Some Cartoons for Saturday Morning #246

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

Today's cartoon selection begins with Sylvester and Tweety in Tweet and Lovely (1959). This is one of my favorite Sylvester and Tweety films. Voice actor Mel Blanc would later write, "Sylvester has always been a favorite of mine. He's always been the easiest character for me to play. When I was showing the first model sheet for Sylvester with his floppy jaws and generally disheveled appearance, I said to Friz Freleng, 'A big sloppy cat should have a big shthloppy voice. He should spray even more than Daffy.' While recording Sylvester cartoons my scripts would get so covered in sylvia I'd repeatedly have to wipe them clean. I used to suggest to actress June Foray, who voiced Tweety's vigilant owner Granny that she wear a raincoat to the sessions." 

Next is the Fleischer Screen Song cartoon, My Baby Just Cares for Me (1931). The title song was written by Walter Donaldson and Gus Kahn. The two had written such songs together as Carolina in the Morning, My Buddy, My Man from Caroline, Love Me or Leave Me, Makin' Whoopee and Yes Sir, That's My Baby. The song was written for the movie, Whoopee! (1930) starring Eddie Cantor. Sorry that this short is missing a small part of it. 

Now for Heckle and Jeckle in Log Rollers (1953). 

Next is the Mickey Mouseworks cartoon, Mickey’s Remedy (1999). This short would later be used in the House of Mouse episode, Snow Day (2002). 

Now it is time for a commercial break. 

Up next comes an early example of Disney's Silly Symphonies cartoons with The Bird Store (1932). This short film is similar to many of the Silly Symphonies of the time period. The movie starts out with simply a bunch of cute little gags involving a bird store and then a villain enters and many of the characters team up to stop this villain. The cartoon is 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). The film also features an all-star cast of Disney animators. 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 opening scene. Future Donald Duck director, Jack King animated the lovebirds, the canaries being excited and the baby being returned to its parents. Frenchy de Tremaudan, who worked as an uncredited animator on many of Disney best short films, animates the bird sharpening its beak and the parrot with the cash register. Johnny Cannon animated the jalopy birds and the canaries pecking at the cat. Clyde Geronimi, who would be a co-director on Cinderella (1950), Alice in Wonderland (1951), Peter Pan (1953) and Lady and the Tramp (1955) and the supervising director for Sleeping Beauty (1959), animates the horn birds and the cat in the cage. Norm Ferguson, whose animation would later help define the character of Pluto, animates the parrot with both the mirror and the typewriter. Future Woody Woodpecker and Barney Bear director Dick Lundy animates the whooping birds and the cat stalking the canaries. Future Hanna-Barbera director, Rudy Zamora animates the Marx Birds. Future Looney Tunes and Van Beuren director, Tom Palmer animates the baby canary taking on a singing lesson. Albert Hunter animates the birds watching with excitement. Master Mickey Mouse animator, Les Clark animates the baby canary running from the cat and the scene with the dogs. Ben Sharpsteen, who would later be the supervising director for such Disney features as Pinnochio (1940), Fantasia (1940) and Dumbo (1941), heads a whole crew of animators including Chuck Couch, Marvin Woodward, Hardie Gramatky, Harry Reeves and Dick Williams. 

Now for a silent Aesop's Film Fables short, Two of a Trade (1922). This short film features our friend Farmer Alfalfa.

Now for Hoot Kloot in Big Beef at the O.K. Corral (1974). In this short film, Hoot Kloot faces off against the outlaw Billy the Kidder. 

Today's cartoon selection ends with The Simpsons in Closeted (1988). This was a short made for The Tracey Ullman Show before the animated family got their own TV series. 

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

I Tawt I Taw a Puddy Tat: Fifty Years of Sylvester and Tweety by Jerry Beck.

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

https://disney.fandom.com/wiki/Mickey%27s_Remedy

 

Some Cartoons for Saturday Morning #240

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

Today's cartoon selection starts with a true Disney classic, Mickey's Circus (1936). Though this movie features major stars like Mickey Mouse and Donald Duck, Walt Disney himself had a fondness for a supporting character in this cartoon. That character was the littlest of the seals. Walt loved this character and because of that he suggested gags for the seal and even wished to revive him in later cartoons. The character would appear in only one more film and that would be over a decade later. That cartoon was Mickey and the Seal (1948). Mickey and the Seal would also give the character a name, Salty. The following is from a review from the Film Daily, "There are serval barrelsful of laughs in this Technicolor Mickey Mouse cartoon from Walt Disney's workshop. The very ridiculousness of the antics of Donald Duck, Mickey and the trained seals bring laughs whether one wants to laugh or not." The following is an exhibitor's review from the Motion Picture Herald. "MICKEY'S CIRCUS: Mickey Mouse— Average Mickey Mouse, not as good as several previous ones but still good. - John A. Mulligan, Broadway Theatre, Schuylerville, N.Y. General Patronage." 

Now for one of the best Casper the friendly ghost cartoons, Ghost of Honor (1957). This short film tells the story of how Casper became a cartoon star.

Up next is the Fleischer Screen Songs cartoon, My Gal Sal (1930). The title song was written by Paul Dresser (born April 22, 1857, passed away January 30, 1906), brother of novelist Theodore Dreiser. Having performed in minstrel shows, medicine shows and vaudeville, he was a popular singer, composer and actor of his day. He had even been compared to Stephen Foster. His biggest hit was the 1897 song, On the Banks of the Wabash, Far Away. Unfortunately, around the turn of the century, his music fell out of style and in 1905 his music publishing company would declare bankruptcy. 

Next is Hoot Kloot in Gold Sturck (1974). 

Now it is time for a commercial break. 

