 |  |  |  |  |
 |  |  |
# 72 - The Rats of NIMH
1971/1982, Ages 12 and Up
Gather round and I’ll tell you the tale of a frightened mother mouse who seeks out a colony of strange but powerful rats for the sake of her endangered family.
(5/5/23)
The following recording is edited from its original 15-minute version due to copyright restrictions. To hear the full version, tune in or stream at the scheduled times on ktwh.org, or download on AudioPort.
1971/1982, Ages 12 and Up
Gather round and I’ll tell you the tale of a frightened mother mouse who seeks out a colony of strange but powerful rats for the sake of her endangered family.
(5/5/23)
The following recording is edited from its original 15-minute version due to copyright restrictions. To hear the full version, tune in or stream at the scheduled times on ktwh.org, or download on AudioPort.
On April 19th, 2012, video game education YouTube channel Extra Credits uploaded a video called “True Female Characters – How to Write Deep and Interesting Characters.” As an idea for a potential exciting game involving a strong, female protagonist that audiences can take seriously and emphasize with, host Daniel Floyd proposes “the struggle of a single mother trying to protect her children while crossing a war-torn country.” So far as I know, no such game exists right now. However, there is a story—a children’s story, no less—with a very similar idea. The mother in question is not caught in a war in the traditional sense, but her fight for her family’s survival against a catastrophic enemy that doesn’t even know she exists feels no less turbulent, especially as she’s not even human, but instead one of the smallest and most hunted creatures in the animal kingdom.
Mrs. Frisby, a field mouse living on the Fitzgibbons’ farm, struggles to provide for her four children without her late husband, Jonathan. Along with the daily chores of finding food and hiding from the humans and their ferocious cat, Dragon, Mrs. Frisby must now prepare to move her family to their summer home in the woods in order to avoid Farmer Fitzgibbon’s deadly plow. But anxiety turns to fear when her youngest son, Timothy, falls ill with pneumonia, making him unable to safely endure the journey. When she learns of a mysterious colony of rats who gained extraordinary intelligence after their experimentation at the science facility, NIMH, Mrs. Frisby must gather her courage to request their help in making the miracle she so desperately needs for her son, never suspecting that she will provide them with a miracle of her own.
One of the few novels by Robert Leslie Carroll Conly (Robert C. O’Brien), Mrs. Frisby and the Rats of NIMH was inspired by the research of John B. Calhoun, an ethologist (non-human behavior researcher) who famously used rats and mice in his experiments on overpopulation and societal collapse throughout the 1960’s and 70’s, and much of whose work took place at the National Institute of Mental Health (NIMH), to this day the primary agency of the U.S. government responsible for biomedical research. The author had prior worked at National Geographic before turning to fiction writing. When his contract with them forbade him from publishing at other companies, he used his mother’s maiden name, O’Brien, to create the pseudonym he’s now best known by.
The Secret of NIMH is the directorial feature-length debut—and most critically acclaimed film as of 2023—of American animation legend Don Bluth, after he left Walt Disney Productions to establish his own animation studio in 1979. Funnily enough, legalities also forced O’Brien’s heroine to undergo a name change for the film: Mrs. Frisby became Mrs. Brisby in order to avoid copyright infringement with the Frisbee flying disc. To be honest, I don’t think Disney, had they tried, could have pulled this movie off back then because of the inappropriately cute musical it likely would have turned O’Brien’s heavy subject matter into (maybe not Timmy to the Rescue level inappropriate, but still), not to mention, in hindsight, Disney’s own disastrous first attempt at dark fantasy, The Black Cauldron, in 1985.
