The Fox And The Hound full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

After a young red fox is orphaned, Big Mama the owl, with the help of her friends Dinky the finch and Boomer the woodpecker, arranges for him to be adopted by a kindly farmer named Widow Tweed. Tweed names him Tod, because he reminds her of a toddler. Meanwhile, her neighbor, a hunter named Amos Slade, brings home a young hound puppy named Copper and introduces him to his hunting dog Chief. One day, Tod and Copper meet and become playmates, vowing to remain "friends forever". Slade grows frustrated at Copper for constantly wandering off to play, and places him on a leash. While playing with Copper outside his doghouse, Tod awakens Chief. Slade and Chief chase Tod until they are stopped by Tweed. After an argument, Slade threatens to kill Tod if he trespasses on his farm again. Hunting season comes and Slade takes his dogs into the wilderness for the interim. Meanwhile, Big Mama, Dinky, and Boomer attempt to explain to Tod that his friendship with Copper will not continue, as they are natural enemies, but Tod naively refuses to believe them, hoping that he and Copper will remain friends forever.

As months pass, Tod and Copper both reach adulthood. Copper has become an experienced hunting dog, while Tod has grown up into a handsome fox. On the night of Copper's return, Tod sneaks over to visit him. Copper explains that while he still values Tod as a friend, he is now a hunting dog and things are different. Their conversation awakens Chief, who alerts Slade. In the ensuing chase Copper catches Tod. Against better judgement, Copper lets Tod go and diverts Chief and Slade. Tod tries escaping onto a railroad track, but is caught and pursued by Chief as a train approaches the tracks. Tod ducks under the train, but Chief is struck by the train and falls into the river below, breaking his leg. Angered by this, Copper and Slade blame Tod for the accident and vow vengeance. Tweed, realizing that Tod is no longer safe with her, takes him on a drive and leaves him at a game preserve.

Tod's first night alone in the woods proves disastrous, as he inadvertently trespasses into an irritable old badger's den. Thankfully, a friendly porcupine offers Tod shelter. That same night, Slade and Copper plan to poach Tod. The next morning, Big Mama finds Tod and introduces him to a female fox named Vixey. Wanting to impress her, Tod tries to catch a fish, but fails due to his lack of survival skills. Vixey and the other animals laugh at him, but Big Mama straightens the matter by directing Tod to be himself. The two foxes reconcile and Vixey helps Tod adapt to life in the forest.

Meanwhile, Slade and Copper trespass into the preserve to hunt Tod. As Tod manages to escape Slade's leghold traps, Copper and Slade pursue both foxes. They hide in their burrow while Slade tries trapping them by setting fire to the other end of the burrow. The foxes narrowly escape without getting burned as Slade and Copper chase them up the top of a hill until they reach a waterfall. There, Slade and Copper close in for the kill, but a large bear suddenly emerges from the bushes and attacks Slade. Slade trips and falls into one of his own traps, dropping his gun slightly out of reach. Copper tries fighting the bear but is no match for it. Not willing to let his former friend die, Tod intervenes and fights the bear until they both fall down the waterfall.

With the bear gone, a bewildered Copper approaches Tod as he lies exhausted near the bank of a waterfall-created lake. When Slade appears, Copper positions himself in front of Tod to prevent Slade from shooting him, refusing to move away. Slade lowers his gun and leaves with Copper. Tod and Copper share one last smile before parting. At home, Tweed nurses Slade back to health while the dogs rest. Copper, before resting, smiles as he remembers the day when he first met Tod. On a hill, Vixey joins Tod as they look down on the homes of Slade and Tweed.

• Mickey Rooney as Tod
• Kurt Russell as Copper
• Pearl Bailey as Big Mama
• Jack Albertson as Amos Slade
• Sandy Duncan as Vixey
• Jeanette Nolan as Widow Tweed
• Pat Buttram as Chief
• John Fiedler as The Porcupine
• John McIntire as The Badger
• Dick Bakalyan as Dinky
• Paul Winchell as Boomer
• Keith Mitchell as Young Tod
• Corey Feldman as Young Copper

Development

Wolfgang Reitherman read the original novel and found it particularly touching because one of his sons had once owned a pet fox years before. He decided that it would make for a good animated feature for which production began in spring 1977. The title was initially reported as The Fox and the Hounds, but the filmmakers dropped the plural as the story began to focus more and more on the two leads. Reitherman was the film's original director along with Art Stevens as co-director. A power struggle between the two directors and co-producer Ron Miller broke out between them over key sections of the film with Miller supporting the younger Stevens. Miller instructed Reitherman to surrender reins over the junior personnel, but Reitherman resisted due to a lack of trust in the young animators.

