Hello my friends. I am sure that many of you like me are fans of both silent films and TCM. Because of this, I would like to call attention to the silent films that are going to play on TCM this March. Because of the 31 Days of Oscar there will be no Silent Sunday Night, but there will still be a few silent films on the channel, this coming month.
Monday March 20th
Sunrise: A Song of Two Humans (1927) Director: F.W. Murnau. Starring George O'Brien and Janet Gaynor. 5pm Pacific. 8pm Eastern
The Last Command (1928) Director: Josef Von Sternberg. Staring Emil Jannings and William Powell. 6:45pm Pacific. 9:45pm Eastern.
The Circus (1928) Director: Charlie Chaplin. Starring Charlie Chaplin and Merna Kennedy. 8:30pm Pacific. 11:30pm Eastern.
The Crowd (1928) Director: King Vidor. Starring James Murray and Eleanor Boardman. 10pm Pacific. 1am Eastern.
White Shadows in the South Seas (1928) Director: W. S. Van Dyke. Starring Monte Blue and Raquel Torres. 11:45pm Pacific. 2:45am Eastern.
Tuesday March 21st
Speedy (1928) Director: Ted Wilde. Starring Harold Lloyd and Ann Christy. 1:30am Pacific. 4:30am Eastern.
This movie has quite a bit in its favor. The main characters are quite likable. Their personalities may not be complex, but we do get to quickly like and find these characters easy to relate to. Why we should like them is set up well from the beginning. For our main male character, we have what is mostly a slapstick comedy scene but one that ends with him giving his own groceries to a lady, after accidently destroying hers and not complaining one bit. This is a little moment, but on that sets up the character very well. We see that beneath his ego and how he outwardly seems to be looking out for number one, he truly has a good heart. With our female character, we quickly see how despite her rebelling against her father, she does really care about him. The villain may also not be complex, but he is the type of over the top cartoony villain that is simply fun to watch anyway. The story, while not original, moves by at a fast pace and the hour and a half is done before you know it. It also does its job and hits each of the notes it needs to. The comedy may not be laugh out loud hilarious but it worked quite well and made me smile quite a few times. Plus there were very few jokes that really fell flat. While this is definitely a lower budget animated movie, it looks quite nice. It may not be Disney or Dreamworks, but it is nice to look at. The songs are not especially memorable but they are pleasant to listen to and do a good job moving the story forward.
However this film is very similar to many other animated family movies and because of that it is one that you probably won't remember well a couple years from now. Also because of this familiarity, you can easily figure out how the story is going to end, while it is still being set up. Also as much as I liked the main characters, the supporting cast comes off as really bland and boring.
This is not a great film or a new animated classic by any means but it does its job and provides you with a nice trip to the movies.
In this episode, a group of aliens, who look a lot like human brains, are on a mission to destroy all life on the Earth. Batman and Robin head to Mars, where the aliens currently are, to investigate, but the aliens take over Batman's mind and trap Robin. The mind-controlled Batman sends a distress signal to the other Super Friends, to lead the superheroes into an ambush.
This episode benefits from wonderfully creative villains. While their motives are a mystery to us, the designs (while simple) are a lot of fun and the mind control idea leads to some great suspense. The creepy voices they are given are also simply perfect. They also feel like a real believable threat to our heroes. This episode also benefits from taking place in a wide variety of environments leading to a great variety and some of the wonderful background work that is always so wonderful in Hanna-Barbera cartoons of this time period.
On the downside with Batman being mind controlled for much of this episode, we don't get as much of the great corny fun dialogue between Batman and Robin. Also the way the villains are defeated (not much of a spoiler since when you are watching Super Friends, you know the good guys are going to win) feels too easy and rushed. There is also some unfunny comedy from Gleek the space monkey but this is mercifully short.
All in all despite its faults this is a really fun episode.
Hello my friends and welcome back for another service of Cowboy Church.
Today's musical selection begins with Roy Rogers and Dale Evans singing Sweet Hour of Prayer. Prayer is one of the important parts of a Christians life but it also something that many Christians don't spend enough time doing. I admit myself to having been guilty of prayer far less than I should. Yet talking to the God of the universe is an incredible privilege we have and one of the greatest blessings in our lives.
This is followed by Johnny Cash singing Jesus Loves Me on an episode of his TV show that aired on March 3, 1971.
Next is Jim Reeves with The Farmer and the Lord. This comes from his 1967 gospel album, My Cathedral. This song reminds us that even when things seem incredibly hard and difficult, God is always there with us to pour his blessings out upon us and to simply take some time to count our blessings and thank God for them.
Now for Ray Price with The Old Rugged Cross. The song itself dates back to 1913 and was written by evangelist, George Bennard. Actually the first verse was written in 1912. It was written while Bennard was a part of a series of revival meetings in Albion, Michigan. He was worried about the complete disregard for the gospel around him and wrote this verse as a repose. Of writing it Bennard said, "I seemed to have a vision ... I saw the Christ and the cross inseparable." The song wouldn't be completed for several months, when he was leading meetings at a local church in Pokagan, Michigan. He played it for Rev. Leroy (the sponsoring pastor) and his wife, Ruby Bostwick, both of whom found themselves moved to tears. It was then incorporated into a service at that church on June 7, 1913. The song has the same effect today as it must have back then.
Then comes The Blue Sky Boys with their 1936 recording of Where The Soul Never Dies.
Afterwards is The Sons of the San Joaquin with their medley of Sweet Hour of Prayer, Amazing Grace and Great Is Thy Faithfulness. This wonderful medley comes from their 1997 gospel album, Gospel Trails.
Next is The Sons of the Pioneers with their 1937 recording of Leaning on the Everlasting Arms. This hymn began with a man named Anthony Showalter. As a fan of gospel music and an elder in a Presbyterian church, he held many "singing schools" at various churches in the south. One day he received two letters from former students who were struggling after their wives had passed. To respond to these letters, Showalter consulted scripture. He came across Deuteronomy 33:27, "The eternal God is thy refuge, and underneath are the everlasting arms." After reading this verse lyrics for a song chorus went through his head and he wrote down, "“Leaning, leaning, safe and secure from all alarms; Leaning, leaning, leaning on the everlasting arms.” After using this in the letters to his former students he sent this chorus to his friend hymnist, Elisha Hoffman. In the letter he also wrote, “Here is the chorus for a good hymn from Deuteronomy 33:27, but I can’t come up with the verses.” Hoffman then wrote the rest of the lyrics to which Showalter put to music. The hymn was published in 1887.
