Are you unhappy because you're working on a Monday? Did you come here, hoping your friends at Shades of Gray would have something to life your spirits? Well, you're in luck, old pal! We have a really fun cartoon that you can sing along with!
At the dawn of the talkies, Max Fleischer produced a series of animated shorts based around popular songs and/or folk tunes. Each would, at some point, put the lyrics to the song up on the screen and would encourage the audience to sing along. And, by all accounts, they did and had a great time doing it!
On this very special Musical Monday, we bring you Fleischer's take on "My Gal Sal", a barbershop quartet standard. This short film contains not just one sequence of funny animal characters singing, but three different ones. These vignettes cross over with one another and get progressively weirder as they go. The cartoon can even be held up as having some social relevance as one of the segments carries a suicide prevention message. And, last but not least, it is also one of the very best the series has to offer.
So... gather coworkers around your computer! Lift your spirits by singing along with a classic cartoon, just like they did in 1930!
Big Cheese (1930) Starring: Anonymous Voice Actors (but there are no important spoken lines) Directors: John Foster and Manny Davis Rating: Four of Ten Stars
A boxer from the rough side of town trains for the big prize fight while bullying all who crosses his path.
"Big Cheese" is one of the lesser efforts from the Van Beuren animators--there's excessive looping, gags that get dragged out past the point of being funny, and sloppy animation that leads to character's changing appearances for no reason. Oftentimes, such weak efforts are saved by excellent music and/or songs, but that's not even the case here. There are just enough gags that work to hold a viewer's, and there's also a healthy dose of bizarre, surreal, and out-of-left-field cartoon character transformations to keep the "what the hell am I watching" quotient at an acceptable and entertaining level. And the prize match is mostly hilarious--even if they don't quite pull off the ending.
Despite its overall weakness, this COULD have been a Five-Star rated cartoon, or perhaps even a Low Six if someone, at some point during the production process, had said, "Hey... this story-thread that starts when our Mickey Mouse look-alike character shows up? We just sort of drop it when it really should come back around in the big finale! In fact, we set it up perfectly to do so--so why don't we do it?!" (Basically, Mickey Mouse gets bullied by the boxer, gains super-strength, and then wanders around a bit punching things. If someone who worked on "Big Cheese" had even the slightest notion of how to tell a story, he would have been present for the chaotic brawl at the end of the cartoon, and he would have kicked everyone's butt.)
I have perhaps given a mild spoiler above, but I don't think so. At most, I've given you what you need to not waste your time with this one, if you're a Van Beuren fan. (On the other hand, if you enjoy a good boxing spoof, you'll like boxing match during the second half... and if you're on a quest to watch all the appearances of the Van Beuren Mickey Mouse knock-off [like me], then you'll want to check this out by clicking below.)
Koko's Earth Control (1928) Starring: Max Fleischer Director: Dave Fleischer Rating: Eight of Ten Stars
In 1928, the world was destroyed through the actions a psychopathic cartoon dog that gained that power due to the irresponsible behavior of an animator (Fleischer) and his magic ink. Clearly, some superior being must have stepped in and remade the world, or you wouldn't be reading these words, or be able to click below to watch the video evidence of the horror that unfolded.
Barnyard Melody (1929) Starring: Anonymous Voice Actors Directors: John Foster and Harry Bailey Rating: Four of Ten Stars
Animals form a singing group, and a farmer lends his voice to their cacophonous effort.
Among the cartoons you should never watch while high or really drunk is "Barnyard Melody". Even stone-cold sober, in a well-ventilated room, and after a good night's sleep, when it's over, you may find yourself questioning if you really just saw what you think you saw.
The best Van Beuren cartoons are wild rides of surreal weirdness. This one starts promising--with a mouse and a cat roller-skating down the road--but the opening also suffers from what ends up sinking this entire cartoon: There is just one single gag that isn't dragged out beyond the point where it stops being amusing and becomes tedious... and that gag is among the weakest the film has to offer.
There's a lot of very funny moments and/or cute moments in this film, but they are all ruined by the way they are dragged out and just go on and on and on. Some are even just the same animation sequence being looped three or more times. It's like instead of coming up with material, they padded a four-minute cartoon until it ran six minutes. Given that this cartoon feels like it's a two-minute bit (an old man joins some animals in a musical group) that was padded out to short-film length with random jokes and surreal bits that make little sense in or out of the context of the film, the fact that so much of it feels padded is even more frustrating. Since this was already a mess of random stuff that was just thrown together between the opening and closing credits, would it REALLY have been that hard to come up with a few more situations?
This is often the point in a review of a Van Beuren cartoon where I often talk about how great the music is. Generally, even the most wretched, badly animated, plotless messes from the shop at least has spectacular music that is artfully coordinated with whatever is unfolding on screen. The music here is... well, interesting. As always, it's well integrated with the action on screen, but in this case that means it must, out of necessity, be intentionally bad. It should come as no surprise that animals who aren't birds aren't that great at singing. The music in this short is up to the usual Van Beuren standards and fits the cartoon perfectly, but this means it's more whacky than what a sane person would describe as "good".