Next comes the first Daffy Duck cartoon directed by Chuck Jones, Daffy Duck and the Dinosaur (1939). Today many cartoon fans associate Chuck with being one of the main people who changed Daffy from his early high energy crazy self into a more vain, jealous and greedy character. This film however features Daffy in his early crazy high energy mode. A review in The Motion Picture Herald even stated, "The gags and situations are appropriately matched to the zany personality of the duck." Another review in The Motion Picture Daily stated, "Leon Schlesinger delivers good color cartoon work in this "Merrie Melody," but the striving for whimsy hits only in spots." The following is an exhibitors' review also from The Motion Picture Herald, "Daffy Duck and the Dinosaur: Merrie Melodies—Very few laughs in this one. Not up to standard of most cartoons in this series. Running time seven minutes. - Don Bloxham, Place Theatre, Exira, Iowa, General and rural patronage."
 

Now for Felix the cat in The Cold Rush (1925). 

Up next is the Disney short, Goofy Gymnastics (1949). I have mentioned many times here that I am a massive fan of the Goofy cartoons that Jack Kinney had directed for Disney. Kinney remains one of my favorite cartoon directors and I view him as being on the same level as Tex Avery and Chuck Jones. This short film made its TV debut on an episode of the Disneyland TV show entitled The Goofy Sports Story (1956). It would later air on an episode of Walt Disney's Wonderful World of Color entitled In Shape with Von Drake (1964). 

Today's cartoon selection ends with The Simpsons in Space Patrol (1987). This is one of the shorts made for The Tracey Ullman Show before the animated family got their own series. 

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 Mickey Mouse: The Ultimate History by J.B. Kaufman and David Gerstein 

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

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

https://mediahistoryproject.org/

Some Cartoons for Saturday Morning #231

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

Today's cartoon selection begins with Porky's Pooch (1941). Though all the classic Charlie Dog cartoons would be directed by Chuck Jones, this Bob Clampett short clearly sets up the template that all of those later cartoons would follow. In fact the first Charlie Dog cartoon, Little Orphan Airedale (1947), would be a remake of this film. The backgrounds in this film are live action photographs. A year later Bob would use a live action opening for Eatin' on the Cuff or The Moth Who Came to Dinner (1942). The following is an exhibitor's review from Motion Picture Herald, "PORKY'S POOCH: Looney Tunes Cartoons—Right up my alley for my patronage. Running time, 7 minutes. —Vic Stephano, Grove Theatre, Groveton, Tex. Small Town Patronage." A review in The Motion Picture Daily called the film, "Good for a few laughs." The Showman's Trade Review gave advice to movie theater owners on how to advertise this cartoon, "Play it up to all Porky fans and make some new fans to win over some of the dog lovers in your community by staging a pet show, prize contest for best snapshot of a pet or prize contest for a brief essay on 'why my dog is the best in town.'" 

Up next is the Fleischer Screen Song short, I'm Afraid to Come Home in the Dark (1929).

Now we join our hero Mighty Mouse in A Fight to the Finish (1947). During this period many of the Mighty Mouse cartoons were operatic melodrama parodies. Like many cartoon fans, I have a real fondness for the Mighty Mouse films of this period. 

I have also mentioned before that I am also a fan of the cartoons Jack Kinney directed for Disney. These were some of the studio's funniest, often providing an almost Tex Avery like sense of humor that I find irrespirable. Next comes one of those great cartoons, Motor Mania (1950). Despite this film being such a comedic tour de force, it also had a successful life as a safety film. This film received the National Safety Council Award. This cartoon was even used in 1953 in Oakland, California as a mandatory part in its Traffic Violator School. No need to look at this film as an educational experience, it is just as fast paced and funny as any of Jack Kinney's great cartoons for Disney. The cartoon is narrated by John McLeish, who had previously done the narration of other Goofy cartoons including, How to Ride a Horse (1941). Jack Kinney would later remember, "We were sitting around, chewing it over, trying to think of someone to do the narration, and I had just said, 'Gawd! I wish John McLeish was in town. He'd be perfect,' when as if on cue, the phone rang. It was John calling from New York. 'McLeish!' I shouted into the phone. 'I wish you were here!' 'I shall be,' he intoned, 'If you've got a job for me.' 'You got it.' 'I'll be there Monday.'" 

Now it is time for a commercial break. 

Today's cartoon selection continues with a delightful Woody Woodpecker cartoon, Chew Chew Baby (1945). This movie was directed by Shamus Culhane, who had previously been an animator for Disney, the Fleischer Brothers and Warner Brothers. Culhane proved to be one of the finest directors to work at the Walter Lantz Studio (where the Woody Woodpecker cartoons were made). The cartoons he directed for this studio were some of the finest cartoons to come out of it, including one of the most praised Woody Woodpecker cartoons, The Barber of Seville (1944).







   

Now it is silent movie time with the Out of the Inkwell short, No Eyes Today (1929). 

Next is the Columbia Color Rhapsody cartoon, Bon Bon Parade (1935). This a cute and sweet little film and the rare sentimental cartoon from Columbia that kind of works. Despite this sentimentality the highlight is the caricatures of The Three Stooges. 

Today's cartoon selection ends with The Simpsons in The Money Jar (1988). This is one of the shorts made for the Tracey Ullman Show before the animated family got their own TV series. 

Thanks for joining me. Come back next week for more animated treasures. Happy trails to you until we meet again. 

Resources Used

Walt Disney and Assorted Other Characters by Jack Kinney.

