Saturday 30 November 2013

Joe De Nat

It’s hard to believe watching today’s animated TV shows, with talk, talk and more talk, that when sound was added to cartoons over 80 years ago, dialogue was pretty minimal. Music and lyrics filled the soundtrack, not chatter, as composers and arrangers worked to fit their melodies to the sight gags.

It’s a shame, considering how important music was (and remained) to theatrical cartoons, how little is known about most of the people responsible for the scores. Carl Stalling at Warners has received his due and, to a lesser extent, so has Scott Bradley at MGM. But what of David Broekman or Art Turkisher or Joe De Nat?

De Nat was the Charles Mintz’ studio’s composer/arranger from the time sound came in to when Mintz’ studio underwent a house cleaning by Columbia a number of months after Mintz’ death just before 1940. De Nat’s pretty much forgotten, much like the cartoons he worked on. This post won’t try to analyse his style—I’m no musicologist—but his early stuff owes a lot to accompanists of silent films who’d mix in public domain tunes with their own themes to match the mood and action (Evidently, Columbia paid for tunes on occasion. De Nat managed to fit in a Dixieland-ish version of “Darktown Strutters Ball” in the 1931 Scrappy cartoon “Showing Off”). Instead, I’ll just post some biographical stuff I’ve stumbled over on the internet because there really isn’t much information about him.

De Nat was born in New York City on October 2, 1898 to Raphael and Hannah De Nat. His parents were from England, his grandparents from Holland. His father was a cigar manufacturer. As you can see by his World War One draft card to the right, he was already a musician in his teens. Whether he served overseas is unclear. I’ve also been unable to find where he received his musical training, but he was a published composer. He co-wrote “Just a Little Song For You,” copyrighted October 6, 1923. He fronted his own orchestra; I’ve found one appearance in 1927 on WBOQ radio, a part-time station that shared airtime and studio space with the much bigger WABC. In 1929, the Mintz studio started adding sound to its cartoons. Rosario Bourdon scored the first cartoon, “Ratskin,” released August 15th. However, The Film Daily reported on July 22, 1929:

De Nat to Handle Scoring for Krazy Kat Cartoons
Charles B. Mintz, president of Winkler Film Corp., producers of Krazy Kat cartoons, has arranged with Joe DeNat, composer and orchestra leader, to take charge of synchronization and scoring of Krazy Kat cartoons. With installation of this department, DeNat will write a special score for every instrument to be used in the final synchronization so that the scoring will be done simultaneously with the production of each picture. The music and effects are to be written before the cartoons are made so that at the completion of the picture there will be a co-ordination between it and the musical score. DeNat has just returned from a six months sojourn in Hollywood where he made a study of sound. The synchronized Krazy Kat cartoons will be distributed by Columbia Pictures.

The studio used a sound-on-disc process. The discs were recorded by Victor and you can read the list of De Nat’s early work on this web site. Incidentally, the site credits the musical direction in the second Mintz cartoon, “Canned Music,” to LeRoy Shields.

In April 1930, De Nat packed up his wife Ida and headed for California with other selected members of the Mintz studio, where he remained for about another ten years. Variety of April 16, 1936 stated he had written and directed scores for 166 shorts and features. Eddie Kilfeather began work on the studio’s cartoons in 1937 but De Nat remained. Variety reported on October 12th, 1942 that Kilfeather had been made musical director of the studio. De Nat is listed simply as a “salesman” in the 1942 Los Angeles City Directory, but the following year, Variety revealed he was the front man for the house orchestra at Earl Carroll’s Vanities in Los Angeles. Six years later, he was a pianist for a road company edition of a touring ice stage show. He remained a member of the American Society of Music Arrangers. Other familiar members to cartoon fans were Darrell Calker, Clarence Wheeler, Win Sharples, Milt Franklyn and Bill Lava; Kilfeather and De Nat’s replacement, Paul Worth, were not, and neither were Carl Stalling, Scott Bradley or even Phil Scheib of Terrytoons..

De Nat died comparatively young. The New York Times of August 15, 1951 stated his funeral would be held that day. He was 52. Possibly he had returned to New York City. De Nat and his wife divorced a month before his death and she spent the next seven years in court fruitlessly trying to get her hands on less than $400 worth of bonds that she claimed belonged to her (a judge finally ruled in favour of De Nat’s estate). They left no children.

Friday 29 November 2013

The Headline Behind the Headline

Real newspapers made their way into Warner Bros. cartoons on occasion. One example is in the Bob Clampett cartoon “Tortoise Wins By a Hare,” released February 20, 1943.

Yes, the paper has been doctored for the Bugs-Cecil story (and for the prescient headline about Hitler killing himself) but it actually is from Sunday, November 1, 1942. It’s really tough to read but if you blow up the picture enough, you can tell the story sub-headed “MacArthur’s Flyers Damage Second Warship” matches the copy of an AP story of the date. And, yes, there was an AP story of that date datelined Pearl Harbour, H.I., reporting the Chaplain who said “Praise the Lord and pass the ammunition” had been found (he wasn’t actually missing; his ID was revealed as Lt. Howell Forgy, a former football player).

This same newspaper, doctored differently, but still with the same phoney Hitler headline, opened the Private Snafu cartoon “Fighting Tools” (released October 13, 1943).

And, yes, this actually is a Chicago Tribune newspaper. The proof is in the story in the left-hand column about capturing 40 seats. The writer was Arthur Sears Henning. Not only was he on the Trib staff, he was the reporter who told his editors on Election Night in 1948 that Thomas Dewey couldn’t lose to Harry Truman, prompting the infamous front-page headline in the Tribune on November 3, 1948: “Dewey Beats Truman.”

At least the Bugs headline was accurate.

Thursday 28 November 2013

A Columbia What?!

Cartoon fans lament that Blue Ribbons have replaced original title cards on Schlesinger/Warner Bros. shorts and Fleischer cartoons exist without the Paramount footage at the opening. Happiness abounds when discoveries are made of the titles that once appeared at the start of MGM cartoons.

Yet nothing is said about the generic drawings that took the place of the originals that opened cartoons released by the Columbia Screen Gems studio. Where is the outcry?

There isn’t one because the term “Columbia Favorite” seen on one of these reissue title cards is a contradiction in term for most old-time cartoon lovers.

So which of these Columbia characters are your favourites? Can you even name them?

Actually, my favourite Columbia is represented here. On the bottom left corner you’ll notice the dog and cat from “Flora” (1948). Gerald Mohr does a great job narrating a story where the words have a different context than what’s appearing on the screen. In the other corner are the duck and hunter from “Wacky Quacky” (1947). There’s a gag I really like where the hunter rests up from the chase while the duck runs around, then resumes the chase on his own while the duck catches his breath. Just above the ersatz Elmer Fudd are the moose, turkey and native from “Topsy Turkey” (1948). I think. To the left of the Indian is one of the stars of “Lo, the Poor Buffal” (1948). Your guess is as good as mine who the pig and rooster (is the rooster wearing spurs?) are, as well as the mouse in the basket at the bottom. Any Columbia experts out there? Please weigh in on the IDs.

Columbia’s Screen Gems studio seems to have been in constant upheaval and the cartoons it made in the last few years before it closed are awkward to describe. They’re pretending to be Warner Bros. and Tex Avery cartoons (even down to character design) but don’t quite make it. Some gags just come out of nowhere, like a kangaroo eating the main characters in “Kongo-Roo” (1946) who have shrunk themselves to bug size through willpower.

Mike Barrier has found a story announcing in the closure in Variety of May 28, 1947. Cartoons in the can continued to be released until 1949 until a ten-year marriage with UPA.

Here’s one that probably owes the most to other studios. A cat that looks like Sylvester engages in festivities that you may recognise from elsewhere (like the multiple door gag that Tex Avery liked to use). And because it’s a “Columbia Favorite,” you wouldn’t know Sid Marcus directed this cartoon because the credits have been taken off.

Wednesday 27 November 2013

More George and Gracie

George Burns and Gracie Allen were among the radio stars who jumped into television. They did it successfully, remaining on the air until Gracie had enough and retired in 1958.

There were a few changes when the show became visual. Harry Von Zell replaced announcer Bill Goodwin, son Ronnie played a role, and George chatted with the audience as if he were on a stage with his “life” going on in the background. But the show still focused on Gracie’s mangling of logic as the characters around her—as well as the audience—stopped to think “What did she just say?”

Syndicated columnist John Crosby had a look at the TV show—and he wasn’t all that happy with it. Then he took another look and felt a little better about it.

The first story appeared in newspapers on November 3, 1950.

More In Sorrow Than In Anger
Television makes me nervous from time to time and, in trying to track down this particular neurosis, I have reached something approximating a conclusion.
At least this is as close to a conclusion as I ever get. I get particularly jumpy when the old entertainers approach television for the first time. I sit there, palm sweating, hoping they’ll be good.
I consider this an imposition on my good nature. It’s really none of my business whether the old entertainers, the ones who were world famous in radio, are worth their salt (a word meaning $7,000) in television. Still checking around my small circle of friends, I find they do this too.
Radio is such an intimate medium that these performers become friends of the family. When they embark on TV, you feel pretty much as if they were your small son undertaking the Gettysburg address at commencement.
You hope to God he remembers his lines, that he doesn’t fiddle with his necktie and that he doesn’t fall flat on his face when he makes his exit.
I was struck with this nervousness particularly sharply by the Burns and Allen television debut. Now, George Burns, despite all evidence to the contrary, is one of Hollywood’s wittiest citizens.
Their opening show, I’m told, was three months in preparation. And I can’t understand what happened to all that time and all that intelligence. Not that it was a bad show.
In fact, it was a pretty good one. But it didn’t seem up to all that travail. The jokes were all on what you might call the middle level, as if Mr. Burns was afraid of going over our heads.
They were also, I’m afraid, familiar jokes, and here again I got the feeling that this was deliberate, as if Mr. B. felt that old jokes are soothing to old customers, that a new joke might upset our digestions.
If this is the approach Mr. Burns is using, I would like to register strong disapproval.
I feel affronted when I am treated like a backward child, and I have a hunch other listeners do too. The Burns and Allen television show is a carefully done replica of the Burns and Allen radio show.
In fact, the Burns and Allen radio program has been treated with a reverence generally accorded only to the restoration of public buildings.
As a gesture toward the visible aspects of television, the Burns had fragmentary settings of their house and the house of their next door neighbors who were, and always have been, important parts of the Burns and Allen plots.
However, the goings-on in these houses are exactly as they were in the old days. Gracie still befuddles door-to-door salesmen with her terrible innocence of all matters practical. George’s badinage with his announcer, Bill Goodwin, has not changed a syllable.
A lot of it was very amusing, but none of it seemed to belong on television.
One thing I’ve noticed about virtually all the old radio comics, newly transferred to television. They all talk too much. George Burns even acts as narrator on his show.
Well, of course, one had to have a narrator on radio to inform us that Gracie had just got back from the grocery store. But on TV, we more or less assume that Gracie has been shopping when she walks into the living room with a bagful of groceries.
Still, George insisted on telling us these plainly visible things. The only explanation I have for this strange behavior if that George Burns doesn’t really believe that television actually exists, that he doesn’t believe a picture is being transmitted, that he thinks the whole thing, in short, is a monumental hoax.
I say all this more in sorrow than in anger because I think Burns and Allen are two very gifted and charming comedians. And anyone who has ever talked to George Burns for 10 minutes will tell you that he is a very funny fellow.
I just wish he wouldn’t supress his wit so skillfully on the air.