There's a lot to like about "Barnyard Melody", but it's almost overwhelmed by the sense of tedium that replaces the initial amusement or curiosity that you'll feel when a new scene begins. The fact there are some good and fun ideas here made me give this Four Stars. I still think it's worth seeing if you've liked other Van Beuren releases, or if you just want to experience something a little strange. (And, hey, maybe you should watch it high or drunk? I could have it backwards--maybe being in an altered state is the BEST way to experience this one!)
Click below to check out "Barnyard Melody".
Note: The bearded farmer in this film appears in a bunch of the Aesop Fables cartoons. I've seen the character referred to as Farmer Grey or as Al Falfa in writers about the Van Beuren releases, but I've not yet seen one where his name was spelled out. Time will tell if this is a Milton & Rita-type situation where the name is identified in sources other than the actual cartoons, or if I will come across actual mentions as I view more of Van Beuren's output.
In observance of Friday the 13th, we bring you a haunting cartoon!
Ko-Ko Sees Spooks (aka "Ko-Ko's Haunted Hat") (1925, 1950)
Starring: Max Fleischer Director: Dave Fleischer Rating: Seven of Ten Stars
Ko-Ko and his pet dog enter a mysterious house where they alternately fight and party with ghosts.
As with most cartoons starring Ko-Ko the Clown, this is another fun mix of live-action footage and animation--although less than in others and the live action portions aren't central to the going-ons beyond Ko-Ko initially forming from several 13s doodled by Max the Cartoonist. (That opening sequence, plus the head-scratcher, completely random climax are almost entirely disconnected from anything that happens in the main body of the cartoon--except perhaps as a way to logically explain how Ko-Ko at one point is able to make a dozen or more copies of himself.)
The bulk of the cartoon takes place inside a haunted house where Ko-Ko ends up in a number of situations that you'd expect in a place like that. My personal favorite moments is Ko-Ko convincing his dog to go into the haunted house, and then later when Ko-Ko is making time with a female ghost (who is a hottie in his imagination). There really isn't anything here that isn't goofy, nonsensical fun, and I am sure you'll enjoy this spooky little film from beginning to end.
(The version embedded in this post is the 1950 re-release where it was retitled "Ko-Ko's Haunted Hat". It's the best version of this great short film that we could find on YouTube.)
Opening Night (1933) Starring: Anonymous Singers and Voice Actors Director: Mannie Davis Rating: Six of Ten Stars
Cubby the Bear tries to sneak into the hottest new show in town and ends up conducting the orchestra.
The title of this 1933 entry into Van Beuren's anthology series Aesop's Fables, "Opening Night", can be taken in at least two different ways. The first, and most obvious, the setting is the opening of a new show at the Roxy theatre. Secondly, this cartoon was the first appearance of Cubby the Bear, an attempt on the part of the Van Beuren Corporation to come up with a recurring character for Aesop's Fables. (They were possibly taking this step because the unofficial recurring characters--Milton Mouse and Rita Mouse--were coming increasingly under threat from the Walt Disney Corporation which was annoyed by the way the pair had increasingly come to be off-color copies of their successful Mickey Mouse and Minnie Mouse characters.)
This first outing for Cubby is a little uneven quality-wise. After a mystifying opening scene involving Santa Claus (probably an artifact of the film's original release date), viewers are treated to a series of repetitive and barely amusing gags as Cubby tries to sneak into the theatre. Once our pint-sized hero gets inside and ends up in front of the orchestra, things start getting better and a lot funnier.
In fact, this might be problem with "Opening Night" in general. The best Van Beuren cartoons are usually so wild that they enter the realm of the surreal. Here, although there are several impossibly bizarre moments, none rise to the level of crazy that one can find in the best "Tom & Jerry" entries. As a result, we've got something here that's a bit slow at the start and eventually gets into the silly and cute territory, and which ultimately feels like it never reaches its full potential.
"Opening Night" was the first of somewhere between 17 and 20 short features starring Cubby. I'll eventually get around to watching and reviewing all of them in this space. In the process, I will also discover which source is correct on the number of Cubby cartoons that were produced.
For now, I invite you to check out the subject of this post by clicking below. I hope you enjoy it. If you do (or if you don't!), feel free to leave a comment.
The Clown's Little Brother (1920) Starring: Max Fleischer Directors: Max Fleischer and Dave Fleischer Rating: Six of Ten Stars
A new cartoon character arrives via the mail and springs to life. He quickly outshines the clown created by the Animator (Fleischer), as he can do everything he can--only better!
"The Clown's Little Brother" is one of earliest in a series of shorts that merge animation with live-action footage that would eventually become branded as "Out of the Ink Well". It is the sixth or seventh adventure of a cartoon clown who freely comes and goes between our world and the animated universe he exists it, sometimes to the great frustration of his creator. In fact, this installment is so early in the series that the clown isn't even formally named yet.
