The 50 Greatest Cartoons (Art eBook)
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Greatest Cartotms As Selected by 1,000 Animation Professionals
— $29.95 $41 95 (Canada)
The
S Greatest Cartoons
^
;)
As Selected by 1,000 Animation Professionals
More
than three hundred illustrations
two-thirds in fifty
a
full
color
— showcase
greatest cartoons of
all
the
time, selected by
panel of more than 1,000 cartoon historians and
animation professionals.
The
result
is a
fascinating
range of classic animated entertainment. Here are old favorite characters
from Disney and Warner Bros., the
imaginatively offbeat creations of the Fleischer studio,
pioneering efforts from early masters
like
McCay and Otto Messmer, and many
Winsor
more, including
MGM, and others. A portrait of each winning cartoon includes
Walter Lantz,
plot
summary, the production
history,
and
a
a critical
analysis that explores the unique qualities that have
earned the cartoon
a
place in film history. Also included
with the actual
are interviews
artists, as well as
sidebars
throughout the book that focus on individual characters, animators, directors, and studios. In addition, major writers in the field of animation
— Leonard Maltin.John
Canemaker, Joe Adamson, Steve Schneider, Charles Solomon, and favorite films.
Leslie
Cabarga
And hundreds
— comment on
their
of illustrations culled
from private and public collections across America display every stage of the animators' first
art,
from the
pencil sketches to frame enlargements from the
finished work.
For a
many
readers, The Fifty Greatest Cartoons
is
long-overdue acknowledgment of an overlooked
art
form.
Brimming with
this is a nostalgic
look
lively text
and vivid images,
at old friends
and childhood
pleasures.
Turner Publishing, Inc. ATLANTA
7
Greatest Carto As Selected by 1,000 Animation Professionals Edited by Jerry Beck
1
Copyright
E
,
1994 Lavla Productions. In; and Sammis Publishing Corp All rights
No pin
international copyright conventions in
of the contents of this hook
may
reserv ed
COVER ARTWORK CHARACTER KEY
under
he reproduced or utilized
any form or bv any means, electronic or mechanical, including photocopying, recording, or by any
A
Unicorn
Warner Bros
Loonev Tunes,
Inc
all
names
character
and related slogans arc Trademarks of Warner Bros Inc
A
Superman The
144-51; 156-57. I70-7JI >78 -79. '8*-*3
Subsidiary of Turner Broadcasting System. Inc
1050 Tcchwood Drive,
Squirrels (Peace on Earth)
Emenainmeni Company 56
-59.
68-71. 8a -8 j, 108-11. 116-19, '5 8 "59' 161-165. Frame
98765432
10
enlargements on the following pages
arc '?
1994 The
Vuaphone Corp Renewed 1971 United Inc
Fifty
Greatest Cartoons
Professionals
/
As
Selected by
1
— United Staces-
TK.ng
Features Inc
.
all
character
names and
Catalogs
I
Red
94-IOI; 14° 41- '3* 5!
Mouse and Canary Michigan
? Universal Pictures, Inc
all
character
names and
related
slogans arc Trademarks of Universal Piciures. Inc
Tom
J.
(Kjng Size Canary)
Frog (One Froggy Evening)
and Jerry (The Cat Concerto)
Koko Illustrations
on pages 168-169
" c eourccsty
of
Canadian
Clown and Bimbo(Snou
the
V/hite)
Red (Red Hot Riding Hood)
BroadcHU'fte Sv stem
Boop (Minnie
Betty
the MoocfjerJ
Andrew s and McMcel
A Unucrsjf
Press Syndicate
4900 Main
Street
Company
Illustrations
on pages 184-85
Productions. Inc are
City, Missouri
64
1
.
all
arc
character
''
Pudgy (Betty Boop's dog)
Fein the Cat
names and
related slogans
Trademarks of Fein the Cat Productions,
Inc
Woody Woodpecker
images
TM 1>
C
1994
hv
Walter
Productions. Inc All rights reserved Courtesv of
An An
MCA
Publishing Rights, a Division of
Walsh and Karen Smith
MCA
"The Rabbit
of Seville" song (from
The Rabht
of Seville "\
(Lyncs hv Michael Maltese, Music by Carl Stalling)
Warner Bros.
Inc
(Renewed)
All
Woody- Woodpecker (The Barber of Seville)
The Cat Came Back
Inc
coordination by Pec Espy
U SA
Grandma and Wolf
(Red Hot Riding Hood)
Lam;
direction by Michael
Red.
1
Produced hv Lavla Productions. Inc and Sammis Publishing Corp
in the
Dwarfs)
166-67
94 20780
CIP
Printed
Seifcen
(Litdt Red Riding Rabbit)
Beck, Jerry
1
Kansas
cfe
related slo
cans are Trademarks of King Features, Inc 88 -91
Characters and illustrations on the following pages arc
NC1766.U5F54 1994 79 4?'?—
Distributed by
Rural Riding Hood)
Coal Black (and
edited by ferry Beck
films
(Little
Charactcrs and illustrations on the following pages are
Includes index
Animated
Quackadero
Red (Red Hot Riding Hood) Red
.000 Animation
ai the
Artists Television
84-87. 101-105. 156-157. 170-73. '78-79.
ISBN i-87868 5 -49-X 1
Quasi
Dora and The Dover Boys
1
Library of Congress CatalogingtnPublication Data
The
Planted Trees
(The Ttll-Talc Heart)
MCM cartoon characters and illustrations on the following pages are '.Turner
Atlanta. Georgia
First Edition
Man Who
Man
NW
Garden
Bambi Meets Godzilla
50-40.44-51.60-65,74-77, 84-87: 101-05. >l*~17-
Published bv Turner Publishing, Inc
in ihc
Characters and illustrations on [he following pages are C'
information storage and retrieval system, without the written consent of the publisher
?
1950
nghts reserved Used by
Bad luck
Blackie
and White Kitry
Sylvester (The Scarlet Pumpernickel)
Wolf Cousins
Rural Ridmg Hood)
(little
permission
Goofy (Clock Cleaners) "Return
Mv Love" song
(from "What's Opera. Doc'")
Mickey Mouse (Brave
Lntle Tailor)
Minnie Mouse (Brave
Little Tailor)
(Lvncs hv Michael Maltese. Music hv Richard Wagner)
0 1957 Warner
Bros
Used hv permission
.
Inc
(Renewed)
All
nghts reserved
Donald Duck (The Band Concert) Pluto Felix the
Wolf
Cat (Tela
in
Hollywood)
Hounded
(Nortrruest
Police)
Droopy (Northwest Hounded
Police)
Pluto (Popeye the Sailor Meets Sindbad the Sailor)
Wimpy (Popeye the Sailor Meets Sindbad the Sailor)
Popeye (Popeye the Sailor Meets Sindbad the Sailor)
Olive Oyl (Popeye the Sailor Meets Sindbad the Sailor)
Mark Anthony and Pussyfoot (Feed the Kjtty)
The Big Smt Gerald McBoing
Bomg
Rooty Toot Toot
Bugs Bunny (Rabbit Daffy
of Seville)
Duck (Duck Amuck)
Elmer Fudd (What's Opera. Doc?)
Porky Pig (Duck Dodgers
Marvin the
in the
24
i/2tfi
Century)
24
i/2tfc
Century)
Maman
(Duck Dodgcn
in the
Gertie the Dinosaur
.
Contents Editor's note
6
A Brief History of Animation An Animation Time
1.
z.
9 12
Line
Animation Hall of Fame
22
A Gallery oi Cartoon Stars
23
What Makes a Cartoon Great?
26
The
29
Fifty Greatest
Cartoons
What s Opera, Doc? Duck Amuck
20
20 Brave
*6
27
Clock Cleaners
The Band Concert
A.O u
28
Northwest Hounded
AA
Tt 48
2Q
Toot, Whistle,
j
Rabbit Seasoning
132
J
j31
The
136
Duck Dodgers
in the
T-
z^T/zth Century.
.
.
One Froggy Evening Gertie the
Dinosaur
Red Hot Riding Hood Porky in
•
Wackyland
60
Gerald McBoing Boing 10. King-Size
.64
68
Canary
33
Little Tailor
1
124 Police
Plunk and Boom
Scarlet Pumpernickel
138
140
34 You Ought to Be 35 Ali Baba Bunny
in Pictures
12.
Rabhit of Seville
•74
13
Steamboat Willie
78
37 Bimbo s Initiation 38 Bambi Meets Godzilla
14 The Old Mill 15
Bad Luck
l6
The Great Piggy Bank Robbery
17
Popeye the Sailor Meets Sindbad the Sailor
18
The Skeleton Dance
J
20 Minnie 21
the
Moocher
Coal Black and de Sebben Dwarfs
23
Little
*4 The 25
Tell-Tale
Heart
The Big Suit
152 1
54
82
40
Peace on Earth
158
•84
1
Rooty Toot Toot
160 162
4
Red Riding Rabbit
88
42
Cat Concerto
•9*
156
166
43
The Barber of Seville
•94
44
The
•98
45 Book Revue
170
102
46 Quasi
174
Man Who
Planted Trees
at the Skiackadero
Corny Concerto
47 48
A
112
49
The Dover Boys
116
5°
Felix in
Unicom
in the
Hollywood
1
Illustrations
187
How to Find the Fifty Greatest Cartoons
188
Animation Art Sources and ASIFA
189
Index
190
and Contributor
192 credits
180 182
186
Acknowledgments
168
178 Garden
Other Great Cartoons
Illustration
50
39
108
Rural Riding Hood.
1
Little
106
22
Feed the Kitty
80
Blackie
9 Snow White
144 148
36
Little
130
Superman
72
Three
126
TIk Cat Came Back
Pigs
ii
20
192
84
Editor's
This
volume
elaborate
toon
The
is
Note
program
7
members
of
those polled are
of the
I
New York,
think everyone reading this
book
will find at least
book
for the car-
Hollywood, Portland, and
two absences that they con-
my dreams.
San Francisco chapters
sider inexplicable,
cartoons show-
fiitv
survey
ol
more than one
thousand ammators, cartoon historians,
and animation
protcssionals.
Their
sions turned into
—
deci-
mv plea-
got to rescreen
I
all
ASIFA
ot
even wonder
(Association
two
Internationale du Film
D Animation tor
—
see page
more information),
societv
made up
of
tors, film students,
toon
buffs. Ballots
sent to
members
1
inclusion.
89
also
styles
and
which
did not
the final cut. But to delight, this
make
my
an extraordi-
is
is lull mI
popular
Bros, films,
it
also includes
cartoons by Walter Lanrz, the Fleischer Studios,
UPA,
classic or eligible,
The
was
it
short (less than thirty min-
and
utes)
eel
animated
cartoon?
special exception
to a
weighing each choice with
neering efforts
its
Dinosaur and the work of
ballot
was
tallied
But the onlv true way to
chosen
and
col-
galleries located
over the world.
We've
used frame enlargerare 3
5mm
seldom-seen advertising material to illustrate selected
cartoons. Artist and
there are probably a few
Fleischer historian Leslie
hundred more
Cabarga provided us with
have
listed the
two
the end of the
list
Initiation);
animation director Dan'U
of fifty',
but even that docs not
Van
cover even' worthy cartoon.
trate King-Size Canary,
6
it
you
Car-
or by purchasing videotapes
and
laser discs.
you
to seek out the
encourage
I
greatest cartoons all
the fuss
You'll
have
doing
it. I
a
fifty
and see
is
about.
manellous time
did!
—
Jerry
Beck
Hollywood, California
original paintings (Sncat-
White and Bimbo's
runners-up
them
of
Channel, and Nickelodeon),
what and
Ot
we
television (you can
many
The
ranking.
have made the grade;
on
festi-
The Disney
ments from
that could
them-at animation
catch
to
is
toon Network,
of origi-
prints, pencil sketches,
the thousands of car-
see
vals,
Cartoons
toons produced since 1908,
at
is.
appreciate these films
glue yourself to
also
by
tribute to
is a
very special cartoons.
with prime examples
all
paper).
This book fifty'
celebrates these cartoons
lections
which
their credits.)
Is this a
Fifty Greatest
thank
ments, insights, and wisdom
but the
from the greatest private
was made
for Gertie the Dinosaur,
was animated with
a distin-
with us. (See page 192 for
The answer
nal animation art,
(a
The
artists.
classic
contemporary,
so Ions as
of Canada, as well as pio-
contemporary
simple question:
or domes-
and the National Film Board
like Gertie the
criteria,
came down
of course, yes!
was
MGM, and Warner
own
toons from numbers 1—50;
tic,
it
voluminous
for even' cartoon included
tion ot classic animation.
Disney,
film critics
were asked
film, foreign
criti-
these critics lor sharing com-
to rank their favorite car-
narily well-rounded collec-
\\ hile
car-
notes. Even' voter used his
more than one hundred
any
given a
from
cal appraisal
artistry, qualifying
their lists with
of the
decision
favorites
of those
is
and were
or her
at
each cartoon
I'd like to especially
and
periodicals. All
and production information,
or
toons of vastly different
hundred anima-
many
full credits,
had trouble comparing
car-
tion studios,
All of us,
In addition to a concise
plot synopsis,
anima-
Studies, one
fiftv films.
Many
Scarlet
Pumpernickel.
guished animation pundit.
consensus.
mvsell included, have
why one
Amuck, and The
polled remarked that they
a film
Society for Animation
No single person picked
and might
those present merit
of
the films to confirm their
these
one or
festival ot
cased here were chosen in a
sure
Man\
an
Cittcrs helped us illus-
Duck
1994
y
first
list
of the is
superb gathering
it is.
eighty-odd years of this
this
wonderful, youthful craft
fifty
what
greatest cartoons
believe that
amazing overview of the
impression
on reading
do
I
alphabetically.
blindly shuffle the entire
last
down
random order and
would
in every case
matter
how often
—
and
I
would
still
be
delighted and honored to
pack of cartoons several
in
What's Opera,
Doc? would probably be
you could
times and put them
oi
them down
ours. If you put
a
be there. to Jerry
it
— no
A special hosanna
Beck
lor providing
this star-spangled tribute
to animation
the shuffle
represent a great and
craft indeed.
7
—
a worth)'
A Brief History of Animation
0 Jht Walt
Dunn Company
A
Bncf Hision of Animation
he history
animation
ol
encompasses Like
several stories.
histories,
all
begins
it
with individuals, in this case
and inventive people
creative
w hose
talent, ingenuity,
vision allow ed
them
beyond an
form
found
it.
as they'd
Because animation
combines nology,
art
and
to go
integral part of animation
and tech-
artistry
history.
book, you
history also
its
techniques and procedures
sidebars. In this chapter,
we
which
will
varied from simple
setups.
group of friends
in a
New York
who was
in
kinetescope.
By looking
through
machine, view-
this
ers could see a flickering,
Trie earliest attempts
at
ated against the backdrop of
cave drawings of animals
drawn with
Hollywood; the
Edison,
inspired to invent the
cohesive chronology.
the complex studio system
in
minute-long motion picture.
The movie
industry had
been bom.
Animated
legs in several
films
began
as
positions to imitate motion.
an offshoot of trick photog-
these studios are another
Trie effort to analyze motion
raphy movies, or "trick
element
on
films," popular in the early
ol
stories of
animation histo-
culminated in an
film
ry, as is
the development of
experiment by photographer
1 900s. In
unique
artistic styles associ-
Edward Muvbndge. To
the novelty of an animated
finally,
a
them
animation can be found
ated with these studios.
restaurant.
attempt to unite
these innov ations were cre-
Above,
act,
a
Many of
Below: Muybridge's experiment.
Gertie for
Thomas
these
will find
in
ol
duction to his vaudeville
images and showed them to
components highlighted
computer
Winsor McCay drew
project these animated
this
involves the development of
paper cutouts to elaborate
right: In a filmed intro-
Throughout
And
tle a
bet
set-
made with Leland
Stanford (then governor of
the characters created
by mere mortals often took
California) as to
on immortal and
four feet of a racehorse were
lives of their
fantastic
own, and
time,
all
to cap-
who were
getting used to seeing action
moving
live-
pictures.
As
the
same
audiences gained sophistica-
set
up
tion,
trip-
the public's attention with
wires; as a horse passed each
one, a photograph
snapped.
was
By looking at
able to see that at
all
one point
of the horse's hooves
were touching the around.
Muvbridge found
a
cartoon makers kept
broader humor, appealing characters,
twelve pictures, Stanford was
10
audiences
tivate
at
ground
twelve cameras with
none
drawing was enough
Muvbndge
off the
their
biographies are another
whether
the beginning, just
way
to
ings.
and better draw-
Two early experimenters
werej. Stuart Blackton, with his
Humorous Phases of Funny
Faces (1906), in
which an
unseen hand draws words
and
pictures,
and French
A
nHOW A CARTOON
IS
Many
Brief History of Animation
MADE people are amazed
cartoon.
when
they leam
Thousands of drawings and
musical score, special dio followed
its
own
effects,
how much
and voices
skill, effort,
and labor
are involved in the
and dozens of finished background paintings
eels,
—
—
making of a
plus a script,
seven-minute short. Every animation
are required for each
stu-
production procedures, but most followed the same general plan.
In most studios, ideas were fleshed out on storyboards, where gags were plotted and refined. Usually, dialogue
the words being spoken.
Once
was recorded before the drawing commenced, so
the story was finalized, the
work was
divided up; in
most
that animators could time their sequences to cases, several
animators worked on every
car-
toon. For every second of film time, between twelve and twenty-four drawings were created, each only slightly different than the preced-
ing one.
The master
the rest.
These drawings were then traced onto
animators drew the main poses for each character, expertly capturing motion and expression; "in-betweeners" drew celluloid
age short film, about four thousand animation drawings
At
by inkers; the back of the
and
eels
eels
the same time, background paintings were prepared by layout and background
grounds, shooting each
added to the finished
L
Two
eel against the
were painted
to exact specifications.
artists.
Cameramen combined
aver-
the eels and back-
proper background in continuity, frame by frame. Musical scores and special effects were then
film.
J
important stages in the creation of animation: Above: Animation drawings from Northwest Hounded
animation drawings are produced, each slightly advancing the motion. Below: Cel and in the
For the
were required.
z^'l^ Century. Animation drawings were traced onto
the eels with the proper backgrounds and shot
them
celluloid;
in sequence.
II
eel
Police.
Thousands of
with background from Ducfc Dodgers
backgrounds were painted
separately.
Cameramen combined
A
Brief Hiitorv of Animation
Emil Cohl,
artist
who made
cries
— and
even today Gertie
Dinosaur
considered
Fantasma^one (1908), in
the
which
one of the greatest animated
stick figures meta-
morphosize against
a
films ever
hlack
number
background.
as
an
credited to
toonist
art is often
newspaper
produced
si.\
in this
car-
Winsor McCav, who
produced more than four
(191
1).
His second
tween
a
drunken man and
mosquito. In his third
was
toon, he
leap torward
It
that
bv imbuing
into
With
The
mischievous Gertie
eats, breathes, laughs,
and
the basic still
method of eel practiced
ened production schedules
did not go unno-
draw everything
was so success-
made people
forget
films that pre-
even McCay's. For
impact,
it
had to
in the pic-
ture, over
and over on paper,
with onlv
slight
changes
in
might
The
use of eels short-
and made possible the massproduction of animation.
Max
Fleischer invented
each drawing to create the
the rotoscope in 1918 as
illusion of movement.
another method of speeding
J.
animated cartoon.
all its
artist
Pioneer cartoonist producer
been
R. Brav
first
patented the
up cartoon production. This device enables an animator
use of celluloid sheets in
to trace live action photogra-
1 9 14 to paint the
phy one frame
background.
as well have been."
characters,
a personality.
—
animation
background
today.
in film histories as
first
animated cartoons,
static
McCay, the
his character, Gertie the
Dinosaur, with
and photographing them
major
first
such as those of Winsor
it
it,
named the
made another giant
characters from paper to eels
The
his greatest achieve-
years, Gertie has
car-
life
Of
an inanimate character, and
ceded
a
and the images more spectacular.
art
the animated
portravs an encounter be-
transferring the animated
celluloid overlays. In the ear-
ful
The Story of a Mosquito,
of eels later the same year,
finished films look better,
liest
ment.
film.
their laborious job easier, the
McCay breathed
ticed. Gertie
Nemo
Hurd patented the use
Mice and Magic, "Winsor
drawn pictures
Little
Earl
over the
this
for his first
As
make
innovation was the use of
thousand meticulously
animated cartoon.
(it is
book).
Leonard Maltin wrote in
But the creation of ani-
mation
is
nical innovations to
static
The moving
still
drawn and
at a
time for
animation purposes; actors
were filmed simulating the
TECHNOLOGY
animated on paper, were
Throughout the
shot through the clear por-
mators could see and cap-
tion of the eel overlay. Artist
ture the
years, ani-
mators have embraced tech-
desired action, so that ani-
•
movement
First (limited)
of actual
animation comic strips
appear as supplement in newsreels:
T
he following time line does
not purport to
be an all-inclusive history of animation. Listed in the
time line are notable highlights in chronological order,
including important films,
famous cal
creators,
and techni-
achievements.
•J. Stuart
Blackton
s
Humorous Phases of - Funny Faces.
•
Winsor McCay animates Little
Nemo.
The
Neu lyu'cds, Mutt and Jeff.
Colonel Hecza Liar.
']. R. Bray's earliest films released.
A
This
accompanied Fleischer
illustration
patent application for the rotoscope.
s
M. FLEISCHER.
HUHGO
Bncf History of Animation
Of PRODUCING MOVING NCTURf. CARTOONS.
1,242,674.
1'atenled
Oct
9, 1317.
bodies.
Though not
tical as
Max
as prac-
envisioned, the
rotoscope has become
r
but
it
was Walt Disney who
popularized sound cartoons
when he
a
introduced Mickey
r r
n
c
t)
n a
valuable tool in the specialeffects field
and has enhanced
Mouse
many animated
H
1^
c
features,
(1928) and put
trum the
and Lord of the
Trees
Rings.
and CinemaScope,
all
to animation at the
same
with Flowers and
(1932).
Bringing visual depth to
animation had been an ambition since the 1930s
when Ub Iwerks and Walt Disney each developed sepa-
live-action subjects. Prints
rate multiplane systems,
survive oi hand-tinted
made during
Max
three-dimensional sets for
The
their cartoons.
ing McCay's
1950s brought on
Little
Nemo.
Heischer experimented
and
Fleischer's studio built
the silent-film days, includ-
Max
craze in
which
a
early
3-D
several stu-
with sound cartoons in
dios brought popular charac-
1924 with
ters (including
f/0t jestera series
of sing-
along DeForrest Phonofilms,
•
Kjazy Kat
•
J.
News
Pictorial.
R. Bray produces Paul Terry's
— K0K0 •
introduces Gerric
the
Dinosaur
•
First •
Max
Bugs Bunny,
Woody Woodpecker,
Fleischer
the Clow n, released.
in Feline Follies.
Cat
Van
Beuren's Aesop
s
Film Fables begin, with
Paul Terr)' and John Foster as directors.
The Katzenjammer Kids series begins
to vaudeville audiences.
Hurd
Max
First appearance of Felix the
Farmer Al Falfa cartoons. >
First
Popeye,
Out of the Inkwell cartoons, w ith
series begins in
Hearst Vitagraph
•J. R. Bray and Earl
spec-
ed these advancements for
color cartoons
McCay
lull
Technicolor on
time that Hollywood adopt-
still
tnama
came
3-strip
map
including Gulliver's Travels
Color and sound, 3-D
•
Steamboat Willie
?!
n Under, the
film
the Beast
nominated
for
an
Oscar in the Best Picture category.
Framed Roger Rabbit? opens.
first
completed with
computerized ink and paint.
The Turner Cartoon Network
"Batman:
starts.
The Animated
Scries" debuts.
i
•
Steven Spielberg
presents Animaniacs.
)
Animation Hall of Fame Winsor McCay
Walter Lantz
company and
Friz Freleng
Huckleberry Hound, Yogi
(1867- 1 9 34)
(1900-1994)
(1906-)
Popular American cartoonist
Creator of Woodv
Animator and
Woodpecker and
classic
and
illustrator
duced the
who
intro-
possibilities of ani-
mation with his milestone films Little
Nemo,
Chillv
director of
Wamer Bros,
car-
many
Willy and veteran cartoon
toons. Freleng created
maker whose studio
characters, including Pork)'
launched the careers
Gertie the
ot
Tex
Pig, Sylvester,
Bear, the Hintstones, the
Jetsons, Jonny Quest,
Scooby Doo, and many,
many others.
Yosemite Sam,
and the Pink Panther, and
Clyde
creating
Chuckjones
Dinosaur, and The Sinking of
Aver\', Virgil Ross,
the Lusitania.
Geromini, Shamus Culhane,
was instrumental
and manv others. Lantz pro-
ing Bugs Bunny, Tweety,
duced
Speed)- Gonzales, and the
sible tor
Goofy Gophers. He won
toons and characters:
many Oscars,
Road Runner, Wile
Max
Fleischer
theatrical cartoon
(1884-19-2)
shorts longer than any other
Inventor of the rotoscope
studio,
more than
fifty
and he
won
innovative animation studio
Special
Achievement
of the 1920s and 1930s.
t-979-
and the head
of the
Fleischer pioneered
most
sets,
and
extra-length cartoons. His
studio also brought
ones for Tweetie
in
Pie (1947),
K0K0
Tex Avery
Jones contributed
(1908-1980)
cantly to the personality
Perhaps the most important
Animator and
figure in twentieth-century
responsible for the
animation. Creator of
Hollywood cartoon
made
in the 1920s,
he
later
Bugs Bunny
significant contribu-
for
wacky style of first
Duck and
Wamer
Bros, and created Droopy,
(1892-1983)
sound cartoons, personality
Screwy
Creator and animator of
animation, color, the multi-
Hot Riding Hood
the
first
animated
Bunny, and won Oscars
for
For Sccntimental Reasons
(1949), So
Much [or
So
Little
the
Line (1965).
and Red for
MGM.
plane camera, and feature-
Bob Clampett (1913-1984)
length animation.
also tele-
vision commercial in 1941
William Hanna (191 1—
Inspired director of classic
and Joseph Barbera (1905-)
Wamer Bros.
Codirecting duo for seven-
Tunes. Instrumental
teen years at
and pioneered the animated billboard for the
Elmer Fudd, and Buss
(1949), and The Dot and
tions to the development of
Squirrel,
signifi-
development of Daffy Duck,
director
Otto Messmer
made
Dos
few of his creations.
(1900-1966)
cartoons of Daffy
Messmer
Coyote, Pepe LePew,
Walt Disney
the 1940s. Directed the
a star.
E.
Martian, and Charlie
Mouse
to
The
and The Pink Phink (1964).
Oswald Rabbit and Mickey
Felix the Cat, the first ani-
car-
Michigan J. Frog, Marvin
Popeye to the screen.
become
many classic
Kpighty Knight Bugs (1958),
the Clown, Bern' Boop, and
mated cartoon personality
(1912-) Director and creator respon-
are but a
action with animation,
three-dimensional
an Oscar for
including
sound
cartoons, the combination of live
years,
in develop-
Douglas
Leigh Corporation.
MGM, where
of
in the
Porky
Pig,
they produced the multi-
Daffy Duck, and Bugs
Academy Award-winning
Bunny. Created Tweety,
Tom
Beaky Buzzard, and Beany
and Jerry
series.
Beginning in 1957, they
rev-
olutionized animation for television,
22
development
Looney
forming their
own
and
Cecil.
A Gallery of Cartoon Stars KEY! Felix the
Cat
(Principal creator/studio/year of debut)
Donald Duck
Popeye
Nash
(Otto Messmer/Pat
(E.
Sullivan/ 191 9)
Studios/1933)
Disney Studio/ 1934)
Created as
Clarence Nash's unique
Unlike his comic
strip con-
temporaries, Felix
was the
first
star of animated car-
toons
who was
created and
developed lor the screen.
Betty
Boop
(Grim Natwick/Fleischer
Otto Messmer's personality
Studios/1930)
animation gave the character
The
a
charm
that endeared
him
to silent film audiences,
he was the
first
and
cartoon star
to be mass-merchandised.
Mickey Mouse (Walt Disney,
Iwerks/
of Betrv's cartoons are cult
The
always upbeat Mickey
Mouse, the toon
star,
first
talking car-
became
a national
symbol of happy days ahead
the gruff-talking sailor
by Art Babbit and Dick
became
Huemor in The Wise
a star in the
comics
Paramount cartoon
take
today due to their
the
begin with, and their
on Popeye made him
most popular cartoon
character of the 1930s.
basis of first
animated
Little
Hen, directed by Wilfred Jackson. His hot-tempered personalia'
was developed
in
subsequent cartoons and his popularity soon eclipsed
Mickev Mouse
as the biggest
star of Disnev's short car-
toons.
innuendoes, and jazzy scores
by
Disney Studio/ 1 92.8)
Donald Duck,
tive to
outrageous humor, sexual
Ub
voice
were outrageous and inven-
Many
was the
(voice)/
"Thimble Theater" in 1929,
shorts. Fleischer's cartoons
a
"Boop-oop-a-doop"
singer Helen Kane.
classics
supporting
(Clarence
player ior the comic strip
in the
Fleis-
1930s cartoons was
take-off ol
a
and gained even more fame
sexy star of Max
cher's
C. Segar/Fleischer
talents
way and
such
as
Cab
Porky Pig
Callo-
Louis Armstrong.
The Motion
Freleng/Wamer
(Friz
Picture
Bros./
r 935)
Production Code of 1934
Created as part
forced the animators to
animal characters
of a cast of
—
in the
lengthen her skirt and end
mode
of the Depression. Mickey
her risque adventures with
included Porkv and Beans,
established the Disney stu-
K0K0
Ham and Ex. Ollie
during the darkest
moments
dio as a leader in animation,
and he
is
best
known
as the Sorcerer's
today
Apprentice
in Fantasia (1940)
and
the
Clown and Bimbo
in favor of much safer antics
with
Grampy and
etc.
—
for the
Owl.
Merrie
Melodies cartoon
Pudgy.
/
Haien't
Her voice was provided by
Got a Hat, Porkv- became the
Mae
unlikelv star of a series of
Questel.
black-and-white Looney
as the original host
of
of "Our Gang," which
TVs "Mickey
Tunes and was
Mouse Club"
dev eloped
by
Tex Aver)', Bob Clampett. and Frank Tashlin.
(I955-59)-
He
ulti-
matclv became the s\mbol of
Warner
Bros, cartoons
with his closing signature line,
B
Tht Walt Dunrv Company
23
"That's
all.
folks."
1
A
Gallery
of
Cartoon Stars
Woody Woodpecker
Mr. Magoo
(Walter Lantz/Walter Lantz
(John Hubley/
Productions/1940)
Based on Director Hubley's
Legend has
pecker disrupting the honey-
sighted Mr.
moon
most popular of UPA's
Barbera/MGM/ 1 940)
Grade, inspired
this batty
toon characters. Jim Backus
Mel Blanc
originated
provided the hilarious word-
cat
and mouse duo
bird.
we always
knew what was on
ol
Lantz and his
wife.
the voice and distinctive laugh, writer
their
Hanna and Barbera
Ben "Bugs"
play,
mumbles, and
Pete
Bumess
cackles.
directed the
succeeded Blanc in voicing
Academy Award-winners
ing up with the funniest
the character. His theme,
When Magoo
"The Woody Woodpecker
and Magoo's Puddle jumper
Song," became
(i956).
to
make mayhem with
won
Oscars doing
seven
one
it.
a
hit record in
number-
Flav (1954)
1948.
The Road Runner and
(Tex Avery/Warner Bros./
Bugs Bunny
Wile
E.
Coyote
(Tex Avery /Warner Bros./
(Chuck Jones/Wamer
plete screwball in his earliest
1940)
Bros./ 1 949)
cartoons with costar Porkv
Avery directed A Wild Hare,
Pig.
He mellowed out by the
1950s into cal toil for
a selfish egotisti-
Bugs Bunny and
Elmer Fudd. According
Chuck Jones, Mel
to
Blanc
based the voice characterization
on producer Leon
car-
spent seventeen years com-
the pair, and
Daffy started out as a com-
the
funniest episodes, including
ways
937)
Magoo was
Hardaway and Grace Lantz
minds.
r
bull-headed lather, the near-
(William Hanna, Joseph
rarely spoke, but
Duck
wood-
Tom and Jerry
This
Daffy
that a
it
UPA/1949)
the
lirst
Chuckjones based the
cartoon in which
Coyote's problems with
Mel Blanc asks "What's up,
Acme
Doc?"
his
in his
novv-tamous
bunny was
tion
most household
a collabora-
among Avery, Chuck
Jones,
Bob Clampett, Ben
Schlesinger's unique speech
Hardaway, Cal Dalton, and
pattern.
the rest of the
(Bob Clampett/Wamer
aim, whizzes by with a
Bros. 1 942)
"Beep-Beep," occasionally
"I
Tawt I Taw
Tweety's lamous phrase,
became the cartoon
usually heralding another
star of
WWII era, a streetwise
smart aleck
who
takes
assault
The
on
on
a
Puddy Tat"
Sylvester's senses.
innocent
little
any opponent and always
was responsible
comes out on
Academy Awards
top.
Wamer Bros. usual,
ILL
for
canary
two
in the
camp.
Mel Blanc
As
originally
provided the voice.
*4
The
Road Runner,
is
Leon
tools.
Tweety
Schlesinger studio. Bugs
the
own inability to use
hammers, screwdrivers, and
Brooklyn/ Bronx accent, but the
roadrunner traps on
object of his
stopping to hold up
a picket
sign with his intentions spelled out lor us to read.
A speaking Wile E. also appears with
Bunny
Coyote
Bugs
in a handful of hilari-
ous cartoons.
A
Rocky and Bullwinkle
Ward
The Simpsons
Pink Panther
and Alex
G&lltry of Ctirtoon Stars
(Friz Freleng/DcPatie
(Matt Groening/Gracie
Anderson/Ward
Freleng/ 1 964)
Films/ 1 990)
Productions/1959)
This cool
Crazy characters, limited
the animated opening
(Jay
cat
was created
for
titles
This popular dysfunctional family began
its
animation, and hilarious dia-
in The Pink Panther, Blake
winning weekly
logue have sustained the
Edwards's
1990, but
popularity of the flying squir-
starting Peter Sellers.
rel
and the dimwitted moose
from Frostbite
character that
Falls,
Minnesota, for more than thirty years.