And this is Crosby revisiting the show. The column is from May 8, 1951.

Small Apology And A Few Posies
I took a pretty dim view of the original Burns and Allen television show. Now I’m prepared to take it back. Well, some of it anyhow.
It struck me originally that Mr. Burns and Miss Allen showed entirely too much reverence for their radio show. In fact their TV show departed not at all from the old formula which the Burnses have lived on successfully for so many years.
These complains still are entirely valid. The Burns and Allen show (CBS-TV 7 p.m. alternate Thursdays) still resembles their radio show to a remarkable degree.
But I’m afraid it works rather well, much as I hate to admit it. George still opens the show with a bit of narration, setting the scene, as it were, just as if it were a radio show despite the fact that the scene is all set for him.
Still, he’s a pretty funny monologist and this little patch of radio is not at all hard to take.
Miss Allen always has been a favorite of mine because of her social and magnificent gift for feminine irrelevance.
Irrelevance, of course, is not confined entirely to Miss Allen, all women being pretty gifted in this direction. But Miss Allen is especially comforting to male listeners who have been driven nuts from time to time by their wives’ habit of wandering about a mile away from the point.
After listening to Gracie for a bit, you breathe a sigh of relief and reflect that the old girl isn’t THAT bad.
Most of Gracie’s gags are as visual as possible on the TV show.
Gracie, for example, reading a cookbook: “For best results, frankfurters should not be cooked long.” So she chops them up short.
Gracie is a menace whenever she dips her nose into a cookbook. Once she read that fairly familiar line: “Roll in cracker crumbs.” She rolled in them.
What, what can you expect from a girl who drives with the emergency brake on so as to be ready for any emergency? Or one who says: “Oh, that’s too bad. I hope he didn’t die of anything serious.”
Of course, a good deal of Gracie’s nonsense comes perilously close to horse sense. Gracie, for example, bedeviling a tax expert: “Where does the money go?”
“Well, for example, it helps pay your congressman.”
“Why not just list him as a dependent? You mean Republicans help pay Truman’s salary?”
“Yes, they do.”
“That’s certainly rubbing it in, isn’t it?”

Louella Parsons broke the story on February 19, 1958 that Gracie was retiring at the end of the TV season. Burns went it alone for a year with a revised situation. A heart attack claimed Gracie Allen six years later. Her humour still holds up, and will so long as you can turnaround words in the English language.

Bob Clampett's New York

Oliver Besner has posted a short video on the internet with a look at the streets of New York City in 1945. It features the headquarters for NBC and Mutual Broadcasting, some theatres, a neat little cartoon on a big screen at the end . . . and this guy.

Yes, that’s Warner Bros. cartoon director Bob Clampett. Oliver’s note says it was shot MOS on Clampett’s 16mm home movie camera. What was Clampett doing in New York? Beats me. A TV-cartoon venture fizzled in 1944; it was too early. He left Warners by May 1945 and worked out a deal with Republic about a year later.

Oliver didn’t indicate where the video came from, but you can view it below.

P.S.: Mention has been made in the comments about the Beany and Cecil website run by the Clampett family. You can visit it HERE.

Tuesday 26 November 2013

A Helpful Sock in the Face

Here’s a neat little gag from the Oswald cartoon “All Wet” (1927). The girl rabbit fakes being in distress in the ocean so lifeguard Oswald will save her. The word “Help” comes out of her mouth, flies to Oswald, punches him in the face then directs him where to make his heroic rescue.

A Mr. Disney gets the only credit here.

Monday 25 November 2013

The Art of Turkey

So you thought Wile E. Coyote was the only cartoon character who painted scenery on a wall to fool another character, only to have the other character run through it? Afraid not. The big-nosed pilgrim in Tex Avery’s “Jerky Turkey” (1945) did it, too. With the same end result as Wile.

And, as an added non Wile E-type bonus, the painting sticks to the pilgrim.

Ray Abrams, Preston Blair and Ed Love get the animation credits, while Heck Allen is the storyman.

Sunday 24 November 2013

Conn-ing Jack Benny

Harry W. Conn was doing well in the 1920s, writing the stage vehicles “Relaxation” (for ventriloquist Valentine Fox), “Dizzy 1928,” “Twelve O’Clock at Night,” “At the Station” and “Just Back From Abroad,” among many others. The 1930s promised to be even better. He connected with vaudeville emcee Jack Benny, who had been hired by Canada Dry to front a radio variety programme. Benny quickly rose in the ratings. Conn knew who was responsible—Harry W. Conn. He proved otherwise by walking out on Benny, then failed writing a comedy show for Joe Penner and failed even more with his own radio comedy. By the ‘50s, Benny was still entertaining audiences while Conn was working as an usher in a New York theatre, dreaming of a comeback.

Conn did a little more than come up with gags for Kringelein and Alois Havrilla, who no one except hard-core fans associate with Benny’s radio show. He came up with this little piece of comedy writing which appeared in the editorial pages of the Brooklyn Daily Eagle of July 3, 1932, about two months after Canada Dry show debuted. You can see the foibles of the Jack Benny we know today aren’t quite there yet.

By Harry W. Conn
An interview in one act.
Scene: NBC Studio.
Cast of Characters: Jack Benny and reporter.
Q. Hello Jack Benny. How do you do? Mr. Benny, would you tell me a few things about yourself for The Brooklyn Eagle? A. I don't mind, but please spell my name right—-I'm Jack Benny and not Jack Denny of orchestra fame, get it right. Benny—B, as in Bean Soup—E, as in Sharkee, the fighter—N, as in Knickers—another N, as in pneumonia and Y, as in the State of Y—oming.
Q. O. K., I'll remember that, Mr. Penny. By the way, how do you like broadcasting on the N. B. C. networks?
A. I think it is fine and the name's Benny, please.
Q. Do you like broadcasting as well as stage work?
A. I like it much better because I can't hear my audience hiss me.
Q. When did you first broadcast?
A: My first air work was in 1905.
Q. You did air work in 1905.
A. Yes, I was a parachute jumper, but I like golf much better.
Q. Where were you born, Mr, Benny?
A. Oh, er—I don't know; what cities do you like?
Q. I like Rochester, St. Louis, Boston and Syracuse.
A. That's one; make it Brooklyn.
Q. Were you born in Brooklyn?
A. No, but I like Brooklyn, and as soon as they start hitting the ball and get a little better pitching the pennant will be a cinch.
Q. That's fine; er . . where were you born, Mr. Benny?
A. How do you like this new driver?
Q. Do you play golf every day?
A. Yes, you know, Gene Sarazen is the pro at our country club in Great Neck. I played 18 holes with him yesterday.
Q. I suppose he won.
A. Yes, but it was very close. He shot a 69 but it took him 18 holes to do it. I got my 69 before I reached the ninth tee. The trouble with me is that I putt on the fairway and drive on the green—I like to be different, and——
Q. Where were you born, Mr. Benny?
A. Just as you say; let's take politics. I don't mind talking about that at all. Each man is entitled to his political beliefs; let's take George Olsen who belongs to the Not-So-Liberal-Party.
Q. You mean the George Olsen who owns the orchestra on your radio program?
A. Yes. that fellow who wouldn't give a dime to see Texas Guinan become a reformer.
Q. I was out with Olsen and Ethel Shutta and I must say they paid for everything.
A. That's all right. I loaned him the money.
Q. Ethel Shutta is Mrs. George Olsen, isn't she?
A. Yes, and are you going to print what I said about Olsen?
Q. Of course, Jack.
A. Well, in that case let me tell you one thing, he's the swellest fellow in the world and spends like an oil king.
Q. Now, where were you born, Mr. Benny?
A. O. K. with me. Let's take the Sharkey-Schmeling fight . . I was there. What would you like to know about it?
Q. Where were you born?
A. Yes, I had a ringside scat. Row Z, Section X, seat Number 999 and it certainly was a great fight—so people tell me.
Q. Do you think we'll get repeal in this coming election?
A. Well, if you're going to keep harping on the subject, I was born in Lake Forest, Ill. I had one father and one mother. I spent eight years at college, the University of Illinois . . . and don't ask me if I was a freshman for eight years . . . I didn't attend the classes; I was a cook there. Then I wanted to become a radio announcer, so I practiced talking to myself, but I never got a job as an announcer as a few people listen in to every program and talking to yourself does a person no good. Well, so long, I'll meet you at the 19th hole, Remember—the name's Benny.

Saturday 23 November 2013

It's All About Feature Cartoons

You know how Hollywood is. Something’s a big hit and then everyone thinks maybe they should try to the same thing (and the hit-maker makes sequels and prequels until everyone’s tired of them).

Such was the case of “Snow White and the Seven Dwarfs.” It was a colossal, unprecedented hit. So everyone wanted a cartoon feature. Warner Bros. obviously wanted one; it started booking “Snow White” at its theatres before negotiating with its own cartoon producer about creating one (the idea was dropped). Only the Fleischer studio, no doubt at the behest of Paramount, went ahead with it, rejecting its first story idea along the way.