Although it comes at the beginning of the series, all the basics of an "Out of the Inkwell" series can be found here, with cartoon characters leaping off the page and causing--intentionally or not--chaos in the Real World. What's more, we get the sense that the world of Animator is a bit stranger than ours, since he doesn't find it strange that he not only gets a package in the mail with a cartoon character, but someone also sent him a kitten.
Although this was Early Days for the reality-crashing animated clown, the scenes of him interacting with the Real World in this film are excellent. The Clown's battle against a kitten is impressively executed as many of the action scenes that will follow until the series is retired in 1930. (This is also not the only time Ko-Ko is seen interacting with kittens, and if the short linked here is any indication, he makes his peace with them somewhere along the way.)
The only major complaint I have about "The Clown's Little Brother" is that the purely animated sequences drag on just a little bit too long. We, the viewers, get the point that the Little Brother is more capable in the realm of animated craziness than is the Clown/Ko-Ko, but it gets hammered home to the point where I found myself wishing Fleischer would move on. Maybe a 50+-year-old adult shouldn't be watching these films; maybe the one-upmanship scenes are JUST the right length for younger viewers (or maybe even adult viewers back 100 years ago when this film was made.)
All-in-all, though, I feel the five minutes I spent watching "The Clown's Little Brother" were well spent. I encourage you do click below and check it out, too.
Sinister Stuff (1934) Starring: Anonymous Voice Actors Director: Steve Muffati Rating: Four of Ten Stars
Cubby the Bear must save his lady love from the villainous wolf who holds the mortgage to the home she shares with her aged mother.
"Sinister Stuff" is one of at least 18 cartoons featuring Cubby the Bear that appeared during the run of the the Aesop's Fables cartoon anthology series. Like pretty much everything from the Van Beuren animation shop, the episodes vary greatly in quality. This one is at the lower end of the scale; there are worse ones out there, but there are also far better ones.
The strong points of "Sinister Stuff" include the music. As is often the case with Van Beuren efforts, the music is excellent and it's very important in this film where the characters don't sing, but they do all speak in verse and rhymes. The end result is the sense that we're watching a weird operetta, and it feels very appropriate since it's a spoof of old-time melodramas.
The animation here is also superior to what is present in many Van Beuren efforts, with details both in the backgrounds and foregrounds as characters go through their antics. This better-than-average animation also augments and elevates the hilarity and oddness of the several bicycle gags featured (even if one is dragged down slightly by some looping).
The supporting characters are also a lot of fun, from the villain's three sidekicks (who must be related to the weirdos that stiffed Tom & Jerry for cab fare back in 1931) to the fretting mother about to be homeless. In fact, the three sidekicks are the center of the film's funniest moments.
Unfortunately, the bad in this film outweighs all those good parts... and the bad all revolves around story. It starts off well enough as a straight-forward spoof of the stereotypical melodramas with a mustache-twirling villain kidnapping the hero's lady love and putting her in an extreme danger than only he can rescue her from. As it builds toward the climax, however, it begins to fall apart: Jokes are set up that don't pay off, the cartoon-comedy battle between the villain and the hero ranks among the lamest I've ever seen, and the ending just sort of falls flat (although it does reflect the late Pre-Code period in which this film was produced.
But don't just take my word for it. If you have a few moments, click below and watch "Sinister Stuff"... if nothing else, I think you'll enjoy the bits with the three sidekicks.
Felix Turns the Tide (aka "The Inventor") (1922) Director: Otto Messmer Rating: Seven of Ten Stars
When the rats and cats go to war, Felix does his patriotic duty, joins the military, and faces the enemy on the front lines.
"Felix Turns the Tide" is a fast-moving cartoon from the silent era as Felix the Cat was reaching the height of popularity. It starts out violently whacky (with rats and cats blowing each other smithereens on a WWI-type battle field) and ends up in the area of the completely insane as Felix brings in some highly unusual reinforcements for the cats. The craziness is bookended by some cute and amusing scenes, as Felix saying goodbye to his friends on the home-front and then as he returns from the war.
If you enjoy the early Felix the Cat cartoons, I am certain you will love this one. In addition to being firmly set in that crazy world where intelligent, tool-using cats live and work along side humans, it's one of those relatively rare tales where Felix is a straight-up hero in every way. (Just beware--after watching this, you may find yourself thinking twice before you eat sausages again
The version embedded below (for your convenience, easy viewing, and a guaranteed seven minutes of fun weirdness and cartoon violence) was retitled for distribution to television stations in Australia.
(This is the second Monday in a row where we've posted something with a war theme. We didn't really plan this, but maybe we need to start Military Mondays, to go along with Wonder Woman Wednesdays and Firearms Fridays?)
