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.
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
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
Hello my friends and happy Saturday morning. Once again it is time for some classic cartoons.
Today's cartoon selection begins with Mighty Mouse in The Sky is Falling (1947). Directed by Mannie Davis, this cartoon is a take-off on the classic story of Chicken Little.
Up next comes the Walter Lantz produced cartoon, Mouse Trapped (1959). This short film stars the two mice Hickory and Dickory as well as the cat Doc. Originally planned as a trio, Doc would have a longer career than his rodent co-stars. The trio would appear in only three theatrical cartoons (of which this is the second). However, Doc would go on to star in six cartoons without Hickory and Dickory. Three of those six cartoons would team him with a dog named Champ.
Now we join our good friend Scrappy in Scrappy's Television (1934). It is fascinating to see this depiction of television, well before TV would becoming the household staple it would later become.
Next comes Donald Duck in Donald's Gold Mine (1942). This short film made its theatrical debut on July 24, 1942. It would make its TV debut on an episode of The Mickey Mouse Club that aired on October 15, 1956.
Now it is time for a commercial break.
Next we join Sylvester and Tweety in The Jet Cage (1962). Though this film gives Milt Franklin credit for the music, much of the music was done by William Lava. This is because Milt Franklin died of a heart attack before finishing the musical score and had to be replaced by William Lava. 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 for The New 3 Stooges cartoon, Three Jacks and a Beanstalk (1965). The Stooges voice themselves in this TV cartoon.
Now for one of the rare instances of very dark satire in one of Walt Disney's Silly Symphonies, Who Killed Cock Robbin? (1935). This film shows cartoon birds at the mercy of an unjust legal system. Satire, dark humor, celebrity caricatures and slapstick abound. The most significant of the celebrity caricatures is Jenny Wren, a caricature of Mae West. Most of her animation here is handled fantastically by Ham Luske and her voice comes from Martha Wentworth who does a really good impression. This character would later appear in the Silly Symphony Toby Tortoise Returns (1936). Two of Walt's future Nine Old Men animate on this film, Eric Larson and Clyde Geronimi. Eric animates the scene where Cock Robbin falls and the cops rushing in. Clyde animates the scenes involving the blackbirds and the cops, Legs Sparrow with the cops and then going into the witness box, and the cops' raiding the area. For the year of 1935 the National Board of Review named this as one of the Ten Best American Films (not just cartoons but films as a whole). According to JB Kaufman and Russell Merrit's excellent book, Walt Disney's Silly Symphonies: A Companion to the Classic Cartoon Series, the idea for making this film had been around the Disney studio as early as October 1933 but work truly began in March 1934. Wilfred Jackson was originally going to be the cartoon's director, but he was replaced with Ben Sharpsteen, who was replaced with Dave Hand, who actually directed the cartoon. Dave Hand would later be the supervising director for the Disney feature films, Snow White and the Seven Dwarfs (1937) and Bambi (1942). My fellow Alfred Hitchcock fans will recognize that a clip from this cartoon was later used in Hitch's classic movie, Sabotage (1936). The following is a review from The Film Daily, "Ye olde master, Walt Disney, has produced another cartoon which makes a swell approach to the entertainment values he provided in 'Three Little Pigs.' It's class A stuff, effectively done in color. A mysterious shadowy figure 'kills' the fabled Cock Robbin, who, by the by, is the sweetie of a May Western type of bird. Then come the Keystonian cops, also birds, and later the trial. Finally, a birdy version of Dan Cupid admits to having shot Robin, but May brings him to with a Big Kiss. Catchy music helps enliven the proceedings." The following is from a 1935 issue of Modern Screen Magazine and was a letter sent in by a reader. "A short time ago I took my five-year-old son with me to a local theatre. When a colored cartoon was shown, he was immensely pleased, as were several other children near us. The cartoon was 'Who Killed Cock Robin?' I may be wrong but I'm under the impression that those pictures are primarily to amuse children. If that is true than it failed. I heard several half-grown boys snickering as 'Jenny Wren' a parody of Mae West, with a high bust, wiggling hips and a sexy voice, flirted with the judge and later indulged in a kiss with Cock Robin. The smaller children merely looked puzzled and disappointed with the whole thing. Please have more cartoons like 'The Three Little Pigs,' 'Water Babies,' etc., unless of course, I'm wrong and those comedies are for grown-ups and not for little children. - Mrs. E. DeLamater, Charleston, S.C."
