Commercials By Ernie Pintoff

If you know anything about Ernest Pintoff, it’s because you read about (or have seen) Flebus (1957), his one cartoon for Terrytoons. Producer Gene Deitch hired Pintoff from UPA, where he had directed the TV short Fight On For Old. After Pintoff started Flebus, he walked away from Terrytoons, leaving Deitch and animator Jim Tyer to finish the cartoon. Deitch recalled Pintoff stuck to himself mostly, playing his trumpet, and the only person he got along with at the studio was quirky old-timer Tyer.

Pintoff moved on to a short-lived business with Robert Lawrence, animating spots for American Beer, before striking out on his own. Obirtuaries in 2002 talk about his highs (an Oscar for The Critic) and lows (directing Falcon Crest and The Dukes of Hazzard) but don’t mention Flebus, nor his work in animated commercials, nor his books (nor, for that matter, his ownership of Wig Records). He told Howard Beckerman, recorded in the January 1974 issue of Filmakers Newsletter, that he went into live action because he “wanted to deal with people—bodies, breasts, reality!

“Live action made me verbal,” Pintoff continued. “In animation you just communicate with guys sitting around drawing boards. I put all of my ideas into the sound track and became known for that. In live action you have to be able to communicate with many people on a set, you’ve got to be articulate.”

I’ve never thought of slow motion film of the General Lee jumping over a barrier as anything more than a cliché, let alone “articulate,” but let’s get back to animation.

I really enjoy animated commercials of the 1950s and early ‘60s, which come in a variety of styles. Many people who worked at the theatrical studios found work on spots for TV. Here’s a short piece on Pintoff’s recent commercial work from Art Direction magazine of May 1961. About 90 issues are available on line and my only regret is the resolution is so low that the cartoon frames come out too murky. But this may give you an idea of some of Pinoff’s work.

Unfortunately, none of the animators are identified. A few who worked for him were Jimmy Murakami, Vinnie Bell and Jim Hiltz. My recollection is Emily Tip was a character on the Tip Top Bread commercials, created by Ed Graham, Jr.

COMMERCIALS THIS MONTH
BY RALPH PORTER

Film Art: The Little World of Ernie Pintoff

Twenty-nine year old Ernest Pintoff first came to my attention with the successful Emily Tip commercials. His influence in stylized animation has been recognized, and now, when newness of concept and form is so difficult to achieve, it is a pleasure to see him create ever-new delights for both TV and cinema.

This latest group of commercials shows freedom of movement; abandoned, unrestricted concepts and excellent integration of sound and sight. Pintoff is an accomplished musician and composer and usually writes his own music to accompany the output of his brush.

1—Royal Prime Yams
Agency: Hicks & Griest
Production Supervisor: Dick Renderly
AD: Len Glasser
Copy: Art Mayer
Music: Ernie Pintoff

2—National Guard
Agency: Fletcher Richards, Calkins & Holden
Production Supervisors: Bob Nugent, Steven Rapolla

3—Burry’s Scooter Pie
Agency: Weightman & Co.
Production Supervisor: Len Stevens

4—Alemite Agency: MacFarland Aveyard (Chicago)
Production Supervisor—Grant Atkinson

5—Lucky Strike
Agency: BBD&O
Production Supervisor: Bernie Haber
Creative Director: Georg Olden

If you have an archive.org account, you can read his ANIMATION 101 here. And you should be able to find versions of Flebus and The Critic on-line.