Even if everything else about this movie was great (which it isn't), the comedy still would have ruined the film for me. Much of this is due to the awful voice over narration. Our main character is deaf and mute, but we hear his inner voice. That the inner voice was provided by H. Jon Benjamin (the voice of Archerand Bob from Bob's Burgers), while the character on screen is played by Bill Skarsgård. That the voice and the way the character looks being completely ill-suited for one another is supposed to be funny, it becomes a one-note joke that soon wears out its welcome. Only a few minutes after we first hear this voice over, it simply becomes too distracting and takes us out of the movie. Frankly this a trap too many movies with a quirky sense of humor fall in to. What can be funny as a brief joke does not necessarily remain funny for a feature length film. This is made worse by the fact that we hear his inner voice way too much throughout the film. This happens to the point that makes one wonder just why he is deaf and mute. The only thing it adds to the film is a bunch of unfunny jokes. It doesn't help that this voice over is still heavily used in the few scenes where this movie turns serious. Any drama that could have come out of these serious scenes is completely lost due to the ill-fitting voice. Even without this voice over the comedy is terrible. Often times it is simply weird for the sake of being weird. Putting our main characters on a Hunger Games type TV show, where they might be killed by cereal mascots is definitely bizarre, but it is not funny. This is the type of incoherent humor that comes from a bunch of middle schoolers joking around during recess. While those middle schoolers might be laughing their heads off talking about such random stuff, this juvenile and incoherent type of humor cannot translate to a movie.
This is not to say the rest of the movie is that great either. The characters are all incredibly bland and we don't really get a chance to know any of them. The plot twists don't make much sense and make even less sense the more you think about them. Some of the action scenes can be fun, but even they can feel too repetitive as they are all much too similar.
One of the few things this movie has in its favor is that the relationship between our main character and his sister is kind of sweet and touching. However, this is hardly enough to make up for how much of a mess this movie is.
Hello my friends and welcome back to another service of Cowboy Church.
Today's musical selection begins with Roy Rogers and Dale Evans with Have You Read the Bible Today. It is important for each of us to read our Bible each and every day. The Bible is not just some book, it is the living breathing word of God. It is easy for our faith and Christian walk to become idle and stagnant and the easiest way for this to happen is to simply not read our Bible. Taking some time each day to read the Bible is the best way for our faith and our walk with God to continue growing and maturing. This recording is the B-side of a 1955 Little Golden Record by Roy and Dale. The A-side was The Bible Tells Me So.
This is followed by Elvis Presley with his 1957 recording of Peace in the Valley. As much as Elvis is known as the King of Rock and Roll, perhaps no other type of music was nearer and dearer to his heart than gospel music. This was the music he grew up with and that continued to have a major influence on him through all the years. Elvis has been quoted as saying "I know practically every religious sing that's ever been written." There is no doubt that these songs moved him very deeply. After Elvis had made his first two appearances on TV's The Ed Sullivan Show, he was clearly a very controversial figure. These performances consisted of pure rock and roll music and Elvis shook his hips to them in a way that was considered much too suggestive for the 1950's. Many groups were quick to condemn this as a horrible influence on the kids and some even claimed it to be demonic. Yet Elvis' third appearance on The Ed Sullivan Show was quite different. This time Elvis did not perform rock and roll but instead did a gospel number in a slow and traditional manner. The song was Peace in the Valley and the performance was a huge success. Elvis had never done a studio recording of any gospel songs, but fans of the performance quite writing letters requesting a recording of Elvis singing Peace in the Valley. RCA quickly rushed Elvis to make a four-song gospel EP entitled Peace in the Valley. This EP of course included the title song, as well as Take My Hand Precious Lord, It is no Secret and I Believe. The EP was a huge success and gospel music would soon play a major role in Elvis' singing career.
Afterwards is Wilma Lee and Stoney Cooper with their 1959 recording of There's a Big Wheel. This song was written by the great country music singer/songwriter/guitarist Don Gibson.
Next is the Delmore Brothers with their 1941 recording of Gospel Cannon Ball. This gospel song is to the tune of the classic folk song, Wabash Cannon Ball, which Roy Acuff's 1936 recording turned into a country classic.
Now for The Sons of the San Joaquin with the southern gospel classic, I'll Fly Away. This recording comes from their 1997 gospel album, Gospel Trails.
Then comes Anne Wilson and Chris Tomlin with The Cross. This recording comes from Anne's 2023 gospel album, Rebel. Anne Wilson co-wrote this song with Jeff Pardo, Matthew West and Jonathan Smith,
Next comes Johnny Cash and Waylon Jennings with The Greatest Cowboy of Them All. This is a song about heroes and all of us have our heroes. While these heroes may be entertainers, writers, political figures, intellectuals and humanitarians, when you put any of them up against Jesus Christ, they simply pale in comparison. This because even someone who is great by human standards is nothing when compared to the glory of God.
Today's musical selection ends with The Sons of the Pioneers with Power in the Blood. This recording comes from their new 2024 gospel album, Campfire Spirituals. Though none of the original members may be alive today, the current line up does a wonderful job of keeping the legacy of one of country music's finest groups alive. Their new album is a wonderful example of this, and this version of Power in the Blood is simply wonderful. The Sons of the Pioneers have previously recorded this hymn in 1937 and 1948.This song was written in 1889 by Lewis Edgar Jones while at a camp meeting taking place at Mountain Lake Park, MD.
Now for an episode of Roy Rogers' radio show.
Now for a message from Billy Graham.
But the Lord is faithful, and he will strengthen you and protect you from the evil one. 2 Thessalonians 3:3
For the word of God is alive and active. Sharper than any double-edged sword, it penetrates even to dividing soul and spirit, joints and marrow; it judges the thoughts and attitudes of the heart. Hebrews 4:12
Now to him who is able to do immeasurably more than all we ask or imagine, according to his power that is at work within us, to him be glory in the church and in Christ Jesus throughout all generations, for ever and ever! Amen. Ephesians 3:20-21
Blessed is the man who remains steadfast under trial, for when he has stood the test he will receive the crown of life, which God has promised to those who love him. James 1:12
In this you rejoice, though now for a little while, if necessary, you have been grieved by various trials, so that the tested genuineness of your faith—more precious than gold that perishes though it is tested by fire—may be found to result in praise and glory and honor at the revelation of Jesus Christ. 1 Peter 1:6-7
We are afflicted in every way, but not crushed; perplexed, but not driven to despair; persecuted, but not forsaken; struck down, but not destroyed. 2 Corinthians 4:8-9
The Lord bless you and keep you; the Lord make his face shine on you and be gracious to you; the Lord turn his face toward you and give you peace. Numbers 6:24-26
Thanks 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 Little Lulu in Magical Lulu (1945). In this short film, Lulu ruins a magician's as she figures out how all the tricks are done.