In defense of Disney, though, I do feel that O’Brien’s writing, though sincere, is rather dry, to the point where Bluth’s fantasy embellishments don’t seem quite as cheapening as they could have. This is perhaps the greatest difference between the two versions: O’Brien’s more realistic, nature-based account, versus Bluth’s medieval Redwall epic. For example, O’Brien leaves little to the imagination in terms of the literal science behind the rats’ captivity and subsequent evolution, shedding light not only on the experiments, but the human doctors conducting them. Despite our sympathy to the rats’ plight, he shows the humans as more ignorant than evil:
BOOK:
“So the young woman’s name was Julie; the young man was George. They all put gloves on, long, tough, plastic ones that came to their elbows. One by one we were taken from our cages, held gently but firmly by Dr. Schultz while Julie fastened around each of our necks a narrow ribbon of yellow plastic bearing a number. I learned eventually that mine was number A-10.
They were kind, especially Julie. I remember that when one rat was being tagged, she looked at it and said, ‘Poor little thing, he’s frightened. Look how he’s trembling.’
‘What kind of biologist are you?’ said Dr. Shultz. ‘The “poor little thing” is a she, not a he.’
[. . .]
A little later in the morning they came around again, this time pushing a table on wheels. It was loaded with a bottle of some clear liquid, a long rack of sharp needles, and a plunger. Once more I was lifted from the cage. This time George did the holding while Dr. Shultz fastened one of the needles to the plunger. I felt a sharp pain in my hip; then it was over. We all got used to that, for from then on we got injections at least twice a week. What they were injecting and why, I did not know. Yet for twenty of us those injections were to change our whole lives.
[. . .]
During the days that followed, our lives fell into a pattern, and the reason for our captivity gradually became clear. Dr. Shultz was a neurologist—that is, an expert on brains, nerves, intelligence, and how people learn things. He hoped, by experimenting on us, to find out whether certain injections could help us to learn more and faster. The two younger people working with him, George and Julie, were graduate students in biology.
‘Watch always,’ he told them, ‘for signs of improvements, faster learning, quicker reaction in group A as compared to group B, and both as compared to the control group.’” (Pg. 108-113)
Bluth, meanwhile, keeps his NIMH in near darkness in every sense, painting it as a hellish dungeon, filled with suffering animal prisoners being senselessly tormented by nameless human monsters, all awash in dark colors, tense music, and nightmarish animation:
FILM:
NICODEMUS: (Explaining to Mrs. Brisby): We were captured, put in cages, and sent to a place called NIMH. There were many animals there . . . in cages. They were put through the most unspeakable tortures . . . to satisfy some scientific curiosity. Often at night, I could hear them crying out in anguish. Twenty rats and eleven mice were given injections. Our world began changing.
Likewise, while I wouldn’t call the book’s characters dull per say, I do think that the film makes them more memorable by comparison. To name a few: Mr. Ages, a mouse scientist and physician, goes from reserved acquaintance to reclusive grump; helpful crow Jeremy goes from naïve youth to klutzy clown; Justin, the rats’ virtuous captain of the guard, goes from cordial sentry to witty warrior; Nicodemus, the rats’ benevolent leader who wants the colony to live an honest, self-sufficient existence away from man, goes from practical, eye-patch-donning strategist to powerful, glowing-eyed wizard; and Jenner, a selfish rat who wants to live on the comfort of human technology, goes from defector not even present in the book to full-on villain with beastly intentions.
With all these differences in presentation and personality, the fact that Mrs. Frisby stays pretty much the same in both versions is as significant as it is impressive.
Take note, writers! This is what a GOOD strong female character looks like!
Yes, she’s physically weak, unsophisticated, and very fearful, much of which, of course, stems from being a mouse. But that same fear, as well as the courage she gains later, stems also from being a grieving widow and single mother. She mourns the loss of her husband and feels lost without him, but knows full well she has to buck up for their children’s sake. On top of that, she’s just such a lovely sweetheart. Not only is her graciousness and compassion refreshing, but the open mind and heart she shows when faced with scientific principles, ancient magic, or anything else beyond her comprehension, are inspiring:
BOOK:
“When Mrs. Frisby went into her house, she found Timothy asleep and the other children waiting, frightened, sad, and subdued.
‘He went to sleep right after you left,’ Teresa said. “He’s waked up twice, and the second time he wasn’t delirious. He said his chest hurt and his head hurt. But Mother, he seemed so weak—he could hardly talk. He asked where you were, and I told him. Then he went back to sleep.’