The whole cartoon industry of the 1930s was being pulled by Walt Disney. When “Flowers and Trees” was successful, other studios advertised colour cartoons. When “The Three Little Pigs” was a success, other studios advertised fairy tale cartoons. Now that a Disney cartoon feature was a success, other studios virtually stopped advertising cartoon shorts. With rare exception, mainstream critics ignored them until UPA released “Gerald McBoing Boing” and studios thought so little of them they sold their cartoon libraries for what turned out to be dirt-cheap prices in the mid-‘50s.

Thus the pages of The Film Daily, the New York-based trade paper, are filled with a cascade of “Snow White” news in 1938. And not much else. The Fleischer studio move to New York was noteable. So let’s see what was written in the first part of the year.

Leon Schlesinger was a busy man. He was vacationing in South America. He was negotiating about a feature. And he quit the Motion Picture Academy because his beloved Porky Pig couldn’t get nominated for an Oscar because the character wasn’t in colour. Sorry, Tex and Friz, it means you’re not eligible now (the Academy did have a Freleng cartoon in its initial batch of cartoons for consideration). Walter Lantz was still trying to come up with a new successful character. And while Walt Disney was raking in a cash windfall from “Snow White,” pioneer animator Emile Cohl died penniless and the man who first animated Disney’s Mickey Mouse, Ub Iwerks, was reduced to piece-work on Scrappys for Charles Mintz.

January 3, 1938
Metropolis Takes Two
Metropolis Picture Corp. has announced acquisition of U. S. distribution rights to "The Fox Hunt," said to be first animated Technicolor cartoon to come from Europe, and "Winter Magic," short on Austrian Tyrol's winter sports. Both are to debut at 55th Street Playhouse soon on same program with "Affairs of Maupassant."

Coming and Going
LEOPOLD STOKOWSKI, noted conductor, will arrive in Hollywood this Wednesday to prepare a score for "The Sorcerer's Apprentice," new Disney fantasy.

January 4, 1938
Foreign Language Versions Planned for "Snow White"
"Snow White and the Seven Dwarfs," Walt Disney's production for RKO release, is to be dubbed in French, Spanish, German, Italian and Scandinavian languages, it was reported yesterday.

January 5, 1938
Record for "Snow White"
West Coast Bureau of THE FILM DAILY
Hollywood — Walt Disney's "Snow White and the Seven Dwarfs" smashed all-time house records of the Carthay Circle Theater for the first two weeks of any engagement, according to Manager Roy Dusern.

Phil M. Daly column
• • • IT RENEWS your faith in the Motion Picture . . . makes you proud to be a part of the industry . . . just to view Walt Disney's marvellously beautiful fantasy, "Snow White and the Seven Dwarfs" . . . for here is fantasy so artfully created that it simulates the height of realism in the emotional reactions it creates . . .
• • • IT EASILY may go down in history as the greatest fairy tale ever told . . . a picture that will not only color the life of every child who sees it, but will exercise a profound impression on every grown-up . . . for here is beauty of color, movement and music woven into a picture fabric that runs the gamut of all the human emotions in a simple story that reaches down into something that is elemental in all of us • • • THE AMAZING thing about the picture is that it never occurs to you that you are looking at a cartoon creation . . . as the minutes slip by and you grow fascinated and absorbed in the adventures of Snow White, the character of the little girl takes on a realistic quality and you find yourself viewing her as you would some human character like Shirley Temple who is a living, breathing entity . . . this applies also to the Seven Dwarfs . . . each a very individualized character sharply etched and standing out from one another . . . throughout the one hour and a half there is not a single false note struck . . . here is one of the most completely satisfying, absorbing, entertaining productions that the screen has ever known . . . it stamps Walt Disney as a genius for whom the entire industry . . . should rise up and give thanks . . . there is no creative mind that has done more . . . for the motion picture

January 7, 1938
Kilfoil Joins Caravel
Caravel Distributing Corp., 730 Fifth Ave., announces the appointment of Thomas A. Kilfoil as booking director of its sponsored shorts. Caravel's first 1938 release will be an animated cartoon in Technicolor. Kilfoil was with Paramount in New York for 15 years as head of its service department. Later he was controller of National Screen Service, and more recently was with Pathe Film Corp.

January 15, 1938
Keys to Get "Snow White" First Week in February
Key cities are to obtain showings of Walt Disney's "Snow White and the Seven Dwarfs" during first week of February, officials of RKO Radio said yesterday. Technicolor prints are being rushed to meet contracts.

January 17, 1938
Cartoon "Pirating" Case Is Settled Out of Court
Suit in which Exclusive Movie Studios, Inc., charged that Samuel Levy and Levy's Sport Shop, Jersey City, violated copyright law by distributing alleged pirated prints of Paramount's Betty Boop and Popeye cartoon was settled out of court over the week end with substantial cash payment, according to Phillips and Nizer, attorneys for plaintiff. Under Exclusive Movie Studios' contract with Paramount it has exclusive rights to distribute 16-mm. prints of the subjects two years after their theater release dates. However, according to complaint, prints were distributed before that time by the defendants who were without rights. Coincidental suit charges George Dobbs and Gem Film Corp. with copyright violation by duping Paramount cartoon subjects without legal right. Case is scheduled to be heard early in February in U. S. District Court, District of New Jersey.

January 19, 1938
Marlo "Third-Dimension" Production Will Start
Raoul Marlo, executive vice-president of Mario Enterprises, Inc., yesterday announced production, beginning Monday, of a series of short cartoon films to be known as "Marlographs." Mario claims third-dimension perspective and elimination of unsteadiness. He said major release is set. Marlo formerly was a radio program exec for WABC and WOR.

January 21, 1938
Schlesinger Quits Academy, Calls Awards Methods Unfair
West Coast Bureau of THE FILM DAILY
Hollywood—Objecting to committee ruling admission of four Disney shorts and but one of his for M. P. Academy awards, Leon Schlesinger, producer of Warner Bros, cartoons, yesterday resigned from the Academy of Motion Picture Arts and Sciences, it was reported. He declared the Academy's arrangements for selecting awards winners in the cartoon field are unfair and that he would not enter the competition. He feels that black and white cartoons have no chance of winning the award and asked that two "Merry Melodies" subjects be entered in view of the ruling on Disney. His request was rejected.
In a letter to Schlesinger, President Frank Capra of the Academy declared that at a meeting which Schlesinger attended, short subject producers took a secret ballot, voting 17 to two against Schlesinger's interpretation of the rules.

January 22, 1938
Those Wee Sma’ Voices Restored to Owners
Fanchon & Marco announced yesterday that contracts have restored the voices of Roy Atwell, Pinto [sic], and Adriana Caselotti to their owners. The trio will appear under the F & M banner as soon as an act has been written for them. Mr. Atwell, who was the voice of "Doc" in "Snow White and the Seven Dwarfs"; Pinto, the voices of "Sleepy" and "Grumpy," and Miss Caselotti, the voice of "Snow White," leased their larynxes for the Disney opus.

January 24, 1938
WB Cartoon Feature
Leon Schlesinger will arrive in New York today to discuss plans with Gradwell Sears and other Warner Bros. execs regarding a cartoon feature for the 1938-39 program.

Death Record
Emile Cohl
Paris (By Cable)—Emile Cohl, 81, credited in this country with inventing the animated cartoon, died here on Friday in poverty as his friends were organizing a benefit film premiere for him. He presented his first animated cartoon in 1908 and took his invention to the U. S. in 1912 but was unable to find financial backing for it.

Levy Sport Shop Settles Suit Brought by Para.
Levy Sport Shop, Newark, N. J., has made a cash settlement with Paramount and the Exclusive Movie Studios, Inc., in the suit brought by the film companies for the alleged sale of 16 mm. Popeye and Betty Boop shorts. Action against George Dobbs, whose Gem Film Manufacturing Co. reportedly dubbed the pictures, will be continued. Exclusive Movie Studios has the exclusive 16 mm. rights to the Paramount cartoons. It charged that Dobbs reproduced the pictures without authority. Louis Nizer was the attorney for the plaintiffs.

January 24, 1938
"Zounds! ! !"
West Coast Bur., THE FILM DAILY
Hollywood—Walter Lantz has created a new cartoon character who he is calling "Nellie, the Sewing Machine Girl." In the shorts in which she will be starred she will be supported by Rudolph Ratbone, the villain, Dauntless Dan, the hero. They will be the old type melodramas and this is the first time they appear in cartoons. Lantz will make these as part of his 26 cartoons for Universal release. Lantz is also working on a special cartoon which he is calling "Hollywood Bowl" in which famous stars and artists will appear.

"Snow White" Stays On
Miami Beach, Fla.—"Snow White" has been held over indefinitely at the Sheridan. It continues to be an SRO attraction.

January 26, 1938
Fleischer to Florida?
Fleischer Studios, Inc., has circulated an office petition inquiring of employes as to their willingness to work [i]n a contemplated Florida studio. Studio officials described the move as indefinite.

January 27, 1938
West Coast Bureau of THE FILM DAILY
Hollywood — Of the total of 45 short subjects entered in the tenth annual competition of the Academy of Motion Picture Arts and Sciences, three in each of four divisions are to be selected by a nominating committee in a two-night screening session ending tonight. Final award is to be made by special committee which is to view nominations at an early showing at the Filmarte Theater. . . . In Classification "A", which is cartoons and other animation photography of inanimate objects, either in color or black and white are: "Ali Baba," Paramount; "Zula Hula," Paramount; "Educated Fish" (Color Classic), Paramount; "The Wayward Pups," Harman - Ising; "September in the Rain," Warner Bros.; "The Dog and the Bone," Educational; "The Little Match Girl," Charles Mintz; "The Old Mill," Silly Symphony, Walt Disney; "Hawaiian Holiday," Mickey Mouse, Walt Disney; "Pluto's Quintuplets," Pluto the Pup, Walt Disney; "Donald Ostrich," Donald Duck, Walt Disney.

January 31, 1938
"Snow White" to Get 4th Music Hall Week
Walt Disney's "Snow White and the Seven Dwarfs" will be held for a fourth week at the Radio City Music Hall, it was announced Saturday. The cartoon feature is the first picture in the history of the No. 1 U.S. showhouse to get a fourth week. In five years, only 10 other features stayed three weeks.