1
963
Tne
was so appealing
United Artists commis-
sioned a series
Pursued by
feature film
of
pantomime
theatrical shorts, the first of
won
first
Emmyseries in
appeared in
"The
short segments on
Tracey Ullman Show" (1987). Trie stories revolve
around nuclear power plant worker and donut
afficiona-
Homer Simpson; his
Russian spies Boris and
which, The Pink Phink,
Natasha, Rocky and
an Academy Award. Henry
housewife. Marge; and their
Bullwinkle were voiced by
Mancini composed the pop-
three kids, Bart, Lisa (w hose
June Foray and
ular
Bill Scott,
theme music.
do
favorite
TV shows are
"Krusty the Clown" and
respectively.
Itchv and Scratchy car-
Yogi Bear
Fred Flintstone
toons), and baby Maggie.
(Hanna-Barbera/1959)
(Hanna-Barbera/1960)
TV star Yogi began his
"Yabba-Dabba-Doo!" Fred
career as the middle cartoon
is
on "The Huckleberry
televisions
Hound Show,"
animated sitcom, "The
but became
so popular that he was spun off into his 1 96 1.
own
series in
A freeloading inhabi-
the head of network
Nickelodeon/ 1 991)
prime-time
"Happy Happy, Joy Joy!" An
Flintstones." Originally
asthmatic Chihuahua and a hairball-hurling cat
was featured along with wife,
Park, and "smarter than the
Bamey and
1
first
(John Kricfalusi/
voiced by Alan Reed, Fred
tant ofjellystone National
average bear," Yogi to o
Ren and Stimpy
unusual series of cartoons.
his
Wilma; neighbors
Yak-Shaving Day, the History-Eraser Button, the
Betty Rubble;
is assist-
ed in his picnic-basket
Happy Helmet,
^3 "V^
Dino, in hundreds of
snatching by cub Boo-Boo
episodes, as well as their
and thwarted
animated
at ever)'
turn
by Ranger Smith. He starred
feature.
The
There,
It's
a
toy called
Log, and Powdered Toast
Man
first
Man
are
but
a
tew of the
nutty concepts that this
Called Flintstone in 1966.
in a feature-length movie,
Hey
make an
show an
instant success
among children and
Yogi Bear, in
1964.
25
made
adults.
—
What Makes The
fifty
short films
presented in this
volume share
a
humor or
its
drama, touched us with beauty or
ol skill
and
its
art.
displav
its
Most
ol
Boys earned
Howard Hawks, but the
its
genre
is
accomplish what their
them
do with the
talent that set
the creation ot a
In
a single
brought
the ones that reached
memorable humor.
brilliant
it
comic
graphic style
the
beyond those bounds; they
fifty
They
aren't just
great cartoons, but
great films, period,
tiltv
on par
with any live-action counterparts.
And they prove
that
great animation can affect us
the
same way any
making
great film-
strip
ORIGINALITY In
some
when
ol this
you can
Without ignoring
the finely
its
intrin-
when
recognize
w ould not be
as admired
prized today had
it
come
was
is
an
approach;
her emotion in
drawn
scene;
the rope on the mill feel its
tension.
and
The
bird looks like a real
in
bird,
but more so
the middle of a long line of it
feel
breaks, you
that Gertie the Dinosaur
essence
star-
new
—
the cartoon
scheme and gothic
color
the tone of the story and the
madman's thoughts. Superman presents
a totally
dilfcrcnt type ol drawing;
more
and
literal
less car-
toony, with characters that
seem almost
real.
of
—
the bird
the
is
cap-
ANIMATION Animation drawings
on paper; they
are created to
produce motion, and their excellence
is
judged
in rela-
tion to their conveyance of
motion.
Winsor McCay's
tured in the drawings in a
success was seen in his
way that could never be
ty to
ground. Similarlv, Gerald
achieved with photographs
swallow and
marked by
McBoing Boing redefined an
of a single bird. In Clock
weight of her jaws on
Cleaners, Disney's artists cap-
trunk.
a
combination of
tling
because
lorm
factors, including concept,
art
artwork, music, innovation,
because
quality of animation,
and dialogue. to
It is
humor,
as difficult
compare the primitive but
charming
Gertie the Dinosaur
with the wacky Quasi i^iiackadcro as
it is
to
at the
com-
pare the films of Charlie
in
broke
seven minutes
tured perspective and depth
ol its instant suc-
cess, critical style
it
and popular,
ol field,
its
was copied by every
creating intricate
cities that
heightened the
studio. Steamboat Willie
comic
might not be the best of
lallincr feeling.
Disney's shorts, but the
first
it
to use sound.
was
effect
of the almost-
Expert drawing
And
was used
Chuck Jones's The Dover
clfect in
2
b
are
more than just ink or paint
great? Usually they are
So what makes cartoons
s
Mama bird places
the
the main claim to greatness.
we can
artistry to
her wing over her chicks,
films, originality is
sic value,
it
producers and
The Old Mill
field.
example
similar cartoons;
can.
world
who moved
brought European
and
offbeat
animation,
madman
heaviness perfectly mirror
away from cartoonists and
combined with
test of rime.
It
of the character. In Quasi, is a
seen and have stood the
originality.
of
these extraordinary films are
first
of a
with the distinct personality
mandate: to entertain. But
were loved when they were
more
fine art to the
mind
the audience into the
cartoons,
was Walt Disney who
ever attempted before, along
and with
many more
important than
type
animation no one had
asscmhlv-line system, under
straints,
and stylized paintings take
skilllul artistry is
it
total
movement
Heart, limited
them
new
manic energy to
exhaustion. In The Tell-Tale
ARTISTRY
of
budget and time con-
convey everything from
clever use of limited
artists
were produced within an
strict
wild, exaggerated drawings
place because
animation.
skill
apart. In the case of Gertie, is
a
graphic style paved the
way for
wide enough to
set out to
and
charms, or
its
enthralled us with
Chaplin with those of
encompass them both. Both
unique bond. Each has
moved us with
a Cartoon Great?
ability
Coal Black, where
The
see Gertie
"feel" the a tree
animators
Band
Concert
make
a
of
managed
The
to
tornado spin in time
to music, with musicians
and various inanimate such
to very different
make us
abili-
as trees
objects,
and laundry,
joining in the frenzy. In Brave
Little Tailor,
tinct types of
two
dis-
animation
shown: the
excellence are
Fuehrer's Face,
it is
Red Riding Hood,
the con-
dramatic action of Mickey
stant repetition of the swasti-
the top
sewing up the
ka theme, which appears in
suit of a beautiful
giant's sleeve
and
and the simple dialogue of
clouds, telephone poles,
Mickey
weathervanes. Several direc-
both
relating the tale are
The
riveting.
Planted Trees
Man Who
a tour
is
de
excess. In BcjJ
Luck
force of fluid animation, with
Tex Aven took
one scene flowing into
idea
another; although the design
dog's path
is
restricted, there are
no
cuts in this elaborate story.
7
—
until
ous:
it
Music
— and expanded
Each time the
is
lous object often an important
component of cartoons, ranging from
(Corny
classical
Often
Duck turns
Daffy
jazz (Minnie
not
successful
when animators
are able to create the perfect
a
is
regarded
as purely a tale ol
attracts
— reminding us
that there are often ideas
behind cartoons, that they are not simply
random
gags.
Peace on Earth uses the medi-
um to present a strong anti-
sexual pursuit, and Betty
war message. One Froggy
Boop
Evening
hersell
was
sufficiently
profound
is a
ment about maris
Hays
state-
Commission decided she
to
needed to be censored.
nect with other humans.
UPA's A Unicom
And
into an
Bambi Meets Godzilla
Garden, based on ajames
all
Thurber story about
its ability
ried couple,
kind
it is
in the
a
mar-
makes another
of adult
its
concept;
image that captures the char-
The
genius
it's
to surprise us with
very simple idea in less
of the
cartoons in
PERSONALITY
this
Some
very different from others
cartoons convey the
book
are really not so
personality of their animated
made
funny because the
stars with astonishing force.
time; they use the
so wonderfully apt.
Perhaps none
techniques, styles, and even
acter's state of
mind.
at
about the same
same
images to match the
scene
music, the exact story that
image
brings the music into iocus.
Dialogue sometimes pro-
ful as
vides the fun, as in Jack
Amuck, which explores the
about them manages to do
Mercer's mumblings in
slightly schizophrenic per-
that
visual
HUMOR Even
if
we
recognize and
admire the cartoons,
artistry
it is
usually their
humor that we Often
it is
the
behind
truly love.
humor
of the
is is
in
Winn's
Opera, Doc? appearing
on
stage in Viking garb. In Der
Duck
he
attempts to cope with the
Trouble" sequence in Rabbit
crazy world Bugs ates for
Seasoning.
Humor often
is
as
Bunny cre-
him; the cartoon
is
almost stream-of-conscious-
revolves
around adult themes. Tex
Elmer Fudd
Chuckjones's Duck
sonality of Daffy
Avery, of course,
ten,
as success-
Popcyc or Chuckjones's
dog of Feed
love with the ultra-cute kit-
is
immortal "Pronoun
unexpected: the grufl bullthe Kitty falling in
is
lies in
than two minutes.
statement.
Many
has found the one
inability
communicate and con-
random image;
dampen
us
the con-
ridicu-
When
Raue,
made
it is
blatant that the
image cap-
tures an entire scene.
cept behind the cartoon that
In
cases,
pops
on the dog's
a single
eyeball in Book
Moocher,
it
head.
and What's Opera, Doc?) to the
by many
some
woman.
with sexual innuendo:
Bimbo's Initiation
CONCEPT In
several Fleischer cartoons
filled
hilari-
cat
and more
tails
Concerto, The Skeleton Dance,
Rooty Toot Toot); cartoons are
by
of
Blackie,
achieved the
among
wolfs pur-
were preceded
in the 1940s,
normal
a
are
a
truth, these cartoons,
a black cat crossing a
out, a larger
MUSIC
humor
tors perfected the
on
fifty)
ness. The Big
famous
Smt brings us
ter,
But something
same thing much
putting the elements
together with tic
bet-
integrity,
a
ingredients
of arris-
or adding
extra ingredient
much more
kind
of
—
—
the
some
or so
same
that they
another married couple
achieve that rare essence, the
wholeness that makes them
for bringincr sex into car-
whose
toons, basing a series of car-
so obviously a part of their
toons (two of which, Red
pcrsonalities,
Hot Riding Hood and Rural
nize their humanity.
*7
characters.
foibles
and bickering,
make us
recog-
truly great.
The
Fifty Greatest
Cartoons
rt&ct on Bnrth
Whats Opera,
Doc? WARNER BROS.,
1957
CREDITS A Menu Mclodiu Directed by
Cartoon
Chuck Jones
Story: Michael Maltese
Animation: Ken Hams, Richard Thompson, Abe Levitow
Effects animation:
Layouts:
Harry Love
Maunce Noble
Backgrounds: Philip DeGuard Film editor Treg
Brown
Voices Mel Blanc
Musical direction Milt Franklvn
7
3°
W*mrr Broi.,
In,
n What's
Opera, Doc?,
to the top of a
Chuekjones compresses the entire fourteen
tower.
"Return
resume
a six-
He man-
same
Fudd unleashes
lines
and
—with
ments
—
begins,
in a stylized
to the audience
"What
cartoon
Elmer Fudd, hunting costume
opera?
Wabbit"
Valkyries'
to the
and
asks,
you expect
in
ordinary.
It
rRETURN
Animators
Elmer:
Russes de Monte
Rhinemaiden
I
in love with him/her.
looney. Maurice trived a
Elmer
Noble con-
dousing
in bright shades.
Moore developed
I
love,
wantyou always
ELMER: Love
like ours
must be
BUGS: Made
for
and for me
.
vou .
Elmer and Bugs:
.
Return,
time cards, stealing time
won't vou return
from
For
a less
complicated
Obviously, they the\'
all
knew
were working on
masterpiece.
a
my
my
love
love isyours.
[Thev dance some more]
Road Runner cartoon.
31
love,
beside me.
The
entire staff doctored their
[They dance]
BUGS: Return my
ing on the top of the tower
set-design materials.
my
inside me.
a tech-
in specialty
it.
Brunhilda, he
our loving burns deep
Ken
nique to highlight the meet-
by cutting holes
0
it,
ELMER: Return my
unique color scheme
for the cartoon,
know
I
can't help
ELMER:
love.
scene accurate as well as
Bnmbilda,
BUGS: Yes
Carlo to keep the ballet
dance, and Bugs runs
0
you're so lovely.
pored over lootage of the Ballets
n
MY LOVE
contains 106
white pony, and Elmer
They
an
A happy ending?"
shots, a record.
Bugs transforms himself
falls
did
cartoon to transcend the
explains his mission to Bugs.
a
Bugs turns
Jones's vision caused this
as a
theme and
into a pigtailed
kills
As Fudd mourns
this tragic death,
Teutonic knight, sings "Kill
on
smog, and
As the
rabbits in
the
a lethal
the rabbit.
accents and speech impedi-
Valhalla.
his wrath,
conjuring up the north wind
time,
with Bugs and Elmer singing:
most of their
and they
been duped.
realizes he's
and Disney's
Fantasia at the
My Love,"
their dance until
Bugs's wig slips and Elmer
ages to skewer classic opera traditions
sere-
with the melancholy
opera Dcr Ring des
minute cartoon.
dizzying
nades the sexy blond Bugs
hours of
Richard Wagner's four-
Nibdungcn cycle into
tall,
There Elmer
Lvrics by Michael Maltese
IL
nCHUCK
]ONES
Charles
Martin Jones, director of nine of the
Washington, in 1912 and grew up trained at the
Chouinard Art
Don Graham and joined
Warner
armed
He
stylized
w hat Bugs Bunnv
field in
services during
also directed
is,
was
an extra in
California Institute of the Arts)
bom
in
Spokane,
silent films as a child.
and with Disney
the early 1930s as a eel washer for the
World War a
some of the
DL Jones, the
first
Uh
Jones
art instructor
Iwerks studio.
most
Bugs Bunny cartoons and was instrumental
intellectual of the
cartoon on the writings of Eisenstein
backgrounds and animation techniques, and
created Pepe Lepew,
He
and
his cartoons are
Warner crowd
—was one
of the
first
noted for their highly
—
in creating
he quoted G. K.
cartoon directors to experi-
artistic
look and comic timing.
Marvin Martian, the Road Runner, and Coyote, and many memorable Bugs and Daffy cartoons, delving into
his characters' personalities
L
(now the
as
1938. His earliest films were slow -paced Disneyesque adventures featuring such characters as
Chesterton and George Santayana and based
ment with
Institute
entered the animation
Mouse and Two Curious Dogs. He
Private Snafu for the
great cartoons in this volume,
Bros, in 1933 and climbed through the ranks as inker, painter, in-betweener, animator,
finally director in
Sniffles the
fifty
Southern California, working
in
by drawing hundreds of poses
but with
who
he
is. I
w ant
for each. "I
m principally concerned with character," Jones says.
to get inside him, to feel
34
him from my viewpoint."
"Not with
J
What's Opera, Doc?
The all
greatest cartoon of
rime?
The
point
remains debatable. Nevertheless,
Chuck Jones's
rors, in significant
ways, several
of the attitudes central to
many
animation lovers* experience of
watching cartoons.
And it
pleasure of breaking
us to serve as
ters against the
largest
assemblage of animation
its
both
characters and remains joy-
universe.
With
its
charac-
bombast and
intimidation of the
exalts
Wagnerian
artful adroitness,
awesome
puny
lisping
general cartooniacs ever polled.
Toontown
of the boundaries between spec-
order to
The
our sense of the quasi-mythic
work of stunning
beauty, great
roots.
It
illustrates
nature of these characters, but
tacle it
humor, and masterly execution
also provides a singular
only serves to make the choice
of why these characters are loved
seem eminently reasonable.
in the
Yet perhaps the reason that
What's Opera, Doc? has consigned
all
other cartoons to the
status of also-rans
is
that
it
mir-
first
place
—
example
because their
low
and spectator. High and
are here deliciously inter-
its
shadow of
Elmer Fudd, the
up pretensions only
we
do, the film, with
emphasis on spectacle, revels
in
mow them down.
Gloriously overbaked, the film reveals that ultimately,
it
was
only cooking up fodder for
mixed. Also, as
Fantasia-like figures
devolving into the
film piles
fact that this fabled film is a
its first
images, that of the would-be
What's Opera, Doc? blurs some
and
as
Wagnerians. From
ously aware of their lo wdown
fans, practitioners, critics,
this
bedizened
together a roster of seeming film
and foremost, in
and Elmer Fudd
figures. Indeed, the film
almost invites
Doc? has emerged
The
first
mythic
coconspirators with
opposites.
—
Bugs Bunny
accomplishes this by bringing
as the clear,
sight
case, the casting of
splendiferous What's Opera,
sentimental favorite of the
down our
sense of the cold remoteness of
satire.
By reducing Wagner's Ring a subtext for
into
an archetypal Bugs
actions and personalities,
in the richness available to ani-
and Elmer chase. What's Opera.
whether sassy or simpleminded,
mated filmmaking, yet takes
Doc? pulls
equal delectation in cartoon's
gling of reverence
pull us into intimate
touch with
them, and thereby provide the
tradition of razzing everything in
off a
darling minand
—
ridicule.
Steve Schneider
t is
one of a handful of American animation masterpieces, and
makes the most of his opportunity
likely the
for a definitive solo tour de force.
most cerebral of them.
It is at
once
a
laugh riot and an essay
by demonstration on the nature and condition of the animated film and the mechanics of film
—
Dafify
in general.
Richard Thompson, Film Comment, 1975
tand back, musketeers! shall
sample
They
my blade,"
exclaims Daffy, dressed as
to the animator, but his
a
But
after a
suitable scenery.
few thrusts, he
notices he's out of back-
When he
ground scenery.
A character breaking the
scenery?"
paintbrush
a
appears and
farmyard
ending
setting,
the suitability of the muske-
He
teer costume.
into overalls
changes o
and gets
a hoc,
now the
but
scenery presents the
North
'Would
much
it
to ask
Pole.
be too
if
we could
make up our minds?
Hmmm?" In
idea
—
Koko
Felix the
the
Duck Amuck, some-
swings, creatine:
was created
own worst
nightmare.
scenery, colors,
sound
— and and
effects are clearly in
the hands oi a fiend, and
although Daffy does his best to adapt to the story suggest-
ed by each background, his
woes only
increase.
The
bewildered duck talks back
fre-
—but
WARNER BROS.,
1953
to
it
mood
show of
cartoon
in a free-form,
stream-of-consciousness style. Recalls Jones,
started out,
sat
I
started drawing,
"We
CREDITS
down and and
came
I
up with the opening, and
was just the
it
he
idea that
runs out of background.
pened
that point right
as such,
his
it
a hilarious,
The
desperation.
wrong, and Daffv finds him-
The
did
animated, one-man
We
send-up of all
Amuck
explore the limits of Daffy
thing has gone terribly
cartoon conventions
Duck
Cat and
Clown
quently in the 1920s
From
self in a surreal
new
a
Duck's schizophrenic
in a
tills
was not
fourth wall
Chuck jones used
"Where's the
asks,
cruel
caprice.
dashing swordsman and sur-
rounded by
met with
requests are
on
hap-
it
on the board.
didn't even have
a
we made one
story after-
ward, but there wasn't one
we were making
at
the time
it.
The Bugs Bunny ending
was not the last out."
hit
upon
week
until
of lay-
A
Mcrric Melodies Cartoon
Directed bv Charles
M
Jones
Story: Michael Maltese
Animation Ben Washam, Ken Hams, Llovd
Vaughan
Layouts; Maurice Noble
Backgrounds Philip DeGuard Voices: Mel Blanc
Musical direction: Carl
W,
Stalling
—
"
Duck Amuck
1
r,DAFFY DUCK Duck
Daffy
has a
split personality. In
the 1930s and 1940s the duck total screwball.
was
a
Jumping, laughing,
and instigating mischief, he was
a
complete lunatic and public nuisance. In the 1950s
Daffy matured into an egotistical
Elmer Fudd. As the foolhardy hero
ol a
and 1960s,
Bugs Bunny and
foil for
dozen movie spoofs.
Daffy got laughs playing the self-centered, greedy slob most of
us are but are afraid to reveal.
Tex Avery's 1937 cartoon
First appearing in
Hunt, he became an immediate
between starring {Daffy
star.
The
Porky
s
"Stand back, Musketeers ..."
Duck
character alternated
roles in the color Merrie Melodies series
Duck and Egghead, Daffy Duck
supporting roles in Porky Pig
Tunes cartoons (such
s
in
Hollvu'ood)
and lead
voijv
rt>e-if
o«tu Si&Qi.
black-and-white Looney
Doc and You Oughta Be
as T7>c Daffy
in
Pictures).
Mel Blanc, trying Disney
s
to differentiate Daffy's voice
famed Donald Duck, chose to
roll his rs
from that of and
lisp
not unlike the actual speaking voice of producer Leon Schlesinger.
The
voice
was sped up
vester the cat has exactly the
By
the time
same
Duck Amuck was
to
The
using this character in
Shaw Biz Bugs (1957)
it
zanier. Syl-
it is
created, Daffy
transformed by Chuck Jones into his trated egomaniac.
make
voice, but
had been
new persona
other directors had just as a variety
not sped up.
as the frus-
much
of situations: Friz Freleng
cast Daffy as a
wanna-be
of his career: insurance salesman.
s
celebrity try-
ing to outwit superstar Bugs Bunny, and Robert Fool Coverage (1952) put Daffy in the
(Layout drawing bv Chuck Jones)
fun
McKimson
most "dethpicable
s
role
HllHWIf I li
J
"Ob,
38
brother,
I
m
a
Buzz
Boy.
-
Duck Amuck
fee
Band
Concert
is a
perfectly realized cartoon that
storytelling into a seamless whole. I've always
Disney and his
staff to
felt
such incredible heights.
manages that
It's
it
to blend music,
comedy, personality animation, dramatic action, and
was the natural drama of The William
certainly
one of their
finest
achievements
Tell Overture that inspired
Walt
—
a great, great cartoon.
— Leonard Maltin
Thi Walt
4"
Deng Campon.
—
be
Band
Concert
was an
ments Mickev makes
his baton
Designed to be something
slides
special, the film fulfilled its
the
As
first
color
the next page of music
his five
is
Tell Overture,
—
The
darkens.
and the
responsive to every
plays in fine form until
Mickey hears snack vendor Donald Duck hawking his hot dogs and lemonade.
Donald
pulls out a
starts playing
Straw."
The
fife
and
"Turkey
in the
musicians
change tunes and join him.
Mickey breaks Donald's
fife,
but the duck produces more of them through magic
D'orsi,
Cy Young.
Louis Schmttt
Dick Williams. Frenchy DeTrcmaudan
tricks
performed
for the
audience.
Mickey chases the duck away, and the trombone player shakes a dozen flutes
Hucmer
out of him, but Donald
Wolfgang Rcuherman. Archie Robin
always has another and
Huszti Horvaih. Les Clark. Dick
Roy Williams, Johnny Cannon
resumes
his melody.
Then
a
bee disturbs the perfor-
mance.
It
lands on Mickey's
head, Donald tosses a scoop
of ice cream
at
cream lands
in the
it,
the ice
trumpet
s
41
a
leaves begin
tornado
his
and the musicians
as thev spin, their
band reach
max
at
a
musical
cli-
the height of the tall
back to
land in a tree, each loyally
performing his part
sucking up the scenerv.
his
band mem-
in
Mickey and
storm and then
finale.
his
in the
music stands remaining
enters the park, literally
Mickey and
of Mickey's baton
Delighted by the music,
Ugo
—
Soon
plaung
up
with Mickey waxing
front of them.
When Mickev turns to
swirling around, and the skv
move
Animation: Jack Kinney, Gerry Geronimi
of his
formance of "Selections
band
CREDITS
his back change
tempo and tune
"The Storm"
William
Direaedby Wilfred Jackson
it
park musicians on their per-
from Ilampa." Next
1935
down
as
band's music.
the film opens,
crowd cheers bandmaster
Mickey Mouse and
WALT DISNEY.
bers are swept
Mickey Mouse cartoon.
a
Concert
blown back
is
twister,
promise.
Band
mouth and
ideal
onto Mickey. The move-
vehicle for the
The
—
Mickev turns
of the
to take
bow, but the onlv
applause
is
from Donald.
The BiinJ Concert
has
comedv of detail, such
It
as the sleeve of
Mickey
s
oversized uniform continually slipping
baton;
it
down
to conceal his
has comedy of structure
band, against turn;
it
its will,
has to
to the grandstand. In
has comedy of character
flashing details
nado
unmotivated
villainy of
has comedy of action
a
competing tune on
into the air
tune to which the
itself
during the
is
line of
wind, or caught on treetops,
the
tor-
the general
when
tornado twists the entire concert
a
—
there
comedy
many
Donald;
attempts to break up the concert
—
itself
no other
observed so
in the stern artistic devotion of
it
the flute
I
Mickey contrasted with the
based on the duck's persistent
by playing
picture have
that in the whirl-
dozens of separate episodes.
They
are miraculous
them, and even the total effect
if
if
you catch
you do
not,
miraculous
is
—
all
the players continue to follow
and then reverses
screen seems to be animated by
still.
Gilbert Seldes,
The Saturday Review, 1961
their music, but there are
moments
and brings the players back
in this scene
w hen
the
1
42
TJk Wall Piino
Compjm
The Band Concert
1
DISNEY ANIMATION
The ly
release of The
on course
full
Band
Concert
Each new
Silly
Symphony,
Walt Disney's
goal
life
classic
was
was
a subtle
studio
was now square-
this one,
were
now
in
experiment in story, design, technique, or animation; experi-
to have the best cartoons
Don Graham,
taught by
on the market, and,
Snow White and
the
Seven Dwarfs.
to that end, he established a private
a top instructor at the Chouinard Art Institute, were estab-
drawing, and analyze animation. Students
animation of Mickey dates back to
sequences and personality) went on to become
From
as well,
in the release of the studio's first feature-length film,
art classes
lished for students to study action, practice
Disney
The
and better things. The Mickey Mouse cartoons, beginning with
for bigger
school of animation. In 1932, nighttime
intuitive character
watershed in the history of Disney animation.
a
Technicolor, and the series would play an important part in the growth and maturity of Disney's an form.
ments which culminated
(whose
was
Stciimfiodt Willie,
like
The Band Concert animators Les Clark
1928) and Wolfgang Reitherman
(a specialist in
action
wo of the Nine Old Men, the elite team of artists who set the standards known as
animation.
the outset, Disney strove for realistic personality animation. "I definitely feel that
the real, unless
we
know
first
the real,
Walt
said.
"The
we cannot do
the fantastic things based
closer the cartoon characters behaved like us, the
on
more the humor and drama
could connect with the audience."
The Disney studio
not only conquered personality animation, but, in
its
quest for realism and
neering use of music and sound, depth and color, as well as action and special
effects.
maximum
entertainment,
\
4
The
[cartoon] in main outline would be very
little, if it
weren't for the way every incident, every foot of film,
is
given a solid basis in observation, so that natural action
is
caught and fixed in a typical gesture rendered laughable through exaggeration or through transference into the unfamiliar; and for the swift
way
all
the incidents pile up
so busy, proud, and
ping of hands in the
full
on one another.
No one
ever
saw
of troubles as this, from the virtuoso
flute
duet to the hard-pressed
air
a
band
swap
of the brass
section.
— The
New
Otto Ferguson,
Republic,
1935
43
pio-
Disney's strides during the 1930s were followed
by most of his competitors, improving the quality through the entire industry and influencing animators around the world
fa,
made
J
.
DUCK DODGERS in the
°-
'
RED HOT RIDING HOOD had
fait
56
ittlJkJ
—
.
nee upon a time,
Riding
Hood was
skipping
Wolf interrupts. "Aw,
on the
over! If you can't
way, bud,
I
do
lamp
variation of
of
Red
up, he
vows he'll
babe."
When Red appears
onstage, the
makes
to
himself
kill
at
and
has done
singer.
way!"
this
his feet for the sexy
duces the characters. Trie
and animated Red, ter so
a girl-crazy is a
a charac-
immediately popular
spinster with a
neon sign on her downtown
n
"Grandma's
skyscraper:
—Come up and
see
FOR THE BOYS
me
The Wolf
act, a lively
drives
him
crazy.
He
when we made
num-
Animation: Preston
Blair
Quimby
and others
roared.
promises of diamonds,
ington, to
of sidewall off to
tires
He
soon
tries to
bit
.
.
.
.
.
the
MGM to plan
When the censor saw
and juggle and cut back.
some
It
got back to
it
.
.
Wash-
colonel or whatnot, that the censor had cut
from
us. Finally,
Red Hot Riding Hood cartoon studio dug around, and
trapped by the sex-starved granny.
.
the Red
Louis B. Mayer got a telegram
from the colonel saying that he wanted an uncut version of a
The Wolf
is
to trim
out quite a
set
and hurries
Grandma's.
pursues her but
new
first in
training films] spotted the thing and
drags
we had
a
the
Hot Riding Hood group
her out, but she resists his
and
thinking of the army
sergeant [stationed at
her to his table and invites
pearls, ermine,
we were
dually,
arrives at the nightclub to
catch Red's
Producer: Fred
Rural
were grabbed by cartoon
a
is
Little
Hood (1949).
that finished animation eels
nightclub
and Grandma
singer,
super sequel.
Preston Blair designed
reintro-
Wolf is now Red
Wild
Tom's Cabana (1947), and in
his ghost
ber ("Hey, Daddy") that
Tex Avery
Cinderella (1945),
Riding
it
(1945), Swing
andWool[v (1945), Uncle
a
sometime."
Directed by
Shift.
Wolf blows
his brains out,
940s, in The Shooting of
stamp
Joint
MGM Carloon
1
them) appeared
Dan McGoo
another
some
(or
more times during the
emerges to whistle and
man-hungry
CREDITS
five
before
"look
the eye-popping
Hollywood Woll
lands
cartoon studio in Hollywood
playboy.
An
Red and
dives
an important point: "Every
So the narrator
1943
and
this a
quit!"
joins the protest and
MGM,
It's
story, over
window and street
before they were shot.
or noth-
Hollywood and Vine. Fed
fed
that sissy stuff.
same old
new
stop
'Tm
department employees even
"Imagine
No Door!")
out the
he complains,
like
The Wolf finally
begins the narrator, but the
the
Hood
That, ing.
up with
Riding
esque signs
through the woods." So
it!"
Re J Hot
Red
Little
gave him, but, man,
it
I
for his
don't
personnel overseas.
know how many
went over
prints they
great overseas.
—Tex
escape
through doors, but finds
interviewed by Joe
brick walls (with Avery-
The
Avery,
Adamson |
J
57
T
Haudjence reaction 1943, the manager of an ater noticed that
In
ting whistles
was
Iselin,
New Jersey, the-
one of his short subjects was
get-
and wild applause, and when the short
over, the audience
manager wanted
shouted to see
it
again.
to oblige them, but also
ed to stick to his existing schedule
one of the other scheduled shorts
felt
so he cancelled
second
to clear time for a
as enthusi-
astic
during the second running, and instead of being
fied,
the audience
to see
it
again.
obligat-
—
running of Red Hot Riding Hood. Reaction was just
demanded
The
Though
satis-
a full
evening of features and other attractions was booked, the
manager screened the cartoon 1
cheer
on
it
yet again for
anyone
who
cared
50 fans stuck around long enough to whistle and
to stay;
for a third time. ]
j
—
— Red Hoi Riding Hood
An
animation business
that
was working hard
stuff'
to be
during
a
branded "kid
diers,
and
sailors,
in this case,
with
less
and
whether the small
for
going to get
all
sol-
randy
less fry
concern
were
tics
MGM
Who
cartoons
Early Bird
Dumb-Hounded, and The Wolf: elaborate visuals;
anyone he
a critic of the
to that to
be
—
a distancing effect
same way, when the
Wolf interrupts
a
flow-
the flow of his
to that, babe?" the con-
trast is adroitly
consummate
abruptness and
ing animation by Irven Spence,
absurd in
Ed Love, and Preston
Blair in
the same time deadly accurate in
MGM "pro-
capturing the uncertainty of tone
the pseudo-Disney
duction value" style established
by Harman and
its
at
inherent in nearly everyone's
Ising; and,
tucked in Avery's briefcase the
day he
left
Wamer Bros., an
insistent, almost self-conscious
sense of humor that drew attention to the fact that
it
was
shat1
tering cartoon shibboleths.
Although sets
it
this dates
apart
from the more
pared-down,
stylized, nearly
effortless effects at his
Avery achieved
peak in the
allows for
Red Hot and
late 1
moments
940s,
it
of subtlety
and character illumination
less
possible in the later gag-fests and
more
striking in the overall pat-
tern of directorial intensity.
When the Wolf, who's sup-
familiar
foot in
with Avery's
lacks
/
its
it
way
into v\ith the other
We keep thinking "OK, we
him
in the brassy, insistent
get the joke already,
way
this film has of its
own
hipness.
saves this cartoon today
indomitable
humor
40s
What is
the
of its domi-
keeps one
simultaneously
foot.
rubbing your
it
ani-
and the sophisticated
adult world
and
and Red
Hot Riding Hood keeps reminding us that, as long as sex
we think
something we're able to be
is
adult about, its
on
backwoods "What's yer
answer
Blitz
off a trace
mated fantasy world
up
inflection.
In the
worn
nant contrast between the
style will find little to surprise
nose in
a
achieved with a single shading of
with
It,
full,
face,
suave Charles Boyer lovemaking
Killed
Dood
becomes
we had up
moment presumed him
stylistic characteris-
with Tex Avery's other early
Who?, The
effectively
achieved by
in the intervening years,
the hell planet are you
character in
the jokes or not.
these effects has
to
that unexpected
from?" expression on his
very film
Red Hot Riding Hood shares
many of its
him with
relations with the opposite sex.
The shock once
reacts instead to the
"What
postwar baby
boom) was being geared more and more toward teenagers,
Hood,
gushy narrator by turning
to catch the dating
crowd (only
posed to pounce on Red Riding
it's
—
sleeve
got another joke
and
it's
probably
us.
—
Joe
Adamson
mm M IT* it
elcome to Wackyland.
It
can
happen here." Inspired by
needed.
ever
the backdrop and replace
bird.
Bob Clampett
to
some
ol
a
goon
his face
such diverse influences as
freed; a cross-eyed rabbit
that
in
and demands to be
sways on
swing sus-
a
own ears;
pended by
Porky
peacock with plaving-card
hunting the rare
is
its
dodo, believed to be extinct,
plumage; and
and worth so much that the
weirdo
its
don't
in a
lit
newspaper
sign)
headline.
bird
feet,
(his
a
a
three-headed
mama was
scared by a pawnbrokers
monetary value
zeros in
a
in front of
toonist Milt Gross. Aviator
.
