Betty Boop falls through a shaft into Blunderland in (as if you haven’t guessed the title) Betty Boop in Blunderland, a 1934 cartoon by the Fleischer studio.
It seems Betty knows the Production Code would soon be enforced (on July 1; this cartoon was released on April 6) so she covers up her exposed underwear, thanks to a wooden clothespin on a line across the shaft.
On the way down, she grabs a jar of jam and opens it.
The jam turns into a head. A celebrity head!
Why, it’s Ed Wynn. He says “so-ohhhhhh” like he used to do to announcer Graham McNamee on his radio show of the time.
Betty decides to leave Ed behind on a convenient statue and continues her journey downward to Blunderland. The real Wynn supplied the voice of the Mad Hatter in Disney's version of Alice in Wonderland, released in 1951.
“Did You Ever Hear a Dream Walking?” is played on the soundtrack during this scene. And this is yet another animated cartoon where Franz Liszt’s Second Hungarian Rhapsody is heard.
Doc Crandall and Tom Johnson are the credited animators. Mae Questel does not play Betty in this cartoon.
Tuesday 8 October 2024
Monday 7 October 2024
Screen Gems' She-Wolf
Columbia cartoons may have had problems with stories (Tangled Television and Kongo-Roo anyone?) but the animation was generally pretty good.
Here’s a neat transformation scene from Simple Siren (released Oct. 25, 1945). Man-crazy Vera Vague of the Bob Hope radio show inspired this story by Ed Seward of a homely siren trying to snare a shipwrecked sailor. When the she spots the sailor, she turns into a female wolf.
Wonder whose animation this is? When the siren backs up, you can tell. The multiple eyes and snouts are Don Williams’ stock-in-trade. He gets screen credit on this short, as does Volus Jones.
She transforms back.
Consecutive drawings on twos.
Paul Sommer directed the short, rated “poor” by Film Daily: “The laugh content of this animated cartoon is very limited indeed.” The ending is an Avery-like iris gag which may be the best part of the short.
Sara Berner does her Vera Vague impression as the siren, and John Ployardt/McLeish shows up at the end as a cop. I can't tell if the sea bird is Harry Lang. (A late note. Keith Scott has confirmed it is).
P.S. Thanks to Craig Davison for posting this cartoon on YouTube. The version's been edited; there's an odd fade-out a little more than a third of the way through.
Here’s a neat transformation scene from Simple Siren (released Oct. 25, 1945). Man-crazy Vera Vague of the Bob Hope radio show inspired this story by Ed Seward of a homely siren trying to snare a shipwrecked sailor. When the she spots the sailor, she turns into a female wolf.
Wonder whose animation this is? When the siren backs up, you can tell. The multiple eyes and snouts are Don Williams’ stock-in-trade. He gets screen credit on this short, as does Volus Jones.
She transforms back.
Consecutive drawings on twos.
Paul Sommer directed the short, rated “poor” by Film Daily: “The laugh content of this animated cartoon is very limited indeed.” The ending is an Avery-like iris gag which may be the best part of the short.
Sara Berner does her Vera Vague impression as the siren, and John Ployardt/McLeish shows up at the end as a cop. I can't tell if the sea bird is Harry Lang. (A late note. Keith Scott has confirmed it is).
P.S. Thanks to Craig Davison for posting this cartoon on YouTube. The version's been edited; there's an odd fade-out a little more than a third of the way through.
Sunday 6 October 2024
Star of Stage, Screen and Casinos
In a way, Jack Benny never gave up vaudeville.
Vaudeville bills in the early part of the 20th century were, more or less, variety shows. There would be comedians, musicians, dancers, acrobats, trained animals, sketches, a host of different acts put together by talent manager of various circuits, such as the Orpheum or Pantages. In the 20s, an emcee was added to bind things together. Among them was Jack Benny.
After Jack got into radio in 1932, he went on what were called “personal appearance.” The stops in various cities mimicked vaudeville, except the producer was Jack Benny. He had supporting acts of different kinds on the bill with him. Some interacted with him, others did not.
By the 1950s, resort casinos were springing up in Nevada and owners had plenty of cash to bring in top talent. Among them was Jack Benny. But Jack didn’t appear on his own. Again, he gathered other performers to take the stage, just like in vaudeville.
One of Jack’s shows took him to the 700-seat South Shore room at Harrah’s in Lake Tahoe in August 1960. This was a big deal. There were 200 press writers and dignitaries to greet him when, according to the Nevada State Journal, he landed on a United Airlines flight at Reno airport on Saturday, August 20 at 2:30 (yes, the paper gave the actual time). The Journal pointed out the day before it would be Jack’s theatre-restaurant engagement of the year.
Among at the acts with him was 19-year-old singer Diana Trask who, the paper said, was “the highest priced Australian act to work in that country” and had been part of Frank Sinatra and Sammy Davis, Jr.’s shows there.
If you want to know what Jack’s act was like, here’s the review from the Journal, published August 27.
JACK BENNY PROVES NITERY COMIC TALENT
A legend has come to life on the South Shore of Lake Tahoe!