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

https://mediahistoryproject.org/

  

   

Some Cartoons for Saturday Morning #224

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

Animation fans know director Friz Freleng as a master of timing and very few comedy cartoons have come close to the perfect comedy timing of his films. This can especially be seen in his cartoon, Yankee Doodle Daffy (1943). This in my mind is one of his funniest films and just a pure delight. Despite the title, this film does not have a parotitic theme or revolve around U.S. history. With the James Cagney feature, Yankee Doodle Dandy (1942) having come out the year before, this pun was probably just too good for the filmmakers to pass up.  Look for a portrait of Friz Freleng hanging in Porky's office. A review in The Motion Picture Daily calls this film a "Pleasant little subject." The following are Exhibitor's reviews from The Motion Picture Herald. "YANKEE DOODLE DAFFY: Looney Tunes Cartoons—This studio's cartoons lately seem to be either exceptionally good or exceptionally bad. This is downright terrible. - W. Verricks Nevins, III, Alfred Co-op Theatre, Alfred N.Y." "YANKEE DOODLE DAFFY: Looney Tunes Cartoons—Good cartoon, but where does it get its name? - Ralph Raspa, State Theatre, Rivesdale, W. Va." "YANKEE DOODLE DAFFY: Looney Tunes Cartoons - Average color cartoon. - E.M. Freiburger, Paramount Theatre, Dewey, Okla." 

Now for the classic UPA cartoon, Georgie and the Dragon (1951). This movie was directed by Robert "Bobe" Cannon, one of my favorite UPA directors. He had previously been an animator for both Chuck Jones and Bob Clampett's units at Warner Brothers and even Tex Avery at MGM. He even worked on the Disney feature film, Melody Time (1948). As a director he made some of the best UPA shorts including one of the studio's most famous films, Gerald McBoing-Boing (1950). 

 Next comes a short film from the husband-and-wife team of John and Faith Hubley, The Tender Game (1958). This duo brought us some of the most artistic and lovely animated short films of all time. The music on this film is by Ella Fitzgerald (the queen of jazz) and Oscar Peterson (a wonderful jazz pianist). 

Here is an animated insert that John and Faith Hubley made for Sesame Street. 

Now for the Fleischer Superman cartoon, The Eletric Earthquake (1942). For a studio that was best known for silly comedy cartoons like the Popeye and Betty Boop shorts, Fleischer Studios adapted itself extremely well to the action/adventure genre with these films. Even with the flux of superhero cartoons that have followed many still view these shorts as the gold standard when it comes to superhero animation. The makers of such shows as Batman: The Animated Series, Superman: The Animated Series, Batman Beyond and Justice League Unlimited have cited these short films are their primary influence. 

Now it is time for a commercial break. 

To this day some of the most popular cartoon shorts among Disney fans are the ones that used Mickey Mouse, Donald Duck and Goofy as a comedy team in the same vein as Laurel and Hardy, The Marx Brothers or The Three Stooges. The first of these was Mickey's Service Station. This was also the only one that was in black and white instead of color. In fact there would be only one more Mickey Mouse cartoon in black and white, which would be Mickey's Kangaroo (released later the same year). A quick bit of writing from an issue of The Film Daily (dated March 14, 1935), lets us know where this cartoon premiered, as well as the feature it played with. "Walt Disney's newest Mickey Mouse cartoon, 'Mickey's Service Station' is to have its premiere at the Rivoli Theater tomorrow on the bill with Samuel Goldwyn's 'The Wedding Night' in which Gary Cooper and Anna Sten are co-starred "Here is what some theater owners had to say about this cartoon in The Motion Picture Herald. "Mickey's Service Station: Mickey Mouse- Good filler lots of laughs and excitement. Running time, 1 reel - Rudolph Duba. Royal Theater, Kimball S. D. Small town patronage" "Mickey's Service Station: Mickey Mouse- A dandy cartoon. Mickey Mouse means something at our box office.- J.W. Noah, New Liberty and Ideal Theaters, Ft. Worth, Texas. General patronage."

Now for the silent Out of the Inkwell short, The Cure (1924). 

Continuing today's selection of classic cartoons is Popeye The Sailor Meets Sinbad The Sailor (1936). This is the first of the three Popeye two-reel specials (plus the first color Popeye) and one of the most popular Popeye cartoons. Running at 17 minutes this is twice as long as the usual Popeye film, yet the filmmakers work this to their full advantage. It never feels too long, and the extra time lets the filmmakers put in a more atmospheric fantasy like feel to this cartoon. This would be the first Popeye nominated for an Academy Award and received the 17th spot in Jerry Beck's book, The 50 Greatest Cartoons. A review in The Film Daily called the cartoon "Top Notch." However not everybody was so impressed by this film as evidenced by the following Exhibitors reviews from The Motion Picture Herald. "Popeye the Sailor Meets Sinbad the Sailor: Popeye the Sailor series - Good color but did not bring extra business like Paramount said it would. -Fisher & Bichler, Mattray Theatre, Strasburg, N.D." "Popeye the Sailor Meets Sinbad the Sailor: Popeye the Sailor special - Worth twice as much as regular Popeye but no more. I paid more and that makes me a dissatisfied customer. - W. H. Brenner, Cozy Theatre, Winchester, Ind. General Patronage." "Popeye the Sailor Meets Sinbad the Sailor: Popeye the Sailor cartoons - This much Balley-hooed two-reeler, all color, third dimensional cartoon failed to come up to the entertainment value of the single reel black and white Popeye series. - M.R. Harrington, Avalon Theatre, Clatskanie, Ore. - Small Town and rural patronage."

Let us end today's cartoon selection with a classic Simpsons clip from the episode, 22 Short Films About Springfield (1996). 

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 50 Greatest Cartoons edited by Jerry Beck

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 

Walt Disney's Mickey Mouse: The Ultimate History by David Gerstein and J.B. Kaufman

https://lantern.mediahist.org/

 

Some Cartoons for Saturday Morning #219

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

Today's cartoon selection begins with a real classic, the Bugs Bunny cartoon, The Wacky Wabbit (1942). As many of you know all the major Looney Tunes directors had their different take on Bugs Bunny. Bob Clampett's Bugs was very much a fun-loving prankster. Unlike Chuck Jones' version of the character, this Bugs did not always need to act in self-defense but could just pick on someone to have a little fun. That is true of the way he treats Elmer here. Elmer in this movie is not hunting wabbits, but simply minding his own business, when Bugs decides to let the poor fellow have it. Elmer in this cartoon looks different from how many movie fans picture him looking. This is because he was briefly redesigned to look like his voice actor Arthur Q. Byran. The following is a review from The Film Daily, "Fourteen carrot entertainer this 'Wacky Wabbit.' There's a laugh in every foot. The wise guy rabbit in this instance tries his trick on a gold prospector. He drives the poor guy crazy confounding him and keeping him constantly on the jump. Bugs Bunny grows in stature with every new Merry Melody release. He bids fair to become as funny as any character now in animated cartoons. The smart showman should grab this short." 

