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 #296

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

Today's cartoon selection begins with a classic Frank Tashlin Porky Pig cartoon, Porky's Railroad (1937). This is one of the many cartoons of this time that used the formula of Porky being placed in a different job. In fact, earlier the same year Tashlin had directed a very similar Porky Pig cartoon, called Porky's Building (1937). That film like this one featured Porky up against a rival for his job. This cartoon opens up using of Tashlin's favorite types of gags that of words appearing on the screen to introduce the action. Often times he would do this in the form of a "disclaimer", but here he simply introduces the two trains. Also notice the ship that Porky picks up is the SS Leon named after the cartoon's producer Leon Schlesinger.

Now for a lesser-known cartoon from the Fleischer Studio, Zero the Hound (1941). This is part of the studio's Animated Antics series. This series lasted from 1940 to 1941 and included 11 cartoons. Some of these cartoons starred miscellaneous characters while others featured characters from the studio's feature film, Gulliver's Travels (1939).  

Next, we go out west with our friend Gandy Goose with Wide Open Spaces (1950). This was nearing the end of the Gandy series. He would only have three more theatrical cartoons after this.

Now for a true Mickey Mouse classic, Thru the Mirror (1936). Well before the Disney Studios feature length adaption of Alice in Wonderland (1951), this short film adapts Lewis Carrol's Alice Through the Looking Glass. It is a very loose adaption, but it captures the spirit better than most feature length versions of Carrol's Alice books do. I have always loved Disney cartoons that or not afraid to be silly. This is one of the perfect examples of that. One of the highlights is a sequence with Mickey do a Fred Astaire type dance which was animated by Dick Lundy, who specialized in dancing animation. Dick Lundy would later direct some great cartoons for Walter Lantz and MGM. Elements of this short would play a major role in the video game Epic Mickey.

Now it is time for a commercial break. 

Next is Oswald the Lucky Rabbit in The Toy Shoppe (1934). Like many Oswald films of this era, the rabbit becomes a supporting character in his own cartoon. 

Next is the Terry Toons cartoon, Sage Struck (1951). This is the first of only two cartoons to star the forgotten character Half Pint. 

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 movie 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 Pinocchio (1940), Fantasia (1940) and Dumbo (1941), heads a whole crew of animators including Chuck Couch, Marvin Woodward, Hardie Gramatky, Harry Reeves and Dick Williams. 

Let us 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

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

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

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

Some Cartoons for Saturday Morning #295

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

Today's cartoon selection begins with Gandy Goose and Sourpuss in Lights Out (1942). During World War 2, multiple cartoons were made featuring these two characters in the army, with Sourpuss as a sergeant and Gandy as a private. 

Next we join Daffy Duck in Scrap Happy Daffy (1943). This movie 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 hold up 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 for the Screen Songs cartoon, Comin' Round the Mountain (1949). The title song is one I am sure you are all familiar with (so you have no excuse not to sing along). Most of you probably know it as a children's song. However, it was originally a 19th century African American spiritual. The song is believed to have been originally intended to be about the second coming of Christ. 

Next comes the only theatrical cartoon short to star the comic strip character Skippy, The Dog Catcher (1938).

Now it is time for a commercial break. 

Next comes a great early Mickey Mouse cartoon, Barnyard Battle (1929). This cartoon takes place back when Mickey was a simple country mouse. One thing I love about the early Mickey cartoons is these barnyard settings. They provide the films with a good sense of atmosphere and are full of gags that come from the setting. Like the Our Gang kids these cartoon characters make all sorts of inventions out of simple barnyard objects. This gives the films a charm and creativity that the later Mickey's never fully captured. This was also before Walt came up with the idea to do away with some of the more cartoony gags where characters bodies could do impossible things. While I love many of the Disney studio's shorts of the 1940's and 50's I wish these gags didn't fade away because they are a lot of fun. This cartoon features Mickey going to war with a bunch of cats (that all look like Pete) and in many ways feels like a follow-up to such previous Disney war cartoons as Oswald's Great Guns (1927) and the Alice Comedy, Alice's Little Parade (1926). In fact, many of these gags would have felt right at home in those pre-Mickey cartoons. This movie would be banned in Germany due to the cat's helmets resembling German army helmets. 

Now we join the mightiest of superheroes, Mighty Mouse in Mother Goose's Birthday Party (1950).

Next is Porky Pig in Rover's Rival (1937). This was the first Looney Tune to use The Merry Go-Round Broke Down as the theme song. It would remain the Looney Tunes theme song long afterwards. This was also the first cartoon to end with Porky popping out of the drum and saying, "That's All Folks." The film was directed by Bob Clampett, whose black and white Porky cartoons helped solidify him as the character we all know today. Clampett wasn't the only legendary animation director who worked on this short film. One of the animators was Chuck Jones, who really gets to show off his skill here. He gets to deliver some excellent character animation including such scenes as Rover leaving the kennel towards the start, the little pup fetching the dynamite and then bring it back after Porky throws it away and Rover's shock after reading what dynamite is. Bobe Cannon, who would direct some fantastic films for UPA animates the little pup blowing Rover to the ground.

Now comes the Color Rhapsody cartoon, The Little Moth's Big Flame (1938). 

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

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

The 100 Greatest Looney Tunes edited by Jerry Beck

https://likelylooneymostlymerrie.blogspot.com/2012/08/180-rovers-rival-1937.html

https://mediahistoryproject.org/

https://galaxymusicnotes.com/pages/how-shell-be-coming-round-the-mountain-evolved

Movie Review: Coyote Vs. Acme

 

Michael's Movie Grade: A-

A fantastic Looney Tunes movie. 

