The take gets a little lost because director Frank Tashlin not only has the monster (streamlined in this particular scene) dominating the frame, but Porky is animated behind him.
Volney White gets the animation credit on this Tashlin effort.
Tuesday, 9 May 2017
Eyes of a Stuttering Pig
Porky Pig makes a take when he realises he’s holding the hand of a monster instead of Petunia in The Case of the Stuttering Pig (1937).
The take gets a little lost because director Frank Tashlin not only has the monster (streamlined in this particular scene) dominating the frame, but Porky is animated behind him.
Volney White gets the animation credit on this Tashlin effort.
The take gets a little lost because director Frank Tashlin not only has the monster (streamlined in this particular scene) dominating the frame, but Porky is animated behind him.
Volney White gets the animation credit on this Tashlin effort.
Tashlin stuck with the 'fat Porky' model longer than anyone, even though the types of slightly more dramatic stories Frank preferred at this point in time than what the Avery or Clampett units were doing were even less suited for that body style (Tashlin would finally give in and streamline his pig right about the time he also decided there was no longer any need for Disneyesque dramatic moments in the stories, and could go for pure comedy as with the other LT units).
ReplyDeleteThe villain would get his comeuppance from "the guy in the third row" -whom he had been needling earlier.
ReplyDeleteThe title was a reference to "The Case of the Stuttering Bishop," one of Erle Stanley Gardner's early Perry Mason books (which Warners filmed with Donald Woods as Mason).