Up next is the UPA short, Spare the Child (1955). This short film was directed by Abe Liss. This is the only cartoon in which he receives a directing credit on, though he does receive credit as designer on other UPA cartoons. 

Now for Honey Halfwitch in High but Not Dry (1967). The Honey Halfwitch films are a series of thirteen theatrically released cartoon shorts. This movie marks the 12th of these shorts. 

Up next is the Aesop's Sound Fables cartoon, King of the Bugs (1930). While these Sound Fables cartoons, might seem crude compared to some of the Disney cartoons being put out at the same time, I personally find a lot of charm in them. 

Exhibitors Herald and Moving Picture World, 1930

Now it is time for a commercial break. 

I have mentioned many times on this blog, that some of my favorite cartoons of all time are the Goofy cartoons, Jack Kinney directed for Disney. Up first is an early example of this, Goofy's Glider (1940). This was the first of Goofy's wonderful series of "how to..." cartoons, where Goofy shows us how to do something the wrong way. It is also the first Goofy cartoon to be directed by Jack Kinney. This movie also serves as the basis for Goofy's Fly School, the really fun roller coaster in Disney's California Adventure. The following is an exhibitor's review from the Motion Picture Herald, "GOOFY'S GLIDER: Walt Disney Cartoons— Very funny. Disney's poor cartoons compare with what the majority of other companies consider good. Runtime 8 minutes. - H. Goldson, Plaza Theatre, Chicago, Ill. General Patronage." 

16mm Sound Films, 1957

Now for the Walter Lantz cartoon, The Bird on Nellie's Hat (1939). A year after the release of this film, the Walter Lantz studio would debut its most popular character, Woody Woodpecker. This makes this short a great look at the output of this cartoon studio before it started making the films we all know. I love the surreal gags in these black and white Walter Lantz shorts and this cartoon has one of my favorites near the end (hint: it has to do with a train). 

Now for Felix the Cat in In the Swim (1922).

Let us end this morning's cartoon selection with a trip to a truly magical place. 

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

https://lantern.mediahist.org/

Some Cartoons for Saturday Morning #204

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

Today's cartoon selection begins with the second Coyote and Roadrunner film (though Wile E. Coyote appeared sans Roadrunner in Operation Rabbit (1952) before this). When the first Roadrunner cartoon (Fast and the Furry-ous (1949)) was made, it was not intended to become a series. Writer Michael Maltese stated, "It was just another one-shot. Another workaday cartoon." This second entry proves that these characters had a power that lasted past one cartoon. Beep Beep remains one of the finest entries in the series. 

Up next is a true Thanksgiving classic, Tom Turk and Daffy (1944). Unlike Christmas or Halloween, there really aren't a wide variety of Thanksgiving cartoons, which is odd once you think about how hunting a turkey is a perfect subject for a cartoon. However, the idea of hunting a turkey in a cartoon was done to perfection in this film. The cartoon was directed by Chuck Jones, who is often credited with playing a major role in turning Daffy from his early crazy self into a self-centered character bent on self-preservation-ism. While Daffy had not fully turned into that character by this point this cartoon shows that sneaking into the character. In this film Daffy is willing to sell-out his friend he vowed to protect when temptation gets the better of him (Those darn candied yams!). The idea of Daffy simply being too weak to resist temptation is fully in line with the Daffy we would see in later Jones cartoons. Yet he still has the wild energetic streak that characterized the older Daffy Duck cartoons. In an interview with film historian Joe Adamson, Chuck would state, "What you do is multiply your own weakness, I guess, in a character like Daffy. There was no problem after I began to understand what he was all about. My Daffy and Friz's [Looney Tunes director, Friz Freleng] are also a little bit different, Friz was the one you might say, who got him into that cowardly self-preservation. The minute he did it, I understood what that was; I knew how I'd feel. It's that awfulness, when you're on the battlefield, of realizing when your buddy is shot that your basic feeling is one of relief: that it wasn't you. Well Daffy says that. He says, 'I may be a mean little duck but I'm an alive little duck.' or when he gave Bugs up to the Abominable Snowman, he said, 'I'm not like other people: I can't stand pain - it hurts me.' When I'd go home, I'd tell Dorothy [Chuck's wife] a line like that, which just occurred as I was working. I'd say, 'You know what that guy Daffy did today?' and I'd repeat the line and then she'd look at me. She never got used to this, she'd say, 'Well, you were drawing it you did it.' I'd say 'That's not true! It just developed! That's what he said. It was natural for him to say it.'" Despite this cartoon being Thanksgiving themed, Jerry Beck and Will Friedwald's book, Looney Tunes and Merrie Melodies: A Complete Illustrated Guide to Warner Brothers Cartoons, lists the film release date as February 12th, 1944. The story credit for this film goes to "The Staff" and as far as I know this is the only Warner cartoon with that credit. I do not know the reason for this if any of you do, please let me know.

Next is Tom and Jerry in the Hollywood Bowl (1950). In the vein of The Cat Concerto (1947) before it, this film once again features Tom trying to put on a concert and Jerry wanting to be a part of it. Tom has a big concert at the Hollywood Bowl as the conductor. Jerry wants to conduct alongside Tom, but Tom does not take to kindly to this. Tom tries his best to get Jerry out of his way, but the mouse proves to be incredibly stubborn. 

Now for a delightfully bizarre early Terry Toons short, Golf Nuts (1930). This is actually the first Terry Toon not to have the name of a food or drink in its title. All the Terry Toons before this were named after some food or drink. 