Today's musical selection ends with The Charlie Daniels Band with Lay it on the Line. This song comes from the group's 1994 album, The Door. In his memoir, Never Look at the Empty Seats, Charlie Daniels wrote, "I think the most pressure I was ever under as a songwriter was when I wrote the songs for our first gospel album, The Door. It was such a special project to me. I wanted it to be much more than just another gospel album. I wanted the lyrics to have impact and hopefully speak to some of the people who, like me, had such a hard time understanding the gospel message and were falling through the cracks." (Daniels, 260) Charlie worked very hard on each song and rewrote some multiple times. The effort paid off. This fantastic 1994 album shows The Charlie Daniels Band at their best and it won them their first Dove Award.
Now for chapter 3 of Gene Autry's movie serial, The Phantom Empire (1935).
The Cowboy and the Indians Pressbook, 1949
Now for a short sermon from S.M. Lockridge.
They replied, “Believe in the Lord Jesus, and you will be saved—you and your household.” Acts 16:31
For it is with your heart that you believe and are justified, and it is with your mouth that you profess your faith and are saved. Romans 10:10
“Go,” said Jesus, “your faith has healed you.” Immediately he received his sight and followed Jesus along the road. Mark 10:52
Though the fig tree does not bud and there are no grapes on the vines, though the olive crop fails and the fields produce no food, though there are no sheep in the pen and no cattle in the stalls, yet I will rejoice in the Lord, I will be joyful in God my Savior. Habakkuk 3:17-18
I have swept away your offenses like a cloud, your sins like the morning mist. Return to me,
for I have redeemed you. Isaiah 44:22
I know that my redeemer lives, and that in the end he will stand on the earth. Job 19:25
The fear of the Lord is the beginning of knowledge: but fools despise wisdom and instruction. Proverbs 1:7
The fear of the Lord is the beginning of wisdom: and the knowledge of the holy is understanding. Proverbs 9:10
And unto man he said, Behold, the fear of the Lord, that is wisdom; and to depart from evil is understanding. Job 28:28
The conclusion, when all has been heard, is: fear God and keep His commandments, because this applies to every person. Ecclesiastes 12:13
Thank you for joining me. Come back next week for another service of Cowboy Church. Happy trails to you until we meet again.
Hello my friends and happy Saturday morning. Once again it is time for some classic cartoons.
Today's cartoon selection begins with Donald's Dog Laundry (1940). This short film is one of the rare movies where Donald and Pluto play off each other without Mickey present, though the duo had previously worked together in Donald and Pluto (1936). In 1935 animator Fred Spencer wrote about Donald Duck stating, "Donald has developed into one of the most interesting screen comics. The audience always likes him, provided he plays true to his character. His best features are his cocky, show-off, boastful attitude that turns angry as soon as he is crossed; his typical angry gestures with which the audience is familiar, especially his fighting pose and his peculiar quacking voice and threats when angry. The Duck gets a big kick out of imposing on other people or annoying them; but immediately loses his temper when the tables are turned. In other words he can 'dish it out' but he can't 'take it.'" This cartoon made its TV debut on an episode of The Mickey Mouse Club that aired on March 4, 1958. The following are some exhibitor's reviews from the Motion Picture Herald. "DONALD'S DOG LAUNDRY: Walt Disney Cartoons— I thought 'The Riveter' was good but this is even better. The whistling bone that annoyed Pluto was very clever. Plenty of laughter from an appreciative audience should make Disney feel good if he could hear it. Running time, eight minutes. - W. Varrick Nevins, III, Alfred Co-op Theatre, Alfred, N.Y., Small college town and rural patronage." "DONALD'S DOG LAUNDRY: Walt Disney Cartoons— An excellent Disney cartoon. If Disney would continue these instead of cartoon features on which the exhibitor can make no money this business would be better. - C.L. Niles, Niles Theater, Anamosa, Iowa. General Patronage."
Next comes the Terry Toons short, Harvest Time (1940). The following is an exhibitor's review from the Motion Picture Herald. "HARVEST TIME: Terry-Toons - This is one of the best colored cartoons we have played. A few like this and Terry-Toons will be in the money, - Running time, eight minutes. - John Stafford, Royal Theatre, Leonardville, Kansas. Rural Patronage.
Now for one of Frank Tashlin's classic Looney Tune cartoons, Porky Pig's Feat (1943). Tashlin spent much of his cartoon directing career dreaming of directing live action features. Because of this his cartoons are some of the most cinematic of the era, featuring a lot of great camera angles and brilliant cutting and timing. This one is no exception. In fact, this is one of his finest Looney Tunes shorts. This film was also released during the same year as the last black and white Looney Tune, Puss 'n Booty (1943, also directed by Tashlin). However, cartoons like this make one sad that black and white left the Looney Tunes series. Tashlin's use of black and white here is incredible, and the look of this cartoon is simply breathtaking in a completely different way than a color cartoon ever could be.
Now for Krazy Kat in Railroad Rhythm (1937).
Now it is time for a commercial break.
Now for The Pink Panther in Pink Suds (1979).
It is time for a Garfield Quickie.
I love of the cartoons of Chuck Jones from any period but there is something special about his films from 1942 and 1943. At this time, he was fully getting away from his slower paced cuter output of the late 1930's but had not yet gotten to the style of films he would make in the 1950's that everybody is familiar with today. So, what we get from output during these two years are cartoons that experiment with what you can do in an animated short. It doesn't hurt that he worked with such experimental artists as layout man John McGrew. Chuck gave McGrew plenty of freedom and what John accomplished in these movies is nothing short of amazing. This is especially shown in The Case of the Missing Hare (1942), where experimentation is seen in every moment. Just watch the abstract backgrounds that show a mixture of two colors at a time, but the colors change when there is a strong action in the foreground. This is something someone may not notice on their first watch, but it is something they can feel. A review in The Film Daily stated, "Here is another hilarious, the Leon Schlesinger creation that keeps growing in comic strength with every new release." I think anyone watching this cartoon today will recognize that the antagonist is not Elmer Fudd, but one reviewer from The Exhibitor didn't as in his review he stated "...this has Elmer, as a magician..." A review from the same magazine less than a month later stated, "Elmer isn't in this." The latter is right. A review in Variety called this "One of the better Bugs Bunny subjects."
