Silent Film of the Month: Limousine Love (1928)

 

Run Time: 20 minutes. Studio: Hal Roach Studios. Director: Fred Guiol. Main Cast: Charley Chase, Edna Marion, Viola Richard, Edgar Kennedy, Bull Montana. Producer: Hal Roach. Cinematographer: Len Powers. Editor: Richard C. Currier. 

That Charley Chase is one of the great movie comedians is fortunately becoming more and more accepting among film buff in recent years. However for those still not very familiar with his work, I feel Limousine Love would be the ultimate convincer. This short is an example of silent film comedy at its best as well as simply a very funny movie. 

The storyline of this short is simply wonderful and is quite funny in and of itself. Charley is on the way to his wedding, when the limousine, he is riding in, gets into an accident. Charley's chauffeur then gets into a fight with the other driver involved in the accident. The chauffeur loses this fight and Charley is left having to drive the limo himself. This actually goes fairly well until he runs out of gas. Meanwhile a woman (Viola Davis) is learning how to drive and has an accident, that results in her clothes getting very wet and dirty. Seeing Charley's limousine and nobody around, she hangs her clothes up to dry on a tree and pulls down the blinds, while she waits for them to dry. Unfortunately for her Charley comes back and starts the limousine and drives away. He does not know he has a nude woman in the back, and she is now far away from her clothes. When he notices her in the mirror he drives back to retrieve her clothes but ruins them in the process. This is made even worse when the woman's husband (Edgar Kennedy) asks for a ride. When Charley gets to the church, he has to find a way to park without his bride to be (Edna Marion), whom he has already kept waiting for a long time, discovering he has a naked woman in the back.  

This is a truly top-notch comedy short and can hold its own among the best works of Charlie Chaplin, Buster Keaton or Laurel and Hardy. Many movie buffs argue that Charley Chase is an overlooked genius of classic movie comedy and you can find no better argument for that than this short. This may in fact be one of my favorite silent comedy shorts. What makes this film so great is it knows perfectly how to set up and pay off a comedic situation. This film starts with a typical situation with some nice little slapstick gags. However as the movie progresses the situation continues to progress to something much sillier and outlandish in a way that feels perfectly natural. As such this is a comedy that just gets funnier and funnier as it goes along. This is simply wonderful comedic filmmaking that not only doesn't call attention to itself but that makes it seem easy and natural. 

The following is a review from The Motion Picture Herald (by E.G. Johnson), "Charley Chase can generally be depended on to come through with what this writer considers the best in two-reel comedy making of the present day - and this one is not an exception. Fred Guiol can also be credited with the good direction. As in certain other two reelers to his credit. Charley is on his way to meet his bride. It is their wedding day. From the time his crashes into another the story and action swiftly develops, being built around the fact that a married woman, drenched from a spill in a roadside pool by auto, has invaded the rear of his limousine in order to dry her clothing. Her husband comes along and begs a ride from Charley. Her clothing vanishes down a stream when its rescue is attempted. Suspense, as to the discovery of the wife by the husband, is admirably kept up - right up to the time of the ceremony. The cast includes Edna Marion, Viola Richard, Edgar Kennedy and Bull Montana. An excellent two reeler."

Exhibitors Herald, 1927

Moving Picture World, 1925


Fred Guiol, the director of this film began his career as a prop boy for D.W. Griffith. He joined Hal Roach Studios in 1919 as a camera man. Come 1923 he was directing shorts there. This began with the often-forgotten Spat Family shorts. He went on to direct films starring some of the studio's other stars of that time including Max Davidson and Glen Tryon. He is probably best known today for directing some of the early silent shorts with Laurel and Hardy including Duck Soup (1927), the first film where the duo truly worked as a team. He stayed with Hal Roach into the early talkie era, even directing some of the talkie shorts that Harry Langdon made there. After leaving Roach, he would direct The Wheeler and Woolsey movies, The Rainmakers (1935) and Mummy's Boys (1936). As a writer he would work on such established classics as Gunga Din (1939) and Giant (1956). Both of those films were directed by George Stevens who has also previously been a cameraman for Hal Roach. 

