Some Cartoons for Saturday Morning #276

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

Today's cartoon selection begins with Betty Boop's Ker-Choo (1933). Like many cartoons from the Fleischer Studios at this time, this film is filled with one surreal gag after another. Animator Dave Tender remembered about working at the studio, "Dave Fleischer's theory was that every scene should have a gag; nobody should animate a scene without a gag. He would come around, every other day perhaps, and speak to the guys. He'd pick up your scene and flip it, and he'd say, 'Where's the gag in this?' ... If you couldn't think of something in a scene, you would confer with him, and you would come up with something, what they considered a gag. Whether it was a chair moving across the room or an apple in a bowl of fruit animating up and saying something and then going back in the bowl - this was a gag a surprising bit of business."

Now we join our friend Dinky Duck in Foolish Duckling (1952). This Terry Toons cartoon was directed by Mannie Davis.

 Next comes a real classic, Falling Hare (1943). This cartoon features one of the few characters to get the upper hand of Bugs, the gremlin. Despite only appearing in this one short, the character has proven quite popular and has appeared in quite a few Looney Tunes spin offs. The original title for this movie was going to be Bugs Bunny and the Gremlin. However, since Disney was working on an animated feature film about Gremlins (a movie that would never be finished), the studio took the word Gremlin out of the title of this cartoon to appease the Disney studio. The following is a review from The Film Daily, "Literally and figuratively, Bugs Bunny, already a prime favorite among current cartoon characters, gets off to a flying start in the distribution season just started. The buck-toothed, long-eared clown meets up with a gremlin and both find themselves aloft in an airplane, with Bugs or what's left of him being darn glad to get back to earth. There are plenty of laughs throughout. The tough Bunny, if this initial '43-'44 offering of his producer Leon Schlesinger, is any criterion, is in for a further rise in popularity among fans who like humor. Of course, the reel is in Technicolor. It was supervised by Robert Clampett and animated by Roderick Scribner. Warner Foster wrote the story and Carl W. Stalling handled the musical direction." This movie amounts to one of my favorite Bugs Bunny cartoons and it is appropriately in Jerry Beck's book, The 100 Greatest Looney Tunes. 

Now for Donald Duck in Dude Duck (1951). This theatrical cartoon short made its TV debut in an episode of the Disneyland TV show entitled On Vacation (1956). Decades later this cartoon would return to movie theaters alongside the animated feature film DuckTales the Movie: Treasure of the Lost Lamp (1990). 

Now it is time for a commercial break. 

Next comes a Looney Tunes cartoon starring Beans the Cat (one of the Boston beans). Though not as well known Beans made his film debut in the same cartoon as Porky, I Haven't Got a Hat (1935). That cartoon was a takeoff on the Our Gang shorts and featured a bunch of little kid characters in a talent show. The studio did not know right away, which character would be the most popular, so they all appeared starred in some Looney Tunes when the studio was looking for a new character to replace Buddy (the rather bland character that had become that series' star). While Porky would become the most popular of these characters, Beans certainly had his fans in the studio as he would star in eight of these cartoons (Porky would even be relegated to a supporting role in some of these). Hollywood Capers (1935) is a good example of one of these Beans cartoons. While it may not be as laugh out loud funny as a Tex Avery or Bob Clampett Looney Tune, this is a charming little film that always puts a smile on my face. As a character Beans certainly has more personality than his predecessor Buddy. In many ways his personality is like the early Mickey Mouse before Mickey got toned down. He is very mischievous and always on a lookout for the next big adventure. Naturally this gets him in a lot of trouble but he always manages to have quite a bit of fun along the way. A quick joke has Beans disguise himself as Oliver Hardy to sneak into the movie studio. Porky would later try to do the same (less successfully) in You Ought to be in Pictures (1940). Look in the background for a poster advertising a fight between “Punchy” Pierce and “Hurricane” Hardaway. This is referring to two of the writers of Warner Brothers cartoons at the time, Tedd Pierce and Bugs Hardaway. Also, Beans is voiced by Tommy Bond here (who played Butch in the Our Gang shorts). 

Next comes the Fleischer Stone Age cartoon, Springtime in the Rockage (1940). Though on this film and most cartoons from the Fleischer Studio, Dave Fleischer is given a director's credit, on all these cartoons, he functioned more as a general supervisor than an actual day to day director. That job often fell to the first animator you see listed on each of these cartoons, here that is Myron Waldman.    

Now for our friend Kiko the Kangaroo in Skunked Again (1936). 

Now to close with a song. 

Thanks for joining me. Come back next week for more animated treasures. Until then may all your tunes be looney and your melodies merry. 

Resources Used

Hollywood Cartoons: American Animation in it's Golden Age by Michael Barrier

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

100 Greatest Looney Tunes edited by Jerry Beck

https://mediahistoryproject.org/

 

Movie Review: Newborn

 

Michael's Movie Grade: B

A good but flawed thriller. 

