Some Cartoons For Saturday Morning #298

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

Today's cartoon selection begins with the Terry Toons short, All About Dogs (1942). This is very much a spot gag cartoon in the vein of the travelogue films Tex Avery made for Warner Brothers.

Now for Bugs Bunny, Daffy Duck and Yosemite Sam in A Miner Problem (2011). This is one of a series of surprisingly good Looney Tunes webtoons that came out in the early 2010's.

Now we come to a short starring the first star of the Looney Tunes cartoons, Bosko. This movie, Bosko's Holiday (1931), was the first to feature Bosko's name in the title and all the following (with the exception of The Tree's Knee's (1931)), all the Looney Tunes starring Bosko would follow suit. Watching this movie, you will probably feel that it more closely resembles an early Disney cartoon than a later Looney Tune and that was true of all the Warner Brothers cartoons of this era. In his landmark book Of Mice and Magic: A History of the American Animated Cartoon, film historian Leonard Maltin quotes animator Jack Zander, "We were doing something and Hugh Harman [who co-directed the early Warner Brothers cartoons with Rudolf Ising] said 'You remember that scene in the Disney picture where Mickey Mouse did do-and-so?' I said 'You want me to do almost the same thing?' and he said 'No I want you to do exactly the same thing.'" 

Next comes the silent cartoon, Aladdin's Vamp (1927). According to Michael Barrier's landmark book, Hollywood Cartoons: American Animation in its Golden Age, Hugh Harman and Rudolph Ising made this cartoon when the Disney studio closed for vacation in September 1926 (in an office they rented for two weeks). Also working on this film were Disney animators Rollin "Ham" Hamilton and Ub Iwerks. Harman and Ising were unsuccessful in finding a distributor for this film and it never got a full theatrical release. This is the second and last cartoon made for an Arabian Nights series of cartoons that never got off the ground. 

Now it is time for a commercial break.

Now comes an all-time classic, The Dover Boys at Pimento University (1942). This is one of Chuck Jones' most daring (and arguably one of his best) films. The stylized design and animation were unlike most anything being done at this time and look forward to what UPA would become known for in the 1950's. Many have cited Chuck Jones as a very strong influence on UPA and with a cartoon like this who could argue? It is worth noting that the credited animator on this film is Robert Cannon, who would become an important director for UPA (he directed Gerald McBoing-Boing (1950) there). Much of this film's charm came from background artist, Gene Fleury and layout artist John McGrew. These were two very experimental artists, and Chuck gave them plenty of room to experiment. They are a huge part of why Chuck's cartoons for this era really stand out. If you are a fan of Disney's Goofy cartoons, you will probably recognize the narrator, John McLeisch (who narrated most of the Goofy "how to..." shorts). The film's writer Ted Pierce does the voice of Tom. However, the scene stealer of the voice actors is Mel Blanc as he seems to be having a blast voicing the villainous Dan Backslide (coward, bully, cad and thief). Visually Dan Backslide is a caricature of Warner's animator, Ken Harris. This film appropriately appears in Jerry Beck's book, The 100 Greatest Looney Tunes. 

Next up comes a masterpiece of a Silly Symphony, The Flying Mouse (1934). This cartoon perfectly shows how advanced the filmmaking from the Disney staff was by this time. While these cartoons are not stylized in the way later UPA cartoons were, the filmmaker how to use bits of stylization to help tell the story. For instance watch how the color of certain scenes changes to fit the mood. These colors are obviously not used for realism but rather to get us involved in the emotion of the story. Here in 1934, they accomplished a feat similar to the ones UPA was praised for in the 1950's but since the filmmaking does not call attention to itself here, it has easily gone unnoticed by many. However this subtlety shows just how sophisticated these cartoons are. It did not hurt that an excellent group of animators worked on this movie. Mickey Mouse specialist, Fred Moore, animated this more realistic mouse in the scenes in which he interacts with the fairy and looks at his reflection in the pond. Ben Sharpsteen (later the supervising director for such features as Pinocchio (1940) and Bambi (1942)) animates the dramatic scene of the mouse escaping from the cave. Ham Luske (the first animator Walt Disney cast for the feature length Snow White) animates the mouse being spanked, seeing the butterfly and the scene with the bats. In 1939-40, there were plans to release shot for shot remakes of earlier Disney shorts including this one, but most of them were abandoned.