Charley's bride to be, Edna Marion had begun her career in the often forgotten Century Comedies around 1924. However she is best known for her work at Hal Roach Studios. There she costarred with Charley Chase in a good number of films including Now I'll Tell One (1927), Assistant Wives (1927), The Sting of Stings (1927), The Way of All Pants (1927), Never the Dames Shall Meet (1927), All for Nothing (1928), The Family Group (1928), Aching Youths (1928) and The Fight Pest (1928). She also worked with Laurel and Hardy in Sugar Daddies (1927), From Soup to Nuts (1928) and Should Married Men Go Home? (1928). Viola Richard, the nude woman, was a regular in Roach shorts during this era. She also appeared with Charley Chase in What Women Did for Me (1927) and Never the Dames Shall Meet (1927). She is best remembered for appearing with Laurel and Hardy in such films as Sailors Beware! (1927), Why Girls Love Sailors (1927), Do Detectives Think? (1927), Flying Elephants (1928) and Should Married Men Go Home? (1928). 

The video below talks about the filming locations for this film. 

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Robert Youngston used this short in his feature length compilation film, 4 Clowns (1970). You can watch that movie below. 

Michael's Christmas Movie Guide: Star in the Night (1945)

 In the 1930's and 40's Warner Brothers was known for making some of the most hard boiled and cynical films. Rarely did they delve themselves into the sentimentality MGM, so often did. Even the studio's cartoons were rarely sentimental. However there was another idea the studio was known for promoting as well. They were working man films made for the average Joe. This plays a huge part in A Star in the Night, making the short film feel like a Warner Brothers picture while it unabashedly goes into sentimentality. Despite this the sentimentality is extremely effective and heartwarming, making this a must watch for the Christmas season.

Nick (J. Carroll Naish) runs an inn. Everyday he sees people act selfishly and has lost his faith in humanity and therefore Christmas. A hitchhiker (Donald Woods) tries to convince him that deep down people are good and Christmas is therefore an important time. One day a woman (Lynn Baggret) and her husband (Anthony Caruso) come to the inn. They have no place to stay and the woman is with child.

At the time this film was made Jack Warner and Don Siegel were arguing. Jack Warner as a sign for the two to declare peace gave Siegel the opportunity to direct to short subjects. Don Siegel suggested this film, excepting Warner to reject it. However Warner accepted the idea and Star in the Night was made.

Though his name may not be much remembered today, J. Carroll Naish (the star of this short movie) will probably be recognized by fans of movies of this era. He was in hundreds of movies in very small parts. He appeared in such movies as What Price Glory, Elmer the Great, Front Page Woman, Captain Blood, Lives of a Bengal Lancer, Sahara, House of Frankenstein and so many more. In Star in the Night he proves that he could easily hold his own as the lead in a movie. He is fantastic here and a pure delight to watch. He not the only great thing about this short. Saul Elkins' script is fantastic. It is touching and lovely without ever feeling forced. Everything just flows naturally. Life's problems are not just glanced over instead, they are treated as still being harsh. What this movie does show is a basic goodness lying under all our cynical exteriors, and that a bit of optimism and faith can help us make life seem a little bit better. For anyone who has a soft spot for Christmas sentimentality this film is a must watch. However even the greatest cynic may find their heart melting.

This short movie won an earned an Oscar for best live action short subject and I say it is well earned.


Resources Used
http://jbkaufman.com/movie-of-the-month/star-night-1945

Classic Short Film: Ask Father (1919)

Silent Film of the Month: A Burlesque on Carmen (1915)

 

Studio: Essanay. Director: Charlie Chaplin. Writer: Charlie Chaplin. Cast: Charlie Chaplin, Edna Purviance. Leo White, Jack Henderson, John Rand, May White, Ben Turpin, Wesley Ruggles. Cinematographer: Harry Ensign. 

In my opinion, A Burlesque on Carmen is one of Charlie Chaplin's most underrated films.

AS you can probably tell by the title, this film is a parody of Carmen (both the novella and the Cecil B. DeMille movie). Charlie stars as Darn Hosiery (instead of Don Jose), an honest guard, who is lead astray by the seductive gypsy Carmen (Edna Purviance, Chaplin's main female co-star at this time, starring in over 30 films with him). 

Charlie had made this short and intended it to be a two-reel comedy. This two-reel version is a fast moving and funny short that also shows Charlie's growth as a filmmaker and how he could have been a serious actor. This version was screened briefly in December of 1915 for critics. The Essanay Studio quickly withdrew the film not long afterwards. When Charlie left the Essanay studio, he had left behind cut footage from this movie. The studio decided to take this footage and create a four-reel version of the picture, so that they could still make money off the Charlie Chaplin name. This version of the movie would not only use footage cut out from Chaplin's version but also new footage featuring cross-eyed comedian Ben Turpin. Charlie hated this new version stating, "I was so impressed with [Cecil B. DeMille’s movie version of] Carmen that I made a two-reel burlesque of it, my last film with Essanay. After I had left, they put in all the cut-outs and extended it to four reels, which prostrated me and sent me to bed for two days. Although this was a dishonest act, it rendered a service for thereafter I had it stipulated in ever contract that there should be no mutilating, extending or interfering with my finished work." Charlie even tried to sue over this but lost the case.