Mask-A-Raid (1931) Starring: Ann Little (Betty Boop and various voices) and Bill Murray (Bimbo and various voices) Directors: Dave Fleischer and Al Eugster Rating: Nine of Ten Stars
Betty Boop is the Queen of the Ball at a masquerade, and she becomes the object of love (and lust) by Bimbo the Bandleader and the dirty old man who's the King of the Ball. Although Betty is clearly more attracted to Bimbo, she declares they must duel tor her heart. Insane antics ensue.
"Mask-A-Raid" is a turning point for the most famous original characters to come out of the Max Fleischer-operated animation studios, Bimbo and Betty Boop.
First, this is the moment when Bimbo was permanently reduced from the headlining character to supporting character status. While he would continue to be a presence in the series for a few more years, he had been replaced as the star by Betty Boop, who had originally been introduced as a nameless supporting character with appearances like this. In some, he'd be a co-star (like he is here), but in others he'd barely be present.
Secondly, this is the point at which Betty Boop's transformation from an anthropomorphic poodle into the big-headed sexpot we all know and love. The change had been taking place over several cartoons, but this is the first time when her floppy poodle ears have been fully replaced by hoop earrings and the last vestiges of her dog snout are completely gone.
As for the content of "Mask-A-Raid", this is one of the most risque Betty Boop cartoons I've seen so far, with Betty leaving no confusion about her desire to get hot and sweaty with Bimbo, with the dirty old man leaving no confusion about his desire to get hot and sweaty with Betty, and there's no doubt that Bimbo is not particularly interested in defending Betty's virtue but rather his own desire to get hot and sweaty with her. I think it's clear that these cartoons were directed at an adult audience--or at least older teens.
All that said, there is a sense of fun about everything in this very charming cartoon. In some of the Betty Boop installments, Bimbo comes across a demented stalker (like this one) or the proceedings are tinged with horror (as illustrated here), but here Bimbo is just a horndog and Betty is willing to engage him. The sense of fun (and perhaps even joy) intensifies as the cartoon progresses and gets stranger and stranger as it goes, and the duel for Betty Boop's--um... companionship--escalates into a major brawl for no apparent reason. I think if you watch "Mask-A-Raid" without at cracking at least one smile, you're dead. Not just dead inside, but clinically dead.
In addition to lots of zany visuals and escalating craziness, "Mask-A-Raid", like many of the Boop cartoons from this period, is an animated mini-musical... and the music and songs are just as nutty as the animation. There are Betty Boop cartoons that feature better music but I've yet to see one that manages to be as completely chaotic and perfectly graceful at the same time as this one.
But don't just take my word for it. Why don't you take a few minutes to have some fun right now? Click below, sit back, and get ready to laugh! (And if I have steered you wrong, let me and the world know in the comments section.)
Do you like using the word "problematic"? Do you think everyone and everything (including you) is racist?
If you answered "yes" to those questions, you should NOT watch the cartoon embedded below. We here at Shades of Gray tend to roll our eyes whenever someone starts bitching about how problematic and racist everything is... but even we found ourselves somewhat shocked by this... um... Chinese-themed cartoon. And "shocked" is not an overstatement.
Seriously: If you see racism in all things and/or find yourself gasping and looking around for the fainting couch when you encounter racist stereotypes, don't watch "Laundry Blues". By the time its 8-minute running time is over, you will in a fetal position on the floor, blubbering incoherently. (If all the Oriental racism doesn't get you, the random out-of-left-field Jewish gag will.)
Actually, even if you aren't overly sensitive to issues of race and stereotypes, you might want to skip this one. Even if you try to set aside the societal changes that have taken place in the decades since "Laundry Blues" was released, this is one of the weaker efforts from the notoriously inconsistent quality-wise Van Beuren animation department. There's no plot to get in the way of the barely amusing, not terribly creative gags. The animation is okay--and there's a little more effort put into backgrounds than in many Van Beuren cartoons--but there's nothing that's particularly memorable. There isn't even much of the surrealism that often elevates Van Beuren cartoons in this one... plus, it's yet another one that features that creepy bit where multiple singing characters merge into one being via their mouths. (Why, John Foster? Why did you love that "gag" so much?)
All in all, "Laundry Blues" is a cartoon that time may have left behind. Like most Van Beuren efforts, it's got some great music, but sometimes it's hard to enjoy even that because what's on screen is so outrageous when viewed through 21st Century eyes. (Heck, even in 1930 there must have been some people in the audience who thought this was a bit much.)
We're giving this one a low Four Rating, with the nicely done musical score and songs lifting it up from a low Three.
As always, we invite you to check out the Van Beuren cartoon we cover here by clicking on the embedded video below. Maybe you can even share your opinion in the comments section. Just don't say we didn't warn you!
Cracked Ice (1927) Starring: No one; it's a completely silent cartoon Director: Paul Terry
Rating: Five of Ten Stars
Cartoon animals frolic in a winter wonderland--sledding, skiing, ice skating... you name it, they do it. Meanwhile, their keeper tries to maintain order and safety.