In this film, a man who is falsely accused of a crime gets out after spending 7 years in solitary confinement. However, he comes out very mentally unstable and his wife and son find themselves in danger. 

This is a very well-made thriller. Director/writer Nate Parker has a great talent for creating masterful suspense scenes. These scenes are perfectly shot and paced. The filmmakers get the maximum amount of tension that they possibly can out any of these scenes. Meanwhile the film offers up many smart and clever twists that keep us guessing what will happen next. David Oyelowo's great performance truly glues us to the screen giving us a real emotional connection. The nightmare sequences are shocking and disturbing to watch in the best way. 

However, the movie definitely has it flaws. It is so trapped in genre conventions (even greatly resembling Kubrick's The Shining (1980) at many points) that it never truly explores the deeper themes it brings up. Because of this the film doesn't say much at all. The ending is also very flawed, feeling too convenient for a film like this. 

This is a well-made and intense movie, but it is kept from being a great film by its reluctance to truly explore its deeper themes.  

Movie Review: Beast

 

Michael's Movie Grade: C+

A well-made but overly familiar sports film. 

In this film an ex-fighter who has been out of the ring for ten years agrees to go back and do one more fight when he has another child on the way and needs the money. 

If the storyline sound familiar to you that is because there is nothing here that has not been done a million times before. Everything about this movie feels very familiar to the point that when watching it you forget you haven't actually seen it before. 

That doesn't mean the film is bad though. There is quite a bit to recommend it. The fighting scenes are incredibly well done getting across the brutality of the sport without ever going overboard with the gore. These scenes are also very well filmed and paced. While not complex, the main character is likable, and you want to see him win. The villain on the other hand is the type that you love to hiss which makes us root for our main character even more. Daniel MacPherson is fantastic as the main character bringing some real charisma to a very simple character. The story unfolds at a fast pace and is never once boring.

The main problem with this film though is that the supporting characters are as bland as they can be. Most of these characters feel more like plot points than actual characters. Their existence here is simply little more than tools to move the story forward. This unfortunately can cut into the emotional impact of certain scenes. When characters feel so artificial, plot points that center on them also feel artificial. Of these supporting characters, the fighter's old trainer fares the best since he is played Russell Crowe. However, even a great actor can only do so much with such a bland character. 

This isn't a bad movie, but you will probably forget all about it a few weeks after you see it. 

 

Movie Review: The Yeti

 

Michael's Movie Grade: C+

An enjoyable but forgettable monster flick. 

In this movie, a team goes out to search for a group of explorers that have gone missing. Unfortunately, they also come across a killer yeti. 

There is some good fun to be had here. The characters, while not complex, do their jobs. We like the characters we are supposed to like and hate the ones we are supposed to hate. The cast does a great job adding to what are very simple characters with some pretty good performances. There is a real sense of atmosphere that gives this film a fun adventurous feel. Some of the suspense scenes are quite well done, actually creating some good tension. 

Like many movie monsters, the yeti is more frightening when he is kept offscreen than when we actually see him. When we actually see him fully onscreen, he is frankly less scary than the animatronic on the Matterhorn Bobsled ride at Disneyland. 

Mostly though the problem with this movie is that most everything about it is just okay and nothing more. When a storyline is this familiar, it needs to do at least one thing very well to stay in your mind. But since everything is done decently and nothing more, it becomes hard for you to remember it long after you watch it. 

This is one of those movies that you will enjoy while you are watching but completely forget about not long after you watch it. 

Video Link: Jean-Luc Godard Interview with Dick Cavett (1980)

 

Jobyna Ralston From the Tennessee Hills

 Jobyna Ralston is a name that should be familiar to many fans of silent comedy. She was the leading lady in seven of Harold Lloyd's classic feature length movies (including The Freshman (1925), Why Worry (1923) and The Kid Brother (1927)). While her work with Harold is her greatest claim to fame, she had a much more varied career than this. She even had a decent role in the first movie to win Best Picture, Wings (1927). She worked with another legendary screen comedian with Max Linder in The Three Must-Get-Theres (1922). Jobyna was directed by Frank Capra in The Power of the Press (1928). She even worked in early talkies with such films as The College Coquette (1929) and Sheer Luck (1931). 

Like many silent film stars she had a career on stage before acting in movies. At the age of 21 she made her Broadway debut with Two Little Girls in Blue (May 03, 1921 - Aug 27, 1921). (Source for dates: https://www.ibdb.com/broadway-cast-staff/jobyna-ralston-424259).

Here is an article about Jobyna Ralston from an issue of Motion Picture Classic (dated May 1926). If you have trouble reading the following pages, click on them and use your touch screen to zoom in. If you don't have a touch screen, click here. 

Now enjoy Shoot Straight (1923), a short silent comedy featuring Jobyna.