Unfortunately, after this four-reel version was released the studio found little use for the two-reel version. For decades no one was able to see what Chaplin's version might have been like. Because of this many movie fans, have dismissed this film due to the messiness of the longer version. However in 1999, film preservationist David Shepard worked to help create the closest thing to Charlie's original intent. Shepard would say about restoring this movie, "The version I prepared in 1999 attempts to reconstruct the two-reel version of A Burlesque on Carmen, based upon an affidavit from the lawsuit provided by the Chaplin archives in which Charlie details his intended two-reel version. It was impossible to be guided exactly by Chaplin’s testimony. Some of Chaplin’s original shots were removed in the process of editing the four-reel expansion, which now seems to survive only with reissue intertitles from 1928. A few 1916 shots are retained for continuity in this version and most of the intertitles derive from DeMille, but we hope it captures Chaplin’s intention. For those familiar with DeMille’s production, the two-reel A Burlesque on Carmen is actually one of the better Essanay-Chaplin comedies."

The Moving Picture World, 1920

Moving Picture News, 1920

Motion Picture News, 1919

While the Ben Turpin material added for the four-reel version is terrible (and I am saying this as someone who normally likes Ben Turpin), everything featuring Charlie Chaplin is truly wonderful.  

At the time he made this film, Charlie Chaplin had not yet evolved into the artist, who would comedy and drama. Nor had he shed off the type of pure slapstick that he had done at Keystone a year earlier. Here is Charlie Chaplin the pure slapstick comedian who would kick someone in the pants just because he could. Yet that does not mean that the humor here is crude or primitive. By this time, he had refined the execution of this humor to near perfection. Each gag is timed perfectly and delivered in such a way to give the greatest comedic effect. Because of this, even with how much I love Charlie's Keystone films, I must admit these very similar jokes are definitely funnier here. 

As this film parodies a very elaborate movie, it required more elaborate filmmaking than the average slapstick comedy short. As such this short not only shows Charlie's growth as a comedian but also as a filmmaker. Never before had Charlie made a film that looked as wonderful as this. The attention to detail and the more sophisticated filmmaking makes this truly stand out among the other films he made for Essany. If you find a good restoration of this short, you can see how wonderful this film truly looks. Anyone familiar with the Cecil B. DeMille film will especially love the care that went into capturing the feel of that movie for this parody. While much of the elaborate look of this film comes from the material the short is parodying, this short feels like a look ahead at the even more elaborate and daring feature films, Charlie would later make. 

Below are two versions of this wonderful film. The first is closer to Charlie's original plan for the film and the second features the Ben Turpin subplot. 

Resources Used

The Chaplin Encyclopedia by Glenn Mitchell

https://chaplinfilmbyfilm.wordpress.com/2015/12/18/burlesque-on-carmen-18-december-1915/ 

 

    

Some Cartoons For Saturday Morning #186

 Hello my friends and happy Saturday morning. It is time to get yourself ready for another round of classic cartoons. 

Today's cartoon selection begins with 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. 

Movie buffs know Jack Hannah best for directing Donald Duck cartoons and Jack Kinney best for directing Goofy cartoons. However, there were times when Hannah would direct Goofy and Kinney would direct Donald. They're Off (1948) has Hannah directing an excellent Goofy short. This film is still very much in the style of Kinney's Goofy cartoons though. 



 

Next up is the 1st Hoot Kloot film, Kloot's Kounty (1973).

Next comes a classic Porky Pig cartoon, Injun Trouble (1938). This short film would later be remade in color as Wagon Heels (1945). The title would later be reused as the name of another Looney Tunes cartoon, a 1969 Cool Cat short that would mark the last of the original Looney Tunes shorts.

Now it is time for a commercial break.

 

Next comes one of the wonderful Fleischer Superman cartoons, The Artic Giant (1942).

Boxoffice, 1940


Now for a silent movie starring Mutt and Jeff, A Kick For Cinderella (1925).



 

Next comes a wonderful later Looney Tunes cartoon, Daffy's Rhapsody (2015). Despite this movie being made after Mel Blanc's death, Daffy's voice is still obviously Mel. This is because Daffy's song comes from a 1950 children's record Mel Blanc made that was also entitled Daffy's Rhapsody. This short film was released in movie theaters before the feature film, Journey 2: The Mysterious Island (2012). 