Now it is time for a commercial break. 

Next is a black and white Walter Lantz cartoon, Pixie Land (1938). While this may not be as funny as the Walter Lantz shorts of the 1950's it is still quite enjoyable on its own terms. 

Before Pat Sullivan produced the silent Felix the Cat cartoons, he produced a series of animated short films starring Charlie Chaplin's little tramp character. Charlie's Turkish Dream (1919) is a good example of one of these films. 

Now for a Mickey Mouse Works TV cartoon, Roller Coaster Painters (1999). This cartoon would later be used in the House of Mouse episode, Not So Goofy (2001). 

Today's cartoon selection ends with a classic Thanksgiving TV special, Garfield's Thanksgiving (1989). 

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

Resources Used

Chuck Jones: Conversations Edited by Maureen Furniss

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

Hollywood Cartoons: American Animation in it's Golden Age by Michael Barrier

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

  

Some Cartoons for Saturday Morning #202

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

 Solid Serenade (1946) is one of the most iconic Tom and Jerry films. Tom playing the big bass fiddle, while singing Is You Is or Is You Ain't My Baby is an image that is etched in the minds of cartoon fans and always will be. A huge reason why this film is so endearing to me, and many other cartoon fans is the song, Is You Is or Is You Ain't My Baby. This jazz classic has now become immortalized because of this cartoon. However, it was not created for this film. The song dates back to just a few years before the cartoon. In 1943 jazz singer and bandleader Louis Jordan (with His Tympani Five) recorded this song (which Jordan himself co-wrote with Billy Austin) and had a #1 hit with it. It would soon afterwards be recorded by the likes of Bing Crosby, Glenn Miller and The Andrew Sisters. In this cartoon it was sung by Ira “Buck” Woods, an African Amercian singer and trumpeter who appeared in small parts in a few feature films, most prominently in Reunion in France (1942), which features Joan Crawford and John Wayne. His rendition of this song is simply fantastic and there is no wonder that this cartoon and this performance would bring immortality to this song.  The animation for this film was divided mostly by giving animators lengthy sequences. The opening scene is animated Ray Patterson as was the scene in which Spike chases Tom after putting the more vicious dentures in his mouth. Ken Muse animates the whole scene of Tom serenading Toodles with the exception of the tiny insert of Jerry getting the pie set to throw at Tom (which is animated by Ed Barge). Ed Barge animates Tom and Jerry's chase in the kitchen. Michael Lah (who had replaced Irv Spence who moved to John Sutherland Productions) animates the funniest scenes in the film, including the aforementioned scene in which Tom hits Spike on the head with a brick. He also animates Tom throwing the stick and telling Spike to fetch it, Tom sneaking in kisses from Toodles as he is avoiding Spike and Tom accidentally romancing Spike instead of Toodles. The ending of the film starting from when Tom thinks he has trapped Jerry in the doghouse is all animated by Pete Burness. Pete Burness and Ray Patterson would be uncredited for this cartoon. Clips from this film would later be reused in the Tom and Jerry cartoons, Jerry's Diary (1949), Smitten Kitten (1952) and Smarty Cat (1955). The gag of the jazz music making Jerry bounce out of bed and around his bedroom was somewhat reused in one of Hanna-Barbera's TV cartoons, The Flintstones episode, The Swimming Pool (1960) as the music at a pool party causing a neighbor to do pretty much the same thing. 

Next is a classic Terry Toons short, Golden Egg Goosie (1951). 

Now for Sylvester and Tweety in Tweet and Lovely (1959). This is one of my favorite Sylvester and Tweety films. Voice actor Mel Blanc would later write, "Sylvester has always been a favorite of mine. He's always been the easiest character for me to play. When I was show the first model sheet for Sylvester with his floppy jaws and generally disheveled appearance, I said to Friz Freleng, 'A big sloppy cat should have a big shthloppy voice. He should spray even more than Daffy.' While recording Sylvester cartoons my scripts would get so covered in sylvia I'd repeatedly have to wipe them clean. I used to suggest to actress June Foray, who voiced Tweety's vigilant owner Granny that she wear a raincoat to the sessions." 

Next is Krazy Kat in The Restless Sax (1931). Though in the earliest Krazy Kat cartoons for Columbia, the character greatly resembled the Krazy Kat in George Herriman's classic comic strip (which these cartoons were supposedly adaptations of), by this time the character had been turned into a Mickey Mouse clone. Despite this, the film is still very much worth watching due to some very creative and surreal gags that can be truly funny. The scene at the cafe is especially delightful. 

Now it is time for a commercial break. 

Now for a classic silent Out of the Inkwell short, Koko's Crib (1929). 

I have mentioned many times on this blog that I am a fan of the cartoons Jack Kinney directed for Disney. These were some of the studio's funniest, often providing an almost Tex Avery like sense of humor that I find irrespirable. Next comes one of those great cartoons, Motor Mania (1950). Despite this film being such a comedic tour de force, it also had a successful life as a safety film. This film received the National Safety Council Award. This cartoon was even used in 1953 in Oakland, California as a mandatory part in its Traffic Violator School. No need to look at this film as an educational experience, it is just as fast paced and funny as any of Jack Kinney's great cartoons for Disney.

Up next is the last of 17 theatrical cartoon shorts starring The Blue Racer, Little Boa Peep (1974). In this short film, our favorite blue snake tries to be a sheepdog. The only problem is he doesn't know what a sheep looks like. 

Now to close with a country music classic. 

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

I Tawt I Taw a Puddy Tat: Fifty Years of Sylvester and Tweety by Jerry Beck


https://cartoonresearch.com/index.php/tom-jerry-in-solid-serenade-1946/

https://tomandjerry.fandom.com/wiki/Solid_Serenade

Some Cartoons for Saturday Morning #194

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

Today's cartoon selection begins with Walky Talky Hawky (1946). This short film was created as a starring vehicle for the character Henry Hawk, who had previously appeared in the Chuck Jones directed cartoon The Squawkin' Hawk (1942). However, this film is best known for introducing the world to Foghorn Leghorn. This cartoon was directed by Robert McKimson, who would go on to direct all the Foghorn Leghorn shorts. Appropriately this cartoon was featured in Jerry Beck's book, The 100 Greatest Looney Tunes. 