Cartoon Cat, Human Support, Is New Idea In England
London (By Cable)—Using a cartoon character to portray the famed cat of the Dick Whittington fable while other roles are assumed by actors, Robert Messulam, managing director of Messulam Pictures, Ltd., is preparing the classic English story for early production, it was reported yesterday.

February 1, 1938
"Snow White" in 7 Tongues
WALT DISNEY is now busy on seven foreign versions of his first full-length feature film, "Snow White and the Seven Dwarfs." Pix will be recorded in Spanish, French, German, Italian, Norwegian, Swedish and Dutch. Disney is employing professional native vocalists and elocutionists to perfect the music and dialogue.
The work represents one of the most difficult undertakings of the Disney studio. For weeks Disney tested foreign voices in the effort to get the same quality as the characters who represented "Snow White and the Seven Dwarfs" in his English-speaking version.

February 3, 1938
Short Subject Nominations For Awards Announced
West Coast Bureau of THE FILM DAILY
Hollywood—Short subject nominations for Academy awards are as follows: Twelve pictures; four classifications. First — cartoons, three pictures, "Educating Fish," Paramount; "The Little Match Girl," Charles Mintz-Columbia; "The Old Mill," Walt Disney.

Max Fleischer Arriving to Discuss Fla. Removal
Max Fleischer, chief executive of Fleischer Studios, producers of cartoons for Paramount release, is slated to arrive in New York tomorrow to discuss moving the studio to Florida. At Fleischer headquarters, it was denied that any contract had been signed. Dave Fleischer remains in Florida. Contemplated studio construction in Florida calls for complete operation there by Fall of 1938.

February 4, 1938
"Snow White" Will Play all RKO Circuit Mouses
"Snow White and the Seven Dwarfs" will play every house of the RKO circuit, including the metropolitan theaters, as a result of a deal closed yesterday by Ned Depinet, vice-prexy of Radio Pictures, Roy Disney, business manager of Walt Disney Productions, and RKO theater execs.
The deal gives "Snow White" the longest playing time ever given any picture in each situation.
"Snow White" opens in Boston and Providence on Feb. 10; in Cincinnati, Dayton and Washington, on Feb. 11; other dates will follow in rapid succession and include: Denver, San Francisco, Lowell, Newark, Rochester, Syracuse, Trenton, New Orleans, Chicago, Columbus, Omaha, Sioux City, Cedar Rapids, Davenport, Marshalltown, New Brunswick, Cleveland. Kansas Citv. Minneapolis, St. Paul and Des Moines.
The Disney feature will open in the RKO Metropolitan houses immediately following the record breaking run at the Radio City Music Hall where it is now in its fourth week.
Following the completion of contractual details. Roy Disney left for the studios in California.

February 5, 1938
Fleischer Signs Miami Studio Building Pact
Signing of a contract with Delaware Housing Corp. for erection of a $300,000 studio in Miami yesterday followed arrival in New York of Max Fleischer, president-treasurer of Fleischer Studios, Inc. Fleischer will move entire force of 200 employees to Miami, and will install his own sound equipment. Previously Fleischer Studios used Paramount News sound system. Ground is expected to be broken next week and the structure finished by September. It was stated that production of a feature-length cartoon depends on word from Paramount, Fleischer distributors.

5th Week in Prospect for "Snow White"
"Snow White and the Seven Dwarfs", in all probability, will go five weeks at Radio City's Music Hall, the first film to do so, as it was the first to go four weeks. Final decision may not be reached before Monday, but yesterday the Music Hall was accepting reservations for a week from today. David O. Selznick's Technicolor pix. "The Adventures of Tom Sawyer", starts at the Music Hall on Feb. 17.

February 8, 1938
Fleischer Will Open His Florida Studio in October
Max Fleischer, Inc., will open its contemplated cartoon studio in Miami, Fla., about Oct. 1, 1938, it was revealed last night in a statement issued by Phillips & Nizer in behalf of Max Fleischer, president of the company, in reply to a previous union statement critizing the removal of the Flesicher studio to Florida "which has a sub-subsistence levels of labor," according to the union which further holds that "such a move will be of no ultimate benefit to the employes."
Fleischer's statement is as follows:
The Fleischer Studio, Inc., is greatly surprised by the unjustified statement issued by the Union to the Press.
Last Friday at the invitation of Fleischer Studio, a conference was held with the Union's representatives and attorney, at the office of our attorneys, Phillips & Nizer. At this conference we repeated our acceptance of all of the demands and guarantees previously requested and unequivocally granted by us. These demands were as follows: (1) That wages of our employes would not be reduced in Florida. (2) That all employes who came to Florida with us would be guaranteed one full year's employment. (3) That hours, vacations, sick leave, and other benefits would be maintained.
In addition to this and in order to show our good faith, we volunteered to pay our employes' expenses of travelling to Florida, hotel accommodations for one month in Florida without expense to employes to enable them to find living accommodations and the travelling expense of returning to New York to any employe who desired to do so within a year.
These terms appeared so fair to the Union representatives that they openly conceded our good faith. They stated that they had no suspicion that any labor advantage was the reason for moving to Florida, and accepted our explanation for moving to Florida. Our reasons were and are: (1) Our desire to construct a modern new studio equipped with our own sound recording facilities, reviewing theater, and large enough to fulfill new requirements in cartoon technique, — including feature cartoons if necessary. (2) The saving of rent, taxes and insurance involved in the construction and maintenance of such a large establishment in the State of Florida. (2) The personal health requirements of our President, Mr. Fleischer, who has been compelled by illness to be absent from the New York studio for many months in his home in Florida. The transfer of our studio to Florida will assure Mr. Fleischer's personal attention, to the artistic endeavor of the Studio. We requested of the Union representatives the opportunity of addressing their membership at a meeting of the Union to answer any questions which might occur to any member. This request was granted and promise was made to notify us as to when and where we could appear. We have not as yet been notified, and we are surprised by the statement issued by the Union. We do not think the statement by the Union fairly represents the opinions or the wishes of the vast majority of our employes, who have indicated their willingness to go. We shall open our new studios in Florida about Oct. 1, 1938, and the offer has been made and is open to all or our employes to come with us.

February 9, 1938
Report Disney Planning Three Feature Cartoons
West Coast Bureau of THE FILM DAILY
Hollywood—Walt Disney will produce three feature-length cartoons for RKO release, it was reported yesterday, with first scheduled for exhibition next Christmas. Penciled in on schedule are: "Pinocchio," "Bambi" and film based on exploits of Ferdinand, fantastic character in best-seller.

February 10, 1938
Quebec Relaxing Juvenile Ban for Disney Feature
Montreal—The Film Daily is informed by official sources that Quebec's ban on admission of juveniles under 16 to cinemas will be relaxed on the occasion of the showing of "Snow White and the Seven Dwarfs". Children, however, must be accompanied by adults. Exception made for this film follows representations made by hundreds of parents and by several youth societies.
Further proceedings against theater managers who are charged with infringement of the Quebec juvenile admission ban has been halted abruptly by service of a Superior Court petition for writ of prohibition attacking jurisdiction of the Recorder's Court.

February 15, 1938
First M-G-M Cartoons Ready
M-G-M has shipped to exchanges its first two animated cartoon pictures in "The Captain and the Kids" series. They are "Blue Monday" and "Cleaning House." Although the cartoon staff was organized and a special cartoon plant opened just five months ago, there are seven additional pictures in work with a plan to release one a month. The new cartoons announced are: "Lion Hunters," "Captain's Pup," "Captain's Garden," "Old Smokey," "Jungle Jitters," "Cat Naps," and "Momma's Driving Lesson." Fred C. Quimby is in charge of M-G-M's cartoon production with Robert Allen and C. G. Maxwell as his assistants.

Continued Run for Disney Pix, RKO Circuit's Plan
RKO's "Snow White and the Seven Dwarfs" is to be shown at all RKO theaters as a single feature and on a continued-run basis in every city where RKO operates more than one house, The Film Daily learned yesterday. Film will move directly from one house to another without loss of a day, according to plans which call for full-week bookings throughout the country.
The Walt Disney Technicolor cartoon feature opens at RKO metropolitan New York houses on Mar. 3, after it has played Palace, Broadway, and Albee, Brooklyn de-luxer, beginning Saturday for indefinite runs.
All indications point to the fifth and final week of the pix at the Radio City Music Hall grossing well over $100,000 and equalling the figures for the four preceding ones. First five engagements in RKO theaters have already been tabbed for holdovers. They are: Keith Memorial, Boston; Albee, Providence; Keith's, Washington; Hippodrome, Cleveland; and Albee, Cincinnati. RKO home office reported yesterday that seven independent houses registered heavy box-office traffic. Seven include: Byrd, Richmond, Va.; Park, Reading, Pa.; Rialto, Louisville; Indiana, Indianapolis; Hippodrome, Baltimore; Knickerbocker, Nashville; and Criterion, Oklahoma City.
Following are national RKO theater dates set thus far:
Palace, Rochester, Feb. 18; Keith, Syracuse, Feb. 18; Proctor's, Newark, Feb. 18; Keith, Dayton, Ohio, Feb. 18; Keith, Lowell, Mass., Feb. 18; Palace, Chicago, Mar. 4; Hillstreet and Pantages, Los Angeles, following road show at Carthay Circle; Palace, Columbus, Ohio, Feb. 25; Mainstreet, Kansas City, Feb. 25; Orpheum, New Orleans; Feb. 24; Brandeis, Omaha, Mar. 3; Iowa, Cedar Rapids, Mar. 4; Orpheum, Davenport, Iowa, Mar. 11; Orpheum, Sioux City, Mar. 3; Orpheum, Minneapolis, Feb. 18; Orpheum, St. Paul, Mar. 4; Orpheum, Denver, Feb. 18; Golden Gate, San Francisco, Mar. 2; Lincoln, Trenton, Feb. 18; and State, New Brunswick, Feb. 18.

February 16, 1938
"Snow White" Still Builds
West Coast Bureau, THE FILM DAILY
Los Angeles—"Snow White and the Seven Dwarfs" continued its remarkable week-after-week build-up at the box-office as the eighth week at the Carthay Circle bettered the business for the fifth, sixth and seventh weeks. The Disney production begins its ninth week under a two-a-day policy today.

