Who Likes Van Beuren Cartoons?

In the early 1930s, three East Coast animation studios were trying to entertain audiences on the big screen. The Fleischer studio was at the top of the heap, with the Talkartoons, Screen Songs and Betty Boop cartoons featuring neat gags and drawn well characters. Some steps below Max and Dave Fleischer were the Terrytoons of Paul Terry and Frank Moser, and the Aesop Fables (and, eventually, the human Tom and Jerry) made by the Van Beuren Corporation.

If nothing else, Terrytoons had longevity. CBS continued making the cartoons into the late 1960s, long after Terry eased out Moser, then sold out in the mid-50s. Van Beuren, on the other hand, came out with shorts that weren’t always well drawn, with stories that weren’t always well-structured, and gags that made you think “What did I just see?”

Watching them, you may think they were just thrown together, but that wasn’t the case if you buy what’s in a syndicated newspaper story that appeared in February 1931:

Odd facts and figures concerning the production of Aesop’s Sound Fables, animated cartoons produced by the Van Beuren Corporation, have been compiled by George Stallings, for many years a member of the Fables’ animated staff—
Forty artists make 26 animated cartoons a year.
Each cartoon averages 6,000 drawings.
Each drawing is handled five separate times: Penciling, Inking, Black, White and Gray opaquing.
152,000 drawings are animated in one year.
152,000 drawings are worked on 760,000 times in one year.
The drawings make 18,200 feet of film.
All of this, one year’s work of 40 men, can be shown on the screen in 3 hours and 2 minutes.
In addition to the above figures which deal with artist work alone, here is some more interesting data:
Four gag men are employed to supply necessary comedy bits.
One tap dancer [Jack Ward] for devising special steps and instructing animators on matters concerning dance technique.
One musical director [Gene Rodemich] devotes his entire time to adaptation and composition of music and effects.
Sixteen musicians are employed for synchronizing.
Two cameramen work continuously photographing drawings.
There are approximately 150 positive prints distributed on each subject in the United States and 53 distributed in the United Kingdom.
Aesop’s Fables are shown in every country of continental Europe, North and South America, Australia, South Africa, as well as may sections of Asia.
An average audience of 1,750,000 sees the cartoons each day in the United States alone.
The staff employed in making a Fable cartoon is approximately twice the staff on an average seven-reel picture, excluding extras.

Irene Thirer of the New York Daily News of Sept. 27, 1931 devoted part of her column to the studio and its alleged attempts at realism.

We learn from the Van Beuren Corporation that a thorough research is being conducted at the New York Zoological Gardens, the Museum of Natural History and the New York Public Library under the personal supervision of John Foster.
Working models are being made of numerous specimens in order that the artist may have the greatest possible selections of types in the making of their animated cartoons. An extremely difficult phase of the research work, Mr. Foster informs us, is the cataloguing of the correct animal sounds as well as their mannerisms in their native habitat.

The biggest publicity Van Beuren got that year, unfortunately, came March 30, 1931 when it was reported Walt Disney was suing the company for its ersatz versions of Mickey and Minnie Mouse, with Stone Age Stunts being named in one wire service story. Roughly two months later, Disney got a temporary injunction against Van Beuren and distributor Pathé. Read about it in this post.

What did people other than Uncle Walt think of the Van Beuren cartoons? We have some reviews from Film Daily you can hunt down on this blog. Let’s pass along the words of one critic published in The Billboard, which reviewed shorts until the start of March 1931.

“The King of Bugs”
(AN AESOP SOUND FABLE)
(PATHE)
STYLE—Animated sound cartoon.
TIME—Nine minutes.

Bugville in medieval times, settings and characters denoting that period, is all set for the annual joust and tourney before the king and princess of insectdom in this Aesop Sound Fable, The King of Bugs, a Van Beuren Corporation production. The main event at the tourney, after the gala arrival of the king and his entourage, is a race between the hare, the turtle and a ferocious-looking spider, sort of a new twist on the ancient mythological tale. The spider easily puts his racing adversaries out of the way and triumphs in the race, winning the praise and admiration of the king and his populace. But the race is razzed by the court fool, which angers the spider, who tries to kill him. The princess rushes to the jester’s rescue and is herself abducted by the angry spider. Overcoming all his pursuers, the spider is finally conquered by the fearless bug jester of the king, who revives in time to rescue the princess.
Action, continuity and synchronization of this animated cartoon is up to the usual high Aesop Fable standard. Treatment and theme of the story is a bit different than the usual run of cartoon and should be enjoyed by most spectators. C. G. B. [Jan. 10]

“A Toytown Tale”
(AN AESOP SOUND FABLE)
(PATHE)
STYLE—Animated sound cartoon.
TIME—Eight minutes.