Now for a classic Terry Toons short, The First Robin (1939). 

Now for a real classic Mickey Mouse cartoon, On Ice (1935). This cartoon stars not only Mickey but also Minnie, Donald, Pluto and Goofy. Despite being a short film, this movie gives ample time to each of the main characters and gives them all their own little story (though Mickey and Minnie share their story). Some of the characters' little stories even intertwine at the end. Even in this silly slapstick cartoon, the Disney studio's great storytelling ability at this time period is shown perfectly through this and it is easy to understand, why for so many the Disney cartoons stood out during this time period. Goofy especially gets time to shine here and gets some of the best gags. He is heavily animated by Art Babbit here, who was one of the finest animators for this character at this time. Despite his little screentime Art Babbit's animation makes Goofy feel like a fully formed character. Here Goofy sings the song, The World Owes Me a Living. That song was introduced in the Disney short, The Grasshopper and the Ants (1934). There the song was sung by a grasshopper. That grasshopper was also voiced by Pinto Colvig, who used pretty much the same voice he used for Goofy. This song would go on to become Goofy's unofficial theme song. 

Next, we join Oswald the Lucky Rabbit in The Ginger Bread Boy (1934). Though most people today are probably most familiar with Oswald from his early cartoons by Walt Disney, I have a special fondness for these shorts produced by Walter Lantz. This is probably because they were my introduction to the character. 

Now it is time for a commercial break. 

Next is a delightful silent Aesop's Film Fables cartoon, The Dog and the Thief (1922). 

p next is the Silly Symphony, Moth and the Flame (1938). This film began creation in the summer of 1935. However, it was shelved and not picked up again until spring of 1937. In 1935, Dave Hand (supervising director for the Disney features, Snow White and the Seven Dwarfs (1937) and Bambi (1942)) was set to direct. However, after Burt Gillett (who directed the most famous Silly Symphony, Three Little Pigs (1933)) returned to Disney from the Van Beuren Studio, Gillett was placed as director. However when Gillett left Disney again midway through production, Dick Huemer (who would work on such Disney feature films as Fantasia (1940), The Reluctant Dragon (fol1941), Dumbo (1941), Saludos Amigos (1943), Make Mine Music (1946) and Alice in Wonderland (1951), and had done great work at the Fleischer Studios during the silent era and worked on some of the Scrappy cartoons at Columbia in the early 1930's) would become the film's director. Russell Merritt and J.B. Kaufman's book on the Silly Symphonies credits Gustaf Tenggren with "Inspiration art." Tenggren played an important role in the Disney studio at this time and had designed backgrounds for the Disney features, Snow White and Pinocchio (1940). All the Disney films he worked on were pure visual delights and had a real sense of atmosphere that I find irresistible. Win Hoskins, who would work on both of the Fleischer Brothers' feature films, Gulliver's Travels (1939) and Mr. Bug Goes to Town (1941), animated the opening of the film. Archie Robin animated the moths eating the costumes. Izzy Klein, who would later write many of the Popeye and Casper the Friendly Ghost cartoons for Famous Studios, animated our heroes entering the shop. Milt Schaffer, who would go on to write some great cartoons for both Disney and Walter Lantz, animated the boy getting burned, the girl being caught in the web, the boy trying to trap the flame and the boy rescuing the girl. Ed Love, who would later animate for Tex Avery at MGM, animates the scenes with the girl and the flame as well as ending scene. Louie Schimdt animated the boy pouring water on the flame. Don Williams, who worked on many cartoons for Warner Brothers and DePatie-Freleng, animated the moths filling the bagpipes. This cartoon premiered at the Radio City Music Hall on September 22, 1938, with the Fred Astaire and Ginger Rogers movie, Carefree (1938). Its television debut was on October 22, 1956, on an episode of The Mickey Mouse Club. The following are some exhibitors' reviews from the Motion Picture Herald, "Moth and the Flame, The: Walt Disney cartoons - This was particularly good - Harland Rankin, Plaza Theatre, Tilbury, Ontario, Canada. General Patronage." Moth and the Flame, The: Walt Disney Cartoons - Still tops among cartoons or have you heard? - C. Fismer, Lyric Theatre, Hamiliton, Ohio. Family Patronage."  "Moth and the Flame, The: Walt Disney Cartoons - A real humdinger! Very clever. - L.A. Irwin, Palace Theatre, Penacook, N.H. General Patronage." 

Now we join Donkey Kong in Greenhouse Gorilla (1983).  This cartoon comes from a TV Show called Saturday Supercade. Each episode of this show was made up of multiple cartoons based on popular video game characters. Other video game characters featured in this show included Frogger, Donkey Kong Jr., Q*bert, Space Ace, Kangaroo and Pitfall Harry. In this cartoon, Donkey Kong is voiced by Soupy Sales, a comedian best known for his TV work in the 1950's and 60's. Mario is voiced by Peter Cullen, best known as the voice of Optimus Prime in Transformers. 

Today's cartoon selection ends with Itchy and Scratchy in Cat Splat Fever. This cartoon comes from The Simpsons episode, Radio Bart (1992).  

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. 

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

 Walt Disney's Mickey Mouse: The Ultimate History by J.B. Kaufman and David Gerstein

https://mediahistoryproject.org/

Some Cartoons for Saturday Morning #283

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

Today's cartoon selection begins with your favorite superhero Mighty Mouse in A Cold Romance (1949). Like many of the Mighty Mouse cartoons of this time period this short film parodies old movie serials. 