Now for the Mickey Mouse cartoon, Wild Waves (1929). Much of this film borrows from Walt Disney's earlier silent Oswald the Lucky Rabbit cartoon, All Wet (1927). However, there is a musical number here, that would have of course been impossible in a silent cartoon. This short was before Walt Disney was cemented as the voice for Mickey Mouse and he has another voice here (two in fact as his singing voice and speaking voice are different). Composer Carl Stalling claimed to have done Mickey's voice here. Disney historians J.B. Kaufman and David Gerstein believe that if that was true, he probably provided the speaking voice. 

Now to 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 Mickey Mouse: The Ultimate History by J.B. Kaufman and David Gerstein Walt Disney's Silly Symphonies: A Companion to the Classic Cartoon Series by Russell Merritt and J.B. Kaufman

The 100 Greatest Looney Tunes edited by Jerry Beck

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

Hollywood Cartoons: American Animation in its Golden Age by Michael Barrier.

  

 

Some Cartoons for Saturday Morning #297

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

Today's cartoon selection starts with a delightful short from the Disney studio, Suzie the Little Blue Coop (1952). This cartoon is a perfect example of what Disney could do better than nearly any other animation studio. It not only humanizes an inanimate object, but it makes us truly emotionally connect with this little blue car. This is a sweet and charming film that never fails to make me smile. This short film would make its TV debut on the Disneyland TV show episode, Adventures in Fantasy (1957), only five years after this film hit theaters.  

We continue with a real classic, Gold Diggers of '49 (1935). This short film was directed by the one and only Tex Avery. It was the first film, he directed for Warner Brothers and much of his famous style is already here. This cartoon does not feel like the Looney Tunes and Merrie Melodies shorts that came before it. Instead, this cartoon has a faster pace and wackier sense of humor. While there is no doubt that Tex would have timed some of these gags even faster later in his career, you can clearly see the inklings of what would become his signature style. This is also the first black and white Looney Tune to feature Porky Pig (though the character had appeared in a color Merrie Melody beforehand). This is important as Porky would soon become the main star of the black and white Looney Tunes series. Yet in this film he is a supporting character. The real star is Beans the Cat. Both of these characters had made their debut in the color Merrie Melodies short; I Haven't Got a Hat (1935). Beans would remain the star of the Looney Tunes series for short while until Porky took over the series. 

Next comes Gandy Goose in The Frog and the Princess (1944). This short film follows a typical Gandy Goose pattern with its story. Gandy falls asleep and dreams of some elaborate fantasy world. 

Now for another Terry Toons cartoon, Fanny's Wedding Day (1933). This cartoon features a human villain named Oil Can Harry, years before Mighty Mouse fought a feline villain with the same name. Many cartoon fans believe these to be the same character. This human Oil Can Harry did not only appear in this character but in a series of melodrama spoofs. 

Now it is time for a commercial break.

Now for the silent cartoon short, Koko the Knight (1927). 

The Pink Panther began his animated career appearing in the opening credits of Blake Edwards' great live action feature, The Pink Panther (1964). Blake Edwards contacted animation producers Friz Freleng and David DePatie to create an animated Pink Panther for this title sequence. They created many different panthers, but when Blake saw the various drawings, he immediately knew which one he wanted in his film. The title sequence was a smash hit, and the character was spun off into a series of theatrical cartoon shorts (at a time when those were on their way out). Today we will look at the first and possibly best of these cartoons, The Pink Phink (1964). This cartoon set a template for many more shorts to come. The basic storyline involves a formula that would be often used. The Pink Panther wants to turn everything pink much to the annoyance of a little man (who may look a little like Friz). The gags come fast and furious and the design work is lovely. All in all, this cartoon was a delight and the best way to start this series possible.

Now for the Terry Toons cartoon, Jesse and James (1931). 

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

Pink Panther: The Ultimate Guide to the Coolest Cat in Town! by Jerry Beck

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

  

Some Cartoons for Saturday Morning #293

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

Today's cartoon selection begins with Bugs Bunny in Bugsy and Mugsy (1957). This film was a semi-remake of the Slyvester cartoon, Stooge for a Mouse (1950). Bugsy and Mugsy would later be remade as the Dogfather cartoon, Heist and Seek (1974).