Here is one of the silent features where Jobyna was the leading lady for Harold Lloyd, Hot Water (1924). 

Movie Review: A Great Awakening

 

Michael's Movie Grade: A-

A superb historical drama. 

This movie tells the true story of the friendship between Benjamin Franklin and the preacher George Whitefield. This unlikely friendship between a deeply devout Christian and a man who has always been critical of religion and skeptical of God's existence is the heart of the film. The way these two very different men come to care for and respect each other is quite touching. Through this movie, you even get to see how the two clearly influenced one another. The way this relationship folds out and develops makes it so that we are fully capable of seeing what each saw in each other. Though they do argue about their theological and moral differences even in these scenes you can see how much they love each other. John Paul Sneed and Jonathan Blair's performances add very much to this. John Paul Sneed is one of the best Benjamin Franklins I have ever seen in a movie. He is so incredibly convincing that sometimes you almost forgot that he is not the real historical figure. George Whitefield is a very difficult character for any actor. To play this character you must be loud and boisterous (while never being over the top), while also being gentle and tender. That Jonathan Blair pulls this off perfectly is no small feat. This is a truly incredibly performance. The two actors also have fantastic chemistry with each other. They work extremely well together whether in scenes where they are gently ribbing each other or in the powerful scene later on when they are having a particularly heated argument. The film's concluding scene could have come off as a forced sermon but because of how we have seen this relationship unfold it feels like an earned emotional moment. 

Despite some poor special effects in one scene, this is a very handsome movie filled with the type of beautiful period look that audiences have grown to expect from this type of film. 

This is a truly great film that I hope finds a big audience.  

Filming Beau Geste

 After a recent restoration, screenings at the TCM and Cinecon Classic Film Festivals and a Blu-ray release, the silent version of Beau Geste (1926) has been receiving much attention lately. Because of this many are discovering what a good movie it is. That makes it the perfect time to share this vintage article with you.  

This article is from a June 1926 issue of Motion Picture Classic. If you have any trouble reading the following pages, click on them and use your touch screen to zoom in. If you don't have a touch screen, click here.

How the Keystone Kops Happened

 Have you ever wondered just "How the Keystone Kops Happened?" Well, you might want to keep wondering as there is probably not a whole lot of truth to the following article. If you have read the book, CHASE! A Tribute to the Keystone Cops (which is an essential read for any silent comedy fan), you know that the exact origin of the Kops is not very easy to pinpoint and is definitely more complex than is presented here. That the author of this article was in charge of publicity for the Keystone Studio casts an even greater sense of doubt over this article as this is obviously the story that Mack Sennett (the head of the Keystone Studio) wanted you to read. Still this is a very entertaining and fun read that should delight fans of silent comedy. 

This following article is from an issue of Motion Picture Classic dated June 1926. If you have any trouble reading, click on the pages below and use your touch screen to zoom in. If you don't have a touch screen, click here. 

Here is a delightful film featuring the Kops, A Hash House Fraud (1915).

Cowboy Church #263 - Easter Service

 Hello, my friends and happy Easter. Welcome to a special Easter service of Cowboy Church. 

Today's musical selection begins with Roy Rogers and Dale Evans with Easter is a Loving Time. This comes from a 1955 Little Golden Record. The king of the cowboys and the queen of the west are backed up here by The Sandpipers and Mitch Miller and His Orchestra. 

This is followed by The Chuck Wagon Gang with Kneel at the Cross. . This song was written by Charles Moody. Though Moody's work was hardly confined to gospel music (he was a part of a popular secular band called The Georgia Yellowhammers), he did write many gospel songs (another being, Drifting Too Far From the Shore). This song was written in 1924 and has become a southern gospel standard. This recording comes from The Chuck Wagon Gang's 1960 gospel album, Perfect Joy. 

Afterwards is The Sons of the Pioneers with their 1948 recording of The Old Rugged Cross.  This 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.

Then comes Gene Autry performing Peter Cottontail in a scene from the movie, Hills of Utah (1951). This song was written by Steve Nelson and Jack Rollins, the team that wrote the Christmas classic Frosty the Snowman. Because of Gene Autry's success with such Christmas songs as Here Comes Santa Claus and Rudolph the Red Nosed Reindeer, the songwriting duo decided that Gene Autry was the best singer to introduce a song about a holiday figure. When Gene recorded the song, it went up to #3 on the Country Charts. Naturally the song would have to appear in a Gene Autry movie. 