Next comes a classic UPA cartoon, Wonder Gloves (1951). This movie was directed by Robert "Bobe" Cannon, one of my favorite UPA directors. He had previously been an animator for both Chuck Jones and Bob Clampett's units at Warner Brothers and even Tex Avery at MGM. He even worked on the Disney feature film, Melody Time (1948). As a director he made some of the best UPA shorts including one of the studio's most famous films, Gerald McBoing-Boing (1950).

Now for an early Porky Pig short, Boom Boom (1936). This movie is very similar to an earlier Looney Tunes cartoon, Bosko the Doughboy (1931), which in turn is quite similar to Disney's Oswald cartoon, Great Guns (1927). The film is directed by Jack King, who after his stint at Warner Brothers would direct some of the best Donald Duck cartoons at Disney. Porky here is not yet voiced by Mel Blanc but instead by Joe Dougherty. Joe was the original voice for Porky and unlike Mel he really stuttered. Unfortunately, his stuttering caused real problems with the filmmakers because of how much time it took, and he would later be replaced in the part by Mel Blanc. However, Porky is not the main star of this movie. Our hero is instead Beans the cat. Beans first appeared in the same cartoon as Porky, Friz Freleng's I Haven't Got a Hat (1935). Jack King clearly preferred Beans over Porky and gave Beans the main role in most of his cartoons around this time period. Sometimes Porky just had a cameo and sometimes didn't appear at all. This is the first time Porky received a decent size role in a Jack King cartoon. Later when Porky's popularity clearly eclipsed that of Beans, Jack King would make cartoons starring Porky. Beans here is voiced by Tommy Bond, who many of you may know for playing Butch in the Our Gang films. 

Next is the Van Bueren cartoon, The Farmette (1932). 

Now it is time for a commercial break. 

Next is one of the all time great Disney cartoon shorts, Clock Cleaners (1937). The original plan for this movie was quite different from the finished film. In the original outline, Mickey, Donald and Goofy had their own clock repair business where they advertised that they could clean any clock for only one dollar. When Pete hears of this he makes them an offer, they accept only to find out that the clock Pete was talking about was at the top of a tower. This movie does away with all that exposition and instead starts with our heroes atop the tower cleaning the clock. In many ways this short is a thrill comedy of the type that was popular in the silent era (most famously with Harold Lloyd's feature length Safety Last (1923)). This influence is especially felt during the scenes in which Goofy walks dazed after being hit. That scene is heavily animated by Wolfgang Reitherman. Reitherman was one of Walt Disney's Nine Old Men and excelled at fast paced action scenes (something that can be seen to full advantage with the Monstro the Whale scenes in Pinocchio (1940), as well as the fight with the rat in Lady and the Tramp (1955)). He would later become a director of animated feature films including The Jungle Book (1967), The Aristocats (1970), Robin Hood (1973), and The Rescuers (1977). The following is an Exhibitor's review from the Motion Picture Herald, "CLOCK CLEANERS, THE: Mickey Mouse—Excel- lent. One of the best series of shorts on the market. If you advertise your shorts heavy and take pride in showing them, by all means book in this series." This movie received the number 27 spot in Jerry Beck's book, The 50 Greatest Cartoons. 

Next comes the Terry Toons short, Foxed by a Fox (1955). 

Now it is time for a classic silent film. So let us join Felix the Cat in Felix Out of Luck (1924). 

Let us all close by singing a song we all know. 

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

50 Greatest Cartoons Edited by Jerry Beck

Walt Disney's Mickey Mouse: The Ultimate History by J.B. Kaufman and David Gerstein

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

                                                          https://lantern.mediahist.org/

Some Cartoons for Saturday Morning #280

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

Today's cartoon selection begins with Magoo Breaks Par (1957). This cartoon was directed by Pete Burness, who directed quite a few Mr. Magoo cartoons at this time. My fellow Tom and Jerry fans might recognize his name from the credits of many early Tom and Jerry cartoons, where he worked as an animator. He also spent a brief time as an animator at Warner Brothers on the Looney Tunes and Merrie Melodies cartoons. 

Next, we join Heckle and Jeckle in Taming the Cat (1948). 

Mickey’s Fire Brigade (1935) teams up Mickey Mouse, Donald Duck and Goofy for the second time (and the first time in color). This time they were firemen. Walt had earlier used the idea of firefighters for slapstick comedy with the silent Alice Comedy Alice the Firefighter (1926) and the Mickey Mouse cartoon The Firefighters (1930). This cartoon opens on a fantastic note. The title of the film appears on screen like an average Disney cartoon of this time. However soon a fire burns the title letting the cartoon officially start. This imaginative opening sets us up perfectly for the great cartoon we are about to watch. Though Art Babbitt did not animate on this cartoon the personality he had already injected into Goofy can be seen here. This is especially true of a scene where Goofy tries to throw things out of the window (animated by Woolie Reitherman) and a scene where he tries to tell Clarabelle Cow her house is on fire (animated by Bill Tytla). In this film Clarabelle Cow spends most of the time taking a bath unaware of the fire around her. However, she is very upset by “peeping toms” Mickey, Donald and Goofy, who of course are just trying to tell her about the fire. Her animation is mostly handled by Grim Natwick and Bill Tytla. There is of course some great slapstick humor in this short. Though the studio was doing much less gags involving long stretching or detachable body parts they were still doing quite a few impossible gags that can only be done in a cartoon. Such an example here has to do with the treatment of the fire itself. It is given human characteristic and often appears to be having its own thoughts and feelings. One of the best uses of this is when the fire chases Donald up a ladder and is seemingly taunting him along the way. The following is an exhibitor's review from the Motion Picture Herald, "Mickey's Fire Brigade: Mickey Mouse: One of the best of the Mickey Mouse series. Running time, eight minutes. -M.H. Harrington, Avalon Theatre, Clatskanie, Ore. Small Town and Rural patronage." A review in the Flim Daily stated, "This is one of the liveliest and funniest of the Walt Disney cartoon creations."