Next comes the silent Out of the Inkwell film, Koko Plays Pool (1927).

Now for the Aesop's Sound Fables cartoon, Farm Foolery (1930). While this may seem crude compared to what Disney was doing at the same time, there is a certain charm to that. The music is fun and some of the gags are quite creative. The final gag is bizarrely surreal in the best way. 

Next comes Donald Duck in Contrary Condor (1944). This short film was directed by Jack King, who directed most of the Donald Duck cartoons at this time. For a while in the community of cartoon and Disney lovers, the Jack King Donald Duck cartoons were rarely given the accolades they deserve because more attention was paid to the later Donald shorts that Jack Hannah directed. However luckily today many Disney fans are reevaluating this and realizes what wonderful films, the Jack King Donald cartoons are. Contrary Condor is just one of the many examples of how great of a cartoon director Jack King was. However, this film also works because of a wonderful team of animators. John McManus animates the opening moments as well as Donald tossing the dummy and the mom diving after it. Judge Whitaker animates Donald yodeling while climbing the mountain, Donald's first meeting with the mother, Duck applauding the small bird's flight, the small bird gliding and landing, Donald's landing and Donald contemplating a new plan. Nick Nichols animates Donald discovering the nest and hiding in the egg, the hatching sequence, the small bird being jealous, the little bird snaping Donald off the limb, Donald's "flight," the mother applauding, the mother missing the dummy as it falls into the water and the closing sequence. Paul Allen animates the mother pushing the small bird off the limb, the mother encouraging Donald to fly and Donald trying to escape with the egg until the small bird intercepts it. George Nicholas animates the small bird falling and trying to fly. Don Townsley animates the small bird lowering its legs like landing gear and the mother's card trick. Hal King animates the mother attempting to push Donald off the limb and Donald faking a bad wing, Marvin Woodward animates the mother trying to trick Donald with the berry. The working titles for this film were Contrary Condors, Egg Collector and The Colombian Condor. The following is a review from The Film Daily, "Donald Duck provides plenty of laughs in his attempt to swipe an egg from a condor's nest. When Donald emerges from his hiding place in an empty egg shell which a mother condor mistakes for an unhatched egg she accepts our fine feathered hero as one of her own. Her attempts to get Donald to fly are extremely humorous. The Technicolor cartoon is aces." 

Now it is time for a commercial break. 

Now we join our good friend Farmer Al Falfa in Flying Oil (1935). This is a delightfully silly, surreal and creative cartoon.

 Now for an early Disney Silly Symphony, The China Plate (1931). This short film was directed by Wilfred Jackson, who would later co-direct such Disney features as Cinderella (1950), Alice in Wonderland (1951), Peter Pan (1953) and Lady and the Tramp (1955). Even at this stage, Disney cartoons had all star casts of animators and this short is no exception. Joe D'Igalo, who would work not only for Disney but also for Warner Brothers, MGM and Fleischer Studios (where he would work on both of their feature films (Gulliver's Travels (1939), Mr. Bug Goes to Town (1941)), animates the teacup and teapot as well as the cherries being delivered to the mandarin. Johnny Cannon animated the mandarin eating and sleeping, the geishas dancing, the boy fishing and dragon swallowing the rock. Jack Cutting does much less here only animating the orchestra. Frenchy de Tremaudan (who animated on many of the best Disney shorts of the 1930's animates the first scene with the girl, the dragon eating the mandarin, capturing the girl and fighting with the boy. Rudy Zamora, who would have a long career in animation and would direct episodes of the Hanna-Barbera TV cartoons of the 1980's, animates the scene with the boy and the girl with the butterfly. Future Woody Woodpecker and Barney Bear director Dick Lundy would animate the fight between the mandarin and the boy. Ben Sharpsteen, who would later be the supervising director for such Disney features as Pinocchio (1940), Fantasia (1940) and Dumbo (1941), animates the couple being chased by both the mandarin and the dragon. David Hand, who would later be the supervising director for such Disney features as Snow White and the Seven Dwarfs (1937) and Bambi (1942), animates the scene involving the couple and the mandarin at the bridge. Future Donald Duck director (who directed the Donald cartoon earlier in this post) animates the couple dislodging the rock and in the boat. Walt Disney himself provides the laugh for the boy. Six years after this picture the Disney story department proposed a Japanese themed Silly Symphony that would be similar to this short, but that film was never made. 