Next is Curtis Grimes with Because He Lives. Though this song in many was feels like an old hymn it is actually much more recent than you might think. The song was written by Gloria and William J. Gaither and won an award for being the Gospel Song of the Year for 1974. In an interview the couple stated how this song came to be, “‘Because he lives’ was written in the midst of social upheaval, threats of war, and betrayals of national and personal trust. It was into this world at such a time that we were bringing our third little baby. Assassinations, drug traffic, and war monopolized the headlines. It was in the midst of this kind of uncertainty that the assurance of the Lordship of the risen Christ blew across our troubled minds like a cooling breeze in the parched desert. Holding our tiny son in our arms we were able to write: How sweet to hold our newborn baby, and feel the pride, and joy he gives; But greater still the calm assurance, this child can face uncertain day because He lives.’”

To remind us why we truly celebrate Easter, Johnny Cash will then sing He's Alive from his 1979 album, A Believer Sings the Truth. This song tells of the story of Peter and how the crucifixion and resurrection of Jesus affected him. This song brings us a message of hope in the most hopeless of times. When Jesus was crucified, things seemed as dark and hopeless as they get, yet he raised from the dead and brought great joy and forgiveness to all who accept him as their lord and savior. If he can overcome the grave, how much more can he overcoming anything we might be worrying about right now.  This wonderful recording comes from John's 1979 album; A Believer Sings the Truth. This was a double length gospel album and Columbia Records felt that such an album from John could never be successful. However, Columbia allowed John to release the album on its own and it was successful earning a spot in the Country Top 50. A shorter version of the album called I Believe would be released in 1984, which would feature a select few songs from the double album. A Believer Sings the Truth would not find its way to CD until 2012.

Now we rejoin Gene Autry for another Easter tune, Sonny the Bunny. This comes from an episode of Gene's Melody Ranch radio show that first aired March 31, 1951. Gene is backed here by Carl Cotner’s Orchestra.

Today's musical selection ends with Cowboy Copas with his 1955 recording of The Stone Was Rolled Away.

Now for an Easter message from Billy Graham. 

Now for an Easter episode of The Great Gildersleeve radio show.

Matthew 28

Jesus Has Risen

28 After the Sabbath, at dawn on the first day of the week, Mary Magdalene and the other Mary went to look at the tomb.

2 There was a violent earthquake, for an angel of the Lord came down from heaven and, going to the tomb, rolled back the stone and sat on it. 3 His appearance was like lightning, and his clothes were white as snow. 4 The guards were so afraid of him that they shook and became like dead men.

5 The angel said to the women, “Do not be afraid, for I know that you are looking for Jesus, who was crucified. 6 He is not here; he has risen, just as he said. Come and see the place where he lay. 7 Then go quickly and tell his disciples: ‘He has risen from the dead and is going ahead of you into Galilee. There you will see him.’ Now I have told you.”

8 So the women hurried away from the tomb, afraid yet filled with joy, and ran to tell his disciples. 9 Suddenly Jesus met them. “Greetings,” he said. They came to him, clasped his feet and worshiped him. 10 Then Jesus said to them, “Do not be afraid. Go and tell my brothers to go to Galilee; there they will see me.”

The Guards’ Report

11 While the women were on their way, some of the guards went into the city and reported to the chief priests everything that had happened. 12 When the chief priests had met with the elders and devised a plan, they gave the soldiers a large sum of money, 13 telling them, “You are to say, ‘His disciples came during the night and stole him away while we were asleep.’ 14 If this report gets to the governor, we will satisfy him and keep you out of trouble.” 15 So the soldiers took the money and did as they were instructed. And this story has been widely circulated among the Jews to this very day.

The Great Commission

16 Then the eleven disciples went to Galilee, to the mountain where Jesus had told them to go. 17 When they saw him, they worshiped him; but some doubted. 18 Then Jesus came to them and said, “All authority in heaven and on earth has been given to me. 19 Therefore go and make disciples of all nations, baptizing them in the name of the Father and of the Son and of the Holy Spirit, 20 and teaching them to obey everything I have commanded you. And surely, I am with you always, to the very end of the age.”

 

Thanks for joining me. Come back next week for another service of Cowboy Church. Happy Trails to you until we meet again.

 

Movie Review: Fantasy Life

 

Michael's Movie Grade: B

A very charming dramedy. 

In this film, a man in his 30's just lost his job and is suffering from anxiety attacks. It is then he gets a job nannying his therapist's three granddaughters. While doing this job he falls for the girls' actress mom. 

There is a lot to love about this movie. The main character is delightful and instantly relatable. While in lesser hands such a character could have come off simply as pathetic and pitiful, underneath all his anxieties he is quite charming and a very good guy. This is because like a real person who has anxiety, his anxiety is part of him but doesn't define him. Matthew Shear (who also directed and wrote this film) is simply wonderful in this main role, showing a nerdy type of charm and charisma. Also wonderful is Amanda Peet as the girls' mother. She delivers a truly great and film stealing performance that in many ways is just as emotionally powerful as anything involving the actual lead character. Actresses having a hard time finding work as they reach a certain age and struggling to deal with this has been a subject that has been covered countless times in other movies. However, Amanda Peet's performance makes this part of the story still hit hard emotionally.  The chemistry between the two is fantastic and the two stars truly light up the screen when they share it. 

