Saturday, December 13, 2025

Some Cartoons for Saturday Morning #259

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

Today's cartoon selection begins with one of my favorites of the early Merrie Melodies cartoons, The Shanty Where Santy Claus Lives (1933). I love the atmospheric feel to the early scenes in this cartoon. There is a delightful amount of detail in these opening moments. I also simply love the title song. Despite being a Christmas cartoon, this film was released to theaters on January 7, 1933, just barely missing Christmas. The animation of the dolls singing, and dancing was reused from an earlier Merrie Melody, Red Headed Baby (1931).




Next is The New Three Stooges cartoon, Dizzy Doodlers (1965). The Stooges voice themselves in this made for TV cartoon. This is one of my favorites of The New Three Stooges cartoons. 




Next comes the Terry Toons short, Prescription for Percy (1954). This cartoon was directed by Mannie Davis. Mannie Davis had been with producer Paul Terry, since Terry's silent Aesop's Fables cartoons of the 1920's. Davis remembered working on these Aesop's Fables silents stating, "The story was very sketchy. The main thing was to get a laugh out of each little act. You know, a little piece of antic that a character would do. Today it wouldn't mean a damn thing; it's got to be acted out, and it's got to have continuity of thought. We'd be springing all over the lot. But we would keep it ... in the location it started out in. If it's an African story, everything would be down in the jungle, and then in the desert and all that. I was my own director, my own story man, and my own animator. Each man did his own little thing, his little reel, and we had, I think one month to make them ... and there were five of us making them and [we] rotated." Davis would continue working with Paul Terry and Terry Toons up until 1961. 




Now for a classic Donald Duck film, Toy Tinkers (1949). This movie features Donald once again going up against Chip and Dale. This film is directed by Jack Hannah, who at this time was directing the majority of the Donald Duck cartoons. When Chip and Dale had their very short-lived series of shorts, Jack Hannah directed all three cartoons in that series. This cartoon is laugh out loud funny. The slapstick is spot on and timed perfectly. Every joke works and they are all very funny. The humor is also displayed perfectly through the great character animation one should expect form a Disney cartoon. While Disney cartoons are often called sweet and cute in contrast to the hilarious antics at studios like Warner Brothers and MGM, the Disney studio could make slapstick cartoons as great as the rest of them (this is not an insult to Warner Brothers and MGM as I love there cartoons a lot as well). This stands as one of Disney's funniest shorts (a joke involving a telephone never fails to make me laugh out loud). The music in this cartoon was provided by Paul J. Smith, making it the first Donald Duck short in over four years to have music by someone other than Oliver Wallace. Smith's score briefly quotes a bit of music from an earlier Disney cartoon, the Silly Symphony, The Country Cousin (1936), whose music was by Leigh Harline. Unlike many theatrical Christmas cartoons, this short was actually released during the Christmas season. It hit theaters on December 19, 1949. The cartoon was nominated for an Oscar but lost to the Pepe Le Pew cartoon, For Sent-imental Reasons (1949). 




Now it is time for a commercial break. 
















Now for the Van Beuren cartoon, The Family Shoe (1930). The gag where the four singers' mouths all morph into one mouth was used in quite a few of these black and white Van Beuren cartoons. There is a surreal quality to this film that makes it very endearing.   




Next comes a delightful Christmas treat from Famous Studios with Hector's Hectic Life (1948). This movie was directed by former Disney animator, Bill Tytla (probably my favorite Disney animator). Tytla had worked on some of Disney's finest feature films including Snow White (1937), Pinocchio (1940), Fantasia (1940) and Dumbo (1941) and his animation was often a highlight even in these masterpieces. Though the Famous Studios cartoons he directed might not be as highly praised as his animation for Disney, these films often showed him as a very capable director. This movie is a good example of this. 




Now for the Terry Toons cartoon, The Lion's Friend (1934). 




We close with The Simpsons in Simpsons X-Mas (1988). This is one of the shorts made for The Tracey Ullman Show before the animated family got their own TV show. 




Thanks very much 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

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

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

Donald Duck: The Ultimate History by J.B. Kaufman and David Gerstein















Thursday, December 11, 2025

Movie Review: Dust Bunny

 



Michael's Movie Grade: A

A wonderful nightmarish fantasy. 

This film's director and writer, Bryan Fuller has already proved himself to be one of the most unique voices in television. For TV he created such shows as Dead Like Me, Wonderfalls, Pushing Daisies (a show I used to watch regularly) and Star Trek: Discovery as well developing Hannibal. With Dust Bunny, he brings his unique vision to cinema screens for the first time. The results are delightful. 

In the wonderful creative storyline, a little girl (Sophie Sloan) hires an assassin (Mads Mikkelsen) to kill the monster under her bed after it eats her parents. 

What makes this movie work so well is that it fully puts us into the mind of a child. For most of the movie, we only get fleeting glimpses of the monster as we spend much time viewing everything from under her covers with us. This brings us back to being unable to sleep at night because of all the noises we hear. While the monster is fully seen in later parts of the film, keeping it hidden during these early scenes was very much the right choice. Also helping these scenes bring us back to our childhood fears is none of the grownups believing her. This was always one of the most frustrating parts of being a child and it is perfectly captured here. The idea of no grownup believing us, also tending to make our fears worse. The sheer creativity in the storytelling also reflects, how our minds worked as a child. The idea of only being in danger if you touch the floor and the girl's creative ways of touching it are just the type of creativity that we all had as children. As this movie reaches out to our inner child, it does so from our most cynical side. Rather than dragging the child into the adult world, this film drags the cynical and skeptical adults into the child's world. This makes us as an audience more susceptible to this movie's childlike charms. 

As well as capturing our childlike fears, this movie is also wildly entertaining. The creepy scenes are delightfully creepy without ever becoming too scary. The action scenes are a lot of fun. The humor is often really funny. Even the relationship between the little girl and the assassin are surprisingly heartwarming. The cast is also excellent without a single weak member. Mads Mikkelsen and Sophie Sloan are wonderful as the two leads and have great chemistry with each other. Sigourney Weaver also often steals the show in her supporting role. The score by Isabella Summers (the keyboardist for the band Florence and the Machine) is also a delight and perfectly fits the tone of the film. 

Typical of a Bryan Fuller product, this move has a wonderfully creative and atmospheric look to it. The sets and the use of color are wonderful and heavily atmospheric. It is no wonder this was by the guy responsible for Pushing Daisies. Though the monster is kept mostly hidden in the early scene, when we finally see it in all its glory, the design is wonderfully creative being whimsical and scary at the same time. 

It is a shame this movie got an R rating. I am not quite sure of the reason for this as I have seen PG-13 movies that are much more intense than this. However, I think this would be a perfect gateway horror movie for kids and there is not much here that is inappropriate for at least older kids. Yet this R rating is going to keep this perfect protentional audience away from this great film. 

This is a true delight that I hope one day finds a big audience. It deserves that.  
   

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