Now for a fun little Terry Toons short, An Igloo for Two (1955). This is a delightful one-shot cartoon featuring a seal who runs into trouble while serenading his girlfriend.
Next comes a classic Mickey Mouse film, The Delivery Boy (1931). This short film, like all of the 1930's Mickeys, features a wonderful cast of animators. Johnny Cannon animates the opening scene with Mickey riding the delivery wagon and the scene with the dog playing the accordion. Rudy Zamora, who would later direct many of the Hanna-Barbera TV cartoons of the 1980's, animates Minnie washing her clothes. Jack Cutting animates the underwear washing itself. Norm Ferguson (who as an animator helped define the character of Pluto) animates the first scene of Mickey and Minnie's dance, Pluto getting his feet caught in the tar and doing his little dance and the two workers with the dynamite. Frenchy de Trémaudan animates the gag with the goat. David Hand, who would later be the supervising director on the feature films Snow White and the Seven Dwarfs (1937) and Bambi (1942) animates Mickey climbing into the pants, the scene with the hornets and the birds whistling and dancing. Future Donald Duck, Woody Woodpecker and Barney Bear director, Dick Lundy animates the second scene of Mickey and Minnie's dance. George Lane animates the instruments nearly falling on the animals and them running away. Tom Palmer, who would later direct a few cartoons for Warner Brothers and Van Beuren, animates Mickey and Minnie on the Piano. Les Clark, one of the best Mickey Mouse animators, animates Mickey and Minnie playing the trombone, trumpet and drum as well as the gag with the turtle and the mule. Future Looney Tunes and Donald Duck director, Jack King animates the ending sequence from when Pluto picks up the dynamite to the end.
Now for a very off beat Columbia Color Rhapsody, The Cuckoo I.Q. (1941). This may not be a great cartoon, but it has a certain oddball cham.
Now it is time for a commercial break.
Now it is time for some Saturday Morning minions.
Next comes one of Walt Disney's silent Alice Comedies, Alice Picks the Champ (1925). This short film stars Margie Gay, the third young actress to play the part of Alice. She appeared in 31 Alice Comedies. This is more than any of the other three child actresses who played the role. This film features Pete, who would eventually become Mickey Mouse's adversary. Animators on this film include Ub Iwerks, Rollin "Ham" Hamilton and Thurston Harper. It was in production from May 28th to June 17th, 1925. It made its LA debut in the Apollo Theatre that same year.
We continue with Sylvester and Tweety in Trick or Tweet (1959). This short film features Sylvester competing with Sam the cat for Tweety. This is not the first time the two had fought over Tweety. The two fought over Tweety before in two cartoons, Putty Tat Trouble (1951) and Tweet and Sour (1956). The two would later fight over a mouse in Mouse and Garden (1960). Sam's last appearance in a theatrical short film would be Merlin the Magic Mouse (1967), where he would meet up with the title character, one of the last Looney Tunes characters created for the theatrical shorts.
Now to close by singing a song we all know.
Thanks for joining me. Come back next week for another selection of classic cartoons. 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
Walt Disney's Mickey Mouse: The Ultimate History by J.B. Kaufman and David Gerstein
Walt in Wonderland: The Silent Films of Walt Disney by J. B. Kaufman and Russell Merritt.
There is a lot to really love about this movie. The framing device is simply brilliant. We see an intense tennis match being played inter-spliced with various flashbacks showing everything that lead the characters to where they are now. Though these flashbacks cover a span of 13 years and flow back and forth from these time periods often, the film never becomes hard to follow. The device is not only for show but also often holds the movie together. It shows how this romantic triangle is in fact just like a tennis match. This triangle often becomes a game of one-upmanship. Also like a game of tennis this romance is a heated game that is held together by passion and tension. However, while these things may make a great tennis match, they are not the same thing as love. Even from the beginning of the film, we know that this cannot bring any of these characters what they truly want it to. Speaking of passion and tension that is fully felt in many scenes in this film. Though the main characters may never be likable, they are charismatic. This is the main ingredient to the sexual tension. This ingredient is also most important to the female lead. We need to understand why the male characters are so enamored of her and in a film like this, her being beautiful would hardly be enough. Luckily what Zendaya brings to the role is so much more that this (though she is very beautiful). She brings a certain presence to this character that cannot be described but is more sexy than just physical beauty could ever be. If this film starred an actress who couldn't bring this, then the whole movie would simply fall apart. The musical score by Trent Reznor and Atticus Ross (both of whom were members of the rock band Nine Inch Nails) is simply incredible. If more tennis matches had music by them, everyone would watch tennis.
This film becomes less interesting when it delves more into the pure romantic melodrama that it eventually becomes. Since these characters are far from likable, they work less well in these melodramatic scenes. While these characters have a charisma that makes the more overtly sexual early scenes play very well, we simply don't care about them enough to really care enough about these more traditional romantic scenes. Those require a certain amount of sympathy that we don't have. The film also suffers from overlength and there is no doubt that a shorter runtime would have made this a much more gripping movie. This movie also suffers from a weak and underwhelming ending.
This movie may be uneven but there are some true moments of brilliance to be found.
Though this movie is based on a real story of the 1941 British special operation, Operation Postmaster, this is not to be taken as a serious war drama. It takes a very simplified and fictionalized look at this true story. This is done to the point where this becomes less of a war movie and more of an action film with World War 2 as a backdrop. However, taken for what it is this is a fun movie. Though this film may not feature as much of the more eccentric filmmaking of some of director Guy Ritche's other movies, it still has very much of his great visual style. Because of this, it is a very handsome looking movie. There are some set pieces that truly stand out here, such as the song number. Guy Ritche of course knows perfectly how to handle an action scene and the action scenes here are tons of fun. In this department it provides the R-rated nazi killing goodness that people came to see this picture for.