Using
his
own
dis-
guises. Pork)' finally catches is
the
truly a rare
dodo
—but was
the last of
and arms that
CREDITS Merrie Melodic! Girroon
dampen
W
Wacky
who holds
convict stripes
appear and retract as
Musical direction Carl
other
deused, paving homage to
banana
I
The
characters of the
Salvador Dalf and car-
it
brick wall for Pork)'
a
landscape include
the
lift
pnson window
The
Norman McCahe,
chooses and can
to crash into.
one, with a bird head,
Directed hv Robert
exit
zaniest denizens ever
artist
Animation:
it
with
\\ ackvland (as
home
land),
A
through when-
about an expedition to
Mncan
1938
door to
can draw
It
Africa in search of the rare
opposed to Alice's Wonder-
WARNER BROS..
uses wacky logic
a
decided to send Porkv Pig to
ckyland
It
to avoid capture:
a
Los Angeles Times article
dodo
Porky in
IP* ft
Ellis
Stalling
60
them
1
it
really
Porky
Wackyland
in
1
n
STAFF REACTION
P
orfcy in
1938.
Wachland was The
Porfcv in
staff
screened for the entire Leon Schlesinger Studio on August
was routinely asked
to wTite their
Wackvland got some of the best reactions
comments on each new
picture
i,
—and
ever:
he sign
As
far as
was tops
I'm concerned,
swell.
—
.
.
One
it
the animation
is
better than from the
— Frank
Keep
s best. It s
good story
this
up and we
11
all
T:
be
candidates for Wackyland.
— Michael
wasn't done in color.
—
other units.
L
of Clampett
just too bad such a
stating, "It
can hap-
pen here," proved to be
Maltese
Clampett
Lee Larson
J
Tashlin
the begin-
at
ning of Wackyland,
mantra
s
Perhaps Clampett
his career.
wasn't just
artist
when Porky into
for the rest of
with pencil
crossed that line
Wackyland, but
mate
as well.
By
his soul-
stretching
and squashing the characters
BOX SCORE
in an exaggerated way, toy-
ing with space and time, and altering the audience's rela-
rasas
tionship to the film,
Clampett and his team ated a
OfflCIALM*
DEBATE
was unstoppable,
some studio what
is
despite
resistance to
now
"Warner
P0R»«mSEARCH0; DODO
called the
Style."
By
1938, with Avery, Clampett. and others
heading their
BtUtVEO
style of
cartoon. Their enthusiasm
0,000, p. s .000,00
MUStUWtf
wacky new
EXTINCT
units, the
own
new wave
was building up .
.
»f»P»»»*
...
totor'y
»«(»
Quimby
Heck Allen
Animation Robert Bcntlcy. Walter Clinton. Ray Abrams Music: Scott Bradley
68
out of the
The
pair
goodbye
stuff.
Goodnight.
embrace and wave as the
camera pulls
back to reveal the monsters standing atop Earth.
a tiny
planet
69
not here to proclaim
I'm
character distortion the driving
allegory, Freudian phallic
force of the cartoon s plot.
not because
ous
simulacrum
isn't
it
critics, theorists,
have beat
me
because
deserves
its
it
own
to
terms: a
it),
(numer-
and French
issue cat,
MGM standard-
mouse, canary, and
bulldog exist only to distort,
and gloriously mutate
but mainly
tend,
our entertainment and amuse-
1947
MGM cat-
ment.
is
(i.e.,
in
which the
become
really, really
Numerous animators mined this
premise as early as
McCay s 1921 one ever did job
ot
it.
No
The
Pel,
that
biggest
is
if
and
heads remain puny and disproportionate.
but no
cartoon designs, they become
Not merely
scaled-up
freakish victims of poisoned
characters ever got
metabolisms suggesting very
big
is
funniest.
tively funniest
Tex Avery
funny, then
And Avery's
cartoons in the
industry.
human
In character animation, a
prime pleasure for the
artist
and
audience alike seems to be in the
and subsequent
dis-
at the core
ing.
of what makes King-
Thev function
as subversive
superimposed upon our
normal expectation of what
a
cartoon character should look like:
the same dvnamic that
packed our grandparents into
shows and today racks up
freak
they've created and accepted,
ratings for
from Disney's subliminal squash
Geraldo.
gnarled hyperthvroid histrionics.
are
Size Canary so perversely appeal-
tortion of the cartoon character
to Clampett s
real
glandular disturbances.
These mean, funny drawings
graffiti
and stretch
legs,
Winsor
agenda was making the quantita-
definition
expand heav-
their salami torsos
more thorough
a
as big as Avery's, and
knew
their plight
singularly demented; while
enward, their hands,
very, very funny).
for
And the manner in which
Tom
and Jerry
dis-
comment on
Avery has delineated
characters
7°
Avery's 1947
and-mouse cartoon not starring
big
is
King-Size Canary a cold-war
fantasy, or surrealist
—
But only in King-Size Canary
Oprah,
Sally,
— Mark
and
Nciegarden
Kjng-Sizc Canary
TEX AVERY ON HIS lot
1
HUMOR
of it
comes from those old
so forth to get impossible gags
squashed.
slapstick comedies.
—Mack
We found out early that
if
You can
see
some of the things they contrived «ith wires and
Sennett with his Ford that goes between two trolleys and comes out
you did something with
a character,
possibly be rigged up in live action, then you'd have a guaranteed laugh. in animation; or
if it's
funny, a
human
could do
it
funnier.
bly happen, like a character getting stuck in a milk bottle.
71
.
.
.
You
whether animal or human, that couldn
If a
human
can do
it, it
isn't
always funny
We used any kind of distortion that couldn couldn't get Chaplin in
a
milk bottle."
t
t
possi-
J
;
Three little
Pigs WALT DISNEY,
Be
Wdl(
Dunn
Compan;
WALT DISNEY resents
1933
CREDITS Directed by Bert Gillett
Animation Fred Moore. Dick Lundv.
An
Babbitt,
Norm
Ferguson. Jack King
Voices; Pinto Colvig. Billy Bletcher.
Man
Moder. Dorothy Compton
Be
7*
Wall Pi. 00 C*m(wr
;
car-
Churchill,
toons ever made. Three
Little
Pinto Colvig, became a
by the hair on
national anthem, hailed in
chin chin"
Time magazine as "the tune
ens,
Pigs
is
also historically signif-
icant as a milestone in the art
by which 1933
of animation. Although
the
little
I'll
blow vour house
puff and in."
little
pig
and then repeats the process
The two house
uses sticks. The)' sing and
of the third pig:
The
bricks
dance to
hold.
a
is
breakthrough
in "personali-
ty animation."
Disney had
hard
When the third pig warns, "I'll
Norm
sion, Three Little Pigs
bine
a
who
first
two
The
down
wolf then goes
the chimney, lands in
a boiling kettle,
and
howling into the skulks three
down
little
is
skv,
sent
then
the road as the
pigs reprise their
theme song.
squealing voices, sing,
"Who's Afraid
of the Big
Bad Wolf?" Tattered and scraggly, the
wolf is indeed nearby. At the
com-
tale
comes
the stick house.
laugh, and with gleelullv
was Disney's
standard folk
the woli
to your door," the
for
drew the openingjig.
sincere effort to
be safe and vou'U be
sony when
Pluto) did the
77ircc Little Pigs
most
brick.
this film, Fred
specialized in dance anima-
height of the depres-
work building his
principal anima-
and in
work on
tion,
at
a third little pig,
house of stone and
to "cast" his anima-
woU, and Dick Lundy,
straw house,
with
when
the pig
music, gags, and bright col-
main song, "Who's
Americans: Economic survival
ors. Its
depends on building
Afraid of the Big Bad
sufficiency. It also gave
the wolf threat-
hull and
pigs flee to the brick
his
undermining national
my chinnv
hay; his violin-plaWng fnend
as well as their
Ferguson (best knovwi
threat of foreign forces intent
— "Not
movements
tor of the pigs,
off the
—
in
That's just what he does,
A flute-plaring
pigs has a distinct
Moore was
house of bricks to ward
I'll
"I'll
him
at
tors,
strong
be
will
refuses to let
builds a house of straw and
begun
a
and
personality, seen in their
dialogue; the cartoon
provided a pertinent warning to
Sears,
remembered."
physically similar, each of
Released during the
Ted
ne of the most popular
Wolf?," written by Frank
on
self-
Ameri-
cans an affirmative theme song
with which to confront the wolf of poverty and hunger scratching at
the door:
"Who's
big bad wolf?"
$125,000
The
afraid of the
film earned
in the first years of its
release.
— M. Thomas
Inge C
73
TTw Wslt
Dunn Campjnt
he directors
were given
at
Warner
a great deal of
autonomy over
their produc-
As Chuck Jones
tions.
Elmer Fudd's endless
Bros,
they
made
for adults.
were made
for
Thev
music, and
of
had very sophisticated
made
Rabbit of Seville
for
and the two confront
each other with larger and
Elmer
tempo with
Bugs
larger axes
gives
a close shave.
He
then
grows and
a fruit salad
on
mows
a
and guns
until
Bugs
offers flowers
ring.
He mames Fudd and
dumps him
and
a
into a cake.
Having finished with him,
it.
he
calls out,
"Next!"
beard on
Although lond of classics music, Jones was
aware
fullv
animated-film
of
1950
"Some music has
it.
CREDITS
all
in front of
the musical films
I
did, including Rabbit of
Senile the
Loonc\ Tunes Cdrtoon
M
In
a
vou put
if
something tunny
music
played straight.
Jones
comedy."
Animation Phil Monroe, Ben Washam. Lloyd
Thus
Rabbit of Seville
Vtugnan, Ken Hams, Emery Hawkins
always
is
It's
what the
makes
characters do that
Story Michael Maltese
it
a
the music in is
the origi-
nal Rossini score forTfce
Layouts: Robert Gribbroek
Barber of Seville, hut the car-
Backgrounds: Philip DcGuard Voices:
enough
rabbit,
hunter as
shines the hunter's pate,
comedic quality
Directed by Charles
is
faces off with the
as barber, with the
Long-Haired Hare, Baton Bun-
potential.
A
This
who
Fudd,
massages Fudd's bald scalp
and What's Opera, Doc?).
on
head that blossoms into
flowers.
for
hair
ing curtain reveals the rabbit
and tosses
nv,
his
ris-
musical spools (others are
cal
WARNER BROS-,
up
The
grow
Fertilizer" to
Hollywood Bowl just
the overture.
Bugs Bunnv
a series of
cement
a
mud-pack, and uses "Figaro
across the stage
his customer. In
taste,
not surprising that he
it's
Bugs
the rabbit
The Barber of Seville.
me." Since
Jones was fond
them
as the orchestra tunes
Nor were
for children.
of
takes
of the
said,
"These cartoons were never
made
hunt
him
his face, gives
toon shows respect for
Mel Blanc
absolutely nothing else.
Musical direction: Carl Stalling
n
HI
MICHAEL MALTESE name
that appears over
Chuck Jones less
said,
and over among
credits for great cartoons
is
that of
—
only the odd, the unusual, the hilariously peculiar interested him.
origins found their stories for
storyman Michael Maltese, of whom
He
"The quirky brilliance of his ready wit was never, never neutral.
way
into the personalities of
Maltese's
many Warner characters. He was
What's Opera, Doc?. Rabbit Seasoning, Rabbit of Seville, Duck Dodgers
Et'cning, For Scentimenta/ Reasons,
and Fast and
74
Furry-ous.
among many
other
disdained facts as use-
Lower East Side-New York
responsible for writing the
in the 24'// Century.
hits.
One Froggy
J
12,
^
^RABBIT OF
SONG
SEVILLE How
do
Welcome
to
my
shop
mop
Let
me
cut your
Lei
me
sfctf-uc^our crop
Daintily
.
.
.
daintily.
Hey, you—
Don't look
so perplexed.
Why must you Cant you
sec
he vexed
you
rc
next
Yes, you're next
You're so next
Haw
about a nice
close
Teach your whiskers
to
shave
behave
Lots of lather
Lots of soap
Please hold
Dont
still
be a dope
Now were
ready for the scraping
There's no use to trv escaping Yell
and scream and
rant
and
rave— There's no use, you need a shave.
There— you're nice and clean
Although your
face looks like
it
might have gone through a
IL :.\\
75
.,
Bio.
.
In,
J
Rabbit of Seville
One
obvious distinc-
tion
between Rabbit and other
of Seville
previous
Warner
forays into the
Jones end,
s film,
is
music
to classical
is
that
from beginning to
anything but
a
—
that he applied to
Bugs Bunny films would hold sway here, even in
much
da of its
One
own
a
a
all
work
musical agen-
that the character
must
be introduced in an envi-
and true Bugs Bunny/Elmer
ronment indigenous
Fudd hunting
cycle.
As
sonality specialist, Jones
a per-
made
certain that the different rules
and
"disciplines'
—
the peculiar
fell
swoop
the
deliniation of character attitude
working overtime:
hills,
and with
economy, pans from
effort-
left
to
pursued by Elmer,
available
the backstage of an It
isn
t
mous
shot of Bugs's gloved hand oh-so
a close-up
casually flicking a switch to raise
outrightly provoked by an
the curtain, thus initiating the
76
Priceless
is
expression as the curtain
the orchestra strikes
heavy chord, and
it
its
dawns
anymore but caught on the
—
long before we get
is
first
s
is
toward the nearest
outdoor amphitheater.
kept in check until the character
rises,
expression
on Fudd
and another, that Bugs's enoranarchic energy must be
Elmer
facial
races into the foreground and
sanctuary
to rabbits,
at
era picks out flashes of gunfire in
right as Bugs,
Bunny
is
one
through
less
rule of thumb that Jones
first
in
in
rabbit s revenge. Jones's keen
beginning of the film as the cam-
the distant
as Rabbit of Seville.
pics
it is
both
his
still
the ongoing tradition of the tried
shot"; instead
antagonist. Jones accomplishes
ele-
chose to use for his Bugs
"one-
very
ments
and structural
with as intricate
realm of cartoon slapstick
synched
narrative
that he s not in
Kansas fully
dressed set of an opera in progress.
—Greg
Ford
^
^BUGS BUNNY ugs Bunny
is
one of the most popular
car-
toon characters because he does and says things
we
all
wish we could get away with.
He's brash, smart, funny, heroic, and clever
—
an underdog we can identify with,
intelligent
Bugs was developed over the 1930s.
enough
to defy
a series of
Tex Avery's success with
a
any opponents.
cartoons made in the
screwball duck-hunting
cartoon {Porky's Duck Hunt) in 1937 prompted animators Ben
"Bugs" Hardaway and Cal Dalton to follow up with an even screwier rabbit-hunting opus (Porky's Hare Hunt) in 1938.
The
"Bugs" Bunny character was brought back twice in 1939.
Chuck Jones modified him Hardaway and Dalton It
a bit in Preslo-Cbango,
revised
him
was Tex Avery's 1940 cartoon, A Wild Hare,
the personality
while
further in Hare-um Scare-um. that solidified
we know today as Bugs Bunny. Mel
Blanc's
Brooklyn-Bronx accent, Arthur Q. Bryant's Elmer Fudd, and the catch phrase "What's up, Doc?" became the trademarks
and the blueprint
for the direction of the series.
Bugs became the symbol
World War
II,
for the
American
spirit
and Bugs Bunny Nips
the
singing Irving Berlin's
Nips, as well as in a bond-selling trailer
"Any Bonds Today?"
A Bugs Bunny
short, Kjiigbty Kfligbt Bugs, directed by Friz Freleng,
Oscar
L .
for Best
during
appearing in such cartoons as Hare Meets Herr
Animated Short
in iqan
Animation: Grant Simmons. Walter Clinton,
through the
Preston
picture."
Blair,
Louis Schmidt
Music: Scott Bradley
on high telephone
feel that his
sufficiently chal-
Then he makes
the cus-
tomary Averian transposition of the sweet into the perverse and the villainous into the victim.
And he
1949
in the air,
When the bulldog revives,
ble the situation
MGM,
but
went from the bulldog get-
No matter how impossi-
Only
to you.
is
it
luck,
built the picture so that
flow-
out. Blackie
blow whenever he
tosses
Tex Avery
gives the kitten a whistle to
Warners.
good
mator Nancy Beiman:
from the sky and
knocks the dog
the play-by-play structuralists
The
falls
a
lor
a
entire horse.
time Blackie
symmetry would have pleased
again to
the head
a
named
offers to help
first
Blackic
hvdrant,
a tire
four horseshoes hit
laughing
kitten
Luck
and
The dog carries
horseshoe
crosses the dog's path
end
cash register,
by former Disney animator
a sadistic,
its
each time, the dog
gets hit with a larger
by simply crossing the dog's
by accepting
And
a piano.
by
Bad
calls,
heavier object: a trunk, a
cute white kit-
premise whose formalist
at
path.
ani-
story
streetwise black cat
and
anarchy, hits
pitiless
his highest note
a
drain-
by crossing the dog's
ten (designed and animated
ized
Tex
— and
life
beyond the realm of
the possible.
narrow
the kitten
Blackie appears and saves
Blackic takes a simple
premise
— when
begins.
—
]ejf Miller
IP
83 \>l
0
v Great Piggy Bank Robbery'
A
ut
on the
CASTOON
HgQS.
and twists him into an "Eat
iarm, comic-book
maniac Daffy Duck
bv the
WASNtR
At Joe's"
elated
is
them down with
arrival of the latest
gun and
issue of Dicfc Tracy ("I love
that man!"), but
He
w ake up back on the farm
Twacv." Phone
kissing: a
looks
like a
calls arrive
o
1946
sow.
bank only
"I
to
love that
Daffy was the perfect star for this cartoon.
is
His neurot-
behavior, from anxiouslv
missing. Magnifying glass in
ic
hand, detective Daffv takes
awaiting; the arrival of his
a
a
comic books in the mail to
Porky Pig in
walk-on role as conductor)
frantic allv
gunning down
to the gangster's hideout.
two dozen archcriminals,
There he encounters such
periectlv
characters as
WARNER BROS.,
his
kisses the
Mouse Man,
ter.
fits
his
zany charac-
Dick Tracy's characters,
Snake Eyes, 88 Teeth,
such
Hammer
Head, Pussycat
and
Puss, Bat
Man, Double
rations for Clampett.
as Pruneface, the
Flattop,
w ere
Brow,
ideal inspi-
An ear-
Header, Pickle Puss,
lier
Pumpkin Head, Neon
tured such evildoers as
version of the story fea-
Dandruff
Dome, Snow
Man, and Rubber Head.
Slot Face,
and the Nostril
Rubber Head
("You mugs stay here.
Daffy out.
"rub"
The duck then
tangles with
to blow!").
Neon Noodle
^DICK TRACY
The
popular Diet
Tracy comic strip,
created in
193 1 by Chester Gould,
was
a perfect inspiration
for Clampett. Characters
such
as Pruneface, the
Brow, and Flattop were perfect for parody (Flattop's
head makes
a
brief appearance as an aircraft
runway). Sherlock
Holmes, the most famous
N oodle, Jukebox Jaw, Wolf tries to
^
duck!" says the pig.
piggy bank
—even
streetcar (with
Robbery
finds the piggy
and dreams he's "Duck
crime wave!")
Bank
machine
himself out in his excitement
("It
Great
a
mows
banks, including his own.
knocks
about stolen piggy banks
The
sign. Daffy
Coat,
I
got
fictional detective of
all
time, also appears in a
cameo gag originally
that
was
planned to be a
running gag in which Sherlock keeps bumping
CREDITS A
(.oonev
Tuna
into Daffy throughout the
cartoon.
Cartoon
iZ
Directed bv Robert Clampett
Story
Warren
Foster
Animation Rod Scribner, Manny Gould. C. Melendez,
I.
Ellis
Layouts and backgrounds:
Thomas
McKimson.
DeGuard
Philip
Voices: Mel Plane
Musical direction Carl
W
Stalling
84
J
85
The Grcal Piggy Bank Robbery
Robert
Frost said that
the poet s principal
mission
is
to
with words that stick
—
come up to con-
jure those visions and constructions that,
people,
somehow,
stay with
making of ephemeral
lan-
guage something enduring and strong, with the
change ciple.
lives.
power
Applying
Bob Clampett's
to this prin-
forever
And
then
highest cinematic poetry, for
along the ceiling.
prompting the
there are the bad guys them-
ity are a
film's
manic
hilar-
sequence of images that
selves, inspired
remain among the most indelible
Gould
by Chester
(creator of Dick Tracy),
and high
cartoon
one of the
that, courtesy of Clampett's
from Mouse Man, Jukebox Jaw,
ishables,
visionary brilliance, are well nigh
and 88 Teeth
animated
impossible to forget: Daffy doing
Hammer
Duck Twacy,
or agonizing over
his purloined bank, or
smacking
to Pickle Puss,
Head, and Pumpkin
ings.
it
masterwork, animation achieved
I
into Sherlock Holmes, or
sidestepping the trap door into
terror
the gangsters
Indeed, the film represents a rare
lair,
its
or stalking
86
films.
Puss. In the final minutes ot this
finest
melange of unhinged
and inspired
silliness.
don
t
spirits, this
and the one
after
Bank
mock-
is
Even
of the
clearly a
comedy. Realized with immense wit, dash,
after
moments
and the
very apogee of classic character
incomparable cine-surrealism:
Scene
work
is
for hallucinatory visuals
but here transformed into
in cartoon history.
scene resonates with
priceless The Great Piggy
Robben
synthesis of animation's capacity
1
real cher-
that, of all
hold dearest.
innumerable view-
remains unbelieva
—and
—
say this lightly
—
ble.
Steve Schneider
Tbc Great Piggy Bunk Robbcrv
One
weekend they ran
And then saw it, I
best cartoon that self
a
and
Bob Clampett I
was
man had
floored.
cartoon, and It
when
his
name came
was the Tbc Great Piggy Bank
ever produced.
on,
I
Robbcn',
There was Daffy Duck reading
a
thought, "Oh, he's the guy
and
it
was
who
my favorite.
does those old ones." I
thought
it
was the
Dick Tracy comic book, and he manages to knock him-
out cold and have a dream about being "Duck Twacy." All the Chester Gould villains are there;
Duck was
instantly
it
was
totally surreal
and
bizarre.
And
Daffy
actually daffy.
—]obn 87
Kricfalusi
Sindbad result
cave and island
s
from the Fleischer
studio s use of three-
dimensional
sets.
The
tech-
nique involves constructing miniature sets
on
a
Cwelve-
foot circular turntable
mounted
in front of
an
ani-
mation camera. Between the camera and the turntable, eels are ly
on
a glass plate
one frame is
hung
vertical-
and shot
at a rime.
The
set
rotated incrementally,
frame by frame, so that
foreground props move at different
speeds than
background elements, giving a realistic sense of
dimension.
88
'
s
Popeye
s
Mickey Mouse's
—
greatest
and Wimpy. Sindbad spots
"Wreck
deserved to be showcased in
the
twice the running time of an average cartoon also the first classic
wish
fulfillment:
It's Somehow eating a can of spinach miraculously gives
you the strength
to beat
your
burly opponents. Let's face
The early
funniest
moments
Popeye cartoons
hilariously clever
knocks the Bluto. (or
are the
stuffing out of of
Those
action scenes
Kricfalusi calls
as John
them) are key to
Popeye Meets Sindbad.
more than
And
this
"Twister punches,"
arrives
was
The
a pair of lions
way, soon
island in
He
and smashes
use Fleischer s unique 3-D
Olive slavishly dancing to
backgrounds, and the
Sindbad's tune. Popeye
Max
first
nated for an Academy Award.
The
"Who's
the
and Boola, then goes
most
Sindbad,
finally
conquering
punch
fellow?" Sindbad the Sailor
that spins
him around
The
a "twister
like a
(Bluto) asks this question
propeller.
musically, singing his per-
mals declare him "the most
sonal theme song to himself
remarkable, extraordinary
strolls
around the is
fellow''
Isle
home
island's ani-
and the
new
king
The
mayhem
Also on hand
produced two follow up
all
topped off by
Mercer's witty ad-libs make this
—
Jerry
Alfred ^Zukor Presents J
Max
Fleischer Cartoon
Directed by Dave Fleischer
from past adventures: the
specials, Popeye the Sailor
two-headed giant Boola and
Meets Ali Baba's Forty Thieves
George Germanctti, Edward Nolan
Rokh, an
and Aladdin and His Wonder-
Music and
On
the best Popeye ever.
are prizes
CREDITS
cartoon was so
popular that the studio
Technicolor,
of
the island.
dragons, apes, and snakes.
timed to patriotic
FLEISCHER, 1936
for his
him with
he
the Sailor
Rokh
of
remarkable, extraordinary
as
Sindbad
spinach and takes on
cartoon answers the
question:
Meets
stone wall to find
a
makes short work
Fleischer cartoon nomi-
the Sailor
outroars
generator arm muscles, violent
music, 3-D sets, and brilliant
bird
through
to a menagerie of beasts,
electric
on the
search of Olive.
Popeye cartoon
of Sindbad, which
usual:
this
me!"
to
in Technicolor, the first to
in the
ways Popeye
"funny beatings,"
film has
it:
—
woman
Wimpy along the
than
Popeye
that ship, but bring
obeys, but Popeye, saving
Seventeen
—more
Oyl
v\ith Olive
them and commands Rokh,
ers decided the sailor
minutes long
singing his
own song,
the Fleischer broth-
a special film.
sailor,
—he was
during the 1930s
rival
Popeye the
popularity soared
a
airplane-size bird.
boat out at sea
is
ful
Beck
1
%
AJl F 1
s
,
89
Lamp.
Animation Willard Bowslcy,
lyrics:
Sammy Timburg,
Bob RoihScrg. Simmy Lcrncx
Popcyc the Sailor Meets SinJhuJ
the Sailor
Popeye the Sailor Meets Sindbad the Sailor
H
POPEYE'S ORIGINS
I
Created in 1929 as
supporting player in
a
Thimble Theater, Popeye
E. C. Segar's
quickly stole the show, and by 1930 the
comic
strip
around the gruff one-eyed
was completely centered
sailor.
Max
Fleischer, a fan of the
comics, approached the King Features Syndicate about bring-
ing the character to the screen. Popeye was introduced in a Betty
Boop cartoon
immediate ly in
new
hit;
and was an
(Popeye the Sailor, 1933)
within
a
few months he was appearing month-
cartoons.
Matching
a voice to the gruff comic-strip
sailorman was
but the ultimate choice was inspired. Ironically,
difficult,
were not
for Cliff "Ukelele Ike'
Edwards
(later
if it
the voice of
know him
Jiminy Cricket) there would be no Popeye as we
Throughout the 1920s, Edwards (1895— 1971) was
today.
a
major star of vaudeville, Broadwav, and records; he spawned
among them
number
of imitators,
Costello
(1898— 1971), whose
Billy
earliest
a
"Red Pepper Sam
recordings featured scat
singing nearly identical to that of Edwards records were miscredited to Ukelele Ike).
(at least
One
two of his
ingredient that
separated Costello from Edwards was the strange, guttural
bass that occasionally peppered his falsetto scat solos. This voice
(known
as
"lower throat vocalization" to speech pathol-
had been employed on stage
ogists)
Gene Green (1877— 1930). Music recently recovered
a
for years
historian
by vaudevillian
Mike
recorded example of the "proto-Popeye
earliest
Kieffer
Green recording which appears
voice.
of the Popeye voice can be heard in Billy Costello's
"You
re
Gus
year, at
B'oop,
M.D.
(1932). Costello,
who
record
in the also
the Gorilla, remained Popeye s voice for only one
which point studio
Mercer's zany sense of
artist
humor
fit
Jack Mercer took over. the unique post-production
recording of cartoons; he added numerous asides,
Traces
first
Nobody's Sweetheart Now," w hich was used
soundtrack of Betty voiced
to be the
which
mumbles and
are cherished by fans today.
—Will Ryan I
|
91
E
he Skeleton first of
Tnt
tion of animation
characters that Disney used
on
first
Mickev Mouse
leaves;
At the bats
was thinking
him
life
dancing and doing other
mated actions in a
a
dog
from
rises
its
a skele-
grave.
The
skeleton prowls around the
momentarily
graveyard,
is
frightened
by the
owl, and
is
then joined by three other
The
skeletons.
four dance,
obviously enjoying themselves
and exploiting their
articulated bones. their
They
own music: One
tebrae as a xylophone,
another skeleton uses a cat as a fiddle.
A rooster alerts the skele-
and
tons to the coming dawn. In
ani-
a
-A
more or less humorous
became very
belfry, a spi-
when
stop their spat
music
fitted to
and rhvthmic mood.
out of a
Two
skeleton uses another's ver-
figures, like skeletons, trees,
or flowers coming to
fly
moon.
a
inanimate
of
blowing branch.
the
I
adding animated action to told
a
is fright-
at
black cats atop tombstones
make
reverse could be done:
"I
and Hying
stroke of midnight,
der drops by, and
gested to Disney that the
in a grave-
even an owl
ened by
pic-
musical composer) sug-
musical score.
spooky night
vard, full of wind
to
tures, Carl Stalling (Disney's first
a
howls
ton
The Skeleton Dance opens
expand
underscore the action in the the
and music
even further.
the horizons of cartoons.
Having added music
an oppor-
this as
push the combina-
tunity to
without leading
for experiments to
Dunty Company
Disney saw
Dance was the
the Silly Sxinphonies,
a series
VV'aft
He
panicky rush to get
back to their
coffins,
they smash into one
interested."
j
another, creating a sinle
four-skulled skele-
ton that dives into a
tomb.
1929, cartoons were usually just strings of gags held together
In
by
a
vaguely defined story: Skeleton Dance was an eerie musical
fantasy uith few real jokes. in a graveyard
The image
sounds gruesome, but
Ub
ingenuous appeal that makes the most
and
playful.
They dance jauntily,
of four skeletons dancing
Iwerks's animation has an
grisly characters
seem benign
wriggle Like rubber Halloween toys,
and play tunes on each other's bones. (The corresponding .xylophone figures in the score have led
many
Saint-Saens's Dansc Macabre; film is
it's
writers to misidentify the music as
Grieg's
more sophisticated than most
that dives at the screen
March
of the Dwarfs.)
silent-era cartoons.
The
The skeleton
and almost swallows the camera seems
like
an
ordinary visual today, but in 1929, only Otto Messmer's Felix the Cat
cartoons offered comparably imaginative touches.
—
Charles Solomon
C Trie
92
Walt
Dunn Company
The Skeleton
Dance WALT DISNEY,
1929
CREDITS A
Sii/v
Svmpboru
Directed bv Wall Disney
Animation:
Music: Carl
93
Ub
W.
Iwerks
Stalling
Snow White
ho
1
s
the fairest in the land:
Wicked Queen
man, Roland (Doc)
time
pulls the dragon's
it's
visit
The Queen
"stepmaconsults
1
nil
5
Directed by Dave Fleischer
Animation: Roland C Crandall Vocals:
Cab Callow
ay
Bimbo
tongue
and turns the creature inside out,
and the
film
ends with
Crandall, over a six-month period. Crandall
had resisted the
urge to head west to the land of
the three heroes dancing in a
sunshine, palm trees, and
Bimbo and K0K0);
circle.
Disney,
is
agree
all
now the
Of Cab
fairest.
orders the
Bern'
Boop
Calloway's three cartoons, Snaiv
knights to behead Bern',
White
w ho bemoans her
A quick run-down oi the
song ("Always
fate in a
in the
and makes them junk
Way") their
is
probablv the best.
story reveals less
how meaning-
conventional plot lines
which had
situation
a
stripped the Fleischer studio of
many
top people; perhaps this
solo gig ing.
was
The
reward for
his
of the cartoon, along with the attention to detail, support this
are in the usually surreal
supposition. Crandall
Bern- gets locked in an ice
Fleischer cartoons.
with
Callow ay said that the
coffin that slides into the
the Seven Dwarfs,
the Mvsterv Cave.
Queen shows up and changes
Bimbo
The
coflm to
The
as a witch
K0K0 and
into frozen statues.
magic mirror explodes.
cartoons in
which he
appeared played in each city a
week or two
live
prior to his
engagements.
With
show up
adroit
which
in the details of the
Wicked Queen
s castle
and the
mysterious cave of the Seven
Dwarfs. There,
long-legged
a
cartoon Calloway sings the
Betty as his "advance
mournful Blues'
sales significantlv increased.
was
fairy tale settings,
woman" he found
ticket
stay-
consistency and beauty
axes and fake her grave.
who accompany the c R
into a dragon.
the mirror again (as do
cottage ol
Paramount Canton
of
Bern', just arrived at
The Queen
A
said to have
been animated by one
that Betty
1933
is
Queen
ma."
PARAMOUNT.
White
K0K0, and transforming the
the castle to
White
Sncrw
her magic mirror, and this
asks the
Snow
thawing Bert}', Bimbo, and
"St.
James Infirmary
—
another
n
drugs, and rock
sings, Calloway's
ure transforms
tale
of sex,
roll.
As he
animated
itself to
fig-
describe
the lyrics, at one point into a
watch chain and oo-ooze.
As
if
of boo-
a bottle
such dazzling
rotoscoped animation weren
enough,
a
background
macabre images
filled
t
with
slides steadily
by, fighting for attention with
the action in the foreground.
Here
is a
use of the
and
a
cartoon making
medium
model of the
ber hose
full
of animation, classic "rub-
cartoon style
ol
the
early 1930s.
—
Leslie
Cabar^a
95
Snow White
96
Snow While
r^THE FLEISCHERS ax Fleischer, cartoonist
and
inventor, pioneered animated films with his invention of the
Rotoscope in 191 7. Using unique device to trace
action film for creating
animation.
making
Max and
clever
animated
Disney's greatest
rival.
lifelike
Dave went into business
films, eventually
becoming Walt
In the 1920s, the Fleischer studio had
K0K0
great success with "real"
his brother
this
live-
the Clown,
who
world through clever animation
cavorted in the
tricks.
The
Fleischers
introduced the sing-along cartoon, the famous "bouncing ball,"
and were the
first
to
make sound cartoons
years ahead before Disney synchronized tion.
Betty
With
the advent of sound, the studio
Boop and
licensed Popeye from
King
ishing his personality with a unique voice. tion of the studio
(in 1924),
sound and anima-
came up w ith Features, embell-
Another innova-
was three-dimensional backgrounds
that
gave the early Fleischer cartoons a feeling of depth that Dis-
ney would achieve years
The two to
later
feature films, Gulliver
Town
with his multiplane camera.
