Tuesday, 12 June 2012

Wally Walrus and his Ball

What starts out as Wally Walrus playing a practical joke escalates into an attempt at murder in the Woody Woodpecker cartoon “Wacky-Bye Baby” (1948). Wally shoves a convenient stick of dynamite into a rubber ball and rolls it at Woody. He’s forgotten something, though. It’s a trick ball that rolls back to where it started.

Wally closes his eyes and waits for the explosion. Then he opens an eyelid in a couple of drawings, there are some anticipation drawings and then a take. All the drawings are on twos, except the widest expression that director Dick Lundy holds for four frames. Let’s pick it up on the last eyelid drawing.












One wonders if the take might have worked better if Lundy had the animator use fewer drawings or animated on ones for part of the sequence.

Pat Matthews and Les Kline are the credited animators; I suspect Lantz used more than two per cartoon in the late ‘40s.

Monday, 11 June 2012

Wild and Woolfy

Tex Avery loved westerns. And he loved putting Droopy in westerns. My favourite is “Dragalong Droopy.” But let’s look at his first one, “Wild and Woolfy” (1945), which has a pile of familiar gags. In fact, the ending comes straight out of “Little Red Walking Hood” at Warners.

It also has Johnny Johnsen’s great background work. It opens with a pan over western mountains, with the credits on a mountainous overlay, like Johnsen did with “Wabbit Twouble” before he left Warners for MGM. I’d love to paste together frames from some of the long outdoor drawings but we’ll have to settle for some shots. Avery has three road sign gags in this cartoon; you can see two of them below.







And there’s an inside gag in the background. Claude Smith was Avery’s character layout man in this cartoon. He never got on-screen credit, but his name has found its way onto a store that the wolf and his horse pass seven times.



Smith’s model sheet for the cartoon is dated May 5, 1944, some 18 months before the cartoon was finally released.

Sunday, 10 June 2012

The No 1 Man in Hooterville

The terms “Also appearing” and “featured in the cast” have prefaced names of countless actors, but how many of them can say they went on to be the most popular man in Hooterville?

Only one. Frank Randolph Cady, the man who played general store owner Sam Drucker. He died this past week at the age of 96.

Today, the name “Hooterville” brings about snickers from perennial 12-year-old boys. But, as ‘60s television viewers know, it was the name of the little farming hamlet that was the setting for “Green Acres.” It was also not far from the Shady Rest Hotel on “Petticoat Junction.” Both shows were created by former radio writer Paul Henning who found a way to tie them in with his first TV hit, “The Beverly Hillbillies.” And Cady, as Drucker, appeared on all three.

Rustic shows somehow seem appropriate for him. Cady’s grandfather, also named Frank, was sheriff of Lassen County in California, owned a waterworks and had once invited Teddy Roosevelt on a hunting expedition with the Pacific Coast Bear Club, which sounds more like a sitcom plot than anything else. Young Frank grew up in Susanville, the third child in the family. He ended up at Stanford University and appearing in plays. One review in the Oakland Tribune in 1937 stuck him at the end of the “also appearing” list.

Some time after graduation, Cady played a season in London as an apprentice and understudy at J.B. Priestley’s Westminster Theatre, then returned to Stanford by 1942, where he was director of radio activities, and won scholarships for writing and future dramatic studies.

Cady headed down the California coast and by August 1947 was a member of the Laguna Beach Gryphon Players, with another way-down-the-list newspaper mention of a stage performance. He had small roles in films in the early ‘50s but was found more work on television within a few years. Cady wasn’t anywhere near Hooterville, let alone a full-time role, on television when this syndicated profile was written about him, appearing February 13, 1959.

