Hello my friends and happy Saturday morning. Once again, it is time for more cartoons.
Today's cartoon selection starts with the first of Walt Disney's Alice comedies, Alice's Wonderland (1923). Before this film was even close to done with production, Walt was already writing distributors stating, "We have just discovered something new and clever in animated cartoons!" He was speaking of the idea of having a live action character enter into an animated cartoon world. This was actually a reversal of what the Fleischer Brother were doing with their Out of the Inkwell films, were animated characters entered our live action world. For the live action little girl Walt hired four year old Virginia Davis. Walt had seen Virginia on an advertisement for Warneker's Bread. Virginia later spoke of this stating, "It was just a picture of me smiling and looking like 'Oh, yum, yum!' and eating this piece of Warneker's Bread with a lot of jam on it." At the time of making this film, Walt and his studio were struggling financially. While many producers would take this as a reason to make a cheap film, Walt plugged into the project with everything he had. This short was downright lavish compared to much of Walt's previous work and still looks great today. Unfortunately the film was not enough to save his company, but it did catch the attention of Margaret J. Winkler, who was also distributing the Felix the Cat and Out of the Inkwell cartoons. His studio went under and Walt moved to Hollywood without his crew. Yet he had this film and was able to secure a deal for 12 more Alice films with Winkler.
Now for the Terry Toons cartoon, Stringbean Jack (1938). This marked the first Terry Toons short in color. The two-headed giant and the W.C. Feilds caricature are a lot of fun here. A similar two-headed giant would later be used for a Terry Toons cartoon appropriately titled The Two-Headed Giant (1939).
Next comes Betty Boop in Ha-Ha-Ha (1934). This short film also features Koko the Clown, the star of the Fleischer Studio's silent Out of the Inkwell films. This is not the only similarity between this film and the Out of the Inkwell shorts. This cartoon also mixes animation and live action in a very similar way to those shorts.
Next is the Terry Toons short, Foiling the Fox (1950).
Now it is time for a commercial break.
Up next is The Fleischer Screen song cartoon, I Wished on the Moon (1935). The title song was written by Ralph Rainger (music) and Dorothy Parker (lyrics). The same year this cartoon was released Bing Crosby and the Dorsey Brothers orchestra recorded this song and it placed at number two in the charts staying on the charts for seven weeks. The song would enjoy even more popularity when Bing would sing it in the feature film, The Big Broadcast of 1936 (1935). Here the song is performed by Abe Lyman and his Californians. Cartoon fans may know that Abe Lyman also worked on the musical scores of some early Merrie Melodies cartoons, such as One More Time (1931) and Smile Darn Ya Smile (1931). Most importantly though this cartoon marks the first appearance of Wiffle Piffle.
Today's cartoon selection continues with another Friz Freleng classic, Daffy the Commando (1943). The following is an exhibitor's review from the Motion Picture Herald, "Daffy the Commando: Looney Tunes Cartoon - This is Daffy's best. By the way where has Vitaphone being keeping Daffy Duck? This is the first I played in a long while. -Ralph Raspa, State Theatre, Rivesville, W. Va."
Donald and Pluto (1936) is naturally a cartoon that stars Donald Duck and Pluto. Mickey Mouse is nowhere to be found. However, it was released a Mickey Mouse cartoon as a Mickey Mouse cartoon. This is because at this time, Donald Duck and Pluto didn't have their own series. It wouldn't be long before that was rectified though.
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
Walt in Wonderland: The Silent Films of Walt Disney by J. B. Kaufman and Russell Merritt.
Of Mice and Magic: A History of the American Animated Cartoon by Leonard Maltin
Run Time: 17 minutes. Studio: Biograph. Director: D.W. Grifith. Writer: Edward Bell. Cast: Alfred Paget, Herny B. Walthall, Harry Carey, Lionel Barrymore, John T. Dillion, Kate Bruce, Bobby Harron. Cinematographer: Billy Blitzer.
Though D.W. Griffith is often best known for his epics like Birth of a Nation (1915) and Intolerance (1916), which were massive in both scale and length, I often think that the director's best work is the short films that he made for Biograph.
In this short western film, three outlaws are escaping from a posse by heading into the desert. Here they run across a baby who is about to be eaten by a mountain lion. They rescue the baby and protect it as they continue to travel through the desert.
