“Saludos Amigos” comes from an intriguing concept, where the production context stands out more than the actual content. Designed as a diplomatic tool at the height of World War II, the film was born from Walt Disney and his team’s famous trip to South America as part of the United States’ Good Neighbor Policy. The goal was clear: strengthen relations between countries and, on the side, open up a new market for Disney films. The result? A peculiar feature-length film stitched together from four shorts, tied loosely by a semi-improvised documentary structure that mixes animation with live-action footage. The problem is that, as a film, “Saludos Amigos” never shakes off the feeling of being more of a collection of ideas than a truly cohesive work.

The narrative structure follows a repetitive cycle: the animators arrive in a new country, explore the local culture, and then create a short inspired by what they observed. This approach could have been interesting if it had been developed further, but the episodic format prevents any deeper engagement with the characters or stories. The first segment, starring Donald Duck at “Lake Titicaca,” works as a decent introduction to the film’s tone. Donald, a master of physical comedy, is thrown into a series of typical misadventures—dealing with high altitude, precarious boats, and a stubborn llama. The problem is that, while visually well-made, the short doesn’t deliver any truly memorable gags and ends up feeling like just an exercise in setting the scene rather than something with lasting comedic impact.

The second short, “Pedro,” about a small plane facing a dangerous journey over the Andes, is by far the strongest of the film. Even with a predictable storyline, it has more energy than the other segments and benefits from an art direction that fully embraces the grandiosity of the landscape. The decision to portray Mount Aconcagua as an almost living, menacing entity adds a layer of tension that the other shorts lack. There’s a real inventiveness in how the film builds this world of anthropomorphic planes, something that years later would be explored (with much less inspiration) in “Cars.”

Next up, “El Gaucho Goofy” brings back the familiar format of Goofy’s educational shorts, where he’s placed in a new setting to humorously exaggerate cultural differences between the U.S. and other countries. Goofy’s impeccable comedic timing and naturally clumsy personality always make for good moments, but the short itself isn’t particularly innovative. It works as a fun interlude but is far from a standout.

The final segment, “Aquarela do Brasil,” is where “Saludos Amigos” finally finds some energy and style. The transition from live-action to animation is smoother here, and the use of a paintbrush creating the scenery and characters in real time adds an artistic charm that sets it apart from the rest of the film. The introduction of José Carioca, the Brazilian parrot who became one of Disney’s signature Latin American characters, is one of the most memorable moments—especially in the way he and Donald Duck interact to the rhythm of samba. Unlike the other shorts, this one actually feels like a real celebration, even though it ends rather abruptly without much of a proper conclusion.

Overall, “Saludos Amigos” is more of a product of its time than a fully realized cinematic experience. The lack of a strong narrative thread makes it feel more like a collection of sketches than an actual feature film. The animation is solid, and there are some visually impressive moments, but the limited script and fragmented structure keep it from being anything more than a curious experiment. For those interested in Disney history or the political context of the time, it might be worth checking out, but as pure entertainment, it falls short.