The characters in this film work well enough. They are likable and fun to watch. However, there is not much to them. Because of this they are far from memorable. Being far from memorable is the biggest flaw of this movie. I enjoyed watching it, but I doubt that in a few months I will remember too much about it.
This is a really fun movie but has little to make it stand out from many current action films.
One can never say that this film lacks originality. This is a movie that is completely unlike anything I have ever seen before. However to say it is not for everyone would also be a great understatement. This is a very strange and experimental movie. This is the type of film that would have probably not been given a wide release if it had not been produced by Jesse Eisenberg (who also stars in it) and Ari Aster (director of Hereditary (2018), Midsommar (2019), and Beau Is Afraid (2023)). There is no real story here. Instead, we watch a small group of sasquatches (not animated but actors in costumes and prosthetics) live their lives out in the wild. Most of the picture seems to focus on them, peeing, pooping and having sex. The characters never speak any actual dialogue instead the simply make animal sounds. While this film will appeal only to a certain audience, it does have a real charm to it. I especially enjoyed the sense of atmosphere throughout this film. The sasquatches in many ways feel like prehistoric humans. This gives the movie a feeling of taking place in the distant past, even though the setting is more recent. This combination gives this film a strange other worldly feel that I found irresistible. On the other hand, the way this movie is filmed makes it feel almost like a nature documentary at times. This helps give it a nice and relaxed feel, even as it delves fully into absurdist humor. Also, as strange as this film is we grow to surprisingly connect with and care about these characters. This gives us some surprisingly effective emotional moments that really work. This movie also delves into such themes as isolation, the inevitability of change and environmentalism in a very intelligent and thought-provoking way. The mixture of this intelligence of the message and the immaturity of the humor adds a lot of charm to this film.
This movie does have one huge flaw though. That is that it is simply too repetitive at times. Much of the humor is rather juvenile revolving around pee, poop and sex. Sometimes though this humor is still very funny. The audience I saw it with certainly laughed a lot. However, there are times when these jokes simply get too repetitive and aren't as funny as they were at the start of the film. The repetitive nature of the movie can also make it drag at times and seem longer than the hour and a half it is.
While flawed, there is a lot I really liked about this very strange movie. While not for everyone, hopefully it will find an audience that appreciates it for the weird gem it is.
This is the first segment of the sixth episode of The All-New Super Friends Hour, unlike most other Super Friends formats, this one had hour long episodes that were made up of various shorter cartoons. The first segment would be an adventure staring two members (or three in some cases as Batman and Robin would often team with another Super Friend) of the Super Friends. The second would be a morality play staring the Wonder Twins. The third would be a typical half hour Super Friends adventure. The fourth and last segment would feature one of the main Super Friends teaming up with a special DC Comics guest star.
In this cartoon, a group called the Secret Four, is destroying factories to stop them from hurting the environment. Superman, Batman and Robin team up to stop them and teach them that there are better ways to stand up for what you believe in.
This is a really fun episode. I love the design of The Secret Four. The hooded look may be nothing original, but it is effective. I love how they project their covered faces into the sky. It gives them an eerie feel. The action scenes are excellent. The scene with Superman stopping the train is pure Superhero action at its best. Batman and Robin trying to escape from the Secret Four's hideout also adds a lot of fun. The background art is simply beautiful here. The look of the Secret Four's hideout (both inside and out) reminds me of classic Scooby-Doo! in the best ways. Like the Scooby-Doo! episodes this reminds me of, this look gives the cartoon a very effective since of atmosphere.
The message here is a little didactic, but this is a Saturday morning cartoon, and it does not get in the way of the fun.
The first feature film based off the popular anime is a fun time at the movies.
What I really appreciated about this film was that for a movie based off a TV show, it introduced the characters and premise in just the right way. It lets us know who these characters are very efficiently and quickly. Because of this it neither confuses newcomers nor bores those who watch the show. I have seen too many movies based on TV shows that did one of those two things. Because of this, the movie felt like a breath of fresh air in this department. What also made this movie work so much is that the characters are great. I simply truly enjoyed spending time with these characters. This worked especially well since the first part of the film has a smaller scale almost slice of life feel to it, before the movie goes into full action territory. By the time this film becomes a full action flick, we really do care about the characters and what happens to them. Speaking of the action scenes they are simply wonderful here. They are very exciting, well staged, well animated and a lot of fun. The humor of this film is often juvenile and immature. However, I would be lying if I said it didn't make me laugh. Not all of the comedy works. For instance, the whole gag about the "poop god" went on longer than it needed too, making it get less and less funny as it went on. However, I will definitely saw more jokes hit than those that failed. It also does a quite good job at balancing the action, humor and sentimentality throughout.
This film does have its flaws. The whole romantic misunderstanding goes on for much too long and doesn't add much to the movie. Many parts of the story are also incredibly predictable and sometimes you just wait for the inevitable to happen.
This may not be perfect, but it makes for a very fun trip to the movies and that is just what you want from a film like this.
This past weekend was one of the highlights of any movie fans year, the TCM Classic Film Festival in Hollywood, CA.
While unfortunately it is impossible to see every film at this festival (as many of them play at the same time at different theaters), I am very satisfied with the great selection (and great variety) of films I saw this year.
I started this festival on the right foot, watching one of the greatest crime movies ever made, White Heat (1949). This film (featuring one of James Cagney's best performances) looked simply incredible on the big screen at the historic Egyptian Theater. Speaking of looking incredible on the big screen, a new restoration of the great John Ford and John Wayne western, The Searchers (1956) on 70mm film was one of the most beautiful sights I have ever seen projected on a screen. As the film started my jaw dropped at how beautiful it looked. Having an introduction by one of the great modern-day directors, Alexander Payne made this only better, especially as he mentioned that members of the Wayne family were in the audience. That was not the only great western I saw there as I also saw the very underrated and unjustly obscure pre code western, Law and Order (1932) starring Walter Houston and Harry Carey. I had not seen this movie before and to say I was impressed, would be an understatement. If you stretch the definition of a western, I also saw a great 35mm nitrate print of the really fun musical Annie Get Your Gun (1950). I also saw a great 35mm nitrate print of the underrated film noir (starring Edward G. Robinson), The Night Has a Thousand Eyes (1948). Being a huge Hitchcock fan I had to see the two Hitchcock screenings. They were of two of his greatest classics, Rear Window (1954) and North by Northwest (1959). I was also pleased to see a classic foreign picture, Fredrico Fellini's La Strada (1954), one of my favorite movies of all time.