This film shows Griffith and his team at the height of their filmmaking powers. For a short film, there is a lot of story fit into the runtime. However, The Sheriff's Baby never feels rushed and is never difficult to follow. Rather it is gripping for start to finish. The ending is actually quite moving as the buildup to it is perfect. The technical aspects are top notch here. The use of cutting between scenes is quite impressive for its time and holds up perfectly today. Griffith's films are course greatly remembered today for their pioneering use of cross-cutting and this is a great example of why. The cutting between the posse and the outlaws early on, creates some action scenes that still exciting today. Yet this excellent technical filmmaking is never there simply to show off. Rather every aspect of the technical filmmaking is in compete service to the story. Causal viewers may not notice or think about the great use of crosscutting here, but they will definitely feel it. A cast of Griffith regulars are also at the top of their game here. There is very little of the type of overacting that one might associate with films of the early 1910's. This is a too often overlooked gem in Griffith's filmography.
Movie lovers will easily recognize similarities between this film and the story Three Godfathers. Three Godfathers had five official movie adaptions (the most famous being the John Ford/John Wayne 1948 adaption). This story was written by prolific author Peter B. Kyne had first appeared as a short story in The Saturday Evening Post in November of 1912. In 1913 the story would be turned into a novel. Though records from Biograph report that The Sheriff's Baby has an original story by Edward Bell (he received payment for his story on December 16, 1912), the similarities are too clear to ignore. It is definitely plausible that The Saturday Evening Post version was at least an inspiration for this film.
For anyone who wishes to watch this delightful film, it is available as a bonus feature on the Film Preservation Society's Blu-ray set for the William S. Hart feature film, Wolf Lowry (1917).
Thriller has lots of twists and turns but little reason to care.
In this film, an unexploded WWII era bomb is discovered underneath a construction site. However, there may be more than meets the eye going on here.
This is a movie, I wished I liked more than I did. It is rare to find a modern movie that keeps surprising me with every twist and turn. I can honestly say that I never really knew where this plot was going. So why didn't I actually care for the film then. The answer is simply that I was never given a reason to care about anything that happened on screen. This movie is full of characters and often cuts back and forth between them. With its complex plot and 97-minute runtime, we end up barely knowing anything about who these characters are. Thinking back on the film as I write this review, I not only can't remember most of the characters' names, but I can't recall much of any personality any of them have. All these characters seem to be defined by the roles they play in the story and at the end of the day, they are not characters as much as they are plot devices. Even a strong cast, cannot make me care about any of these characters. The result is that with each twist and turn that happened, I felt no connection to what was happening on screen. I even found that my mind began wandering during scenes that I knew were supposed to be exciting. When the ending came, I simply found I had no investment in what was obviously supposed to be a shocking twist.
This thriller starts strong but unfortunately falters out as it goes along.
In this film a young black man goes to live with his cousin in a small town in Idaho after getting out of jail. He wants just to live peacefully and leave his past behind him. Unfortunately, a group of white supremacists decide to make life a living hell for him.
After an unnecessarily gratuitously violent opening, this movie does a very good job creating an emotional connection between you and the main character. From the second you meet him you are set up to have sympathy for him. He fought for his country; he cares deeply about what is right and wrong and he is not afraid to stand up for what he believes in. He has been in jail for fighting a man who was beating his wife in fact. Added to this is that Shameik Moore is very charming and charismatic in the role. With our emotional connection this becomes a fairly strong if familiar drama about systematic racism, the treatment of veterans and corruption in law enforcement.
However sadly this can't last. The movie soon becomes bogged down in an orgy of sex, violence and clichés. As the movie goes along, the violence and sex simply become gratuitous. Many scenes are not simply violent but repulsively gory for the sake of being repulsively gory. This movie would have lost nothing if it just simply cut away and left some of these gory scenes to our imagination. As the storyline and the action get increasingly over the top, the extremely realistic violence feels more and more out of place. The sex is just unnecessary. Many women are reduced to sex objects in many scenes that simply feel here to make this already very adult movie feel edgy. I am not squeamish or a prude but much of the sex and violence in this movie simply serves no purpose but shock value. Worse than this the social commentary and the characters often take a back seat to this shock value as the film continues. About halfway through this film, if not before then, everyone knows exactly what direction the story is going. However, as the film takes its time to get to the inevitable conclusion, the audience becomes impatient for what they know will happen to happen.