Adding to this movie's charm is that it is often hilarious. The early scene where the main character is talking to his therapist is truly hilarious with Judd Hirsch giving an especially great comedic performance.   

At only an hour and a half, the movie does often feel too rushed though. This is heavily seen when it comes to the main character's relationship with the girls he is watching. The first time we see them together, he is having trouble controlling them. The next time, he and the girls seem to get along perfectly. We have no clue to what made this change. With the focus on the possible romance between the nanny (or manny as he is called in multiple scenes) and the mom, the girls receive surprisingly little screen time and during that limited time, we barely get to know who these characters (who are very important to the story) are as people. The rushed pace also makes so that important plot points either happen way too quickly or are mentioned rather than shown. 

This is a very charming movie, even if it feels really rushed. 

Some Cartoons for Saturday Morning #275

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

Today's cartoon selection begins with a classic Popeye short, Customers Wanted (1939). This film is a bit of a cheater using clips from previous cartoons. These clips are from Let's Get Movin' (1936) and The Twisker Pitcher (1937). This would cartoon be remade as another Popeye cartoon, Penny Antics (1955). Though this is a cheater cartoon, it is easily one of the better cheaters, because the new footage is just as good (if not better) than the clips. 

Next comes the Aesop's Fables cartoon, Feathered Follies (1932).

From 1976 to 1982 Warner Brothers made a series of 16 TV specials featuring the Looney Tunes characters. Some of these specials were brand new half hour stories, others featured clips for or whole classic cartoon shorts and still others featured a set of brand-new cartoons. Daffy Duck's Easter Special (1980) featured three brand new cartoons with bridging sequences inspired by Duck Amuck (1953). Here is one of the new cartoons from that special, The Chocolate Chase (1980). This short is very much in the mold of the mid to late 1960's cartoons which pitted Daffy Duck against Speedy Gonzales. 

Now for The New Three Stooges short, Mummies Boys (1965). The real Stooges not only star in the live action opening and closing scenes but the voice themselves in the cartoons. This is of course what makes these made for TV cartoons essential for all Stooge lovers. 

Now it is time for a commercial break.

Since Easter is tomorrow, what would be better to watch than a classic Easter cartoon. Up next is a classic Silly Symphony called Funny Little Bunnies (1934). This cartoon does not feature much of an actual story beyond the idea of bunnies getting ready for Easter. However, people at the time did not seem to mind this at all. The following is a review from The Film Daily, "This is a likely entry for the best short of 1934. While it may appear that its vogue would be more or less limited to the Easter season because it's purely imaginative substance deals with the manufacture and decoration of Easter eggs and bunnies by a colorful rabbit crew, the splendor and variety of coloring and the highly diverting action lift it far above any seasonal appeal. Musical accompaniment is pleasing." The following is a review from The Motion Picture Herald, "Unusually clever, highly entertaining, especially for the youngsters but potentially equally enjoyable for adults, this number of the Walt Disney Silly Symphonies pictures in the inimitable Disney cartoon fashion the manner in which the bunnies, in their woodland workshop, carve out Easter statues of themselves, paint the Easter eggs, with various colors obtained from the end of the rainbow. In this spring season despite the fact that Easter has passed, the subject is highly appropriate and cannot fail to meet with the favor of the entire audience, anytime, anywhere." The cartoon also won the gold medal for "Best Animated Film" at the Venice film festival in 1934. Still as is always the case not everyone was impressed. An exhibitor's review from The Motion Picture Herald was not very positive stating about Walt Disney, "He'll never make another 'Three Little Pigs.' In 1935 this movie was part of a four-week run of Disney cartoons. Here is The Film Daily talking about that, "Starting April 4, Walt Disney productions, released through United Artists, are being featured on the Trans-Lux Theater program for four consecutive weeks. Opening with 'The Tortoise and the Hare,' the next three programs feature the following Disney productions: 'Mickey's Man Friday,' 'Funny Little Bunnies,' and 'The Band Concert,' Disney's first Mickey Mouse subject in Technicolor." Like all of the Disney cartoons of this era, this film has an all-star cast of animators. Cy Young animates the opening scenes as well as the bunnies harvesting the colors from the rainbow. Ben Sharpsteen leads a crew of Jr. animators including Archie Robin, Joe D'Igalo, Ed Smith and Woolie Reitherman. Woolie Reitherman would later become one of Walt's fame Nine Old Men and would direct the Disney features The Sword in the Stone (1963), The Jungle Book (1967), The Airstocats (1970) and more. This is the first known Silly Symphony Woolie worked on. Ben Sharpsteen's group of Jr animators would animate bunnies in the supply room, the eggs rolling down the shoot and the bunnies filling the baskets. Ugo D'Orsi animated the bunnies at the pot of chocolate. Louie Schimdt animates the bunnies filling the molds. Leonard Sebring animates the solider bunnies. Future Donald Duck, Barney Bear and Woody Woodpecker director, Dick Lundy animates the sculptor bunnies. Dick Huemer animates the hens, the painters, the grandpa rabbit and the cross-eyed bunnies. Art Babbit animates the blind bunnies and the first long shot of the bunnies filling the baskets. Ham Luske animates the film's finale. One thing I love about the color Symphonies is that they never take color for granted but instead always make sure it is used to full effect. That is definitely true of this cartoon. This movie was reissued to theaters on April 21, 1950. It made its TV debut on an episode of Mickey Mouse Club that aired on April 19, 1957. 