"Snow White" to be Shown
10 Times on Saturday Broadway RKO Palace and Brooklyn RKO Albee have scheduled 10 showings, minute-for-minute, of "Snow White and the Seven Dwarfs" for Saturday. Remainder of bills consists of five minutes of news and two short subjects. Both programs start at nine a.m.

"Snow White" In 2 Houses
Norfolk—For the first time in the history of the Newport and Colley Theaters they will play a picture day and date, "Snow White and the Seven Dwarfs." The Newport will celebrate its anniversary during the run, which begins Feb. 18.

February 17, 1938
Warner-RKO Execs to Talk "Snow White" Deal
Warner Bros, theater officials and RKO Radio sales representatives are scheduled to huddle tomorrow in an effort to reach an agreement on booking "Snow White and the Seven Dwarfs" in Warner houses. One session was held Monday but no agreement was reached. It is understood that Warner Bros, objects to the reported high percentage asked by RKO for the Disney feature. Reliable sources say that RKO is not inclined to lower its price for the picture, while Warner theaters appear determined to hold out for lower terms.

February 19, 1938
London Theater Will Play "Snow White" for 20 Wks.
London (By Cable)—"Snow White and the Seven Dwarfs" has been set for a 20-week run at the New Gallery Theater, opening on the night of Feb. 24. Top for the premiere will be $5.25.
Disney cartoon feature is expected to reach GB provincial houses in key cities in September.

Montreal—"Snow White and the Seven Dwarfs" is booked for the Palace for four weeks commencing Feb. 25.

Paris (By Cable)—-The continental European managerial staff of RKO Radio Pictures raised its quota sights on "Snow White and the Seven Dwarfs" to 150 per cent following a meeting at the George V. Hotel and the first screening here of the Disney pix. Although the original revenue estimates were high, every manager voluntarily increased the intake objective 50 per cent in a meeting presided over by Foreign Sales Manager Phil Reisman.
Forty manufacturers are utilizing the "Snow White" characters in connection with their products, a new record for motion picture merchandising over here.
RKO home office yesterday reported that "Snow White and the Seven Dwarfs" has been held over in every one of its major engagements. It was estimated on basis of complete returns that more than 800,000 people attended during the record-breaking Music Hall run. The original ruling of the British movie censors restricting the attendance of children to "Snow White and the Seven Dwarfs" unless accompanied by adults has been rescinded by the London County Council Licensing Authorities, according to a cable just received by Ned Depinet, vice-president of RKO Radio Pictures, from the company's London managing director. The licensing authorities have now granted the feature cartoon a universal certificate. This means that children of any age may attend it whether or not escorted by adults. The decision affects cinema houses in London, Middlesex and Essex. It is expected that the movie censors of other counties will follow suit.

February 21, 1938
Disney His Despair
Philadelphia—A little kid in the first grade at the suburban Springfield school, though his heart is heavy from the gibes of his fellow pupils, bravely smiles. The boy's name is Donald Duck. His classmates invariably leave him with the farewell: "See you in the movies!" or "See you in the funny papers!" Even his teacher laughs when she reads his name at roll call. But Donald grins through it all and says resignedly, "What else can a guy do?"

February 24, 1938
Schlesinger to Confer on WB Cartoon Feature
Decision on production of feature-length cartoon by Leon Schlesinger, Warner producer, is expected to be reached following conferences in New York with company officials this week. Schlesinger arrives this week from South America trip and shortly leaves for Hollywood.

Snow White . . and the Kiddies
ON sober second thought, the London Council Licensing Committee, high-sounding alias for the British censor board, has ruled that Walt Disney's "Snow White and the Seven Dwarfs" is okay for the kiddies after all. Accordingly, the pioneer feature receives a "U" certificate and British exhibs. showing the film may admit children under 16.
The censorial admission of error in judgment is gratifying, but the admission scarcely makes the original decision to forbid juvenile attendance less ridiculous. That decision, among other things, was not complimentary to young Britain; it frankly inferred that young Britain, by and large, was fear-ridden.
UNDENIABLY, there are unpleasant situations in "Snow White and the Seven Dwarfs" (as indeed there are in the fairy story which inspired the film) but they merely serve to heighten the effect of the happier situations into which they are resolved.
As Mrs. Clara Savage Littledale of Parents' Magazine points out, "This is the best kind of 're-conditioning'—to get the child to understand the thing that frightened him and then to laugh at his unnecessary fear."
The concern with which certain organized interests regard the film and radio entertainment of today's rising generation may be well-intentioned, but, looking backward a few decades, it is at least surprising, if not astounding.
FOR that concern, if you please, is voiced by those who figuratively were nursed on the milder fables of Grimm and Hans Christian Andersen, weaned on Jack the Giant Killer and like literary red meat and brought through the adolescent years on a mixed diet of Nick Carter, "Treasure Island," Elsie Dinsmore, Mrs. E. D. E. N. Southworth, Edgar Allan Poe, Mark Twain, Buffalo Bill, Fred Fearnot, James Fenimore Cooper, Bertha M. Clay, Frank Merriwell, Elinor Glyn and Louisa M. Alcott, among others.
Looking around you, the cumulative effect of such orthodox and unorthodox reading can hardly be called damning, now can it?

March 1, 1938
Fleischer Sets Feature Cartoon for Paramount
A feature length cartoon in color with third-dimensional effect will be produced by Max Fleischer for Paramount release, it was announced yesterday. Production will get under way shortly, it was said, in Fletcher's New York studio and will be completed in the new Miami plant, which is expected to be ready for occupancy by mid-August.
The type of story has not yet been determined. Several stories and titles have been submitted to Paramount for approval and work will start as soon as Paramount and Fleischer agree on a theme which they believe will have the widest appeal. It is expected that approximately 18 months will be required to make the cartoon feature. Picture's budget was not revealed.
Because of the decision to produce the feature-length cartoon, Fleischer is enlarging original plans for the Miami studio about 50 p.c. The new plant will have nearly 32,000 square feet of floor space and will be approximately four city blocks in circumference.

March 2, 1938
Fleischer and Para. Talk Story for Cartoon Feature
Max Fleischer and Paramount executives met yesterday for the purpose of discussing story material for the proposed feature length cartoon in color which Fleischer will make for Paramount release. No decision was reached but other sessions are planned during the week. Ground was broken in Miami yesterday for the new Fleischer studio where a part of the feature will be made.

March 5, 1938
Phil M. Daly column
• • • STEPPING OUT in the theatrical field . . . Caravel Films is introducing a new type of entertainment short film for the motion picture audiences . . . the first is a nine-minute cartoon in Technicolor . . . "Boy Meets Dog" . . . a story of a kid and his dog that is a winner . . . with the ad message so painlessly administered that it will set a standard for all future production of sponsored films . . . that veteran publicity expert. Bert Ennis, is contributing an exploitation service that goes hand in hand with the theater showings . . . a three-way co-op plan that helps the theater, the local dealers and the film sponsor, of course

March 7, 1938
“Snow White” . . . helps biz generally
MUCH is being said these days—and with ample justification—concerning what Walt Disney's "Snow White and the Seven Dwarfs" is doing for the big-city exhibs. who have played or are playing it.
There is more to the story than just that, however. Reports from various spots are to the effect that the exceptional biz done by the pioneer cartoon feature instead of hurting the b.o. take at opposition houses actually seems to be helping.
That condition is neither unique nor surprising, it has been the industry's experience over a period of years that nothing stimulates interest in pictures generally so much as good pictures. A procession of good pictures makes the public picture-minded, draws it into the theaters.
"SNOW WHITE," crediting reports from the field, is helping specifically in another way. Competitive theaters in not a few points acknowledge that they are getting the turnaway, overflow business, causing their current shows to exceed gross expectancies.
The maximum effect of this latter development will not be felt until "Snow White" reaches the "average" cities and the smaller towns and villages. A majority of these have few counter attractions and, finding one film theater filled, their moviegoers can be counted upon to go down the street or around the corner to the next house.
"THERE has been considerable speculation, incidentally, as to what "Snow White" would do outside the larger cities. Openings in the hinterlands have been comparatively few, but the results appear to establish that the cartoon's pulling power is as marked in the smaller spots as in metropolitan centers.
Take New Bedford, Mass. In spite of an unsatisfactory industrial situation, the Disney picture's opening was 40 per cent higher than the best biz for a period of years, with the house anticipating an all-time record gross. In Reading, Pa., where it is in its fourth week, the film played to approximately one-third of the total population in the first week. At Lake Placid, "Snow White" out-drew "Top Hat"; at Pinehurst, it broke an eight-year record for the first two days; and reports from Toledo, Oklahoma City, Oneida, Richmond, Roanoke and Norfolk are equally heartening to RKO Radio.
So this prediction would seem to be warranted: "Snow White" will out-gross any other picture ever exhibited.

March 8, 1938
Para, and Fleischer Pick Feature Cartoon Story
Paramount and Max Fleischer are understood to have agreed on a story for the feature length cartoon which the latter will make for Paramount release, providing story rights can be cleared, it was learned yesterday. Efforts are now being made to clear the rights, and if they are unsuccessful, another story, which is clear, will be substituted. Titles of both stories are being witheld, but it is understood that they are fairy tales.

Release “Snow White” on Continent Next Autumn
"Snow White and the Seven Dwarfs" will not be released in Continental Europe until Fall, Phil Reisman, head of RKO Radio's foreign department, said yesterday upon his arrival from Europe on the Queen Mary. The Disney feature is now playing first run in London, but foreign language dubbing will not be completed until this summer.
Reisman said that "Snow White" was given a big reception in London when the picture opened at the New Gallery Theater. Its universal appeal, he added, was proved by the way the Britishers acclaimed the Disney feature.
Reisman asserted that theater business in Europe, continued to be good, with a marked improvement in France. No successor to C. E. Hilgers, who resigned recently as general manager in France for RKO, has been named. Reisman said he probably would make an appointment shortly.
Reisman, who went across four weeks, will remain in New York about two months and will then make a tour of South America.