"Cracked Ice" is an offering from the proto-Van Beuren animation department, back when it was run by Paul Terry. It was originally an entry in the long-running "Aesop's Fables" series.
Whether it's signs of things to come, or evidence that John Foster, Vern Stallings, and the rest were carrying on a grand tradition is hard for me to say... but this is the most plotless, nonsensical cartoon I've discovered among the offerings from the Van Beuren Corporation and related operations. It's devoid of any semblance of plot, and I just deleted a paragraph from this post that talked about all the things in this cartoon that don't make any sense. Why? Because as I was typing, I realized that I was faulting a cartoon featuring a skiing hippo and ice skating cats for including things that didn't make sense.
One critique I am going to let stand is that this early Van Beuren release contains another mainstay of many of their offerings: Sometimes they don't know when to move on from a gag. There are couple bits in "Cracked Ice" that start funny or cute but are then dragged out to the point of becoming tedious. Thankfully, it's the minority, but the trend for the next decade seems to be getting established here.
My customary teaser summary at the top of this review isn't just a teaser here--it relates everything that's contained in the cartoon (except the particulars of the gags). If you're in the mood for cartoon animals being goofy in the winter-time, you should watch the cartoon embedded below. One thing's for sure--it's as entertaining as anything you're going to see from the Winter Olympics.
Bed Time (1923) Starring: Max Fleischer Director: Dave Fleischer Rating: Seven of Ten Stars
The Animator (Fleischer), wanting to get a good night's sleep, tries to stop Ko-Ko from escaping into the real world by stranding him on an animated cartoon top. How will Ko-Ko even the score this time?
The "Out of the Inkwell" series were cartoons that mixed live-action footage and animation, telling crazy stories of an Animator either bullying and abusing characters in a cartoon reality, which he partially created through his pen and ink; or telling stories of characters escaping their cartoon world and entering the ours where they either help or hinder human activities, or set out to get revenge for abuse heaped on them by their creator, the Animator.
"Bed Time" starts out like a typical Out of the Inkwell installment--with the Animator taking a someone inexplicable hostile attitude toward the character he brings to life--but it quickly veers into surreal and crazy territory that's beyond even what one can expect from the series. The sequence where an angry Ko-Ko is out to get his revenge on the Animator is fabulous and waaaay over the top!
I'm not going to go into detail about what happens in the roughly nine minutes of unbridled weirdness that is "Bed Time", because this is one of those things that needs to be experienced without too much foreknowledge of what's to come. I will mention, though, that it gets a little too repetitious at times, and it was bad enough that I kept it at a rating of Seven instead of the Eight Stars I was on the verge of giving it. Plus, if you're like me, you may have the feeling that the entire situation in this cartoon could have been avoided if the Animator had taken a different, far easier and straight-forward way to keeping Ko-Ko in check--and be midly irritated by it. However, if you stick with this fun little film until the end, it wraps up in a way that makes those actions seem acceptable.
Take a few minutes and brighten your day with some Ko-Ko driven craziness. The version embedded below is taken from Craig Davison's YouTube Channel, and, if I understand his notes correctly, the sound-effects were added by him. You should swing by and check out his many excellent offerings.
Here's a merry little Christmas cartoon that all cat-owners can relate to. (And if you're a new cat-owner, you can view this as an instructional video.)
Pals (aka "Christmas Night") (1933) Starring: Anonymous Voice Actor (speaking two lines as Santa Claus) Director: Jim Tyer
Rating: Six of Ten Stars
The Little King invites a pair of bums back to his palace to share an otherwise lonely Christmas Eve with him. His generosity is rewarded with a magical Christmas Morning brought by Santa himself.
Reportedly, "Pals" is the best-remembered of all the Van Beuren Little King cartoons--perhaps even the only one that's remembered by anyone other than folks who frequent blogs like this one. This is because it used to be aired frequently on American television at Christmas time, under the title "Christmas Night". (Personally, I'd never seen it until I began my project of watching and reviewing the entries in this series.)
As a Christmas Special, it strikes all the right warm-hearted Holiday notes and it's full of cuteness. It's particularly sweet the way the Letter to Santa is read by the Real Thing instead of just a guy in a suit--one of the benefits of living in a cartoon universe, I suppose! I personally would have preferred more of a plotline running through the thing, but the almost random collection of events and scenes are amusing and cute enough that I can look past that.
Two interesting details that stood out to me is the fact that the Little King's queen is such a nasty piece of work that she doesn't even spend Christmas with him. Secondly, it continues to be remarkable to me the way the cartoon's character designs create a distinction and gulfs between the Little King, his servants and ministers, and the common folk of his realm; each group has a distinct look. While I might be prone to chalk that up to the general slipshod approach that was a hallmark of the Van Beuren approach to continuity and quality control, I think it's purposeful in this cartoon and the series in general. The level of details in the backgrounds and the statement by some film historians that Jim Tyer was highly invested in translating "The Little King" newspaper strip to the amination medium with as much respect to the original source material as possible says to me that not only effort but thought was put into every frame.