Today's cartoon selection ends with some Saturday Morning Minions. 

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

The Disney Films by Leonard Maltin

https://mediahistoryproject.org/

http://afilmla.blogspot.com/search/label/Shorts_Columbia?max-results=20

Classic Short Film: Dizzy Detectives (1943)

Mickey's Amateurs (1937)

 

Mickey's Amateurs is a rare directorial effort by Pinto Colvig, who my fellow Disney fans will know best as the voice of Goofy (who appears in this film). He co-directed this cartoon with Erdman Penner and Walt Pfeiffer. Penner spent most of his time at Disney working in the story department. He even worked on such Disney feature films as Pinocchio (1940), Fantasia (1940), The Reluctant Dragon (1941), Victory Through Air Power (1943), Make Mine Music (1946), Melody Time (1948), The Adventures of Ichabod and Mr. Toad (1949), Cinderella (1950), Alice in Wonderland (1951), Peter Pan (1953), Lady and the Tramp (1955) and Sleeping Beauty (1959). Walt Pfeiffer was a childhood friend of Walt Disney and would become manager of Disney's Penthouse Club. None of these men were typically directors of cartoons and to see them in the director's chair is a rare treat. The three also wrote the short, which was a more typical job for them. 

In their book Walt Disney's Mickey Mouse: The Ultimate History, J.B. Kaufman and David Gerstein describe this film as "...an extremely offbeat cartoon, with wild, freewheeling gags and animation that suggest other studios as much as Disney." Animator Al Eugster remembered working on this cartoon with a real fondness stating, "I felt I had more freedom during my assignment on this film." This short would be the last Mickey Mouse cartoon released for United Artists. 

Despite being credited as a Mickey Mouse cartoon and having Mickey's name in the title, Mickey has little to do in this film. This was actually quite usual by this time in his career. Though Mickey's cartoons from the late 1920's and early 1930's clearly had him as the star by this time he was becoming a supporting player in his own films. The reason for this is quite simple. As Mickey was becoming a bigger and bigger movie star, he was also being looked at as a bit of role model for kids. The problem was that Mickey's personality had not always been that of a perfect role model. Instead he was a mischievous character who constantly got himself into trouble with his childlike playfulness. With this complaints started to come up concerning Mickey's questionable behavior. This presented a problem. How do you make a funny Mickey Mouse cartoon without what made him funny in the first place? The answer was quite simple actually. Mickey was given a new role not as the comedian of the pictures but as the straight man. Characters like Donald Duck, Pluto and Goofy were not held up to the same scrutiny if they did not prove to be perfect role models. Therefore they could be the ones to get the laughs, while Mickey would be the master of ceremonies. This is a role Mickey filled out quite well and proved excellent as and a role that in many ways he still fills today (not including those great new Mickey Mouse cartoons on Disney+). 

The following is a review from The Motion Picture Herald.

"Making sport of the current amateur hour craze, the Disney penmen have devised some of the craziest and comic cartoon moments yet to hit the screen. With Mickey Mouse as the master of ceremonies, the talent parade their specific specialties. Donald Duck recites "Twinkle Twinkle Little Star," which is a very coy act for Donald and a good laugh for his audience. The female aspirants are represented by Clara Cluck and Carabelle Cow who offer a song and a piano treat. The highlight of the progamme and the one that would receive this reviewer's vote is 'Bandmaster Goofy and his Fifty Piece Band.' Goofy and his 'Rube Goldberg' invention play 'In The Good Old Summertime' and then going modern, the pace proves too much for the maestro and his machine. The subject must be seen to be appreciated and enjoyed and enjoyed. The fun it offers defies description. Running time, one reel."  

I have always had strong fondness for when Disney fully embraces a spirit of cartoon zaniness. Many favorite Disney shorts are often the ones with the wildest and most cartoony sense of humor. So it should come as no surprise that I love this film. Sentimentality and cuteness have no place in this short, instead this film is full of zany cartoon gags that come at a fast pace without ever letting up. Most importantly though is that the gags are truly funny. Some of the comedic highlights include Donald's recitation (I love that he legitimately has a machine gun) and Goofy's brilliant musical performance. The later benefits from some truly hilarious cartoony animation from the great Art Babbitt. 

According to the Disney Wiki this cartoon made its TV debut on an episode of the Mickey Mouse Club that aired on October 18, 1956. The film would air as part of the Walt Disney Presents episode This is Your Life Donald Duck. This episode aired on March 11, 1960. 