Jack Benny, a legendary all-time comedy great to millions upon millions of radio listeners and television viewers, showed opening night patrons at Harrah's South Shore Room that he is just as tremendous a performer in person as he has been on the airwaves.
Benny opened a 17-day engagement at Harrah's Monday night that marks his first and only theatre-restaurant date of the year. Some 600 people filled the South Shore Room to welcome the comedian to western Nevada and applaud the efforts of the fine troupe that join in making it perhaps the top floorshow offering of the season.
Pictured as a “tightwad” through the years on radio and TV, Benny continues the “illusion” in his nightclub stint. Explaining how he allots himself money for gambling, the comedian rolls off a dozen or so quips that has his audience holding their collective sides.
And another “illusion”—that he is a poor violinist—is shattered. Despite a hilarious “assist” from an over exuberant stage hand in tossing his violin on stage, Benny displays an entertaining ability with the stringed instrument that draws generous response.
Top-flight comedian though is, Benny displays in his Harrah's show that he also has the talent for surrounding himself with other preformers [sic] who will bring out the best in him. For example, he introduces for the first time in this area a lovely singer by the name of Diana Trask. Miss Trask is a tall, voluptuous redhead who helps "prove" that Benny is no slouch with the ladies. Their kissing scene borders on the hilarious.
An "impromptu" visit by the Jack Benny Fan Club—Truckee, Calif., chapter proves to be the show-stealer when the elderly female-types making up the contingent bring out their own instruments and rock into a swing session with Benny. "Swanee River,” "When The Saints Come Marching In," and "Col. Bogie March" have never before been played in the South Shore Room like they are by the "Truckee" Benny boosters.
Benny gets serious with the violin for a bit, and does a real cute duet with pretty teenager Charlotte Motley. They join in "Getting To Know You" before Benny goes into a taped monologue while he plays "Good Night Sweetheart" and "See You In My Dreams." His radio and TV side-kick "'Rochester" makes a surprise appearance in the monologue.
Pretty Miss Trask, when she takes over the center stage spotlight alone, shows off the voice that has made her the highest-paid performer in her native Australia. A rocking "Let's Face the Music and Dance" is followed by an appealing "Turn To Me." But a torrid "Well Alright, Okay, You Win" draws the most applause.
Benny[‘s] compliment to the pretty singer "you're not only beautiful, but you're talented, too," is shared by all the South Shore Room audience.
During her kissing sequence with Benny, she sings "Mr. Wonderful," and concludes her highly successful debut with "Gypsey in My Soul.”
The Dorothy Dorben Singers and Dancers, with an assist from Leighton Noble and his orchester [sic], get the show rolling at the outset with a production number to the tunes of "Love Is Sweeping the Country," and “Love In Bloom." Singer-dancer Charles Grey does an applause-winning tap that marks him as a show-buziness [sic] "comer."
Before bowling off stage, Benny introduces some celebrities at ringside including his close pals—George Burns and Gracie Allen, and his wife Mary Livingston [sic].
Jack got plenty of mileage out of the “Getting to Know You” routine, starting, I think, with Gisele MacKenzie on TV and then with a number of other women or girls over the years. Somehow, considering people in Tahoe plunked down good money to watch Jack in person, I doubt that they minded seeing it again one more time.
Vaudeville bills in the early part of the 20th century were, more or less, variety shows. There would be comedians, musicians, dancers, acrobats, trained animals, sketches, a host of different acts put together by talent manager of various circuits, such as the Orpheum or Pantages. In the 20s, an emcee was added to bind things together. Among them was Jack Benny.
After Jack got into radio in 1932, he went on what were called “personal appearance.” The stops in various cities mimicked vaudeville, except the producer was Jack Benny. He had supporting acts of different kinds on the bill with him. Some interacted with him, others did not.
By the 1950s, resort casinos were springing up in Nevada and owners had plenty of cash to bring in top talent. Among them was Jack Benny. But Jack didn’t appear on his own. Again, he gathered other performers to take the stage, just like in vaudeville.
One of Jack’s shows took him to the 700-seat South Shore room at Harrah’s in Lake Tahoe in August 1960. This was a big deal. There were 200 press writers and dignitaries to greet him when, according to the Nevada State Journal, he landed on a United Airlines flight at Reno airport on Saturday, August 20 at 2:30 (yes, the paper gave the actual time). The Journal pointed out the day before it would be Jack’s theatre-restaurant engagement of the year.
Among at the acts with him was 19-year-old singer Diana Trask who, the paper said, was “the highest priced Australian act to work in that country” and had been part of Frank Sinatra and Sammy Davis, Jr.’s shows there.
If you want to know what Jack’s act was like, here’s the review from the Journal, published August 27.
JACK BENNY PROVES NITERY COMIC TALENT
A legend has come to life on the South Shore of Lake Tahoe!
Jack Benny, a legendary all-time comedy great to millions upon millions of radio listeners and television viewers, showed opening night patrons at Harrah's South Shore Room that he is just as tremendous a performer in person as he has been on the airwaves.