In an earlier version of the film, Chief was slated to die as he did in the novel. However, the scene was modified to have Chief survive with a cast on his back paw. Animator Ron Clements, who had briefly transitioned into the story department, protested that "Chief has to die. The picture doesn't work if he just breaks his leg. Copper doesn't have motivation to hate the fox." Likewise, younger members of the story team pleaded with Stevens to have Chief killed. Stevens countered that "Geez, we never killed a main character in a Disney film and we're not starting now!" The younger crew members took the problem to upper management who would also back Stevens. Ollie Johnston's test animation of Chief stomping around the house with his leg in a cast was eventually kept, and Randy Cartwright re-animated the scene where Copper finds Chief's body and had him animate Chief's eyes opening and closing so the audience knew that he was not dead.

Another fight erupted when Reitherman, in thinking the film lacked a strong second act, decided to add a musical sequence of two swooping cranes voiced by Phil Harris and Charo who would sing a silly song titled "Scoobie-Doobie Doobie Doo, Let Your Body Turn Goo" to Tod after he was dropped in the forest. Charo has recorded the song and voice tracks which were storyboarded, and live-action reference footage was shot of her in a sweaty pink leotard. However, the scene was strongly disliked by studio personnel who felt the song was a distraction from the main plot with Stevens stating "We can't let that sequence in the movie! It's totally out of place!" Stevens notified studio management and after many story conferences, the scene was removed. Reitherman later walked into Stevens's office, slumped in a chair, and said, "I dunno, Art, maybe this is a young man's medium." He later moved on to undeveloped projects such as Catfish Bend and died in a car accident in 1985.

Animation

By late 1978, Frank Thomas, Ollie Johnston, and Cliff Nordberg had completed their animation. Thomas had animated scenes of Tod and Cooper using dialogue Larry Clemmons had written and recorded with the child actors. This project would mark the last film to have the involvement of the Disney's Nine Old Men who had retired early during production, and animation was turned over the next generation of directors and animators, which included John Lasseter, John Musker, Ron Clements, Glen Keane, Tim Burton, Brad Bird, Henry Selick, Chris Buck, and Mark Dindal, all of whom would finalize the animation and complete the film's production. These animators had moved through the in-house animation training program, and would play an important role in the Disney Renaissance of the 1980s and 1990s.

However, the transition between the old guard and the new resulted in arguments over how to handle the film. Reitherman had his own ideas on the designs and layouts that should be used, but the newer team backed Stevens. Animator Don Bluth animated several scenes including of Widow Tweed milking her cow, Abigail, while his team worked on the rest of the sequence, and when Tweed fires at Amos Slade's automobile. Nevertheless, Bluth and the new animators felt that Reitherman was too stern and out of touch, and on his 42nd birthday, September 13, 1979, Bluth, along with Gary Goldman and John Pomeroy, entered Ron Miller's office and turned in their resignation. Following their resignations, 13 animators followed suit in their resignations. Though Bluth and his team had animated substantial scenes, they asked not to receive screen credit. With 17% of the animators now gone, Miller ordered all of the resigning animators off the studio lot by noon of that same day and would later push the release of The Fox and the Hound from Christmas 1980 to summer 1981. New animators were hired and promoted to fill the ranks. To compensate for the lack of experience of the new animators, much of the quality control would rely upon a corp of veteran assistant animators. Four years after production started, the film was finished with approximately 360,000 drawings, 110,000 painted cels and 1,100 painted backgrounds making up the finished product. A total of 180 people, including 24 animators, worked on the film.

Casting

Early into production, the principal characters such as young Tod and Copper, Big Mama, and Amos Slade had already been cast. The supporting characters were cast by Disney voice regulars including Pat Buttram for Chief, Paul Winchell for Boomer, and Mickey Rooney for adult Tod who had just finished filming Pete's Dragon. Jeanette Nolan was the second choice for Widow Tweed after Helen Hayes turned down the part. The last role to be cast was for adult Cooper. Jackie Cooper had auditioned for the role, but left the project when he demanded more money than the studio was willing to pay. While filming the Elvis television film, former Disney child actor Kurt Russell was cast following a reading that had impressed the filmmakers, and completed his dialogue in two recording sessions.