I will admit though that when we get to the big, expected climax, it is quite well done though.
It is sad when a movie that starts out quite strong, turns into something not so great. Unfortunately, that is the case here.
If you love the 1960's live action Disney films as much as I do, you probably have the same fondness for Hayley Mills (who as a child acted in multiple Disney classics). To me Pollyanna (1960) still ranks as one of Disney's finest live action movies and The Parent Trap (1961) is still a comedy classic. Because of this I was eager to read Hayley Mills' memoir.
What I found was the Hayley is just a lovely of a human being as she is an actress. She not only talks about her career and personal life but also her own personal philosophies. In a simple and unpretentious manner, she shows herself to be a very soulful and intelligent woman. You not only learn about her here, but you connect with emotionally.
As a buff of all things Walt Disney, I of course greatly enjoyed the times when she talked about Walt himself. It is rare to be able to actually read about Walt from the point of view of someone who actually knew him. This makes me treasure every chance I get to read a first-hand account of the great filmmaker. To read Hayley writing about him with such love and fondness only increased this joy.
She also talked greatly about some of her British films. Even if you have not seen these movies, Hayley's writing makes you want to search them out.
Hayley also talks greatly about the effects of being a child star in Hollywood. While her life does not have the same tragedies that many child stars suffered, it did lead to much insecurity on her part. She obviously still remembers these insecurities and writes about them in a way that can feel heartbreaking to read.
A must read for any Hayley Mills and/or Disney fan.
Hello my friends and welcome back for another service of Cowboy Church.
Today's musical selection begins with Roy Rogers and Dale Evans with their 1950 recording of May the Good Lord Take a Liking to Ya. This song was written by Peter Tunturin, who wrote songs that Roy sang in such movies as Days of Jesse James (1939), The Carson City Kid (1940), Young Bill Hickok (1940), Robin Hood of the Pecos (1941) and Sheriff of Tombstone (1941). Roy also sang this song in the movie, Trigger Jr. (1950).
This is followed by Tammy Wynette with May the Good Lord Bless and Keep You. This recording comes from her 1969 gospel album, Inspiration.
Afterwards is Bill Carlisle with his 1936 recording of He'll Be Your Savior Too.
Then comes Ralph Stanley with Gone Away with a Friend. This recording comes from his 2005 gospel album, Will the Ages Roll On.
Afterwards is Kris Kristofferson with They Killed Him. This song (written by Kris) pays tribute to three heroes of Kris. Ghandi, Martin Luther King Jr. and our Lord and savior Jesus Christ. It is a shame that in this world, people who preach a message of love can often get killed for doing it. As Christians though love for others should be a major priority. After all God us love and it is through love that we can best see him. Despite Kris writing this song he was not the first to record it. Kris would record the song in 1986, but Johnny Cash had already recorded it in 1984. In 1986 Bob Dylan also recorded the song for his Knocked Out Loaded album.
Then comes The Sons of the Pioneers with their 1937 recording of Lord You Made the Cowboy Happy. This song should remind us of how blessed we truly are. It is the things we take for granted each day that are our greatest blessings. Sometimes we need to stop and simply thank God for these blessings. The narrator of this song is not thankful for any big event in his life, but rather for all the little blessing he receives every day.
Today's musical selection ends with The Chuck Wagon Gang with their 1940 recording of I Love to Tell of His Love.
Now for a message from the Reverand Billy Graham.
Now for the 9th episode of The Lone Ranger TV show.
Psalm 57
For the director of music. To the tune of “Do Not Destroy.” Of David. A miktam. When he had fled from Saul into the cave.
1 Have mercy on me, my God, have mercy on me,
for in you I take refuge.
I will take refuge in the shadow of your wings
until the disaster has passed.
2 I cry out to God Most High,
to God, who vindicates me.
3 He sends from heaven and saves me,
rebuking those who hotly pursue me—
God sends forth his love and his faithfulness.
4 I am in the midst of lions;
I am forced to dwell among ravenous beasts—
men whose teeth are spears and arrows,
whose tongues are sharp swords.
5 Be exalted, O God, above the heavens;
let your glory be over all the earth.
6 They spread a net for my feet—
I was bowed down in distress.
They dug a pit in my path—
but they have fallen into it themselves.