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
I Tawt I Taw a Puddy Tat: Fifty Years of Sylvester and Tweety by Jerry Beck
Donald Duck: The Ultimate History by J.B. Kaufman and David Gerstein
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 cartoon, The Golden Hen (1946). This short film stars Gandy Goose and Sourpuss. The goose and cat duo were teamed in a series of cartoons and like many of cartoon characters of the era, their voices were inspired by famous personalities of the time. Gandy Goose was based off the radio comedian Ed Wynn and Sourpuss is based off of Jimmy Durante. The two provide a great contrast with each other making their shorts still a lot of fun today. The film was directed by Mannie Davis. Mannie Davis was not only a prolific Terry Toons director, but he was also the big brother of Looney Tunes director Art Davis.
Next comes the Merrie Melodies cartoon, I Like Mountain Music (1933). This short film is the first in a series of Warner Brothers cartoons where objects come to life in a store at night. Like many Merrie Melodies of the time, this cartoon was based off a song that Warner Brothers owned. The title song was written by James Cavanaugh and Frank Weldon. These two also collaborated on such songs as Christmas in Killarney and Thirty-Two Feet and Eight Little Tails. James Cavanaugh was also a writer on the song You're Nobody 'Til Somebody Loves You, which was a hit for both Nat King Cole and Dean Martin.
Now for the Famous Studios cartoon, The Bored Cuckoo (1948). This short film was directed by Bill Tytla, a former Disney animator who had done some fantastic work on the Disney features Snow White and the Seven Dwarfs (1937), Fantasia (1940) and Dumbo (1941).
Up next is one of the best post golden age Looney Tunes cartoons, Box Office Bunny (1991). This short film played before the feature film The NeverEnding Story II: The Next Chapter (1991) in movie theaters.
Now it is time for a commercial break.
Now for the Fleischer Screen Songs cartoon, Little Annie Rooney (1931). Be sure to sing along with the bouncing ball.
Next, we join Little Lulu in Beau Ties (1945). This delightfully cynical cartoon is one of my favorite Little Lulu shorts.
Now for a charming Disney Silly Symphony cartoon, Lullaby Land (1933). Like most Disney films of this era, Lullaby Land benefits from a very strong cast of animators. Ham Luske animates the baby at home in his cradle and the baby and the dog with the Sandman. Art Babbitt animated the baby and his dog in the Land of Nowhere. Dick Humuer animates the baby with the matches and the Bogey Men. As was often the case at this time Ben Sharpsteen lead a crew of junior animators, some of whom would go on to do great things. These junior animators included Leonard Sebring (medium close up of the parade), Roy Williams (bottles of castor oil; potty chair; curling irons), Louie Schmitt (baby and do playing leapfrog; baby breaking the watch), Ed Love (the knife and pruning shears; the scissors family; the fountain pens), Marvin Woodward (the baby and do watching a fight; the dog with a pincushion) and Bob Kuwahara (the flowers going to sleep). The story outline was done in March 1933. The layout work (by Charles Philippi, Hugh Hennesy and Ferinand Horvath) was done from April 10 to May 11, 1933. The animation was done from May 2 to June 27, 1933. The film was copyrighted on July 29, 1933. The negative cost of this film was $13,071.52. To show how these shorts film became increasingly more expensive to make, The Skeleton Dance (1929), Disney's first Silly Symphony's negative cost was $5,485.40. At the New York Radio City Music Hall Lullaby Land ran from August 31 to September 6, 1933, with the feature film One Man's Journey (1933) starring Lionel Barrymore. An issue of The Film Daily (dated October 6, 1933) stated, "United Artists worked out an effective tie-up with Gimbel Brothers and the Radio City Music Hall during the showing of Walt Disney's Silly Symphony, 'Lullaby Land' at the Music Hall. Gimbel's devoted a window display to a series of original drawings from 'Lullaby Land,' together with a blow-up in color of one of the scenes from the picture. This blow-up was used as a background for nursery merchandise. The department store also used a newspaper advertisement that was virtually an advertisement for 'Lullaby Land' and the Music Hall. 'Roxy' used several of the originals from 'Lullaby Land' in the Music Hall lobby, and a card calling attention to the display at Gimbel's. This marks the first time the Roxy has ever given a store credit in the lobby of the Music Hall." The film made its TV debut on an episode of the Mickey Mouse Club that aired on February 26, 1956. I never saw this cartoon as a kid, but I think it is quite possible it would have given kid me bad dreams. Hopefully you all sleep well tonight.
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 Silly Symphonies: A Companion to the Classic Cartoon Series by Russell Merritt and J.B. Kaufman
Hello, my friends and happy Saturday morning. Once again, it is time for some classic cartoons.