 

The New York State Exhibitor, 1932

Animation

Terminology: CU= Close Up; MCU= Medium Close Up; LS = Long Shot; MLS = Medium Long Shot; O.S. = Off Screen

Stan Quackenbush (CU Radio playing - smoke curls - set expands and contracts - gong interrupts)

Ralph J. Somerville (CU Gong swinging - hammer hitting it; CU Gong ringing - hand silences it; Audience's heads follow Cluck's actions)

Ed Love (CU to MCU Pete desperate - mechanical hands pull him O.S.; MCU Cluck followed by Belle - enter from left - stops at "mike" - Belle walks O.S. to right - Cluck bows (co-animated with Les Clark); MCU Belle twirls skirt - trips -falls; MCU Belle in awkward position - twitters - snorts; MCU Belle plays opening cords with flourishes; MCU - Belle at piano - blinks eyes in syn. to piano trill; CU Front view - Belle at piano - hands and eyes bump; MLS Bell laughs - points to Cluck - titters snorts; MCU Cluck smooths feathers - Belle bows - both exit - O.S. crash (co-animated with Les Clark))

Marvin Woodward (Back of Mickey at desk; says OKAY OKAY; CU Mickey at the desk - continues OKAY - OUR NEXT AMATUER IS ---- Loud quacking O.S. Mickey looks to the right; MLS Donald enters from right - Polishes apple - hands it to Mickey - Mickey leads him to "mike" - O.S. laughter (co-animated with Al Eugster); MCU Mickey starts to introduce next act - Don grabs apple - Mickey continues - "THE TWO CLARAS - CLUCK AND BELLE" (co-animated with Al Eugster); MCU Mickey is interrupted by "Professor" (Donald in disguise) - recites - shoots machine gun (co-animated with Al Eugster); MCU Duck bouncing - gun shooting - Duck in case - pulls him O.S. - Mickey announces Bandmaster Goofy (co-animated with Al Eugster)) 

Al Eugster (MLS Donald enters from right - Polishes apple - hands it to Mickey - Mickey leads him to "mike" - O.S. laughter (co-animated with Marvin Woodward); CU Donald sore - frowns into camera - mumbles; MLS continues reciting laughs interrupt gets gong - hand comes in - grabs him - Donald races out;  MCU Mickey starts to introduce next act - Don grabs apple - Mickey continues - "THE TWO CLARAS - CLUCK AND BELLE" (co-animated with Marvin Woodward); ); MCU Mickey is interrupted by "Professor" (Donald in disguise) - recites - shoots machine gun (co-animated with Marvin Woodward); MCU Duck bouncing - gun shooting - Duck in case - pulls him O.S. - Mickey announces Bandmaster Goofy (co-animated with Marvin Woodward); C.U. of wreckage - Goof's head pops through drum - Donald out of Goof's busby - iris closes down - gets Donald in neck - pulls it out with hands - he ducks back (co-animated with Art Babbitt))

 Les Clark (MCU Cluck followed by Belle - enter from left - stops at "mike" - Belle walks O.S. to right - Cluck bows (co-animated with Ed Love); MCU Cluck glares at Belle - annoyed; MCU Cluck tries to start; MCU Cluck tries to start - Belle improvises O.S. - Cluck standing on toes glares at Belle; MCU Cluck sings "Il Baccio" - "Mike" swings gently away - opens eyes - sees "mike" swinging; MLS Cluck chases "mike" - runs up and down stage - feet leave floor; MLS Cluck chases "mike" grabs at it - tries to sing into it - springs up and catches it - wire breaks - crashes; MCU Cluck smooths feathers - Belle bows - both exit - O.S. crash (co-animated with Ed Love))

Art Palmer (LS Audience ducks machine gun bullets)

Art Babbitt (LS Goof out from right wing - twirls baton - walks to machine; MCU Goof picks up accordion - snaps on knees - pulls on belt - sings cymbals - sits - nods head - machine starts; CU Goof plays third phrase on flute - flute goes out; MCU Tuba in - plays - clarinet up - tries to get it - plays; CU Hands come down - sticks tongue out - licks thumb - hand turns page - mouth harp in - plays - out - hands down - stretch mouth - all horns in mouths; MCU Goof gets ready to play next number - lever breaks off - starts playing clarinet smacks him; MLS Clarinet - out - harp up - plays - trombone up - plays it. Mouth harp rolls over face; MCU Fanny bouncing and being thrown around on cymbal; MLS Tuba comes up - plays it - harp in - cornet in - misses it; CU mouth harp plays - saws across mouth - hold explosion - cogs wizz in his head: MCU Clarinet whizzes by - misses it - shakes in mouth - in and out of mouth; CU mouth harp saws mouth - hold - explosion, etc.; MCU Inst. whizzes by - Goof dodges - trombone up - socks him in face - pulls face - boinks off - doges inst. - trombone under fanny; L.S. machine jumps around - builds up to big explosion - everything falling into scene wreckage smoking; C.U. of wreckage - Goof's head pops through drum - Donald out of Goof's busby - iris closes down - gets Donald in neck - pulls it out with hands - he ducks back (co-animated with Al Eugster))