7 My heart, O God, is steadfast,
my heart is steadfast;
I will sing and make music.
8 Awake, my soul!
Awake, harp and lyre!
I will awaken the dawn.
9 I will praise you, Lord, among the nations;
I will sing of you among the peoples.
10 For great is your love, reaching to the heavens;
your faithfulness reaches to the skies.
11 Be exalted, O God, above the heavens;
let your glory be over all the earth.
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 Daffy Duck and Elmer Fudd in To Duck or Not To Duck (1943). This cartoon is directed by Chuck Jones. At this time many of Chuck's cartoons had been slower paced and less comedy oriented, than the other Looney Tunes directors' films. While this cartoon is nowhere near as fast paced as Chuck's later films, it definitely moves faster and has more comedy compared to what he did in the past. Elmer's dog Larimore gets some of the best laughs in the film. It is also worth noting that Daffy had not become a born loser at this time yet. We will not see Elmer shooting Daffy's bill off in this cartoon.
Now for the Max Fleischer Color Classic, Little Dutch Mill (1934). This short film features some of those incredible 3D backgrounds that appeared in Fleischer films at this time. These were created using actual miniature model sets for which animation cels were often placed in front of. The effect is still visually amazing today. This cartoon is especially a real visual treat.
Now it is time for a silent classic, Felix Gets Broadcasted (1923). While visually this film may feel like a moving comic strip, the story and gags are very fun and creative.
Next is Never Should Have Told You (1937), one of the Fleischer Screen songs cartoons. This film features the character Wiffle Piffle, who appeared in a few Betty Boop cartoons as well. The title song was written by Cliff Friend and Dave Franklin, who also wrote The Merry-Go-Round Broke Down, which is best known as the theme music for the Looney Tunes series. My country music loving friends might like to know that Cliff Friend co-wrote (with Irving Mills) Lovesick Blues, which would become one of Hank Williams Sr.'s signature songs.
Now it is time for a commercial break.
Next comes a unique Mickey Mouse short, Minnie's Yoo-Hoo (1930). The title song was written by Carl Stalling (who would later become the main composer for the Looney Tunes and Merry Melodies cartoons) for an earlier Mickey cartoon entitled Mickey's Follies (1929). This was the first original song from the Disney studio, and it would become the theme song for the series with an instrumental version beginning every Mickey cartoon. In 1929, the same year as Mickey's Follies was released, the song would receive sheet music. Singer Len Maurice would record the song in 1930. This short presents a sing-along version of the song. The version heard here includes a second verse, that was not heard in Mickey's Follies but did appear on the song sheet that was published later the same year that it first appeared inn that cartoon. This short was made for The Mickey Mouse Clubs that appeared around the country. These were created by theatre owners and were gatherings of movie loving kids who were fans of Mickey Mouse. Walt loved this idea and while he did not start it he did all he could to expand it across the country. He also made this short so that club members could sing along during their meetings. There is very little new animation here. There is reuse of animation of Mickey and friends performing the song at the beginning that comes from Mickey's Follies. The animation of the curtain opening and closing was lifted from Fiddling Around (1930). The only original animation for this film is Mickey's address to the audience and the whole group of animals doing the "Yoo-Hoo" at the end.
You can listen to Len Maurice's version of the song below.
Now for the Mighty Mouse cartoon, Anti-Cats (1950).
Next is classic World War 2 themed Merrie Melodies cartoon, The Fifth-Column Mouse (1943). This film differs from most of the World War Two propaganda cartoons of this era as there is no sign of Nazis, Hitler or Japanese soldiers. The cartoon is more of an allegory, albeit not a subtle one. While the political overtones may go over a modern kid's head (if the child is not familiar with World War 2 history) there is no doubt that movie audiences knew exactly what this cartoon was referring to upon its release. The music in this film is delightful, and I especially love the rendition of Blues in the Night.
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
Of Mice and Magic: A History of American Animated Cartoons by Leonard Maltin
Walt Disney's Mickey Mouse: The Ultimate History by J.B. Kaufman and David Gerstein
This film has a popstar about to make her debut comeback but uncomfortable with the dress she is to wear. She goes back to her old designer to have her make a dress last minute. However, the two have old wounds that still hurt.