Today's cartoon selection begins with a classic Popeye short, Customers Wanted (1939). This film is a bit of a cheater using clips from previous cartoons. These clips are from Let's Get Movin' (1936) and The Twisker Pitcher (1937). This would cartoon be remade as another Popeye cartoon, Penny Antics (1955). Though this is a cheater cartoon, it is easily one of the better cheaters, because the new footage is just as good (if not better) than the clips.
Next comes the Aesop's Fables cartoon, Feathered Follies (1932).
From 1976 to 1982 Warner Brothers made a series of 16 TV specials featuring the Looney Tunes characters. Some of these specials were brand new half hour stories, others featured clips for or whole classic cartoon shorts and still others featured a set of brand-new cartoons. Daffy Duck's Easter Special (1980) featured three brand new cartoons with bridging sequences inspired by Duck Amuck (1953). Here is one of the new cartoons from that special, The Chocolate Chase (1980). This short is very much in the mold of the mid to late 1960's cartoons which pitted Daffy Duck against Speedy Gonzales.
Now for The New Three Stooges short, Mummies Boys (1965). The real Stooges not only star in the live action opening and closing scenes but the voice themselves in the cartoons. This is of course what makes these made for TV cartoons essential for all Stooge lovers.
Now it is time for a commercial break.
Since Easter is tomorrow, what would be better to watch than a classic Easter cartoon. Up next is a classic Silly Symphony called Funny Little Bunnies (1934). This cartoon does not feature much of an actual story beyond the idea of bunnies getting ready for Easter. However, people at the time did not seem to mind this at all. The following is a review from The Film Daily, "This is a likely entry for the best short of 1934. While it may appear that its vogue would be more or less limited to the Easter season because it's purely imaginative substance deals with the manufacture and decoration of Easter eggs and bunnies by a colorful rabbit crew, the splendor and variety of coloring and the highly diverting action lift it far above any seasonal appeal. Musical accompaniment is pleasing." The following is a review from The Motion Picture Herald, "Unusually clever, highly entertaining, especially for the youngsters but potentially equally enjoyable for adults, this number of the Walt Disney Silly Symphonies pictures in the inimitable Disney cartoon fashion the manner in which the bunnies, in their woodland workshop, carve out Easter statues of themselves, paint the Easter eggs, with various colors obtained from the end of the rainbow. In this spring season despite the fact that Easter has passed, the subject is highly appropriate and cannot fail to meet with the favor of the entire audience, anytime, anywhere." The cartoon also won the gold medal for "Best Animated Film" at the Venice film festival in 1934. Still as is always the case not everyone was impressed. An exhibitor's review from The Motion Picture Herald was not very positive stating about Walt Disney, "He'll never make another 'Three Little Pigs.' In 1935 this movie was part of a four-week run of Disney cartoons. Here is The Film Daily talking about that, "Starting April 4, Walt Disney productions, released through United Artists, are being featured on the Trans-Lux Theater program for four consecutive weeks. Opening with 'The Tortoise and the Hare,' the next three programs feature the following Disney productions: 'Mickey's Man Friday,' 'Funny Little Bunnies,' and 'The Band Concert,' Disney's first Mickey Mouse subject in Technicolor." Like all of the Disney cartoons of this era, this film has an all-star cast of animators. Cy Young animates the opening scenes as well as the bunnies harvesting the colors from the rainbow. Ben Sharpsteen leads a crew of Jr. animators including Archie Robin, Joe D'Igalo, Ed Smith and Woolie Reitherman. Woolie Reitherman would later become one of Walt's fame Nine Old Men and would direct the Disney features The Sword in the Stone (1963), The Jungle Book (1967), The Airstocats (1970) and more. This is the first known Silly Symphony Woolie worked on. Ben Sharpsteen's group of Jr animators would animate bunnies in the supply room, the eggs rolling down the shoot and the bunnies filling the baskets. Ugo D'Orsi animated the bunnies at the pot of chocolate. Louie Schimdt animates the bunnies filling the molds. Leonard Sebring animates the solider bunnies. Future Donald Duck, Barney Bear and Woody Woodpecker director, Dick Lundy animates the sculptor bunnies. Dick Huemer animates the hens, the painters, the grandpa rabbit and the cross-eyed bunnies. Art Babbit animates the blind bunnies and the first long shot of the bunnies filling the baskets. Ham Luske animates the film's finale. One thing I love about the color Symphonies is that they never take color for granted but instead always make sure it is used to full effect. That is definitely true of this cartoon. This movie was reissued to theaters on April 21, 1950. It made its TV debut on an episode of Mickey Mouse Club that aired on April 19, 1957.