Mrs. Frisby went to where Timothy lay, a small ball of damp fur curled under a bit of cloth blanket. He looked scarcely larger than he had when she and Mr. Frisby had carried him to Mr. Ages as an infant, and the thought of that trip made her wish Mr. Frisby were alive to reassure the children and tell them not to worry. But he was not, and it was she who must say it.” (Pg. 27-28)
[. . .]
“Books. Her husband, Jonathan, had told her about them. He had taught her and the children to read (the children had mastered it quickly, but she herself could barely manage the simplest words; she had thought perhaps it was because she was older). He had also told her about electricity. He had known these things—and so, it emerged, did the rats. It had never occurred to her until now to wonder how he knew them. He had always known so many things, and she had accepted that as a matter of course. But who had taught him to read? Strangely, it also emerged that he had known the rats. Had they taught him? What had been his connection with them? She remembered his long visits with Mr. Ages. And Mr. Ages knew the rats, too.
She sighed. Perhaps when the meeting was over and she had had a chance to talk to Nicodemus—and had told him about Timothy and Moving Day—perhaps when that was settled, he could explain all this to her.” (Pg. 81-82)
FILM:
(The mouse children watch their mother spoon-feed a bed-ridden Timothy some medicinal broth.)
CYNTHIA: Is Timmy gonna die?
MRS. BRISBY: (Calmly.) No, sweetheart. He’s just very sick.
CYNTHIA: What’s the matter with him, Mother?
MRS. BRISBY: Mr. Ages called it pneumonia.
TERESA: (In a worried whisper.) Pneumonia . . .
CYNTHIA: (Sadly.) When will he get better?
MRS. BRISBY: Soon, I hope.
[. . .]
MRS. BRISBY: (In a tear-filled voice.) [Farmer Fitzgibbon] will be back tomorrow. I wish Jonathan were here.
AUNTY SHREW: (Firmly.) Well, he’s not. (In disgust at how close she is to falling apart.) Stop it.
MRS. BRISBY: (Takes some deep breaths and calms down.) What am I going to do?
AUNTY SHREW: (In a kinder tone.) We’ll think of something.
[. . .]
MRS. BRISBY: (To herself, trying to be brave as she enters the Great Owl’s home.) Timothy. Remember Timothy.
[. . .]
NICODEMUS: (As he shows Mrs. Brisby a special red-jeweled amulet.) [. . .] Courage of the heart is very rare. The stone has a power when it’s there.
MRS. BRISBY: Look! An inscription. (Reading the back of the amulet.) “You can unlock any door if you only have the key.” (Humbled and grateful as Nicodemus places it around her neck.) Oh, thank you. I will treasure it always.
Now, I’ve heard it argued that this story’s premise has a fatal narrative flaw: the fact that a “normal” mouse has a name, wears clothes, and displays other human habits and traits supposedly negates the novelty and significance of the rats’ abilities. A fair assessment but allow me to respectfully offer a counterargument. Consider the biblical tale of Adam and Eve. Like God’s first man and woman before the Forbidden Fruit, Mrs. Frisby is not unintelligent, just unenlightened; in a word, innocent. The rats, however, are Adam and Eve after eating—or should I say, being forced-fed—the Fruit, in the form of NIMH’s DNA-altering injections. This results in a metaphorical exile from Paradise when their animal innocence is destroyed. For all their physical and intellectual progress, they are tragically unable to return to the blissful ignorance of their ordinary rat brethren:
BOOK:
“Occasionally we came upon other rats, and a few times we talked with them, but not for long. Because after just a few words they would begin to look at us strangely and edge away. Somehow they could tell that we were different. I think we even looked different; either the diet or the injections at Nimh had made us bigger and stronger than other rats, and all the strange rats we saw looked, to us, surprisingly weak and puny. So we were set apart from even our own kind.” (Pg. 144)
FILM:
NICODEMUS: (To Mrs. Brisby.) Jonathan couldn’t tell you about NIMH because the injections slowed the aging process. You see, you would have grown old while he remained young.