Next is the silent Out of the Inkwell film, Balloons (1923). This film is full of all the creative, imaginative charm that makes this series so special. The film's producer Max Fleischer appears in live action in this and many other Out of the Inkwell shorts.

Now for the Terry Toons cartoon, The Billy Goat's Whiskers (1937). 

Tonight's cartoon selection ends with a full episode of The Super Mario Brothers Super Show. 

Thanks for joining me. Come back next week for more animated treasures. Until then may all your tunes be looney and your melodies merry. 

Resources Used

Walt Disney's Silly Symphonies: A Companion to the Classic Cartoon Series by Russell Merritt and J.B. Kaufman.

Of Mice and Magic: A History of American Animated Cartoons by Leonard Maltin

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

https://lantern.mediahist.org/

 

Movie Review: The Drama

 

Michael's Movie Grade: B+

A dark, twisted and completely engaging movie. 

In this movie, a couple (Zendaya, Robert Pattinson) are about to get married. Though they are very much in love, their relationship is put to the test when a dark secret from one (Zendaya) of their pasts comes to light. 

Going into this movie, I had no idea what the dark secret was going to be. When it was actually stated, I could not have been more shocked. This movie decided to tackle an incredibly taboo subject, something that is just not discussed in movies like this. I simply have to applaud the filmmakers for the sheer bravery that goes towards really discussing a subject like this. More than this, the movie approaches the subject with a real sense of maturity. This is the type of film that will make you question what is ethically right in a case like this or is there even such a thing as ethically right here. There are no easy questions to any of the ethical questions raised and this movie doesn't present there ever could be. These are questions that you won't stop asking for long after the end credits roll. The movie has much dark humor around this situation (some of it is laugh out loud funny, while some falls flat) but it never treats the subject matter as anything less than completely serious. I did not expect to feel uncomfortable watching this movie, but many scenes made me squirm in my chair. Throughout all of this Robert Pattinson and Zendaya perfectly capture the complexity of the characters and the subject matter. 

Unfortunately, at times this movie has too many scenes involving throwing up and some uncomfortable sexual moments that seem to go out of their way to seem shocking. This is unnecessary when the subject matter is shocking enough. This movie is also hurt by many underdeveloped and bland supporting characters, who end up having important scenes centered on them. This makes these scenes simply not have the effect they should. 

A brave, smart and engaging film. 

Movie Review: The Super Mario Galaxy Movie

 

Michael's Movie Grade: A-

Everything you would want from a Mario movie. 

This is not a deep or especially groundbreaking movie, but it is a whole lot of fun and that is exactly what the Mario franchise is all about. I had a smile on my face from start to finish.

The story is quite simple but fits the Mario franchise perfectly. Mario, Luigi, Princess Peach and Toad all team up to save the kidnapped Princess Rosalina. The story would fit perfectly as the storyline of a Mario game and that is the charm of it. This simple story allows for many delightful set pieces. These set pieces perfectly capture the feel of a Mario game on the big screen. There is such an attention to detail for every environment that the burst with life the same way that the worlds of the games have stayed with us for decades. This is probably Illumination's most visually pleasing film. The storyline itself unfolds at a fast pace and keeps you constantly engaged.   

Like most Illumination films, this one is full of gags from start to finish. What surprised me was just how funny so many of these gags were. I laughed out loud a lot more than I did at the first movie. 

The characters are still the wonderful characters we have loved all these decades, and it is a blast to spend time with them. Getting more Luigi than in the first movie was a pure delight. This movie introduces Yoshi and Fox McCloud to the world of Mario films, and both steal every scene they are in. Both also fit perfectly well into the story and never feel shoehorned in. Bowser Jr. is also an excellent villain. He feels like a surprisingly huge threat to our heroes, and his relationship and idolization of his father make his character feel like a real kid. 

A pure delight to any true Nintendo fan (like me).  