Story: The film starts with Pete singing Asleep in the Deep very poorly. Mickey rings a gong and some hands drag Pete off stage. Our master of ceremonies Mickey Mouse introduces the next amateur performer. Before he finishes the introduction Donald Duck walks out gives Mickey an apple then starts his performance. He starts a recitation of Twinkle Twinkle Little Star but bungles it when he forgets the words. The audience laughs at him and this makes Donald lose his temper. Mickey rings the gong and a hand pulls an angry Donald off stage. Donald rushes back on stage and takes his apple back from Mickey. Mickey introduces Clara Cluck and Clarabelle Cow. The two give a musical performance with Cluck singing and Clarabelle playing the piano. However trouble arises when the mike won't stay still for Clara Cluck. Before Mickey can introduce the next amateur Donald comes back on stage in a "professor" disguise. He is carrying a case with him and out of the case he takes a gun and points it at the audience who laughed at him earlier. He then proceeds to give another recitation of Twinkle Twinkle Little Star. He again forgets the words and the audience again laughs at him. At this time the machine gun goes off and goes out of control sending Donald flying all around and the audience ducking. A hand once again appears and puts Donald inside his case and pulls him off screen. Mickey now introduces "Bandmaster Goofy." Goofy has his "fifty-piece band" with him. This band is a big contraption with many musical instruments on it. Not surprisingly this machine malfunctions and explodes. Donald then pops out of Goofy's hat and gives a really quick recitation of Twinkle Twinkle Little Star as the iris closes and Donald's neck gets stuck in it. 

Resources Used

http://afilmla.blogspot.com/search/label/Shorts_UA

https://mediahistoryproject.org/

https://disney.fandom.com/wiki/The_Disney_Wiki

Walt Disney's Mickey Mouse: The Ultimate History by J.B. Kaufman and David Gerstein 

     

Some Cartoons For Saturday Morning #153

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

Today's cartoon selection begins with a classic Donald Duck film, Toy Tinkers (1949). This movie features Donald once again going up against Chip and Dale. This film is directed by Jack Hannah, who at this time was directing the majority of the Donald Duck cartoons. When Chip and Dale had their very short-lived series of shorts, Jack Hannah directed all three cartoons in that series. This cartoon is laugh out loud funny. The slapstick is spot on and timed perfectly. Every joke works and they are all very funny. The humor is also displayed perfectly through the great character animation one should expect form a Disney cartoon. While Disney cartoons are often called sweet and cute in contrast to the hilarious antics at studios like Warner Brothers and MGM, the Disney studio could make slapstick cartoons as great as the rest of them (this is not an insult to Warner Brothers and MGM as I love there cartoons a lot as well). This stands as one of Disney's funniest shorts (a joke involving a telephone never fails to make me laugh out loud).

Next comes a wonderful Color Rhapsody Christmas cartoon, Gifts from the Air (1937). This movie was reissued to theaters in 1955.

The Philadelphia Exhibitor, 1935

Next up comes Mickey Mouse and Donald Duck on The Dognapper (1934). According to Animation Historian Mike Barrier, Dick Lundy (who had previously animated Donald's famous tantrum in Orphan's Benefit (1934)) was specifically sought to animate one scene in this movie. That scene is when Donald runs after Mickey's motorcycle. Other animators on this cartoon include Marvin Woodward (who animates our heroes listening to the radio at the start), Hardie Gramatky (who animates most of the car chase as well as the saw chasing Pete up the ladder), Johnny Cannon (who animates the boys entering the sawmill as well as our heroes dodging Pete's bullets), Gerry Geronimi (who animates Pete chasing Fifi as well as Pete shooting at our heroes), Bob Wickersham (who animates the closing scenes of the picture) and  Bill Roberts (who animates everything from Pete grabbing the cannon to Pete jumping up on a log to avoid the saw). The following is from an issue of The Film Daily (dated November 9, 1934), "'The Dognapper,' latest Walt Disney Mickey Mouse cartoon, will have its premiere at the Rivoli tomorrow in conjunction with Eddie Cantor's 'Kid Millions,' both released through United Artists." 