Next comes the Fleischer Screen Song cartoon, Row, Row, Row (1930). This is very much a pre-code cartoon and there are a lot of sexual jokes here that would not fly at all a few years later. 

Now it is time for a commercial break. 

Now for some Saturday Morning Minions. 

Next up comes a classic black and white Looney Tunes short, Hollywood Capers (1935). This short film stars Beans the Cat. Beans and Porky Pig made their film debut in the same cartoon, I Haven't Got a Hat (1935). However those making these cartoons felt that Beans would be the big star of these cartoons and as such a few cartoons with Beans as the main character would be made. This short features a gag that Porky Pig would later do in You Oughta be in Pictures (1940). This is when Beans dresses up as Oliver Hardy to sneak into a movie studio. However, Beans is much more successful than Porky is.  Look in the background for a poster advertising a fight between “Punchy” Pierce and “Hurricane” Hardaway. This is referring to two of the writers of Warner Brothers cartoons at the time, Tedd Pierce and Bugs Hardaway. Also, Beans is voiced by Tommy Bond here (who played Butch in the Our Gang shorts). 

Now it is silent movie time so enjoy, Policy and Pie (1918) starring the The Katzenjammer Kids. This cartoon was directed by Gregory La Cava, who would later become a director of live action features including My Man Godfrey (1936) and Stage Door (1937).

Now let's close with a song we all know.

Thanks for joining me. Come back next week for another selection of animated treasures. Until then may all your tune be looney and your melodies merry. 

Resources Used

Walt Disney's Mickey Mouse: The Ultimate History by J.B. Kaufman and David Gerstein


https://cartoonresearch.com/index.php/mickeys-fire-brigade-1935/

https://mediahistoryproject.org/

Some Cartoons For Saturday Morning #275

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

Today’s cartoon selection begins with the Fleischer Superman cartoon, The Arctic Giant (1942). These short films are not only great cartoons but have inspired many much later superhero cartoons. The creators of the beloved Batman: The Animated Series and Superman: The Animated Series have stated this as one of their main inspirations for both shows. Paramount (the distributors of the Fleischer cartoons) brought the screen rights to the famous superhero in 1940, and gave it to the Fleischers to make a cartoon series out of. The studio was not quite sure about this venture after all animated cartoons had not yet done anything similar to a pure action film. They tried to dissuade Paramount by asking for four times the usual budget for one of the studio's cartoon shorts ($100,000) thinking Paramount would refuse. Shockingly they accepted and the series began production. 

Up next is a short film starring everyone’s favorite cartoon bears. No not Yogi and Boo Boo. Of course I mean the Terry Bears. So, enjoy Papa’s Day of Rest (1952).

Next comes the Aesop's Sound Fables cartoon, Radio Racket (1931). 

Now for Slyvester and Tweety in Tweet and Sour (1956). About the Sylvester and Tweety cartoons, director Friz Freleng stated, "Tweety doesn't do anything. He can't even put a hat on because his arms are too short. And he's got such a bug head. The comedy comes out of Sylvester and his determination, his stubbornness to get the bird no matter what happens to him. Still, everybody says, 'Oh I love that Tweety.' Audiences are funny. They never love the characters that really get the laughs." 

Now it is time for a commercial break. 

Now for Woody Woodpecker in Finger in the Pie (2022). 

Now it is silent film time. So, enjoy Mutt and Jeff in Roman Scandal (1926).

One thing that sets the Disney cartoons apart from what other cartoon studios were doing in the 1930's is the sheer number of major characters that appear in one film. For instance, in Hawaiian Holiday (1937), Mickey Mouse, Donald Duck, Goofy, Pluto and Minnie all appear. This cartoon is the first Mickey film to be distributed by RKO after Disney left United Artists. The Disney studio certainly started their RKO run on the right foot with this short. This is a delightful cartoon in every way. This film also shows the mastery Disney had over character animation by this time. This is probably best shown through Pluto's run om with a crab. Though Shamus Culhane was not new to animation at this time (having worked for Fleischer and Ub Iwerks before), with this film he made a name for himself at the Disney studio. He wouldn't stay long at Disney as he would animate for Fleischer, Warner Brothers and most importantly Walter Lantz. At Lantz he would direct some of that studio's funniest films. The following are some exhibitor reviews from The Motion Picture Herald, "HAWAIIAN HOLIDAY: Mickey Mouse—These Disney cartoons so far out-shadow the other producers in drawing power and workmanship that there is no comparison. This one is great. Running Time, Seven Minutes. - A.J. Inks, Crystal Theatre, Ligonier, Ind. Small town and rural patronage."  "HAWAIIAN HOLIDAY: Mickey Mouse—This was the first RKO Disney we have played. The kids and adults eat them up and ask for more. Running time, 10 minutes.—R. W. Crickmore, Rainbow Theatre, New- port, Wash. General Patronage." "HAWAIIAN HOLIDAY: Mickey Mouse—I am decidedly a Disney fan. Walt has always given us something to sell that we were sure would click. This was up to the standard of all Disney subjects. Our audiences watch for his subjects like they do weather reports. They are the top money getter of all cartoons, no doubt. Weekend with 'Everybody Sing.' Running time 9 1/2 minutes. - R.D. Leatherman, Rialto Theatre, Denison, Texas, Railroad town patronage."  "HAWAIIAN HOLIDAY: Walt Disney Cartoons- Just a fair Mickey Mouse cartoon. Running time, 7 minutes.—Richard C. Welch, Comique Theatre, Camden, Me. General Patronage." 

Now let us close by singing a song we all know. 

Thanks for joining me. Come back next week for another selection of 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

I Tawt I Taw a Puddy Tat: Fifty Years of Sylvester and Tweety by Jerry Beck.

Walt Disney’s Mickey Mouse: The Ultimate History by David Gerstein and J.B. Kaufman

https://mediahistoryproject.org/