La Paloma (The Dove)

Sometimes it's difficult to figure out what I should post here - if anything. A quick survey of the web doesn't help much. It seems that most of what you will find is publicity for upcoming features, indie 'cut-out' animation stuff or further self flagellation over the likes of Milt Kahl, Chuck Jones, Tex Avery, The Professor, Mary-Anne and the Rest. Anyway, after considering the merits of "Weenie Roast" (Krazy Kat) I decided to take another look at one of the earliest sound Screen Songs: La Paloma.

The song is older than I thought. Believe it or not "La Paloma" is a habanera (something I didn't know) originally composed by Sebastian Yradier around 1860! By the 1920's the song had found it's way into the repertoire of a lot of recording artists: one of the best known being that of Paul Whiteman and his Orchestra who cut two takes of the song May 12, 1928.

It certainly appeared in a lot of cartoons of the early sound era. The Fleischer version, musicians unknown, was released in March 1930. I have speculated at the importance of mandolin, an instrument Max Fleischer himself played, and whether he might not be heard on the track. A recording of Max's mandolin playing graciously loaned for broadcast on Stu's Show a year or so back seems to indicate Max was a competent player in 1942. At any rate 'La Paloma' was covered, with 'I'm Forever Blowing Bubbles' (another Screen Song) in the May 1930 issue of Theater Arts: a magazine dedicated to New York's intellectual scene (click to enlarge).

The staircase of musical notes was oddly forecast in a Krazy Kat cartoon (Charles Mintz Studios) "Slow Beaus" one month earlier (it was released in February, 1930) but lacking the energy of the Fleischer cartoon.

"Be patient my peppy!"

What the hell does this have to do with casements and doves?

Stylistically the film is slightly behind, continuing to use the same 'tear and slash' method of the silent Koko's . In terms of the animation 'La Paloma' represents a transitional time for the Fleischer Studios as talent made it's exodus to California and technical upgrades (i.e. the switch to animation on cell, sound etc.) were implimented. There is no credit on the film but this is the period Shamus Culhane, and a number of other assistants, found themselves suddenly promoted to animators. The shake-up is somewhat noticeable. Regardless, 'La Paloma' remains a strong film in both quality of drawing , music performed with the appropriately corny (but totally straight ahead) gusto and the sheer rejection of that sentiment in the gags. This is essential Screen Song stuff. Enjoy the weirdness ...

and if I hear any snickering at 'All ye sailors so gay' you will be asked to leave the room ...

As before I will mention that there is a racial stereotype occurring at 4:41. Please refer to my previous comments on this subject.

I Feel Like A Feather In The Breeze

Tom Johnson is not a name that comes up too often when reflecting on the great units of the Fleischer Studios. In fact, it was Johnson's unit who virtually kept the Screen Song series alive into the late 30's. A quick survey reveals how many of the best Screen Songs of the late Fleischer period bear Johnson's credit. He was an artist who was fiercely loyal to Max as you can tell by these exchanges published in the studio newsletter (click to enlarge).

Pan that opens "I Feel Like A Feather In The Breeze" (click to largen)

His creation (or likely his) Wiffle Piffle was deeply disliked by artists like Shamus Culhane and one can see how this Disney trained artist would look at the character and be appalled. If a Disney designer or animator were to bring such a creation to a Disney director or producer he or she could count on being on shaky ice (at best) or fired outright. The weird folds in the forehead, the eyes converging to a center point below the pupils (as if the nose contained a powerful magnet), the elfin ears (which wiggled when excited) carelessly tossed on the sides of his freakishly large cranium and his fruit-loop walk all combine to create a character who violates practically every rule of design and and shouldn't work but is absolutely right in the circus world of the Fleischers. For info on Ben Solomon, an animator in the Johnson unit, click here. In the meanwhile enjoy a complete print of "I Feel Like A Feather In The Breeze" (the 16mm Screen Songs had their live-action segments sadly excised) with one of the creepiest lookin' bandleaders ever! W.P. 4 Eveh!

You're fired.