Now for a silent movie by none other than Walt Disney, Puss in Boots (1922).
Today's cartoon selection ends with The New Three Stooges TV cartoon, No News Is Good News (1965).
Thanks for joining me. Come back next week for more animate treasures. Until then may all your tunes be looney and melodies merry.
Resources Used
Of Mice and Magic: A History of the American Animated Cartoon by Leonard Maltin
This movie is based off the true story of how in the early 1970's a bunch of hippies longing for the words of Jesus and a pastor willing to accept them, helped lead to a huge movement that save many people all over the United States. The film spends much time with some of the real life people involved with the start of this movement including Lonnie Frisbee (Jonathan Roumie (best known for playing Jesus on the wonderful Christian streaming series The Chosen)), Chuck Smith (Kelsey Grammer) and Greg Laurie (Joel Courtney).
The problem with so many Christian films is how much they oversimplify things or make things too perfect. Yet this movie does not have that fault at all. This is especially true in the way it portrays the main characters. These are people who truly believe in God and want to spread the gospel, yet they are human beings and the way they go about this is far from perfect. We see times when their egos come fully into play (often times without them noticing) and when they struggle to have faith in if God knows what he is doing. We also see times, when differences of opinion between them cause quite a bit of conflict. Yet this is all done in a way, that never makes you doubt that they truly are Christians and want to live for Christ. As a Christian myself, I greatly appreciated this. Being a Christian has never made the faults of me or any other Christian I know disappear. In fact they can often reappear at times, often without me even noticing they are there at times. We all have egos, angry and anxieties and have to fight these things, especially if we are Christians. This all adds a strong human touch to the story that makes it work all the better.
This film also has a wonderful story that has a message that is just as incredibly important today as it was in the early 1970's. This movie is about acceptance and that Christians should accept people of all different walks of life. How many of the older members of the church are less than welcoming to the hippies, is not that different from all the prejudices that divide us today. It is so easy to look at what someone is wearing, what type of music they listen to, the slang they use, their backgrounds or their skin color and judge them simply on that. Yet there are also many of us, who are afraid to accept and embrace anyone else because of how they might be judged by their peers. This has found its way into so many accepts of our life including sadly the Church. The fact that a Christian, would have trouble accepting people who are different then them is especially sad, since Jesus loved the outcasts and was in many ways on to. This movie also looks at how so many people get addicted to drugs and a dangerous type of lifestyle. It shows them as simply searching for some sort of truth and thinking, they can find it there, only to find themselves just as empty if not more so. This is wonderfully handled and the scenes with Greg looking for some sort of truth and the disappointment after each discovery ends up letting him down is easy for any of us to relate to and gives us a strong emotional connection to him and the story. All of this is shown in a way that conveys its message very well and very clearly without ever feeling forced or preachy. Instead the message just flows naturally out of the story and because of our emotional connection to said story the message touches us even deeper. The writing is even great when it comes to the film's sermons. These are very well written and further drive home the point of the story, without ever feeling like the story stops to preach to us. Instead these sermons seem to flow naturally out of the characters giving them and the experiences they had.
Adding to all this is a good sense of humor and some beautiful cinematography by Akis Konstantakopoulos. It is also a film that moves by quite quickly and it is amazing how soon two hours are over. Yet at the same time, it fits a lot of story into these two hours without ever feeling rushed or overlong.
This is simply a wonderful movie. I think every Christian should see it and that even those who are not Christian may be shocked to find themselves invested and moved.
While there is no mistaking this for a great movie, or even that good of a movie, there is no doubt that this is exactly the film, that those who see it want to watch.
Before this movie was announced, I don't think anyone was excepting Elizeth Banks' next feature film to be this (it is not quite Pitch Perfect 2 (2015) or Charlie's Angels (2019)). This is inspired by a true story about a bear getting ahold of a lot of cocaine and ingesting it (country music legend Waylon Jennings may at one time owned the bear). That is where the similarities between the real story and this movie end. In real life, the bear died from an overdose (I can't believe I just typed that sentence) and in this film she goes on a very violent killing spree.
The best thing about this movie is definitely its sense of humor. I actually laughed quite a bit watching this movie. It knows how it has a premise that no one can really take seriously. Because of this, the movie doesn't take itself seriously either. Because of this the film is just as much of a comedy as a suspense or horror movie. The humor is just as crazy as the premise and is often times of a very dark variety. While this type of humor may not appeal to everybody, it is quite funny. Just as much humor comes from the interactions between the human characters as it does with watching a bear snorting cocaine. Because of this there is even quite a bit of fun to be had in the scenes that don't feature the bear and the comedy only gets better when the bear is on screen.
There are a lot of characters in this film and we follow too many for a movie with this short of a runtime (95 minutes). Because of this the characters can come off as hit or miss. The kids and the mom are quite likable. While there is not much depth to any of them, there is just enough for us to want all three to make it out safely. The main human villain is also (while one note) very easy to hate to the point, where he is quite a bit of fun. Unfortunately, the rest of the human characters are all bland and not as entertaining or likable as the should be.
The suspense scenes with the bear fall a little flat for me. While they are extremely violent and there is a bit of fun to the over-the-top gore, these scenes rely only on gore and some jump scares (that don't work at all). Because of this there is never that feeling of suspense or dread about when the bear is going to show up or who he might kill next. There are a few scenes where you can tell the filmmakers are trying to create a bit of this type of suspense but it doesn't quite work. This could have made the movie much more fun. The film also has a lot of awkward dialogue that simply doesn't work.
I don't think of this as a great movie, or even that good of a movie, but I still had a fun time watching it and I am sure many of you will too.