Benny opened a 17-day engagement at Harrah's Monday night that marks his first and only theatre-restaurant date of the year. Some 600 people filled the South Shore Room to welcome the comedian to western Nevada and applaud the efforts of the fine troupe that join in making it perhaps the top floorshow offering of the season.
Pictured as a “tightwad” through the years on radio and TV, Benny continues the “illusion” in his nightclub stint. Explaining how he allots himself money for gambling, the comedian rolls off a dozen or so quips that has his audience holding their collective sides.
And another “illusion”—that he is a poor violinist—is shattered. Despite a hilarious “assist” from an over exuberant stage hand in tossing his violin on stage, Benny displays an entertaining ability with the stringed instrument that draws generous response.
Top-flight comedian though is, Benny displays in his Harrah's show that he also has the talent for surrounding himself with other preformers [sic] who will bring out the best in him. For example, he introduces for the first time in this area a lovely singer by the name of Diana Trask. Miss Trask is a tall, voluptuous redhead who helps "prove" that Benny is no slouch with the ladies. Their kissing scene borders on the hilarious.
An "impromptu" visit by the Jack Benny Fan Club—Truckee, Calif., chapter proves to be the show-stealer when the elderly female-types making up the contingent bring out their own instruments and rock into a swing session with Benny. "Swanee River,” "When The Saints Come Marching In," and "Col. Bogie March" have never before been played in the South Shore Room like they are by the "Truckee" Benny boosters.
Benny gets serious with the violin for a bit, and does a real cute duet with pretty teenager Charlotte Motley. They join in "Getting To Know You" before Benny goes into a taped monologue while he plays "Good Night Sweetheart" and "See You In My Dreams." His radio and TV side-kick "'Rochester" makes a surprise appearance in the monologue.
Pretty Miss Trask, when she takes over the center stage spotlight alone, shows off the voice that has made her the highest-paid performer in her native Australia. A rocking "Let's Face the Music and Dance" is followed by an appealing "Turn To Me." But a torrid "Well Alright, Okay, You Win" draws the most applause.
Benny[‘s] compliment to the pretty singer "you're not only beautiful, but you're talented, too," is shared by all the South Shore Room audience.
During her kissing sequence with Benny, she sings "Mr. Wonderful," and concludes her highly successful debut with "Gypsey in My Soul.”
The Dorothy Dorben Singers and Dancers, with an assist from Leighton Noble and his orchester [sic], get the show rolling at the outset with a production number to the tunes of "Love Is Sweeping the Country," and “Love In Bloom." Singer-dancer Charles Grey does an applause-winning tap that marks him as a show-buziness [sic] "comer."
Before bowling off stage, Benny introduces some celebrities at ringside including his close pals—George Burns and Gracie Allen, and his wife Mary Livingston [sic].
Jack got plenty of mileage out of the “Getting to Know You” routine, starting, I think, with Gisele MacKenzie on TV and then with a number of other women or girls over the years. Somehow, considering people in Tahoe plunked down good money to watch Jack in person, I doubt that they minded seeing it again one more time.
Saturday 5 October 2024
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.
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.
Friday 4 October 2024
Turn, Turn, Turn
Odd things happen in Van Beuren cartoons that happen in no other cartoons.
There’s a roll-around take they seem to have loved at Van Beuren. It’s when a character is lying flat and swirls around.
Here’s an example from Rabid Hunters (released in 1932). Tom and Jerry are hunters. Tom has to awaken Jerry by blowing his fox hunter’s horn.
Jerry leaps into mid-air and twirls around in a cycle of 12 drawings, one per frame.
No one’s going to mistake this animation for Disney, are they? Or even Fleischer.
This version of the cartoon is from Ira Gallen’s collection. It’s clearer than that non-watermarked, beat-up version I have from the Tom and Jerry DVD put out by Thunderbean a number of years ago. Fortunately for you Van Beuren fans, Thunderbean has gone back and taken great care in restoring every Tom and Jerry cartoon for a Blu-Ray version. I can’t order from Thunderbean for several reasons, but perhaps you can. Go to the company site to see more.
John Foster and George Stallings get the “by” credit on this short, with Gene Rodemich supplying the score.
There’s a roll-around take they seem to have loved at Van Beuren. It’s when a character is lying flat and swirls around.
Here’s an example from Rabid Hunters (released in 1932). Tom and Jerry are hunters. Tom has to awaken Jerry by blowing his fox hunter’s horn.
Jerry leaps into mid-air and twirls around in a cycle of 12 drawings, one per frame.
No one’s going to mistake this animation for Disney, are they? Or even Fleischer.
This version of the cartoon is from Ira Gallen’s collection. It’s clearer than that non-watermarked, beat-up version I have from the Tom and Jerry DVD put out by Thunderbean a number of years ago. Fortunately for you Van Beuren fans, Thunderbean has gone back and taken great care in restoring every Tom and Jerry cartoon for a Blu-Ray version. I can’t order from Thunderbean for several reasons, but perhaps you can. Go to the company site to see more.
John Foster and George Stallings get the “by” credit on this short, with Gene Rodemich supplying the score.
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