Fleischers released five extra-length cartoons s
Travels (1943)
(1941), and were nominated
Superman (1941), the
first
for
and
and Mr. Bugs Goes
an Oscar for
in a series of realistically
drawn
adventure cartoons. In a
move
still
controversial today.
Paramount Pictures
took control of the studio in 1942 and ousted the Fleischer brothers.
Max
continued his role in animation with an asso-
ciation with the Jam
went
Pictures, Republic Pictures,
L :
Handy industrial
film
company, Dave
to Hollywood, producing animation for
Columbia
and Universal Studios.
J 1.
98
1
his cartoon
opens with
ol
a
Cab
live-action clip of singer
Betty and
Calloway and his orchestra. It
cave.
then goes to Betty Boop
seated
at
ghosts and goblins chase
room, Betty
the dinner table
"Why won't you eat your
"Home
all
was
became
packs her toothbrush, pens a
his
and
calls
her
who meets
beneath the window.
a
As it
scoped his movements. Minnie
where they meet the
first
She
in a plausible setting:
Mae
Questal,
hers.
who
a
is
in the
provided the
This film would seem to bear
national treasure. His appearance seems at
Use
—
first
incongruous
until,
beautifully traced over (rotoscoped) into
of Calloway's
enigmas of cartoondom.
theme song, "Minnie,"
Was
of
is
one of the
the song's sordid subject matter
drug addiction, maybe even prostitution
—acknowledged by
the
Fleischers?
—
Leslie
Mountain, both released
The
manner
classified a
great
Man
in 1933, were the others).
beginning of Minnie should be enough to have the film
animation.
(Snoxt>
Walrus dances
in front of an
Cabarga
99
CREDITS
Boop cartoons
Calloway
the
film at the
is
of three
Minnie the Moocher. The
young Calloway performing on
midcartoon, his dancing
Moocher was the
White and The Old
the sordid tale of
voice for Betty, always claimed the animators based the character's
her out. Just seeing the
the
who recalls
young girl, probably seventeen or nineteen, involved
mannerisms and personality on
bandleading was so
to feature
shown
inevitable parental conflict.
and
unique that Fleischer roto-
ever-changing cave wall of
is
1932
lyrics
his trademark,
Walrus (Cab Calloway)
bizarre images. All
PARAMOUNT,
a star.
swaying and strutting
style of
her
gets dark, the pair hide in a cave,
Moocher
recording in 193
His "Hi-de-ho"
be sorry that
dog. Bimbo,
time, Betty
a hit
and made Calloway
they picked on me." She
farewell note,
Sweet Home."
"Minnie the Moocher"
run away, singing,
"They'll
first
the
torn up, leaving the words
to
Minnie
finds her
being berated by her parents:
the table in tears and decides
the
the
in her
farewell note mysteriously
hassen-ieffer?" Betty leaves
For
Bimbo from
Back home
film enjoyed a revival as
"head film"
in the 1960s.
MdX
Fleischer Presents
A
>>
Tdlkanoon
Paramount Pictures Release Directed by Dave Fleischer
Animation: Willard Bowskv, Ralph Sommcrvillc
Vocals Cab Calloway
— Minnie
ibe
Xtoocbcr
IK
1
r,BETTY BOOP
The
most famous
Fleischer studio s
mator Grim Natwick, she
first
original character, Betty Boop,
appeared in Dizzv Dishes (193
began
1) as a
as a singing dog.
life
Designed by
ani-
canine crooner performing a parody of
novelty singer Helen Kane. 7
Originally, the studio, in
dog character named Bimbo
to feature a nondescript
doop" character eventually, this character, Betty Boop,
stole
known
one of the
was starring
Helen Kane, herself a Paramount contract
need of a starring character to compete with Disney's Mickey Mouse, had begun
in the cartoons,
player, decided in
and Bimbo had supporting
1934
When
in a series of cartoons.
films, the Fleischers increasingly featured
to sue the studio
when
a
crooning "Boop-oop-a-
her in the Talkartoon series
roles.
the cartoon version
became more well
than her. Unfortunately for her, Paramount and the Fleischers were able to prove that her style of singing had been around
longer than her career. Betty studio.
Boop
s
This was
most interesting cartoons were produced during 1932 and 1933, during the heyday of inspired lunacy also before the
These pre-Code cartoons were erous villains
who
eccentric inventor,
years.
Only
will
Motion Picture Production Code took
pretty racy: from s
Cab Calloway's soundtracks, which made
1934,
effectively "cleaning
in the last decade or so has
at
the Fleischer
up" Hollywood.
reference to drugs, alcohol, and sex, to lech-
"Boop-oop-a-doop" away.
effect, Betty's skirt
and Pudgy, her cute
effect in
was lowered
little
to her knees
and she began costarring
dog. Betty also starred in Fleischer
s first
in stories with the likes of Grampy, an
color cartoon. Poor Cinderella (1934).
studio retired Betty in 1939, but her popularity has lasted without the assistance of
(1988) and two recent
L
Office
threaten to take Betty
After the Code took
The Heischer
Hays
any
effort
been made to revive Betty's
career.
An appearance
new
in
cartoons for more than
Who
fifty
Framed Roger Rabbit?
TV specials (produced by Bill Melendez and Colossal Pictures) have kept her name alive, ensuring that Betty
J
boop well into the next century.
IOO
Minnie
tfcc
Moocbcr
^GRIM NATWICK
Menrion
must be made of Myron "Grim" Natwick, the
original designer of Betty Boop.
At
the time he
animated Dizzy Dishes, Natwick was already an animation veteran, having begun his career
After studying
Looking
for
at
the Chicago
more work, he joined
his fellow art school graduate,
Gregory La Cava,
Hearst's animation shop (producing films like Krazv Kflt and Bringing
After a brief stint in Vienna studying an, Natwick returned to studio just as talkies were taking over the industry.
many Flip
the Frog and Willie
Whopper
cartoons.
He
left
in 1916.
An Institute, Natwick became a prolific illustrator of sheet music.
in
1931 to join
Ub
Up
who was
Father) in
in charge of
New York.
New York and joined
the Fleischer
Iwerks in Hollywood, where he designed and animated
He was soon working for Walt
Disney, primarily animating Snou White. Natwick 1
rejoined the Fleischers in the late 1930s, where he designed and animated Princess Glory for the feature film Gulliver's Travels.
Thereafter he was the preeminent specialist in animating the female form.
His
skill led
him
to
many
diverse assignments: animating
Woody Woodpecker for Walter Lantz,
toon, "Crusader Rabbit," doing commercials and theatrical shorts for
younger generation while working
for
UPA
creating
an
for the first
TV car-
(including Rooty Toot Toot), and teaching his craft to
Richard Williams (Raggedy Ann and Andy, The Thief and
the Cobbler).
Grim Natwick
a
died at age
one hundred in 1990. I
j
102
.
his
rhyming parody
Snow While
Disney's
wartime themes, jazz
—
telling
—with
Queen), Vivian Dandridge
and
(So White), and
Zoot
Watson
Chawmin
sex,
begins with
work: Rub}' Dandridge (the
oi
mother
a
(Prince
her child the story of
Eddie Bealc and his band
The Wicked
augmented Carl Stalling
So White.
Queen
(a
hoarder of
score, particularly the
impressive trumpet acting
rationed goods) asks her
magic mirror
)
To
for a prince.
dunns the
kiss.
Prince Chawmin', the queen "sure
a fright/
is
So White
Coal Black
and dc Scbbcn
dynomite!"
is
Murder,
Inc., called
Queenic
to "blackout
White," leaves the
Seven Dwarfs
Bob
by
at their
So
call
the
the
army
camp.
The Queen
with
poisoned apple that
a
puts So
White
his
arrives
to sleep.
The
awaken her with
"Rose-bud"
kiss,
but
a
dwarf succeeds with his special
hot kiss "that
is a
mili-
[
943
Black caricatures and erences to
ref-
WWII date this
cartoon, but
its
animation,
musical score, and comic
CREDITS A
Mtrrit MtlodUs Cartoon
Directed by Robert Clampett
Story:
Warren
Foster
Animation* Rod Scribner Musical direction: Carl
W
Stalling
timing make
it
a classic.
Clampett took his animators out to Holl) wood's black ,
nightclubs for inspiration,
and performers loaned their voices
Disney
up
s
s
Coal Black and dc Scbbcn Dwarfs
his film So
White
Snow White. And
its cast.
Coal Black
is
—
but
and authenticated the
it
pokes fun only tangentially
are, they're
no more grotesque than,
and The Wise Quacking Duck.
because the idea for this cartoon was born Ellington revue
Jump
Black, as animator Virgil
at
who make
not really about race, either; as outlandish as
men Clampett lampooned
the middle-aged white
Duke
of course, a
Clampett originally planned to
despite the caricatured blacks
most of the black characters
Draftee Daffy
is,
—
on the Grimms' stoiy
for joy in
Ross
recalled,
The
say,
in cartoons like
characters are black
when Clampett
saw the
1941. During work on Coal
"we went over
to the east side
of town, in the black district, to go through the nightclubs and the
dancing."
What
Clampett found in those black performers and
dancers was the real subject of his
tary secret!"
WARNER BROS.,
Clampett
twist
girl in
woods where she joins
Prince can't
Dwarfs
hut her gal
exuberance into animation whose
and has never been equaled
film: energy.
vitality
He
translated their
was unprecedented then
since.
— Michael
Barrier
Coal Black and
dc
Sthbtn Dwarfs
COAL BLACK SEBBEN
QOEENIE
DVJAfcF*
Of
104
PR\N)ce
Coal Black and dc Scbbcn Dwarfs
1
r,CONTROVERSIAL CARTOONS who knows and
Everyone
certainly
sive to
among the
greatest cartoons ever made,
many people. Bob Clampett
s
example of a cartoon of its time, and
en age of animation, that is a
would be
it is
with
rife
it is
parents in Minnie
not an isolated case:
the
a
like
it
certainly
is
offen-
perhaps the ultimate
most cartoons from Hollywood
racist, sexist,
s gold-
and violent content, material
and
it is
difficult for
Among many other
most audiences
to see past
its
examples are Betty Boop's Jewish
Moocher and Native Americans in Tex Avery's Big Heeli.vatha.
is
banned from some
removed from movie
of racist stereotyping.
either:
it is
difficult to find a
There
prints,
is
libraries for its racial content, Stepin Fete hit s
and radio
no question
s
as to
(they are) or that they did do harm.
The
view and excluded from books such
as this one.
There
is
is
black
movie, play, or book before the 1960s in any but a menial position. Thus, today
Huckleberry Finn roles are
and that
1942 masterpiece
Cartoons are not the only form of entertainment involved person in
things: that Coal Black
unacceptable in cartoons produced today. Clampett's film
totally
particularly obvious example of racial parody,
stereotypes. But
knows two
loves cartoons
is a
growing inclination
to
company would not grant permission
Amos
are
remembered
as the epitome
whether or not some vintage cartoons
only question
do just
and Andy
supporting
that.
is if
are racist
these cartoons should be removed from
Disney no longer shows Song of the South; the
to use certain illustrations
from Der
Fuehrer's Face
Donald appears in Nazi uniform. Similarly, Birth of a Nation can no longer be viewed
at
because the Library
of Congress except under special conditions.
No one
would suggest
indiscriminately history and
make
believe these cartoons
trove of animated cartoons reflected in
ments.
The
that cartoons depicting sexist or racist stereotypes should be
on Saturday morning children
is
—and
s
shows. But
that era
—
it
shown
seems just as foolish to sanitize our
never existed.
One
of the values of the
the depiction of their times: every national event, trend, and fad
is
them, from the Depression to gas rationing, from censorship to the liberation movecartoons are racist because the country was
racist.
To remove
any material that
is
now
seen as objectionable would be to divorce the cartoons from their very identity, and to remove one of the most important features of the genre as
l_ 105
a
whole.
J
ehrc f.
TITLE
PME©I9'J7.
Words and Music by
OLIVER WALLACE
SOUTHERN MUSIC PUBLISHING CO^mc ISI9
BROADWAY,
106
MW YORK
ne of four anti-Nad cartoons
his
the Disney studio released in
and-blue pajamas.
(the others
1943
Chicken
were
on the
Death, and Reason and Emotion), this cartoon
written by Dick
and Joe Grant
wall,
was
Nightmare
Huemer
zen
for a series of
with
down. But Disney and produced
be
a
film
ends
Euehrcr's Face
famous cartoons of the war years and earned Disney his
parades
tenth Oscar. Jack Kinney
Donald
wrote of the film in his
munitions
plant to his usual "48-hour"
memoirs, "Prints were sent
day of labor. His job
all
—and
is
clos-
appears. Forced to
faster
goes
and
faster,
mad and
He
work
age the troops.
Donald
it
awakens
its
pro-
in
I
don't think
CREDITS
was very popular with the
Nazis. In
hallucinates
finally
which used
paganda message to encour-
that the shells are attacking
him.
over the world, even to
Russia,
"heiling"
the Fuehrer's face whenever it
fact,
we heard
that
Hitler
burned even' copy he
could
tind.
A Walt
Disney Donald Duck Cartoon
Directed by Jack Kinncv
We loved that."
Layouts;
Animation: John
Walt —
Disney's most significant contribution to American propaganda in the Second
War
and
to the art of graphic satire
Nazi regime, and totalitarianism Disney changed the for that surrealistic
The
title
when
sequence
in
—
Donald Duck
in
Nutxiland,
peppery, spirited OUie Wallace (composer of the "Pink Elephants' music
Dumbo) w rote words and music
song
for a
"I built
called
"Der Fuehrer's Face."
that cartoon
around the song,
director Jack Kinney. In a masterpiece of satirical design, everything in Nuiziland, from the trees
hedges to the houses w hose chimneys seem to give the Nazi salute, of Nazism.
A
World
Der Fuehrer's Face satirizes Adolph Hitler, Hitler's
in general. Originally called
song's basic structure was a "raspberry" or Bronx cheer.
caricature of Hitler's face glares
down on Donald
1943
New Year's
through Nutziland, whisks
ing shells
WALT DISNEY.
of Hitler
tomato thrown
Day 1943, Der
off to a
Face
a citi-
became one of the most
hand, playing "Der FuehrFace" as
The
Released on
cartoon.
it
Fuehrers
(rom the audience.
A German marching er's
shadow
turns out
he hugs the
over,
a caricature
struck by
the lilm as a special Donald
Duck
it
Der
begins
United States of
ol the
America."
liked the idea
but
statue, grateful "to
shorts commissioned by the
it
He
to be his Statue of Liberty.
U.S. government, which
turned
in red-white-
to salute a "heiling"
Education for
Little,
bedroom,
as
is
shaped
like
said
and
the swastika, the symbol
he struggles to keep up w
ith
inhuman
quotas on making shells for Hitler's war machine. Les Clark animated the surrealistic depletion of oppression with panache.
— John Culbant 107
Milt Neil,
Don DaGradi
Sihlcv, Bill Justice.
Andv Engman, Les
Clark,
Charles Nicholas. Robert Carlson
*
LITTLE RURAL
„
JGHOOD OlAtCTtO BY
T£X AV€RY
hillbilly
Riding
version of Red
Hood
is
time on the country
gal.
Come
and
skipping
to the big city
show you
through the forest to
a real
I'll
Grandma's house, bringing
Hood!" The enclosed photo
her some nourishment,
of a sexy
ol
whiskey. Meanwhile,
Grandma's, sion of the
a
a
jug
Wolf
(voiced
Red has the Wolfs
eyes popping out of his head.
at
When Rural Red
country ver-
bv
the
Wolf shoves
"Of course, I'm
her
lips
sup-
He
citv.
Hood
hollenn' for the citv
up, but
gonna do do
is
and
it.
I
ain't a-
All I'm
gonna
kiss her
When
and hug her and
last,
all
He
but
and
Red
MGM,
1949
is
interrupted by the arrival of
telegram from his citv
cousin: "Quit wasting your
him
in tails, the
Wolf watches Red
country
arrives, the
only a cow.
catches her at
Hood
a baseball bat.
Decked out
Red
over the house, but succeeds
a
with
.
amorous Wolf chases her
in kissing
arrives, hootin'
cated citv cousin sedates
." .
at
Riding Hood. His sophisti-
chase her and catch her
love her
Riding
off for the
posed to eat Red Riding all
cow
the
and takes
Rural
my fool!"
demands, "Kiss me,
Pinto Colvig) informs us that
little
Red Riding
perform her number ("Oh, Wolfie!" sical
a repeat of
mu-
sequence from Suing
and makes
Shift Cinderella]
such
the
with whistles,
a fuss
cat-calls,
the city
and eye-pops, that
Wolf knocks him
out again with afraid this citv
much
"I'm
a mallet. life is
for you,"
relative. "I shall
he
too
a bit
tells
his
motor you
back to the country."
Once the city
there,
Wolf gets
the hillbilly
manv
a
look
gaga,
of his
mimic-
country
cousin's previous eye-pop-
ping takes.
The
country
Wolf happily takes
his
cousin hack to town.
108
CREDITS
at
Red Riding
Hood and goes king
however,
An
MGM Cartoon
Directed by Tex Avery
Producer: Fred
Story: Rich
Quimby
Hogan.Jack Cosgriff
Animation Grant Simmons. Walter Clinton,
Bob Cannon, Michael Lah Music Scott Bradley
Liulc Rural Riding
Hood
no
Liuh Rural Rijmg Hood
Tex
Avery's unerring
riming and effect
effortless
hot pursuit of a country Red
suspenders by the city Wolf.
Riding Hood.
is
were not
2)
The country Wolf react-
wheeled away on
head
like a
He
his rotating
is
performing
reprise of her hit,
from Su ing
hand truck with
one wheel squeaking. This
sequence, she
a
"Oh, Wolfie!"
Shift Cinderella,
and
achieved without painstaking
ing to his city cousin's notice
craftsmanship. Veterans of his
that the
unit have claimed that Avery,
more
dismayed over the
he repairs on the instant, not
twenties Bray Srudios cartoon by
having any great success in keep-
Walter Lantz
ing his enthusiasm in check.
have seen in his adolescence
budget of an ordinary 1940s the-
and never forgotten.
atrical
fact that the
perception of his timing was altered as a scene
moved from
the animators' pencil tests to the final
inked-and-painted Tech-
nicolor photography,
would
3)
by
Red Riding Hoods
plentiful in the city,
are
where
The country Wolf taken
city's
version of a
Red Riding Hood and proceed-
negative of a completed scene.
ing with appropriate
Little
Rural Riding its
Hood
comedy scenes serving dation,
and each one
is
three big
a
as foun-
tour-de-
The
showman-
ship to provide the topper for
all
his previous reactions.
Wolf rushes
Director," a mid-
that
pell-
Tex must
massive master shot first
of these
the animation (generally the
most expensive
and around
er
it
lands
ceiling,
is
slammed
a single
in
room, help-
doorways wherev-
—on
the floor,
on the
next to the original door-
—
single element in
cartoon production) repeat.
With
is
again a
the resources
remaining in the schedule and
short subject, Avery was
an extraordinary
able to create film.
What appears on
sequences, in which one poor victimized door
lessly creating
In the third of these scenes,
the country
Dog
that climaxes the
actually trim frames out of the
well constructed,
"Fido the
his cousin to a nightclub to
witness the
is
repeating a gag straight out of
as
the screen
manic energy, spinning out
of control in
all
directions at
once, off the screen and in the audience's lap, carefully built
was
in reality
up out
oi a multi-
mell toward the stage, accompa-
way, across the room
explosive, but immaculately
nied by a collage of bells and
retraced from Avery's 1945
fectly realized as a detail in a
timed animation:
percussion
Screwy Squirrel cartoon The
Persian rug.
force of ingenious, hyperbolic,
i)
The country Wolf racing
around
a
farmhouse in genuinely
effects,
only to be
When the
stopped before he can touch Red
Screuy Truant.
(and incur the wrath of the Hays
version of Miss Riding
Office) by a mallet strung in his
appears in the the third
III
tude ol small
is
city's
Hood
effects,
each as per-
—
Joe
Adamson
112
—
ased
on
a
short story by
ing of the man's heart grow-
Edgar Allan Poe and narrat-
Mason
ed by actor James
on the verge
a voice
The
zy.
one of the
first
to stop
The
was
over.
uses of the
still,
the eye
tell a
psychological horror
tale.
film uses
He had
was
animated cartoon to
The
strong for such an old man."
oi Ircn-
Heart
Tcll-Talc
modem,
esque images to create
free."
He
"Then
it.
was dead,
buned the
old
man
the floorboards in his room.
Dalf-
The police
a
UPA. 1953
arrive
scream
madman.
you say that
will
am
I
So begins the narrator, goes on to explain
— and
premises. But
all is
why "
madman
who
insists
Then he
tea.
how he
it,
white blind eye
his hideous heart!"
of his older
madman
teel
was the beating
breaks
The
Columbia PictUfti Presents a
down and
the corpse.
— moment — and on "I
dreadfully nervous, but
you say that
the lateful night hid in the
will
old maris room. In the dark-
So ends the
ness, he could hear the beat-
within his prison
The
UPA
fellows have
why
am mad?"
I
madman Irom
with their extraordinary animated drawing based on Edgar
define
it
as an
You note we do not
animated cartoon, since that suggests humorous
ment, which this piece
comprehension, in does and then
with
all
of work does not
fitful
images, of a
fatefully rues.
sorts of
modern
experiment in the
field
The
have.
madman
style
It is a
s
bizarre
is a
treat-
and
eerie
view of a murder he
and design resemble
overtones. This
highly
Dali's
commendable
of animation.
— Nat- York TI 3
Production
Ted Parmalee
Producer: Steven Bosustow
Design and
color: Paul luli.in
Bill Scott,
Fred Grahlc
Animation: Pat Matthews
Camera work
lack Eckes
Production manager: Herb KHvnn Music: Bons kjcmcnliev
Narrator James Mason
cell.
gone ahead, breaking new ground
Allan Poe's "The Tell-Tale Heart.
UPA
Directed by
Story adaptation:
"True, I'm nervous, very
could
the earth turn"
CREDITS
ot
ing the floorboards to reveal
waited seven days for
the right
softly
confesses his crime, remov-
ol
the eye."
He
the
then louder and
at first,
housemate. "Of course," he
They
they stay for
hears
louder. "It
had to get nd
quite in
when
about to leave
are
was disturbed by the milky-
explains, "I
a
inspect the
order, nothing amiss.
"True, I'm nervous, very
mad r
Heart
beneath
neighbors had heard
dreadfully nervous, but
was
I
then carefully
dreamlike atmosphere per-
of murder by a
Tcll-Talc
it
was
heart
fectly suited to Poe's chilling tale
The
ing louder and louder. "So
in
Times,
1953
The Tdl-Tale Heart
:
UNITED PRODUCTIONS OF AMERICA WS
n 1944,
a trio 01
lormer IJisney animators
—
1
Steve
Bosustow, Dave Hilberman, and Zack
—formed
Schwartz
Industrial Films
a
small film studio called
and Poster
Service.
Their
first
production, Hcll-Bent for Election (a pro-Roosevelt
campaign
film
sponsored by the United Auto
Workers), and subsequent films Brotherhood
oj
Man and
(particularly
UA.Ws The
the Navy's Flat Hatting) explored the
other end of the cartoon world as previously defined by
Disney, using abstract
modern
art
Hilberman and Schwartz sold out to Bosustow (the pair
soon began
ceeding in the
new
Tempo
field ot
Productions of America
renamed al
in
Walt
and stylized graphics.
Productions in
New
1946
in
York, suc-
TVcommercials), while United
(as the
company was
officially
1945) continued to turn out innovative industri-
films with production
manager Adrian Woolery and
supervising director John Hubley.
UPA and
signed a contract with Columbia Pictures in 1948,
for the next eleven years
toons that
won
turned out unique short
three Oscars, were critically praised, and
influenced animators from Hollywood to Zagreb. created Mr. Salkin; ley's
car-
Magoo,
a caricature of
UPA
also
animator/storyman Leo
Magoo's personality was based on that of John Hub-
businessman
father. In
UPA, Bosustow had
studio that gave his artists tremendous freedom. of subjects they tackled, from children s
created a
The
range
book adaptations
(Madeline) to jazz updates (Rootv Toot Toot) were given innovative spins
by
a
talented roster of directors: Robert
Cannon,
Art Babbit, William Hurtz, Ted Parmalee, and Pete Burness. j
j
The Tdl-Talt Htan
"5
he film begins
in the
home
man
and
wyfe,
ing Scrabble.
who
The
While a
sound
sawing from the
TV puts
wife has a
the
miss
war
the public that nuclear
has just broken out.
shakes them into the correct
housecat disconnects the
position.
tele\ision
up
power
is
—
to
all
Es.
The
wife gets
his
man
watch and discovers
time lor his favorite
show; he pulls out
his
for
some kind
jam
is
startled.
He
"Were you
mv letters?"
denies
it
man
look-
she asks.
and begins saw-
ing the table (and denies
doins that as welll
NATIONAL FILM BOARD OF CANADA, 1985
CREDITS National Film Board of Canada Cartoon
Story, direction, and animation
Richard Condie Producers: Richard Condie. Michael Scott
Inking and backgrounds: Sharon Condie
Music: Patrick Godfrey-
Voices: Jay Brazeau. Ida Osier.
Guest
116
husband
happier days.
He
back into his
wife's
dion.
Expo recalls
tries to get
good
by playing the
Their love
accor-
reisnites
.
A
them have been so con-
sumed by its
of
When his wife
returns to the table, the
ins: at
saw
and tunes into "Sawing Teens.'
it's
TV
traffic
wake the man, who won-
parade on?" at
1957, the
and they embrace. Both of
cord.
ders, "Is there
looks
the couple taken at
graces
Screams from the neigh-
vacuum while she
Frustrated, the
The
by chewing on the
bors and a sudden
awaits his next move.
Bill
and both
of her eves straight, so she
tiles
Randy Woods.
to sleep,
Picking up a photo of
newscast informing
a
ensues, and the wife leaves the table in tears.
of
removes her eyeballs and
he fumbles with Scrabble
A
man
hard time keeping the pupils
occupied with the game as
Snit
vacuums
are play-
Her husband's mind
The Big
his wife
the bathtub, the
of two unusual characters,
fight
the argument and
resolution that they don't
realize the
to an end.
world has come
"7
The Big Snii
'
fie
Big
Sni't s
comes from
*
ness in
humanity. about
a
It is a
couple
house, watch
simple story
who do mundane
TV,
years, they are
still
with you long
after
the laughter because the message
strong. The Big
is
Snit is a brilliant,
about the
fragility
recommended ages
worthy
who may
film
of life and
is
for people of all at
one time or
another have wasted precious time being in a
snit.
many
deeply in love
what
As the film and world
all
they want to do their
remains
for
about to happen in the outside
end.
film
clean
fight, loss,
also totally oblivious to
w orld.
The
rich-
humor and
and make up. Married
is
its
They play Scrabble,
things:
and
appeal
game.
is
finish
imagine anyone not seeing
Condie
a bit
is
from Manitoba,
of themselves and people they
Canada, where winters must
know
seem
in this couple.
The
laughs
Richard Condie
wonderful
come from
The
film
with romantic violins and playing silly
a
cabin fever
attention to
s
detail.
strange bass
music sets the
mood
opens a
line.
tuba
The
for the
laughs to come. Another unexpected treat
is
the house
as the couple wanders
through their home, there
It is
always something
hard to
deserves
a
new
chuckle.
is
why Manitoba
has
produced some of the funniest animators working today. In any case,
and
toon al
Condie has found the time
discipline to write great carscripts, to create exception-
soundtracks, and to beautifully
execute his visuals.
s
—
decor
to last forever; perhaps
is
that
—
K_arl
Cohen
The
Bis,
1
r,RICHARD CONDIE
Richard
Condie was twenty-seven when he decided to make
by grants from the Canada Council, Condie became he completed his could have
made
first
it
many international
Festival,
undercurrent
I
can
clips for
we were
Sesame
later films, Getting Started
t
Award
at
Annecy 85
a
films;
1
make and
"I tried to
what
recalls
Condie.
triggered this idea.
TVs Sesame Strut.
the Mississippi Bubble.
"It
was
Aided
In
1978
"We
quite a jump from thirty-
ten-minute story."
it
are well
known
received the Hiroshima
in France, a Silver Prize at the
and an Academy Award nomination.
recall
Board of Canada, John Lou and
lacking in experience,
Street to a
he cannot
filmmaker and found work on
(1980) and Pigbird (1981),
awards. The Big Snit took three years to
International Critics
World Film
film for the National Film
funnier, but
second non sequitur His
Snn
Chicago Film
make
it
as
funny
for their
Aw ard
Festival, Best
as
I
at
humor and
have
won
the Hiroshima Festival, the
Short Film
at
the Montreal
could," says Condie. "Yet there s a serious
explain.
n
THE NATIONAL FILM BOARD OF CANADA
The
NFBC
was founded
in
1939 by an
act of Parliament, its official
purpose being "to
initiate
and promote the
production and distribution of films in the national interest and in particular ... to interpret Canada and
Canadians to other countries." Artist the beginning,
artistic
experiment has led
Norman McLaren founded
freedom has been the trademark of the
NFBC
animators to produce
using every form of animation: from drawing on sand, and eels. Four animated films from
L
NFBC
have
a
NFBC's animation
unit in 1941.
From
Independence to create and
wide range of films that entertain, inspire, and pioneer while
film, pixilation,
and computer graphics
won Academy Awards, and twenty
119
the
NFBC productions.
to pinscreen, clay,
others hav e been nominated.
J
1
20
he
tale
begins in a medieval
town abuzz with news "the Giant at
work
is at
a
kills
swarm all
Busy
in his shop, Tailor
Mickey Mouse by
large."
that
is
so he
seven by using two
you ever
kill a
giant?" the
throws open his win-
dow and
proudly exclaims,
killed seven with one
blow."
Directed by
Bill
Riley
Thomson,
Roberts
Bill
Tytla.
Otlie Johnston.
Fred Moore, Roy Williams, Les Clark,
Milt 5c naffer, Cornell
Wood, Frank
Follmer,
Archie Robin. Richard McDermott,
Don
Patterson, Jack Campbell
is
thrown
He
The
The
sword, dramatic all}'
talking about
flies,
He
is
but the
and has to climb up his
design and character animation.
Mickey uses
During the
ing
skill
to
his tailor-
sew up the
tor Fred
final scene,
Mickey and
kiss
on
The Disney cized
Bnne
a carousel
Studio publi-
Little Tailor
as a
giving
him
give
most appealing
The
interplay of
Mickey an almost
sistible
charm:
to like him.
publicity.
his
proportions.
largely
The
Mickey Mouse Sunday comic strip featured
him
Mickey's physical appearance,
mini-feature, with lavish pro-
appoints Mickey Royal High Killer of Giants, offering
Moore redesigned
special cartoon, a virtual
motions and
mid-thirties, anima-
cir-
cular forms within that design
king hears only giants and
millions of "pazuzas"
cinematic career
stands out as a triumph of
tion
Minnie
wearing his scissors
high point in
Mickey Mouse's long
face.
powered by the Giant.
describes his ordeal:
atten-
Giant's sleeves, and in the
misunderstand-
This
into
escapes, but
and the king orders Mickey
like a
Animation: Frank Thomas,
Mickev
well,
ing spreads through town,
tailor,
CREDITS
When the Giant
in his path.
his stomach.
1938
Mickey Mouse Cartoon
worries, the Giant
drinks from an uprooted
to appear beiore him.
A Wah Disney
As he
he catches the Giant's
"I
WALT DISNEY,
delighted until the town's gates shut behind him.
Giant. Just as one asks, "Say, did
hand
s is
locals are discussing the
tailor
Tailor
Mickev
appears, crushing every thing
Outside his shop three
Little
in marriage.
pestered
of flies,
flyswatters.
Brave
and Princess Minnie
an entire story
irre-
To look at him
The
fluid
is
animation,
done by Moore and
Frank Thomas,
is
perfectly
wed-
ded to the design. Strong poses
and
vivid expressions capture
continuity built around the
Mickey's thoughts and emo-
filming of this short.
tions
—
the cocky stance he
assumes balancing on his sors, or the
way
his shoulder sag
his face
when
scis-
falls
and
he reluc-
tantly leaves to face the giant. Bill
TytJa s animation of Willie
the Giant conveys the ponder-
ous weight of a great lumbering oaf:
When Willie
sets his foot
down, the audience can ponderous bulk
leel his
settling into
place.
—
Charles Solomon
— Brave Link Tailor
n
1
MICKEY MOUSE ickey
Mouse
is
more than just
the corporate symbol for the
Walt Disney Company. His name has become word and
a
image
his
household is
an
internationally recognized
icon of good
will.
Walt Disney
created
back to California
"I killed
seven
Mickey on
after a disastrous
a fabled
1928
meeting in
train ride
New York.
Control of his then-current creation, Oswald the Lucky Rabbit, and his entire animation staff was being taken over by his producer fast.
He
and
decided on
name, and
Ub
a
a
new
character
mouse. Mrs. Disney came up with the
lu erks
fully trying to sell
Walt needed
distributor.
worked up the
Mickey
in
design. After unsuccess-
two completed cartoons
(Plane
Crazy and Callopin' Gaucho), Walt decided to make one for theaters that were wiring
up
for
Disney and Mickey on the map
Some This
characters exist for
easily could
sound. Steamboat Willie put
—and Walt
it.
have happened to Mickey throughout his
long career, especially as characters Goofy, the Seven Dwarfs, and able
never forgot
while and fade from view.
a
like
many
Donald Duck,
others in the Disney
became more popular. But Walt always kept Mickey
alive, fresh,
and
in front ot the audience.
Mickey starred
in short subjects
though 1952.
Mickey Mouse short won an Oscar (Lend
many were nominated. him
—
FiinwsicJ
Walt entered
youngsters.
television,
as the Sorcerer's
(1940) and as Jack of the
Beanstalk in Mickev and
was created
One
Paw, 1942) and
Occasionally, Disney would cast
in special cartoons
Apprentice in
a
the
Beanstalk (1947).
When
"The Mickey Mouse Club
to reintroduce his star to a
new generation of
J
Brave Link Tailor
Goofy goes
cleaning a giant clock atop a
large
chime on the ledge out-
and lands on
side.
Singing away, he dusts
about to give out. Mickey
skyscraper.
the
Mickey mops
numbers by
riding the
unable to see the mechanical Father
the teeth of gears while
once, sounding the hour and
Donald becomes
giving
mainspring.