Silent Film of the Month: Sugar Daddies (1927)

 

Run Time: 20 minutes. Studio: Hal Roach Studios. Director: Fred Guiol. Supervising Director: Leo McCarey. Titles: H.M. Walker.  Producer: Hal Roach. Main Cast: James Finlayson, Stan Laurel, Oliver Hardy, Noah Young, Charlotte Mineau, Edna Marion. Cinematographer: George Stevens. Editor: Richard C. Currier.

For the current Laurel and Hardy fan, it can be strange to rewatch some of the duo's first year as a pair. There are films where the characters and their relationship with each other is nearly what it would become later. Then these films would be followed by a film like Sugar Daddies, where the two are in the same picture but don't really function as a team. In fact, in this short Stan Laurel and Oliver Hardy play supporting roles to the film's true star James Finlayson. Historian Randy Skretvedt would write in his essential book, Laurel and Hardy: The Magic Behind the Movies, "...Sugar Daddies doesn't build upon the teamwork which Stan and Babe [Oliver Hardy's nickname] showed in Do Detectives Think? While this is a pleasant film, there's little 'Laurel and Hardy' comedy in it. If other people at the Roach lot [they were working for Hal Roach Studios] noticed their potential as a team by now, Stan and Babe themselves seemed blissfully unaware of it. Stan portrays roughly the same character he played in his films of 1918, and he's no funnier here. And he's aggressively stupid which isn't nearly as endearing as being placidly dumb." 

In this film, a wealthy oil magnet (James Finlayson) wakes up after a wild night to discover that he is now married. His new wife (Charlotte Mineau) is the least of his troubles. His wife's greedy daughter (Edna Marion) and son (Noah Young) are planning to blackmail the rich man for all he has got. The magnet turns to his lawyer (Stan Laurel) and butler (Oliver Hardy) for help. This all leads to a slapstick chase through an amusement park.  

This is a very fun comedy. There are plenty of great little sight gags here. I love the opening gag with the fake pulsating top on James Finlayson's head. The gag with Stan's typewriter also always cracks me up. Though Stan and Ollie don't really function as a team here, they have a good bit of business together as Ollie tries to take Stan's hat. The highlight of the film though is the chase through the amusement park. This chase is incredibly well shot and a delight to look at. It is also full of wonderfully creative slapstick gags. For those who watch silent movies to catch glimpse of a time they weren't alive during these scenes give a delightful look into what amusement parks were like nearly 100 years ago. H.M. Walker's intertitles are delightfully clever and often as funny as the action itself. Besides just Stan and Babe, the whole cast is perfect in their roles, and each member adds to the fun. Though this may not be typical Laurel and Hardy, if you get a chance to watch this in a theater setting with a full audience, you will find that it is still able to make audiences laugh out loud today.  

While this was not the first Laurel and Hardy film for Hal Roach Studios, it was the first to be distributed by MGM. Though the distribution agreement began in January 1926 and was paid off that March, Hal Roach was still making films to be distributed by Pathe Exchange. This short was released on September 10, 1927, making it one of the first films from the studio to be distributed by MGM. Newspaper articles quoted Hal as stating, "In affiliating with MGM, I am undertaking a policy of expansion that will thrust all precedent aside, creating a short subject product that will in every way be worthy of the high standard set by this organization and providing a feather to make the famous MGM lion a laughing animal." 

Motion Picture News, 1929

The script for this film only amounted to two pages. Many of the slapstick bits of business receive little to no detail. The intention probably being to have the comedians or others on the set to improvise bits of business themselves. Some scenes like the scene in Stan's office or Stan arriving at the doorstep aren't even mentioned in the script. If this is the case, writers at the Hal Roach Studio caught on quickly to how gifted the two comedians were at improvising as this was very early in the pair's teaming and earlier scripts were much longer. For instance, Duck Soup (1927) had a 19-page script, Slipping Wives (1927) had a script that lasted 17 pages. Besides the very vague descriptions of comedic bits, the biggest difference from script to screen is that Stan Laurel and Oliver Hardy's roles would be switched. In the script Stan has a line of dialogue that would greatly resemble one of the main catchphrases for the comedy team. Stan would tell Ollie, "A fine mess you've made of things." The reversal of roles for the comedy team was not the only casting change between script and screen. The script suggests that the wife would played by actress Key Deslys, but in the film the character is played by Charolette Mineau. The script also suggested that the brother would be played by a "type like David Butler." David Butler was an actor at this time but would go on to a greater career as a director. He directed Bing Crosby and Bob Hope in Road to Morrocco (1942) and many episodes of the beloved TV series Leave it to Beaver with many other film and TV credits to his name. However, in the actual film the role would be played by Noah Young, a character actor best known for playing bullies in various comedies. Harold Lloyd fans will certainly be familiar with Noah Young.  

The film was written in early to mid-May 1927. Filming began on Thursday May 26 and Friday May 27. The 28th through the 30th (the 30th was Memorial Day) were taken off from filming. Shoot resumed on Tuesday May 31 and finished on Friday June 3. The movie was copyrighted on Aug. 17, 1927. The production number was S-1. 