LIFE MORE TENABLE SOCIALLY, TOO
Brynner Makes Bald Actors Happy
By Harold Heffernan
North American NewspaperAlliance
HOLLYWOOD – Baldbeaded actors of Hollywood would like to do something in a great big way for Yul Brynner. He’s their boy. Repeated successes scored by Brynner in a string of slick-pated romantic roles have spilled over on a number of character actors hovering on the fringe of the entertainment field. Life has not only been made more tenable socially but, more important, their careers have taken a long leap forward.
“Why, they’re actually writing baldheaded roles into movies and television nowadays,” grinned former Stanford University speech and drama professor Frank Cady who walked out of his classroom one day in 1949 [sic] to try an acting fling on a first-hand basis. One of the most familiar baldies in both movies and TV, Cady says things have been going just great for him and other smooth-headed actors ever since the big Brynner boom hit fandom.
“I’ve never had much complaint, though,” said Cady, now playing a jittery theatrical agent to Henry Fonda’s producer role in “The Man Who Understood Women.” “I was always intensely interested in the theater but at 24 my head was as shiny as a cue ball on a billiard table. I naturally thought this meant curtains.
Actually I found it helped. When I was too young to play real character parts they mistook me for older because of the bald noggin. I got juicy roles right from the start. In the before-Brynner era, I did all right, but since his vogue struck I just can’t keep up with the offers.”
Sit-at-homers are on even more familiar terms with Cady’s pixie face than theater audiences. They’ve been seeing him as the comical Doc Williams on every fourth or fifth Ozzie and Harriet TV show. Twentieth-Fox had to wait three days for Cady to report on the Fonda movie until he finished TV assignments on a Desilu Playhouse and a Sugarfoot.
Cady points out that he landed two featured roles in one big picture—all because of that head. This was in Alfred Hitchcock’s “Rear Window,” the murder mystery starring James Stewart. “I’d just finished one scene with Jimmy when Mr. Hitchcock, ahead of schedule, decided he’d shoot one planned for the next day. But one actor was missing. He looked at me and said, ‘I’ve got a toupee back there that will just fit you.’ I pasted it on and played the other part.”

“Petticoat Junction” debuted in 1963 and Cady was on the first show. He soon became very busy on-camera—one newspaper story reveals he polished off 4½ pages of dialogue in 55 minutes before moving on to another gig that day—and United Press International had this bio on April 8, 1969.

Saga of Frank Cady, alias Sam Drucker
By VERNON SCOTT
UPI Hollywood Correspondent
HOLLYWOOD— Frank Cady, alias Sam Drucker, is becoming a force to deal with in television through sheer quantitative apperances.
Actor Cady is the balding, spindle-thin general store keeper, weekly newspaper editor, mayor and postmater of Hooterville—a big shot in “Petticoat Junction” and “Green Acres” and a growing power in “The Beverly Hillbillies.”
TO DATE he has appeared in 246 episodes in the three shows during a six-year period. Must be some sort of record.
Cady is not the star of any of the three shows. But he is the connecting link among the trio, all of which are produced by Paul Henning.
Frank began modestly enough as a free-lance actor during the first two seasons of “Petticoat Junction,” working in only 37 shows. Thereafter he was under contract and rapidly gained momentum.
THIS PAST SEASON he will have appeared in 56 shows—25 “Petticoat Junctions,” 23 “Green Acres” and eight “Beverly Hillbillies.”
A modest man, Cady said the other day, “I don’t make a big impact. I’m not a flashy guy."
This is true.
“If you hang around long enough to show these people what you can do, you have a chance in this acting business,” he reflected. “I’ve never had more fun in my life than playing this character. He’s closer to me than any other role I ever played.”
ONE SHOULD remember that Cady is not the only performer to outshine players billed above him on television.
There was Vic Morrow on “Combat,” who was supposed to play second fiddle to Rick Jason, but quickly took over the lead role.
Bob Denver outshone Dwayne Hickman when he played the second lead in the defunct “Dobie Gillis” series. And Jim Nabors won his own series, “Gomer Pyle” after stealing the thunder on the “Andy Griffith Show.”
THE SAGA of Frank Cady is comparable. But he appears in three shows simultaneously—which no other actor can claim.
Leo G. Carroll played a minor role in both “The Girl From U.N.C.L.E.” and “The Man From U.N.C.L.E.” three years ago, but not with the dash and verve of Cady as Sam Drucker.
Moreover, all three of Cady’s shows are rated in the top 20.
Naturally, Frank doesn't take credit for this heady accomplishment.
“I don’t think the fact that I’m in three shows confuses the viewers,” he said. “In ‘Green Acres’ I’m one of the idiots that live at the crossroads. But in ‘Petticoat Junction’ Drucker is a solid citizen.”
BASED ON THAT, Drucker is a genius on “Beverly Hillbillies.”
No matter. Frank Cady has found his niche in television and Sam Drucker is fast becoming a popular man about Hooterville and environs
.

It was a case of feast or famine. Cady’s career screeched to a stop. “Petticoat Junction” was cancelled in 1970, his other two shows were unceremoniously tossed off CBS the following year. He showed up in the best-forgotten “AfterMASH” in 1983. A year later Cady declared he had “weaned himself” from show business and “burned the last bridge” turning down an offer to co-star in a TV pilot. The third-generation Californian packed up the art and antiques and moved to Oregon for the last two-plus decades of his life.