Next is probably the most famous Humphry the bear cartoon, In the Bag (1956). One reason this cartoon is so well remembered is because the very catchy song. As late as Cars 3 (2017), Disney movies would even include references to this delightful song. In the Bag marked the last Disney short made for CinemaScope and after this film the cartoons would go back to a regular aspect ratio. This theatrical cartoon made its TV debut in the Walt Disney's Wonderful World of Color episode, A Square Peg in a Round Hole (1963). 

Now to 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  

South of the Border with Disney by J.B. Kaufman.

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

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

https://mediahistoryproject.org/

https://disney.fandom.com/wiki/In_the_Bag

   

Some Cartoons for Saturday Morning #291

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

Today's cartoon selection begins with our friend Little Roquefort in City Slicker (1952). This is a take on the classic country mouse and city mouse story with some delightful slapstick twists of course.

To follow on the country mouse/city mouse theme, here is an especially great Silly Symphony from Disney, The Country Cousin (1936). Like many Disney films of this time this short is especially notable for its great animation. Some of the best Disney animators worked on this cartoon. Probally the one who has been singled out the most has been Art Babbitt for his excellent animation of the drunken mouse. This is appropriate because this animation is a highlight of the film. Still there is much more great animation to be found. In fact Cy Young's animation of the traffic montage was so good that the studio reused it later in the Mickey Mouse cartoon, Mickey's Delayed Date (1947).  The opening animation of the country mouse leaving for the city was by Milt Schaffer. Johnny Cannon animates the two mice meeting as well as the country mouse finding his way into a light socket and the film's ending. Marvin Woodward animates the scene with the mouse trap. Les Clark (a future member of Walt's nine old men and expert Mickey Mouse animator) gets to shine with his animation of the mice on the table and the country mouse after eating hot mustard. Future Donald Duck director, Jack Hannah doesn't have much to animate in this film. He only animates the plates falling on the floor. Paul Allen animates the two mice parachuting and some of the action with the cat. This cartoon won the Academy Award for best animated short film. It won the Academy Award for Best Cartoon Production. The cartoon made its TV debut on an episode of the Disneyland TV show entitled, From Aesop to Hans Christian Anderson (1955). 

Now for the Talkartoons cartoon, The Robot (1932). This film stars Bimbo, who started off as a starring character but would later become a supporting character for Betty Boop, whose stardom would eclipse his. You can see a primitive early version of Betty in this film. 

Next is the Terry Toons cartoon, Uncle Joey (1941). The title character is a caricature of comedian/actor Joe E. Brown. A review from the National Board of Review Magazine stated, "A cute cartoon about a mouse and a cat. The cat isn't as wicked as cartoon cats usually are, but he gets worsted anyway."

Now it is time for a commercial break. 

Next comes the last of the great series of cartoons of the 1940's teaming Donald Duck and Goofy together, Crazy With the Heat (1947). These cartoons are delightful all the way, with Goofy's obliviousness to his circumstances (however bad they may be) playing off of Donald's insane temper. This just gets Donald more and more annoyed as the films get funnier and funnier. This is a rare Disney cartoon short directed by Bob Carlson, who mostly worked as an animator by the studio. With how funny this film is that certainly seems a shame. A review in The Film Daily called this cartoon, "Exceptionally good." I can't argue with that.

