Some Cartoons for Saturday Morning #289

 Hello my friends and happy Saturday morning. Once again, it is time for some classic cartoons. 

Today's cartoon selection begins with the classic Disney short, Donald's Camera (1941). Bob Carlson animated much of the footage of the woodpecker. Studio publicity stated that Bob Carlson was an avid birder, making this a perfect casting choice. A review from an issue of The Film Daily (Dated October 24, 1941) called this "One of the best." The same review went on to say, "Packed with laughs this Disney Donald Duck short hits the mark for hilarious entertainment." This short film made its TV debut on an episode of The Mickey Mouse Club that aired on November 22, 1956.

Next comes the Fleischer Screen Song cartoon, Show Me the Way to Go Home (1932). The title song was written in 1925 by the songwriting duo, Jimmy Campbell and Reg Connelly. Other songs by the duo include If I Had You, Goodnight Sweetheart and Try a Little Tenderness (which they co-wrote with Harry M. Woods).

Now we join our friend Scrappy in The Pooch Parade (1940).

Next is the Columbia cartoon, The Merry Mouse Cafe (1941).

Now it is time for a commercial break. 

I love of the cartoons of Chuck Jones from any period but there is something special about his films from 1942 and 1943. At this time, he was fully getting away from his slower paced cuter output of the late 1930's but had not yet gotten to the style of films he would make in the 1950's that everybody is familiar with today. So, what we get from output during these two years are cartoons that experiment with what you can do in an animated short. It doesn't hurt that he worked with such experimental artists as layout man John McGrew. Chuck gave McGrew plenty of freedom and what John accomplished in these movies is nothing short of amazing. This is especially shown in The Case of the Missing Hare (1942), where experimentation is seen in every moment. Just watch the abstract backgrounds that show a mixture of two colors at a time, but the colors change when there is a strong action in the foreground. This is something someone may not notice on their first watch, but it is something they can feel. A review in The Film Daily stated, "Here is another hilarious, the Leon Schlesinger creation that keeps growing in comic strength with every new release." I think anyone watching this cartoon today will recognize that the antagonist is not Elmer Fudd, but one reviewer from The Exhibitor didn't as in his review he stated "...this has Elmer, as a magician..."  A review from the same magazine less than a month later stated, "Elmer isn't in this." The latter is right. A review in Variety called this "One of the better Bugs Bunny subjects."

Now for the Color Rhapsody cartoon, Ye Olde Swap Shoppe (1940). The following is a 1940 review from The Exhibitor. "A pretty good little entry in the color cartoon handicap. 'Ye Olde Swap Shoppe' lacks that certain something that would give it ranking with the top subjects. Three little mice frolic in and on various doo-dads in the barter shop. Good. (1511). L.S. M." 

Next, we join Daffy Duck in Scrap Happy Daffy (1943). This short film marks Daffy Duck's last appearance in a black and white cartoon. It is also simply a delightful film. The short is directed by Frank Tashlin, who would go on to direct many live-action feature films. His Looney Tunes are some of the most cinematic and feature wonderful filmmaking. The use of editing and montage here are excellent and holds up quite well to many of the great live action films of the time. Yet this is also simply a very funny cartoon, including one of the funniest fade-out/fade-ins in the history of cartoons. This cartoon appears in Jerry Beck's book, The 100 Greatest Looney Tunes.

Now to close with a song. 

Thanks for joining me. Come back next week for more animated treasures. Until then may all your tunes be looney and your melodies merry. 

Resources Used

The 100 Greatest Looney Tunes edited by Jerry Beck

Of Mice and Magic: A History of the American Animated Cartoon by Leonard Maltin.

Donald Duck: The Ultimate History by J.B. Kaufman and David Gerstein

https://mediahistoryproject.org/

Video Link: The Wild Genius Who Broke the Disney Mold - West of Neverland

 

Video Link: The Tragic History of Disney's Lost Rabbit - West of Neverland

 

Movie Review: Moana

 

Michael's Movie Grade: D+

Why does this exist?