[. . .]
MRS. BRISBY: Plan? What is the Plan?
NICODEMUS: To live without stealing, of course.
JUSTIN: (Solemnly.) It’s wrong to take electricity from the farmer.
NICODEMUS: (Gravely.) My child . . . we can no longer live as rats. We know too much.
When I first experienced the more academic Mrs. Frisby and the Rats of NIMH and the more mystical The Secret of NIMH as a child, I was too young to fully understand, let alone appreciate, the story in either format. Having given both a sporting chance as an adult, though, I think the fact that a single story of a mouse facing impossible odds out of maternal love is being well told practically in two separate genres as well as media not only shows exceptional storytelling on two different artists’ parts, but makes for a more unique and enriching experience. Whether it’s Mrs. Frisby or Mrs. Brisby whose hero’s journey you join, it will be one that can inspire even the meekest of souls to accomplish the most incredible feats.
CREDITS:
Special thanks to KTWH 99.5 Two Harbors Community Radio. All images, audio, and links belong to their respective owners; no copyright infringement is intended.
MAIN THEME:
"The Call" - Briand Morrison and Roxann Berglund
https://www.briandmorrison.com/
https://www.facebook.com/BriandMorrisonGuitar/
https://www.youtube.com/user/briandmorrison
Mrs. Frisby, a field mouse living on the Fitzgibbons’ farm, struggles to provide for her four children without her late husband, Jonathan. Along with the daily chores of finding food and hiding from the humans and their ferocious cat, Dragon, Mrs. Frisby must now prepare to move her family to their summer home in the woods in order to avoid Farmer Fitzgibbon’s deadly plow. But anxiety turns to fear when her youngest son, Timothy, falls ill with pneumonia, making him unable to safely endure the journey. When she learns of a mysterious colony of rats who gained extraordinary intelligence after their experimentation at the science facility, NIMH, Mrs. Frisby must gather her courage to request their help in making the miracle she so desperately needs for her son, never suspecting that she will provide them with a miracle of her own.
One of the few novels by Robert Leslie Carroll Conly (Robert C. O’Brien), Mrs. Frisby and the Rats of NIMH was inspired by the research of John B. Calhoun, an ethologist (non-human behavior researcher) who famously used rats and mice in his experiments on overpopulation and societal collapse throughout the 1960’s and 70’s, and much of whose work took place at the National Institute of Mental Health (NIMH), to this day the primary agency of the U.S. government responsible for biomedical research. The author had prior worked at National Geographic before turning to fiction writing. When his contract with them forbade him from publishing at other companies, he used his mother’s maiden name, O’Brien, to create the pseudonym he’s now best known by.
The Secret of NIMH is the directorial feature-length debut—and most critically acclaimed film as of 2023—of American animation legend Don Bluth, after he left Walt Disney Productions to establish his own animation studio in 1979. Funnily enough, legalities also forced O’Brien’s heroine to undergo a name change for the film: Mrs. Frisby became Mrs. Brisby in order to avoid copyright infringement with the Frisbee flying disc. To be honest, I don’t think Disney, had they tried, could have pulled this movie off back then because of the inappropriately cute musical it likely would have turned O’Brien’s heavy subject matter into (maybe not Timmy to the Rescue level inappropriate, but still), not to mention, in hindsight, Disney’s own disastrous first attempt at dark fantasy, The Black Cauldron, in 1985.
In defense of Disney, though, I do feel that O’Brien’s writing, though sincere, is rather dry, to the point where Bluth’s fantasy embellishments don’t seem quite as cheapening as they could have. This is perhaps the greatest difference between the two versions: O’Brien’s more realistic, nature-based account, versus Bluth’s medieval Redwall epic. For example, O’Brien leaves little to the imagination in terms of the literal science behind the rats’ captivity and subsequent evolution, shedding light not only on the experiments, but the human doctors conducting them. Despite our sympathy to the rats’ plight, he shows the humans as more ignorant than evil:
BOOK:
“So the young woman’s name was Julie; the young man was George. They all put gloves on, long, tough, plastic ones that came to their elbows. One by one we were taken from our cages, held gently but firmly by Dr. Schultz while Julie fastened around each of our necks a narrow ribbon of yellow plastic bearing a number. I learned eventually that mine was number A-10.