The magic of this movie comes directly from our two main characters. Even with the supernatural elements and larger than life musical numbers, this relationship remains the main focus of the film. Though it is not clear if that relationship was romantic or a friendship, but it is obvious that their former relationship was much closer than singer and designer. One can see in each scene the pain that each of them feels as the other comes back into their life and underneath the pain, one can also see that they still care about each other in a way. At the same time this film shows how multiple people go to create the image of a popstar, yet only the popstar gets credit for this and how this can lead to division between the star and the other creatives. This emotionally complex relationship is not easy to convey but director/writer David Lowery (who I was already a fan of due to The Green Knight (2021), The Old Man and the Gun (2018) and Pete's Dragon (2016)) and actresses Anne Hathaway and Michaela Coel (who often steals the show here and who also gives another great performance in The Christophers (which is also currently and theaters) capture it perfectly down to the smallest nuance. The film has many scenes focusing on just these two characters talking. In lesser hands these talky scenes could have come off as boring. However here they come off as fully gripping.
Naturally being a film where one of the main characters is popstar, there have to be some song performances. These performances are a visual treat with excellent chorography and lighting. Many of her fans refer to the popstar's concerts as almost a religious experience. The performances do feel larger than life enough to make us understand this. The songs (co-written by popstar Charli XCX and Jack Antonoff (member of the pop-rock band Fun and a songwriter that has worked with such real popstars as Taylor Swift and Sabrina Carpenter)) would fit perfectly into playlists of real-life popstars. While this is far from my taste in music, I can definitely appreciate the artistry that went into these songs and performances. However, I do feel sometimes that these performances kind of interrupted the flow of the story for me.
While the early scenes in this film are quite grounded, the movie does take a turn in a supernatural direction as it goes on. There are a few scenes that do a good job leading up to this, such as a dance number without music that often looks like a demonic possession, but the change to a supernatural story does lead to some less than perfect tonal shifts. This is especially true with a few (surprisingly pretty creepy) scenes that feel straight out of a horror movie. These scenes just simply feel out of place with the character driven drama that made up most of the film.
What is very well done about the supernatural elements is that they are kept purposefully vague. They are never fully explained and have multiple ways that audience members can interpret them. All of these interpretations are equally valid.
All in all this is an excellent, if sometimes flawed, film.
There are names that anyone familiar with silent comedy knows. Along with Charlie Chaplin, Buster Keaton, Harold Lloyd, Stan Laurel and Oliver Hardy, this definitely includes Mack Sennett. The legendary comedy producer not only brought us the likes of the Keystone Kops and the Mack Sennett Bathing Beauties, but he also produced the earliest films of Charlie Chaplin, Roscoe "Fatty" Arbuckle, Mabel Normand and Harry Langdon. If it wasn't for him, film comedy probably would have never evolved thew way it did.
The following is a 1916 article about Mack Sennett from Moving Picture Classic. If you have any trouble reading it click on the pages below and use your touch screen to zoom in. If you don't have a touch screen, click here.
The following comedy short, The Feathered Nest (1916), was produced by Mack Sennett and released the same year that article above was published.
Now for a true masterpiece. This is a wonderful talkie short produced by Mack Sennett and starring the comedy legend W.C. Fields. Enjoy The Fatal Glass of Beer (1933).
Hello my friends and welcome back for another service of Cowboy Church.
Today's musical begins with Roy Rogers 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 Josh Turner with Great is Your Faithfulness. When Thomas Obadiah Chisolm was on a mission trip, he and his good friend William Runyan would write letters together. These letters often included poems that they would write. Chisolm was so moved by one of Runyan's poems that he would write a musical score to accompany it. This became the hymn you hear here. Great is Thy Faithfulness (retitled Great is Your Faithfulness here) was first published in 1923. This recording comes from Josh's 2018 gospel album, I Serve a Savoir.
Afterwards is The Sons of the Pioneers with their 1937 recording of Power in the Blood. This is probably my favorite version of this old gospel song, especially with how well it captures the pure joy of the lyrics. This recording was made during the time when Roy Rogers was still a member of The Sons of the Pioneers before beginning his solo career in the movies and his voice can be heard very prominently on this track.
Then comes The Chuck Wagon Gang with When the Saints go Marching In. This recording comes from their 1960 gospel album, Perfect Joy.