Mickev
prisoner
a
A stork is
on one of the
tries to force
gears.
it
away,
but the stork turns the tables,
and soon Mickey
ladder
under
and then a
which Mickey
his feet.
through
a
bounces on
spots her about to
place but ends
up fighting
battle
a
coil.
a flagpole,
Mickev and Goofy
and
is
fly
clock's innards,
off
Donald's just-
Dazed, he walks around the
repaired mainspring.
clock tower, unaware he
trio
is
falls
sent straight to Mickey.
bouncing
torch.
Goofy
gets
broken rung,
through the
Donald mes pounding
is
dazed, Goofv continues
on the head with her
The
land in the balance
inches from dropping to his
wheel, their heads and back-
doom.
sides wiggling in rime to the
verba
clock's ricking beat.
with the stubborn
1937
which pushes
him onto
a balance
wheel, making his head, legs, and hat do a tick-tock wiggle.
CREDITS Disney Mickey Mouse Cartoon
Directed by Ben Sharpsleen
Roberts.
Al Eugster. Wolfgang Rcitherrnan.
Frenchy DcTremaudan Lavouts
He
rope which
walking unconsciously onto a
adding o to his confu-
1
Still
ring again, but gets beaned
spring,
Bill
headache.
mechanical Lady Liberty
sion.
a
from the ledge
scaffold trapeze to his rescue.
a rope.
The duck has
Animation Chuck Couch.
raps
hanging out the window by
with the spring's end
A Uj/l
who
Goofv continues dusting
te
the mainspring back into
WALT DISNEY,
a
inside the bell,
rings, is
Goofy
figure
falls
spots his pal and sends a
the bell from the inside,
Time
Goofy
the
clockw orks. Goofy brushes
sleeping
Cleaners
to
second hand. Inside the
oi the
Clock
work on
kkey. Donald, and Goofy are
Ken O'Connor
Music: Paul Smith. Oliver Wallace
Voices Walt Disnev. Clarence Nash.
124
—
1 27 Clock
Cleaners crosscuts
clock's colossal digits,
Mr.
confronts the mechanical
Fix-its at their
the separate snits that each
better
man-
work himself into. What
way
uettes that
ing out to
Disney's by-now well-rounded
like
and
back
identifiable characters
Mickey, Goofy, and Donald
than to have the star
smartly animated scene by
clickety-clack-
Donald
New
weight and
gravity, inertia,
momentum. The
Yorker Al Eugster. Future Disney director
stat-
the hour, while
Duck an argument
to stress the flesh-
itself
—
come
toll
and Goofy
the big mainspring gives
and-blood personalities of
Duck
dutifully polishes the
between three clurzy
three different posts, chronicling
ages to
Mickey
and
sequence,
staged over stunningly executed,
Woolie Reitherman impressively
perspective background art,
animated Goofy's stuporous
evokes past silent Harold Lloyd
tightrope walk at the climax of
masterworks
—
Clock Cleaners,
getting
uncoiled, rearing up cobra-
dibly
like Sii/ctv Last
reminds us that
when
and
live-action
comedies of the decade had
and insolently talking
adapting
resorted to the non-stop talk of
—
basic physi-
screwball farce, Disney's car-
boingingly mimicking
Donald
s
squawk
in a
cal principles like
toons were there to pick up the slapstick slack.
trio
— Greg Ford
cope with the impertinent impersonality of a big machine?
!25
126
s
ike
all
come
the
arts,
cartoons
and the
in genres,
genre here
ping double takes. That
Avery, and this
num
opus.
is
his
Finallv capuired, the
mag-
At Alka-Fizz
could have been more than
He then
heads north
it
more extreme, where
it
got
to the point
The
new
abstract and ultimately a
form. This,
truth
—
fear,
itself in a
ate
it.
think,
I
is
essential
humor. You take
to great
that
fresh, different,
—and
Hounded
Now;
You're
super speed to a cabin in the
swallows the key
a
dozen
—
only to
Bill
it.
Plympton
cliches" in
But
The Wolf
and quite
An
MOM Cartoon
Directed bv Tex Avcrv
Producer: Fred
Story:
Quimbv
Heck Allen
Animation: Wall Clinton, Ed Love,
Blair
Music: Scott Rr.idlo
inside a snowball; driving a
ater; in a lion's
humor was
original
CREDITS
Ray Abrams, Preston
swimming underwater;
movie
modern anima-
"eye-popping" to audiences.
eagle's egg;
oi a
the
in 1946, Avery's
ot visual
new and
runs or hides he finds an
are
have become "Tex Avery
brand
Everywhere the Wolf
is
loony, exaggerated takes that
McPoodle
in the easy chair,
its
The humor is based
—
tion.
in
and the "takes"
on tunny drawing
be shocked to find
on the screen
—
hit
MGM. North-
Hounded, but the pace
wilder.
at
cab, co-piloting an airplane;
the master at
he had
premise Irom Dumb-
faster
Sgt.
runs
makes truth
laugh.
Police,
his stride at
and surprising.
And that makes people And Tex was
exagger-
1943; by the
west Hounded Police takes
McPoodle:
a
which manifests
scream
And
art
in
a series of road
He
1946
made Northwest
warned by
"Don't Look
MGM,
Dumb-
linds himself
reading the Sunday funnies.
became completely
ol
Wolf soon
doors shut behind him, and
it
hundreds
cartoon,
Hounded,
mountains, slams
often, but each time
first
time he
(Droopy) to
Hounded
wolf 's screaming. Tex would use
A
think, brother?"
Mc Poodle
best about Northwest
the
do you
the top sergeant assigns Sgt.
McPoodle."
is
ol
Police
Avery made Droopy'
headquarters,
Being Followed; By
Police
guys."
Droopys responds, "What
Use Your Noodle;
remember
little
chorus
"Mounty County."
signs:
I
those
o(
in his cell,
bring in the convict.
part
one
effects his
it,
At police
The
there
"if
and
a
opens
into
Wolf wonders
door
draws
Northwest
Hounded
McPoodle.)
Prison, the Wolf, a prisoner,
escape.
and ends up
turns out to be
tor, too,
was Tex
genre's maestro
face
with McPoodle's. (The doc-
wild, eye-pop-
is
new
get a
the-
stomach.
goes to plastic
surgeon Dr. Puttv Puss to
127
Northwest Hounded Police
nDROOPY
Tex
Avery developed Daffy Duck and Bugs Bunny while
at
Warner
Bros., but during his
MGM years his pen-
chant for funny gags and outrageous situations outweighed his desire to create enduring characters. Droopy
was
his
most successful attempt. Droopy
portrayed by
Bill
Thompson on
the radio
voice his stone-faced basset hound.
more than
a
newfound
personality and voice were based
on Wallace Wimple,
show "Fibber McGee and Molly," and Avery
Droopy debuted
in
hired
Dumb-Hounded (1943) and went on
a character
Thompson
to
to leading roles in
twenty-five theatrical cartoons, but the character never achieved stardom during Avery's lifetime.
Television showings of Droopy cartoons and his appearance in
him
s
Who
Framed Roger Rabbit? and
celebrity.
IL"
I2C
later
Roger Rabbit shorts have given
Northwest Hounded Police
Whistle fcBi
The Walt
Dunev Company
y 1953, Disney was facing competition from
UPA,
Tool Wlnstlc, Plunk and Boom,
ani-
which has highly
liberated graph-
and whimsical,
sophisticated
themes
designs.
The
Oscars with stylized films
uralistic
Gerald McBoing Boing.
designs offer an irrever-
to concert hall.
Ward
Kimball,
one of Disney's legendary Nine
Old full
Men
and
a
past master of
"personality animation
Pinoccbio,
Dumho,
(in
Fantasia, etc.),
feathered students the histo-
demonstrating
came 3-D.
In
May
began with
first
Adventures
Professor
Owl
in
Music
cal lecture
which
of
and his stu-
cavemen and evolved
A
caveman's whistling through
ly
jumped
styles that literal-
a
3-D was only
sax-
ophone; tooting through an
a passing
however, and Disney
animal
WWII propaganda films by
next turned to CinemaScope,
Hollywood Animation
a
process that projects
blade of grass eventually
became the modern jazz
off the screen.
s
horn
led to today's
brass instruments; plunking
CREDITS
rhythmically on a primitive
a pic-
ture over a wider area than
bow was the
the normal motion-picture
today's string instruments;
basis for
and booming on belly
was the
Wait Disney
The
Animation:
made
a
big
Ward
and
critics alike,
toon
Academy
Animated
Short, the studio's eleventh
Oscar
TTk Wall D..n(v
Company
130
Xavicr Atcncio
and Disney
the 1953
for Best
for a short cartoon.
Kimball
Huemer
Marc Davis, Henry Tanous. Art Stevens,
Character styling:
UPA when the car-
won
Award
Ward Story: Dick
Kimball, Julius Svendscn,
impression on moviegoers
topped
Music
C August Nichols and
form of
earliest
cartoon
Prrstnti Adventures in
Directed by
his biz
percussion sound.
[
953
shows how each
which
are visualized in bold,
i
musi-
into today's instruments:
modem-art
WALT DISNEY,
these sounds began with
the
lad,
—John Canemakcr
The
dents recite stories to music,
animation used extensively in
including Disney.
how each
a toot, whistle,
plunk, or boom.
1953 Disney released the
short. Melody, in
Boom
teaching his
changing the movie screen.
championed the use of minimal
studios,
Owl
ry of musical instruments,
First
ent "history of music' from cave
cartoon presents
Professor
Disney fought back by
graphics that depart
Plunk and
Disney's usual naturalistic
ing attention and \vinrting
like
Whistle,
stylized
graphics that depart from
of
UPAs cartoons were attract-
from Disney's usual nat-
CinemaScope cartoon,
1943 by former Disney
The
Toot,
Melody, Disney released the
the
first
ic style
stylized
after
cartoon studio founded in
mators.
Fresh and funny
months
screen. Six
Tom
Orcb
Music: Joseph Dubin
An
direction:
A
Kendall
O'Connor
Assistant: Victor
Color
styling:
Habousb
Eyvind Earlc
Songs: Sonny Burke, Charles Elliott
3° here are lettered signs in the
Daffy.
woods:
Bugs
fun;
looking for
"If you're
You don't need
All you need
a
is
a reason;
gun;
Elmer
indeed
tour
signs lead to hundreds of
a rabbit,
and but
impatient, Daffy
is
and Bugs has
excitable,
It's
Those
rabbit season."
rabbit season,
It's
is
is
Seasoning
a
way with words. So Daffy gets blasted twice.
Then
others announcing "rabbit
Elmer's basic urges
season" and pointing to the
take over. "I'm sorry, fellas,"
home
he
is
Bugs.
oi the rabbit
It
the duck Daffy who's nail-
ing up the signs. "Awfully
unsporting of me,
know,"
I
he confides, "but, hey,
some
fun.
besides,
really
duck
it's
I've
And
got to have
sea-
is
soon blasting
away down Bugs's
when Bugs
and
himself appears,
the tiny cast
—
hole,
—
duck, rabbit,
engage in
of verbal duels. able question
is
The
a series invari-
who'll get
inevitable
answer
can't wait
He
of them.
They hide
hole, but
shoots
at
WARNER BROS.,
1952
any
both
in Bugs's
Bugs decides
to
resolve the issue solo.
Dressed in
a
Lana Turner
sweater, high-heeled easily
pumps,
wins
much
ofi
Bugs's wig, exposing the
rabbit.
"Now's your chance,
Hawkeye," Daffy
calls to
Elmer. "Shoot him! Shoot
him!" But Daffy gets the final blast
CREDITS
to the
duck's disgust. Daffy tears
shot by the overeager Elmer,
and the
I
longer."
Elmer's love,
congenial hunter
Elmer Fudd
hunter
says, "but
and wig, he
son."
The
Rabbit
from Elmer's gun.
A Mcmc
Melodies Cartoon
Directed by Charles
Animation: Ben Washam, Lloyd Vaughan, Ken
Backgrounds: Philip DeGuard
Musical direction: Carl
!33
Hams
Layouts: Maurice Noble
Voices:
is
M. Jones
Story: Michael Maltese
Mel Blanc
W
Stalling
Rabbit Seasoning
rPRONOUN TROUBLE BUGS: Its
true.
Doc,
BUGS: You keep outia DAFFY: He does Daf/T:
Let's
Vm
He
this.
have
so
to
you
shoot
like to
me now
or
wait
till
you get borne?
now.
doesn't have to sboot you
shoot
like to
me now. [To Elmer]
demand
I
that you shoot
mc now.
BANG!
shoot
mc now
or
wait
till
you get home?
Shoot him now. Sboot bim now.
He
BUGS: You keep outta
this.
DAFFY: Ha! That's
Hold
L
Would
run through that again.
BUGS: Okay. Would you
DafH:
a rabbit alright.
now! Shoot him now!
DAfFV': Shoot him
hoot
it!
mc now." Well,
I
it
doesn't hare to shoot you
[To
right there.
now.
tbc audience]
say be does have to shoot
Pronoun
[To Bugs] Its not "he doesn't have
trouble.
me now! [To Elmer] So
shoot
me now!
to
shoot you
now."
It's
"he doesn't have to
BANG!
J
1
n
RABBIT SEASONING n our
—even
stuff
esting,
the talkiest things, like the
and you could
drawings, and then
I
truly
tell
d time
it,
what was happening. but
I
related to the drawings. Because fit
the dialogue,
it
if
I
stuff
—even
never recorded a film until
I
if
when
I'd finished, I'd
go back and
I
you turned the sound
d completely
always wrote the dialogue right on the drawings
out the whole thing visually, and then
draw ings
Bugs Bunny— Daffy Duck
—
laid
it
didn't write
out.
it
I
it
and then you
was
inter-
d just make the
as a script.
d type the dialogue off the drawings, so
the writer wrote the dialogue and then you recorded
was bound
I
off, it
tried to
I
worked
it
always
make
the
to suffer.
— Chuck r
34
J
]oncs
— Rabbit Seasoning
Rabbit Seasoning second
is
can have with
the
in a series of
three cartoons in
which Bugs and
Dafly, the
intended victims of Elmer Fudd's
hunting ambitions,
stall
him
flummox him
is
moment, and
into doing nothing
but shooting Dafly point-blank in the
(Duck!
third cartoon, with
little
is
head from time to time
Hardy comedies.
two, except that
which were sometimes run
When
together as a featurette).
Rabbit Seasoning with
of snow
.)
it
takes place in
All three pic-
single gag
head. Noble's autumnal colors are virtually this
all
Daffy Duck?, in
which Daffy
gets both
a
hungry
— "Duck
Fire,
the
first
in
the series: the same basic situation
explored,
is
same gags
some
reappear,
Opens."
This
the most famous
constitute the only
would
Bugs Bunny
Bugs bulldozes Elmer a
disguise distinguished by noth-
ing so
much
as its obviousness,
Dairy can take
it
no
first
of the trilogy
He
longer.
er a deathless line, but can
as the
in
female
turns to the camera as
if
to deliv-
sum-
appeared. Since Carl Stalling
mon
wrote the scores, there are now
cluck of his tired tongue, which
published pieces of music enti-
emerges, in the 50s understated
"Rabbit Season," "Duck
Season," "Elmer Season,
'
and
"Pronoun Trouble."
The
stick that
and
slap-
rebound, highlight,
up nothing more than
comedy
style of Jack
George Gobel, gust.
levels of irony, role-
playing, role-reversal,
It is
shaded
With
or
as a sputter of dis-
one of the most
finely
a
one-reel cartoon.
animators
like
Ken
Ben Washam, and Uoyd
Vaughan
little
Benny
a
bits of acting ever to
appear in
Harris,
of the
and
subject of endless analysis.
out for praise by Boxoffice as
of American studio animation, and, assembled together,
was an element singled
these cartoons have been the
soon
tled is
Tit For Tut,
toons, savored by connoisseurs
by
game warden and
and
dialogue in these car-
for years,
Elmer and
fox off his trail
authentic trilogy in the history
that distinguish
from Rabbit
The
from Art Davis's
What Makes
Season Over" and "Fox Season
beak on the wrong side of his
and ricochet
off each other in all three of
Hills
more damage
his
overlap, intensify,
Laurel and
dressing as a
humiliating him by positioning
anomaly on
(an
Them Thar
to dis-
posting a pair of notices
duck than
comedy
the order of the two matching
tinguish that one from the other
and, from the evidence, doing no to the
two-reel
of the
tures are apparently inspired by a
debate over which one of them in season at the
this.
title
a foot
with an extended filibustering
Duck!
the
Rabbit.
already
on board, the
transpires to indicate a twist or
Jones crew was about the only
development on the concept of
group in the shrinking short-
the previous cartoon. In
subject business capable of turn-
fact,
there's
no development whatso-
—
acknowledgment
ever^
just the
by Jones and Maltese that this
ing out the fine realization of the clever concept inherent in a pic-
ture like
is
Seasoning.
—
too good to drop after seven
minutes, there s more fun
Riibfiit
we
135
Joe
Adamson
.
.t
.
DAFFY DUCK
.n
ijnipcniii'Ki'l
ts title is a
takeoff on the
role), a
1934 costume drama The Scarlet Pimpernel: It
has been
(Porky Pig as Claude Rains)
cartoon story people, the genre
parody of The
an animated tribute to
director of a series of swash-
The Chamberlain sets
bucklers starring Errol
for "that
Flynn, and
announcing the betrothal
acters.
its
cast of thou-
Wamer Bros,
It
s
stars Daffy
The
an epic
L.
killing J.
it
Duck.
'J.
L."
Warner), "You're telling you,
L, vou're typecasting
to death.
me
Comedy, always
a trap
stinker"
and has just the
story,
written by Daffy
Dumas
Duck. The hero
is
Scarlet
at
"King
bv Elmer
Nostril's Inn" (run
Fudd) before crashing the
Pumpernickel
(Daffy,
time.
Still,
its
Jones's character
Back
is
at
spotted by the Duke, and
ish
—
is
fight that
—
only the
never more extraordinary.
man-
gled grandiloquence never lets
the inn, he
the daring escapade climaxes
sword
and Mel Blanc's line-reading
Maltese's keen ear for
wedding: and rescuing Melissa.
as the fin-
a
first of
down, nor does the knowing, acute
writer's very
sensitivity to the
desperate hyperbole of a frazzled, frantic
pitchman
Duck)
as
over,
(e.g.
Daffy
he piled on one voiced-
cooked-up crescendo
after
series of dramatic climaxes
another (dams bursting, vol-
(including skyrocketing
canos erupting, and cavalries
prices of kosher food).
charging
the
of course, in an Errol
something of an anomaly in
for 1950,
and Michael Maltese's dialogue
studio boss pleads for the
role
ot
was unusual
poses have never been sharper,
prove himself in
1950
nickel
(Svlvester as Basil Rathbone).
in a
serious
Pumper-
by
Duke
comcdv." Daffy wants to a
Scarlet
among
Cleverly disguised, the
Pumpernickel stops
cartoon begins with
me! I'm
masked
Melissa to the Grand
char-
— and
Daffy pleading with
Qack
WARNER BROS.,
parody" ranks
Michael Curtiz, the iamous
lamiliar
Pumpernickel
Miladv Melissa; his enemv,
high as a format of choice
sands includes a host of
Scarlet
today the
idea of "genre
love,
the Lord High Chamberlain
called
The
While
dashing masked
highwa\Tnan; his lady
Fhnn
"There were
a lot of in-
—
drang) that
so all
much sturm and boils
down
to the
house jokes in that cartoon,
inspired bathos of overpriced
mostly in casting," said
kreplach.
Chuckjones. the
"We put in
Genre parody notwithstand-
Mother Bear from the
earlv
Three Bears cartoons,
and 'Henery'
Hawk
appeared as
messenger.
was an acters
epic,
had
a
so
all
to be in
It
my charit.
Everybody appreciated
it
except Jack Warner, and
1
don't think he ever realized
we were
talking about
in the cartoon."
136
him
ing, what's funniest
about 77k
Scarlet Pumpernickel is precisely
Daffy's character
and the vast
chasm
between
that exists
Daffy's inflated perception of
himself and highly flawed
"little
black duck
is.
that he really
—
Greg Ford
r
38
—
n
house on
his
Johnson
is
a hill,
at the door,
in a
left
his spirit returns to the
interrupted from
his tuba practice
ten
Mr.
by
knock
a
and finds
tains
it
baby basket on
inside
and enter-
and
retrieves his
mat
—
"welcome"
is
bit of
think of
The music and
that
The
you
color styling are
timing
are completely in sync
by piece.
road scene
And the
is a classic.
Came Back stands up viewings; a
first
Then you want
all
to see
it
the gags.
it
it's
a
few
so
funny. After that you keep
watching
it,
just because.
—
him
as vic-
his destruction ol
Finally, the
Linda Simensky
his
dynamite and
and
ing the century-old folk song
CREDITS
"The Cat Came Back."
house with
kills
cal
amount
film,
of time
him, but
more than
premiered
at
it
won
gious awards.
Film Board of Canada
Executive producer: Chcs
three
Cat Came Back
where
1
Yctman
Producers: Richard Condie. Cordell Parker
years. The
the 8th
\.;;i tijI
Directed by Cordell Barker
a
weekends and
Festival of Films in
The
on the
working eight hours
evenings for it.
lights the fuse.
explosion
to modify his plan
day, plus
crazed Mr.
fills
a perfect
NFBC asked
Barker spent an astronomi-
returns to the house to
The
to repeated
to see
more times because
rail-
The Cat
you need
few times to catch
a
In true cartoon tradition,
Johnson
with the cat as he shreds the sofa piece
tie
Mr. Johnson ends up
resume
so good
is
air
(which he
work with them on animat-
to
tim each time, and the cat
incorporated into the gags.
perfect.
balloon, and
to a train track.
and
him
about an
a cat
conflict), the
drown him, drop him from hot
for a film
man and
considered to be
can't
cat survives
in this classic tale of
humor one can
slapstick
Film Board of Canada with
no matter what
revenge works. Every sort of twisted irony
approached the National
old
The
NATIONAL FILM BOARD OF CANADA, 1988
mator Cordell Barker
an idea
—and Johnson
afterlife.
When Winnipeg ani-
cat outside
Mr. Johnson's attempts
Absolutely
into the
comes back again and
he does.
everything
the
streak of bad luck the cat
again
Back
who
chase the terrified Johnson
but in a hilarious
get rid of it
Came
body
lifeless
ating nine ghostly cats
promptly destroys.
Johnson puts the
The Cat
haunt and taunt
Unfortunately,
crushing the kitten and cre-
—which
old baby rattle kitten
to
cat.
crashes back to earth
with his eighty-year-
it
the
Johnson's
a kit-
his front step. Johnson
brings
house
Story, animation,
Cordell Barker
World
Zagreb,
three presti-
and backgrounds:
Music arrangements: John McCulloch
Sung
by:
John McCulloch. Ed Ledson. Richard Condie. Cordell Barker
Character voice Richard Condie
MAX FLEISCHER CARTOON
A
TECHNICOLOR
he story has become
a part
of American folklore: Planet
Krypton, the "man of steel"
Boop. Paramount allotted
who moves
almost $100,000 for the
taster
than
a
of an average Popeye
Plana. In the cartoon. Super-
short
arrival
on
series ot
paintings, lol-
still
lowed by
new
a thrilling
were modeled
by
a
deadly
and mild-mannered
Kent stepping into closet to
cape.
emerge
Will the
in
city
a
hand}'
mask and be saved?
Will Superman rescue Lois? 1941
In
1940 Paramount
secured the screen rights to
Superman
—
the era's
most popular hero
— and
and Shuster's design.
on simple
toons they strove for a tic
Directed by Dave Fleischer
Story
Seymour
Kneitel. Isidore Sparher
Animation Steve Muffati. Frank Fndres Musical arrangement
Sammy Timburg
realis-
"pulp magazine" look
and deuscd
many
animation
Siegel
and Joe
and
teenagers Jerry
first
Sinister,
appeared in
Bud
man became
Collvcr,
Superman's
was the
nominated
lor
voice for
which was
an Oscar.
The Superman
series con-
more
adventures which stand out
their staff was
s
created by
of Action Comics. Super-
used lor
and
uperman was
became industry standards.
tinued with sixteen
stories,
^
June 1938 on the cover
Animation had never been adventure
SUPER BIRTH
techniques that later
effects
this first cartoon,
realistic
'
circular designs,
but lor the Superman car-
studio about producing
The
previ-
ously based their characters
radio voice,
cartoons.
had
Fleischers' artists
Fleischers were hesitant:
Max Flaicha
alter Siegel
approached the Fleischer
Superman
Superman Cartoon
all
production, and
the characters and story
scientist threatening
chair,
CREDITS
studio.
Great care was given to ot
in
the
mad
ray, a helpless Lois tied to a
Picturri Pristnts a
1940
Miami
Fleischers'
at
episode, complete with a
total destruction
Paramount
— and work began
the winter of
phases
first
four times the budget
film
Lois Lane, and the Daily
Earth are recounted in a
PARAMOUNT,
—
speeding bullet, Clark Kent,
man's birth and
Superman
used to the exaggerated proportions of Popeye and Betty
as
unique
for their period.
tion,
a sensa-
spawning
a radio
show and newspaper strip.
He
first
appeared in
live
action
comic
in 1948.
George Reeves
played
Superman
1950s
TV series, and
in a
Christopher Reeve portrayed
him
in big-bud-
get films in the 1980s.
The comic book
charac-
ter
was
in
1992. Dean Cain
'officially killed'
portrays
him
nineties
TV version
L
in a
J
Superman
n
THIS
MUST BE A JOB FOR SUPERMAN
Many up
of the
in the
and
now-famous phrases associated with Superman sky— it's
"faster
than
a
a bird
.
.
.
no,
it's
speeding bullet"
a
plane
—were
.
.
first
by the Fleischers. Other than those legendary kept to a
minimum. With
of the cartoons in the film s
worth of a action and
fantastic ideas.
The
less
reflected
in the first series of nine cartoons.
more
realistic
World War
II
it's
Superman!"
brought to the screen
cliches, dialogue
was
than ten minutes of screen time, each
Paramount Superman
Bulleteers, the
Magnetic Telescope, and the Arctic Giant are just some of the produced
no,
.
— "Look
series
packs a feature
Mechanical Monsters, the fantastic perils the Fleischer studio
The remaining eight, produced by Famous
Studios,
themes, such as in Secret Agent and Eleventh Hour.
142
J
Superman
r,ANIMATING SUPERMAN
WWhen
first
asked by Paramount to produce
Superman cartoons, Dave
Fleischer worried
about the cost of animating action,
and
in order to dissuade
realistic
human
Paramount without summarily
rejecting the project, he requested a budget of almost
—
$100,000
almost four times the going
rate.
But Paramount
approved the budget, and the Fleischers used the opportunity to turn out some of the best animation ever drawn. Model sheets
were devised by using square shapes and cubes as the basis the figure drawings.
The
for
blocks aided the artists in achieving
the proper perspective for their realistic animation. Fleischers were striving for realism
and
The
to that effect
employed
Max's original invention, the rotoscope, for the simplest scenes, while relying on their best draftsmen to animate more sophisticated
L From
the very beginning
of film, efforts were
made
such
More
efforts failed
often than not,
because the
allows for things not possible
in the three-dimensional
of reality.
came
world
When animation
along,
it
and
of dimensionality, and by craftsil-
two-dimensional world of comic art
to design
color than to achieving the effect
to translate
comic-strip characters to the
ver screen.
more attention
proved to be a
ing tightly-knit plots that could
be resolved satisfactorily in minutes,
each film came close to
reproducing the experience of reading a comic-book story.
Art Deco
The
settings, the flat char-
acter designs,
ors to create
and the use of col-
mood combine
to
middle ground between the
elevate the films to a level of pure
comics and film and made
artistry
for
easier adaptation.
The one
adaptation that
remained closest to the original
was the
series of Superman films
released by Fleischer studios
from 1941 to 1943. By paying
seldom found in anima-
tion outside Fantasia of the year before.
Nothing
else the
Fleischers did quite
matched the
Superman cartoons
for
power,
charm, and enduring pleasure.
—Thomas
Inge
[
43
movements.
J 1,
YOU OUGHT TO BE IN
PICTURES' ^^V^H\4 llg/A^'r,
Sup e
I.Frelenc
->-*
144
M
»
8'»».. Irv
he Warner Bros, cartoon staff had access to a
movie camera
—
cartoon studio, pictures of
35mm
they used
it
Duck and
come
alive.
set
but
is
thrown out by
a
A stampede on
stage hand.
Pork)' Pig
the set of a western con-
Daffy convinces
to shoot live action for refer-
Porkv to quit cartoons and
vinces Porkv to get his old
ence and to make
go into feature
job back. Meanwhile, Daffy
a eag;
film
films. In pro-
every Christmas. Friz
ducer Leon Schlesinger's
Freleng decided to use the
office
camera, to
and studio
staff,
make
Schlesingcr gives
cartoon since the pig's 1935
The
result
—
is a
is
that the pig will
in,
performing ior
Schlesinger
his
—he wants
Porky's job. Porky gives
aware
Daffy
a
drubbing and goes
back to work
soon be
—
Schlesinger
Haven't Got a Hat.
back. Porkv drives to the lea-
has not torn up his contract.
—
ture lot (Daffy, Porkv, and
Bandaged Daffv asks
Porky's car are the only ani-
job "opposite Greta Garbo"
mated parts of the
and gets
a
combination
action and anima-
ol live
tion
/
Porky asks to have
contract canceled, and
lot
his first Pork)' Pig
debut in
You Ought to Be in
Daffy
unique cartoon
thrown out by
film),
but
hit
lor a
with a tomato.
and one of the most popular
is
creations of the Termite
(played
Terrace.
Disguised as Oliver Hardv,
Chiniquv and others appear
Porkv sneaks onto
in small parts (except for
During lunchtimc
at
the
a
guard
In addition to Schlesinger
by Michael Malt ese
and Maltese, animator Gerrv
.
a stage
Schlesinger's,
their voices
all
were done bv Mel Blanc), and the film uses stock
Pictures
footage from
Warner Bros,
films (77ic Great Zicgfield California Mail)
WARNER BROS.,
i
and shots
from Christmas gag
940
This
and
film has
films.
been
credit-
ed with inspiring Steven Spielberg's
Who
Framed
Roger Rabbit?
CREDITS A
Looncy Tunes Cartoon
Directed by
[.
Frelcng
You
Animation: Norman Cohen
W
Stalling
to
Be
are animated,
us on
a
wonderful, novel film experience in which Porky, Daffy, and a car
in Pictures is a
and the
more ambitious than
Story: Jack Miller
Musical direction: Carl
Ought
rest of the visuals are either live-action earlier
works
behind-the-scenes tour of both
that
Warner
combine
Bros, and
appeal to anyone fascinated with the magic of Hollvwood;
and
a
Leon Schlesinger it
it
Porky
is
great
is
Porky's acting
ability,
still
photographs. Far
action and animation, the images used take studios, providing special
includes Michael Maltese as a studio guard,
handshake between Daffy Duck and Leon Schlesinger. These
makes
a
live
images or
treats
make
the film fun. but what
Friz Freleng's ability to direct his star, and Jack Miller's script.
not just another funny animal, hut a
real actor in this film, displacing a
wide range of emotions in
convincing manner.
— 145
Karl Cohen
You Oughi
Be
to
in Pictures
n
FRIZ FRELENG Freleng entered the animation world
'Friz
Isadore u hen he went Kansas
City'
to
Film
work
Ad
Disney had already their Alice called to join
at
Walt and Roy
company
the
to continue
oCeon ScMeSinqet
Hollywood, and shortly
in
upon Harman and
his partner,
Rudolf Ising,
Uiome. O,
wmm
them; Freleng followed in 1927.
Freleng worked on Disney
and
in the 1920s.
left
comedies
Hugh Harman
for
HarmanTsing
later rejoined
new
for their
Oswald the Rabbit
s
series of
in
1930
Looney Tunes
for
as
series,
head animator
Warner
Bros, and
producer Leon Schlesinger. Freleng became invaluable to
W arner Bros., particularly when Harman and Ising
left
the
studio, taking their star character, Bosko, with them.
Promoted
to director in 1933, Freleng concentrated
the color Merrie Melodies,
becoming
musical synchronized animation. first
cartoon.
Yosemite
/
sonal
life.
directed Porky Pig's
to
Sylvester.
Be
in Pictures parallels
Friz Freleng's per-
MGM lured him away from Warner When his MGM contract flattering
In 1937.
Bros, with
a
offer.
expired, he realized that he missed the
new
on
master of timing and
Haven't Got a Hat, 1935, and created both
Sam and
You Ought
He
a
characters and returned to
freedom to develop
Warner
Bros.
—and
set
about creating his greatest works. Freleng was a major force at
Warner
Bros, from
doors in 1962.
He
its first
days in 1930 until
Bugs Bunny, Daffy Duck, and Porky entire Tweet)'
it
closed
its
directed dozens of cartoons featuring
and Sylvester
winning cartoons: Tweetie
series,
Pig, as well as the
including four Oscar-
Pic (1947), Speedy Gonzales
(1955), Birds Anonymous (1957), and Knighty Kjtight,
Bugs (1958). After
Warner
founded his ing
own
Bros, animation studio closed, Freleng
studio (Depatie-Freleng Enterprises), creat-
TV series and theatrical shorts, commercials, and the
Oscar-winning Pink Panther. He returned in
1980
to direct
to
Warner
Bros,
TV specials and compilation features.
146
You Qugbl
to
Be
in Pictures
bugs Bun
Baba Bunny
'Xlf
A 1
1
' '
\m
Tint
Curni
ticmncptoR'
ugs and Daffy
—
like
Hope
and Crosbv or Laurel and Hard\
—
are a
comedy team.
Whether they're
rival quar-
blasted
bv Elmer Fudd
in
such Chuckjones cartoons
Rabbn
as
Fire
and Rabbit
is
Baba Bunnv,
Melodies Cartoon
Chuck Jones
Slory: Michael Maltese
ion Richard
Levicow, Ben
Effects animation:
in
which
brought into hilarious sharp
a
Bugs
finds.
mine! Mine! Mine! I'm
happy miser!"
addition to being perhaps
Chuckjones had
tocus bv the glitter oi gold.
his
own
The
pair believe thev're
explanation tor this cartoon s
their
way to Pismo Beach
popularitv: "People love
the clams
("and
all
eat!"),
but
a
we can
uTong left turn
Albuquerque lands them
full
Baghdad and
cool, "It's
a
of Arabian treasure. his ageless
but Daffy goes wild. mine! Mine! Mine!" he
exults. "I'm rich!