What always comes to my mind with these live action remakes is does anyone actually rewatch them? I can't picture anyone buying the Blu-ray for this movie or even choosing to watch this on Disney+. The 2016 Moana still exists and why would anyone pick this over that wonderful animated treasure. This is a near shot for shot, line for line remake of the original. It is the same movie but without the charm and magic of the original. 

Despite being a "live action" remake, a good deal of this movie is CGI. All the non-human characters are CGI and most of the environments are as well. This CGI looks incredibly fake. When you see these live action actors sharing the screen with the CGI characters and environments, they do not mesh together at all. Because of this the film never quite feels real to us in the same way that the fully animated one did. The worst offenders are Hei-Hei the chicken and Pua the pig. The idea of cartoony animal comic reliefs works perfectly in an animated film but much less so in a live action one. It doesn't help Hei-Hei and Pua are given extremely cartoony designs here (again something that works in an animated film but not a live action one). These characters simply cannot believably inhabit the same space as the live action actors. Because of this, whenever one of these characters appeared on screen, I was completely taken out of the movie. 

Though Dwayne Johnson was perfectly cast as the voice of the animated Maui, he does not make a good live action one. The most obvious reason for this is not his fault. The wig and bodysuit he is wearing just simply looks silly on him. He looks like he is wearing a cheap Halloween costume. Like with the CGI characters, this just simply takes you out of the story. Also not helping is Maui's living tattoos. Every time they move, you have a close up of them and you don't get to see the rest of the character. In the animated version it is easy to believe this character has living tattoos. In this live action version, the cinematic trickery is so obvious that any sense of magic or fun is strikingly absent. Instead, we are just again taken out of the story every time one of these scenes appears. Meanwhile Dwayne Johnson’s performance simply feels phoned in most of the time. For much of the film, you feel like you are watching Dwayne Johnson instead of watching Maui. 

There is still some enjoyment to be found here. Afterall, the basic story is still good, the songs are still fun and Catherine Laga'aia is a great live action Moana. Still, this is not enough reason to watch a movie that is still simply just a weaker version of a great movie that already exists. 

This is just another lackluster remake. Come on Disney, you are so much better than this. 

P.S. I think Disney made a big miscalculation by remaking a movie that is only 10 years old and had a sequel only 2 years ago. Though people love Moana, it is not old enough for anyone to have nostalgia for it. And nostalgia is the main factor in the popularity of previous live action Disney remakes. Without the nostalgia and with the original fresh in the mind of movie goers, there is no appeal to this kind of shot for shot remake. 

Oswald The Lucky Rabbit: The Search for the Lost Disney Cartoons (2017)

 

If you are a fan of Disney, cartoons and/or silent film, then this book is for you. 

After a delightful introduction by the great film historian (and one of my heroes) J.B. Kaufman, this book delves into the history of Walt Disney's career leading up to and including Oswald. Much of this will be familiar to many Disney lovers but it is still very well written and sets the stage up beautifully for those who are reading this as their first Disney history book. The highlight of the book though is the film by film look at Oswald's Walt Disney directed cartoons. Each surviving film receives a full in-depth story summary as well as the history of how these films (many of which used to be missing) were found, recovered and restored. There is even information on how these silent films were given new scores and why certain music was chosen for these scores. Author David A. Bossert here provides something completely different than what can be seen in most film history books. You can find many books that talk about the behind the making of classic silent films or give critical insight into these films. However, there are so few books about the art of film preservation. This makes this a very unique read that deserves to be read by any true cinephile. Not only is this a topic that is not often covered in film books, but the discussion of it is very well written and in depth. For the lost films, Bossert provides us with original scripts and artwork as well as some reviews from the time period. This allows us to get a great glimpse at these lost films, providing us with the closest thing we can get to actually watching them.

All in all, this is essential reading for any Oswald fan. 

Cowboy Church #278

 Hello my friends and welcome back for another service of Cowboy Church.

Today's musical selection begins with Roy Rogers and Dale Evans singing Sweet Hour of Prayer on their 1957 album of the same name. This hymn was written by William Walford. Walford was a wood craver who had little to no formal education. However what he did have was a very close relationship with God. Those who knew him said that he knew the bible by heart and this man was even asked to share sermons at his church. One day around  1845 Pastor Thomas Salmon visited William Walford. Walford asked Salmon to write down a poem he had in his head. Salmon was so amazed by this poem that he right away sought to get it published. After Walford's death, William Bradbury wrote music for this poem and the hymn as we know it first appeared in the 1859 hymnal, Church Melodies. Bradbury had also composed music for such hymns as Just as I Am and He Leadeth Me. 