They were kind, especially Julie. I remember that when one rat was being tagged, she looked at it and said, ‘Poor little thing, he’s frightened. Look how he’s trembling.’
‘What kind of biologist are you?’ said Dr. Shultz. ‘The “poor little thing” is a she, not a he.’
[. . .]
A little later in the morning they came around again, this time pushing a table on wheels. It was loaded with a bottle of some clear liquid, a long rack of sharp needles, and a plunger. Once more I was lifted from the cage. This time George did the holding while Dr. Shultz fastened one of the needles to the plunger. I felt a sharp pain in my hip; then it was over. We all got used to that, for from then on we got injections at least twice a week. What they were injecting and why, I did not know. Yet for twenty of us those injections were to change our whole lives.
[. . .]
During the days that followed, our lives fell into a pattern, and the reason for our captivity gradually became clear. Dr. Shultz was a neurologist—that is, an expert on brains, nerves, intelligence, and how people learn things. He hoped, by experimenting on us, to find out whether certain injections could help us to learn more and faster. The two younger people working with him, George and Julie, were graduate students in biology.
‘Watch always,’ he told them, ‘for signs of improvements, faster learning, quicker reaction in group A as compared to group B, and both as compared to the control group.’” (Pg. 108-113)
Bluth, meanwhile, keeps his NIMH in near darkness in every sense, painting it as a hellish dungeon, filled with suffering animal prisoners being senselessly tormented by nameless human monsters, all awash in dark colors, tense music, and nightmarish animation:
FILM:
NICODEMUS: (Explaining to Mrs. Brisby): We were captured, put in cages, and sent to a place called NIMH. There were many animals there . . . in cages. They were put through the most unspeakable tortures . . . to satisfy some scientific curiosity. Often at night, I could hear them crying out in anguish. Twenty rats and eleven mice were given injections. Our world began changing.
Likewise, while I wouldn’t call the book’s characters dull per say, I do think that the film makes them more memorable by comparison. To name a few: Mr. Ages, a mouse scientist and physician, goes from reserved acquaintance to reclusive grump; helpful crow Jeremy goes from naïve youth to klutzy clown; Justin, the rats’ virtuous captain of the guard, goes from cordial sentry to witty warrior; Nicodemus, the rats’ benevolent leader who wants the colony to live an honest, self-sufficient existence away from man, goes from practical, eye-patch-donning strategist to powerful, glowing-eyed wizard; and Jenner, a selfish rat who wants to live on the comfort of human technology, goes from defector not even present in the book to full-on villain with beastly intentions.
With all these differences in presentation and personality, the fact that Mrs. Frisby stays pretty much the same in both versions is as significant as it is impressive.
Take note, writers! This is what a GOOD strong female character looks like!
Yes, she’s physically weak, unsophisticated, and very fearful, much of which, of course, stems from being a mouse. But that same fear, as well as the courage she gains later, stems also from being a grieving widow and single mother. She mourns the loss of her husband and feels lost without him, but knows full well she has to buck up for their children’s sake. On top of that, she’s just such a lovely sweetheart. Not only is her graciousness and compassion refreshing, but the open mind and heart she shows when faced with scientific principles, ancient magic, or anything else beyond her comprehension, are inspiring:
BOOK:
“When Mrs. Frisby went into her house, she found Timothy asleep and the other children waiting, frightened, sad, and subdued.
‘He went to sleep right after you left,’ Teresa said. “He’s waked up twice, and the second time he wasn’t delirious. He said his chest hurt and his head hurt. But Mother, he seemed so weak—he could hardly talk. He asked where you were, and I told him. Then he went back to sleep.’