I'm
Daffv in Ali Baba
Bunm
In
the cleanest delineation of the 1950s Daffy
Duck per-
sona, Ali Baha Bunny finds
Michael Maltese seemingly writ-
because they realize thev're
ing for posterity. Never was the
he
essence of greedy, self-doubting,
as greedy as
Daffy's
one
of
is.
the
I
think
most
attractive characters in
the lexicon.
He
something we don't
wealthy!" But there's a giant
want
black-duckness better expressed: all
simplv
exhibits his greed
full face,
all feel
to admit.
but
"Consequences, schmonsequences, as long as I'm rich; "I'm socially secure, I'm socially
"Red
secure;"
cap, call
me
boy, and be quick about a
heavy ripper!"
When
it
a cab.
—
I'm
added to
the slow-brained hatchet-man
Hassahn an
Harry Love
..
.
s
"Open, septuagenari-
uhh, open, saddle soap,
and the immortal "Hassahn
CHOP!"
Backgrounds Philip DeGuard
whose
Brown
gives
Voices: Mel Blanc
W
Daffv appears and goes
"It's
Layouts Maurice Noble
Musical direction Carl
that
made out
after a pearl that
W'asham
Film editor: Tre$>
Bugs on the beach,
crazv duck ever
Thompson. Ken Hams.
Abe
next scene
musing about "how
their different characters are
Bugs maintains
Merm
The
tall
cave
Directed by
lamp, angering a very
m ain' reaches new heights
in ancient
A
per-
but then
with the genie.' One-inch-
at
CREDITS
humor
lamp and
tricks,
Daffy "desecrates the spirit" ol a
Bored and Shov.
a
forming rope
just by being together. Their
on
1957
even pretending to
finds
in A.!
WARNER BROS.
leathers,
rivals in Friz Frelens. films
Biz Bugs, they create
Baba Bunny
does his best to save his pal's
real genie.
A Star
Bugs
to deal with.
Seasoning, or show-business
Like
Ali
Hassahn
be a genie in
disputing who'll get
ries
named
ogre of a guard
the result
is a
lie
to the idea that cartoons
need be considered kid
Stalling.
—
Milt Franklyn
148
film
verbal richness forever
stuff.
Steic Schneider
i
49
i
5o
—
n the Warner Bros, world of cann\
—
rabbits
and ducks, dogs don't
always
come
down
all
batter with cookie cutters.
this
When the cookies are baked
Marc Anthony
cuteness.
Chuck
dog watches her cut up the
for a nap.
Vanquished by
him one
—
decides to adopt the kitten.
she
Jones made no bones about
He
shaped! In
this: "I feel a lot different
the ladv of the house (seen
animated pathos, he places
about dogs than most people
onlv from the waist down)
the cookie on his back, just
warns him not
where the
do.
I
don't
off well.
feel
dogs are par-
ticularly trustworthy.
most dogs
I
brings
it
more thing
think
home, where
to "bring
Marc Anthony's
are protessionals;
one
efforts to
conceal the kitten include
them
pretending
to play."
Such
senti-
and
tbc
A
a
it's
powder
a
batter,
The
dear
lady
little
—
masterful use of pantomime,
kitten
into the flour,
and
Anthony
posing, and
the bawling and heartbroken
of his pet.
it's
facial
one of the
est cartoons
expressions,
falls
kitten once rode.
kitten
if
you want
to," savs the ladv of the
make
more remarkable.
kitten
scene of true
"You can keep that
decides to
kitty
a
and the cartoon ends
happilv.
wind-up toy
puff.
offers
But the kitten escaped the
into this house."
they play the part you ask
ments onlv make Feed
Feed the
settling
or at least -any
house
cookies, the
as
long as Marc
agrees to take care
studio's funni-
— and
also has
heart.
Kitty
Confronted by bulldog Marc
assumes
WARNER BROS.,
a kitten,
Anthony
his professional
stance as a ferocious barking 1952
The
cruard do°;. ever,
knows no
kitten, fear
how-
and
steps through the dog's gap-
ingjaws to climb up onto its
back, where
it
purrs and
kneads the dog's fur belore
CREDITS A Mtme MeUiia Directed by
ne of a group of tremendously accomplished cartoons. Feed
Cartoon
Chuck Jones
Story: Michael Maltese
O: I
illustration of Jones's
play of Jones's use of the emotive
Backgrounds: Philip DcGuard
remember
W
notion that an animator
contains
a hilarious series
is
"an actor with
a pencil,"
and
power of drawing. Presented with such screen charisma,
that the entire spectacle reduces to a rippling of graphite
on
It
a
s a
wonderful
convincing
it
—Sin Thai 's
Stalling
1
51
dis-
s difficult to
paper.
Brown
Film editor: Trcg
Kjm
of grimaces, pouts, strains, shudders, sweats, smirks, smiles, and angelic grins.
Animation Robert Gribbrock
Musical direction: Carl
the
All, Folks!
The Art of Warner
Bros.
e
Schneider
Animation
hen sound
films
became
popular in 1929,
Max
Imps
the
a talking doe.
named Bimbo.
Bimbo never
achiev ed a
The
particularly for
his
[to
whim. Bettv
Dishes, a 19:50
in
ing plaver. Bimbo's Initiation
escapes. Betty
hole
— smack
a
the symbology
man-
Betty
into a surreal
calls
Big Boy,' and
down
corridor, as
with
slash
to the
down
a
lone vaginal
huge blades ... in
expression
of his castration fears."
a
member? again,
"Wanna
!
Perhaps that's
why
the Fleischers never devel-
oped Bimbo
"they ask again
CREDITS
further.
and each time
says
no and
McU
suffers
Fleischer Present! a Talktiiloon
Directed by Dave FleischcT
it
drawn and neatly painted
for a Fleischer
employs. In this rare cartoon,
floor or falls
down
a chute, a
many
cartoon of this period.
an emotional response that
is
the
Initiation
might as well be
of the background scenes are as animated
it
a catalog of the occult
as the cartoon characters.
When
blending of layers takes places that defies the usual two-dimensional cartoon environ-
ment. Filled with enough dream imagery to keep an analyst w orking overtime. also provides
in.
Boop
bad dream, wonderfully portrayed in an unusual cartoon that holds the cartoon format upside down and shakes
heartily. Especially well
and
members
Bimbo, but he
Whew
Bimbo
mov ing
ani-
heads and two-bv-fours
and
a
wrote
melted candles on their
be
a
sexual invitation, following
a strange cartoon.
behind their backs.
Bimbo runs along
fraternity'
'Come
last lead
fraternity of characters
all
''
Bimbo responds
down
is
Langer in Film Comment.
"The
falls
sexual
member]
torture
Bimbo
for
a
took over as Fleischer's lead-
It's
its
mation historian Mark
car-
parts.
is a
become
toon, and she eventually
was one of the dog s
1931
"Bimbo's refusal
sexual identity7
Dizzy
Bimbo
PARAMOUNT.
refusal to recognize his
(also originally a dog)
w as discovered
Bimbo's Initiation
cartoon has been the
cartoon to cartoon at the s
Initiation
finally
subject of much analysis,
ov ertones.
animator
Bimbo
says yes.
appearance changed from
Boop
Bimbo's
who performs
surprisingly.
ducing Talkartoons, starring
and
meets
finally
him the usual question. Not
and began pro-
forceful presence,
Bimbo
an erotic dance and asks
star oi his Inkwell
series,
it.
Bettv Boop,
K0K0
Fleischer dropped
Clown,
for
mark of great
Initiation
captures the distinct personality of the Fleischer style
art.
—
1
52
-
Leslie
Cabarga
r 54
lthough simply' drawn in
Adriana
black and white and only
of Disney's
one and one-half minutes
while attending the innova-
long, this cartoon has
had
tive
audiences laus-hincr ior more
than twenty-five years.
opens on
of a
young deer looking
for
of
opening
was
film.
the Art Center.
of
went on
When
failed to get a crucial
sunrise for a
made Bambi Meets
was the
first
at
Newland
to found Inter-
national Rocketship Limited in Vancouver, B.C., a lead-
shot
ing producer of quality
action
live
it
animated film produced
short, he switched gears and
credits sequence,
are told the film
the semester;
Los Angeles in
969, studying
he
During an extended
food.
we
1
drawing
a line
in
two weeks of
in the final
Snow White,
Art Center College
Design
The
film
Caselotti, the voice
animation.
Godzilla
writ-
ten and choreographed by
Bambi
Marv Newland,
that Bambi's
wardrobe was produced by
Man' Newland, and
Meets Godzilla AN INTERNATIONAL ROCKETSHIP CARTOON, 1969
Man
7
that
Newland himself was
Rockelship Limited
Written and directed by Man' Newland Music: Gioaccbino Rossini,
from the William
Tell Overture
one-note joke, the joke has
up wonderfully
after
but the archetypal Disney creation with
Godzilla's foot appears and
comes with
crushes the harmless fawn.
taste,
The
quick stomping on the deer by Godzilla
what
The
its title is
film delivers
promises, and
on us
—what
up
to
levels.
Marv Newland made Bambi Meets Godzilla in
it
—
house he was renting from
is
many
why
it
holds
gentle, reas-
and including the end is
that the
the emotion baggage that
all
credits
— —
Then
is
serenity interruptus.
it
—
masterful
should have
Meet Frankenstein, the
more alarming than carnage.
The
title
title
if
a
level of the
a
is
pratfalls or
moWes itself
a false
—
the reality being that
Meets Godzilla
all
is a
quickly.
that tasteful
sci-fi
B movies, has just run
Disney
stuff.
On
a
third level,
Bambi
warning, both funny and profound, showingjust
where irreverence was heading
in the area of pop culture
pendent cartooning. Killing
Bambi
off
guilty joy of uttering
your
ken, and anything
possible.
is
tirst
and inde-
carries the sell-conscious, hall-
curse word;
now
all
the rules are bro-
—fami
!55
w hen
Another
that Godzilla, representative of jerk)', stop-
motion animation and low-class,
roughshod over
Abbott iind
sense of security and
monster meet, the monster wins, and is
like
suggests nothing
double takes, certainly not any actual
has lulled us into
humor
funny on several
the viewer had been
formation
removed us from any concept of reality fawn and
The
the pacing of the cartoon
of the cartoon did not tip us off to the
title
nature of its punchline, as
Costcllo
deer in the forest,
family values, children s entertainment, quality, good
the middle class world order.
One
little
thinking more carefully. After growing up on
a
The
repeated viewings.
Newland. At that point
End.
—which
suring music and pronounced lack of action establishes Bambi as an icon rather than a character, not just a cute
more were we expecting?
CREDITS
a
repercussions for the cartoon lover
produced by Mr. and Mrs.
the joke
Distributed by International
A
lthough essentially
Bernard
r
56
39 aking fun of Mother Goose
and the Brothers
was standard
Grimm
Bunny added tale
was
to
we've come to expect in a Bugs
bed, and
screen with the Three Bears,
bunny
Jack and his beanstalk, even
HAVE,"
so
Hood and
Riding Rabbit 1941
Granny's
one of
Red
the Wolf.
1
Bunny
arrives
the
you
classic: a wolf, stair
fairy-tale spoofs, a
song-and-dance gag, and, of
—TA
course,
Wolf goes
all
the
toon sound
for
a
comments about
think about
ears,
big nose
and Busts takes
care of the Wolf.
He
and
a little
Bugs. Red makes the usual
and
Warner Bros,
got everything
It's
door gags,
brought
rabbit for
Warner Bros,
effects. It's
"Silly, Isn't
He?
even got
sign.
Warner
car-
tend to
I
Bros, car-
toons in terms of their quotabi-
imitates
—how many
liry
you can
lines
and how
a stool pigeon, whistling
Red Riding Hood
pointing to various rabbit
many people you know who can
hiding places (he's actually
quote from the cartoon, or rec-
appears singing
is
a
first
"The
Five
in
one of them) and
ing the
sing "Put
the 1940s).
The obnoxious
and
distract-
Wolf by making him
O'Clock Whistle" (made popular by Glenn Miller in
on Your Old Grey
Bonnet." But
it's
truly annoying,
Red who
and
in the
is
remember and
repeat,
ognize what you are quoting
from
it.
Little
Red Riding Rabbit
has a high degree of quotabiliry. All fans
know
have" and
the phrases "ta
do
"I'll
it,
but
I'll
end Bugs locates her to
probably hate myself in the
where
morning."
she'll
some and
WARNER BROS..
essential
These were the 1940s,
bobby- soxer and
Red
in
working
and screams "Hey,
I
Little
is
is
when Red
Grandma!
Riding
is
the quint-
The Woll
fairy
i
on
Red Riding Rabbit
some ways
cartoon.
years the
toons, he takes
in
Granny hersell
any
this,
Little
house;
the swing shift at Lockheed.
Bugs's most memorable car-
little
Grandma s
famous rabbit shared the
Hiawatha. In
taking Bugs
is
Warner
a surefire hit, so
•the
to
Red
Bugs
tare at
Bros, in the 1940s.
teenage
be
less bother-
shares a carrot
with the Wolf.
found
I've
anywhere and
sing,
o'clock whistle
and
find
is
I
can go
"The
five
on the blink
someone
will finish
it
with Red's chorus of "da-da-dada-da-da."
— CREDITS A
Merrie Mclodia Cartoon
Directed by
i.
Freleng
Story: Michael Maltese
Animation: Manuel Perez Voices: Mel Blanc
Musical direction: Carl
W
Stalling
Linda Simensky
ecice
on Earth
anv standard:
war parable
a
senous
anti-
told in cartoon
form through the eyes of a famih' of cute, fuzzy squirrels. It
was
hailed for
lor
Award and
a
Academv
Nobel Peace
most antiwar
Prize. Like
messages,
an
it
seems sadlv
dated and tinged with a certain futility. its
WWII was into
month when
fourth
was
story takes place at
Christmas near
church overlooking an old
A trio of squirrels
battlefield.
sing "Hark!
this
rel's
the
Herald
grandchildren ask him
earth,
good
will to
men,"
Gran'pa
tells
they destroyed each other.
The
forest creatures build
from the discarded
implements of war.
The
for
man.
them the
story
a
bright sunrise. Peace on Earth
duced by
was pro-
Hugh Harman,
former Disney collaborator
ing eves and snouts (gas
who
masks) earning guns tipped
approach to animation.
who
argued and
strove for a cinematic
shouldn't have
made
it
Earth
it
Harman
interview.
—
it
"We as a
it
we should have
tried to stop
ing
made
about three to
reels," said
1973
me
five
in a
"They from mak-
was too
But Harman
serious."
believ
ed in ani-
mation's potential bevond 1939
comedv and wanted films to
cry
T '
CREDITS MGM Cartoon
Produced by Hugh Harman Story Jack Cosgrilt.
a
of huge monsters with flash-
Peace on
An
film
ends with the words "Peace
one-reeler,
MGM.
and
left,
on Earth supenmposed on
a
they have never seen
men were
Peaceville
squir-
meaning of "Peace on
with knives
released.
The
fought continuously until
only two
ruined
a
Angels Sing." Gran'pa
its
unique antiwar message and
nominated
The
unusual by
is
Hugh Harman. Charles McGurl
Animarion: Carl L'rbano, Arnold Gillespie. Jerry Brewer. In Spencc
Voices: Mel Blanc. Bernice Hansen,
bombing
he technique tasy in a
toon
is
arresting for
it
combines realism and
way which throws overboard
craft.
all
fan-
traditions of car-
Scenes of marching soldiers, rumbling tanks,
airplanes, ruined cathedrals,
and no-man s-land
impression of aquatints or photogravures.
The
give the soft
outlines of the cartoon
characters also blend into the lovely backgrounds of the fantasy, and there
is
an easy flow of motion which emphasizes naturalness. Sound
technique
is
borrowed from the realism of feature
films,
exquisite musical score, creates a definitely emotional
—
Sara Bcrner
158
and with the
mood. Parents magazine
his
make audiences
—and
think.
i59
i6o
omething completely new:"
Frankie stands accused of
That's what reviewers
shooting her man, Johnny,
thought
and
when
of Rootv Tool Toot
was
it
first
released,
suited
and the cause
of their excite-
ment
UPA's
is clear.
Ely (who admits she was
cre-
with Johnny, but onlv to
expanded the boundaries
rehearse) testify that Frankie
ballet,
mation to
of
tell
"shot her man, rootv toot
music, and ani-
toot, right in the snoot."
the tragic
Honest John then addresses
story of Frankie and Johnny. Scott
Bill
first
suggested the
Hublcy ran with
jilted
ballerina
it,
dance
specialist
(the first black musi-
vows
cian to
compose
her
scene
is
a
so con
innocence that he
Moore
for the
to
marry
—but when
Frankie sees Nellie
studios) to
The
a musical in
is
vinced of Frankie's
key scenes, and Phil
is
Frankie
at
shooter instead.
Honest John
Art Babbit
dancing with Honest John,
car-
which
the lines are sung, and
Johnny
killed the
choreograph, animation
toon
Jolly Frolics
hiring
Olga Lunick to
Hollwood
CREDITS
story": that a wildly rico-
cheting bullet shot by the
arrange the music.
Columbia Picturts presents a
the jury, explaining the "true
cartoon; director John
for
UPA, 1952
Honest John. The
ations caused sensations and
bining
Toot
defended by white-
bartender and singer Nellie
animation, in this case com-
Rooty Toot
is
all
courtroom, where
A" — — and
she grabs "Exhibit
murder weapon
its
the
shoots him rooty toot toot.
Cartoon
Directed by John Hubley
Executive producer: Stephen Bosustovv
Lyrics:
Alan Arch
'
Twenty-five
Music: Phil Moore
Vocals: Annette
Warren
Choreography; Olga Lunick
Written by John Hublcy, :
Bill
Scon
Animation: Art Babbit, Pat Matthews.
Tom
first
junk
McDonald. Grim Natwick
Color and design: Paul lulian
his
or thirty years ago
Disney that
picture.
It
we remembered
was such
a
departure from the old
had been unloaded on the screen
new technique became
a
sensation.
seeing our
for years that
We had the same feeling the
other night ... as a result of this Rootv Toot Toot.
It 's
a
thing completely new, wonderfully entertaining, with
gem, somea beautiful
background handling that brought applause from the big theater audience.
—W.
Production manager: Herb Klynn
The Ho/lyii ood
Technical supervision: Shcrm Glas
161
R.
Wilkenon,
Reporter,
1952
1
95 1
,
Rinm 1 d
I
t)-S Columbia Ti
—
^
will mm H«nrm JOSEPH 'IflflBERA
GM searched for a winning
the pair
was asked
cartoon star throughout the
ue their
efforts.
1930s. Disney had Donald
for the next fifteen years,
Duck, Fleischer had Popeye,
Tom and Jerry became MGM's cartoon stars.
and Warner Bros, had Porkv Pig,
MGM stood emptv-
but
handed.
Hugh Harman and
Rudolph
Ising did their best
with
a series of beautiful
Happy Harmonies, but lethargic
their
Bamev Bear went
nowhere. In 1937,
MGM's
to contin-
They
and
The Cat Concerto, one of the best of the
Tom
Concerto
and
Jerry series, begins with
Tom
Cat walking onstage,
sitting at a piano,
No.
2.
His playing awakens
Jerry Mouse, asleep within the instrument. Jerry climbs
cartoons, but these were
out of the piano, sees
poorlv received.
the keyboard, and begins
Tom
off a battle
man Joseph
the pair. Their chase and
in
1939
to direct a
cat-and-mouse cartoon. Puss Gets
the Boot,
was expected.
nothing
film received critical
ular acclaim
much
When the and pop-
— and an Acad-
at
"conducting" him, setting
William Hanna and story-
teamed
1947
ning the Hungarian Rhapsody
the Captain and the Kids
Barbera were
MGM,
and begin-
cartoon dinsion tried with
Thus, when animator
The Cat
did so
of wits between
CREDITS
struggle take place both inside all
and outside the piano,
An
the while Jem' continu-
Directed by William
ing his performance, at one
Producer: Fred
his feet.
is
in a tuxedo,
the piano for
viewer assumes
is
Tom
—
a
Editing: Fred
—
Music: Scott Bradley
play-
realistic,
modeled on performances of musician Scott Bradley. The
Cat Concerto
won
Academy Award Animated Short
an for Best
Subject.
17 -
—
McAlpin
Photography: Jack Stevens
the
human
Tom's piano
remarkably
Irven Spence
Backgrounds: Bob Gentle
he per-
Dressed
ing
Ed Barge,
"human."
forms
audience.
the
is
cartoon in which
treated as
at
Quimby
Animation: Kenneth Muse,
The Cat Concerto first
Hanna and
Joseph Barbera
point forced to do so with
emy Award nomination
MGM Tom and Jerry Cartoon
HANNA-BARBERA I
New Mexico, in
in Melrose,
Born
course
1931.
when
He worked
his
way up
Joseph Barbera, born Irving Trust finally
York's
Van Buren
"I started
"Within the Fred]
studio,
there the first
and
later
for
MGM, The
in 1957,
a
finally
his
let
each
recalls
Hanna.
"I
t
studied journalism and engineering in college.
washer and
MGM's The
office assistant at
knack
we I
and
after
full
to the
magazines until he
time. After beginning his animation career at
West
coast in
1937 and joined
MGM as
a
New-
storyman.
gravitated together." Barbera also recalls the now-historic pairing.
suggested
Why don't we do a picture on our own?';
[producer
stop us."
MGM cartoon have said, "I
its
own
don't want to put in their first film.
story
all
and characters, unlike every other
studio,
where
star characters
our eggs in one basket," in reference to the appealing cat and mouse
But when theater owners demanded more
assigned to do nothing else for the next sixteen years.
The
series
Tom and Jerry cartoons,
won
seven
MGM Tom and Jerry cartoons, however, are only one part of an amazing career. When MGM closed Hanna and
Barbera were suddenly thrust into a world that no longer required their unique talents.
for television, five
movements and a
"Ruff and Reddy,
Academy Awards
and sold
it
to
its
cartoon department
They
quickly created a
Columbia Pictures (Screen Gems). They went from
minutes of animation; from pantomime comedy
to dialogue-heavy pictures;
from complex
lavish full
$45,000
animation to
sparse settings.
medium hungry
Quick Draw McGraw, the
for their
kind of entertainment. "Ruff and Reddy" was followed by Huckleberry Hound, Yogi
Flintstones, the Jetsons,
TV generation. After many years of "putting
made more
He changed
Ising s studio in
graduation went to work for the
for drawing, contributed cartoons to various
moved
think
Harman and
Captain and the Kids cartoons in 1937.
in 1905, studied accounting
ended up in the same room.
Hanna and Barbera were
But they tapped
the
did,
so desperate he didn
content to
budgets to $3,000 for
Bear,
York City
eel
remarkable achievement denoting the consistent level of high quality.
low-budget pilot
limited
on
to director
New
joining Terrytoons, Barbera
same day Joe
Hanna and Barbera came up with
within a year
in
Company. Barbera, with
were being developed. Quimby once characters
Hanna
decided to quit banking and become a cartoonist
two years we
Quimby was
Quimby was
1911, William
he entered the animation industry as a
diverse animation than
all
and Jonny Quest. Hanna-Barbera became the brand name
their eggs in
one basket,
any other American studio.
164
this
team unleashed more cartoon
for
animation in
star characters
and
— The Cat Concerto
G
f all the
I
Hollywood
cartoon series, the
Tom and Jerry cycle
got the most out of the least,
wringing over one hundred genout of
erally excellent episodes
w
the minute, three-word plot description: Cat chases
While
mouse.
the formula itself
remained the same,
different
aspects of the equation were
occasionally altered to distin-
it.
guish the individual one-reelers
from each other, which usually entailed the setting or the intro-
duction of a character. In The
Cat Concerto, the extra element
is
the music (Liszt's Hungarian
Rhapsody No.
2),
which func-
tions as the dominating element
of both the background setting
and the foreground
two protagonists
new
action.
The
revel in the
opportunities for comic vio-
lence found in the
mechanisms
of the music-making process
parodying not only the hoitytoity
manner of the concert
vir-
tuoso but the hammers and strings of the piano
itself.
—Will
Friedwald
165
a
ne
oi
the classic screwball
cartoons of the 1940s, The Barber of Seville
was James
Culhane's
Woody
first
Woodpecker cartoon director of the
as
new
Walter Lane
Culhane had read
studio.
Film Technique, a
hook by
Russian director V.
I.
Pu-
dovkin, and applied the theo-
adding
ries to this cartoon,
around ror.
in front of the mir-
A Native American mis-
Woody for the barber; Woody puts hot towels over
Dash it's
Woody
what he had,
what he was
—
hyphen between the audience and the screen,
him so much
overheating
what
did, it's
takes
his customer's headdress,
is
at first a
Technicolor shock H ave, here
that bread toasts in his
Technicolor synapse between
mouth and
shadow and substance, between
the headdress
shrinks, then uses the
ourselves and our
springlike barber chair to
geous
catapult his
customer out of
fantasies.
actions are
still
more
outra-
His impossible a cartoonist's
scenes and speeding up the
the shop and onto the front
convenience, but in Culhane's
pace with rapid cutting.
of a cigar store.
hands
As
the cartoon begins,
Woodv Woodpecker admires the hairstyles played in the Scxillc
window
dis-
the
Barber Shop (Tony
Figaro, proprietor)
Next,
a
works."
for "the
a
blowtorch
and begins singing "Largo
Factorum" from
and
whole
Woody removes his
hard hat with
77ic
Woody destroys
on one
construction
worker asks
ol
a
level
himself
only to re-create
himself on another.
We can
still
ask the logical questions, but rather than just evade them,
el
Barber
Woody in
The Barber of Seville
is
transcending them, making him-
decides to be patriotic and
of Seville as he lathers
get a Victor)' Haircut.
exposed
("How
worker's shoes. Swinging
one, and one of the greatest
the razor while singing
cartoon characters of Hollywood
can
I
lose with a
victory?") Finding a note
reading
"Gone
physical.
Woodv
to take
my
Back soon,"
realizes
for the duration
Tom' and
is
out
tools
self
all
parts, including the
high-speed version
a
"Figaro,"
Woodv raises the smashes his cus-
tomer's head against the
He
completes the
ceil-
hair-
raising haircut in record
time.
The woodpecker heck-
les his client outside, irate
and the
customer throws him
through the window back into the shop.
Woody gets
bopped with
a
supply of
shaving
mugs and
ends up stuck inside the revolving barber pole.
il
never quite an explicable
animation
of
chair and
ing.
ty,
an understandable personali-
if
he was
s
all
golden age, even cartoon and no
character.
—
Joe
Adamson
CREDITS A
Walter Liiniz
Woody Woodpecker Cartunt Directed by James Culbane
Storv:
Ben Hardaway, Milt Schaffer
Animation: LaVcrnc Harding. Lcs Kline Music: Darrell Calker
Animation
layout: Art
Hcincman
Backgrounds Philip DeGuard
r
I
rederic Back, talents,
L^gJ
bom
in Saarbriicken,
Germany,
he worked on several educational television series
ed stained-glass artworl
foi
Place-des-arts
the
French Network's animation section. His (1970), which uses cut-outs to
His other films include frosted acetate; .
and
rocking chair. The
Crac.'
in 1924, has lived in Montreal,
(198
Man Who
1),
tell
Illusion?
first
animated
the story of a
in
won Back
his
168
of
many
in
first
[967
In
[968 he joined the
creat-
CBC
w ith Graeme Ross, was Abracadabra
who
rescue the sun from an
evil
magician
film using the technique of colored pencil
on
century of change told (rom the point of view of the family
second Academy Award.
L_
Montreal
and her friends
(1975); All Nothing (1979), his a
A man
Radio-Canada during the 1950s and 1960s and
film, a collaboration
little girl
an Academy Award-winning film about
Planted Trees
for
subwaj station
Canada, since 1948.
when
hen iilmmaker Frederic Back first
encountered the story of
Elzeard Bouffier in a maga-
leam
When he felt five
Man Who
The
result,
Trees, is a
men.
Planted
testament to the
indomitable It is
spirits oi
—
a
flowing
wash
of pencil sketches with "real"
tor
sounds and
—seems
able to
its
The
eminently
suit-
Executive producer: Hubert Tison
Story: Jean
Giono
beech.
Years the
Music:
first
later, after
WWI,
returns to the
site.
plantings are
now
His fascination with the leads
him
man
to return time
The
and
and he sees the wind-
Man Who
Planted
Trees represents the
fusion of art and belief into a seamless masterpiece.
The
young man hiking through
transformed into green
a lonely traveler
barren and windy terrain
fields,
French Alps.
encounters
him
a
He
shepherd
night,
water, a meal, and
he observes the shep-
man
He
when he has one hun-
dred. Intrigued, the
thriving villages, and
prosperous farmland, the
who
young
follows the shepherd
result ol Bouflier's forest.
observes that
"Men
as effective as
God in
1935 est"
ernment protection. Bouffier
1947
at
As
w orks
his ecological
miracle, the animation, music,
and narration blossom with the land.
By
screen
the end of the film, the
is filled
with the vibrant
colors of an impressionist can-
Man Who
the narrator
represents the culmination ot
he plants the acorns. This
states,
be trulv wondcrlul.'
"A man
Bouffier
vas.
was Elzeard
s
a
rudimentary forms of life. But as
the age of
eighty-nine.
and
tasks
Bouflier's "natural for-
the next day and watches as
Bouffier,
could be
was placed under gov-
died in
wandering in
world of grays and browns; the desolate earth can support only
He
other than destruction." In
destiny can
The
Planted Trees
Back's righteous posturing that spoils
many "message"
films.
Understated and imbued with
profound dignity,
Gagnon
77>c
Man
VVlio
Planted Trees shines as an exam-
Normand Roger
ple of the art of
Narrator: Phillippc Noiret (French version)
Narrator: Christopher
man
The
Scenario and animation: Frederick Back
Assistant: Lina
of thou-
cartoon opens with an image of
stops
Directed and produced by Frederic Back
He planted and
a forest
sands of oak trees as well as
again,
subject.
storv begins with a
herd counting acorns.
Socitu Radio-Canada Production
state
ten years old and impressive.
a narra-
lodging for the night. That
A
nurtured
remedy the
swept, lorsaken landscape
offers
CREDITS
oi affairs."
his opin-
and he had
for lack of trees,
resolved to
both
also a rare work,
for its style
in the
SOCIETE RADIO-CANADA, 1987
was
for
three years. "It
prepared, he devoted
Trees
been planting acorns
ion that the land was dying
to
years to the project, and the
Planted
and had
knew he had much
about him.
Man Who
fifty-five
zine in the early 1970s, he
before undertaking a film
The
voung man met
the
him he was
animation in the
truest sense of the term.
Plummcr
—
(English version)
169
Charles Solomon
ook and magazine covers
Voice in the Wilderness (Frank
then gets into
came
Sinatra) drives the
of Little Red Riding Hood,
to
so often during
liie
the 1930s that the device
considered
genre
—which
piece both
audiences all
this master-
thor-
Modem
book
references
and celebntv caricatures, but mar-
this cartoon
remains
vel of comic
timing and
a
In
a
night, a
bookstore
Young
at
mid-
Man with
a
Horn (Ham- James) comes
Book Rcvuc
alive to
solo;
Sea
perform
a
trumpet
The Wbistlcr and The
Wolf leer
Strip;
at
Cherokee
The Complete Works of
Shakespeare pops a spring;
Henry
WARNER BROS..
1946
the Eighth
runs
Whistler's Mother,
home
to The Aldricb Family; The
Toms
and Mother
Dorsey), Drums Along
Pie-Eyed Piper
clcr
have
Gazette the
The
the
calls
Law
Police
The Long Arm of
to bring the wolf
before The judge. Sentenced
Krupa), The
(Benny
Goodman), and
to
the Arkansas
the wolf manages to
Life,
Escape, but he trips
Jimmv
a jam session.
Durante's So Big
nose and
Duck who
Rcnv right into Dante's
steps off the
cover of The Loonev Tunes
Meme
to complain. suit
Infemo.
dance
Melodies Comics
He
gets a zoot
to
tates
Danny
Dannv Kavc
a
celebratorv jitterbug,
sillies."
Boy, and imi-
"Saratoga in the
with
The book characters
which the wolf responds,
vou
Saratoga Trunk, stands in front of
a
along Skid
slides
"Stop that dancing up there,
and wig out of the
singing
Morning"
Russian accent.
nTWO
He
TOP TALENTS
Rod
Scribner's animated reaction of
Daffy to the Big Bad
—turning
Wolf
into a giant eyeball for six frames
CREDITS A
one of the history.
Loonev Tunis Cartoon
for his
Directed hv Robert Clampctt
Story
lalion
W arren
w arning
Foster
Gould.
C Melender
It is
Cornett
W
I/O
is
in cartoon
frantically
Red Riding Hood of the Wolf. Warren Foster
Danny Kaye-esque
skat
song sung
worth noting that Danny Kaye
children's album.
Stalling
moments
performance of Daffy
Tat" (cowritten by Alan Foster and
Wood
Voices: Mel Blanc
Musical direction Carl
classic
—
Mel Blanc deserved an award
later
Foster's original songs, the hit tune "I
Layouts and backgrounds
Tbomas McKimson,
Little
wrote the
Robert McKimson. Rod Scnbner.
Manny
on
Their music bothers Daffv
and
is
Cahin, and finally The
Petrified Forest.
(Tommy
Mohawk (Gene
replay
Hopalong Cassidy to Uncle
Girls'
Dormitory, Ladv in the Dark,
Trai
funny animation.
The
a lively
chased on pogo sticks in
crazy; also falling for
are Freckles,
Goose. Brass
mav not under-
the
Women him
mocks and
oughly outdoes.
stand
is
cartoon
a
Little
in that scene.
recorded one of
Tawt Taw A Puddv
Billy
I
May)
for a
J
i7i
Book
Rauc
The
apotheosis of the
early
Warner
Bros,
cartoons: Warner's
— hook —
life
covers
coming
the fact that this
despite
cartoon was
its
cascading cross-cul-
tural references necessarily
to
the technical brilliance and
less
punch than they
pack
did at the
explosive exuberance that
time of the film's release. Filled
defined the studio in the 1940s,
with spectacularly
supplanted by Daffy
Duck
a
that
performance by is,
the books. Director
well,
one
for
Bob
ment
after
florid,
even
power
to engage us
than even
And there great
gift for
is
more: Clampett's
conjuring phantas-
all
ability to
evoke character.
a
world of frenetically moving
that
director's virtuoso
stronger
the churning activi-
admired, but Book Revue also
shows the
far
surrounds him. In
graphics. Daffy
moves
is
the graphic
us.