Oswald in "The Shriek"

Ya know this blog has been going for over a year and yet no-one has ever asked: "Hey Uncle Stupid, where's the friggin Oswald?" Yeah, it's true that I tend to fawn over what I consider the A-studios of the early 30's (Fleischer, Mintz & Iwerks) but the B-studios could sometimes truly rise to the occasion by compensating for their lack of draftsmanship * with sheer wildness of ideas. One cartoon from the Oswald series which excels in this regard is "The Shriek" (Lantz Studios, 1933) . It belongs to a sub-class of Egyptian themed cartoons that seemed to enjoy something of a mini-vogue in the early 30's. Practically every studio took a crack at it. This is not the Egypt of a genuine geographic location but loosest of jumping off points; a funhouse filled with strange and supernatural happenings. Enjoy and keep cool!

*Addition* - sometimes lazy communication gets me into trouble. That's because I usually blog while I'm half (or fully) asleep. I should qualify the statement by saying in my opinion I feel the animation, design, layout etc. ("draftsmanship" is a rotten choice of words) at Fleischer, and by association Mintz & Iwerks (who were able to cherry pick from both coasts), was superior to the Lantz Studios. Taken selectively, however, there are some wonderful Lantz Oswald cartoons. That's my opinion an' uhm stickin' to it.

Farmer Al Falfa's Ape Girl

I promised smut and I hate to disappoint so here it is. You know it. You love it. You still don't understand it. Welcome back to the angry and disturbing world of Farmer Al!

You've been a bad fishy

The Horse On The Merry Go Round

This Week: "The Horse on the Merry Go Round" (Columbia Color Rhapsodies 1938). I've written earlier on this forgotten and possibly misunderstood film farmed out by Charles Mintz to the then thread bare Iwerks' Studio and thought maybe it was time to post it. I had remarked on the films daring design and watching the film again one could perhaps even make a case for the use of color and pattern anticipating, though in a much subtler less ham fisted way, UPA cartoons that came much later. I should remark that there is a disturbing stereotype at the 43 second mark. I have no idea as to the cultural origins of such a hateful practice but a similar type midway attraction appears in the first Popeye cartoon so I assume such things did happen. There is no questioning the film was made in sociologically primitive times. Regardless, it is a film with tremendous atmosphere and even lyricism I would say. All the elements that say "Iwerks Studio" are there: a quality not as apparent in, for example, the Warner Brothers' cartoons similarly farmed to Iwerks.

Okay, I'm goin' all marshmallow this week but I promise I'll be back with hardened criminals, tobacco chewing hoboes and perverted chess pieces soon enough ...

Betty Boop For President

A great from two of the Masters: Seymour Kneitel & Doc Crandall. For more on Al Smith clickhere!

Betty Boop's Trial

Today I am posting a cartoon that I had glossed over for years: Betty Boop's Trial (1934). By this point in the series Betty was beginning to tank. This came out around the time of all those disastrous team-up cartoons (Little King, Henry, Little Jimmy) and those infamous yawners (in my opinion anyway) "No No A Thousand Times No" and "She Done Him Wrong". The Waldman credit doesn't exactly encourage curiosity either. So I always skipped over it. Imagine my surprise when I discovered what a filthy (and freaky) little gem this is. If you are checking back regularly you may notice that I sometimes change the text of my posts. That's simply because I'd like this blog to be more about images and video than pontification (which I stink at anyway). So, enjoy the cartoon and may the judge character and his little piggy legs haunt your nightmares for years to come!

A doctored publicity photograph reflected a more demure Betty. The lower image hails from 'Betty Boop's Movie Cartoon Lessons'. By Betty's transitional outfit (see cycle below) I'm guessing the book was published in 1934 - the same year as "Betty Boop's Trial". Incidentally I would say both photos practically define "exquisite".

One Note: There is a brief black-face gag (an Amos N' Andy parody) in "Betty Boop's Trial". I try and avoid such images here (they are covered on other blogs in detail anyway) but sometimes can't as here. The film is kind of a forgotten Betty Boop (and Youtube has only the re-colored version) - so I wanted to post it. And now the cheap jokes...

Yes, this is what you think it is.

Welcome to the Court of Perverted Opinion!

Perverted documents have been drawn ...

What do you say about scary drawings like this?

Perverted Democracy at work (thumb licking optional).