March 9, 1938
Phil M. Daly column
• • • MORE PUBLICITY received than any other theatrical production in history . . . an observation made in an editorial in the Item-Tribune of New Orleans, concerning Walt Disney's "Snow White and the Seven Dwarfs" . . . which reminds us that this cartoon classic has had more editorials written about it in newspapers than any other production in motion picture history
• • • VOLUME of publicity received in all fields on the Disney production is nothing short of staggering . . . every important magazine has run special feature articles on it . . . every newspaper of any consequence has had special articles, with art work or photos . . . the publicity breaks started over six months ago . . . and they are still going strong in sections where "Snow White" is being booked in
• • • WHAT IS the explanation? . . . first, of course, there is the Walt Disney prestige which is tremendous . . . then, as one newspaper editorial pointed out, "Snow White" reaches into the heart of humanity and strikes at something fundamental . . . the triumph of an innocent little child over the cruel forces at work in a harsh world . . . and of course the fact that Disney has produced a technical screen masterpiece that is also an outstanding work of art . . . but in back of all these factors there is the indisputable fact that a great piece of propaganda machinery has been working for months . . . probably the greatest single publicity job ever done in the history of the industry . . . at least, it is easily the leader for sustained effort over a period of months, not just weeks
• • • ONE EXAMPLE of how the publicity in back of this production reacted in one community . . . the Park theater in Reading, Pa., ends a four-week run of "Snow White" tomorrow . . . the population of Reading is 110,000 . . . the picture will have played to 115,000 when the run closes . . . for excursion trains are bringing 'em in from communities for miles around
• • • WE WOULD like to give individual mention to all the publicity forces that have been at work to pile up such results . . . first, of course, comes Barret McCormick's ad and pub dep't at RKO Radio, geared up for over six months . . . planting special articles with art work in newspapers and magazines throughout the nation . . . with a field force of twenty-five exploitation men working anywhere from one week to one month in advance of playdates . . . Kay Kamen's merchandising tie-ups with scores of national manufacturers . . . the Disney studio publicity and the Disney special publicity dep't in New York . . . how can you beat a set-up like that . . . with a picture like "Snow White" to work with?

Paris Honors Emile Cohl
Paris — The municipality has named one of the principal streets after the inventor of movie-cartoons, Emile Cohl, who died here recently in abject poverty.

Screen "Snow White" 45 Times In 4 Days In Chi.
Chicago—"Snow White" played to 45 complete shows at the Palace theater during the first four days. More than 50,000 admissions are reported.

Niagara Falls, N. Y.—For the first time in local theater history, a screen production, Walt Disney's "Snow White and the Seven Dwarfs," plays day-and-date at the Bellview and Strand Theaters. The double run starts March 12.

Deny Disney-UA Report
Reports printed elsewhere that United Artists would release future Walt Disney feature length cartoons were denied yesterday by U. A. officials and Hal Horne, Disney representative in New York.

March 12, 1938
Dave Fleischer to Fla. for Studio Construction
Dave Fleischer, Fleischer Studio executive, yesterday left for Florida to supervise construction of studios under way there. In New York it was reported that foundation has already been laid.

Roy Disney Will Survey "Snow White" Print Needs
Roy Disney sailed last night on the Bremen for Europe where he will make a survey of foreign markets to determine how many prints of "Snow White and the Seven Dwarfs" will be required overseas.
Disney is being accompanied by Paul Buchanan, who will supervise the making of the dubbed foreign versions, each of which will be made in the countries in which the picture will be distributed. The number of prints to be made for the foreign market has not been determined.

March 16, 1938
Randforce Books 'Snow White'
Through a deal negotiated by Bob Wolff, New York branch manager for RKO Radio Pictures, and Sam Rinzler of the Randforce Circuit, Walt Disney's "Snow White and the Seven Dwarfs" will play over that Brooklyn circuit for extended playing time following the completion of runs in the RKO Circuit houses. The transaction calls for runs in 45 theaters.

Royally Received
London (By Cable)—Snow White, the little princess of the Disney opus, "Snow White and the Seven Dwarfs," went to Buckingham Palace on Monday night to be received enthusiastically by two real little princesses, Elizabeth, heir apparent to Britain's throne, and her younger sister, Margaret Rose. The film was screened for them in the white and gold ballroom of the palace, and the audience included King George VI, Queen Elizabeth, and the Duke and Duchess of Kent.

March 18, 1938
• • • LIFE-SIZE cutout of Popeye . . . the pop newspaper and screen cartoon character featured in the Max Fleischer shorts . . . has arrived in New York to start his international tour as Paramount's ambassador of goodwill . . . in the company's current international sales drive known as "Paramount On Parade Around the World" . . . and so Popeye with a proper chaperone, will leave today aboard the Ile de France headed for England . . . and from there to tour France, Italy, India and other spots before returning to Hollywood
• • • COMPETING theaters playing "Snow White" day-and-date . . . and launching joint advertising campaigns . . . my word! . . . pretty soon this theater biz will be so altruistic and beautiful that all the checking concerns will go into bankruptcy . . . lookit . . . in Shenandoah, Pa., we find John Lolan, buyer for the Comerford circuit, operating the Strand there, working hand in hand with Oppenheimer & Sweet's Capitol theater, an indie house ...... in addition to playing "Snow White" day-and-date, their newspaper ad campaign was worked out jointly . . . other such idealistic wonders have occured between competing houses on this picture . . . but one shock a day is enough for you kiddies

Outstanding Shorts—cartoon, "The Old Mill," (Walt Disney)

March 11, 1938
Hershfield Heads M-G-M's Cartoon Story Department
West Coast Bureau of THE FILM DAILY
Hollywood — Harry Hershfield, creator of "Abie the Agent," has been signed by M-G-M to head the story department of the studio's cartoon division which now is producing animated one-reelers featuring "The Captain and the Kids." The cartoon plant, headed by Fred C. Quimby, was organized last summer and has delivered to the exchanges three finished productions with 12 additional pictures in various stages of work.

March 14, 1938
George Pal Talks Deals; Goes to Coast Tomorrow
George Pal, young Hungarian creator of color cartoons in third dimension using puppets, uncontrolled by strings, as actors, was reported Saturday to be talking deals with U. S. film interests for the utilization of his "Puppet-toons," in the general entertainment field.
Pal is scheduled on Tuesday to head for Hollywood where culmination of his negotiations for production and subsequent release of his novel films is expected to be announced.
Grotesque dolls, it is said, perform against actual background sets, with synchronized music, songs and effects. A trade showing is scheduled for today.

March 15, 1938
WB Renews Contract with Schlesinger for 2 Yrs.
West Coast Bureau of THE FILM DAILY
Hollywood-—Warner Bros, has renewed its contract with Leon Schlesinger, producer of "Merrie Melodies" and "Looney Tunes" cartoons. The new agreement is for two years. Plans for a feature length cartoon will be discussed following the arrival of Gradwell Sears on Mar. 25.

Interstate, Lucas-Jenkins "Snow White" Deals Closed
Closing of two key deals for Walt Disney's "Snow White and the Seven Dwarfs" with Interstate Circuit of Texas and Lucas and Jenkins circuit was revealed yesterday by Cresson E. Smith, RKO Western and Southern sales manager on his return from three-week trip to Atlanta and Dallas.
More than 30 Interstate houses are to show the film under tilted admissions and extended playing time, it was stated. The cartoon feature opens at the Majestic, Houston, Friday for 17 days, and debuts at the Majestic, Dallas, March 26 for two weeks. From the Dallas' Majestic it moves to the Tower for an additional two weeks, Smith said. The Dallas opening coincides with the testimonial dinner to Ned E. Depinet, RKO vice-president in charge of distribution, with leaders in all branches of the industry slated to be on hand. Bob O'Donnell acted for Interstate in negotiations.
William Jenkins, of Jenkins & Lucas, signed contract for 15 theaters mostly in Georgia. Admission price rise and extended playing time are to be instituted, according to Smith. "Snow White and the Seven Dwarfs" opened Friday at the Fox, Atlanta, 5,000-seat house, and runs two weeks. From there it moves to Paramount in the same city for indefinite run.
Loew's and RKO Radio officials have closed contracts for Walt Disney's picture to play large number of Loew's Metropolitan theaters. Transaction, handled by Branch Manager Bob Wolff and Eugene Picker, Loew's buyer, calls for film to play full week at the Dyckman, Powell, Avenue B, Spooner and Boro Park and also for extended playing time in other houses of circuit. Deal is said to be first in which Loew has guaranteed full week and extended runs following extended engagements at RKO metropolitan theaters.

March 23, 1938
Paramount and Exclusive Win Action Against Trio
Paramount and Exclusive Movie Studios, Inc., have won an uncontested suit against Samuel Levy, George Dobbs and Gem Film Manufacturing Co. for allegedly reproducing 16 mm. prints of Paramount short subjects, particularly Popeye and Betty Boop cartoons. Exclusive Movie Studios has the sole right to the 16 mm. distribution of the shorts. The defendants have been ordered to account to a special master of all revenue obtained from the alleged duped pictures.

Another 'Snow White' Record
Cleveland—"Snow White and the Seven Dwarfs" will play six and a half weeks continuously before it goes to the subsequent run houses. It played three weeks at Warners' Hippodrome; one and a half weeks at the Allen, operated, jointly by RKO and Warner Brothers; and is booked into Keith's East 105th St. for two weeks. This is a record.

March 24, 1938
"Snow White" Sets Records in Canada and Washington
Canadian long-run records in several cities across the Dominion have been broken by Walt Disney's "Snow White and the Seven Dwarfs."
Feature cartoon is being held for a fifth week at the Palace, Montreal, a record for hold-overs, and goes into a third week at the Capitol, Winnipeg, and Capitol, Vancouver. No previous picture has ever played either house more than two weeks. "Snow White" after two weeks' engagement at the Capitol, Hamilton, moves over to the Savoy today. This sets up a new long-run mark for Hamilton.

Washington Bureau of THE FILM DAILY
Washington — A seventh week booking has been made for Walt Disney's "Snow White and the Seven Dwarfs" at Keith's starting tomorrow. The previous long-record for the house was five weeks.

Roanoke, Va. — A class of 66 school children drove 40 miles from Brent Mountain to see "Snow White and the Seven Dwarfs" here. Out of the 66 children, only three had ever seen a picture before.

