The background art is just tremendous in Popeye the Sailor Meets Sindbad the Sailor. Even watching what must have been a semi-washed-out print on a black-and-white TV in the early ‘60s, I really appreciated it. Adding to it were the 3D-like scenes with backgrounds and foregrounds at moving at different speeds than the animation.
Watching a restored version in full Technicolor is a real treat. The background artists outdid themselves with the various colours. Here’s a great example, with a rock-skull and gnarled tree with a face.
This is part of a gag that I remember liking 60-some-odd years ago. Sindbad punches Popeye upward. Sindbad’s huge rokh grabs him, circles once (the animators had to draw the bird’s underside as the shot looks up) and flies into a distant volcano to finish him off.
Notice how the background the same setting is different than the one in the first frame. The Fleischers spared no expense.
Popeye's a goner. Or is he? A tornado whisks its way from the volcano to the foreground and provides the answer.
Here’s the background painting under the first set of titles. What a shame none of the background artists got credit.
Willard Bowsky led the animation crew on this, with Ed Nolan and George Germanetti getting screen credit.
Note the face in the tree--a truly Disney-worthy detail. How could there not have been an actual feature-length "Popeye Color Feature"? All the ingredients were there--great quirky characters that audiences already loved, humor, action, adventure, music, fun--and the daily Segar strips had lengthy storylines.
ReplyDeleteAgreed. Wholeheartedly. Popeye was someone that capable of expanding to feature-length. I don't know the circumstances, but perhaps Paramount wanted a feature where it wouldn't have to split profits with King Features.
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