In their search for public-domain material, the Disney creative team has gone through Grimm and Scheherazade and has now arrived at Greek mythology. The only question is, what took them so long? (The criticism evoked by the unsettlingly romantic, pagan overtones of Fantasia's mythological sections may have something to do with it.) In this version, Hercules is the divine son of Zeus and Hera; he is stolen from Mount Olympus by Hades, who is bent on overthrowing the king of the gods and taking power himself. The Fates have prophesied that only Hercules can foil his plans, so Hades (James Woods) sends two minions to make baby Herc mortal and kill him. They botch the job, and Hercules, still with superhuman strength, develops into a gangly, awkward teenager who always feels out of place. When he discovers that he could return to Olympus as a god if he proves himself a hero, he sets off with his trusty horse Pegasus to pursue heroic deeds--rescuing damsels in distress, slaying monsters, averting natural disasters.

The supporting cast includes a personal trainer named Philoctetes (Danny DeVito) and the beautiful, sassy Megara (Susan Egan). Bobcat Goldthwait and Matt Frewer provide slapstick relief as Pain and Panic, the bumbling demons. There's a comic style and a heartfelt emotion for every potential demographic: The Muses, who narrate the action from Greek pottery and bas-reliefs, belt out gospel-inspired numbers that invite toes to tap. Although fights with computer-animated foes like the Hydra didn't appeal to me because their smooth texture clashed with the traditional art, boys will love the action. Girls should enjoy the feisty love interest, while Hades spouts Hollywood in-jokes for the parents.

No movie can be all things to all people, however, and the more Hercules tries to please everyone, the less satisfying it becomes. I don't automatically fault Disney for simplifying its material, but the changes it has made in the Hercules mythology have hobbled the film's plot. Hercules was a tormented outcast, yes, but the reason was that he was the offspring of Zeus and a human woman, doomed to be chased by jealous Hera all his life. He consistently destroyed the things he loved, beginning with his wife Megara and their sons, whom he killed in a fit of madness. And his loves and losses weren't limited to female company; while questing with the Argonauts, he could not be consoled when his beautiful young armor-bearer Hylas went missing, and he roamed the island calling for the boy until Jason had to leave without him. Imagine the uproar from the Southern Baptist convention if that scene had been included.

The Disney message about true heroism being found in the heart packs a punch, even without the tragic elements of the Hercules myth. But I suspect that smarter kids will see through the deal Hades makes with Hercules in the climactic battle, and they'll feel cheated in the epilogue, when Hercules gets to have his cake and eat it too. A mythic story is nothing without conflict, and nearly all the conflict except the usual struggle for self-realization has been written out of this version. The Greek myths are terrific tales, but they are also remnants of a once vibrant religion. Given our uneasiness with religions other than our own, it's not surprising that most Americans feel uncomfortable with those powerful undercurrents. The Hunchback of Notre Dame, for all its faults, confronted a dark religious theme. Here, the gods and titans might as well be fairies and elves.