A syndicated television/movie column conducted a poll of readers about their favourite character on “Petticoat Junction” and released the results on June 10, 1970. I’m still not sure how they came up with their numbers. Had Bea Benaderet still been alive, the result might have been different (I’m partial to Charles Lane as Homer Bedlow myself). Regardless, one viewer summed up the reason why the show was such a success.

Sam Drucker best
By CLARKE WILLIAMSON

Fans of “Petticoat Junction” rally in support of the axed program in TOP VIEW voting.
Did you think the featured actor, Edgar Buchanan, as Uncle Joe, was the most popular performer in the show? Don’t you believe it, because Frank Cady as the general store owner, Sam Drucker, steals first place:
Frank Cady (Sam), 70.8, good.
Mike Minor (Steve), 67.1, fair.
Lori Saunders (Bobbie Jo), 66.5, fair.
Edgar Buchanan (Uncle Joe), 65.8, fair.
June Lockhart (Janet), 65.8, fair.
Linda Kaye Henning (Betty Jo) 65.7, fair.
Meredith MacRae (Billie Jo), 65.1, fair.
Jonathan Daly (Orrin), 64.2, fair.
READERS SPEAK
PETTICOAT JUNCTION has an “other world” nostalgic charm — relaxing, a far cry and escape from our present hurly burly, a definite restfulness. Oh, that we could all live in such easy, rustic, simple, soul satisfying peace, with only those minor problems! — Mary McDonald, Fitchburg, Mass. . . .
What a pity the producers (who are removing it) don’t bring its actors right into “Green Acres” (as they already do with Sam Drucker and his store) and make them one big family. It would give an appealing new dimension to “Green Acres.” — H. Anderson. Bartlett. Tenn. . . .
I felt like selling our TV when I heard the sad news. No other show compares. — M Coleman, Amherst, Neb.

Off-camera, Cady was involved with the Sherman Oaks Rotary Club. His wife Shirley was in the PTA. He was an ordinary, small-town guy. That’s the way he came across on camera, albeit a bit quirky at times. That’s why he had a long career in show business and that’s why he was the No 1 man in Hooterville.

Benny and Cantor on This and That

It was evident by 1948, except perhaps to wishful thinkers in radio, that television was here to stay and that the big stars of the old medium would have to make the jump to the new one. RCA made TV sets. RCA owned NBC. How could it avoid putting its best talent under contract onto the tube to help sell video boxes to every home?

Technology didn’t exist, as it did in radio, for live coast-to-coast broadcasts in fall of 1948. Radio was the number one home entertainment medium and very few of radio’s big names even dabbled in TV. Still, the networks expanded their programming schedules from 1947 to ‘48 and radio columns were full of speculation about when Fibber McGee, Fred Allen, Charlie McCarthy and Jack Benny would appear on little black-and-white screens.

Here’s one National Enterprise Association column dated October 12, 1948. It seems the columnist had odds and ends from a couple of interviews, so he used them up in one story by tying them together with television.