Next is the silent Out of the Inkwell film, Balloons (1923). This film is full of all the creative, imaginative charm that makes this series so special. The film's producer Max Fleischer appears in live action in this and many other Out of the Inkwell shorts.
Now for the Terry Toons cartoon, The Billy Goat's Whiskers (1937).
Tonight's cartoon selection ends with a full episode of The Super Mario Brothers Super Show.
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 American Animated Cartoons by Leonard Maltin
Looney Tunes and Merrie Melodies: A Complete Illustrated Guide to Warner Brothers Cartoons by Jerry Beck and Will Friedwald
Hello my friends and happy Saturday morning. Once again it is time for some classic cartoons.
Today's cartoon selection begins with Sylvester in A Kiddie's Kitty (1955). It is worth noting that after Tweety and Sylvester first teamed up in Tweetie Pie (1947), Tweety would not again appear apart from Sylvester (apart from small cameos), yet Sylvester would make many cartoons without Tweety. This is one of Sylvester's solo cartoons where he is not trying to catch the little yellow bird. Also, unlike most classic cartoon characters Sylvester was a fully formed character from his first appearance on movie screens and has not really changed since. Looney Tunes director and animator, Robert McKimson later said of Sylvester, "He had a juicy voice, you know. He's the closest, I would say, that Mel [voice artist Mel Blanc] would come to have an original voice and then fitting the character to it. Of course, Daffy Duck's voice is the same as Sylvester's only sped. So, I guess when Mel recorded Daffy it sounded like Sylvester." Looney Tunes director Friz Freleng [who directed this movie] talked about how he and layout artist Hawley Pratt designed this character, "I designed Sylvester to look subtly like a clown. I gave him a big red nose and a very low crotch, which was supposed to look like he was wearing baggy pants." Despite the little girl, Suzanne only appearing in this one cartoon, she would go on to appear as a back-up feature in many Looney Tunes themed comic books from Dell Comics. (Thanks to Top Cat James for bringing this to my attention in the comments for a previous post).
Next is Mighty Mouse in The Silver Streak (1945).
Now for the early color Merrie Melodies cartoon, The Cat Came Back (1936). While it may be far from what would later become the Warner Brothers cartoon style, this Friz Freleng directed short is very charming and fun. The film would be reissued to theaters twice. The first time was July 15, 1944, and the second time was June 5, 1954.
Up next comes the Terry Toons short, Why Mules Leave Home (1934). This cartoon is based off the Brothers Grimm story Town Musicians of Bremen. This was not the only cartoon based off that story. Walt Disney directed a silent version, The Four Musicians of Bremen (1922), Ub Iwerks directed the Comi-Color cartoon The Bremen Town Musicians (1935) and there would be a Soviet animated short film entitled The Bremen Town Musicians (1969).
Now it is time for a commercial break.
Next is the last black and white Silly Symphony, Bugs in Love (1932). This is a rather typical Silly Symphony of its time, following the well-established formula of animated characters having a grand time to music until the villain of the piece appears and tries to wreck their fun. As you can guess by the title this film's story involves various bugs. Bugs were a common site in the early Silly Symphonies and the newspaper comic strip. In fact, the newspaper comic strip featured a complete remake of this cartoon. Animation of this film was done from March 30 - May 3, 1932. The Silly Symphonies were a series that at this time was constantly improving and audiences and exhibitors quickly took note of this improvement. For evidence here is an exhibitor's review from 1934 (two years after the film's original release), "BUGS IN LOVE: Silly Symphonies—An old Silly Symphony. Not as good as the new ones. Running time, one reel. —A. B. Jefferis, New Piedmont Theatre, Piedmont, Mo. Small Town Patronage." Of course, the Silly Symphonies were quite appropriately one of the most popular cartoon series of the time. The following is an exhibitor's review from The Motion Picture Herald, "BUGS IN LOVE: Another great Silly Symphony. Give it extra billing. —Charles Niles, Niles Theatre, Anamosa, Iowa." Not everybody was so impressed with the series though as shown through the following exhibitors review from The Motion Picture Herald, "BUGS IN LOVE: Silly Symphony—This is just an- other Walt Disney cartoon comedy. Nothing good about it; just ordinary and is only fair entertainment. We have only played one good comedy of this series and every time we hope the next one will be better. Disappointed in these. Running time, nine minutes. - J. J. Medford, Orpheum Theatre, Oxford, N.C., General Patronage." The film had its New York opening from December 11-16, 1932, at the Roxy playing alongside the feature length movie Me and My Gal (1932). This cartoon made its TV debut on an episode of the Mickey Mouse Club that aired on January 26, 1956.