This is followed by Jim and Jessie with Lord I'm Coming Home. This recording comes from their 1964 gospel album, The Old Country Church. 

Afterwards is Ricky Skaggs with Can't Shake Jesus. This comes from his 2010 album, Mosaic. 

Up next is Kris Kristofferson with In the News from his 2006 album, This Old Road. As a Christian, nothing makes me sadder than those who try to use the bible to justify their own hatreds, prejudices and wars. 

Then comes the Louvin Brothers with There's No Excuse. This comes from the duo's 1956 gospel album, Nearer My God To Thee. 

This is followed by The Sons of the Pioneers with their 1937 recording of Power in the Blood. Though it may be simple doctrine that we have heard since Sunday school, I hope we never forget how much power there truly is in the blood of Jesus. No matter what temptations and struggles we may face in life, Jesus' blood spilled on Calvary's cross has overcome all of it. With man something may be impossible but with God all things are possible. 

We continue with The Monroe Brothers with My Time Will Come Someday. 

Today's musical selection ends with Johnny Cash with I'm a Newborn Man. This song was written by John and his wife June. It came from John's 1979 double length gospel album; A Believer Sings the Truth. Columbia Records did not have much faith in how a double length gospel album would sell and did not want to release this album. However, John (with Columbia's blessing) would release the album under his own Cachet label. In 1982 Columbia would reissue the album on the Columbia label. In 1984 Columbia would release a much shorter version of the album as I Believe. 

Now for the 19th episode of The Lone Ranger TV show. 

Now for a message from S.M. Lockridge. 

Psalm 86

A prayer of David.

1 Hear me, Lord, and answer me,

    for I am poor and needy.

2 Guard my life, for I am faithful to you;

    save your servant who trusts in you.

You are my God; 3 have mercy on me, Lord,

    for I call to you all day long.

4 Bring joy to your servant, Lord,

    for I put my trust in you.

5 You, Lord, are forgiving and good,

    abounding in love to all who call to you.

6 Hear my prayer, Lord;

    listen to my cry for mercy.

7 When I am in distress, I call to you,

    because you answer me.

8 Among the gods there is none like you, Lord;

    no deeds can compare with yours.

9 All the nations you have made

    will come and worship before you, Lord;

    they will bring glory to your name.

10 For you are great and do marvelous deeds;

    you alone are God.

11 Teach me your way, Lord,

    that I may rely on your faithfulness;

give me an undivided heart,

    that I may fear your name.

12 I will praise you, Lord my God, with all my heart;

    I will glorify your name forever.

13 For great is your love toward me;

    you have delivered me from the depths,

    from the realm of the dead.

14 Arrogant foes are attacking me, O God;

    ruthless people are trying to kill me—

    they have no regard for you.

15 But you, Lord, are a compassionate and gracious God,

    slow to anger, abounding in love and faithfulness.

16 Turn to me and have mercy on me;

    show your strength in behalf of your servant;

save me, because I serve you

    just as my mother did.

17 Give me a sign of your goodness,

    that my enemies may see it and be put to shame,

    for you, Lord, have helped me and comforted me.

Thanks for joining me. Come back next week for another service of Cowboy Church. Happy trails to you until we meet again. 

Some Cartoons for Saturday Morning #288

 Hello my friends and happy Saturday morning. Once again, it is time for some classic cartoons. 

Today's cartoon selection begins with Krazy Kat in Ritzy Hotel (1932). These Columbia Krazy Kat cartoons bare scant resemblance to George Herriman's Krazy Kat comic strip on which they were supposedly based. If it wasn't for the main character having the same name, you could never tell that there was supposed to be any connection between them. As a fan of the comic strip, I was originally put off by these cartoons. However, over time, I learned to enjoy them for what they are. 