Next comes one of my favorite early Bugs Bunny films, The Wabbit Who Came to Supper (1942). One of the things you will notice first about this cartoon is how the characters are drawn. Bugs will often go off model in a way you would never see in a later short (around 1944 this would come to an end). Elmer is also in his heavier set design. Bob Clampett had redesigned the character for his cartoon Wabbit Twouble (1941) and that design would stick for four more cartoons (including this one). The design was based off of Elmer's voice artist, Arthur Q. Bryan. Yet there is so much to enjoy about this cartoon that you won't care how the characters look. Director Friz Freleng is known for how perfectly he could time a gag and this is incredibly evident. There are also plenty of incredibly clever gags from writer Michael Maltese (who would go on to form a writer/director partnership with director Chuck Jones that would result in some of the funniest and most famous cartoons of all time). Many of these gags would take cartoon logic to ridiculous and hilarious extremes. A review in The Film Daily called this short, "Tremendously hilarious." A review in The Exhibitor stated, "This has many humorous moments, even if not ranking with the best of the B.B. series. However with that title and his popularity, this offers an opportunity." The following is an exhibitor's review from the Motion Picture Herald, "Wabbit Who Came to Supper: Merrie Melodies Cartoons- Good. This series is taking off fast. They are asking when we are having our next 'carrot eating rabbit.' - A.H. Goldson, Plaza Theatre, Chicago, Ill." 

Next comes the Color Rhapsody cartoon, Lucky Pigs (1939). 

 

Now to close with a song. 

Thanks for joining me. Come back next week for more animated treasures. Until then may all 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 

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

https://mediahistoryproject.org/

 

Some Cartoons for Saturday Morning #290

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

Today's cartoon selection begins with Donald Duck in Donald's Garden (1942). In this short film, Donald tries to plant a garden but unfortunately for him a pesky gopher arrives to eat all his produce. This is one of four Donald Duck cartoons spun off from an unfinished storyline called Donald's Roadside Market. In 1939, this cartoon's production was cancelled because Walt felt that the farmyard setting of that cartoon was not being utilized to its best. However, a farm setting was still a great idea for a Donald cartoon. Walt himself stated in a story meeting for Donald's Roadside Market that took place on August 8, 1939, "I think there are a hell of a lot of gags around a farm that could be very funny with the Duck." Other cartoons spun off from this proposed story were Golden Eggs (1941), Old MacDonald Duck (1941) and Honey Harvester (1949). 

Next is the Fleischer Screen Song cartoon, I Feel Like a Feather in the Breeze (1936). This cartoon stars the character of Wiffle Piffle, a character who would appear in both solo and Betty Boop cartoons. Though the animators here aren't as well known to animation buffs as the Disney and Warner Brothers animators, they do a great job and deserve to be given attention. Harold Walker animates the scene of the people walking into the restaurant including the revolving door gag. Tom Johnson animates Wiffle Piffle after he enters the restaurant to where he grabs a plate. Dave Hoffman animates the introduction of the opera singer and Wiffle Piffle getting beer for the customers. Tom Johnson animates Wiffle's little dance as he brings the beer out. Dave Hoffman animates Wiffle going through the door and coming out with sandwich. Harold Walker animates Wiffle giving the customer his sandwich as well as the chicken gag. Harold Walker animates Wiffle making the spaghetti. The title song was written by Mack Gordon and Harry Revel. Lyricist Mack Gordon also wrote lyrics for such songs as Chattanooga Choo-Choo, Did You Ever See a Dream Walking and You Make Me Feel So Young. Composer Harry Revel had worked as a composer for feature films for Paramount studio. 

Next comes another real classic, Falling Hare (1943). This cartoon features one of the few characters to get the upper hand of Bugs, the gremlin. Despite only appearing in this one short, the character has proven quite popular and has appeared in quite a few Looney Tunes spin offs. The original title for this movie was going to be Bugs Bunny and the Gremlin. However, since Disney was working on an animated feature film about Gremlins (a movie that would never be finished), the studio took the word Gremlin out of the title of this cartoon to appease the Disney studio. The following is a review from The Film Daily, "Literally and figuratively, Bugs Bunny, already a prime favorite among current cartoon characters, gets off to a flying start in the distribution season just started. The buck-toothed, long-eared clown meets up with a gremlin, and both find themselves aloft in an airplane, with Bugs or what's left of him being darn glad to get back to earth. There are plenty of laughs throughout. The tough Bunny, if this initial '43-'44 offering of his producer Leon Schlesinger, is any criterion, is in for a further rise in popularity among fans who like humor. Of course, the reel is in Technicolor. It was supervised by Robert Clampett and animated by Roderick Scribner. Warner Foster wrote the story and Carl W. Stalling handled the musical direction." This movie amounts to one of my favorite Bugs Bunny cartoons, and it is appropriately in Jerry Beck's book, The 100 Greatest Looney Tunes. 