Now for The New Three Stooges cartoon, Call of the Wile (1965). In this cartoon, a mountain lion pretends to be a stuffed head hanging on the Stooges' wall. The same thing happened in Elmer Fudd's house in the Warner Brothers cartoon, What's My Lion (1961).
After Saludos Amigos (1942) and The Three Caballeros (1944), the Disney studio planned to make a third South American themed feature film with Donald Duck. Known at the studio as the Carnival feature. That film really began production during the spring and summer of 1945. Like the previous movies, this would have been an anthology film that would have been separated into four different segments, that would essentially resemble Disney's cartoon shorts. When World War 2 came to an end, there would be no longer be a reason for such a film and the project was quietly abandoned. However, one portion of this film would reach the screen. This was Blame it on the Samba, which would become part of Melody Time (1948). As previously mentioned, this short would feature a live action, Ethel Smith. During the 1940's the U.S. government pushed its Good Neighbor policy by having many entertainers on both sides of the border serve as Goodwill Ambassadors and one of these was U.S. born Ethel Smith. Born in Pittsburgh (on November 22, 1902), at a young age Smith discovered Latin music and became a huge fan. In the mid-1930's she discovered the electric organ, a relatively new instrument and used it to play the Latin music she loved. By the late 1930's she was performing in Latin America. With this in mind, she became a perfect good will ambassador. In 1940 she gained an engagement at the Cassino Copacabana in Rio de Janeiro. She was so popular that she would be repeatedly held over, and she was there when the Disney studio visited Rio de Janeiro in August 1941 for the making of Saludos Amigos. While there is no definitive proof that anyone working at Disney came into contact with Ethel Smith, the Disney artists did often have meetings at the Copacabana and in December 1941 Smith sent a custom designed Christmas card to Walt and his wife Lillian. In the summer of 1944, she was in Hollywood working for MGM and performed Tico-Tico (which was a very popular song for her) for the Ester Williams movie, Bathing Beauty (1944). In late 1944, Disney artist Norm Ferguson was trying to bring together musicians for the Carnival feature, and he felt that with Ethel Smith now in Hollywood, she would be a perfect choice. The studio contacted her in early 1945. Mary Blair began working on various costume sketches for her with different costumes representing different countries. This was because it was considered to have appear in each segment and have her music connect the various segments. In February 1945 a Hammond organ was installed on the sound-effects recording stage. She recorded the Mexican song, La Parranda and the Cuban number Cachita paran pan pin. Norm Ferguson had hoped to use the Brazilian song Cavaquinho, yet the copyright status seemed a mystery. Ethel recorded various other songs as possible substitutes for Cavaquinho, but the studio was able to get the rights in May 1945. Disney lyricist Ray Gilbert would be assigned to write new English lyrics for this tune, and the result was Blame it on the Samba. Though this segment would eventually be put on a shelf when the Carnival feature was shelved as a whole, it would later see the light of day again. Ethel Smith was becoming an even bigger star due to supporting performances in live action movies and the option of Disney studio to use her services lasted up until spring 1947. In late 1946 production on the Blame it on the Samba sequence was revived. There was a proposed version of the sequence that at least made it to the storyboard stage, that would have featured both Ethel Smith and Carmen Miranda. In that version, Donald Duck and Joe Carioca went to a theater where both artists were performing. The two crash backstage where Smith is performing and end up in Miranda's dressing room. Later both artists go on stage to perform Blame it on the Samba. Donald and Joe Carioca are still backstage, where Donald is still lovestruck by a kiss from Carmen Miranda. Joe tells Donald romantic tales of Rio and Donald's mind transports the duck to a surreal fantasy world. This lovely dream would morph into a nightmare involving matchboxes and a performance of the Bonfire Ballet. This in turn would turn into a celebration of Brazil's Festa de sao Joao Brazil festival. It is not known if this plan was from before the project was originally shelved or after. There were also plans to have all three Caballeros appear in this segment but eventually Panchito was dropped due to the sequence having nothing to do with Mexico. This is when the Aracuan Bird would be added to the action.
Now 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
South of the Border with Disney by J.B. Kaufman.
Of Mice and Magic: A History of the American Animated Cartoon by Leonard Maltin
Walt Disney's Silly Symphonies: A Companion to the Classic Cartoon Series by Russell Merritt and J.B. Kaufman.
I Tawt I Taw a Puddy Tat: Fifty Years of Sylvester and Tweety by Jerry Beck