Naturally for someone like me the highlights of the festival were the animation and silent film screenings. On the animation side there was Disney's 101 Dalmatians (1961) and a screening of various newly restored theatrical cartoon shorts. 101 Dalmatians was made more impressive by having an interview with the great classic Disney animator Floyd Norman. In my mind he is one of the coolest guys living today. His insights into the Walt Disney animation studio at this time period where simply fascinating to listen to. The classic cartoon shorts (mostly from the Fleischer studio) were introduced by Family Guy creator, Seth MacFarlane (who does sound just like Brian Griffin), whose passion for these classic cartoons (and film history in general) could be felt throughout. He also helped fund the restorations of these films. Speaking of the restorations they looked simply incredible.
The first of the two silent film screenings began included the Edward Evert Horton short film, Dad's Choice (1928) and the Raymond Griffith feature Paths to Paradise (1925). To see such little-known silent gems on the big screen felt like heaven to me. The laughter of the audience during the climax of the feature showed why these films should be seen with a full audience. Great accompaniment by Ben Model didn't hurt either. The other silent film screening ended the festival on a high note for me. It had two classic Buster Keaton films, the short The Goat (1921) and the feature Sherlock Jr. (1924). These films had the whole audience in hysterics. Even though I have seen these films countless times, seeing it with such an appreciative audience made me laugh myself silly too. The live accompaniment by the Mont Alto Motion Picture Orchestra was simply beautiful and helped make these 100-year-old and 103-year-old films feel completely new and fresh.
Also adding to the fun was a wonderful panel by Arthur Marx, grandson of Groucho Marx (on his dad's side) and songwriter Gus Kahn (on his mother's side). He not only talked about both of his great grandfathers but performed many of Gus Kahn's songs asking the audience to sing along with him. It is also wonderful to talk to many of the others at the festival. There is something about old movie fans when they meet. They have a true kinship with each other that shows just why these movies are so important.
If you have not been to the TCM Film Festival yet, it is a must for every classic movie fan.
Hello my friends and happy Saturday morning. Once again it is time for some classic cartoons.
Today's cartoon selection begins with the one and only Mighty Mouse in Raiding the Raiders (1945).
Next is a Max Fleischer Color Classic, The Cobweb Hotel (1936). This series of short films great resembled Disney's Silly Symphonies shorts. Like those films these cartoons mostly feature one-off characters rather than the reoccurring characters of the Fleischer's other series (Popeye, Betty Boop, etc.). Also like the Disney Silly Symphonies there is often a focus on the story in these cartoons rather the humor or characters (however there are a few films from both series that put gags or characters first). The Fleischer Color Classic's though often had a bit of a dark edge to them that I love. That can definitely be felt in this film.
Next comes a wonderful Friz Freleng directed cartoon, D' Fightin' Ones (1961). This short film is a wonderful parody of the Stanley Kramer movie The Defiant Ones (1958). In that movie a white man and a black man who are chained together escape from prison. Despite the white man being a racist and the two having a strong hatred for each other the two must work together to survive. In this cartoon we have instead of a white man and a black man, we have Sylvester the cat and a big dog chained together. This idea in itself its very funny, but the cartoon is still wonderful even for those who don't know what it is parodying.
Next comes the Aesop's Sound Fables cartoon, The Night Club (1929). In many ways this short film can feel very primitive compared to cartoons that would come out a couple years later. However, the surreal gags and pure creativity more than make up for this.
Now it is time for a commercial break.
Now for a Fractured Fairy Tale.
It is now silent movie time. So enjoy, The Eclipse of the Sun (1918). This film was originally released in 1918, but this version of the film was a 1923 reissue. Both of those years featured a solar eclipse, which explains the reissue. This educational film was the work of Max Fleischer (Popeye, Betty Boop, Superman), who made many educational shorts during the silent era.
Next comes a wonderful Donald Duck cartoon, Modern Inventions (1937). A review in The Film Daily called this picture, "One of the funniest episodes in which Donald Duck has been featured." In a 1938 article from World Film News Richard Ford writes, "Several Disney Cartoons - Donald and Pluto and Modern Inventions have Machiavellian incidents to which many children are frightening. This fear subsequently gives way to sympathy for the victim, so that Donald Duck is liked on a basis of tragedy rather than comedy." In the June 26, 1937 issue of Boxoffice magazine this movie was named "Short of the Week." The following is the review from that issue. "Donald Duck stamps himself as pre-eminent among cartoon comedians by his hilarious antics in his creator's final Technicolor subject for United Artists release. Unquestionably one of the most laugh-provoking subjects to issue from Disney studios since Donald first made his timid entrance as a minor cartoon character over a year ago. In this clever satire on the machine age Donald enters an exhibit where a robot butler immediately moves his hat much to the duck's fury. His irritability increases as he is cradled in an automatic baby carriage and is forcibly fed with a bottle and clothed with a diaper. However, the piece de resistance is Donald's struggles while placed upside down in a barber chair with the mechanical attendant clipping off his tail feathers and blackening his face. The laughs follow in such quick succession that they are practically continuous." Though no director is credited on this short, it was directed by Jack King, who directed many of Donald's finest cartoons.
Now let us close by singing a song we all know.
Thanks for joining me. Come back next week for another selection of animated treasures. Until then may all your tunes be looney and your melodies merry.
A film about a major modern civil war sweeping across the U.S. should either be a fun popcorn movie or an intelligent political commentary. This film is neither. Civil War takes itself too seriously to ever be anything that is even remotely entertaining. On the other hand, it plays things much too safe to really say anything at all. This movie seems too afraid to say anything even remotely controversial. Because of this you get the same extremely basic messages about war, politics and journalism that you have heard in a million other movies. The movie says absolutely nothing that anyone watching it has never heard before. The film gets increasingly dark and unpleasant as it goes along. However, since there is no real point to the story, this is simply unpleasant and grim to be unpleasant and grim. It makes the movie simply a chore to watch and offers no reward to the audience who sits through these hard to watch scenes.