For those of you who are unaware, Ang Lee's wonderful martial arts film, Crouching Tiger Hidden Dragon is back in movie theaters. Having a 23-year-old Chinese movie back in major U.S. movie theaters is something I didn't see coming, but I am so glad this happened. This movie is just as great now as it was when it was first released (though I admit, when it was first released I was too young to enjoy a movie like this). Despite all the has been done with special effects in recent years, the action scenes here are still fantastic and simply a joy to watch. While I know many will disagree with me, these action scenes hold up a lot better that those in The Matrix (1999), released only a year earlier. Yet there is a lot more to this film than just wonderful action scenes. The acting is simply wonderful, the story (while not always easy to follow) is wonderfully engaging and the dialogue is fantastic. Adding to all this is that the film has a new 4K restoration and it simply looks amazing, especially on a big movie theater screen. If you get a chance to see this wonderful movie in a theater, you should definitely do so. Check the movie theaters around you to see if you can find this playing there.
A truly beautiful and heartbreaking film from Belgium.
This film deals with complex and very unpleasant emotions and can often times simply be hard to watch. Yet there is an overwhelming beauty to how these subjects are handled that makes this film simply a must see. Much of what makes this work so well is how it is shown from the point of view of 13-year-old characters. These two teenage boys have a very close friendship that is truly beautiful, and the first scenes of this movie are so joyous that our hearts are immediately captured. Yet they are just setting us up for the heartbreak that is to come. Still if these early scene weren't so joyous then nothing that came after would work. As these boys go to school, many of the kids view them as a gay couple and many make jokes about it. One of the boys does not like this at all and avoids his best friend to escape it and prove that none of this is true. The other friend is obviously very hurt by this and the two drift far apart. One of the benefits from seeing it from the kids' point of view is that neither of them comes off as mean spirited. They are just kids and the one that is avoiding the other is not doing so out of any malice and doesn't fully understand the pain he is inflicting on the other. It also hurts because as much as we hate to admit it the majority of us has been one of these kids. We have either wanted to prove we were something other than what other people said we were or been deeply hurt by someone who was once a close friend now avoiding us. These pains are universal and sadly will always exist. These scenes at school often take a close look at boys (or men) feeling like they have to protect their own image of masculinity, even if it means hiding who they are and how society doesn't accept the same type of intimate relationships between male best friends as it does female best friends. This causes us to take a deep look inside of ourselves and at the world around us in a very thought-provoking way. About halfway through the movie there is a scene that changes everything. While I will not give anything away, this scene affected me like a punch in the gut and writing this review now, I am still not sure I have recovered yet. Just to let you know, you will shed tears, even if you are someone who normally doesn't cry at movies.
This movie is not easy to watch by any means and there are many times it will hurt emotionally, but it is a beautiful and thought-provoking film that needs to be seen at least once.
This film is very much a vehicle for actor, Kartik Aaryan. As a vehicle for him, it certainly does a good job of letting him do what he does best. So much of this movie rests on his wonderful charisma and he certainly shines here. He effortlessly plays this type of cocky self-assured character, that deep down has a heart of gold. Just like some of the characters in this film, we find ourselves often times simply won over by his charm. With pretty much any other actor in this role, the character simply wouldn't have worked as well. It doesn't hurt that he has wonderful chemistry with the beautiful Kriti Sanon, who plays his love interest here. The romance between the two is quite good and believable here. The storyline here is over the top and melodramatic, but it works well enough and has an intriguing premise (a man switches babies with his rich boss who has never treated with respect, so his own son would be rich and powerful, while he mistreats his boss' son). While the humor may not be consistently great, there are some really funny moments here, including a bit with a police officer that really cracked me up. The musical numbers are also a lot of fun here.
Unfortunately this movie is a lot longer than it needs to be and there are quite a few times when it can really drag. The storyline also often times gets too conveniently melodramatic and heavily stretches one's suspension of disbelief. There are just too many extremely handy coincidences, even for a melodrama like this. Adding to this is the weird times in which this movie suddenly becomes an action film. These scenes come so abruptly without anything really building up to them. They feel completely out of place in the movie and frankly aren't even that much fun. This movie is already a comedy, a melodrama and a romance, to add action to the mix just feels like overkill.
This is by no means a great film, but it does provide one with a nice trip to the movies.
Hello my friends and welcome back for another service of Cowboy Church.
Today's musical selection begins with The Sons of the Pioneers with their 1948 recording of Power in the Blood.
This is followed by Hank Williams and his wife Audrey with their 1948 recording of I Heard My Mother Praying For Me. his song was credited to being written by Audrey Williams, yet on an episode of the Mothers Best radio show a few years later, Hank Williams introduced the song saying he wrote it. Audrey was very adamant about wanting to record some religious songs with her husband and kept bringing it up to Hank until Hank finally agreed and then convinced his manager Fred Rose. Though Audrey often gets a lot of criticism for her singing voice, the truth is it is not too bad here and their two voices match quite well on this duet at least. This gospel songs the two recorded together were heavily inspired by the husband-and-wife evangelists that both were very familiar with.
Next is Billy Walker with Only One Prayer Away. It is always amazing to me that the God who created the universe is always there to listen to anything we have to say. No matter what we have done or how alone we feel, he is always there for us, ready to give us a rest and a peace beyond anything we could ever imagine.
Then comes The Sons of the San Joaquin with Lead Me Gently Home. This recording comes from the group's 1997 gospel album, Gospel Trails.
Now for Cowboy Copas with his 1953 recording of The Man Upstairs. If you haven't talked to the man upstairs recently, you really should. God always wants to hear from his children and he never once stops caring about us. Even with the little things that we sometimes doubt that he cares about, he cares more deeply than we'll ever know.
Next is Johnny Cash with I Won't Have to Cross Jordan Alone. This hymn was written by Charles Durham. Durham's day job was as a postman, yet he found himself often moved by God and wanted to write down what God would speak to him. He carried a paper and pencil with him on each trip, in case a hymn would come to him, while he was on his route. It is believed that he wrote over 100 hymns this way. Later in life he would publish hymn books and organize gospel quartets. His first hymn was published in 1912. This hymn was published in 1934. John's version of the hymn comes from his 1962 album, Hymns From the Heart. This was his second full gospel album.
Then comes Chet Atkins with a 1962 instrumental version of The Old Rugged Cross. The hymn dates back to 1913 and was written by evangelist, George Bennard. Actually, the first verse was written in 1912. It was written while Bennard was a part of a series of revival meetings in Albion, Michigan. He was worried about the complete disregard for the gospel around him and wrote this verse as a repose. Of writing it Bennard said, "I seemed to have a vision ... I saw the Christ and the cross inseparable." The song wouldn't be completed for several months, when he was leading meetings at a local church in Pokagan, Michigan. He played it for Rev. Leroy (the sponsoring pastor) and his wife, Ruby Bostwick, both of whom found themselves moved to tears. It was then incorporated into a service at that church on June 7, 1913. The song has the same effect today as it must have back then.
