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Aladdin appears to be a little too small in the shot above.
The cartoon boasts excellent colour, which I imagine looked better in its original release. The Film Daily proclaimed the cartoon “very good” and called the colour “vivid and appealing.”
There’s not a lot of drama in the story, but we’re treated to silhouette animation of the lamp bouncing around inside the sultan.
Grim Natwick and Berny Wolf receive screen credit for animation and Art Turkisher supplied the score.
The cartoon has some history. Motion Picture Daily, on its front page of August 16, 1934, reported:
First certificate of compliance with Production Code Administration standards issued to a producer not a member of the Hays association goes to P. A. Powers, as producer, and “Aladdin and His Wonderful Lamp,” an animated cartoon, as the picture.Evidently the Hays people felt the scene where Aladdin lands in a tub with the bathing princess was chaste enough to be okayed.
The Hays office, at the same time, stressed the point that the approval, Certificate No. 154, was in conformity with the “association’s purpose to to afford all producers, whether or not members, the opportunity to use the facilities which the association has developed to help assure the highest standards of picture production.”
This is main reason these shorts are long overdue for a restoration. The gorgeous use of color is probably one of the biggest appeal to these cartoons, pretty much the same remark about the Color Classics (and those look downright jaw dropping restored and remastered).
ReplyDeleteWhile I can think of other series of cartoons I'd rather see restored (we still don't have all Warners cartoons done), it would be great to see these as they were meant to be seen. I quite like Iwerks' background art (I don't know who was responsible) and the poor old public domain copies out there for years don't do it justice.
ReplyDeletePat Powers had high hopes for the ComiColors. He certainly spend a good chunk of money publicising them.
Steve Stanchfield of Thunderbean has been working on the the ComiColors for some time, all from 35mm elements, including original successive-exposure camera negatives that have survived.
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