Hello, my friends and happy Saturday morning. Once again it is time for some classic cartoons.
The Skelton Dance (1929) was the first of Disney's Silly Symphonies and one of the best. The idea for the series came from musical director Carl Stalling (who would later work on the Looney Tunes and Merrie Melodies). The Silly Symphonies were designed to revolve around music. Walt Disney loved the idea and felt that a second series would allow him to experiment more and not be tied down by the formula of a Mickey Mouse cartoon. The idea for the first film also is believed to have come from Stalling. Stalling would tell historian Michael Barrier about the genesis of the movie stating, "He thought I meant illustrated songs, but I didn’t have that in mind at all. The Skeleton Dance goes way back to my kid days. When I was eight or ten years old, I saw an ad in The American Boy magazine of a dancing skeleton, and I got my dad to give me a quarter so I could send for it. It turned out to be a pasteboard cut-out of a loose-jointed skeleton, slung over a six-foot cord under the arm pits. It would ‘dance’ when kids pulled and jerked at each end of the string. Ever since I was a kid, I had wanted to see real skeletons dancing and had always enjoyed seeing skeleton dancing acts in vaudeville.” Though Carl Stalling would use an excerpt from Edvard Grieg’s March of the Dwarfs, most of the music was an original by Stalling. The animation for the movie was completed in six weeks. The majority of the animation was done by Ub Iwerks, the Disney studio's main animator at the time. He animated some of the earliest Mickey films entirety by himself. On this film he was assisted by Wilfred Jackson and Les Clark. It is not known for sure what Les Clark animated as some sources state he animated the opening scene and others (including his own) state he animated one skeleton playing another's ribs as a xylophone. Wilfred Jackson most likely animated the scene where the rooster crowing (which was reused in The Cat's Nightmare (1931)). When Walt tried to sell this film, it did not go as smoothly as he excepted. Walt's daughter, Diane Disney Miller, would later speak about this, “Father wasn’t easily discouraged. He took The Skeleton Dance to a friend who ran the United Artists Theater in Los Angeles and asked him to look at it. ‘We’re looking at some other things this morning,’ the man said, ‘and I’ll have my assistant look at it. You go with him’. Father sat beside the assistant while the film was run. It was just before the first morning show; a few customers had drifted in and it was obvious they liked The Skeleton Dance but the assistant didn’t listen to them. ‘Can’t recommend it,’ he said. ‘Too gruesome’. Father got a hold of another friend and asked him if he could put him in touch with Fred Miller who managed the Carthay Circle, one of the biggest and most important theaters in town. Father’s friend sent him to a salesman on Film Row. ‘Maybe he can get him to look at your skeleton film’. Father found the salesman in a pool hall shooting a little Kelly (a game played on a standard pool table with sixteen pool balls where each player draws one of fifteen numbered markers called peas or pills at random from a shake bottle which assigns to them the correspondingly numbered pool ball, kept secret from their opponents, but which they must pocket in order to win the game). ‘Leave your picture here, Disney,’ the Kelly player said. ‘I’ll look at it. If I like it, I’ll get in touch with you’. It sounded like a stall but he actually did look at the film. When he looked he said, ‘I think Fred will like this. I’ll take it over to him myself’. As a result, Miller showed The Skeleton Dance with a feature picture he was running. It went over big. Father clipped the local press notices and mailed them to Powers with a note: ‘If you can get this to Roxy (the nickname of Broadway showman Samuel L. Rothafel who ran New York’s prestigious Roxy Theater), he’ll go for it the way Miller did. Powers got a print to Roxy and Roxy liked it. He ran it in his huge New York theater.” This movie premiered at the Carthay Circle on June 10, 1929 alongside F.W. Murnau's feature film, 4 Devils (1929). The Carthay Circle is where later Disney features like Snow White and the Seven Dwarfs (1937) and Fantasia (1940) would make their Hollywood premiers.
Up next is the Fleischer Brothers Screen Songs cartoon, You Try Somebody Else (1932). This short film features an early appearance by Betty Boop. This song was written in 1931 by B.G. De Silva and Lew Brown and has lyrics by Ray Henderson. The song had been recorded by the likes of Kate Smith, Rudy Vallee, Ted Black, Guy Lombardo and Connie Boswell. The trio of songwriters also wrote The Best Things in Life Are Free.
Now for the Terry Toons cartoon, Beaver Trouble (1951).
Now for the Aesop's Sound Fables cartoon, The Mill Pond (1929). This short film features our good friend Farmer Alfalfa. The animation and use of sound may feel crude compared to what Disney was doing at this time, but the cartoon has a kind of unpolished charm because of this. I also love how even if this is a sound cartoon, words for the sound effects as well as the characters giggling appears on the screen like this is still a silent cartoon. Musical notes even come out of the musical instruments.
Now it is time for a commercial break.
Next comes the Coyote and Roadrunner in Coyote Falls (2010). This short film played in theaters with the feature film, Cats and Dogs 2: The Revenge of Kitty Galore (2010). In theaters, this film played in 3-D, making it the first Warner Brothers cartoon in 3-D since Lumber Jack Rabbit (1953). This is the first of 6 theatrically released Looney Tunes cartoons directed by Matthew O'Callaghan. Matthew O'Callaghan also directed the feature films, Curious George (2006) and Open Season 2 (2008) as well as the Disney TV special Sport Goofy in Soccermania (1987). He also created the animated TV series The Itsy Bitsy Spider.
Next comes Felix the Cat in Pedigreedy (1927).
Next is a late Fleischer Studios Popeye short, I'll Never Crow Again (1941). The year after the release of this cartoon Max and Dave Fleischer would find themselves no longer making cartoons for Paramount and many of their employees continuing to make Popeye and Superman shorts for Paramount without them. Many critics of the Popeye series claim that all the cartoons simply feature Popeye and Bluto fighting over Olive. However, this short does not follow this formula in the slightest. The song that Popeye and Olive sing at the beginning of this cartoon is from the first of Fleischer Studio's two feature films, Gulliver's Travels (1939). A review in The Motion Picture Daily called this cartoon, "Good for a few laughs." A review in Showman's Trade Review stated, "While this is not the usual type of Popeye cartoon, the novelty is not sufficient enough to raise it out of the 'fair' class." The following is an exhibitor's review from The Motion Picture Herald, "I'LL NEVER CROW AGAIN: Popeye the Sailor— Popeye Cartoons are always enjoyed, but this was not as good as average. Running time, 7 minutes. —J. M. Thomsen, Center Theatre, Marlette, Mich. Rural patronage."
Today's cartoon selection ends with The Simpsons in The Closet (1988). This is one of the shorts made for The Tracey Ullman Show before the animated family got their own TV series.
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
https://cartoonresearch.com/index.php/the-spooky-story-of-the-skeleton-dance/
The Animated Man: A Life of Walt Disney by Michael Barrier
Of Mice and Magic: A History of American Animated Cartoons by Leonard Maltin
Walt Disney's Silly Symphonies: A Companion Guide to the Classic Cartoon Series by Russell Merritt and J. B. Kaufman.
https://mediahistoryproject.org/
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