One Hundred and One Dalmatians

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One Hundred and One Dalmatians (often abbreviated as 101 Dalmatians) is a 1961 animated film about a litter of dalmatian puppies who are abducted by the minions of Cruella De Vil. Their parents must find them before she uses them for a diabolical fashion statement.

Directed by Clyde Geronimi, Hamilton Luske, and Wolfgang Reitherman. Written by Bill Peet, based ond on the novel The Hundred and One Dalmatians by Dodie Smith.
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Cruella De Vil[edit]

  • They are my only true love, dah-ling. I live for furs, I worship furs! After all, is there a woman in this wretched world who doesn't?


  • Roger: Oh! Must be Cruella, your dearly devoted old school mate. Cruella De Vil. That's it!
  • Danny the Great Dane: The humans have tried everything. Now it's up to us dogs, and the twilight bark!
  • Truck Driver: [after he sees Cruella driving like a maniac] Hey, lady, what in thunder you trying to do?! Crazy woman driver...!


Cruella: [bursts through the door] ANITA, darling!
Anita: How are you?
Cruella: [gleefully] Miserable, darling, as usual. Perfectly wretched!

Cruella: When can the puppies leave their mother? Two weeks? Three weeks?
Roger: Never.
Cruella: What?
Roger: [nervously, but firmly stands his ground] We're not selling the puppies. Not a single one. Do you understand?
Cruella: Anita, is he serious? I really don't know Roger.
Anita: Well, Cruella, he seems...
Cruella: Surely he must be joking!
Roger: [more firmly] No, no, no, I mean it. You're not getting one. Not one! And that's final!
[Pongo growls at Cruella in agreement]
Cruella: Why, you horrid man! You... you... All right. Keep the little beasts for all I care! [rips up the check] Do as you like with them. Drown them! [throws the pieces of ripped check paper at Roger] But I warn you, Anita, we're through. I'm through with all of you! I'll get even. Just wait! You'll be sorry! You fools! You... YOU IDIOTS! [she slams the door and Pongo barks loudly at her as she drives away]

[As Roger and Anita take Pongo and Perdita for a walk]
Jasper: There they go, Horace, me lad. Out for their evening constitutional. A lovely pair of turtledoves. Around the jolly corner, and off to the park.
Horace: Yeah, but I don't like it, Jasper. One more pinch and they'll throw the keys away.
Jasper: Ah, come off it, Horace. We're getting plenty of boodle!
Horace: Yes, but, uhm, I've been thinking--
Jasper: [grabs him angrily] YOU'VE BEEN THINKING?! Now, look 'ere, Horace, I warned you about thinking! I've got the knob for this job, so let's get on with it.

Nanny: Now, who do you suppose...? [answers the door]
Jasper: Good evening, ma'am. We're here to inspect the wiring and the switches.
Horace: And we're from the gas company.
Jasper: [prods Horace] Lectric, lectric.
Horace: Oh. Electric company!
Nanny: Oh, but we didn't call for any inspection.
Jasper: Oh yes, I know. See, there's a new Act just passed in Parliament. Comes under the heading of the "Defence of the Realm Act": Article Four, Section 29. Very important - it's the law! And it's for your own safety, ma'am.
Nanny: Well, I don't care what Parliament, Realm or whatever it is says. You're not coming in here, not with the Mister and the Missus gone.
Jasper: Oh, now. Come off it, Ducky. We got no time to palaver. We got a job to do. EXCUSE ME! [storms through the door]
Nanny: What's the matter with you two?! You got cloth ears? I said you're not coming in here! [falls on her bottom]
Jasper: Ho, ho, ho! She's a regular old totter, ain't she, Horace? [laughs mockingly, then heads upstairs]
Nanny: [chasing Jasper] Don't you dare go up there! You big long-legged lummox! Now I mean it! If you don't get out of this house, I'll call the police, I will! Now be off with you, you big... you big weasel!
Jasper: Now you've been gone and done it. You've cut me to the quick, lady. Why, I wouldn't stay here if you asked me to. [Nanny throws a teapot at Jasper, but it misses and breaks] Not even for a cup of tea! [calling down for Horace while trapping Nanny in the attic] Oi! Horace, me lad! I've got a sneaky suspicion we're not welcome here! [we see Horace downstairs with a bag, heading for the puppies in the kitchen] Pack up, we're leaving! Sharp's the word, and quick's the action.

[Jasper calls Cruella on the phone]
Cruella: Hello? Jasper! Jasper, you idiot! How dare you call here!
Jasper: Look, we don't want no more of this 'ere! We want our boodle! [as Horace tries to get his attention] We'll settle for half!
Cruella: Not one schilling till the job's done. Understand?
Horace: Jasper! [shows him the morning newspaper]
Jasper: It's right here in the blinkin' papers! Pictures and all!
Cruella: Hang the papers! It'll be forgotten tomorrow.
Horace: I don't like it, Jasper. I don't--
Jasper: Ah, shaddup, you idiot!
Cruella: WHAT?!?
Jasper: No, no, not you, miss! I mean Horace here!
Cruella: Why, you imbecile! [slams down the phone]

Pongo: Perdy... I'm afraid it's all up to us.
Perdita: Oh, Pongo. Isn't there any hope?
Pongo: Well, yes. There's the twilight bark.
Perdita: The twilight bark? But dear, that's only a gossip chain.
Pongo: Darling, it's the very fastest way to send news. And if our puppies are anywhere in the city, the London dogs will know. Now we'll send the word tonight when our pets take us for a walk in the park.