Next is the early Porky Pig cartoon, Plane Dippy (1936). This is the movie in which we learn Porky's full name,  Porky Cornelius Washington Otis Lincoln Abner Aloysius Casper Jefferson Philbert Horatius Narcissus Pig. I'm sure you all will memorize that name. As well as Porky this film also has some other characters that also premiered in the Merrie Melodies cartoon, I Haven't Got A Hat (1935) such as Little Kitty (who plays an important role here). Comic fans may also notice that the character of Professor Blotz looks extremely similar to a character from the Mickey Mouse comic strip, Professor Ecks. Though this movie is directed by Tex Avery, don't except the pure insanity of his later cartoons, as this was still early in his directorial career and he hadn't fully developed his style yet. Still this cartoon has many very funny gags in it, I especially love Porky writing his name. The following is an exhibitor's review from the Motion Picture Herald, "PLANE DIPPY: Looney Tune—This is a very comical cartoon. Above the average.—Paul J. Pope, Avon Theatre, Geneva, Ala., Small Town and Rural Patronage." 

Now for the Terry Toons cartoon, Bird Symphony (1955).

Next comes an early Silly Symphony cartoon, Frolicking Fish (1930).  Like all Disney cartoons of this period this movie benefits from a great cast of animators. Ben Sharpsteen, who would later be supervising director for such Disney feature films as Pinocchio (1940), Fantasia (1940) and Dumbo (1941) animates the opening scene, the octopus dancing with the fish and the fish dropping an anchor on an octopus. Les Clark, who would become one of Walt's famed Nine Old Men and be one of the greatest Mickey Mouse animators of all time, animates the fish riding the seahorse and the octopus punching the bubbles. Dave Hand, who would later be Supervising director on such Disney feature films as Snow White and the Seven Dwarfs (1937) and Bambi (1942) animated the fish dancing on the anchor chain. Wilfred Jackson, who would later become a fine director of both Disney shorts and features animates the octopus chasing the fish to the sunken ship. Norm Ferguson, a wonderful animator whose gift at character animation would later help define the character of Pluto, animates the trio of fish tap dancing. Jack King, who would later director some wonderful Donald Duck cartoons as well as a few cartoons for Warner Brothers, would animate the lobster dancing and playing the harp. Johnny Cannon animates the fish dancing on the springboard. Tom Palmer, who would later direct cartoons for both Warner Brothers and Van Bueren, animates the majority of the bubble dance and the big fish blowing bubbles. Merle Gilson animates the anchor falling on the octopus. The animation for this film was completed between April 22 and May 10, 1930. It would make its TV debut on an episode of The Mickey Mouse Club that aired on February 24, 1956. 

Now it is time for a commercial break. 

Next up comes the Betty Boop cartoon, Pudgy Picks a Fight (1937). Much like how Mickey's Mouse's cartoons would be overtaken by Mickey's co-stars, the same thing would happen with Betty Boop. Though Betty was unquestionably the star of the earlier Betty Boop shorts, as the series reached its later years, the attention would later shift to her supporting characters. This led to many cartoons, where her dog Pudgy was the main character. Here is an example of that. 

Now for the Terry Toons cartoon, Mrs. Jones' Rest Farm (1949). 

We continue with Popeye in I'm in the Army Now (1936). This short film is a bit of a cheater and features clips from previous Popeye cartoons. The cartoons that clips are used from include Blow Me Down (1934), Shoein' Hosses (1934), Choose Your 'Weppins' (1935) and King of the Mardi Gras (1935). This is one of my favorite cheater cartoons, because the new scenes are just as entertaining as the clips. I especially love Bluto talking about what a big star he was in the movies. This serves as a good reminder for those of us who grew up watching these films on TV that they were originally made for movie theaters. 

Now let us close with a song. 

Thank you for joining me. Come back next week for more animated treasures. Until then may all your tunes be looney and your melodies merry. 

Resources Used

Walt Disney's Silly Symphonies: A Companion to the Classic Cartoon Series by Russell Merritt and J.B. Kaufman 

Of Mice and Magic: A History of the American Animated Cartoon by Leonard Maltin

Looney Tunes and Merrie Melodies: A Complete Illustrated Guide to the Warner Brothers Cartoons by Jerry Beck and Will Friedwald 

https://mediahistoryproject.org/