But don't just take my word for it. Take a few minutes to check out this classic Christmas celebration; it's bound to bring some cheer!
(Trivia: "Pals" was released into theaters on December 22, 1933, exactly 88 years prior to this post being made.)
A Royal Good Time (1934) Starring: Anonymous Voice Actors (but it's basically a silent movie) Director: Geo. Stallings
Rating: Six of Ten Stars
The Little King heads out for a day at the funfair and ends up causing chaos.
"A Royal Good Time" is one of nine cartoons that the Van Beuren Corporation produced based on "The Little King" comic strip (which ran from 1931 to 1975, ending with the death of its creator and only artist/writer Otto Soglow). Van Beuren licensed The Little King as the strip moved from "The New Yorker Magazine"
Like many of those adaptations, this one opens with a segment that embodies the look and feel off Soglow's strip, but swiftly veers into territory that's comfortable and typical for the Van Beuren writers and animators: Loosely designed, rubbery characters embroiled in zany, surreal situations and chase scenes full of non-stop sight gags.
Not unexpectedly, "A Royal Good Time" follows this pattern. The opening plays like a Soglow cartoon put into motion with the Little King heading off to the funfair to use his own rifle at the target game. Once he reaches the fairground, however, the look of the characters change, as does the nature of the story. As I've mentioned before, there is a significant different in the character designs between the Little King and those who work as servants in his palace and in his government, and the common people in the rest of his nation. Those differences in character designs are even more striking here, especially because the Little King has to pass through a "checkpoint" to get into the realm of these commoners (the fairgrounds). Up until watching this installment of the series, I was leaning toward chalking these differences in character designs to the Van Beuren operation wanted to keep a certain look about their cartoons. However, I am coming around to the idea that lead animator Jim Tyre, who reportedly was dedicated to making "The Little King" faithful to Soglow's original strip and the highest quality possible, was actually using character designs to set the king and his court apart from the rest of country and showing how they, essentially exist in different worlds. It's an element that doesn't add a whole lot to the simple and chaotic storylines of the episodes, but I think that I've been giving too little credit to Tyre for his work on this series, which I already thought was pretty good.
All that said, compared to other "The Little King" episodes that Tyre helmed, this one is at the lower end of the quality spectrum. The Carnie/Van Beuren-look characters are a bit unstable in their looks from scene to scene, and the backgrounds aren't quite as well done as in other Tyre efforts (although they are still worlds beyond what is typical in some "Tom and Jerry" episodes. The main chase scene is also initiated by an event that doesn't make any sense--basically, The Little King disrupts a magic act in such a way that I think would be just as impressive to the audience as if it had been executed the right way. Nonetheless, the magician gets angry and proceeds to chase The Little King with a sword, intend on killing him. The ending is also very weak and feels very much like "we don't know how to end this, so here's a bit of surreal silliness that doesn't connect to a darn thing you've just sat through." (I think a straight-up "non-ending" like what we got in "Jolly Good Felons" would have been preferable to how "A Royal Good Time" ends.)
There are things I did like about "A Royal Good Time"--and liked a lot. Several of the sideshow acts The Little King witnesses are vehicles for some funny sight gags, as well as just being clever little story elements all by themselves. The Sword Swallower who put the tip of the sword through to the chair he is sitting might make for a nice real-world magic trick, and the giant who is actually a dozen lilliputians in a trench coat are actually a better act than what they're being passed off as. The mind-reader bit was an old gag when this film was made, but it's still funny the way it's timed and executed here.
If you've got 8 minutes to spare, you could do worse than spending them watching "A Royal Good Time", which I've embedded below for your convenience! Check it out and let me know what you think!
Comicalamities (1928) Director: Otto Messinger Rating: Eight of Ten Stars
Felix the Cat and the Animator break the Fourth Wall for seven minutes straight, giving Felix a new girlfriend and sending him to the bottom of the sea in the process.
If you've been around this blog for a while, you know how fond we are of humor that breaks the Fourth Wall. There's some of it in almost every Felix cartoon--over the course of his adventures, he detaches his tail and turns it into a flute or a club, or any number of things--but "Comicalamities" goes further into that territory than any other Felix cartoons I've watched yet.
Like the Koko the Clown films by the Fleischer Bros., "Comicalamities" mixes live action and animation. Also, like in the Koko 'toons, Felix knowns he's a cartoon character and that he can, with the help of the Animator, manipulate and alter his world to fit his needs. Unlike Koko, where the relationship with the Animator is frequently adversarial, he is at Felix's beck-and-call and always helpful.
There is very little about this excursion into strangeness that I don't like. In addition to the Fourth Wall antics--which I won't comment on because it would ruin the fun to not experience them cold--there are some nice visual puns in this film, with the scene of oysters resting on the seabed being my favorite among them. The only complaint I can think to mount against it is that I find the ending rather disturbing. It's probably the bit in the film that makes the most sense, but I still found it borderline horrific.