Today's musical selection ends with Roy Rogers and Dale Evans with Do What the Good Book Says. Jesus said, " If you keep my commands, you will remain in my love, just as I have kept my Father’s commands and remain in his love. I have told you this so that my joy may be in you and that your joy may be complete. My command is this: Love each other as I have loved you. Greater love has no one than this: to lay down one’s life for one’s friends. You are my friends if you do what I command. I no longer call you servants, because a servant does not know his master’s business. Instead, I have called you friends, for everything that I learned from my Father I have made known to you. You did not choose me, but I chose you and appointed you so that you might go and bear fruit—fruit that will last—and so that whatever you ask in my name the Father will give you. This is my command: Love each other." There is nothing greater in this life than to call Jesus our friend and if we do what the good book says, this friendship only strengthens.
Now for chapter 2 of Gene Autry's movie serial, The Phantom Empire.
Now for a message from the Reverend Billy Graham.
And the Scripture was fulfilled that says, “Abraham believed God, and it was counted to him as righteousness”—and he was called a friend of God. James 2:23
Behold, I stand at the door and knock. If anyone hears my voice and opens the door, I will come in to him and eat with him, and he with me. Revelation 3:20
If we confess our sins, he is faithful and just to forgive us our sins and to cleanse us from all unrighteousness. 1 John 1:9
Looking to Jesus, the founder and perfecter of our faith, who for the joy that was set before him endured the cross, despising the shame, and is seated at the right hand of the throne of God. Hebrews 12:2
A wise man is full of strength, and a man of knowledge enhances his might. Proverbs 24:5
But he was pierced for our transgressions; he was crushed for our iniquities; upon him was the chastisement that brought us peace, and with his wounds we are healed. Isaiah 53:5
Thank you for joining me. Come Back next week for another service of Cowboy Church. Happy trails to you until we meet again.
Hello my friends and happy Saturday morning. Once again it is time for some classic cartoons.
Today's cartoon selection begins with Woody Woodpecker in The Coo Coo Bird (1947). This movie is one of the many cartoons to deal with the idea of the main character just trying to get some sleep. As such it does quite a good job and gets some good gags out of this basic premise. This short film was directed by Dick Lundy, who had formerly been a Disney animator. At Disney he worked on many of the studios best Mickey Mouse, Donald Duck and Silly Symphonies shorts of the 1930's and early 40's and he even worked on the beloved feature film, Snow White and the Seven Dwarfs (1937). He even directed a few wonderful Donald Duck cartoons. In the 1950's he would direct some of the Barney Bear cartoons for MGM and even receive director's credit on the Droopy cartoon, Caballero Droopy (1952). This makes him the only director besides Tex Avery or Michael Lah to receive director's credit on a classic Droopy short.
Next comes the Fleischer Takartoon short, Teacher's Pest (1931). The credited animators for this movie are Grim Natwick and Seymour Kneitel. Grim Natwick would be instrumental in the creation of the character of Betty Boop for the same studio and work on the title character in the Disney feature film, Snow White and the Seven Dwarfs. Seymour Kneitel was one of the major animators at Fleischer Studios and would remain a major force when the studio became Famous Studios. At Famous Studios he would direct many of the Popeye and Little Lulu cartoons among many others. I love that in this cartoon, Bimbo's pets are named Max and Dave, like the first names of the Fleischer Brothers.
Motion Picture Herald, 1931
Next we join Tweety and Slyvester in Tweety and Lovely (1959). 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."
Next comes Disney's Goofy in Baggage Buster (1941). This cartoon is really a showcase for great character animation. One of the animators on this film is Art Babbitt. Babbitt would discuss the character of Goofy in great detail. "Think of the Goof, as a composite of an everlasting optimist, a gullible good Samaritan, a half-wit and a hick. He is loose jointed and gangly but not rubbery. He can move fast if he has to, but would rather avoid any overexertion, so he takes what seems the easiest way. He is a philosopher of the barber shop variety. No matter what happens he accepts it as being for the best of at least amusing... He very seldom if ever reaches his objective or completes what he has started." Talking about how the character movies Babbitt would state, " His posture is nil. His back arches the wrong way and his little stomach protrudes. His head, stomach and knees lead his body. His neck is quite long and scrawny. His knees sag and his feet are large and flat. He walks on his heels and his toes turn up. His shoulders are narrow and slope rapidly, giving the upper part of his body a thinness and making his arms seem long and heavy, though actually not drawn that way. His hands are very sensitive and expressive and though his gestures are broad, they should still reflect the gentleman. His shoes and feet are not the traditional cartoon dough feet. His arches collapsed long ago and his shoes should have very definite character." It is this extra effort and the animators' complete understanding of their characters that made Disney cartoons of this time truly special.
Now for a commercial break.
Now for a classic silent movie, Bobby Bumps And The Ostrich Egg (1920).
Motion Picture News, 1920
Next is Mighty Mouse in The Jail Break (1946).
The Simple Things (1953) was the last cartoon of the original Mickey Mouse series of theatrically released shorts. Part of the reason for this was the fact that by the 1950's short subjects were no longer making much money. This was especially a problem for a cartoon producer like Walt Disney. Walt Disney spent a lot of money on short subjects and would not cut down costs to the level that many other cartoon producers had. He refused to put out what he considered an inferior product for finical reasons. As such the amount of animated short subjects the studio was making began to heavily decrease in the 1950's. Another factor into this was Mickey himself. Mickey Mouse was often looked on as a bit of a role model for kids. However this did not fit his early screen image in which he would often do mischievous things that parents would not want heir kids doing. With this the Disney studio was made to calm Mickey down and take out this part of his personality. However with this he became a harder character to make funny. As such characters that weren't as restricted such as Donald Duck and Goofy would become more popular than the once biggest star in cartoons, Mickey Mouse. Still Mickey's career remained extremely successful after these short subjects ended. He would go on to be the master of ceremonies at Walt's new venture, a little thing called Disneyland, and he would have a hit TV show with The Mickey Mouse Club. A working title for The Simple Things was Gull Crazy. This was a reference to the 1943 Mickey Rooney and Judy Garland MGM feature, Girl Crazy.