Screenland, 1935

Next is one of the last black and white Looney Tunes and Daffy Duck's last appearance in black and white. This is a fantastic Daffy Duck World War 2 themed short. This film is directed by Frank Tashlin. While directing these cartoons Frank had his mind on wanting to direct live action features (which he later did). Because of this his cartoons are the most cinematic of all the Looney Tunes. This is definitely shown here in a montage that is as well done as anything you would see in a serious war picture. This film is also filled with not only great slapstick but some of the sharpest satire of any of the World War 2 Looney Tunes. This cartoon appears in Jerry Beck's book, The 100 Greatest Looney Tunes. So, enjoy, Scrap Happy Daffy (1943). 

Now it is time for a commercial break.

Next comes the 11th Dogfather film, Rockhounds (1975). 

Up next is Farmer Al Falfa in Plane Goofy (1940). Farmer Al Falfa is a cartoon character who dated back to 1915. Though he had once been the star of the Terry-Toons, by this time he was appearing rather infrequently and often in supporting roles. This is one of his semi-rare starring roles of this period. The following is an Exhibitor's review from The Motion Picture Herald, "Plane Goofy: Terry-Toons - This is a fairly good color cartoon that gets away from the beaten path to some extent. - W. Varrick, Nevins III, Alfred Co-op Theatre, Alfred, N.Y. Small town and rural patronage." 

Up next is Felix the Cat in All Puzzled (1924). 

Today's cartoon selection ends with the TV Special, A Garfield Christmas Special (1987). 

Thanks for joining me. Comeback next week for another selection of classic cartoons. Until then may all your tunes be looney and your melodies merry. 

Resources Used

Walt Disney's Mickey Mouse: The Ultimate History by J.B. Kaufman and David Gerstein

The 100 Greatest Looney Tunes edited by Jerry Beck

http://afilmla.blogspot.com/search/label/Shorts_UA?updated-max=2008-11-18T21:00:00-08:00&max-results=20&start=8&by-date=false

  

 

 
 

Video Link: Behind the Tunes - "Once Upon A Looney Tune"

Short Film: Busy Bodies (1933)

 

Release Date: October, 7, 1933. Director: Lloyd French. Cast: Stan Laurel, Oliver Hardy, Tiny Sandford, Charlie Hall, Dick Gilbert. Producer: Hal Roach. Cinematographer: Art Lloyd. Editor: Bet Jordon. 

The following is an Exhibitor's Review from the Motion Picture Herald.

"Busy Bodies: Laurel and Hardy - Very good. One of their best. Lots of good laughs. Running Time, 2 reels. - Mr. and Mrs. Wilfred Rancine, Ideal Theatre, Burns, Oregon, Small Town Patronage." 

Photoplay, 1933

 

The Film Daily, 1934

Short Film: Hide and Shriek (1938)

 

Released June 18, 1938. Length: 10 mins. Producer: Hal Roach. Director: Gordon Douglas. Cast: Our Gang (Carl "Alfalfa" Switzer, Billie "Buckwheat" Thomas, Darla Hood, Eugene "Porky" Lee, Gary "Junior" Jasgar, Leonard "Percy" Landy), Fred Holmes (Janitor), Billy Bletcher (Voice). Cinematographer: Norbert Brodine. Editor: William Ziegler. 

Note: This was the last Our Gang film produced by Hal Roach.

The following is a review from Boxoffice magazine.

"A rather hilarious comedy is this Our Gang effort in which Alfalfa and the boys take detective work. They try to trace a box of candy and wind up in one of those amusement park 'Haunted House' contraptions. Their experiences there are enough to make them give up Sherlock Holmes stuff. It's good program stuff."  

The following are some exhibitor's reviews from the Motion Picture Herald.

"Hide and Shriek: Our Gang - A good gang but this series has too much Alfalfa and not enough of the gang. The last half dozen have been 80 per cent, Alfalfa. He is good but it is the kids the people like. - C. I. Niles, Niles Theatre, Anamosa, Iowa. General Patronage." 

"Hide and Shriek: Our Gang Comedy - I thought this was a little better than the rest. Running time 11 minutes - Charles Rossi, Strand Theatre, Schroon Lake, N.Y." 