IN HOLLYWOOD
Television Fails To Worry Cantor And Jack Benny
By ERSKINE JOHNSON
HbLLYWOOD, Oct. 12—(NEA)—I asked two of your favorite comedians if they are worried about television.
Jack Benny said: “I’ll wait until there’s a big coast-to-coast network. Then there won’t be anything to worry about. Of course, I’ll be on television. After all, I’m only 37.”
Eddie Cantor said: “I’ve been ready for television for the last 35 years. I’m just waiting for it to catch up with me. There’s going to be a big change because of television.
I’m glad I’m around and didn’t die two years ago. It would have been all right to get away from Jessel but not from television.”
Jack and Eddie went to Europe this summer and are back now for the fall radio season. Jack played the Palladium in London to new box-office records, just played in Paris and on the French Riviera. Then he did a GI tour of Germany.
The Army rushed him around so fast, Jack says, “I had breakfast in Frankfurt, lunch in Nuremberg and dysentery in Munich.”
Eddie Cantor arrived, back in Hollywood just in time to be awarded the United Jewish Appeal’s 1948 citation for Distinguished Humanitarian Service for his efforts in “Bringing a new era of hope and reconstruction for the Jews of Europe.”
Sam Goldwyn made the presentation. Sam was Eddie’s boss for seven years. Eddie compares him to Flo Ziegfeld, his boss for 13 years before he came to Hollywood. “Goldwyn,” Eddie said, “is never satisfied with a film scene that is good if only money can make it better.”
Jack Benny was worried as usual. This time he was worried about some straight lines on his radio show. Jokes don’t worry him too much—“We’ve got a million jokes. It’s the straight lines that drive me crazy.”
As Jack explained it, “Anybody can have jokes. It’s the straight lines leading up to the jokes that make a radio program funny.” After 17 consecutive years at the top of the radio heap, Jack should know what he’s talking about.
Cantor was worried, too—about all the adverse publicity Hollywood has had in the last few months. He said:
“There should be a school for movie stars-to-be where they could learn how to act before they learn how to act.”
Benny was still blushing about stepping out of a taxicab in New York and forgetting to pay the driver. The driver yelled back: “So it’s true about you, eh, Buddy?” Benny rushed back and gave him a big tip.
Eddie is conferring again with Warner Brothers about “The Eddie Cantor Story.” “There’s enough for 20 films—we have to pick out the best two hours of 35 years in show business.”
Eddie won't play himself, as you know. The film will be patterned after “The Jolson Story” with a newcomer playing Eddie and Eddie doing the singing.
“But,” said Eddie, “I think it would be nice to let Jolson play my grandfather.”
The only sour note to Benny’s Palladium triumph was the simultaneous opening in London of “The Horn Blows at Midnight.” Despite the way Benny himself has panned the picture, it has made money for Warner Brothers.


Benny’s television career is better-known than Cantor’s. Jack’s TV show was a modified version of his radio show and when it ended in 1965, he modified it for the specials he did until he died. Cantor’s best-known for being one of the hosts on the “Colgate Comedy Hour” starting in 1950. But he almost got on TV the year before until a deal with radio sponsor Pabst fell through. Cantor had a filmed, ZIV-produced series, the “Eddie Cantor Comedy Theatre” in 1955. But Cantor’s poor health (intimated in the Johnson column) took its toll. He wasn’t the energetic, clapping, dancing-around Cantor of 1932 any more. Heart attacks slowed him down and he was in retirement when he died in 1964.

Saturday, 9 June 2012

The Legacy of Frank Churchill

The sad irony was not hard to see. The man whose song was used to chase away the blues of the Depression couldn’t chase away his own. A .30 calibre rifle ended the life of Disney composer Frank Churchill.

The animation industry, over the years, has mourned self-inflicted deaths. A list would serve little purpose and so would armchair psychology. So, instead, let’s talk about Churchill’s legacy.

Kansas City theatre organist Carl Stalling had been scoring Walt Disney’s films since the start of the sound era but left the studio in early 1930 for supposedly greener pastures at fellow defector Ub Iwerks. Bert Lewis came in to replace Stalling and then Churchill was brought in before the end of the year. He had been working in a Hollywood orchestra but had movie experience. Photoplay of July 1929 revealed it was Churchill playing the piano for Dick Barthelmess in “Weary River.” At the time, he was still living at home. His parents were Andrew J. and Clara E. Churchill; his father was a chemical engineer. The family was in Los Angeles by 1923.

Music was the raison d’ĂȘtre of just about every cartoon of the early ‘30s. Characters (animated and otherwise) danced, frolicked, played musical instruments, turned animals into musical instruments, with a bare storyline holding things together. This wasn’t good enough for Disney. He wanted better drawing, better stories. As for music, public domain songs were about all Uncle Walt could use unless he bought music rights. Then, someone got a brilliant idea. A Disney cartoon would have a song especially composed just for it. And it was a song co-written by Frank Churchill. The song became a hit, the cartoon became a hit, and pretty soon, everyone wanted to know more about how it came to be. Here’s a column from 1933. While the reporter mentions his own first name, there’s no byline.