A major missed opportunity comes from the characters being incredibly bland and lacking any personalities. This takes away what easily been the most interesting part of the whole film. The story follows a group of war journalists, who are driven to follow these stories regardless of how dangerous the task is or how horrific the world they see is. This could have been a great opportunity to look into just what drives a person to do something like this. Yet we never really get to know who any of these characters really are or what exactly makes them so driven. For a film that wants so badly to feel real, the characters don't feel like real people for even a second.
This movie strives for realism but while it may visually look realistic, the storyline is far from believable. It is incredibly far-fetched much of the time and many story points make one scratch their heads. From the bizarreness of California and Texas being two states that are involved in the secession from the U.S. (could they have picked two states that are more politically different) to the over-the-top unintentional silliness to many of the action scenes to the unintentional corniness of the final line, there is little here that feels real at all.
I find it hard to believe that the critics are being so kind to this film and have to wonder if they saw a different movie than I did. This is painful to watch.
This is the final segment of the fifth episode of The All-New Super Friends Hour, unlike most other Super Friends formats, this one had hour long episodes that were made up of various shorter cartoons. The first segment would be an adventure staring two members (or three in some cases as Batman and Robin would often team with another Super Friend) of the Super Friends. The second would be a morality play staring the Wonder Twins. The third would be a typical half hour Super Friends adventure. The fourth and last segment would feature one of the main Super Friends teaming up with a special DC Comics guest star.
In this cartoon Batman and Robin team up with The Atom to stop a large energy mass from sending a train off the tracks.
This is a very fun episode. It is fun to watch an episode where the villain is neither a man nor a monster but rather just an escaped mass of energy. The design of this mass is a lot of fun with its glowing orange colors and is somewhat reminiscent of the ghost from The Scooby-Doo! Show episode, Watt a Shocking Ghost (1976). The action scenes in this episode are also top notch. It especially works well with the cutting back and forth between Batman and Robin trying to stop the train from the outside and The Atom trying to reach the brakes inside while avoiding the energy mass. This crosscutting makes the cartoon very exciting from start to finish.
Hello my friends and welcome back to another service of Cowboy Church.
Today's music selection begins with Roy Rogers and Dale Evans 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.”
This is followed by Molly O'Day with her 1946 recording of The Tramp On The Street. This song was written by the husband-and-wife team of Grady and Hazel Cole. This duo not only wrote great songs by recorded some as well.
Afterwards is a recording by Grady and Hazel Cole (who wrote the last song). Here is them with their 1939 recording of Brother, Be Ready For That Day.
Then is Johnny Cash with Softly and Tenderly. The song was written by an Ohio businessman named Will Thompson in 1880. As well as writing gospel songs Thompson also wrote quite a few secular songs and parotic songs. When the songs he wrote were rejected by publishers he created his own company, Will L. Thompson & Company. This company would not only publish music by sell musical instruments. Softly and Tenderly first appeared in 1880's Sparkling Gems, Nos. 1 and 2, a collection of songs from the company. When evangelist Dwight L. Moody was on his death bed he told the songwriter, "Will, I would rather have written ‘Softly and Tenderly Jesus Is Calling’ than anything I have been able to do in my whole life." This was appropriate as Will decided to make songwriting his career while at a meeting held by Moody. This version of the hymn comes from John's 1975 gospel album, Johnny Cash Sings Precious Memories.
Up next is Larry Gatlin performing Great Is Thy Faithfulness at the 17th Dove Awards.
That is follow by The Sons of the San Joaquin with God Leads His Dear Children Along. This recording comes from the group's 1997 gospel album, Gospel Trails.
Now for the Sons of the Pioneers with The Old Rugged Cross. The song 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. This version comes from the Sons of the Pioneers' new gospel album, Campfire Spirituals.
Today's musical selection ends with Wayne Raney with his 1949 recording of Gathering in the Sky.
Now for a message from Billy Graham.
Now for the Roy Rogers movie, Bad Man of Deadwood (1941). This film is once again directed by Joseph Kane, who directed many B westerns starring such cowboy stars as Roy Rogers, Gene Autry and John Wayne. Also in this film's cast is Gabby Hayes (who always made every B western he was in better), Carol Adams (who spent most of her career playing small uncredited roles), Henry Bradon (best known as the villain in Laurel and Hardy's Babes in Toyland (1934) and Chief Cicatrizin The Searchers (1956)) and Sally Payne (who had also been in the Roy Rogers movies, Young Bill Hickok (1940) and Robin Hood of the Pecos (1941)).
If any of you lacks wisdom, let him ask God, who gives generously to all without reproach, and it will be given him. James 1:5
For the word of God is living and active, sharper than any two-edged sword, piercing to the division of soul and of spirit, of joints and of marrow, and discerning the thoughts and intentions of the heart. Hebrews 4:12
I can do all this through him who gives me strength. Philippians 4:13
Is anyone among you sick? Let them call the elders of the church to pray over them and anoint them with oil in the name of the Lord. And the prayer offered in faith will make the sick person well; the Lord will raise them up. If they have sinned, they will be forgiven. James 5:14-15
On a Sabbath Jesus was teaching in one of the synagogues, and a woman was there who had been crippled by a spirit for eighteen years. She was bent over and could not straighten up at all. When Jesus saw her, he called her forward and said to her, “Woman, you are set free from your infirmity.” Then he put his hands on her, and immediately she straightened up and praised God. Indignant because Jesus had healed on the Sabbath, the synagogue leader said to the people, “There are six days for work. So come and be healed on those days, not on the Sabbath.” The Lord answered him, “You hypocrites! Doesn’t each of you on the Sabbath untie your ox or donkey from the stall and lead it out to give it water? Then should not this woman, a daughter of Abraham, whom Satan has kept bound for eighteen long years, be set free on the Sabbath day from what bound her?” When he said this, all his opponents were humiliated, but the people were delighted with all the wonderful things he was doing. Luke 13:10-17
And Jesus went throughout all the cities and villages, teaching in their synagogues and proclaiming the gospel of the kingdom and healing every disease and every affliction. Matthew 9:35
And without faith it is impossible to please him, for whoever would draw near to God must believe that he exists and that he rewards those who seek him. Hebrews 11:6
Thanks for joining me. Come back in a couple weeks 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 Heckle and Jeckle in Blind Date (1953). Paul Terry considered the Heckle and Jeckle cartoons the finest he ever produced, and I personally agree. I love the ending of this film.