When all this is melded to the cartoon s
immense humor,
the production seems to have
from his Looney Tunes comic
toony manipulation of the
run out of money, or something,
book, the cartoon
medium, and almost savage
Daffy
Duck emerges
is
immediately
The duck
taken to another
astonishment in this
film
but bursts
virtually seizes the screen,
compendium
yet thanks to Clamplett
all
seams;
at the s
remark
ably disciplined use of excess, the
cartoon
America's imaginative landscape
feels
verve and deftness that
ty that
magorias has been widely
concluding dance), the
of 1940s
ence as something
When
and transforming fragments of
with
its
baroque, animation (although
popular culture, appropriating
a
comes
deeply.
for the
Clampett brings us astonish-
breathless
this
completed nearly 50 years ago
and that
quintessential 1930s story line
—
remain breathtaking
and
s
instantly
we
and
film's cen-
feel his pres-
lessness, the result
tion of
reck-
summa-
to offer us. If any
work
of genius, Boofc
is it.
—
172
film's
one animated short can be con-
Revue
From
is a
car-
what the Golden Age of
Animation has
sidered a
anchored, earned, utterly credible.
becomes the
ter of gravity;
anarchic energy
level:
stunning staging, gloriously
Steve Schneider
Book Revue
r
BOB ClAMPETT
Bob
Clampett (1913-1984) was one of the
pioneers in American animation. still
in his teens,
Mickey Mouse joined the
While
he helped design the
doll;
Harman— Ising studios and
mated scenes
first
shortly thereafter, he
for the very first
ani-
Merrie
Melodies cartoon, Lady, Play Your Mandolin. In 1935,
Clampett was assigned animator and key gagman to director
Tex Avery and
his
team
at
Clampett led the studio in irreverent
humor
that
"Termite Terrace." Avery and a
new
direction, displaying a wild,
became known
as the
Warner
Clampett was promoted to director in 1937, and
style.
for the next
nine years directed some of the funniest, wildest, and most
memorable cartoons
in
animation history
(five
of
them
appear in this book: Porky in Wackyland, The Great Piggy
Bank
Robbery, Coal Black
and Corny
and dc Scbbcn
Dwarfs,,
Book Revue,
Concerto).
Clampett was also instrumental in the creation and
development of Porky
Pig, Daffy
Duck, and Bugs Bunny. He
introduced Tweety Bird, patterned on his picture.
He
left
Wamer in
1946, opened his
and created the popular Beany and
L
173
own nude baby
Cecil.
own
studio.
J
!74
—
—
4 Holes," which offer peeks
love to look at pictures ol
people working," remarks
the past. Here Anita and
Quasi, lying in bed, eating
Rollo rid themselves ol
chocolate cake, and watch-
Quasi: She drops
ing TV. Anita arrives with
cake over a helpful
Rollo, Quasi tumbles back
trip to
amusement park whose
attractions include the "Hall
of Time Mirrors
—
self at every age,"
and
Two guards later
notice a
new addition to the
where
a
Back
"Think-O-Blink,"
college
are
;
her film tures:
A
which
Quackadero. Like Bob
stream of consciousness.
is full
of strange crea-
house
talks, a
clock
has arms and legs that move,
bound back and
objects
—
time
and
Dream Today,"
in Sally Cruikshank's
all
forth in
to a fine sound-
track.
As J. Hoberman
"Sally
Cruikshank has
put all
After lunch
they
an animated
reveals
visit
at
Porky' s Diner
"9 Lives 2 Live,"
where Quasi
is
rooked into
seeing his former
lives.
Finally they visit the
1972. She wrote, designed,
"Time
style
totally
Its
mixture of funk)'
its rolling,
folding per-
spective
and soundtrack
sighs,
enthralls
ers
CREDITS
dash of Sam Flax, and
with
it
some
of
view-
and leaves others cold
the traits of a true "cult
A Cartoon
b\ Sa/Ii Cruikibank
Directed by Sally Cruikshank
Music: Bob Armstrong, Al Dodge
Ink and paint: Kathcrvn Lcnthan
Special art assistant:
Sound engineer:
it,
but
Special thanks
to:
Kim Deitch
Steve Halbert
E E Gregg Snazelle.
Rose S Cruikshank. Diana Pellcgnm
band
her own."
—
a
a
as authentic an
it
is
with
music or situation comedy
and made
experienced studio.
and 1960s R. Crumb comics
—
as jug
on her
1930s Van Beuren cartoons
Depression-era 'funny animal'
American idiom
and animated Quasi
own, without the help of a large,
single-handedly resurrected the
cartoon
and joined San
at the Qiiackadcro
shocking) and "See Last
in
Francisco's Snazelle Films in
directed,
which paints pictures of
Night's
a
Cruikshank began
Sally
making cartoons while
crank machine that
your thoughts (Quasi' s
Quackadero
reptile.
turns skyscrapers into grassy hills;
at the
CRUIKSHANK, 1975
Time Hole:
Quasi being chased by
See your-
as skeletons; "Roll
rolling
in time.
Quasi, Anita, and Rollo see
Time,"
push Irom
prehistoric
themselves as youngsters
Porky in Wackyland,
chocolate
and with
remind him of their
delic
dampen s
Quasi
her wheeled friend Rollo to
the Quackadero, a psyche-
Anything can happen
a
a railing,
at
Karl Cohen
175
Quasi
ai ihc
Quackadtro
1
r,INDEPENDENT ANIMATION handful of the this
fifty'
cartoons in
volume, such as Quasi at
the
Quackadero and Bambi Meets, Godzilla, are representative of the
work
of independent animators.
While
the traditional Hollywood
studios are factories of popular animation, independent film-
makers have the unique opportunity enjoy
a
freedom in
style,
artists
experiment and
concepts, and techniques that often
influence the arrform and expand
Solo
to
its
potential.
have been making their films independently
since animation began (in
fact,
Winsor McCay
could be
considered the father of independent animation). Usually
working alone, sometimes taking years film,
to
produce
a short
the works of independent animatots are celebrated in
touring animation festivals such as
A
in
Annecy, France, and Ottawa,
Canada. Lone Reiniger, Oskar Fischinger,
Norman McLaren,
John and Faith Hubley, George Griffin,
Carolyn
Plympton
Leaf,
are just a
and
Bill
few of the
animators whose independent
works have influenced the entire
field.
J I7 6
Quasi
177
at the
Quackadtra
CORNY CONCERTO
omv-Gee Fudd
as
monies,
Hall," with
"Blue Danube," which
Elmer
master of cereis
recounts the
the setting for an
of
Elmer
introduces
duck
the
a
as 4-F.
The
duck uses "cartoon
to rescue the family and does
praising the "whis-
whythym as
comes out
in the
here!"
and his dog
(a
unto
polite to point."
es Bugs, but
gets his
The
all tall
satisfied
Pig,
Porkv chas-
his
and
when
ther directors imitated or a
made fun
knew
bow
—
compositions.
first
I
saw the rough
could have
I
ments
own
but with
in
made
I
it
CREDITS
in the
paid
identity. Corny Concerto
a sly
grin
on
Directed by Robert Clampett
Story:
Frank Tashlin
Animation: Robert
adjust-
them makes
a
its face.
— Mike
178
Melodies Cartoon
Musical direction: Carl
timing ..."
Bob Clampett
A Mcmc
by
beautiful, almost perfect,
of the Disney cartoons; only
to Fantasia
to ani-
making some minor
the
debt even as he asserted his
deep and genuinely respectful
me
cut with the music track
shot.
up
is
a
up. Doc?" with Strauss. But
rab-
dog and pirou-
next piece
was
Imagine mixing 'Eh, what's
ettes into the horizon.
The
"It
and our characters
classical
to the ground.
Porky and
it.
s\nchronizarion with such
an angrv squir-
ties
with
mate Bugs Bunny, Porkv
gun and shoots
Bugs eventually
classic
but Bob
experiment, for
"It ain't
Bugs pretending to be
is a
considerable departure, an
who
pig, dog,
itself,
MERRJE MELODIES, 1943
Clampett wasn't completelv
tale
Thev
reminds the dog,
bit
The
and
.
pointer) out
rabbit.
encounter Bugs,
them.
.
wood concerns Porky
hunting
rel
.
license"
vulture.
Corny Concerto
wolls
awound and awound it
away with the
of the
it
Concerto
black
"A Tale of the Vienna
woodwinds,
homage, acknowledging
A vulture
Woods," pering
Corny
kidnaps the swans but reject
Disnev's Fantasia.
first
of an ugly
tries to join a
family of swans.
affectionate but scathing
send-up
tale
duckling who
Barrier
McKimson
W
Stalling
J
79
i8o
Unicom
The
Garden, an
in the
adaptation of humorist
moral: "Don't count your
James Thurber's short begins,
"Once upon
morning" with
a
a
story,
sunny
hen-pecked
Thurber's work, but
roses in his backyard, he
funding lor such an erudite
rushes to
project proved difficult he
his sleeping
asked director William
Hurt to
"A unicorn
mythical beast."
look
a closer
beast.
He
feeds
it
a lily
tell
human
and
Duck
The man
Bunny
as the stars of animated shorts,
must have been
the characters of James
coming
to
life.
it
startling to see
Thurber
Since that time,
it, it
was
Academy Award
atrist,
and suggests
jacket be called
for.
this
morning."
The
and put the
now
a fact of
her.
animation history,
and one of the many feathers
in
their collective cap.
—
As
Leonard Maltin
if
a
unicorn.
"Of course a
ever did. Using color both-
he told his wile about see-
ing
He
not.
A
mythical beast."
ered
me
thought
at first, il
around to
replies,
unicorn
William Hurtz
"studied even' drawing he
husband
is
would do long as
181
CREDITS
it
but
it
Columbia Pictures Cartoon
he probably this
way
—
Hum
James Thurber
Design: Robert Dranko
Animation Phil Monroe. Rudv Lamva.
Tom McDonald Backgrounds: Robert Dranko Music: David Raskin
Production manager Herbert Klynn
I
he ever got it
A
Directed by William T.
Story:
animate Thurber's
faithfully,
on
they take her away,
the doctor asks the
To
crude line-drawing stvie
doctor
straitjacket
vehicle for
Mr. Magoo.
unicorn
and police exchange glances
is
considera-
and reluctantly changed
more commercial
studio's sec-
and tone of Thurber's
for
his feature-film plans for a
to retain the
work. That they succeeded
tion
it
a strait-
The
spirit
refused to enter
When
ond challenge was
revolutionary.
but Bosustow was
reportedly disappointed.
psychi-
"My husband saw a
UPA tried
acclaimed
gone. Meanwhile, his wife a
ani-
continued
critically
He
they arrive she announces,
a familiar one,
series,
returns to the
work has become
when
UPA's
have you
the idea of adapting illustrators'
but
The Kim
are a booby,
the police and
UPA
traditional to
garden but finds the unicorn
calls
featured
and
Hollywood cartoons.
put in the booby hatch!"
Donald
or Bugs
"You
am going to
I
UPA, 1953
in the
it
characters,
mal subjects
Garden
Hurt
short.
was trying to avoid the
and
in the
Thurber
Garden" because
at
her, but she rudely
replies,
a
a
Unicom
chose "A
then awakens his wife again to
adapt
subject as
goes into the
the cute and affectionate
to
when
him
garden for
audiences accus-
based on
wife the news. She dismisses curtly with
Unicorn
had long wanted to produce
Spotting a unicorn eating
The man
tomed
hatched." Stephen Bosustow
a feature film
is a
To
boobies until they're
husband eating breakfast.
tell
A
films ends with a
as
was strongly linear."
a
'
"'jflc
DOVER BOYS ii
PIMENTO UNIVERSITY" -no RIYAtS or
ROUDEFORT HALL"
he
full
on-screen
cartoon
is 77ic
this
title oi
Dover Boys
at
Dora Standpipe, who
rolls
along the screen as
on
It is a
parody of the 1890s dime-
wheels.
store novel melodramas,
Dan
film with
it's
in
as a
watershed in animation
his-
tory. Until this film, Holly-
wood animators Jones
—
—
True
oldtimer
who keeps popping
Chuck Jones he almost got
claims that
fired
from
they hadn't been block-
intentionally unrealistic
booking
movements.
w ould have withheld
known
as
simply
"Good Old
U."
are the
Dover Bovs
after
me
out."
and
it
Wamer ot
the
and lunnier.
spoof of the Rover Boys dime-store novels
cartoon to contain
sly, intelligent
humor com-
bined with highly stylized
human
characters and equally
stylized
movements. (For the
most
part, this style
until the advent of
and
caught on, and
— and those — became
is a
was not
explored further for several years,
other studios taster
it
But the
Tlx Dover Bovs,
cartoons
—
it,
theaters, they
new style
also
Pimento U., or P.
Bros, tor this car-
"They hated
Dover Boys
first
such
toon.
thrown
The
major milestone, the
up unexpectedly.
with stvlized settings and
story takes place at
com-
pany of an oddly-dressed
The Den er Bovs was devised
The
to
Dover Boys rescue
Warner
The most popular students 1942
Backslide kidnaps her
ism with their characters.
Pimento University,
WARNER BROS..
bullying cad
her, but she prefers the
including
tried to achieve real-
if
and takes her to his moun-
form, the
artistic
and which stands
The
tain cabin hideout.
also the
which Chuck
Jones besran taking risks
Boys
who plav
Rivals of Roquefort Hall.
cartoons, hut
Diwer
caricatures
hide and seek with Dainty
Pimento University; or The
which was nothing new
Be
human
1948, and the
UPA
series of
Kimball cartoons
at
in
Ward
Disney in
1953.) Even a half-century
later.
The Dover Boys stands as one of the most elegant examples of the principle that the less literal the
character design, the
more inno-
vative the animation can be
—Tom,
without losing
believability.
—
Dick, and Larry, exaggerated
Milt Gray
CREDITS A Mtmt
VI
lo
I'
Slory:
Cartoon
M
[ones
Ted
Pierce
Directed hv Charles
Animation Robert Cannon usical direction
Carl
VV
Stalling
T
hese scenes from
TJie
Dwer
Boys are three actual successive frames from the film, demonstrating
the innovative use of limited animation throughout the picture. Characters pop from pose to
pose with a frame of "smear
182
animation between them.
LL HAVE TO SACRIFICE MY I
ART AND CO IN THE MOVIES.
i8 4
he
cartoon characters
store, sells
across a silent screen;
hands
s
moved
most became
extinct before
the advent of sound.
tures as
The
such sapient
lineage ol
named toon
Felix
—
the
a cat
first car-
star to originate within
medium
the
crea-
Mickey Mouse and
Bugs Bunny leads to
Most
itself
his contemporaries
ol
were
Holh'wood,
WINKLER,
1923
career at Static Studio,
he asks the boss
Ouo Messmcr
after
ly accurate
impression of Charlie
—
Chaplin's walk
by the
Little
Felix
Tramp
my stuff!
is
accused
himself of
"stealing
help and linds Douglas
sequence was an in-joke inserted
This
brief
Fairbanks being attacked by
by Otto Messmer,
and chief animator, who, in
Mutt and Jeff) or were
gun from William
designed with
Felix
(K0K0
little
indnidu-
the Clown,
Farmer Alfalfa).
Felix
and
was
A thinker, he
different:
tions appropriate to his envi-
—
the animated
shoots two
Felix
to a contract.
was the
first
lor a trip to
Hollywood (he
actor
money
Hollywood.
Felix
Soon the vwnole town vwas gam-
med
one
known
reached the apex of
The
influ-
enced the personality and move-
first
baby
oil,
and even
of cigars.
still
.
produced by Pat Sullivan.
merchandise, including
than seventy years
actor)
an animated series of Chaplin
ments of Felix the Cat w hen he
appearance (19 19), Felix
sends him out to find
cartoon
pan-
character licensed lor use on
was
work
s
expressions
films
him
own brand
in
for
facial
This thorough research
signs
Within
as popular as Charlie
1916, studied Chaplin
tomime and
delights Cecil B. DeMille,
dolls,
few years of his
Hart,
them,
his duel with the third
world ruled by lunacy. a
S.
ol
Felix's creator
who
played the pet of an out-of-
Animation:
emotingjoy and
his acting,
—
the cat performs an astonishing-
sorrow. Felix hears a cry lor
his popularity in 192.3, the
CREDITS
and demonstrates
memorable encounter
giant mosquitoes. Swiping a
year of Felix
Winkler Pratnts a Pal Sullnan Comic
where
(a carica-
screen. In a particularly
(Krazy Kat,
Felix
j.
human
ture ol censor Will Hays) lor a job
of the gods and goddesses of the
on popular
strips
Chaplin and Buster Keaton.
M
own
mingles with caricatures
comic
ronment
M.J.
Felix ditches the
Felix barges into a
Hollywood studio and
owner $500. In
actor to pursue his
solved problems v\ith solu-
Hollywood
his
Feisty
out the shop, and
either based
ality
Felix in
discovers a bankrupt shoe
earliest ancestors of
today
up.
185
ol
cats.
More
later,
America
his
he's
s best-
appeared in 1919.
—John Cancmakcr
)
Other Great Cartoons There more
are. of course,
than
fifty
many
great car-
Although our
toons.
bal-
Mother Goose Goes Hollywood
Van Beuren
(Wilfred Jackson/Silly
The Sunshine Makers
S\Tnphomes/ 1938)
(Burt Gillett,
some
there were sions.
Toward
(Charles
Ted Eshbaugh/
;
Melodies/
Pig, Sylvester
Moving Day
A Talc
(Ben Sharpstein/A Mickey Mouse
(Robert Clamperr/Meme
o/Tuo
Kitties
list,
Warner
surprising omis-
Bros. Studios
Cartoon/1938); Mickey Mouse. the end of the
M. Jones/Meme
1948) Porky
Rainbow Parade/1935)
loting process resulted in a remark-
ably well-rounded and diverse
Scaredy Cat
Studios
Melodies/ig42);Tweety Baseball Bugs
list,
Donald Duck, Goofy the point spread
was minute;
some
one or two votes
cases, only
separated cartoons that
in
made
(I.
the
Freleng/Looney Tunes/ 1946);
Bugs Bunnv
Music Lund
(I.
from those that didn
t
SMnphony/ 1 93 3)
(Robert Clampett/Loonev Tunes/
In another time, in another place,
these cartoons
mav have been
included. Following are
toons that
number
receiv
ed
ot votes
all
(Walt Disney/ 1 928); Mickey
Mouse a
Bugs
Gets the Bold (Robert
Clampett/Meme Melodies/ 1942)
substantial
from our panel.
Bunm
is a classic.
Note:
The
toons, with the exception Dinosaur, are
Some
ol
Mouse (Charles
greatest car-
all
Cartoon/ 1 939)
the silent and indepen-
dently produced cartoons that
appear on the following
list
list
are
does not
Averv/Meme
(Fred
Melodies/
1940); Bugs Bunnv, Elmer
Fudd
MGM Studios The Bill: Wolf
Three Bears
M. Jones/Meme
(Tex Avery/ 1942)
Melodies/1948)
Mouse Cleaning Thru
ihc
Mirror Fust
and Fum-ous
(Daud Hand/A Mickey Mouse (Charles
Cartoon/ 1 9 36) 1
paper-animated This
the
ol Gertie
eel-animated
A Wild Hare
The Pointer (Clyde Geronimi/A Mickey
fifty
Fudd
appearance; silent film
s first
Bugs Bunny and
Each
the
car-
1946). Bugs Bunnv. Elmer
Plane Crazy
Freleng/Merrie
Melodies/ 1947); Tweety, Sylvester
(Wilfred Jackson/Silly
The Big Snooze top-fifty list
Twectit Pie
(Hanna-Barbera/1948);
M. Jones/Loonev Tunes/
949) Road Runner and Wile ;
Tom
and Jem
E.
Screwball Squirrel
Who
Killed
Cock Robin (David
Coyote (Tex Aver)'/ 1 944)
Hand/Silly SMnphonv/1935)
My
Gorilla
include computer-animated or pup-
Dreams Droopy
Serior
(Robert Mcfximson/Looney
pet-animated films
Fleischer Studio
Tunes/1948); Bugs Bunnv
(Tex Avery/ 1 949) Droopy ;
Kpko's Earlh Control
Swing
Winsor McCay Lmlc
Nemo
(igi
i)
(Charles
Mechanical Monsters
Disney Studios Education
for
(194 1 ), Superman
I
The Old
Man
of the Mountain
(1933); Betty Boop, with Ferdinand
pick
the Bull
M. Jones/Loonev
Tunes/ 1 946); Bugs Bunnv
Death
(Clyde Geronimi/Special/ 1943)
Lotc
to
(Tex Avery/Meme
(Pete
Kpmered Flebus
(Robert Clampett/Loonev Tunes/ (Ernest Pintoff/1957) 1
Trees first
color Silly
Symphony;
Academy Award winner
Popcye the Sailor Meets
Ah
;
Pig, Sylvester
The Old Grey Hare
Independents
(Robert Clampett/Meme
Allegretto
Baha's
Forty Thieves
(Popeve Special/ 1937) (Burt Gillett/A Mickey
946) Porky
short in color
Lonesome Ghosts
Melodies/ 1 944); Bugs Bunny,
(Oskar Fischinger/ 1 98 1
Elmer Fudd The Box
Mouse
Cartoon/1937): Mickey Mouse.
Donald Duck, Goofy
Ub
Iwerks Studio
Rhapsody
Bulloonland (aka The Pincushion
(I.
(I.
Cartoon/1935): Mickey Mouse,
Donald Duck, Goofy
Freleng/Merrie
(aka The Cracked Nut) (Walter 1
)
;
First
The Crunch Bird Melodies/ 1 947); Bugs
Woody Woodpecker
Woody
Woodpecker cartoon
Crac (Frederic Back/ 1 981)
Rafchit
Walter Lantz Studios
Lane/ 1 94 Trailer
(Murakami-Wolf Films/
Rivets
Man) (1935)
Mickey's Sen ice Station
(Ben Sharpstein/A Mickey Mouse
m
Freleng/Merrie Melodies/ 1 941)
Rhapsody
Mickey 's
lea
Terrytoons Kitty
Poor Cinderella
(Burt Gilktt/Sillv S\-mphonies/ first
/
Bumess/1955); Mr. Magoo
Mclodics/1936)
(Color Classic/1934); Betty Boop;
1932);
UPA When MaGoo
Singa
Cab
Rickard/Special/ 1938);
and
(Tex Averv/1945)
Calloway
Academy Award winner Flowers
Shift Cinderella
Fluir-Ruismg Hare
(Inkwell Imps/ 1 928)
Bunny (Maxell-Petok-Petrovich
Producrions/1971)
Rahhn Hood (Charles
M. Jones/Meme ErsaK
Melodies/ 1 9 50) Bugs
(Ben Sharpstein/A Mickey Mouse
Cartoon/1938); Mickey Mouse,
Bunny (Zagreb Studios/ 1961) Frank Film
Donald Duck, Goofy
(Frank Mouris/1973)
186
1
967)
:
Wackyland, Page 60:
and
The Funcs
Porfcv in
(Sarah Petty/ 1976)
rvboard sketches. Page 61: story-
Page 102:
board sketch; limited edition
Page 103: storyboard
Lupo
sto-
eel
C0.1! Black
You Ought
de Scbben Dwarfs,
and background.
eel
144: All
and background. Page 62,
Page 104: model sheet. Page 105:
top:
(Danny Antennucd/1987) storyboard sketch; bottom:
storyboard
Be in
Page
Pictures,
illustrations.
Butcher
the
to
photograph.
still
Baba Bunnv, Page 148: sketch
bv Chuekjones. Page 149, top:
illustration.
sketch by Chuekjones; bottom:
production background. Page 63:
Moonbird
Dcr
(The Huhlev Studios/ 1959)
storyboard sketch.
The
Gerald McBoing Being, Page 64:
Fuehrer's Face.
music
Street
color key by
(Carolyn Leaf/ 1976)
Herb Klynn and
Engel. Page 65: production
Your Face
The
illustration.
ride
song
Fuehrer's Face
|ules
CONTRIBUTOR CREDITS
more than
hit, selling
1.5 mil-
lion copies.
duction
r:
Little Pigs,
The
Page 72, top:
1
1
by Chuck Jones. Pages 32-33:
eel
and overlay. Page 35, top: color
11: ani-
Bamhi Meets Godzilla, Page
origi-
art.
Page 114: Steven
drawings.
115: production art
duction
Rabbit of Seville, Pages 74-75: lim-
The Big
Pages
54:
Red Riding Rabbit. Page 156.
Little
top:
Snil,
1
Page 155: produc-
art.
art.
Busustow and Ted Parmalee. Page
16-1
1
19: pro-
production
eel;
bottom: pro-
and background. Page
eel
157, top: producnon
cel.
Bottom:
animation drawing. ited edition eels
and backgrounds.
Page 76: background. Page 77:
duction eels and backgrounds. Rootv Toot Toot, Page 160: produc-
cel.
chart; bottom: concept paintings
Braic
Little Tailor,
Page
1
20: poster;
tion eel
by Maurice Nohle.
Page 153:
Leslie Cabarga,
Page 112: pro-
concept painting bv Maurice
Noble. Page 34: background with
bv
10:
producnon
Tell-Tale Heart,
duction
Page 73: animation
poster.
layout sketches
model
created for this volume.
Rural Riding Hood. Page
matron drawings.
model sheet drawings; bottom:
with re-created back-
eel
ground. Page 3
Three
Initiation,
nal painting
animation drawings. Page
sheet.
Bimho's
tion
What's Opera, Doc?, Page 30: pro-
50:
1
Spike Jones in 1942 and became a
huge
cel.
King-Size Canary, Page 69:
model
Page
sheet.
Little
re-created eel;
the f\itty.
was recorded by
Klvnn and Jules Engel; record jacket.
ILLUSTRATIONS AND
limited edition eel and background.
ol
Feed
Dcr
Pages 66-67: color key by Herb
(BillPlympton/1987)
Page 106: sheet
Steamboat WiBie, Page 78, top:
production
eel
and background. Page 161:
and background. concept sketch.
Duck Amuck, Page eel ter:
poster; bottom: animation draw ing
Page 121: publicity
by Les Clark. Page 79: animation
publicity
drawing by Les Clark.
background.
art.
Page 122:
36: re-created
and background. Page 38, cen-
art.
Page 123:
eel
and
The Cat Concerto, Page 162: animation drawings. Page 163: back-
Chuck
layout drawing by
ground painting trom The Cat The Old Mill, Page 80: model
Jones.
Clock Cleaners, Page
1
24: poster; Concerto, with eel
sheet;
The Band Concert, Pages 40—41:
production
eels
Walt Disnev and Mrs.
Ugo D'Orsi study
animation drawing. Page 125: production
a rclcrenec
Tom
cel.
animation drawings.
and backgrounds.
model Page 42: production
eel
ol the mill.
Page 8 1 Northwest Hounded
and backstorybook
ground. Page 43: animation draw
Police,
Page The Barber
illustration.
oj Senile,
and Boom,
Toot, Whistle, Plunlc
82: animation drawing. Page 83:
24
r/2tb limited edition eel and background.
Century, Page 44: production eels.
Page 45: production
eel
ground Irom another
The Page 130: production production
Page 84: limited edition
eel
cel.
66—67:
Man Who
Planted Trees, Pages
Page 131:
eel
eels
and back-
and background.
and
grounds.
with back-
background. lilm.
Riihhit Seasoning,
Page 46:
Pages 132-33:
Book Revue, Page 172: model sheet. Popeye tlx Sailor Meets Stndbad
Page 47: layout
drawing.
Sailor,
eel
eels.
the
Page 86: poster. Pages
88-89: production
One Froggy
cel.
168-69: production
producnon production
1
eels.
The Great Piggy Bank Robbery, Page
ing by Les Clark. in the
Pages
126: animation drawings.
-
production
Duck Dodgers
from another
and Jenr cartoon. Page 164:
and back-
Quasi
The
Scarlet Pumpernickel,
at the
Quackadcro, Pages
1
74-
Page 137: 1
7-: production eels
and back-
re-created cel.
Evening, Page 48: back-
grounds. ground.
ground. Pages 49-51 sketches by
The Cat Came Back, Page 138-39:
:
Chuck Jones.
77k Skeleton Dance, Page 90:
Corny Concerto, Page
production
eels
and backgrounds
i
_ S: produc
.
tion
cel.
Page 1-9: animation
animation drawing. Gertie the Dmosiiiir,
duction
art.
Page 52: pro-
Page 53: lithographed
publicity poster. Pages 54-55: pro-
ducnon
Supermtm, Page 141 production :
Snou' White, Pages 96-97:
and background. Page 142: pro-
calendar illustration.
duction
eel
drawings.
A
Unicom
in the
Garden, Page
and background. Page concept painting.
art.
Minnie
the
Moodier, Page 98:
143: model sheet, production eels
and backgrounds.
Red Hot Biding Hood, Page 56:
eel
original art
by
Leslie Cabarga,
and background. Page 59: produc-
created lor this volume. Page 101:
tion
animation drawing.
cel.
eel
187
1
So:
How Most
oi
Find
to
the
fifty
greatest
cartoons can he seen
on
hroadcast television, cable television, or
home video
50
the
Gerald McBoing Boing
Popeye the Sailor Meets Sindbad
Brave
TV: "Weinemllc'
the Sailor
TV: "Mickey's Mouse Tracks"
or "Cartoon
Kah-looev" on Nickelodeon. Tape:
TV: Shown on
Columbia Cartoon Classics
blocks on Turner's
Vol. 3.
K}ng-Size Canary
TNT and The
What's Opera, Doc?
TV: Shown on
blocks on Turner
ABC. Tape:
Cartoon Network. Tape: Tee
The Bugs Bunnv Road
various cartoon s
Two
Popeye
disc:
Shown
Laser disc: The Compleat Tex Avery.
The Disnev Channel Sncw White,
Duck Amuck
Three
Not
ABC. Tape:
Shown
The Bugs Bunnv Road
Runner Movie. Laser
disc:
Duck
Screwball Classics Vol.
2.
Little Pigs
currently available often
on
tape.
on The Disnev
Channel
Shown Mo\ie
on
occasionallv
currcntlv
Shown
often
av ailable
on
tape.
Nickelodeon. Laser Tunes Curtain
disc:
Loonev
Boop
Tape and s
laser
Special Collector's
Steamboat Willi,
The Disnev Channel.
TV: "Bugs Bunnv and Tweety" on
Micfcey Mouse: The Black
ABC.
Years.
occasionallv Classics.
on American
Tape and
laser
One Froggy Evening
The Old Mill
Shown
on ABC. Tape: Bugs Bunny's Movie: root
Riirfiit Tales.
Loonev Tunes
Cunam
yd
Gertie the Dinosaur laser disc:
McGiy: Animation
and White
on The
Disney Channel
Legend.
Toot, Whistle, Plunk
Not
and Boom
currcntlv available
on
tape or
television.
Rabbit Seasoning
Not
Nickelodeon. Laser
currcntlv available
on
tape or
Not
disc:
Bugs
Bunny: Winner by a Hare.
s
The Scarlet Pumpernickel
Face
currcntlv available
on
tape or
TV:
"Merrie Melodies" on Fox.
Laser
television.
disc:
Looncy Tunes Curtain
Calls.
Bad Luck
Blackic
Little
various cartoon
blocks on Turner's
Winsor
TNT and The
Cartoon Network. Tape: Tex
TV: "Loonev Tunes on
Laser Calls.
blocks on Turner's
Coal Black and de Sebbcn Dwarfs
Der Fuerher
occasionallv
TV: Shown on Tape and
Laser disc:
television
TV: "Bugs Bunnv and Tweety"
Police
various cartoon
Edition, Vol. 2.
Century
disc:
Shown
TV: "Mickey's Mouse Tracks" on
Laser disc: DucJc Victory.
TV: Shown on
Moocher
the
disc: Bettv Boop's Special Collector's
in the 241/21!)
the Job.
Avery's Screwball Classics, Vol. 2.
1.
Minnie
Movie
Call.
Channel
Duck Dodgers
Cartoon Classics Special
Fun on
Laser disc: The Compleat Tex Avery.
TV: "Loonev Tunes" on
on The Disnev
s
Northw est Hounded
Classics.
Edition, Vol.
Mouse Tracks"
"Mickev's
Edition:
Ranbit of Seville
Not
Mickey and Minnie.
Disnev
on American
occasional^-
disc: Bettv
Victory.
The Band Concert
Disney's Cartoon Classics, Vol. 6:
on The Disnev Channel. Tape:
The Skeleton Dance
Aien
TV: "Bugs Bunny and Tweety" on
on The Disney Channel. Tape:
TV:
Laserdisc: Loonev
s
Tailor
Cfocfc Cleaners
Reelers.
TNT and The
Calls.
ic.
Little
Cartoons Featuring Goonland. Laser
TV: "Bugs Bunnv and Tweety" on Runner Men.
various cartoon
Cartoon Network. Tape: Popeye
tapes and laser discs.
Tunes C unain
Greatest Cartoons
TNT and The
Cartoon Network. Tape: Tex Aiery's
ScrcuM!
Classics Vol. 2.
Laser disc: The Compleat Tex Avery.
Rural Riding
TV: Shown on
Hood
various cartoon
blocks on Turner's
TNT and The
Cartoon Network. Tape:
MGM
The Cat Came Back Tape:
Incredible
Manitoba
Animation. Laser disc: The National
Cartoon Magic. Laser disc: The
Film Board
Compleat Tex Avery.
Festival.
0/
Canada s Animation
Red Hot Riding Hood
TV: Shown on
various cartoon
blocks on Turner's
TNT and The
The Great Piggy Bank Robbery
The Tell-Talc Heart
TV: Shown on
Tape: Columbia Cartoon
various cartoon
TNT and The
UPA Classics
Cartoon Network. Tape: Tex
blocks on Turner's
Avery's Scrcuhall Classics Vol. 2.
Cartoon Network. Tape: Daffy.
Laser disc: The Compleat Tee Avery.
Laser disc: Tlx Golden Age of Loonev
The Big Snit
Tunes, Vol.
Tape:
Porky
in
Wackyland
TV: "Looncy Tunes" on Nickelodeon: Laser
Ham
1.
Vol. 9:
Superman Classics.
Tape: Superman Cartoons,
of Max
Incredible
Manitoba Animation.
& Dav
You Ought
to
e
Fleischer.
Be
in Pictures
Laser disc: The National Film Board
TV: "Loonev Tunes" on
of Canada's Animation Festival.
Nickelodeon. Laserdisc:
Ham
disc: Porfcv Pig.
on Wrv.
188
Vol. r.
Laser disc: The Supennan Cartoons
on Wry.
Porfcv Pig.