March 29, 1938
Phil M. Daly column
• • • A STACK of clippings at the RKO Radio pub dep't showing that little Dopey of Walt Disney's "Snow White" has inspired a grand publicity stunt . . . the National Dance League has launched the new dance craze. "Doing the Dopey" . . . the mags and newspapers and radio are giving it a big play

March 30, 1938
Para. Seeks to Enjoin EMS, Charging Contract Broken
Charging violation of contract, Paramount has filed for a temporary injunction in the Chicago Federal Court to restrain Exclusive Movie Studios, Inc., from further reproducing 8 and 16 mm. versions of Popeye and Betty Boop cartoons. Original contract was for three years, with an extension option for two years. Paramount charges Exclusive with not living up to its agreement in failing to obtain the minimum business under the contract terms. Exclusive, it is alleged, sought to exercise its option over Paramount's refusal to renew. It is also charged that Exclusive did not make proper accounting for revenue received. Irving Cohen, of Paramount's legal department, represented the company in Chicago. Hearing on the application is expected today.


January 11, 1938
"Hollywood Picnic" A Color Rhapsody
Columbia 8 mins. Not Very Amusing
The old gag with the Hollywood stars caricatured has been worked to death, but nevertheless it appears again in this one with all the people you expect to see, done in the usual exaggerated fashion. It starts out with a group of stars doing the shag. Then it moves to the fair grounds where everybody is supposed to be having a good time. There is a baseball game and a dinner, with the actors making a dash for the big spread. The windup is a big apple contest, with familiar characters presented. Charles Mintz produced this Scrappy presentation with Sid Marcus providing the story and Art Davis the animation.

"Little Lamby" (Color Classics)
Paramount 7 mins. Good Kiddie Number
The sly fox sees the animal village, with all the members peaceful and happy, and decides that here is his chance for a fine meal. Disguising himself as an old judge, he arranges a baby contest, and has all the mothers hiding their offspring to compete for prizes. At the finish the fox kidnaps the baby lamb, and is busy preparing it for a fancy roast in his cave, when the other animals break in and take their revenge on Mister Fox as they rescue the little lamb.

"Zula Hula" (Betty Boop Cartoon)
Paramount 7 mins. Very Amusing
Betty Boop and her old pal Grampy are wrecked on a desert island. When the cannibals appear, things look pretty bad, but Grampy is resourceful, and succeeds in constructing an orchestra out of parts of their wrecked plane. The cannibals listen to the hotcha music and forget their eating designs on the two strangers. Finally Grampy ingeniously constructs an airplane of sorts, and they fly away from their dangerous companions.

January 13, 1938
"My Little Buckaroo" (Merrie Melody Cartoon)
Vitaphone 7 Mins. Top-flight Reel
A "must book" short for the exhibitor, and a "must see" short for the public, this is a mighty slice of entertainment, despite its brevity. Furthermore, it is easily one of the cleverest, fastest-moving of the current tab productions, and ranks, besides, among the best which Leon Schlesinger has turned out to date. Made in full, realistic Technicolor, its story, by Ted Pierce, reveals the raids staged by a bandit on a bank near the Mexican border, and the subsequent pursuit of the culprit by a heroic cowhand. The latter is considerably handicapped in bagging The Terror, as the bandit is known, because his own horse, a personable pinto, likes to slide down hillsides better than chasing outlaws. Patrons of all ages and tastes will revel in this short. Carl W. Stalling's music score is crisp and stimulating, and Bob McKimson's animation is of an unusually high order.

"Scrappy's News Flashes"
Columbia 6½ mins. Laughable Newsreel Takeoff
This one is designed on the order of a newsreel, with the events presented in the same fashion. Scrappy, the commentator, opens with a baby parade. Then there are some amusing scenes of a tornado and automobile tests. Following this is a female fashion commentator, with a windup consisting of a takeoff on Lew Lehr and Ed. Thorgerson, in the goofy and sports departments. Charles Mintz produced this one with Allan Rose providing the story and Harry Love the animation.

January 17, 1938
"Porky At The Crocadero" (Looney Tune Cartoon)
Vitaphone 7 mins. Fairly Entertaining
A run-of-the-crop subject which discloses young Porky trying to find an outlet for his talent as an orchestra leader. Consumed with a burning desire to wield the baton, but realizing that he must create his opportunity, he takes the job of dishwasher in a night club. Literal notes of distraction set in mentally and Porky consequently cannot keep his mind on his job. The boss tosses him out but repents, for a packed house is waiting to dance and there is no one to lead the band. Porky's appearance before the bevy of animal patrons is a distinct triumph, particularly his imitations of famous baton-wielders in real life.

"The Lion Hunt" (Terry-Toons)
Educational 7 mins. Fairy Jungle Tale
A variation on the lion and mouse fable, with Mr. Mouse and the family driving through a jungle in a trailer as they try to beat the rent problem. Mr. Lion appears and captures the small adventurer. But Mrs. Mouse starts to exert her femme wiles, and sings a blues song which touches the heart of the jungle king. He releases the mouse, who later has a chance to repay him when the hunters wound him, and the mouse carts him off for medical attention in the trailer.

January 19, 1938
"Self Control" (Donald Duck)
RKO 10 mins. Laugh Riot
It's a wow. The best so far of the Donald Duck laugh specials. It is summer, and Donald is lolling in a hammock on the lawn, enjoying his lemonade which he dishes from a big glass bowl. The radio on the table nearby starts Uncle Smiley off on his pep talk on self-control. As the talk continues, Donald is all for it, and resolves never to lose his temper over anything. But first a fly bothers him, then a worm from a apple crawls over him, and on his beak. A chicken starts after the worm, and pecks at Donald's beak instead of the worm. Meanwhile Uncle Smiley on the radio is telling how to control one's temper by counting to ten. Donald counts. Then just as he is happy again, a woodpecker starts to take a bath in his lemonade bowl. The woodpecker starts pecking so hard on the tree under which Donald's hammock is slung that all the apples fall down and bury the duck. That is the payoff. Donald tries to count to ten, but finishes by smashing the radio.

January 31, 1938
"Let's Celebrate" (Max Fleischer Cartoon)
Paramount 7 mins. Fast Stepping
Capitalizing on the current dance craze, Popeye is featured with Bluto and Olive Oyl. An added starter is the latter's granny. It is New Year's Eve, and Popeye takes grandma out to celebrate, while his rival takes Olive. When the band leader at the night club offers a silver cup for the best dance team, Popeye feeds grandma a dose of spinach, and taking a liberal dose himself, they start to step. It is a hurricane of stepping while it lasts, and they easily qualify for the cup as the rest of the contestants stand back to gaze and admire.

"Jungle Jitters" (Merrie Melody)
Vitaphone 7 mins. Highly Amusing Cartoon
Producer Leon Schlesinger goes to darkest Africa in this one with a highly amusing set of characters. A supersalesman attempts to sell his wares to the cannibals, but finds himself in the stew pot as the result of his efforts. The spinster queen hears of this stranger, and decides she will marry him. He is removed from the pot and the wedding ceremony starts, but the salesman after one look at his prospective wife flees the ceremony and jumps back in the stew pot. There are some very funny sequences and gags, with the characterizations very amusing. The cartoon is in Technicolor. George Manuel provided the story and Phil Monroe the animation, with I. Freleng supervising.

February 9, 1938
"Just Ask Jupiter" (Terry-Toon)
Educational 6½ mins. Amusing Cartoon
The youngest member of a family of mice has a bad habit of wandering. A narrow escape from the jaws of a cat get him a good spanking, but he soon strays again. The cat chases him around the house until the cat accidentally dives through a window. He is knocked out by the fumes of a can of ether and dreams he goes to heaven. He meets Jupiter and requests that he be made a cat. However, his experiences as a cat are distinctly unpleasant and he is delighted when he comes to and lands back home.

"The New Homestead" (Scrappy Cartoon)
Columbia 7 mins. Just Fair
Troubles are encountered by Scrappy as he attempts to build a house with the aid of Petey Parrot. But Petey has been out the night before, and he gets everything botched up till the exasperated Scrappy is forced to fire him. Petey thumbs a ride back home, but annoys the driver with the woeful tale of the loss of his job, so the parrot is forced to get out and walk.

February 11, 1938
"Bluebird's Baby" (Scrappy Color Rhapsody)
Columbia 7 mins. Appealing Color Number
Those cute little bluebirds come to the rescue of an abandoned baby. They form a carrying squadron and transport the babe to Happyland. But all their efforts to entertain the infant are fruitless. Finally they locate the distracted mother searching for her child, and restore to her the babe.

February 16, 1938
"Riding the Rails" (Betty Boop Cartoon)
Paramount 7 mins. Subway Fun
The exciting adventures of Betty Boop's dog, Pudgy, who insists on following his mistress when she goes downtown in the subway. He gets on the train, and then his troubles begin. After almost disrupting the train service, he is flung off, and is forced to walk the tracks back to the station, with trains whizzing down on him from all directions. When he finally arrives safely back home, he is cured of wanting to trail around town with Betty.

"You Took the Words Right Out of My Heart" (Screen Songs)
Paramount 7 mins. (Novelty Cartoon)
First a cartoon section, showing kidding newsreel style shots of a lion tamer, a tight-rope walker, an actor, a sweepstake winner, all caught through a candid camera. There is a gag tied up with each shot. Then the title song is put over by Jerry Blaine and his Streamline Rhythm ork, with Phyllis Kenny vocalizing. A Max Fleischer cartoon with trimmings of real-life artists.

February 18, 1938
"Donald's Better Self" (Disney Cartoon)
RKO Radio 8 mins. Hugely Entertaining
Raucous Donald Duck reaches a new ingratiating high in this most recent of his vehicles, which is filmed entirely in Technicolor. Further, the reel is one of the best, and certainly one of the most amusing, ever made by Walt Disney. It is the type of short that is immensely human, and, as a consequence, will score heavily. Opening sequence shows Donald awakening in his bedroom, urged to promptness in dressing and treking off to school by his Better Self,—an ectoplasmic, but withal a material, delineation of Donald. The Better Self has a long white robe, wings and a sparkling halo. Naturally, Donald has a corresponding Evil Self which is depicted as a young devil, spear-tailed, horned and clad in a red cape. The Evil Self influences Donald to stay in bed, but finally he gets up, dresses, grabs his school books and heads for the classroom. But en route, along the rural highway, out of a letter-box pops the Evil Self who prompts him to go swimming, and even to smoke a corncob pipe. Eventually Good prevails, and Donald reluctantly arrives at the schoolhouse. Entire conception of this short is uncannily clever.