Next is George Jones with When Mama Sang a Hymn (The Angels Stopped to Listen). This song was written by Bob Warren and Danny Walls.
Afterwards is Ricky Skaggs with Sinners, You Better Get Ready. This comes from his 2009 gospel album, Songs My Dad Loved.
Today's musical selection ends with Johnny Cash singing All of God's Children Ain't Free. This song is from the 1965 album, Orange Blossom Special. In his Johnny Cash biography, The Man Called Cash, Steve Turner calls this "Cash's most folk-inspired album." This is no coincidence as John's heart was drifting heavily towards the current folk scene at this time. He had performed at the Newport Folk Festival was spending much time with Bob Dylan, was recording songs by current folk songwriters such as Peter La Farge, and was addressing politics and social commentary in his music in a way he did much less often in the 1950's. This album contained three songs written by Bob as well as some more traditional folk music. This song (written by John himself) was a protest song of the type that was popular in the folk work at this time.
Now for the 8th episode of The Lone Ranger TV show.
Now for a message from the Reverand Billy Graham.
Psalm 103
Of David.
1 Praise the Lord, my soul;
all my inmost being, praise his holy name.
2 Praise the Lord, my soul,
and forget not all his benefits—
3 who forgives all your sins
and heals all your diseases,
4 who redeems your life from the pit
and crowns you with love and compassion,
5 who satisfies your desires with good things
so that your youth is renewed like the eagle’s.
6 The Lord works righteousness
and justice for all the oppressed.
7 He made known his ways to Moses,
his deeds to the people of Israel:
8 The Lord is compassionate and gracious,
slow to anger, abounding in love.
9 He will not always accuse,
nor will he harbor his anger forever;
10 he does not treat us as our sins deserve
or repay us according to our iniquities.
11 For as high as the heavens are above the earth,
so great is his love for those who fear him;
12 as far as the east is from the west,
so far has he removed our transgressions from us.
13 As a father has compassion on his children,
so the Lord has compassion on those who fear him;
14 for he knows how we are formed,
he remembers that we are dust.
15 The life of mortals is like grass,
they flourish like a flower of the field;
16 the wind blows over it and it is gone,
and its place remembers it no more.
17 But from everlasting to everlasting
the Lord’s love is with those who fear him,
and his righteousness with their children’s children—
18 with those who keep his covenant
and remember to obey his precepts.
19 The Lord has established his throne in heaven,
and his kingdom rules over all.
20 Praise the Lord, you his angels,
you mighty ones who do his bidding,
who obey his word.
21 Praise the Lord, all his heavenly hosts,
you his servants who do his will.
22 Praise the Lord, all his works
everywhere in his dominion.
Praise the Lord, my soul.
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 one of Chuck Jones' great Bugs Bunny cartoons, Wackiki Wabbit (1943). The two castaways who try to eat Bugs in this cartoon, were caricatured to look like and were voiced by Looney Tunes and Merrie Melodies writers, Michael Maltese and Tedd Pierce. Many of Chuck's cartoons of this time had great experimentation with background art (due to the work of such artists as John McGrew, Bernyce Polifka and Gene Fleury) and that is certainly true here. The following are some exhibitor's reviews from the Motion Picture Herald. "Wackiki Wabbit: Merrie Melodies Cartoons: A 'Bugs Bunny' short that shows signs of getting him back into his once high place. If they like Bugs, they'll like this one. - W. Varrick Nevins, Ill, Alfred Co-op Theatre, Alfred, N.Y." "Wackiki Wabbit: Merrie Melodies Cartoon— This is one of the best Bugs Bunny cartoons of the season and it went over big here. - Thomas Di Lorenzo, New Paltz Theatre, New Platz, N.Y." The experimental artwork in this film drew both praise and criticism from those working in animation. The Disney layout artist Karl Van Leuven wrote in the cartoonists' union newsletter (in December 1943), "This opus is notable not for its habit-formed story, but for the imaginative experimentation of its layout and background. Particularly noteworthy was the discovery that a flat tone can carry background movement. Novel but not so successful was the use of tapa cloth patterns with overlays of stylized foliage plotches as backgrounds for action on a typical tropical isle. [producer Leon Schlesinger] is pacing the current background breakaway from the cute." Warner Brothers background artist (and future voice of the Road Runner) would remember the reaction the film had from others in the studio. "The picture culminated in a chase where two people ran off into the distance, and the background ... was so flat it came off like, here are two people shrinking into a piece of wallpaper. That created kind of an upset ... a popular outcry - what the hell is going on here? The expression 'artsy-fartsy' got used a great deal that month."