(Barking in the distance)
Colonel: Sounds like a number. Three fives are 13.
Sgt. Tibbs: Um, ah, that's 15, sir.
Colonel: 15? Of course 15!
(More barking)
Colonel: Yes, dot, spot, spot, spotted puddings... poodles... No, no, puddles!
Captain: Puddles, sir?
Colonel: 15 spotted puddles stolen, oh, balderdash!
Sgt. Tibbs: Better double-check it, Colonel.
Colonel: Hmm? Oh, yes, yes, I suppose I better.
(The Colonel barks, then barking in the distance in response)
Colonel: Two woofs, one yip and a woof.
Sgt. Tibbs: It sounds like puppies, sir.
Colonel: Of course, puppies!

[An angry Cruella catches Jasper and Horace watching television]
Cruella: I've got no time to argue. I tell you it's got to be done tonight. [switches off the TV] Do you understand?! Tonight!
Horace: But they ain't big enough.
Jasper: You couldn't get half a dozen coats out of the whole kaboodle.
Tibbs: [spying] Coats?! Dog-skin coats?!
Cruella: Then we'll settle for half a dozen! We can't wait! The police are everywhere! I want the job done tonight!
Horace: How are we gonna do it?
Cruella: Any way you like! Poison them, drown them, bash them in the head! You got any chloroform?
Jasper: Not a drop.
Horace: And no ether... either.
Jasper: [bonks Horace on the head with his wine-bottle] "Eye-ther"!
Cruella: I don't care how you kill the little beasts, but DO IT! AND DO IT NOW!
Jasper: Aw, please, miss. Now have pity, will ya? Can't we see the rest of the show first?
Horace: We want to see "What's My Crime?"
[Jasper starts to drink from his bottle, but Cruella snatches it and throws it into the fireplace, where the ignited alcohol causes an explosion. The frightened puppies hide behind the furniture, and Cruella slaps both Jasper and Horace in the face.]
Cruella: Now listen, you idiots! I'll be back first thing in the morning. And the job better be done or I'll... I'll... I'll call the police! DO YOU UNDERSTAND?!
[She slams the door behind her, causing a chunk of the ceiling to come loose and fall on Horace's head.]
Horace: I think she means it, Jasper.
Jasper: Ah... we'll get on with it as soon as the show's over! [switches the TV back on]

Pongo: Perdy, I've got an idea! [rolls around in soot]
Perdita: Pongo, what on Earth...?
Pongo: Look! I'm a Labrador! We'll all roll in the soot! We'll all be Labradors!
Labrador: Say! That is an idea!
Pongo: Come on, kids! Roll in the soot!
Penny: You mean you want us to get dirty?
Pepper: Did you hear that, Freckles? Dad wants us to get dirty.
Cadpig: Mother, should we?
Perdita: [sighs] Do as your father says.
Pepper: This'll be fun!
Cadpig: I always wanted to get good and dirty!

Roger: [after counting the puppies] A HUNDRED AND ONE!
Anita: A hundred and one? My, where did they all come from?
Roger: Oh-ho, Pongo, you ol' rascal!

About One Hundred and One Dalmatians[edit]

  • I mean how much more evil and disgusting can you get than wanting to have these innocent little puppies made into fur coats? I mean that is pure evil. But then she is not your straight villainess. She also has quirks, you know? She smokes -- and the way she uses a cigarette in her acting pattern. There is one wonderful scene where she's about to leave Roger and Anita's house and she is putting down her cigarette into a little cupcake on the table. Just wonderful little funny character bits. And of course in her drawings, she is just so grotesque, but appealing at the same time, and I don't know how Marc Davis did it. She's got these gigantic cheek bones poking out of her face and a very, very sharp jaw and a little piggy nose. She's something that should look like it doesn't have much appeal, but you can't take your eyes off of her because she is so flamboyant and fun to watch. I think that's one of the reasons people are drawn to her.
  • I think all of her scenes are really great because Marc Davis animated every single scene with that character, which is not really the norm at Disney. An animated part is usually too big for one animator to do alone, so we usually have a crew being supervised by one animator. But Marc did every single scene with Cruella. One sequence that comes to mind is when she's reading the newspaper: she's finding out about the dognapping, and she's having such a good time, and she is the one who's guilty, and she just loves it. And then in the middle of this laugh, she's looking at a picture in the newspaper of Roger and Anita and she gets the phone call and then there is that very broad expression change, like she hates to be interrupted in the good time that she's having, and then she talks to Jasper and Horace. But the whole outfit -- the curlers, you know... it just makes for a really fun character bit.
  • Well there's your Disney accuracy for you. [There is a] team of effects animators, so the supervising animators would just animate the dogs and take care of the acting and all that. And then we have effects animators who usually are assigned to things like rain, clouds, dust, fire, shadows. They had to put those spots on, which was quite a job, because you don't just add the spots to the drawing. You have to make them move according to the form of the dog, because a dog has a rib cage, and then there's a shoulder, and then there's a hip bone. And as an effects animator, the way you place those spots -- those spots have to travel with that form, so that they turn with the dog as the dog is turning away. So you really have to not just put those spots on... you have to understand the anatomy and the movement of the dog to put those spots on there the right way.


  • It's 'arf comedy...'arf mystery...and it's howlarious!
  • One great big ONEderful motion picture
  • It is here for a hundred and one days!


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