guns, banners and, most importantly for the Cossacks, horses, saddles, blankets and various items. It was necessary to do with all this, to seize the prisoners, guns, divide the booty, shout, even fight among themselves: the Cossacks took care of all this.
The French, no longer pursued, began to gradually come to their senses, gathered in teams and began to shoot. Orlov Denisov waited for all the columns and did not advance further.
Meanwhile, according to the disposition: “die erste Colonne marschiert” [the first column is coming (German)], etc., the infantry troops of the late columns, commanded by Benigsen and managed by Tol, made their way and, as always happens, came somewhere , but not where they were assigned. As always happens, people who went out cheerfully began to stop; displeasure was heard, a consciousness of confusion, they moved somewhere back. The galloping adjutants and generals shouted, got angry, quarreled, said that they were completely in the wrong place and were late, they scolded someone, etc., and finally, everyone waved their hand and went only to go somewhere. "We'll go somewhere!" And indeed, they came, but not there, and some went there, but they were so late that they came without any use, only to be shot at. Toll, who in this battle played the role of Weyrother in Austerlitz, diligently galloped from place to place and everywhere found everything upside down. So he rode on Baggovut's corps in the forest, when it was already completely light, and this corps should have been there long ago, with Orlov Denisov. Excited, upset by the failure and believing that someone was to blame for this, Toll jumped up to the corps commander and began to reproach him severely, saying that he should be shot for this. Baggovut, the old, fighting, calm general, also exhausted by all the stops, confusions, contradictions, to the surprise of everyone, completely contrary to his character, went into a rage and said unpleasant things to Tolya.
“I don’t want to take lessons from anyone, but I know how to die with my soldiers no worse than anyone else,” he said, and went forward with one division.
Entering the field under the French shots, the excited and brave Baggovut, not realizing whether his intervention now was useful or useless, and with one division, went straight and led his troops under the shots. Danger, cannonballs, bullets were just what he needed in his angry mood. One of the first bullets killed him, the next bullets killed many soldiers. And his division stood for some time useless under fire.
Meanwhile, another column was supposed to attack the French from the front, but Kutuzov was with this column. He knew well that nothing but confusion would come out of this battle, which had begun against his will, and, as far as it was in his power, held back the troops. He didn't move.
Kutuzov silently rode on his gray horse, lazily responding to proposals to attack.
“You have everything on your tongue to attack, but you don’t see that we don’t know how to make complex maneuvers,” he said to Miloradovich, who was asking to come forward.
- They didn’t know how to take Murat alive in the morning and arrive on time at the place: now there’s nothing to do! he replied to another.
When Kutuzov was informed that in the rear of the French, where, according to the reports of the Cossacks, there had been no one before, there were now two battalions of Poles, he glanced back at Yermolov (he had not spoken to him since yesterday).
- Here they ask for an offensive, they offer various projects, but as soon as you get down to business, nothing is ready, and the warned enemy takes his measures.
Yermolov screwed up his eyes and smiled slightly when he heard these words. He realized that the storm had passed for him and that Kutuzov would confine himself to this hint.
“He’s amused at my expense,” Yermolov said quietly, pushing Raevsky, who was standing beside him, with his knee.
Shortly thereafter, Yermolov moved forward to Kutuzov and respectfully reported:
“Time has not been lost, Your Grace, the enemy has not left. If you order to attack? And then the guards will not see the smoke.
Kutuzov did not say anything, but when he was informed that Murat's troops were retreating, he ordered an offensive; but every hundred steps he stopped for three-quarters of an hour.
The whole battle consisted only in what the Cossacks of Orlov Denisov did; the rest of the troops only lost a few hundred people in vain.
As a result of this battle, Kutuzov received a diamond badge, Benigsen also received diamonds and a hundred thousand rubles, others, according to their ranks, also received a lot of pleasant things, and after this battle, new changes were made in the headquarters.
“This is how we always do it, everything is upside down!” - Russian officers and generals said after the Battle of Tarutino, - just like they say now, making it feel that someone stupid is doing it upside down, but we would not have done it that way. But people who say this either do not know the business they are talking about, or deliberately deceive themselves. Every battle - Tarutino, Borodino, Austerlitz - everything is not carried out in the way that its stewards intended. This is an essential condition.
An innumerable number of free forces (for nowhere is a man more free than in a battle where life and death are at stake) influence the direction of the battle, and this direction can never be known in advance and never coincide with the direction of any one force.
If many, simultaneously and diversely directed forces act on some body, then the direction of movement of this body cannot coincide with any of the forces; but there will always be an average, shortest direction, that which in mechanics is expressed by the diagonal of the parallelogram of forces.
If in the descriptions of historians, especially French ones, we find that their wars and battles are carried out according to a predetermined plan, then the only conclusion that we can draw from this is that these descriptions are not correct.
The Tarutino battle, obviously, did not achieve the goal that Tol had in mind: to bring the troops into action in order, according to the disposition, and the one that Count Orlov could have had; capture Murat, or the goal of instantly exterminating the entire corps, which Benigsen and other persons could have, or the goals of an officer who wanted to get into business and distinguish himself, or a Cossack who wanted to get more booty than he got, etc. But , if the goal was what really happened, and what was then a common desire for all Russian people (the expulsion of the French from Russia and the extermination of their army), then it will be completely clear that the Battle of Tarutino, precisely because of its incongruities, was the very , which was needed during that period of the campaign. It is difficult and impossible to think of any outcome of this battle more expedient than the one that it had. With the smallest exertion, with the greatest confusion and with the most insignificant loss, the greatest results in the entire campaign were obtained, the transition from retreat to attack was made, the weakness of the French was exposed, and that impetus was given, which was only expected by the Napoleonic army to start the flight.