I've embedded "Comicalamities" for your viewing pleasure. Take a look, and if you disagree with my estimation (or if you agree), feel free to let everyone know in the comments section. (Also, maybe you can tell me what's going on with the Animator pouring ink into the ocean. Is he making it thicker so Felix can climb out? Is he making it darker so the creatures chasing Felix can no longer see him? I don't understand that scene.)
If you enjoyed that, maybe you need to treat yourself to some DVD collections of Felix cartoons that have been curated by film restorer and historian John Carpenter? They are tons of fun!
Edgar Allan Poe passed away on October 7, 1849, at the age of 40. In his short life, however, he wrote many dark poems and short stories that form part of the foundation upon which modern horror stories stand. We suspect that if you're reading these words, you're already family with one of Poe's most famous works, "The Raven". If not, you should take a few moments to read it now. And if you are familiar, it can't hurt to read it again. Perhaps you should read it out loud, so you can get the full experience of the rhythm of the sentences.
Or you can just drop down to the bottom of the post for Jandzi Lorber's fabulous animated tribute to the poem. Made with cut-out animation, it took Lorber ten weeks to make the two-minute film.
THE RAVEN
By Edgar Allan Poe
Once upon a midnight dreary, while I pondered weak and weary, Over many a quaint and curious volume of forgotten lore, While I nodded, nearly napping, suddenly there came a tapping, As of some one gently rapping, rapping at my chamber door. ''Tis some visitor,' I muttered, 'tapping at my chamber door - Only this, and nothing more.'
Ah, distinctly I remember it was in the bleak December, And each separate dying ember wrought its ghost upon the floor. Eagerly I wished the morrow; - vainly I had sought to borrow From my books surcease of sorrow - sorrow for the lost Lenore - For the rare and radiant maiden whom the angels named Lenore - Nameless here for evermore.
And the silken sad uncertain rustling of each purple curtain Thrilled me - filled me with fantastic terrors never felt before; So that now, to still the beating of my heart, I stood repeating ''Tis some visitor entreating entrance at my chamber door - Some late visitor entreating entrance at my chamber door; - This it is, and nothing more,'
Presently my soul grew stronger; hesitating then no longer, 'Sir,' said I, 'or Madam, truly your forgiveness I implore; But the fact is I was napping, and so gently you came rapping, And so faintly you came tapping, tapping at my chamber door, That I scarce was sure I heard you' - here I opened wide the door; - Darkness there, and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing, Doubting, dreaming dreams no mortal ever dared to dream before But the silence was unbroken, and the darkness gave no token, And the only word there spoken was the whispered word, 'Lenore!' This I whispered, and an echo murmured back the word, 'Lenore!' Merely this and nothing more.
Back into the chamber turning, all my soul within me burning, Soon again I heard a tapping somewhat louder than before. 'Surely,' said I, 'surely that is something at my window lattice; Let me see then, what thereat is, and this mystery explore - Let my heart be still a moment and this mystery explore; - 'Tis the wind and nothing more!'
Open here I flung the shutter, when, with many a flirt and flutter, In there stepped a stately raven of the saintly days of yore. Not the least obeisance made he; not a minute stopped or stayed he; But, with mien of lord or lady, perched above my chamber door - Perched upon a bust of Pallas just above my chamber door - Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling, By the grave and stern decorum of the countenance it wore, 'Though thy crest be shorn and shaven, thou,' I said, 'art sure no craven. Ghastly grim and ancient raven wandering from the nightly shore - Tell me what thy lordly name is on the Night's Plutonian shore!' Quoth the raven, 'Nevermore.'
Much I marvelled this ungainly fowl to hear discourse so plainly, Though its answer little meaning - little relevancy bore; For we cannot help agreeing that no living human being Ever yet was blessed with seeing bird above his chamber door - Bird or beast above the sculptured bust above his chamber door, With such name as 'Nevermore.'
But the raven, sitting lonely on the placid bust, spoke only, That one word, as if his soul in that one word he did outpour. Nothing further then he uttered - not a feather then he fluttered - Till I scarcely more than muttered 'Other friends have flown before - On the morrow will he leave me, as my hopes have flown before.' Then the bird said, 'Nevermore.'
Startled at the stillness broken by reply so aptly spoken, 'Doubtless,' said I, 'what it utters is its only stock and store, Caught from some unhappy master whom unmerciful disaster Followed fast and followed faster till his songs one burden bore - Till the dirges of his hope that melancholy burden bore Of "Never-nevermore."'
But the raven still beguiling all my sad soul into smiling, Straight I wheeled a cushioned seat in front of bird and bust and door; Then, upon the velvet sinking, I betook myself to linking Fancy unto fancy, thinking what this ominous bird of yore - What this grim, ungainly, gaunt, and ominous bird of yore Meant in croaking 'Nevermore.'