February 21, 1938
"The Sneezing Weasel" (Merrie Melody Cartoon)
Vitaphone 7 mins. Poor Cartoon
The adventure of a little chick who is left in the house by the mother as she tucks it in bed with a cold, and the bad weasel comes after it disguised as a doctor. It is all very reminiscent. The weasel is defeated as he catches the cold from the patient, and ma returns and the weasel runs out of the house. A Leon Schlesinger production.

"Learn Polikeness"(Popeye Cartoon)
Paramount 7 mins. Funny Number
Olive Oyl tries to make a gentleman out of Popeye, but has a tough time. She takes him to a school run by his enemy, Bluto. But Bluto starts to show his etiquette technique by making love to Olive. She yells for help, and Popeye comes to the rescue with the help of his trusty spinach. Thus the fake gentleman, Bluto, is put in his place.

February 24, 1938
"Porky's Phoney Express" (Looney Tune Cartoon)
Vitaphone 7 Mins. Lively Cartoon
Porky gets his chance to be a hero and ride the Pony Express out in the little western town in the old pioneer days. His opportunity only comes when the boss gives him the job to keep him from pestering. Porky goes out and makes good, distinguishing himself by saving the mail as he outwits a band of hostile Indians who chase him right into the next pony express station.

"Be Up to Date" (Betty Boop Cartoon)
Paramount 7 mins. Novelty Animated
A freak cartoon, with Betty Boop as the owner of a department store in a trailer. She arrives at a hillbilly settlement, and the natives buy her wares, but put them to very odd uses. One gal uses a waffle iron to put a permanent wave in her hair.

March 1, 1938
"Yokel Boy Makes Good" (An Oswald Cartoon)
Universal 7 mins. Amusing Cartoon
Oswald Rabbit gives a barn show with all the animals invited except Snuffy Skunk, whom the animals like, but not at close range. Snuffy uses numerous disguises to get in, but he is thrown out each time he gets to the door. The show goes on and the noise wakes a bad-tempered bull asleep in the next building. Finally, unable to stand the noise any longer, he goes berserk and rushes into the theater with a shotgun. Snuffy comes to the rescue in his own inimitable manner and routs the bull. Proclaimed a hero, Snuffy wins a place in the show with the audience donning masks for Snuffy's inaugural appearance. Walter Lantz was the producer.

"Cleaning House"
M-G-M 8 mins. Fairly Funny Cartoon
The nationally known comic strip, "The Captain and the Kids," are animated in color in this new M-G-M short with fairly funny results. The characterizations are accurate. The captain's wife is cleaning house with all the well-known characters enlisted in her cleaning corps. The captain tries to get out of working by claiming that he is sick. Mama sends for the doctor and the panic is on when the two kids waylay the doctor, and after stealing his clothes and instruments they appear at the house. They scare the captain to death and wreck the place in a short time, with the captain getting the blame.

"The Horse on the Merry-Go-Round" (Scrappy Color Rhapsody)
Columbia 7 mins. Lively Color Fantasy
Done in Technicolor, this is a lively adventure story of a little horse on a merry-go-round who goes exploring one night after the fair grounds are locked up. His adventures are amusing as he in turn hits the Crazy House, the Wax Museum, Ferris Wheel, Roller Coaster. The little horse is glad to get back to his merry-go-round. Produced by Charles Mintz. Directed by Ub Iwerks.

March 2, 1938
"The Man Hunt" (An Oswald Cartoon)
Universal 7 mins. Funny Cartoon Number
The animals are in a panic when a group of city hunters arrive in their woodland and start shooting up the place. They rush to see Game Warden Oswald Rabbit for a solution to their troubles. Oswald decides that they will hunt the hunters. The skunks operate gas tanks. The tortoise tribe operates effectively as a machine gun unit with a barrage of hickory nuts spouting from their shells. The squirrels rig up a rapid-fire gun with the assistance of the woodpeckers. The hunters are routed in a short time and make a precarious escape back to the city as the animals return to their peaceful pursuits. Walter Lantz produced the picture.

"Auto Clinic" (Krazy Kat)
Columbia 7 mins. Clever Cartoon Number
A new type of robot auto repair service is furnished by Krazy Kat. Everything goes lovely, till a tough guy drops a counterfeit coin in the gas pump. So Proprietor Krazy Kat gives the intruder a going-over with the various robot machines that treat him as if he were an auto needing overhauling and repairs. The tough gent is glad to escape with his life. The robot machines for the various mechanical operations are very ingenious. A Charles Mintz production.

March 16, 1938
"The Moth and the Flame" (Disney Cartoons)
RKO Radio 8 mins. Delightful Adventure
Delightful romantic fantasy of young love among the moths. A youthful girl and boy moth enter what is known as the Moth's Paradise, a second hand clothing store. In their adventure they are followed by the rest of the moth family, which starts to stage a banquet among the old clothes. The boy moth also goes on a private banquet expedition, concentrating on absorbing an old derby. The girl, feeling herself slighted, goes off by herself and encounters the flame of a candle. The Spirit of the Flame starts to exercise his Svengali wiles, but the little coquette manages to stay just out of his clutches. The suspense and real drama that is created in this situation between a candle flame and a moth is hard to picture in words. Finally the flame drops from one article to another in the shop as the candle sputters out, and several times almost envelops the girl moth. Frantically she flees to a cobweb, where she is about to be consumed by the flame, when the boy friend rallies the moth family to the rescue. They employ atomizers, bellows, and all sorts of contraptions to pour water on the flame, and finally destroy it.

"Boy Meets Dog" (Sponsored Cartoon)
Caravel Distributing Corp. 9 mins. Clever Boy Skit
One of the cleverest sponsored shorts ever produced. It is based on the pop cartoon strip, "Reg'lar Fellers," by Gene Byrnes. In every department the top-string men have contributed to make this an exceptional offering, in story, animation, music and lyrics. Technicolor adds the final touch. The skit is that of a boy who has an old grouch for a daddy, who just doesn't understand little boys and their dreams. An accident in the house puts pop into dreamland where he slides down the stairway and skids on a roller skate. Meanwhile the little boy wanders out disconsolately and down a country road, where he finds a homeless pup with a can tied to its tail. They become pals, and join the other boys. In his dream the dad has a nightmare and sees himself as a pretty sour mug, who doesn't attend to his gums and teeth, and this makes him sore on the world. Here the ad element is injected deftly and with only a flash, as the old sour puss looks out of a window and reads the electric sign with a message of the toothpaste in question. So dad reforms, and becomes a "Reg'lar Feller" with his boy and the other kids. Animation by Rudy Zamora and Frank Tipper. Backgrounds by Charles Conner and Ray Forkum. Impersonations of the voices of Fred Allen, Joe Penner, the Ritz Brothers and Roscoe Ates are very well done. Lyrics and music by Frank Churchill, composer of "Three Little Pigs" and "Snow White." Symphonic swing ork under direction of Nathaniel Shilkret. Directed"" by Walter Lantz. The sponsor of this cartoon is Bristol-Myers Co.

"Gandy the Goose" (Terry-Toons)
Educational 7 mins. Lively Adventure
The little goose decides to leave the old folks on the farm and go in search of adventure. He arrives at a lunch stand on the road, whose proprietor is the sly Greek, Mister Fox. The latter invites the little goose inside, and immediately puts the kettle on the stove to boil himself some nice goose stew. He proposes a game of hide and seek, and suggests to the dumb goose to hide in the pot and pull the cover over him. Finally the little goose gets smart, hops out of the pot as the fox starts to season him with salt and pepper, and after a terrific fight, escapes back to the farm, which looks awfully good to the prodigal. Produced by Paul Terry and John Foster. Scored by Philip Scheib.

March 18, 1938
"The Foolish Bunny" (Scrappy Color Rhapsody)
Columbia 8 mins Mildly Amusing
The rabbits are in school. The teacher is having them sing their A B C's, when she is interrupted by a loud snoring from the back of the room. She orders a very aged rabbit to come to the front of the room and tells the class why he is still in school at that age There is a flashback showing the ancient rabbit as a fresh young pup He pesters the schoolteacher and doesn't believe in going to school with the result that he is still attending school. The reel closes with the old rabbit peacefully falling asleep again as the class resumes work. Charles Mintz produced the picture. Sid Marcus provided the story and Art Davis the animation.

March 22, 1938
"Tears of An Onion" (Color Classic Cartoon)
Paramount 7 mins. Sprightly Cartoon
Sprightly adventure in the garden among the flowers and vegetables, with a little onion the hero, for he rescues Miss Peach from the advances of the villain caterpillar. The climax is a desperate battle between hero and villain, but finally the smell of the onion overcomes the brute who tried to destroy the fair young lady. The fade-out has Miss Peach and Mr. Onion romancing, as she smiles with tears in her eyes. A clever Max Fleischer cartoon in color.

"The House Builder-Upper" (Popeye Cartoon)
Paramount 7 mins. Funny Gags
Popeye and his pal Wimpy run a volunteer fire truck, and answer a fire alarm at the home of Olive Oyl. But when they arrive there, Olive is in tears sitting on the doorstep, for that is all that is left of her home. Popeye takes his spinach, and with Wimpy's help, they soon have a more beautiful home built. But they have ignored the scientific principles of the building craft, and as soon as they step in the front door with Olive to inspect the new house, it crashes around their heads.

March 31, 1938
"Feed the Kitty" (Oswald Cartoon)
Universal 7 mins. Amusing Cartoon
A big lumbering puppy enjoys life in general with the exception of a family of cats that annoy continually. The mother cat steals his bowl of milk for her kittens, and this is more than he can put up with. He breaks his leash and chases her. She apparently is run over by a car and the puppy is overcome with remorse. He takes care of the kittens until a frightening apparation arrives a short time later. The old cat had not been run over by the car, but she had fallen into a concrete mixer, and has been encased in cement. However, she breaks the cement when she hits a piano leg in her chase of the puppy, and all is forgiven and forgotten. Walter Lantz produced.