Now to end with a song.
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
Walt Disney's Mickey Mouse: The Ultimate History by J.B. Kaufman and David Gerstein
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
Though this movie may take our heroes to a strange new world, its heart lies where the heart of the previous films was. That is to say in the relationship between Scott Lang (Ant-Man) and his daughter Cassie. While many may point to the lighthearted humor as being what makes the Ant-Man films stand out from other Marvel movies to me what has made this series special is that they are the most goodhearted Marvel films. This has been heavily shown through the relationship between father and daughter which has always been very sweet and touching. While this film raises the stakes and puts the characters out of their element, I am glad to say this relationship remains at the heart of the film. With Cassie now being a teenager, we have a whole new part of this relationship to explore. Cassie has grown up to be a lot like her father and not always in the best ways. As Scott has learned greatly from his mistakes, he admires her for having the same good heart as him but doesn't want her to make the same mistakes he did. Yet at the same time Cassie feels that her dad hasn't done enough actually helping people after the events of Avengers: Endgame. She feels that what she is doing (which causes her to get in trouble with the law) is more help than anything her dad has done lately. Despite this friction though the pure love and respect these two have for each other is always clearly evident. I am glad that this film didn't go done the cliché family drama route and have Cassie say she hates her father. Instead even when they are in the middle of this friction they tell each other how much they love each other. This was not only refreshing but also more fitting for these characters and the heart and soul of this trilogy. Cassie here is also trying to be her own superhero and I love how even though her dad is not crazy about the idea (he is of course worried that she might get hurt), he still gives her pointers and feels proud of her when she does a good job. I also love that Cassie doesn't immediately have this superhero thing down pat but needs to learn and work at it. Again this relationship is so sweet and good hearted it made the whole film work for me and kept me emotionally connected no matter how over the top the story could get. The wonderful chemistry between Paul Rudd and Kathryn Newton doesn't hurt either.
This film also introduces the next big villain for the MCU, Kang the Conqueror (though we saw a variant of him in the Disney+ series, Loki). This film does a wonderful job of building up this character. Before you even see him, this movie makes you feel how major of a threat he is. I also love the way he is handled here. Jonathan Majors plays him in such a charming way, that you can see how he can win others over to his side easily. At the same time this performance is in many ways quite low key, yet always with a certain weight to him. His conversations with Ant-Man and Cassie, truly are chilling. What makes them so creepy is how causally and calm he talks about killing so many people, like it is. This makes him feel quite different from previous MCU villains. What also makes this character work so well as how little humor there is when he is around. Much of the film is very comedic, but during the scenes with him there is much less comedy. The fact that the lighthearted feel of the rest of the film disappears when he is around, really drives home the point of just how serious this character is. I am excited to see what Marvel does with him next.
Though this movie is not as packed with humor as the previous Ant-Man films, the lovably silly comedy here is just as wonderful as ever. This is especially true of the opening scenes which had me laughing quite a bit. The parts about Scott's book made me laugh out loud. It is obvious that Paul Rudd and director Peyton Reed (who directed the previous Ant-Man movies) still know perfectly how to deliver this type of comedy. Also delivering really funny moments here is Michael Douglas, who delivers every joke he is given perfectly, and he makes these jokes much funnier than they would be by any other actor. This movie also has a fast moving and fun feel to it and the 2 hours fly by. I also love that this movie truly feels like a comic book come to life.
I do have a couple of problems with this film though. One is that after having the previous two movies build up to the quantum realm, when we get to spend a great time with it here, it is quite disappointing. It is simply a bland and generic fantasy world. Admittedly there are some good gags with how weird the place is, but it never distinguishes itself from so many other movie fantasy worlds (there is definitely a strong Star Wars influence here). My other major complaint is MODOK. While yes this has always been a silly character (even in the comics), the problem is he never really feels like a threat here. It could be because of putting him with live action characters or it could be because they never build up any reason for this character to be anything but a joke. Because of this, any serious scenes make him feel completely out of place here. It is true he can be funny here, but even a silly over the top villain needs to feel like a threat. The CGI on MODOK is also really bad. It goes beyond just looking silly to looking kind of embarrassing. This is the kind of CGI you would except to see over 20 years ago, not in a current big budget movie. Coming from the same studio that has brought Rocket Raccoon and Groot to life so well, it is hard to say why it went so wrong here.
This movie may have a few big faults, but the humor, action and family drama are all wonderful and make this a delight for superhero fans.
Like all good film noirs, a major reason this movie works is because of a wonderful sense of atmosphere. This film takes place in Hollywood of the late 1930's and it fully utilizes this setting to its advantage. While not everything may be perfectly true to this setting, this does not matter. What matters is that this movie creates its own dark and dangerous version of 1930's Hollywood that is completely engaging. Much of this is captured in the film's wonderful use of cinematography and lighting, which make this feel like a noir film of the 1940's in all the best ways. If you are a noir fan (like I am), there is little doubt that this film's visual style will delight you. David Holmes's atmospheric musical score also adds a lot to this movie's ambiance. The film also benefits from simply wonderful dialogue. This is the type of cynical hard-bitten dialogue that has helped give film noir its many fans. This is the type of dialogue that makes us wish we could talk like this in real life and makes these characters seem larger than life. There is also plenty of cynical and witty humor in this dialogue that is just as tough and hard-boiled as the serious lines. This humor is not only quite funny but it adds to the noir like atmosphere and tough feeling of this movie. The storyline is quite engaging and keeps you on the edge of your seat. True at times it can be needlessly complex but that is just part of the game in a Philip Marlowe movie. What matters is that this story never made me feel bored for even a second while watching it and the near two hours passed by quite quickly. It also has a wonderful feel of dread and suspense that is simply delightful.