Next comes the silent Out of the Inkwell cartoon, Koko's Quest (1927).
Now for our good friend, Farmer Al Falfa in The Tin Can Tourist (1937).
Up next is Mr. Magoo's film debut, Ragtime Bear (1949). The UPA studio wanted to get away from funny animals and use human characters as their stars. Yet Columbia (their distributor) had little interest in that, feeling they should stick to the funny animals that dominated much of cartoons at this time. Columbia reluctantly accepted Ragtime Bear because it did have a funny animal in it and that the animal was the titular character. Of course, after Mr. Magoo became popular Columbia never argued about a human being the star of the cartoons. Mr. Magoo as a character benefited heavily from the voice talents of Jim Backus. Jerry Hausner (voice of Magoo's nephew Waldo) commented on recording this first cartoon, "We went into the studio with two pages of dialogue. We read all of the speeches that had been written down, then [John] Hubley did something that no other animated cartoon director had ever done in my presence. He said 'Let's do it again and ad-lib around the subject. Throw in any wild thoughts you might have.' We did another version of it. Backus began to go crazy and have a good time … He invented a lot of things and brought to the cartoons a wonderful and fresh approach." About the origins of Magoo's voice, Backus would state, “Magoo’s voice was taken from the character I play in my nightclub act — the man in the club car [the train car where alcohol can be purchased]. You know, the loud-mouth traveling salesman who shows pictures of his family to everybody in the club car, belongs to all the clubs and tells dirty jokes. It was the same with Magoo in the beginning. He was a dirty old man. Half the time you couldn’t understand what he was saying, he just used to mumble.” Director John Hubley later stated about the early version of Magoo that appeared in this film, "A great deal in the original character, the strength of him, was that he was so damn bull-headed. It wasn't just that he couldn't see very well; even if he had been able to see he still would have made dumb mistakes, cause he was such a bull-headed, opinionated old guy." This cartoon would be reissued to theaters in 1959.
Now it is time for a commercial break.
Now for Donald Duck in Cured Duck (1945). In this short Donald tries to learn how to control his temper, which may not be that easy. The story was written by Roy Williams who would later be the big Mouseketeer on TV's Mickey Mouse Club (1955-1959). This cartoon would make its TV debut on an episode of the Disneyland TV series entitled Donald's Award (1957).
Next we join Dimwit the dog in Flying Cups and Saucers (1949). This sci-fi themed Terry Toons cartoon was directed by Connie Rasinski. Terry Toons producer Paul Terry would state about Rasinski, "He came to work when it was Terry, Moser and Coffman. An old friend of mine named Litchfeild, who was a painter, passed away, and his wife sent this kid over to get a job, and I gave him a job. And that's Connie. Connie, who came to work for me as a kid, developed rapidly and he was with me for practically all his life. He was fat and everything he drew was chubby and round and well fed." After appearing with Terry characters like Heckle and Jeckle and Mighty Mouse, Flying Cups and Saucers was the first film in Dimwit's own starring series.
Now for an early Woody Woodpecker short, The Dizzy Acrobat (1943). In these earlier Woody films, the character is a bit cruder than fans of his later work are used to. But there is something about this sheer unabashed craziness that many cartoon fans (including myself) can't get enough of. This movie was nominated for an Academy Award; however, it lost to Disney's Der Fuehrer's Face (1943). The following is from an issue of Showman's Trade Review (dated June 5, 1943), "Walter Lantz Cartune Studios which releases through Universal, has just released 'The Dizzy Acrobat,' A Woody Woodpecker special. The cartune revolves around the circus, and Lantz had experts advising the animators so that the action and facts would be accurate.
Today's cartoon selection ends with The Simpsons in The Bart Simpson Show (1988). This is one of the shorts made for The Tracey Ullman Show before the animated family got their own TV series. It is weird to have Bart call Homer "dad" while Lisa calls him "Homer." It is also fun to see such an early version of Itchy and Scratchy.
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 its Golden Age by Michael Barrier
Of Mice and Magic: A History of the American Animated Cartoon by Leonard Maltin