Up next is Donald Duck in Donald's Diary (1954). The cartoons Jack Kinney directed for Disney often times had an offbeat, almost Tex Avery like sense of humor. That is on full display here. This short film is far from your typical Donald Duck short but that is just what makes it so delightful and funny. This film would make its TV debut on an episode of Walt Disney Presents entitled This is Your Life, Donald Duck (1960).
Next comes the Aesop's Sound Fables cartoon, The Barnyard Melody (1929). The title is a reference to the feature length movie, The Broadway Melody (1929). Though forgotten today, The Broadway Melody would become the first sound Best Picture winner at the Oscars.
In the 1930's the Fleischer Studio's Popeye cartoon had reached an incredible level of popularity even rivaling that of Mickey Mouse. These simple black and white seven-minute cartoons captured the hearts of moviegoers just as much as any feature film. Because of this both Paramount encouraged the cartoon studio to create something bigger with Popeye. The result was a series of three two-reel full color cartoons starring the cartoon sailor. These films were over twice the length of an average Popeye cartoon and they felt bigger in every way possible. My personal favorite of the three is the second, Popeye the Sailor Meets Ali Baba and His Forty Thieves (1937). This one has the same larger than usual and visual gorgeous look as the others, but in my opinion the humor in this short is probably the funniest. The cartoon was later edited down to a seven-minute short with some new animation featuring Popeye and his nephews for a cheater cartoon, Popeye Makes a Movie (1950). The following are some exhibitor reviews from the Motion Picture Herald, "Popeye the Sailor Meets Ali Baba and His Forty Thieves (Color Special): Popeye the Sailor - A two-reel cartoon that means nothing more at the box office than a single. Does not compare with 'Sinbad the Sailor' in entertainment. Running time, 17 minutes. A. Goldson, Gold Coast Theatre, Chicago, Ill. Neighborhood Patronage." "Popeye the Sailor Meets Ali Baba and His Forty Thieves: Popeye the Sailor - Not nearly as funny as it ought to have been. Still most everyone enjoyed it. Popeye needs a change of diet anyway. One tires of too much spinach. - L. A. Irwin, Palace Theatre, Penacook, N.H. General Patronage." "Popeye the Sailor Meets Ali Baba and His Forty Thieves: Popeye the Sailor - Ran it to bolster 'Rosalie' and really believe it drove in a few. Play it. They'll enjoy it. Running time, 20 minutes. - A.E. Eliassen, Rialto Theatre, Paynesville, Minn., Small Town and Rural Patronage." "Popeye the Sailor Meets Ali Baba and His Forty Thieves: Popeye the Sailor - Played this with 'College Holiday.' We put this in as a double attraction and which met with a great success. Played the Easter Sunday with very good business. Had a large matinee. Popeye sure pleases the children. -Edelstein Amusement Company, Homer Theatre, Hibbing, Minn. General Patronage." "Popeye the Sailor Meets Ali Baba and His Forty Thieves: Color Special - This is an extra price cartoon of two reels, which was just one reel too long. They can't sustain an audience's attention for the extra length, and it got boresome before it was halfway through. Don't buy it. Kids will like it of course but you don't pay off with them. - A.E. Hancock, Columbia Theatre, Columbia City, Ind. General Patronage."
Now it is time for a commercial break.
Now it is time for some Saturday Morning Minions.
Now it is silent movie time. So, enjoy this silent short film from director Emile Cohl, Dream of a Waiter (1910). Emile Cohl is considered one of the pioneers of animation and his film, Fantasmagorie (1908), which has sometimes been called the first animated cartoon. Of course, it is hard to be sure of any first in film history. Still his pioneering work has led Emile Cohl to be called, "The Father of the Animated Cartoon."
Though when most animation fans think of Tex Avery, they think of his films for MGM, I have always had a huge fondness for his work at Warner Brothers as well. What I love about his films for Warner Brothers is that he takes very conventional storylines and adds his wacky sense of humor. One of my favorite of his films for Warner Brothers is Porky’s Preview (1941). This cartoon takes a cute premise of Porky Pig (still a child in this film) making a cartoon movie show for his little barnyard friends and turns it into a wonderful self-parody of cartoons themselves. I love how even musical director Carl Stalling gets in on the joke by giving us kiddie versions of songs he often used in the Looney Tunes cartoons.
Now let us close by singing a song we all know. By the way for any of my fellow country music fans, yes Hank Williams Jr. is singing this.
Thanks for joining me. Come back next week for more animated treasures. Until then may all your tunes be looney and your melodies merry.
This is the third segment of the fifth episode of The All-New Super Friends Hour, unlike most other Super Friends formats, this one had hour long episodes that were made up of various shorter cartoons. The first segment would be an adventure staring two members (or three in some cases as Batman and Robin would often team with another Super Friend) of the Super Friends. The second would be a morality play staring the Wonder Twins. The third would be a typical half hour Super Friends adventure. The fourth and last segment would feature one of the main Super Friends teaming up with a special DC Comics guest star.
In this cartoon, when a giant octopus attacks a group of scientists underwater, the Super Friends are called to save the day. Since it is underwater, Aquaman comes down and saves the day. However two sea creatures see this and force him to fight in their undersea gladiator games. When the other Super Friends go to save him, they find themselves also forced to fight in these games.
This is a wonderful cartoon. The idea of the Superfriends being forced to fight in these games is a wonderful plot and leads to a lot of great action scenes. The designs of the monsters used in these games are delightful and add a lot to the fun. The underwater city also features much of the great background art seen in Hanna-Barbera cartoons of this era. This helps give the episode a great sense of atmosphere. There is also a great sense of suspense here as this episode truly makes us believe the Super Friends are in true danger with the way the villains are able to subdue the super powers of our heroes.