Like many Hal Roach comedies this film features some great location shooting. This location shooting was done heavily at the Long Beach Pike amusement park. This park was first built in 1902 and kept running through 1979. A good portion was shot at the park's Main Street. The dancing scenes were shot at the park's Majestic Ballroom (Randy Skredvedt pointed out in his essential book that a note attached to the script states, "Dance Hall: Use lobby as is, with more bunting and rail and turnstile. Make platform at foot of stairs, for orchestra.") The movie ends with shots that allow you to view the station for the Pacific Electric Red Car line. This line ran from Long Beach to Los Angeles. 

The cameraman for this film was George Stevens. At this time working as a cameraman for Hal Roach studios, Stevens would go on to become one of the greatest directors of Hollywood's golden age. His filmography includes such movies as Swing Time (1936), Gunga Din (1939), Penny Serenade (1941), Woman of the Year (1942), The More the Merrier (1943), Shane (1953), Giant (1956) and The Diary of Anne Frank (1959). For the Hal Roach studio, Stevens would later direct many entries in a series of short films known as The Boyfriends. Fans of old Hollywood comedy teams (which is probably anyone reading a blog post about a Laurel and Hardy film) might know that Stevens directed the team Wheeler and Woolsey in multiple movies. During WWII, he went overseas and headed a unit that filmed much real war footage. This included the liberation of Paris and the liberation of the Nazi extermination camp Dachau. What he saw had a massive effect on him.

This film's director Fred Guiol was a very prolific director for the Hal Roach Studio, directing many classic comedy shorts for the studio during the silent and early talkie era. After his time with Hal Roach, Guiol would direct Wheeler and Woolsey in the movies Silly Billies (1936) and Mummies Boys (1936). He would become a writer on some prestige movies. As a writer he would work on the George Stevens films The Nitwits (1935), Gunga Din, Vigil in the Night (1940) and Giant. 

To promote that the beloved studio was making its entrance into short subjects, MGM had a showing of these shorts for 60 writers for the motion picture trade press. This showing took place at the Embassy Theatre in New York City on August 4, 1927. Sugar Daddies was the first film shown on the program. That was followed by the travelogue An African Adventure made by the German Ufa studio. Then came another Hal Roach studios short The Sting of Stings starring Charley Chase. Another Ufa short Soaring Wings followed. Then came a Technicolor short starring Francis X. Bushman called The Flag. The showing ended with the Our Gang (or Little Rascals) short Yale Vs. Harvard. 

The following is from a 1927 issue of Movie Age Magazine. 

"Metro Goldwyn Mayer's short subject program sweeps into full swing with the release of one late August and six September short subjects.

"The late August release is that of 'An African Adventure,' the first of the series of twenty-five Oddities produced for MGM by UFA

"On September 3 the first Hal Roach - Charley Chase Comedy, 'The Sting of Stings' is released. 

"'Jewels of Venice' the second UFA Oddities release is scheduled for release September 10. 

"The first of the ten Hal Roach All-Star series, 'Sugar Daddies' is scheduled for September 10. The featured players in 'Sugar Daddies' are Stan Laurel, James Finlayson, Edna Marion and Oliver Hardy.

"'What Every Ice Man Knows' is the first of the series of ten dialect comedies starring Max Davidson which are also being produced by Hal Roach. Release date of this subject is September 17. 

"The third release of the twenty-five UFA Oddities, 'Soaring Wings,' will be released on September 24. 

"A second release, and the last of the month, is also scheduled for September 24. The title is 'Yale vs. Harvard,' the first of ten Hal Roach 'Our Gang' comedies for MGM."

The following is a review from The Film Daily (dated August 14, 1927). 

"This is Hal Roach's second two-reeler to be released under the MGM program. It is an average release. Too much rough and tumble business and not enough laughs is as good a way to sum it up as any. Stan Laurel is featured but his work calls for no special accommodation. Settings quite elaborate. The story ends with the efforts of a gold-digging wife to shake down Laurel for money The attempt to hold him long enough to extract the money provide the excuse for the chase and the picture." 

The following is a review from Moving Picture World (dated August 13, 1927).

"'Sugar Daddies' is a two-reel slapstick featuring Stan Laurel with Oliver Hardy, Jimmy Finlayson, and Edna Marion. An oil magnate marries an adventuress between cocktails and the next morning her tough brother seeks to enforce a $5000 blackmail. In endeavoring to escape there are developed a number of situations not too familiar. It is rough work but generally amusing."       

You can watch this film below. 

Resources Used

Laurel and Hardy: The Magic Behind the Movies by Randy Skretvedt

The Laurel and Hardy Movie Scripts: 20 Original Short Subject Screenplays (1926-1934) by Randy Skretvedt

https://mediahistoryproject.org/