Mrs. Frisby went to where Timothy lay, a small ball of damp fur curled under a bit of cloth blanket. He looked scarcely larger than he had when she and Mr. Frisby had carried him to Mr. Ages as an infant, and the thought of that trip made her wish Mr. Frisby were alive to reassure the children and tell them not to worry. But he was not, and it was she who must say it.” (Pg. 27-28)
[. . .]
“Books. Her husband, Jonathan, had told her about them. He had taught her and the children to read (the children had mastered it quickly, but she herself could barely manage the simplest words; she had thought perhaps it was because she was older). He had also told her about electricity. He had known these things—and so, it emerged, did the rats. It had never occurred to her until now to wonder how he knew them. He had always known so many things, and she had accepted that as a matter of course. But who had taught him to read? Strangely, it also emerged that he had known the rats. Had they taught him? What had been his connection with them? She remembered his long visits with Mr. Ages. And Mr. Ages knew the rats, too.
She sighed. Perhaps when the meeting was over and she had had a chance to talk to Nicodemus—and had told him about Timothy and Moving Day—perhaps when that was settled, he could explain all this to her.” (Pg. 81-82)
FILM:
(The mouse children watch their mother spoon-feed a bed-ridden Timothy some medicinal broth.)
CYNTHIA: Is Timmy gonna die?
MRS. BRISBY: (Calmly.) No, sweetheart. He’s just very sick.
CYNTHIA: What’s the matter with him, Mother?
MRS. BRISBY: Mr. Ages called it pneumonia.
TERESA: (In a worried whisper.) Pneumonia . . .
CYNTHIA: (Sadly.) When will he get better?
MRS. BRISBY: Soon, I hope.
[. . .]
MRS. BRISBY: (In a tear-filled voice.) [Farmer Fitzgibbon] will be back tomorrow. I wish Jonathan were here.
AUNTY SHREW: (Firmly.) Well, he’s not. (In disgust at how close she is to falling apart.) Stop it.
MRS. BRISBY: (Takes some deep breaths and calms down.) What am I going to do?
AUNTY SHREW: (In a kinder tone.) We’ll think of something.
[. . .]
MRS. BRISBY: (To herself, trying to be brave as she enters the Great Owl’s home.) Timothy. Remember Timothy.
[. . .]
NICODEMUS: (As he shows Mrs. Brisby a special red-jeweled amulet.) [. . .] Courage of the heart is very rare. The stone has a power when it’s there.
MRS. BRISBY: Look! An inscription. (Reading the back of the amulet.) “You can unlock any door if you only have the key.” (Humbled and grateful as Nicodemus places it around her neck.) Oh, thank you. I will treasure it always.
Now, I’ve heard it argued that this story’s premise has a fatal narrative flaw: the fact that a “normal” mouse has a name, wears clothes, and displays other human habits and traits supposedly negates the novelty and significance of the rats’ abilities. A fair assessment but allow me to respectfully offer a counterargument. Consider the biblical tale of Adam and Eve. Like God’s first man and woman before the Forbidden Fruit, Mrs. Frisby is not unintelligent, just unenlightened; in a word, innocent. The rats, however, are Adam and Eve after eating—or should I say, being forced-fed—the Fruit, in the form of NIMH’s DNA-altering injections. This results in a metaphorical exile from Paradise when their animal innocence is destroyed. For all their physical and intellectual progress, they are tragically unable to return to the blissful ignorance of their ordinary rat brethren:
BOOK:
“Occasionally we came upon other rats, and a few times we talked with them, but not for long. Because after just a few words they would begin to look at us strangely and edge away. Somehow they could tell that we were different. I think we even looked different; either the diet or the injections at Nimh had made us bigger and stronger than other rats, and all the strange rats we saw looked, to us, surprisingly weak and puny. So we were set apart from even our own kind.” (Pg. 144)
FILM:
NICODEMUS: (To Mrs. Brisby.) Jonathan couldn’t tell you about NIMH because the injections slowed the aging process. You see, you would have grown old while he remained young.