This is the second segment of the fifth episode of The All-New Super Friends Hour, unlike most other Super Friends formats, this one had hour long episodes that were made up of various shorter cartoons. The first segment would be an adventure staring two members (or three in some cases as Batman and Robin would often team with another Super Friend) of the Super Friends. The second would be a morality play staring the Wonder Twins. The third would be a typical half hour Super Friends adventure. The fourth and last segment would feature one of the main Super Friends teaming up with a special DC Comics guest star.
In this cartoon some teenage boys decide to break into their high school at night and trash the place. The Wonder Twins come to stop them.
This is another lame Wonder Twins cartoon. Once again the message takes place over the entertainment value. The result is another cartoon that feels didactic. The dialogue once again simply preaches to us and doesn't sound like how anyone would talk. The teenagers are not characters but rather simply a way to get the message across. The action is lame and unexciting.
This film tells the story of the first Mexican American High School golf team. While the story is told in a very conventional but effective way. Like all underdog sports movies the most important element is that we must root for this team to win. That is exactly what happens here. Part of this comes from the stakes against these characters and scenes where they are very mistreated simply because they are Mexican. We want them to prove to everyone who ever mistreated them that they deserve respect. Part of the reason we root for these characters is because they are likable characters. They may not be complex, but they are easy to like and relate to. The same can be said for their coaches as well. This movie also takes an intelligent look at the sheer stupidity of racism in a way that easily speaks to us but is never preachy. There are also plenty of moments here, which are great crowd pleasers (I wish there was somebody else in the theater with me). They may be clichéd, but these moments are also tried and true and they work.
This film does have some problems though. For instance, it is too reliant on the formula for these types of movies. The subplots involving the romance and the father who doesn't believe in his son feel incredibly rushed and by the numbers. Neither of these subplots are given time to be fully formed here but simply have to be here because they are conventions for these types of movies. Another fault is that most of the boys on the teams are much too similar to each other and their personalities seem to run together.
While not a great movie, this is still a delightful film that genre fans should enjoy.
This movie is not only an action vehicle for actor Dev Patel, but it also marks his directorial debut. While not perfect, he definitely shows a lot of promise as a director. This is a very stylish film. Though it definitely takes a lot of inspiration from the John Wick movies in this department, this film can easily stand on its own in this department. This is especially seen in the exciting (and very gory) action scenes. These action scenes are what are going to bring audiences to theaters and though they many disappoint some in quantity, they will fully satisfy action fans in quality. These fight scenes are a visual treat especially with the uses of lighting and choreography. Yet these are not the only stylish scenes in this movie. The looks into the darker places in India are very atmospheric. They make one feel more uncomfortable than you might expect from a revenge action flick, but this only makes the whole film work better. The uses of flash backs into the main character’s childhood are also masterfully done. This movie also does a great job at making us connect with our hero. He is a good guy in a world that often seems out to get him. There is no way not to care about this character. Because of this when we get to the action scenes, they are very effective.
This movie does have its problems though. It's political commentary often comes off as very muddled. Sometimes it is very basic commentary that we have seen many times before and sometimes the delivery of it can make it seem unclear. The pacing can also be off in this movie and between the exciting scenes there are also quite a few that can drag. The main problem though is that all of the supporting characters (Sadly including the villain) are simply bland.
Despite its flaws, this action film has a lot to love about it.
Hello my friends and welcome back to another service of Cowboy Church.
Today's musical selection begins with Roy Rogers and Dale Evans with May The Good Lord Take A Likin' To Ya.
This is followed by Kitty Wells with Let's Regain the Garden. This recording comes from Kitty Wells' 1965 gospel album, The Kitty Wells Family - Gospel Songs.
Afterwards is Tex Ritter with his 1955 recording of These Hands. On this recording Tex is backed up by The June Nelson Singers and Nelson Riddle with his orchestra. This song was written by Eddie Noack, a country singer who had a hit with his 1968 recording of Leon Payne's murder ballad Psycho. Out of the song's Noack wrote, These Hands is probably the most popular. Johnny Cash, Hank Snow and George Jones also recorded it.
Then comes Williamson Branch with Oh How I Love Jesus. This hymn was based off a poem by Frederick Whitfield. This poem was entitled The Name of Jesus and originally appeared in 1855 in hymn-sheets and leaflets. It would appear in 1861's Sacred Poems and Prose, which was a collection by Whitfield himself.
This is followed by Willie Nelson with his self-penned gospel song, In God's Eyes. Writing about this song (in his autobiography It's a Long Story: My Life) Willie stated, "I needed to remind myself that, although I've strayed from the straight and narrow, I never strayed from my core beliefs. In 'In God's Eyes,' the next song in the sequence, I made that very point." This song comes from Willie's 1971 album, Yesterday's Wine. About this album Willie would state (again in his autobiography), "I looked up and simply began asking questions. Rather than keep those questions to myself, I put them into songs. The songs became my own particular prayers, my own personal reflections. I strung those prayers and reflections together in a loose-fitting suite. Music critics were throwing around the term 'concept album' - like the Beatles' Sgt. Pepper's Lonely Hearts Club or Marvin Gaye's What's Going On. I suppose you could say this new notion of mine came together as a concept album. Rather than trying to write a bunch of hit singles, I simply followed the natural path taken by my mind."
A Singer of Songs in my mind gets down to the essence of Johnny Cash and honestly when I first I found out I was surprised he had not written it. What is interesting is that when interviewed about this recording for the Unearthed Box set, Johnny stated, "Good song but I don't know whose it is." Producer Rick Rubin in comments for the box set stated that he felt this was "one of the most touching and emotional of all the songs." However, he admitted "I have no idea where it came from. I don't even remember recording it." He wondered how he could have possibly missed putting this song on one of the albums he and Johnny did together. Johnny's song John Carter Cash however shed light on where this song came from. "Every once in a while, I'd bring in a song or two - he knows instantly, when he hears a song, whether it will work out for him or not. This was written by Tim O'Connell." This song was recorded during the sessions for Johnny's third album for Rick Rubin, Solitary Man. Johnny was a heart simply a singer and a storyteller and he knew that there was no greater story than that of Jesus Christ.