Motion Picture News, 1929

Some Cartoons For Saturday Morning #135

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

Today's selection begins with Mickey's Parrot (1938). This movie is one of the few short films directed by Bill Roberts (who also directed Brave Little Tailor (1938) and Society Dog Show (1939)). Bill Roberts mostly directed segments of Disney's feature length films. This cartoon was originally planned to center mainly around Pluto, but the film was reworked to have Mickey play a larger role. Walt loved the idea of this movie stating, "You have these two characters - Mickey and the dog scared stiff. That's a swell Mickey type of story." Like many of the best Disney cartoons of this time this movie benefits from a very cinematic feel. Much of this is helped by some excellent effects animation by Josh Meador and Cornett Wood. The opening shot is the work of Cornett Wood and perfectly sets up the mood for the whole picture. The cartoon also features a great cast of Disney animators. Shamus Culhane was making a name for himself as one of the finest Pluto animators. Here he animates Pluto chasing the parrot into the piano as well as the two fighting after Pluto blows him into the chair. Les Clark is hailed as one of Mickey's finest animators and would become one of Walt's nine old men. He animates very little here. He does animate the parrot saying "shiver me timbers," Mickey saying "the killer," and the closing shot. Dick Lundy, who would later direct some really good cartoons for both MGM and Walter Lantz animates Mickey and Pluto getting scared while listening to the radio and them hiding in the bed. The lion's share of the animation is handled by Fred Spencer including the parrot in the basement window, the action with the parrot and the can, Pluto and the fishbowl, Pluto and the umbrella, the chase in the kitchen, the parrot biting Pluto's tail (as well as the staring contest afterwards) and the parrot and the popcorn. A review in Boxoffice magazine stated, " Never a dull moment in this one, thanks to the Disney wizardy. It’s a continuous .succession of humorous situations good from mild to hearty belly laughs." The following is an exhibitor's review from the Motion Picture Herald, "MICKEY'S PARROT: Walt Disney Cartoons—Disney makes the cartoons. There's no use of arguing. A theatre without them is the same as no salt on your meat.—Harland Rankin, Plaza Theatre, Tilbury, Ontario, Can. General Patronage."

Up next is The Pink Panther in Congratulations It's Pink (1967).

Today's cartoon selection continues with Sylvester in Fish and Slips (1962). This movie begins with Sylvester and his son watching TV. The announcer on TV mentions Treg Brown. This was the sound effects man for the Warner Brothers cartoon studio. Sylvester's son, Sylvester Jr. was almost exclusively used in cartoons directed by Robert McKimson (though he was used in Friz Freleng's Goldimouse and the Three Cats (1960)). 

Up next is one of Ub Iwerks Comi-Color cartoons, Brave Tin Solider (1934). Ub Iwerks had previously been Walt Disney's right hand man playing a major role in the creation of Mickey Mouse, animating on Walt's Alice Comedies and Oswald the Lucky Rabbit cartoons and directing the earliest Silly Symphonies. When distributor Pat Powers offered Ub the chance to head his own studio he left Walt (though he would later return). Ub's own studio would never receive the success that the Disney studio did, but he turned out some films that still delight cartoon buffs to this day. His Comi-Color series was a thinly veiled imitation of Disney's Silly Symphonies cartoons, adapting many classic fairy tales and simular stories. However these cartoons are a bit odder than the Silly Symphonies and there are some jokes in these movies you would not see in a Disney cartoon. Brave Tin Solider is in my mind one of the finest of the Comi-Color cartoons. 

                                     Independent Exhibitor's Film Bulletin, 1934

Next up is the first appearance of Betty Boop's dog, Pudgy, Betty Boop's Little Pal (1934). Though Dave Fleischer is credited as the director of this cartoon, it is widely accepted in animation circles that the first credited animator of the Fleischer cartoons did much of the directing. Not surprisingly the first credited animator here is Myron Waldman. Myron Waldman excelled at cute cartoons and this is about as cute as a Betty cartoon can get. The following are some exhibitor reviews from The Motion Picture Herald. "BETTY BOOP'S LITTLE PAL: Betty Boop Cartoons — This is another good cartoon from Betty. We liked it here. Running time, one reel—J. A. Verchot, Opera House, Abbeville, S. C. Small town patronage." "BETTY BOOP'S LITTLE PAL: Betty Boop Cartoon—Fair cartoon. Betty has made much better ones. —John H. Forrester, The Fines Theatre, Waldron, Ark." 

Up next is a real treat, some bridging sequences from TV's The Bugs Bunny Show.

Let us close by singing a song together.

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.

-Michael J. Ruhland 

Resources Used

http://afilmla.blogspot.com/search/label/Shorts_RKO

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

Walt Disney's Mickey Mouse: The Ultimate History by David Gerstein and J. B. Kaufman.