[. . .]
MRS. BRISBY: Plan? What is the Plan?
NICODEMUS: To live without stealing, of course.
JUSTIN: (Solemnly.) It’s wrong to take electricity from the farmer.
NICODEMUS: (Gravely.) My child . . . we can no longer live as rats. We know too much.
When I first experienced the more academic Mrs. Frisby and the Rats of NIMH and the more mystical The Secret of NIMH as a child, I was too young to fully understand, let alone appreciate, the story in either format. Having given both a sporting chance as an adult, though, I think the fact that a single story of a mouse facing impossible odds out of maternal love is being well told practically in two separate genres as well as media not only shows exceptional storytelling on two different artists’ parts, but makes for a more unique and enriching experience. Whether it’s Mrs. Frisby or Mrs. Brisby whose hero’s journey you join, it will be one that can inspire even the meekest of souls to accomplish the most incredible feats.
CREDITS:
Special thanks to KTWH 99.5 Two Harbors Community Radio. All images, audio, and links belong to their respective owners; no copyright infringement is intended.
MAIN THEME:
"The Call" - Briand Morrison and Roxann Berglund
https://www.briandmorrison.com/
https://www.facebook.com/BriandMorrisonGuitar/
https://www.youtube.com/user/briandmorrison
EPISODE SONG:
“Opened Mind” - Alex Nelson
https://www.facebook.com/alex.j.nelson.7
“Opened Mind” - Alex Nelson
https://www.facebook.com/alex.j.nelson.7
All book excerpts are from Mrs. Frisby and the Rats of NIMH by Robert C. O'Brien (1986 paperback edition; published by Aladdin Books, an imprint of Macmillan Publishing Co.)
All other music and sound clips are from The Secret of NIMH (directed by Don Bluth; production by United Artists, Aurora Productions, and Don Bluth Productions; distributed by MGM/UA Entertainment Co. [United States] and United International Pictures [International]).
Download the full 15-minute episode here!
Mrs. Frisby and the Rats of NIMH on Wikipedia
The Secret of NIMH on Wikipedia
Robert C. O'Brien on Wikipedia
Don Bluth on Wikipedia
Mrs. Frisby and the Rats of NIMH on Goodreads
The Secret of NIMH on IMDb
The Secret of NIMH on Rotten Tomatoes
Mrs. Frisby and the Rats of NIMH on Tv Tropes
The Secret of NIMH on Tv Tropes
Mrs. Frisby and the Rats of NIMH on Amazon
The Secret of NIMH on Amazon
Mrs. Frisby and the Rats of NIMH on Barnes & Noble
The Secret of NIMH on Barnes & Noble
Mrs. Frisby and the Rats of NIMH on eBay
The Secret of NIMH on eBay
^^ Back to Adaptations, Retellings, and Old Tales in New Light
All other music and sound clips are from The Secret of NIMH (directed by Don Bluth; production by United Artists, Aurora Productions, and Don Bluth Productions; distributed by MGM/UA Entertainment Co. [United States] and United International Pictures [International]).
Download the full 15-minute episode here!
Mrs. Frisby and the Rats of NIMH on Wikipedia
The Secret of NIMH on Wikipedia
Robert C. O'Brien on Wikipedia
Don Bluth on Wikipedia
Mrs. Frisby and the Rats of NIMH on Goodreads
The Secret of NIMH on IMDb
The Secret of NIMH on Rotten Tomatoes
Mrs. Frisby and the Rats of NIMH on Tv Tropes
The Secret of NIMH on Tv Tropes
Mrs. Frisby and the Rats of NIMH on Amazon
The Secret of NIMH on Amazon
Mrs. Frisby and the Rats of NIMH on Barnes & Noble
The Secret of NIMH on Barnes & Noble
Mrs. Frisby and the Rats of NIMH on eBay
The Secret of NIMH on eBay
^^ Back to Adaptations, Retellings, and Old Tales in New Light
RSS Feed