Now for the Terry Toon short, Canadian Capers (1931). This cartoon features our good friend Farmer Al Falfa. Animators on this film include Frank Moser, Jerry Shields, Bill Tytla and Art Babbitt.  Unfortunately, this is an edited for TV version. 

Now for a commercial break.

Now for the Walter Lantz cartoon, Salt Water Daffy (1941). When this cartoon was released in 1941, the United States had not yet entered World War 2. However, most Americans could see that war was likely on their horizons. America's first peace time draft had recently been instated, making this cartoon especially timely. 

Next is first pairing of Daffy Duck and Speedy Gonzales, It's Nice to Have a Mouse Around the House (1965). The two would be paired together in 25 more cartoons.

Enjoy the Krazy Kat cartoon, Love Krazy (1932). This film is full of the type of early 1930's cartoon charm that so many of us love. 

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/

 

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/

Some Cartoons for Saturday Morning #287

Good morning my friends and welcome for a special Fourth of July edition of Saturday Morning Cartoons. 

 In 1997 animation legend Chuck Jones wrote a children's book starring Daffy Duck and Bugs Bunny titled Daffy Duck for President. When Warner Brothers decided to follow the feature film, Looney Tunes Back in Action (2003) with a series of new animated Looney Tunes shorts for movie theaters, one of these shorts was a cartoon based off this book. Daffy Duck for President (2004) never got the theatrical release it should have as Looney Tunes Back in Action proved a disappointment at the box office. However, this is a truly delightful cartoon. It was dedicated to Chuck who had passed away in 2002. 

Now we join our sailor friend Popeye in Patriotic Popeye (1957). This Fourth of July cartoon features Popeye and two nephews. When Popeye's nephews were introduced, he had four of them. This then went down to three and then to two. 

Next comes the silent cartoon short, Bobby Bumps Fourth (1917). The Bobby Bumps films were made by Earl Hurd. Earl Hurd has a very important place in the history of animation. He was in fact the inventor of animation cells. Him and John R. Bray owned a patent on animation cells and any studio that used them had to pay license fees. About the Bobby Bumps cartoons film historian and critic Leonard Maltin would state, "They are among the most mature, most well-conceived cartoons of the silent era - certainly the best work done in the mid- to late teens."

Now for a short film from Stephen Bosustow Productions, Freedom River (1971). This is an intelligent and lovely film that is helped by narration from no less than Orson Welles. The film was directed by Sam Weiss, who would go on to work as a layout artist on such animated TV shows as The Bullwinkle Show, The Dick Tracy Show, Underdog and Rugrats.

Now it is time for a commercial break. 

Now for our favorite pink friend in Yankee Doodle Pink (1978). This is essentially a reissue of the earlier Pinky Doodle (1976) with a few extra scenes. 

In December of 1941 the Secretary of the Treasury, Henry Morganthau contacted Walt Disney about making a short film encouraging Americans to pay their taxes. The story goes that Walt was surprised by this request believing that all American citizens paid their taxes on time. Disney writers Joe Grant and Dick Huemer wrote a story involving Donald Duck as an average tax payer. When an aide was surprised that Disney didn't create a new character to represent the average tax payer, but Walt felt that Donald was a natural choice. He argued that this was the same as when a Hollywood studio would use one of their biggest live action stars to promote the war effort. Donald was the Disney studio's biggest star at the time (as well as a character everyone loved and saw themselves in) and to have him push the war effort was vital to the project. The cartoon was titled The New Spirit (1942) and was a major success. The Treasury Department stated that about sixty million Americans saw this cartoon and a poll showed that 37% of these Americans stated that this positively influenced them when it came to paying taxes. In 1943 the Treasury Department approached Walt about making another one of these shorts. This resulted in The Spirit of '43 (1943).

Let us end with another patriotic Disney short, Ben and Me (1953). 

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

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://cartoonresearch.com/index.php/ducks-and-taxes-the-story-of-the-new-spirit/