Some Cartoons for Saturday Morning #269

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

Today's cartoon selection begins with Little Lulu in The Baby Sitter (1947). This is the next to last entry in the original run of short films starring Little Lulu. However, Lulu would appear in two more theatrical shorts in the early 60's. The following is from a 1945 issue of Showman's Trade Review, "Genral national promotions have been set that will provide new showmanship values for Paramount's cartoon character, Little Lulu, in key towns all over the country. Prominent in the promotional campaign is a series of elaborate window displays ranging in cost from $250 to $2500 each in which Little Lulu will be featured by department stores in many parts of the country to enliven the Christmas atmosphere."  

Up next is a classic Terrytoon short, The Clock Maker's Dog (1956). 

Now we join Oswald the Lucky Rabbit in Teacher's Pests (1932). I have a real love of the Oswald cartoons of this era. At this time the Oswald films were made by Walter Lantz Studio. They brought such creativity and a certain surrealistic feel to this films that I simply find irresistible. 

Now for a classic early black and white Silly Symphony, The Clock Store (1931). Like many of the early Silly Symphonies, this movie doesn't have much in the way of plot but instead focuses mainly as a mood piece. This allows the Disney studio to do what they did best, with wonderful animation, beautiful artwork and an incredible sense of atmosphere. No other Hollywood cartoon studio of the time could have done a cartoon like this and make it turn out so well. This film is heavily helped by a truly wonderful group of artists. Johnny Cannon animates the lamplighter. Our first peek inside the clock store is animated by Cecil Surrey. Chuck Couch, an underrated Disney animator and also a cartoon writer for Disney, Walter Lantz and Hanna-Barbera, animates the cuckoo clocks. Harry Reeves, who would work as a Disney animator and story writer into the 1950's, animates the four alarm clocks. Hardie Gramatky animates the timepieces. Frenchy de Trémaudan animates the wristwatches and the dancing alarm clocks. Dan Tattenham animates the Swiss clock with the chimes. Albert Hunter animates the wonderful scene with the minuet figures. Ben Sharpsteen, who would later be supervising director on the Disney features Pinocchio (1940), Fantasia (1940) and Dumbo (1941), animates the grandfather and grandmother clocks. Charles Byrne animates the Dutch windmill clock. Jack King, later director for both Warner Brothers and Disney (at Disney he directed some of the finest Donald Duck cartoons), animates the Dutch dance. Rudy Zamora, who had previously been a major animator at the Fleischer Studios and would later animate on the Charlie Brown TV specials as well directing various TV cartoons for Hanna-Barbera, animates the alarm clocks fighting and the clock on the wall. Joe D'Igalo animates the crowd cheering for the fight. This film made its TV debut on an episode of The Mickey Mouse Club that aired on December 1, 1955. 

16mm Sound Films, 1956

Now it is time for a commercial break. 

Now for silent movie time with Alice's Little Parade (1926). This short film is part of Walt Disney's series of Alice Comedies, which featured a live action little girl in an animated world. Over the course of 57 short films the live action little girl was played by four different actresses. Here she is played by Margie Gay, the second actress to take the role. 

Next comes a black and white Looney Tunes short that I have always had a real fondness for, Porky's Bear Facts (1941). This cartoon was directed by Friz Freleng and while it is not as completely crazy as the black and white Looney Tunes directed by Tex Avery, Bob Clampett or Frank Tashlin it does certainly have moments that show what was quickly becoming the studio's signature sense of humor. Characters break the fourth wall and silly visual gags certainly find their way in at times. Yet at the same time the film feels more grounded, and story driven than some of the studio's other efforts at this time. The story itself is somewhat of a takeoff on The Grasshopper and the Ants (which Disney had made a Silly Symphony based around in 1934). In typical Warner style the ending here goes completely against the moral of the story. Like many Porky cartoons of this era, Porky's role is very minimized. The truth was most of the directors were getting tired of working with the pig and this made him become a supporting character in his own cartoons for a while. A reviewer in The Film Daily was not that impressed with this cartoon stating, "Rate it just as fair." A reviewer in the Motion Picture Daily found the true main character of the film quite likable stating, "An engaging character that shiftless bear." The following is an exhibitor's review from The Motion Picture Herald, "PORKY'S BEAR FACTS: Looney Tunes — Fine. Vitaphone is our best bet for good cartoon fare. Running time, nine minutes. —Fred C. Allen, Princess Theatre, Piedmont, Ala. Small town patronage."

Now we join our good friend Popeye in Gopher Spinach (1954). 

Now to end with a song we all know by heart. 

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

Resources Used

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

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

https://lantern.mediahist.org/

https://cartoonresearch.com/index.php/alices-little-parade-struts-with-restoration-and-new-music-score/