Now for the big question. How is Liam Neeson as Phillip Marlowe? The answer is really darn good. Humprey Bogart (who played the character in The Big Sleep (1946)) and Robert Mitchum (who played the character in Farewell My Lovely (1975)) will always be my favorite movie versions of Raymond Chandler's (who wrote the original books featuring the character) famous private detective and I also have a fondness for Dick Powell's version of the character in Murder My Sweet (1944). However Liam Neeson does a great job with the character and never once feels like he is copying any of the great actors who played the part in the past. Because of this it is easy to enjoy his take on the character without comparing it to the previous takes. Here he does a great job of capturing the cynical and world-weary nature of this interpretation of the character. He is also accompanied by a wonderful supporting cast including Jessica Lange, Diane Kruger and Danny Huston. Danny Houston channels his father, legendary director/actor John Houston, with a role very reminiscent of the character John Houston played in the brilliant noir, Chinatown (1974).
This film does have its faults though. Many of the supporting characters can at times feel like more like plot devices than actual characters, as there is little depth to them and little more to them than what they contribute to the plot. There are also quite a few moments in this movie that are too similar to scenes from many other noirs and those noirs did those scenes even better. Because of this, the movie may not be as memorable as it should be.
All in all this is an excellent noir and a pure delight to those who (like me) love the genre.
Being a fan of both Laurel and Hardy and Abbott and Costello, I first became familiar with Mary Boland through her roles in One Night in the Tropics (1940) and Nothing but Trouble (1944). I later learned how great of a career she had in both comedies and dramas and both supporting and starring roles. Some of her other films include The Prodigal Wife (1918), Evenings for Sale (1932), Three-Cornered Moon (1933), Six of a Kind (1934), Ruggles of Red Gap (1935), The Big Broadcast of 1936 (1935), A Son Comes Home (1936), The Women (1939) and Pride and Prejudice (1940).
The following is a 1934 article from Picture Play Magazine about this wonderful actress. If you have any trouble reading the article click on the following pages and use your touch screen to zoom in.
Here are the trailers for the two movies that first made me aware of Mary Boland.
In this episode a civilization living beneath the North Pole unleashes an ice age upon the surface world. The Super Friends try to stop this from happening but they freeze all of them. Aquaman escapes and he must rescue the rest of the Super Friends.
There is a lot to enjoy about this episode. It is great to see Aquaman take the spotlight, since he is often kept in the background. Though many have written off Aquaman as kind of a joke superhero (luckily the recent live action DC movies (including the upcoming Aquaman and the Lost Kingdom (2023)), seem to be making people realize what a cool character he actually is. Here he proves why he is not just a joke. He gets some wonderful time to shine here, including some really fun action sequences. Yet though Aquaman is the main character of this episode, the rest of the Super Friends all get their time to shine as well. This is especially true in the episode's really fun action scenes. This episode also benefits from great artwork that gives a good sense of atmosphere that adds to the fun. The main villain also has a great design and a wonderful villain voice.
I do think this episode could have benefited from a longer runtime, as certain things went by too quickly. As we don't see much of the main superheroes' personal lives in this series, it was delightful to see Aquaman in Atlantis and see some of his friends there. Unfortunately, this only lasted for a tiny bit of the runtime. They could have cut out some of Gleek the Space Monkey's terrible excuses for comic relief and given us more time in Atlantis at least. Still, these are not major complaints, and it is a good thing when a cartoon leaves you wanting more.
This is a really fun episode and a delight to fans of the series.
It is said that there was a time when Gene Autry was the hero of every red-blooded American boy. This may have well been true, but his fans were not limited to boys and child actress Jane Withers got the thrill of her life when she got to appear in a film with her favorite movie cowboy. The following article from a 1940 issue of the Screenland magazine tells this story.
If you have trouble reading the following article click on the pages below and use your touch screen to zoom in.
Here is the trailer for the movie in which the two appeared together in.
Hello my friends and welcome back for another service of Cowboy Church.
Today's musical selection begins with Roy Rogers and Dale Evans with their 1950 recording of May the Good Lord Take a Likin' to Ya. This song was written by Peter Tinturn, who wrote songs for the Roy Rogers movie, Days of Jesse James (1939).
This is followed by John Anderson with Peace in the Valley. The hymn was written by Thomas A. Dorsey who later explained the origins of this song, “'Peace in the Valley,' 'It was just before Hitler sent his war chariots into Western Europe in the late 1930s. I was on a train going through southern Indiana and saw horses, cows and sheep all grazing together in this little valley. Everything seemed so peaceful. It made me question, 'What’s the matter with mankind? Why can’t men live in peace?' Out of those thoughts came 'Peace in the Valley.'
Next is Johnny Cash (backed by The Carter Family and The Statler Brothers) performing a gospel medley on a 1971 episode of his TV Show. The songs included in this medley are Old Time Religion, The Fourth in the Fire and The Old Account.
Then comes The Carter Family with their 1930 recording of On The Rock Where Moses Stood.
Afterwards is Barbara Mandrell with Power in the Blood. I really love Barabra's version of this old hymn. She so well captures the feeling of unexplainable joy in the lyrics of this song. The word gospel means good news and therefore it only stands to reason that gospel music should be joyous. It is hard to listen to a recording like this and not feel good. No matter how much we may love something this world has to offer us, none of it can ever compare to the power in Jesus' blood. For nothing else has the power to give us salvation or peace in times when we feel peace is impossible. This recording comes from Barbara's 1989 gospel album, Precious Memories.
Now for The Sons of the Pioneers with their 1948 recording of The Old Rugged Cross. The song itself dates back to 1913 and was written by evangelist, George Bennard. Actually the first verse was written in 1912. It was written while Bennard was a part of a series of revival meetings in Albion, Michigan. He was worried about the complete disregard for the gospel around him and wrote this verse as a repose. Of writing it Bennard said, "I seemed to have a vision ... I saw the Christ and the cross inseparable." The song wouldn't be completed for several months, when he was leading meetings at a local church in Pokagan, Michigan. He played it for Rev. Leroy (the sponsoring pastor) and his wife, Ruby Bostwick, both of whom found themselves moved to tears. It was then incorporated into a service at that church on June 7, 1913. The song has the same effect today as it must have back then.
Today's musical selection continues with Josh Turner with Long Black Train.
Next comes the first chapter of Gene Autry's movie serial, The Phantom Empire (1935).
Motion Picture Herald, 1935
Next is C.S. Lewis' essay, On Forgiveness.