Next is The Sons of the Pioneers with their 1937 recording of Power in the Blood. Though there may be many tough times we may face in life and days that seem overwhelming, the blessing of Jesus Christ and the power of his love is greater than any hardship we might face. Roy Rogers sings lead on this track and the great bass vocals are by Hugh Farr.
Today's musical selection ends with Don Gibson with God Walks These Hills with Me. No matter what we may go through in life God walks every hill with us and we are never truly alone. This recording comes from Don's 1964 gospel album, God Walks These Hills.
Now for the Roy Rogers movie, The Arizona Kid (1939). This film also features Gabby Hays who simply makes every B Western he is in better simply by his presence. Stuart Hamblen, writer of such songs as It Is No Secret (What God Can Do), This Ole House, Texas Plains, Open Up Your Heart (And Let the Sunshine In), (Remember Me) I'm the One Who Loves You and Hardrock, Coco and Joe, plays the villain. This movie was directed by Joseph Kane, who specialized in making fast paced and fun B Westerns. He directed films starring such great cowboy stars as Roy Rogers, John Wayne, Gene Autry, Ken Maynard and William Boyd.
Now for C.S. Lewis essay, Good Work and Good Works.
Finally, all of you, be like-minded, be sympathetic, love one another, be compassionate and humble. 1 Peter 3:8
Even as the Son of Man came not to be served but to serve, and to give his life as a ransom for many. Matthew 20:28
So whether you eat or drink or whatever you do, do it all for the glory of God. 1 Corinthians 10:31
Do your best to present yourself to God as one approved, a worker who has no need to be ashamed, rightly handling the word of truth. 2 Timothy 2:15
In the same way, let your light shine before others, so that they may see your good works and give glory to your Father who is in heaven. Matthew 5:16
Beloved, do not believe every spirit, but test the spirits to see whether they are from God, for many false prophets have gone out into the world. 1 John 4:1
Do not be conformed to this world, but be transformed by the renewal of your mind, that by testing you may discern what is the will of God, what is good and acceptable and perfect. Romans 12:2
Whoever is wise, let him understand these things; whoever is discerning, let him know them; for the ways of the Lord are right, and the upright walk in them, but transgressors stumble in them. Hosea 14:9
Thanks 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 Little Lulu in Lulu Gets the Birdie (1944). The following is a review from The Showmen's Trade Review magazine, "The third of the Lulu series stacks up well with the first two and makes clever use of Technicolor when Lulu's cat upsets different colored paint all over the place. This episode comes about because Lulu is trying to do away with the little birdie who told on her. A noticeable change in this number is that Lulu appears to be a sweeter child than heretofore - a change not altogether good for audience appeal. Let's have that schemer again. This series is for all audiences and holds to a high standard.
Next comes one of my favorite Terry Toons cartoons, Post War Inventions (1945). This short film features our good friends Gandy Goose and Sourpuss. While the premise of the film may be dated, the humor and the imagination are still wonderful today.
Ferdinand the Bull (1938) began production as a Silly Symphony short but in the end the Disney studio released it as a Special. Unlike many Disney cartoons of the time which were either original stories or based off stories that dated quite a way back, this film was based off a contemporary story. The book had been published in 1936 and though there was controversy for its pacifist themes, it became a real best seller, even outselling Gone with the Wind. Walt bought the rights to the book in October 1937. Albert Hay Malotte, who wrote the score for this cartoon, would co-write a song called Fernand the Bull with Larry Morey. Though this song does not appear in the film it was used to promote the cartoon. The matador seen in this cartoon is a caricature of Walt Disney himself. The scene in which the matador enters was animated by Ward Kimball, who included himself as the little man carrying the sword. Animation for this cartoon would be reused by Disney in a wartime training film, Stop the Tank (1942), the Goofy cartoon, For Whom the Bulls Toil (1953) and the feature length, Fun and Fancy Free (1947). The following is an article in Boxoffice Magazine (Dated January 7th, 1939). "Sioux Falls, S.D. Manager Joe Floyd of the Granada covered nearly all the angles for the RKO-Disney short, 'Ferdinand the Bull' the subject rated a holdover. A 14-foot cutout of Ferdinand was used in the lobby illuminated by two Klieg lights. Another large cutout was anchored a sound truck which blasted announcements and played the show's records. Four illuminated billboards were used with two thirds of the space given over to the Disney picture. Window displays were especially made by Floyd and there were 12 in select locations. A feature of the advertising was a teaser campaign: newspaper space was in editorial columns were large throughout the run. There were extra announcements on the radio and records of 'Ferdinand the Bull' were broadcast several times through station KELO, which reaches about 150,000 persons."
Now for the Aesop's Sound Fables cartoon, The Old Hokum Bucket (1931). Like all of these films, this short is quite primitive compared to what Disney was doing at the same time, but the creativity and Gene Rodemich's music make it well worth watching.
Now it is time for a commercial break.
Now it is silent movie time with one of Walt Disney's Alice Comedies, Alice the Fire Fighter (1926). The Alice Comedies were a series of short films which combined a live action little girl with an animated world. This series also marked the first series of films by Walt Disney to use reoccurring characters. Here Alice is played by Margie Gay, the third child actress to play the character.
Now it is time for some Saturday Morning Minions.
Next comes a classic Norman McCabe directed Daffy Duck cartoon. Though he only directed three Daffy cartoons, Norman McCabe more than proved himself as a perfect match for this character. Though his Daffy was still wild and crazy, Norman's cartoons gave him a more fully formed personality than previous directors did. Besides just the personality these films were extremely high energy cartoons that were extremely fun. Norman McCabe would continue working with the Looney Tunes characters well past the golden age of Looney Tunes, as he would be a timing director for the TV shows, Tiny Toon Adventures (1990-1991), Taz-Mania (1991-1995) and The Sylvester & Tweety Mysteries (1995-1996). So, enjoy Impatient Patient (1942).
Let us close by singing a song we all know.
Thanks for joining me. Come back next week for more animated treasures. Until then may all your tunes be looney and your melodies merry.
Resources Used
Of Mice and Magic: A History of the American Animated Cartoon by Leonard Maltin
Silly Symphonies: A Companion to the Classic Cartoon Series by Russell Merritt and J.B. Kaufman
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