This I sat engaged in guessing, but no syllable expressing To the fowl whose fiery eyes now burned into my bosom's core; This and more I sat divining, with my head at ease reclining On the cushion's velvet lining that the lamp-light gloated o'er, But whose velvet violet lining with the lamp-light gloating o'er, She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer Swung by Seraphim whose foot-falls tinkled on the tufted floor. 'Wretch,' I cried, 'thy God hath lent thee - by these angels he has sent thee Respite - respite and nepenthe from thy memories of Lenore! Quaff, oh quaff this kind nepenthe, and forget this lost Lenore!' Quoth the raven, 'Nevermore.'
'Prophet!' said I, 'thing of evil! - prophet still, if bird or devil! - Whether tempter sent, or whether tempest tossed thee here ashore, Desolate yet all undaunted, on this desert land enchanted - On this home by horror haunted - tell me truly, I implore - Is there - is there balm in Gilead? - tell me - tell me, I implore!' Quoth the raven, 'Nevermore.'
'Prophet!' said I, 'thing of evil! - prophet still, if bird or devil! By that Heaven that bends above us - by that God we both adore - Tell this soul with sorrow laden if, within the distant Aidenn, It shall clasp a sainted maiden whom the angels named Lenore - Clasp a rare and radiant maiden, whom the angels named Lenore?' Quoth the raven, 'Nevermore.'
'Be that word our sign of parting, bird or fiend!' I shrieked upstarting - 'Get thee back into the tempest and the Night's Plutonian shore! Leave no black plume as a token of that lie thy soul hath spoken! Leave my loneliness unbroken! - quit the bust above my door! Take thy beak from out my heart, and take thy form from off my door!' Quoth the raven, 'Nevermore.'
And the raven, never flitting, still is sitting, still is sitting On the pallid bust of Pallas just above my chamber door; And his eyes have all the seeming of a demon's that is dreaming, And the lamp-light o'er him streaming throws his shadow on the floor; And my soul from out that shadow that lies floating on the floor Shall be lifted - nevermore!
In 1931, as Fleischer's Betty Boop was soaring toward animated superstar status, she and her friend Bimbo co-starred in an adaptation of the "Little Red Riding Hood" story. It has some fun, surreal, and/or just plain crazy moments. The music isn't bad either.
It also makes you question Betty's taste in boyfriends. At the outset of the Betty comments to Bimbo that her mother doesn't approve of him... and as the cartoon unfolds, I think it's clear why. By the end, I think it's clear that Bimbo may be more dangerous than the wolf ever was... as well as a complete psycho. (Of course, if the assume that "Dizzy Red Riding-Hood" is a sequel to this one, we already know Bimbo isn't quite right in the head.)
"Dizzy Red Riding-Hood" is a zany take on a very familiar story that goes to very unexpected places. No matter what meaning you assign to the original story and the events and characters within it, this version subverts them all!
Dizzy Red Riding-Hood (1931)
Starring: Ann Little (Voice of Betty Boop) and Billy Murray (Voice of Bimbo, others)
Felix Minds the Kid (1922) Director: Otto Messinger Rating: Eight of Ten Stars
The world's most irresponsible father asks Felix the Cat to watch his baby.
"Felix Minds the Kid" is a fun bit of nonsense from beginning to end. It gets a little too nonsensical at one point for me, but not disastrously so. It's also one of those shorts where if I say too much about it, I will ruin the fun of watching it. I'll just make the comment that anyone who asks a stray cat (even one that can talk and use tools) may be the worst parent ever. It's both funny and troubling.
One nice thing about this cartoon is that while Felix generally tends to be a bit of a trickster and a troublemaker and almost 100 percent self-centered, here he does seem to be genuinely concerned about the baby's well-being. Sure--he's going to get rewarded or punished depending on how successful his babysitting efforts are, but he goes beyond the call of duty more than once here.
Without spoiling the cartoon, I think I can mention that one of my favorite bits in the cartoon is how all human babies look alike to Felix; sort of like how a litter of black kittens look alike to humans. My least favorite parts involve gags that make me think no one who worked on this production know why some inflated balloons float in the air.
With that said, I highly recommend you bring a little joy into your life by checking out Felix's turn at baby sitting. I am embedding a version of it that can be found on YouTube, below. However, the image is so degraded, washed out and blurry that you'll barely be able to follow what's going. This is the case for all the YouTube uploads I looked at... because they all seem to be taken from the same source.
A much better source for watching "Felix Minds the Kid" would be "Felix the Cat: Early Cartoon Classics" from Alpha Video. The version on this disc is in much better shape than the one you might find on YouTube, and it's one of ten Felix episodes contained on it. So far, each one that I've watched on the disc has been in better shape than any of the versions I could find on line, since they were digitized from the personal collection of film preservationist John Carpenter. I think this collection is more than a bargain at the asking price
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