They replied, “Believe in the Lord Jesus, and you will be saved—you and your household.” Acts 16:31
For it is with your heart that you believe and are justified, and it is with your mouth that you profess your faith and are saved. Romans 10:10
For the Son of Man came to seek and to save the lost. Luke 19:10
For I am not ashamed of the gospel, because it is the power of God that brings salvation to everyone who believes: first to the Jew, then to the Gentile. Romans 1:16
Be strong and courageous. Do not fear or be in dread of them, for it is the Lord your God who goes with you. He will not leave you or forsake you. Deuteronomy 31:6
For God gave us a spirit not of fear but of power and love and self-control. 2 Timothy 1:7
Do not conform to the pattern of this world, but be transformed by the renewing of your mind. Then you will be able to test and approve what God’s will is—his good, pleasing and perfect will. Romans 12:2
Commit to the LORD whatever you do, and he will establish your plans. Proverbs 16:3
When anxiety was great within me, your consolation brought me joy. Psalms 94:19
Cast your cares on the LORD and he will sustain you; he will never let the righteous be shaken. Psalms 55:22
but those who hope in the LORD will renew their strength. They will soar on wings like eagles; they will run and not grow weary, they will walk and not be faint. Isaiah 40:31
Thank you for joining me. Come back next week for another service of Cowboy Church. Happy trails to you until we meet again.
Hello my friends and happy Saturday morning. Once again, it is time for some classic cartoons.
Today's cartoon selection begins 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).
Next comes thefirst and (in my opinion) best of the Goofy Gophers cartoons simply titled, The Goofy Gophers (1947). These characters (like Tweety) can get written off simply as cute, but people who think of them simply as cute characters are missing the joke. What makes these characters so appealing is that their overly polite dialogue is followed by pure acts of slapstick violence against their enemies. It also is often claimed that these two characters were rip offs of Disney's Chip and Dale, however while I can see how their designs are similar, they are very different personality wise. This film was at first going to be directed by Bob Clampett, who began working on it. However, he left Warner Brothers before finishing, so Art Davis took over the direction. Both directors' personal styles can be felt here. This cartoon also marks the only time the gophers are colored grey instead of brown. A review in The Film Daily called this "A definite laugh getter with plenty of appeal." A review in Showman's Trade Review stated, "Two gophers with exaggerated mannerisms in politeness may become standard characters in future Warner Brothers cartoons, if the actions of the duo in this short may be taken as criterion."
Next comes Goofy in Father's Weekend (1953). This cartoon made its TV debut on an episode of Walt Disney Presents, entitled A Salute to Father (1961). In that episode in honor of Father's Day, Walt Disney lets Goofy take over hosting duties.
Now for a silent movie starring Goodrich Dirt, Goodrich Dirt, Cow Puncher (1918).
Moving Picture World, 1917
Now it is time for a commercial break.
Next comes The Pink Panther in Spark Plug Pink (1979).
Now for a truly classic Mickey Mouse cartoon, Traffic Troubles (1931). This movie is simply a wonderful little short. Much of this is due to the great cast of animators. Dave Hand, who would go on to be the supervising director for the Disney features Snow White and the Seven Dwarfs (1937) and Bambi (1942), animates the opening scenes of this film, the tire rolling away and Pete pouring the "medicine" down the car's radiator. Les Clark, one of Walt's Nine Old Men and often considered one of the finest Mickey Mouse animators, animates the pig getting into the car and Minnie playing the accordion. Tom Palmer, who would later direct a few short cartoons for Warner Brothers, animates the cop getting angry at Mickey, Minnie climbing into the taxi and some of Pete's dialogue. Ben Sharpensteen, who later was the supervising director for the Disney feature films, Pinocchio (1940), Fantasia (1940) and Dumbo (1941), animates the cop in traffic, Mickey parking the car, Mickey chasing the taxi and the car hitting the rock. Dick Lundy, future Woody Woodpecker and Barney Bear director, animates Mickey trying to fix his tire (including replacing the pump with the pig) and the car landing on the cow. Jack King, who would become possibly the finest Donald Duck director, animates the taxi in traffic, a close up of Minnie playing the accordion and Mickey actually inflating the tire with the pig. Johnny Cannon, who spent the majority of his career working uncredited on Disney shorts, animates the taxi going through the mud and Pete on the bicycle. Norm Ferguson, an animator who would help define the character of Pluto, animates some scenes with the pig inside the taxi, the taxi trying to dodge the bumps and the film's ending gag. An interesting note about this movie is that it was made pretty much at the same time, Floyd Gottfredson was making an adaption of it for the Mickey Mouse newspaper comic strip. He had done this before when he made a comic strip version of the Mickey Mouse short, The Picnic (1930). That was a rather straightforward adaption of the cartoon, while this comic strip story took more liberties with the source material. The comic strip adaption included a gag that was animated (by Norm Ferguson) for the film but dropped from the short before release. This was a gag involving a fireplug. If you are interested in reading the comic strip version yourself, it is included in J.B. Kaufman's fantastic article on this movie. This cartoon was directed by Burt Gillett. Gillet was one of the studio's major directors of the early 1930's. His cartoons include such classics as The Chain Gang (1930), Mickey's Orphans (1931), Flowers and Trees (1932), Trader Mickey (1932), Mickey's Good Deed (1932), The Three Little Pigs (1933), Mickey's Gala Premiere (1933), Playful Pluto (1934) and many others. Animation for this film began on December 12, 1930 and was completed on January 1, 1931. It was released on March 7, 1931. A famous story about the making of this cartoon involved a scene David Hand was animating. Walt kept telling him, the scene needed to be more exaggerated. This made Hand so frustrated he decided to show Walt he would make it twice as exaggerated. Though Hand felt this might get him fired, this new animation was exactly what Walt wanted. This cartoon is one of the five viewable in the Main Street Cinema in Disneyland. In 1933, this cartoon was released on 16mm film, for home viewing. This 16mm film was silent and could rented for 75 cents.
Next comes the Looney Tunes, Webtoon, Dux's Tux's (2005).
Today's cartoon selection ends with the Terry Toons short, Busted Blossoms (1934). The title is a play on the D.W. Griffith feature film, Broken Blossoms (1919).
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 are merry.
Resources Used
Walt Disney’s Mickey Mouse: The Ultimate History by David Gerstein and J.B. Kaufman
Of Mice and Magic: A History of American Animated Cartoons by Leonard Maltin