As many of you know, we almost never got to see this movie. Warner Brothers didn't release it originally instead using it as a tax write off. Luckily for us, Ketchup Entertainment picked it up and gave it the theatrical release we were all hoping for. When this movie started to get such great reviews, I was initially skeptical. I was wondering if it was actually as great as us Looney Tunes fans wanted it to be or if people were just so happy to actually see it that they exaggerated how good it was. I am happy to report that this is a wonderful movie. 

 I have rarely heard an audience laugh so much in a movie theater at a modern comedy than I did here. And I went to a late-night showing, so this was not an audience of kids but of adults who grew up with and love these characters. Simply put this is just a darn funny movie. In the style of classic Looney Tunes cartoons, this film offers one gag after another. What is even more amazing is that nearly every gag hits here perfectly. There are times when the space between very funny gags is only enough to take a breath between laughing. Also like the classic Looney Tunes shorts, every type of humor is employed. There is simple silly slapstick, brilliantly clever satire and everything in-between. What most impressed me is the slapstick gags. It is rare to find a modern comedy that captures the perfect sense of timing that was so evident in the classic Looney Tunes shorts. Yet the timing of these slapstick gags is absolutely perfect.  

What is more surprising though is that the storyline is also great as well. We actually truly care about and relate to the characters' plights. This is not only true of the classic cartoon characters but the live action humans as well. Will Forte as the live action lead is fantastic and brings some real heart to what is still a silly movie. There are scenes where we want to stand up and cheer for what happened. 

If I had to fault this movie it would be on the basis of the combination of live action and animation. Sometimes these two don't always blend together extremely well. There are times when the animated characters and the live action characters, don't seem to fully occupy the same space the way they did in Space Jam or Back in Action. However, this flaw is completely overcome but how great everything else is. 

If you are a Looney Tunes fan (like me) this is a must watch. 

Some Cartoons for Saturday Morning #294

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

Today's cartoon selection begins with Midnight Frolics (1938). This Columbia Color Rhapsody cartoon was directed by none other than Ub Iwerks, co-creator of Mickey Mouse and at one time Walt Disney's right-hand man.  

Now for more singing and dancing ghosts here is the Terry Toons cartoons, Seeing Ghosts (1948). 

Though Chuck Jones would be one of the main contributors into Daffy Duck changing from his early wild, unhinged and well Daffy personality into the later self-absorbed and greedy duck, Chuck's earliest cartoons with Daffy featured the duck as completely crazy. In my opinion one of the best of these films is To Duck or Not To Duck (1943). This is a wild and crazy and very funny cartoon that is instantly quotable. This short has fallen in the public domain and therefore those who collect VHS and DVDs of classic cartoons will instantly recognize it. A review in The Film Daily stated, "Leon Schlesinger has turned out another ace Technicolor cartoon featuring the characters of Daffy Duck and the Goofy hunter."

When Ub Iwerks had his own cartoon studio, it unfortunately had the same problem that many forgotten studios did. Ub's studio struggled to find a character that would fully win over movie audiences, the way the Warner Brothers and Disney characters did. One of the forgotten characters from the studio was Willie Whopper, a young boy who told great tall tales and tried to pass them off as stories from his life. Here is one of the Willie Whopper cartoons, Rasslin' Around (1934). While his cartoons have a certain charm to them, it is easy to see why the character never took off like Mickey Mouse or Bugs Bunny. 

Now it is time for a commercial break.

Now we join Dingbat in The Hard-Boiled Egg (1948). This is the first of five theatrical cartoons starring this crazy yellow bird. 

Today's cartoon selection concludes with one of Walt Disney's great Oswald the Lucky Rabbit cartoons, The Ocean Hop (1927). Like the early Mickey Mouse cartoon, Plane Crazy (1928), in this film Oswald takes to the skies in his self-made plane. Here though Oswald is in a race against a variety of competitors including an early version of the later Mickey Mouse nemesis Peg Leg Pete. When it comes to the early Disney cartoons, the animator most cartoon buffs think of is Ub Iwerks. However, Iwerks animates surprisingly little footage in this movie.  Still, what he does animate shows his skill to its finest level. For instance, there is an incredible scene (animated by Iwerks) in which Oswald's "plane" is spinning wildly out of control and rotating around the sky. Rollin "Ham" Hamilton's animation looks crude in comparison with other Disney animators, but there is some great acting in his scenes that come across perfectly. This is something that is well seen when Oswald tells a couple of mice to blow up a balloon. Hugh Harman animates the majority of action in this cartoon including a great scene in which Pete uses a stick of gum to prevent Oswald from winning. There is unfortunately a missing scene from this film. That scene involves the dog falling into a taxi's engine and coming out as a series of sausages. While that joke sounds mean spirited today, it was a common joke during this time period and Walt Disney himself had previously used a similar gag in the Alice Comedy, Alice’s Mysterious Mystery (1926). These Oswald cartoons were later released in the 1930's with new soundtracks and unfortunately scenes shuffled around and left out.

Next is the Mickey Mouse cartoon, Orphan’s Picnic (1936). The original story outline for this film had the orphan mice playing various practical jokes on Mickey. However in the finished film, these jokes are aimed at Donald instead. 

Now let us close with a song. 

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

Resources Used

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

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

https://lantern.mediahist.org/

https://cartoonresearch.com/index.php/disneys-oswald-rabbit-the-ocean-hop-1927/

  

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