Most critics like it, and the ones who like it tend to like it a lot. The praise gathers around the same things: Peggy Lee’s songs, above all ‘He’s a Tramp’, the supporting cast of strays, Siamese cats and one manic beaver, and the care taken over how the dogs move and see the world. Several reviews single out the pace, which is slow by Disney standards, and treat the long ramble through town as the heart of the film.
The reservations cluster on sentiment. The two notices from 1955, in The New York Times and The New Yorker, find the romance thick with goo and arch in a way the wide CinemaScope frame only makes worse. Later critics mostly forgive the schmaltz but flag the ethnic stereotyping and dated gender roles; Slant Magazine calls it serviceably cute and forgettable. The spread is wide, from top marks to outright dismissals, with the dissent concentrated at the original release.