1-
Ali
Baba Bunny
TV:
The Barber of Seville
Not
"Merrie Melodies" on Fox.
Tape: Tlx Bugs Bunny/Road Runner
Duck
Movie. Laser disc:
television.
TV: "Bugs Bunny and Tweety" on Laser
disc:
Man Who
the ones that gave us information
Book
on American
some
ot
Rexiue
various cartoon
TNT and The
Cartoon Network. Tape: Golden Age of Looncy Tunes, Tape
laser
1940s
8:
disc: Betty Boop's Special Collector's
Zanies. Laser disc: Golden Age of
Edition, Vol. I.
Looncv Tunes, Vol.
laser disc:
Not
272 East Deerpath
708-234-3231
World's Greatest Posters Castle Rock,
914-478-7278
C
1.
& A Animation Galleries
Great Neck,
!^uasi at the Qiackadcro
The Rocketship
Stay Tuned Gallery The Arcade
549 Warburton Avenue Hasnngs on Hudson, NY 10-06
1
Tape and
currently available on tape or
NY 11021
-800-541 -AART
ASIFA The
Association Internationale
du Film
D Animation
is
an
organization devoted to the Held ol classic
Thev
Cel-ebration
P.O. Box 123
Red Riding Rabbit
and current animation.
TV: Shown on
TV: Shown on
various cartoon
blocks on Turner's
TNT and The
Cartoon Network. Tape: The Golden Age of Looncy Tunes. Tape
6:
Friz Frckng. Laser disc: The Golden
Age of Looncy Tunes,
various cartoon
blocks on Turner's
TNT and The
Cohen Books and
Age of Looncy Tunes,
Vol. 1.
Unicom
in the
Classics,
MGM
The Dover Boys
blocks on Turner's
Happy Harmonies.
TNT and The
Age of Looncy Tunes, Tape joncs. Classics,
Laser
disc:
Looncv Tunes, Vol.
5:
Chuck
The Golden Age of
470 West 24th
Street,
100 11
The
ASIFA Hollywood
Cricket Gallery
GA
laser disc: Felix/
Old Bethpage,
NY
11804
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3
1
7
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1
5
35
1
Index Adamson.Joe.
51, 57. 59. Ill, 135.
166
Bugs Bunny and
the Three Bears.
4~- 55- 59' 65. 7°i 7 2 80-81. 83,
186
-
Adiennircs of Pent -W ou. The, 20
Bugs Bunn\/Road Runner Movie, The. 20
Aesop's Film Fables.
Bugs Bunny Gets
Ali
1
1S6
Allegretto,
American
Show The", 20
"Bullwinklc
Allen. Robert. 129
Pete. 24,
Cabarga.
Leslie, 94.
1
-
25
.Alex, 19,
"Animaniacs
2
.
"Astro Bov", 19. 20
46-4-. j
15. 16. 38.
-7 .
59. 62.
68. 70-71, 77, 83. 111,127, 12 9-
J 73-
186
Babbit. Art, rS. 22-24, 2 9-
"Do-Do
"Calvin and the Lolonel
Donald Duck.
1
*4
Lannon, Robert,
14
1
Cannon, |ohnnv,
20-21
Data
Droopy.
138-39 162-5
Bambi Meets Godzilla, 154-55. 176
Charlie Dog, 22
Bond
Chimquv, Gerry, 145
40-43 166-167
Concert. The, 28.
Barber of Seville, The.
Barbera. Joseph, 16. 18, 20, 24-25. 129,
Barker. Cordelk Bill.
128
24
in the
Green. Gene, 91
Grocning. Matt. 25
Gullna
130
i
bn imi-
<
i
1
Elmer Fudd,
Clampett, Bob, 15-16, 18-20. 22-24.47.
Ike".
Hardawav. Ben "Bugs". 24, 77
74,76. 133-36. 148. 1-8
186
Lcs. 43, 78.
Clock Cleaners, 28,
Hams. Ken, 135 Heckle and Jccklc, 17 Hilbcrman. Dave.
107
"Famous Adventures of Mr Magoo, The' 20
124-25
"Clutch Cargo", 20
Fjhuisiu, 23. 31, 35, 122, 130, 143,
Farmer Alfalfa, 13
the Beast. 2
Cohen. Karl 118. 145,175
Feed
Cohl. Emd.
Feline Follies, 1 3
1
2.
52
Reiman. Nancy, S3
Collvcr. Bud. 140
Benedict. Ed. 20
Colonel Fieeza Liar.
Bernard, [ami. 50. 155
"Colonel Bleep
Bcttv Boop. 14. 22-23.
9+
97> 99-100. 15-.
186 Big
Sflit,
Columbia
1
Pictures. 14. 16.
113-14, 160, 164, 181
The. 29,
116-19
Bimbo. 23. 94. 99-100, 152 Brnita's Initiation, 29,
132-53
Comv
1
Figaro,
18-19
Concerto. 29, 173,
185
Tonv,
Fischingcr,
178-79
Fichus,
Holmes. Sherlock, 84, 86-87
Hublev.John, 18-20. 24,67, 176, 114, 161 Hublcv Studios. 18"Hucklcbcrrv Hound", 20. 22, 164
Hurd.
146
Costello, Billv
Birth of a Nation,
105
"Courageous Cat and Minute Mouse
66
1
/
Fiaien't
/
Loxe
Oskar 176, 186
187
Fleischer, Dave, 97,
Black Fun'. 63
Crac, 168, 186
Blackton.J. Stuart, 10, 12, 52
Crandall. Roland (Doc).
20
Fleischer.
MeL
Blanc.
15, 18. 24, 38. 46. 47, 77, 136,
Bha Wolf, The, 59,187 Bluth.
Cruikshank.
Crunch
145- 170
Don, 20
Bluio. 89
[75
Bosko. 14, 47, 146,
Posustou Stephen. .
Bouffier
1
9.
6-. 114, 181
Culhane, James (Shamus), 19, 22, 78. 166
Foghorn Leghorn,
Culhanc. |ohn. 107
For Scenumentd/ Reasons, 22,
Ub, 13-14.
Foster. Alan,
Daffy Duck. 15. 18. 22. 24. 29. 34. 36-38.
Foster.
145-46. 148. 170. 172-73
Box.Thc, 187
Dd/fy Doodles. 17
"Bozo the Clown", 20
Dalton. Carl. 24.
Bradicv. Scott, 162
Dandndgc. Vivian, 103
Little Tailor,
Bray.
J.
28.
120-123
164
186
Trees, 13, 15,
Ddflv Doc, The. 38
1
Jimmy
77
the
Cricket.
[ones. Charles
74
170
M
Frank Film, 187
Katzcnjammcr Kids. The.
Fred Flintstone 23
Kaufrnan, J.
Frclcng. Friz 20. 22-23, 2 5- I 7 -J 8. 38. 47.
Kicffcr,
77. 145-48,
187
Mike. 91
Ward.
Kimball.
130. 182
Kinnc\
Buckev and Pepito. 20
"Deputy Dawg", 20
Funcs, The,
Kj'tv Komcrcd,
Bugs Bunny,
Dcr Fuehrers
16-18, 21-22. 24, 29. 31,
Face, 29,
1
87
105-07
1 3, 1
-9
P.,
Fntz the Cat, 20
13.
,
lack,
68-71
107 186
Knight, Arthur. 65
3+35. 37-38.44,55.7+76-77. "8 6 H*- 157. r 73- 1 7%> «33 *35-
Dick Tracv, 20, 84, 87
Gallopm' Goucho.Thc, 14, 122
Kpight\ h^night Bugs. 18. 22.
Dictch. Gene, 20
Gerald McBomgBoing, 18-19. 2 8- >7>
kpko
kSx, 185, 186
Disney Studios. 14-17. 31. 34. 38,40-43.
H
-
64-67, 130
190
164
Kane. Helen, 23, too
Dcpatic-Frclcng Entcrpnscs, 19. 23. 146
77
33-35. 37-38. 44-
187
Kjng-Sizc Cdndrv,
Bryant. Arthur Q., 16.
-
''Jonnv Quest". 19-20, 22.
Fncdwald, Will. 165
15
1
47. 49, 51. 74, 76, 134-36, 148, 151,
Davis, Art, 135
R., 12. 13, 14,
"Chuck". 16-18, 21. 22,
Crcu. The. 16
Foxy, 14
Dandndge. Rubv, 103
164
9
24-23. 28-29,
182.
18. 22.
186
Johnston. Ollic. 80
170
Warren.
box and
23, 78. 92. tot,
Jackson. Wilfred. 78. 186
Ford, Greg, 76, 125, 136
44. 46-47. 63. 84. 86-87. I2 8,
73, 143
14, 18, 4T. 59. 146. 162.
"Jetsons. The". 19-20. 22.
Fion as and
Hxard. 169
Braic
101
Flintstones", 18-20. 22.
"Crusader Rabbit". 17, 19, 101
"BoingBoingShow. The". 19-20 Book Raut, 29, 170-73
Flip the Frog. 14,
"The
187
145-46
164, 173
9~. 99-101. 140, 142-3, 152. 162
Sally,
Bird. The,
Thomas,
Rudolph,
Fleischer Bros Studios, 15-16. 23. 29, 88.
Cnppcn. Fred. 20
Preston. 37. 59
46,
-
Iwcrks. Blair.
Fiat, 15, 23.
Max, 12-13, 22 89. 91. 97. 143.
186
94
Got a
Smga. 18-
to
M
143 Ising,
.
Earl, 12. 13
Hurtz. William. 114, 181
Ingc,
"Red Pepper Sam". 91
Birds Anonymous,
Christmas", ig, 21
Huemer. Dick. 10-
Norm. -3
Ferguson. Otto, 43
Colng. Pinto. 73, 108 Condic, Richard,
184-85
186
the Bull,
Ferguson.
17,65,97,
14
Hublcv. Faith, 1-6
Fiolhnood, 22-23,
Fadinand
1
173
,
1
Felix the Cat. 13, 16. 37, 55. 92,
2
20
.
J
Honevmoon Hotel. "How the Gnnch Stole
150-51
the Kitty, 29,
Felix in
178
186
Fast and Furrvous, 17, 74,
102-05. '73 19-20. 22
Hoberman.
.
Coal Black and de Sehbcn Duarfs. 28.
.
77 14. 18. 4-. 59, 46. 158, 162,
164. tji
Eshbaugh. Ted. 186
"Batman: The Animated Scncs". 4~
"Bcanv and Cecil
Fiarc,
Harman. Hugh.
Beaky Buzzard. 16 Bcalc. Eddie. 103
Hare Meets
186
Kent, 140
Gark.
19-20, 24-25. 129,
16. 18.
Happy Harmonics, 15 91
16. 22. 24, 29, 31. 35. 38, 44,
Eugster. Al 125
Gark 178
101
186
162. 164
Edwards. Giff"Ukclele
Churchill, Frank. 73
1-5. 1-8, 187
Barrier. Michael, 103,
Traicls. 12. 9-.
s
Hdir-Ruijing Hare,
Gampett. Bob, Jr.. 62
Bane, RaouL 15
Beuutv and
Gnfnn, George. 1-6
Cenrurv, 11.
'/i*
Education for Death, 107, 186
39
1
14
Baseball Bugs.
Great Piggy Bdnk Robben. The. 84-87. 173
16, 107,
m
Ersatz.
Barnacle
182-83
67
Hanna. William,
60, 62-3. 70. 84. 86-7. 103. 172-3,
164
43
34,
Grant. Joe, 10-
Hand, David. 186 I.Ji>i
162.
Gray. Milt, 182
Duck! Rabbit' Duck!, 135
Dumbo.
"Charlie Brouti Christmas. A", 19. 21
Gould. Chester, 84, 86-87
Graham. Graham.
Chaplin. Charles, 28. 50, 185
Bdtn6i, 16
29
Gracie Films. 25
44-47. 74 Duck Amuck, 29, 36-39
Back. The.
Cat Concerto, The.
41-42.
1
Dreams. 187
22
16. 18. 22, 127,
Duck Dodgers
Adnana. 155
Mv
Gontla
2
A", 20
Special,
Boys. The, 28,
"Captain Kangaroo Show, The". 20
Came
',
14. 15, 16. 17, 23, 38,
the Line, The,
Dr. Scuss, 65,
Champion. Ken. 18
186
Balloonland.
"Dooncsburv Dot and
~8
19.
Cat
82-83
185
Captain Pete. -9
Caselotti.
Gordon. George.
the Kid from Outer Space
105, 107, 122, 124-25. 162. 181
52. 55. 118. 130.
Backus. Jim. 24
Bakshi, Ralph.
20
Canemakcr, lohn.
Casper 14, 17, 18
Blackic. 29.
.
"Goliath rr, 18
Goofy. 122. 124-5
100-101, 152
Dishes. 14,
Calloway, Cab, 94. 99-100. 186
Back. Frederic. 168. 169, 187
Bad Luck
Dizzx
52
Cambria Studio, 20
Antennucci, Dannv, 187
Averv.Tex.
1
186
Goojv Gophers, 22
Disney, Rov. 146 99.
55
"Gigantor". 20
58,
78-79, 114, 122. 146
14
Talc. .An, 21
Aficbon Auagh, 16
Anderson.
Gillett. Bert,
1
Disney, Walt, 13, 16, 18-19, 2I 2 3-4°-43-
.
Bumess.
86
1
121-22, 124-25, 130. 155. 161-62, 178, 182, 186
1S7
the Boid,
Geronimi. Gvde. 21.
Gertie the Dinosaur, 22. 28. 12. 15. 52.
"Bugs Bunnv Show, The". 20
Baba Bunny, 148-49
92
94, 97. 100-101, 103, 105, 107.
the Clerun,
,85
1
3.
—
.
146
22. 23, 37. 94, 97, 152.
9
8
5
5
814
1
Kpko's Earth Control 186
Mouse Owning, 187
Rabbit of Seville,
Krazy Kat,
Moving Day,
Raggedy
15, 101,
1 3,
85
1
86
Talc of Two Kitties, A.
Ann and Andy.
20. 14, 101
186
Tasblin, Frank, 16. 18. 23, 62
Red Hot Riding Hood, 18, 22, 29, 16, 56-59
Tasmanian
Murakami -Wolf Films, 187
Reiniger, Lone. 14,
Tcll-Talc Heart, The, 19, 28,
LaCava, Gregory, 13, 101
Music Lund. 186
Tempo
Lady Play Your Mandolin, 14, 173
Mutt and Jeff,
Reithcrman, Wolfgang, 43, 125 "Ren and Stimpv Show, The", 21, 25
Ladv and
Muvbndge, Edward, 10
Republic Pictures, 97
Tcmtoons. 17-18, 19, 20, Thomas. Frank. 80. 121 Thompson. Bill, 128
Mr. Magoo, 18, 20,
Kricfalusijohn, 25. 87, 89
Tramp, 14
the
24. 114, 181
185
12, 15,
Langer, Mark, 152 Lantz, Walter. 14, 16, 20, 22. 24, 101, III,
166-67. 186
Leaf. Carolyn, 176,
Rhapsodv
116, 139
Natwick,
187
Mvron "Grim",
Under, 21
Rn cts, 1 86
in
Thru
Road Runner.
Rocky and Bulhwnklc,
47
Rural Riding Hood, 29, 57,
Rabbit,
1 55 "Newly-weds, The", 12
Little
"Roger Ramjet
108-111 Watchman,
Night.
Nemo, 12-13, 22 5 2, *86 -
Northwest Hounded
'.
"Ruff and Ready". 126, 129
Lois Lane, 140
160-161
1 8.
Loonev Tunes,
OfdGrcy 46-47, 146. 170,
Old
Man
Hare, The,
186
Old MM, Ik, 15, 28, 80-83 One
Lucas. George.
Oswald the Lucky
44
Froggy Eiening, 29, 48-51.
Out of the
73
Inkwell,
74
the Butcher.
Paramount, 16, 19. 94. 9-, 99-100, 140,
142-43, 152 Parmalee. Ted.
Maltese, Michael 18, 20, 31.51, 62. 74,
Planted Trees, The. 29.
Marvin Martian, 22.
1
168-69
34,
Oozy,
Plane B.,
57
McCay, Winsor, 55, 70.
10, 12, 13, 15, 22. 28. 52,
73 Plvmpton.
78-79, 122, 186
14,
Robert, 17, 38,47. 187 Pointer. The,
Melody,
1
21,
.
89. 186
Memtt,
J
14, 15, 17, 23, 38, 46, 146,
78
Messmcr, Otto,
79 18. 20. 22, 19,
22-23,
2
Pig, 18.
*
Porfcy in Wacfcyfand.
Porky 's
14-17. 57. 59, 68, 70, 85. 108, 127,
129, 146, 159, 162, 164, 187
Mickev Mouse, 22-23, 2 9> 4 I- 43- 5578-79, 89, 92, 100, 121-23, 124-25,
Duck Hunt,
Badume
Pncc, Michael
Miller, Jeff,
the
38, 46,
Story.
H
,
Owl
77
1
80
47
130
Pudgy, 23, 100
Pudovkm,
V.I.,
Moocher, 29,98-101, 105
Moore, Fred, -3, 121 Phil,
Warner. Jack,
186
140
Simensky, Linda, 139, 157
Who Who
"Simpsons, the
Wicked Queen,
Symphonies.
",
Sinkm
14, 43, 92,
186
25
2,1,
Skeleton Dance, The, 14, 29,
U
and
nite,
Much for
So
Little,
28.
94, 103
W. R,
Willie
161
Whopper, 101
Willie the Giant,
Wist
169
2
1
\\ impv, 89
Winkler, M.J
22
Socictc Radio-Canada,
1
Cock Robin, 186
Williams, Richard, 101
92-93
the Seven Dwarfs, 43 94-97. 99, COI, 123, 155 Snvder Ken, 20
Snow
Killed
Wilkcrson,
Sinking of the Lusitania. 13
Sneru VVbitt
Framed Roger RabbiC, zi. 100.
Wild Hare, A, 16, 187 Wile E Covote, 20-21, 34
Bathtub, 14
in the
136
18,
\\ asham. Ben. 135
What's Opera. Doc?, 29, 30-36, 74 When Magoo Flew, 24, 1S6
,
185
Hen, The, 23
Little
Solomon, Charles, 92, 121, 169
"Wizards,", 20
Song of the South, 105 "Space Angel". 20
Wolf. The, 5-, 59, 108. 127. 157, 170 "\\ oodv \\ oodpeckcr Show The", 20
Speedy Gonzales. 22, 146
Woody W oodpecker. 14
.
Spielberg. Steven, 21,
166 Stalling, Carl, 15,
16. 17. 22, 24.
iox, 166, 186
145
18.47.92, 103, 135
Woolen
.
Adrian,
1 1
Stanford. Lcland. 10
83
Moonhird, 187
Moore,
46
145
Minnie Mouse, 78-79. 121 Minnie
5,
Private Snafu, 16, 34,
Professor
186
60-63, *73* *75
1
Duck Hunt,
Mickey's Service Station, 186
Miller, jack
140
Siegel, Jerry,
So Party's Parley's
Mickty'sTrailer,
Sinister, Joe,
Port's Hare Hunt, 16
Michigan J Frog, 22, 50-51
173 185
22-24, 38, 44, 46, 60, 62-63,
84, 136, 145-46, 162, 173, 178
185
MGM,
148, 151, 157, 162, 170, 172, 173, 182,
186, 187
88-91 Porkv
Russell,
the Sailor, 15,
3^. 37- 47- 49-
Seven Dwarfs, 55, 94, 122
Singer Sam, 20
Popeve the Sailor Meets Sindbad
3+
Senor Droopy, 187
Silly
Popcvc 14. 22-23, 2 9- 89. 9 1 97. 162 Popne uSe Sailor Meets Alt Safin's Forty Thieves,
100
3°*
50, 60, 74, 128, 133, 136, 145, 146,
42
186
30
173.
Wardjav. 19-20. 25 \\ amcr Bros.. 16-25,
23
,
186
\\ alms. 99
Poor Cinderella, 100, 186
Mercer, Jack, 29. 89, 91
Memc Melodies,
C
Studios. 13.
Wallace, Ollie, 107
Show Biz Bugs. 38. 148
Mechanical Monsters, 186 Bill.
E
Sharpstcin, Ben.
127, 176, 187
Bill,
187
16, 18, 22, 1 11
Ted, 73 ofNimh, The, 20
Segar,
Poe, Edgar Allan, 113
McLaren, Norman, 119, 176
Melcndcz.
\ aughan. Llovd, 135
Pluto,
187
McfGmson,
130, 161, 181-2,
Van Beurcn
Seldes, Gilbert,
170
[United Production Artists), 14-15,
14
Scnbner. Rod, 18
187
harden. A, 19. 29. 180-81
in the
17, 18-20, 24, 29, 65. 67, 101, 113,
Pinocchio, 130 Pintoff. Ernest,
173
121
Universal Studios, 97
UPA
Screwy Squirrel,
Phink, The, 19, 22, 25
16, 18, 22. 24,48, 146,
Screwball Squirrel, 187
Secret
Pmk
.
17, zz. 4-, 146, r.87
Scrappy, 14
Scars.
44
-
Scott, Bill, 161
Pink Panther, 18, 22, 25, 146
MaxeU-Petok-Petrovich Productions, 187 Billy,
158-59
Pcpc LePcw, 17, 18, 22, 34 Petty. Sarah. 187
Mason, James, 113
Mayer, Louis
14
Peace on Earth, 29,
135-36, 145, 148 Maltin, Leonard, 12, 40, 46, 181
May,
147
1
i
20
.
Bill,
Unicom
Schwartz, Hack,
187
Plunk and Boom, 14.
136-37
Schneider, Steve, 35, 86. 148, 151, 172
Magoo's Puddle jumper, 24
Man Who
Tula,
Schmidt, Louis, 83
1
4""
20
ferry, 14, 16, 18, 20, 22, 24, 70,
Pic,
Twcctv,
14
Schlesinger, Leon, 24, 38, 47, 62, 145. 146.
Rabbit, 14, 22, 122
Lunick, Olga, 161
Lupo
1
Scaredy Cat. 186
Schlch. lack, 20
Love. Ed, 59
Lund}', Dick,
and
"Top Cat
Scarlet Pumpernickel, The,
OvL 89
Olive
Lord of the Rings, 12
72-73
186
130-31
164
Rvan. Will, 9
Salkin. Leo,
187
of the Mountain, The, 99,
65,
164, r86
162, 164, 165
Twtait
14, 23, 38,
112-115
14
Toon Adventures
Toot, Whistle,
20,
Lonesome Ghosts, 186 Long-Hatred Hare, 84
1
Tin-Tin, 21
Tom
20
Ross, Virgil, 18. 22, 103
Police. 11,
Little Pigs, 1 5,
the Mirror,
"Tom Terrific",
Rooty Toor Toot, 29, 101, 114,
The, 16
Noble. Maunce. 135
Lloyd, Harold, 125
Productions,
Paul 13. 16, 18
,
"Tinv
20, 25
Newland. Marv,
156-57
Red Riding
1
Thurber. [ames. 181
17, 18, 22, 25, 31, 34,
"Rocky and His Fncnds", 18
1
Little
Devil,
101
Newgarden, Mark, 70
Utile
em
Three
Packard, Dick, 186 Rikard. Dick, 80
23, 100,
"New Casper Cartoon Show, The". 20
Lend a Paw, 122
1
Rhapsodv Rabbit, 186
Nash, Garence, 23 National Film Board of Canada, The, 19,
Lane, Grace, 24 Laurel and Hardy, 155, 148
Levirow, Abe,
Down
Rescuers
176
Quasi
at the
Quackadcro, 28.
174-77
99 Quick Draw McGraw,
Quimby.
Fred, 129.
Steamnoat Wiilt, 13. 14, 28, 78-79, 122 Yellow Submarine,
Questal, Mae, 23.
Story of a Mosquito, The.
20.
164
164
Street.
The,
Sullivan. Pat,
Mother Goose Goes Hollywood, 186
Rabbit
Mouris, Frank, 187
Rabbit Hood. 187
Mouse o/Tomorrou>. 16
Rabbit Seasoning, 29, 74,
Fire,
Simsbmt Makers,
135. 148
Su ing 1
32-35. 148
52
100
the.
28. 97.
You Ought
140-43
186
Shift Cinderella, 5-,
108.
1
1 [,
20
Bear, 20, 22, 25, 164
Vosemitc Sam. 2,1,
Sylvester, 17. 22. 24,
191
2,
15-16. 23, 185
Superman, 16. 19.
161
1
187
to
17,
Be in
146 Pictures, }8,
Your Face, 187
186
58.47. 136. 146
Zagreb Studios. 18-19. *86
144- 14-
145
Acknowledgments Putting this book together has been a Mike
Dean
Jones,
Mark
Barrier,
Citters, Leslie Cabarga,
Manoogian, and Nancy Johnson
who lent us
the collectors
.
-
-
Deena
Lurte,
is
and
Stein
all.
Worth and Lew Stude
art directors
Emerson. Martv Moore, and Bee Edmunds Espv made
Ita
of
thank the contributors
who shared comments,
Golzman
King Features; Lucie Bourgoinoin
ot
Vintage Animation
Walsh and Karen Smith,
Michael
special cllorts, above
eel restoration, John
and bevond the
call ol
editors
King ofComedv and Bugs Bunny:
) ears
Fiji\
John and Dawn Altyn:
Leslie Cabarga:
ilm cntic lor the
Author
ol
John Canemaker: Author and designer
The
ot
Fleischer Story;
Director of
Karl Cohen: President
of
1A animanon
John Culhane Writer
ol
commencal
on animation
at
New York
Making
of
and director
of
eek,
Nav
\ ork
Times,
and other
periodicals,
Looncv 7imcs and
of
Meme
Melodies;
Inge: Blackwcll Professor
ol
Humanities
at
The Animation
Pixcelation:
Greg Dundis: pp
Randolph-Macon
College,
80 bottom, 90, 9 r,
Garbage Bill
Pail
"Entertainment Tonight "; author
ol
The Houston Chronicle.
1
pp. 32, 33,
12,
14,
1
17
p.
t
Enterprises: pp 74, 73, 149. pp.
Filmart: pp. 72, 73 top, 120 bottom, izt, 122, 163 bottom.
49 top and
director;
coauthor
Will Ryan: Voice
ol several
artist
historian; cocrcator ot
The
center, 50 top and center, 51 top,
for
The Fort Worth Star-Telegram; film
books for
Disney and
Don
Bluth; archivist tor
Elmo Aardvark. Steve Schneider: Journalist; playwright; author of the
Unda
Museum
of
Modem
Simcnsky: Director
of ASIFA.
of
Art
s
Warner
ol That's
All Folks
and guest curator
Bros. show.
animation development
lor
of Enchanted
Greg Martin/MacPhee Group:
Drou rngs.
bottom
left,
nght.
p. 30.
second from nght;
1 1
top,
109
top,
no,
11,
pp.
2-3
page spread
title
Martin, Cel-ebration: pp. 125, 148 bottom.
Museum
7.
of Modem Art Film left,
Stills
Collection: pp. 10 top, 12, 13 bottom,
16 top. 1
19; 138, 139.
Mark Newgarden: pp 4 left, 3 67, 92 bottom. Marv Nevvland, International Rocketship: pp 1
Greg Nunnally:
p.
80
,
5 nght,
1
54,
1
55.
top.
Cheryl Schatz Petrozelli: pp 19 nght top and bottom, 132, by Carl Petrozelli. Steve Schneider: pp. 4 second from
Nickelodeon. President
New York.
Charles Solomon: Book
5
pp
National Film Board of Canada: pp. 116,
director (Your Face).
and songwriter
Galleries:
Peter Merolo: pp. 40, 41, 96,
animanon
enne and cartoonist
160, 161, 180.
left.
Aaron Lakcn,
14 top
Price: Film
52 top, 54, 55, 64, 66, 67, 73 bottom,
5,
1
George Kurz:
Kids.
Plympton: Acclaimed animation
Michael H.
42.
Heller: p 59 nght.
Lhuckjones
Pam for
p.
126, 131.
Of Mice and Magic. Illustrator, designer,
60, 61, 62, 63; 85, 87; 102,
167, 178 top right
Mike and Jeanne Glad:
Kncfalusi: Creator of Ren and Stimpv. for
left,
77
Howard Lowery
Leonard Maltin: Film correspondent
left.
Source: pp. 124, 162, 163 top,
second from
pp. 5
Heidi Leigh, Antmazing Gallery:
enne
Beck
156 bottom
top and center, 87, 100, 143
^
Comics as Culture.
Mark New garden:
The
Jerry
center, 81,
1
editor ot the University' of Mississippi's Studies in Popular Culture; 3uthor of
Jeff Miller: Film
Kellock.
Cruickshank: pp 1-4, 177.
Mark animation, author of Cartoon Animation;
ol
left,
Harvey Entertainment;
producer of
Introduction to a Career.
John
Yammer; Susan
—
Cohen, House of Collectibles:
Sally
Bunnv
compilanons of vintage music. Milt Gray: Produccr/director/vvnter
M. Thomas
pp 5
Steve Ferzoco: p.
Bros, shorts, including TIk Diaorcist and Blooper
Will Friedwald: Coauthor
Etti
Hvams; and Alan
103, 104, 105; 170-73, 178-79. Joel
TIk
historian; coproducer of The Carl Stalling Project; cowriter
Warner
Erie Marshall. lav
164 bottom.
Francisco; animation historian specializing
and censorship hJewsu
pp 48. 144 Animation: pp r 9
Bob Gampett Productions:
Bob Gampett Productions.
an Animate: J Film.
Greg Ford: Animanon
Canadian Broadcasnng System;
Cham Yammer;
Barrier:
A
&"
Bob Casino,
I 'niversitv
author of several books on Disney including Walt Disney's Fantasia and Aladdin; l~hc
ol
Sammis,
John Canemaker: p 5^
artist.
history; producer, director,
animanon program
ASIFA San
lor
and wisdom with us and
Canadian Broadcasting System: pp. 168, 169.
)ork Post, author of First Films.
four books
of
C
Leslie Cabarga:
animation
Ncu
animation, head
ol
Bob Gampett, Jr.:
in early
Funnvworld; author of several volumes on comic books,
awaited history
f
insights,
pp. 21, 56.
Mike
[ami Bernard:
Lowery, Linda
duty, to improve the book.
documentaries
much
their
Kathv Buttler and Walton Rawls. _odic Spain, Lauren
Pat Ballew: pp. 43, 78, 79.
ol 3
and
text, time,
Lederer, Cheryl Chase,
O'Grady, Nancv Reiman, Karl Cohen, Antran
Lorri
and Onh One Grev Hare; award-winng director/wnter/editor of television
and
AndrewJ.
ILLUSTRATION CREDITS
ol Fc\ Avery:
ol
contributed artwork,
Wendv Horowitz, Raymond Spurn, Howard
Kiefcr,
and Corv Kazaks; Jacob and Rebecca Cherry;
or,
CONTRIBUTORS
Michael Barrier: Creator
who
Lorn Bond, Kathie Helppic, and Charles Gaitz of VVamer Bros Animation; Rob Gampett,
The Walt Disnev Company;
and Alvssa Miskofl; Dvlan, Trev
Stein; Michelle Stein; Jared
Mike
Ruth Gampett,
Catalog,
I'd like to especially
Mav oi Turner Entertainmcnt/MGM, oi
of mv personal friends
all
below).
National Film Board ot Canada; Steve
Joe Adamson: Author
Lon
Steve Schneider, Paul Mular, Jcrc Guldin, Will Ryan, Linda Simcnsky,
Doug Rannev of Tnc Whole Toon
listed
Turner Publishing, including Michael Reagan,
staff at
efforts of project editor
dedicated to you
Howard Green and David Smith
The
at
book
this
artwork [both groups are
Addinonal thanks are due to Dick Margaret Adamic, |ohn Sirabella
thanks to the
Kausler, Leonard Maltin, John Kncfalusi, Steve Segal, Will Fnedwald,
V an
Diaz, Darrvl
ball,
Chuck Jones, Mike and Jeanne Glad,
specialized knowledge:
left,
1
65
top,
photography
nght, 34, 35 top, 38 center, 69, 76, 84
bottom, 150, 157 bottom. Silverstone Galleries: pp. 52 bottom, 140 bottom, 142 top, 143 top/bottom nght.
critic for
the ios Angeles Tones; animation histonan; author
Richie Singer: pp. 44
left,
Andrew Weinstein: pp
47, 1
1
1
57
top.
bottom, ^5 bottom, 44 nght, 45, 46 bottom, 132;
photography by Evan Austin.
World's Greatest Posters: by Aden Steve
192
pp. 72 bottom,
88 nght,
Keith.
Worth, Vintage Animation:
pp. 65,
1
:o.
1
20 top,
1
30 top; photography
Jerry Beck has been involved in the animation industry for
more than twenty
and numerous
Beck and
years.
The author
on the subject of animation,
articles
also serves as consultant to
member
is a
of two books
The Cartoon Network
of the board of directors of ASIFA,
the international association of animators. Recently he
has been working on video discs of classic cartoons for
MGM,
Warner
Disney, and
new animation and
Also The
Bros., as well as
lecturing in the
from Turner Publishing,
available
Flintstones:
A
producing
field.
Inc.:
Modern Stone Age Phenomenom,
by T. R. Adams
My
Life in 'toons,
by Joseph Barbera
'Looncy Tunes' characters, names, and
all
related indicia arc
copvnghts and trademarks of Warner Bros
©1994
All rights reserved.
'Superman' character, name, and
all
related indicia arc copyrights
and trademarks of DC Comics.
© 1994
All rights reserved.
Disney characters, names, and
related indicia arc
all
copvnghts and trademarks
of
The Walt Disney Company ©1994
All rights reserved.
©King
Features
©King
Features/Fleischer Studios
TM &1&1994 Walter Lane Productions, Inc Rooty Tool Toot
Tci/ Td/t
All nghts reserved
©1952 renewed 1979 Columbia
Pictures Industries, Inc All nghts reserved
Hcon (SU953 renewed 1981 Columbia Pictures
Gcmld MtBowg Bo\ng ©1950 renewed 1978 Columbia
A Umcom m
the
Garden
Illustrated
1981 Columbia Pictures Industries. Inc All nghts rcsentd
©195; renewed
Jacket design by
Industries. Inc All nghts reserved.
Pictures Industries, Inc All nghts reserved.
The MacPhee Group
by Greg Martin
Published by Turner Publishing, Inc.
A
Subsidiary of Turner Broadcasting System, Inc.
1050 Teehvvood Drive, Atlanta, Georgia
Distributed bv
A
^
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N.W.
S
Andrews and McMecl
Universal Press Syndicate
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