By far one of the best and most ingenious of the present crop of animated sound cartoons is this short, A Toytown Tale, one in the series of Aesop’s Sound Fables produced by the Van Beuren Corporation for Pathe release. The theme is that of a toymaker who closes shop for the night, and the toys which come to life while he sleeps, a favorite situation with many another story.
A mechanical policeman is left on guard by the toymaker, but he falls in the glue. While he extricating himself a whole series of dramatic events takes place before he can restore order. A wooden lieutenant and his company of wooden infantrymen march off to war, but the officer is attracted by the flirting eyes of a beautiful dolly. Flirtation leads to love, but the soldier proves unworthy by his inability to defend her against a ferocious Tinker elephant and a somersaulting mechanical gorilla. Little Boy Blue and his flock of sheep prove the right to the love of the beautiful doll by effecting a thrilling rescue of the distressed damsel. The mechanical policeman finally emerges from the glue in time to restore peace in the toyshop and to restrain the nervous excitement of the Jack-in-the-Box. An entertaining reel, with complicated action, background and synchronization. C. G. B. [Jan. 17]

“Red Riding Hood”
(AN AESOP SOUND FABLE)
(PATHE)
STYLE—Animated sound cartoon.
TIME—Eight minutes.
The Van Beuren Corporation, maker of the Aesop Sound Fables, will continue as the peer in animated cartoon product, despite competition from other companies attempting to cash in on the pictures, and while there is no definite conflict or competition between the various types of caricatured strips, and there appears to be plenty of room in the field for all of them, and more besides, Aesop’s Fables will always stand out as one of the first, if not the original, animated drawing on the screen.
In this reel the Red Riding Hood theme is twisted and made to fit the mood of the cartoonist, and to place a bit of humorous travesty behind the nursery story. Riding Hood blithely trips thru the woods, followed by a ferocious wolf riding a stealthily creeping roadster, and upon being asked where she was going she informs the wolf her destination is grandma’s. Grandma’s doctor in the meantime has given the sick old lady a new jazz tonic, which completely rejuvenates her into a vivacious flapper, and when the wolf arrives he determines to merry the old gal. Riding Hood arrives just as they are about to depart for the church, and she quickly summons the old wolf’s wife and horde of wolfish brats. The wedding ceremony is nipped in the bud, with hundreds of wolves at the door. This will hold up as a filler. C. G. B. [Feb. 14]

“The Animal Fair”
(AN AESOP SOUND FABLE)
(PATHE)
STYLE—Animated cartoon.
TIME—Nine minutes.

A well-known march song. The Animal Fair, which has served as nursery material for many a generation, is the basis for the cartoon animation of this Aesop Sound Fable of the same name. The march melody and rhythm introduce a parade of fabletown’s gentry down the main street to the fairgrounds, where a multitude has assembled for the big show. Much of the action is concerned with the milling crowds outside the big tent, one incident being where a sneak thief steals the sheriff’s trousers and beard. A long-winded harangue by the side-show barker results in a wild rush for the entrance. Within the tent a vaudeville show is progressing. A two-piano clog act gets by nicely until a fat dame crosses downstage and immediately the whole act flops. A pansy duck. pulling the nance tra-tra-la business, brings a vegetable and missile bombardment from the audience, ending the show and the reel. A few scattered laughs to the reel, which is fair-filler material. C. G. B. [Feb. 14]

“Cowboy Blues”
(AESOP SOUND FABLE)
(PATHE)
STYLE—Animated cartoon.
TIME—Eight minutes.

Another animated cartoon in the Aesop Sound Fable series made for Pathe release by the Van Beuren Corporation. Cowboy Blues is up the quality entertainment value of preceding items. Gene Rodemich, who handles the sound and musical synchronization for these shorts, deserves special mention for the expert manner in which sound and musical accompaniment fits in with the complicated action of the caricatured animals.
In this Milton Mouse finds himself on the Western grazing lands, where he is paying court to his mousie sweetheart under difficult odds and rivalry from a tough gink called Bad Egg Cat, who robs the cafe in which the girl is employed as a singer. Of course, Milton Mouse rescues the girl, saves the plunder and metes out dire punishment to the bad guy. Goodly share of laughs. C. G. B. [Feb. 28]

And from Variety from various issues in 1931 come these critiques:

“OLD HOKUM BUCKET”
Cartoon
7 Mins.
Mayfair, New York
Pathe
One of the Aesop Fables series, but below par for originality or laughs. For the intermediate or lesser spots as filler.
Simple theme of a bunch of animals falling for some pep pills and cutting up into a final fadeout after musical gyrations in the usual fashion. Shan. [April 1]

“RADIO RACKET”
Aesop Fable Cartoon
8 Mins.
Strand, New York
Pathe
Animals broadcasting and animals listening. A jungle burlesque on the air. As such it has some parts the funniest ever caught in a cartoon.
The hippo singing a high soprano and the bombardment on a return wave gets fans of all inclinations laughing until they reach the edge of the well known chair. Waly. [April 1]

“CINDERELLA BLUES”
Cartoon
8 Mins.
Cameo, N.Y.
Pathe
A fair cartoon of the familiar yarn with just enough trimming and novelty to give it appeal.
For about two minutes in this one the music runs ahead of the drawings, otherwise the synchronization and drawings are perfect.
Not many laughs but a few smiles. [April 29]

“MAD MELODY”
Cartoon
7 Mins.
Mayfair, N. Y.
RKO-Pathe
One of the Aesop Fables. Excellent as a filler for any type house.
Diversity is offered from the usual caricature route of such subjects in that good vocal voices are heard in operatic burlesque as animal characters gyrate to music and otherwise. Funny all the way.
Idea concerns an orchestra leader with musical idiosyncrasies. These are coupled with the classical attempts of various hippopotami and small animals in staging “La Za Za.” Shan. [April 29]

“SCHOOL DAYS” [GOOD OLD SCHOOLDAYS]
Cartoon
8 Mins.
Trans Lux, N. Y.
Pathe
Getting so with these animals and insects that they repeat all of the old tricks and still entertain, providing the locale is different. This time the motif is school.
All the old time school songs are rendered in solo and quartet formation. A class orchestra with instruments denoted by legs and arms comprise the witticisms which are interspersed. Waly. [June 2]

“PLAY BALL”
Cartoon
8 Mins.
Globe, N. Y.
RKO-Pathe
Quite evident that if it weren’t for those razzberry blowers many a short wouldn’t know what to do with itself. This is such a one. Makers of these cartoons will eventually realize that continuous use of the British “bird” is no longer funny. That the light should have dawned six months ago is beside the point, for they’re still hanging the berry on all and sundry at the least provocation. To hear it flop the way it did at the Globe may be the only cure.
‘Play Ball’ is one of the Van Beuren Aesop Fables. It revives, as the title indicates, the diamond pastime in a game between monkeys, elephants and hippoes. No unusual wrinkles as even the outfielder hopping a bike to chase a fly is revived, plus the windup parade around the bases.
Rodemich scored the reel and the arrangement calls for some dialog. Latter is bad and does much to disrupt. Diction put into the mouths of these cartoon characters invariably sounds out of place. When it doesn’t jibe, the damage is irreparable. Grunts, cries and, exclamations have often been made to register, but the producers generally overdo it by delving into the conversation. The verbatim angle has robbed many a cartoon of its effectiveness and numerous of these one reelers are still just getting by for that same reason, when they should be solid hits.
Hence, “Play Ball” is just an ordinary short. It’s in a Broadway house on a base on balls from the home office and will find its best chances in the cheaper priced neighbs. Sid. [June 2]

“PALEFACE PUP”
Cartoon
7 Mins.
Strand, N. Y.
RKO-Pathe
An Aesop Fable with a good share of laughs. Okay all around.
Has a cowpuncher going for a squad followed by the inevitable chase by the chief. Romps back and forth in grossly exaggerate western form and amuses all the way. Sid. [July 14]

“MAKING 'EM MOVE”
Cartoon
7 Mins.
Mayfair, N. Y.
RKO-Pathe

Smart idea kiddingly given an insight on how animated cartoons are made. Before it gets through it has clearly outlined the technical principles, without going into too much detail, while striving for comedy. Worthy of any screen because of the interest involved, besides which it has a share of snickers.
Leads to finish by secondary screening of a drama in which the audience of animals cheer the hero and hiss the villain in the saw mill drama climax. Sid. [July 14]

One person who eventually gave the cartoons a bad review was Amedee Van Beuren himself. Out went George Stallings. Out went Gene Rodemich. In came Burt Gillett from Disney. In 1936, out went Gillett and in came Disney and the real Mickey Mouse. RKO decided to release cartoons made by someone else. Van Beuren continued making shorts including the Grantland Rice Sportlights and Vagabond Adventures with Alois Havrilla, but he was out of the cartoon business.