Napoleon enters Moscow after a brilliant victory de la Moskowa; there can be no doubt about victory, since the battlefield remains with the French. The Russians retreat and give up the capital. Moscow, filled with provisions, weapons, shells and untold riches, is in the hands of Napoleon. The Russian army, twice as weak as the French, does not make a single attempt to attack for a month. Napoleon's position is the most brilliant. In order to fall on the remnants of the Russian army with double strength and exterminate it, in order to negotiate a favorable peace or, in case of refusal, to make a threatening movement against Petersburg, in order even, in case of failure, to return to Smolensk or Vilna , or stay in Moscow - in order, in a word, to keep the brilliant position in which the French army was at that time, it would seem that no special genius is needed. To do this, it was necessary to do the simplest and easiest: to prevent the troops from being plundered, to prepare winter clothes that would be enough in Moscow for the entire army, and to properly collect provisions for the entire army that were in Moscow for more than six months (according to French historians). Napoleon, the most brilliant of geniuses and having the power to direct the army, historians say, did nothing of the sort.
Bambi hides from dogs
| Bambi (cartoon) |
The character of the studio's classic full-length cartoon, based on the novel "Bambi" by the Austrian writer Felix Salten. He also appears in the 2006 sequel Bambi 2, and in two Soviet adaptations of the same novel titled Bambi's Childhood and Bambi's Youth.
The basis of all cartoons and films about Bambi was the book by Felix Salten "Bambi. Biography from the forest. Critics perceived the author's work not as a children's fairy tale, but as a novel with "dark adult overtones" and anti-fascist allegories.
The forest in the book is depicted as a frightening place, the novel is filled with references to German folklore and is too complicated for children, so the Disney studio, having taken up the film adaptation, noticeably simplified the book and made the script more suitable for a children's audience.
Critics called Felix Salten's work an "environmentalist novel". The main idea of this book, in this interpretation, is reduced to a protest against hunting and a call to stop the destruction of the environment by man. Bambi has become a symbol of the fight for animal rights.
Frame from the cartoon "Bambi" (1942) At the beginning of the cartoon, Bambi appears as a tiny deer who can barely walk. The hero is afraid of everything and shows timidity, but over time he gets used to the world and the environment and becomes a cheerful cub. Viewers see Bambi playing with bunny friends and getting to know other animals.
Then winter comes, and a difficult period begins in the life of the hero, which ends with the first rays of the spring sun.
Bambi and her mother are nibbling on the first spring greens in the meadow when a Man appears who kills the deer's mother with a gun. The hero is left alone. But life goes on, and over time, Bambi turns into a young deer, whose antlers are already growing. The hero finds his beloved.
However, the Man continues to invade the forest and bring trouble with him. This time, the hunters start a fire, due to which only ashes remain from the forest. Over time, nature takes its toll, the forest comes to life again, and deer are born to Bambi and his chosen one. Following this, the father gives Bambi the title of Prince of the Forest.
The Soviet film adaptation about Bambi was released in 1985-1986. The role of adult Bambi in both films - Bambi's Childhood and Bambi's Youth - was played by an actor, and the actor's son, Vanya, starred in the image of Bambi the child.
In the first film, little Bambi, the leader's son, meets the inhabitants of the forest and faces danger for the first time. In the second film, the hero appears as a young and strong deer who meets love and sets off on a dangerous journey.
Disney's classic Bambi came out in 1942. In the Russian translation, Bambi in different years of the hero's life is voiced by actors and Ivan Dakhnenko.
Bambi the deer is the main character, a prince, the son of the Great Prince of the forest, a wise and sedate deer with massive antlers. Bambi's father rules over the inhabitants of the forest and keeps them from the troubles that the appearance of a Man in the forest entails.
Man is the main antagonist of the cartoon, who comes to the forest solely as an enemy and brings death and horror to animals. A man kills Bambi's mother. She tries to protect the deer from dangers, shows caution, but as a result, she still dies.
The hero has friends. This is a bold and lively hare, the Stomper, who got his nickname because of the habit of knocking with his paw. The hare is unrestrained in the language, and because of this, he constantly flies from the hare mother. Bambi's other friends are a shy skunk called Flower and a cheerful deer Felina, whom the hero meets in the meadow.
The heroine falls in love with Bambi and is constantly faced with the fact in different places, which for the hero himself every time becomes a complete surprise. Because of Felina, the hero has to face the aggressive deer Ronno, another contender for the love of a young roe deer, who is trying to recapture Bambi's girlfriend. However, the characters remain faithful to each other, and at the end of the cartoon, Bambi and Felina have children - little deer.
The cartoon "Bambi 2", released in 2006, is not a continuation of the classic story about Bambi, but rather a new interpretation of it, which complements the plot of the old cartoon and fills in the gaps in the hero's biography. Here the story begins with the moment when the orphaned Bambi meets his own father.
The Grand Duke is looking for a foster mother for the deer, but until she is found, he looks after his son himself. Bambi often has to deal with the aggressive fawn Ronno, who only appeared in one episode last time.
The hero, left unattended, is attacked by the hunting dogs of the Man, but the Grand Duke comes to the aid of the kid. Bambi wants to prove to his father that he is worthy of his attention, and as part of the fight against cowardice, he gets into a skirmish with an old porcupine, who "rewards" the hero with a portion of sharp needles.
Pricked Bambi is found by Felin and Ronno. The competitor provokes the hero into a fight, but Bambi runs away from him. However, in the finale, the kind and gentle Bambi nevertheless demonstrates unprecedented courage, leading the hunting dogs away from the foster mother who fell into the trap.
"Hidden Mickey Mouse" in the cartoon "Bambi" 