Telling on Hollywood
HOLLYWOOD, Nov. 14.—“Believe it or not, Bob, my ‘Three Little Pigs’ have ended the depression,” Walt Disney confided to me yesterday. . . . “The biggest hit of any cartoon comedy ever made . . . if the fact that the picture has cleaned a cool million means anything . . . and it’s good for a half million more.”
Disney submitted the idea to his staff three times before they fell for it ... It went through the inking department in ten days . . . a record in animating when you consider it runs around 750 feet and takes eight minutes to screen. . . . A trio . . . the Rythmettes [sic] . . . did the three little pigs . . . and a member of Disney’s staff was “the big bad wolf.”
Pinto Colvieg . . . former newspaper man and a member of Disney’s staff . . . suggested the bad wolf line . . . and Frank Churchill wrote the music. . . . the “tra la la la la” last line was given to the flute and violin when the author couldn’t make a line fit. . . . And only four characters appear in it.
Incidentally, Walt is making his Silly Symphonies in French and Spanish editions now. . . . And Irving Berlin will publish all of the songs originating in them or the Mickey Mouse cartoonettes. . . . Disney has three music and three picture directors who team in pairs . . . so look for something new from Hollywood.
(Copyright, 1933, Publisher’s Syndicate)

“Who’s Afraid of the Big Bad Wolf” continued to fascinate people. An Oakland Tribune columnist with the nom-de-plume ‘The Knave’ had this to say in his offering of January 3, 1935.

PIGGIES. Still a bit puzzled over the popularity of his song hit, “Three Little Pigs,” Frank Churchill, Hollywood musical composer, today returned to the studio to start work on the first 6000-foot movie cartoon feature that will take one year to produce.
Churchill, accompanied by Mrs. Churchill, were the New Year’s Day guests of Mr. and Mrs. W. H. Burnham of Richmond.
A Chinese fable provided the inspiration for the great song hit which made him famous, declared Churchill. He is a former medical student at the U. C. L. A., who abandoned his studies for a job as piano player in a Tijuana resort and rose to fame -as a radio pianist and musical director of Walt Disney’s animated cartoons.
Churchill is a constant reader of fables. Most fables had their origin with the Chinese, he asserts.
“Fables, with their musical scores, appeal to the public because of the originality of their treatment,” Churchill declared. “I did not discover this in the beginning. I began writing musical scores for these animated cartoons to get away from the cost of using stock music. Being a reader of fables, they furnish most of the ideas which I put to music.”
“Three Little Pigs” has been a money maker, according to Churchill. Sheet music sales already have reached three quarters of a million, copies, 110,000 phonograph records have been made of the number and piano roll music is now on the market. Success of the number in Europe has been nearly as great as in America, he said.

Music was central in the Disney cartoons in the early ‘30s and when Walt Disney decided he had no choice put to go into features. Music held together the story. Just like the jingle-esque “Big Bad Wolf,” Churchill co-wrote singable, memorable tunes for “Snow White and the Seven Dwarfs.” Although others contended Churchill a little bit of extra help. Cue the lawyers! First, from 1938.

Song in ‘Snow White’ Pirated, Music Publisher Charges
New York, Oct. 15.— AP— Music Publisher Thornton W. Allen filed in federal court today a copyright infringement action charging that the song “Some Day I’ll Find My Love” in the motion picture production of “Snow White and the Seven Dwarfs” was a “deliberate piracy” of a college march titled “Old Eli,” written by Wadsworth Doster, Yale ‘09, to which Allen’s firm holds the rights.
Allen named Irving Berlin, Inc., publishers of Snow White’s song, credited to Larry Morey and Frank Churchill; Walt Disney Productions, Ltd., RKO Pictures, Inc., and Walt Disney Enterprises in his application for a temporary injunction to restrain use of the song pending a ruling on a permanent injunction and an accounting of unspecified damages.

The Oakland Tribune of April 12, 1939 reveals:

Exits and Entrances
Another plagiarism suit is on file. This time Modest Altschuler wants a quarter of a million from Walt Disney, Irving Berlin, Radio, and Frank Churchill because “Whistle While You Work” is like his “Russian Soldier’s Song.”


And while the newspapers seem to be silent on the outcome of those cases, it did report the ending of another, also in 1939.

‘Dwarf’ Suit, Old As Hills, Out of Court
HOLLYWOOD, Sept. 20—(UP)—The $50,000 suit of Reynard Fraunfelder, a Swiss who said he put the yodels into the motion picture “Snow White and the Seven Dwarfs,” was thrown out of court today. .
Superior Judge Frank Swain upheld the defense contention that yodelling is “as old as the Swiss hills” and that the Swiss acted only as an adviser for Walt Disney studios for which he was amply paid.
Fraunfelder had sued Disney, Radio Pictures, RCA manufacturing Co., and Frank Churchill, composer.



Churchill’s work wasn’t restricted to Disney. He came out with some songs for 11-year-old Bobby Breen and his co-stars in the musical-romance “Breaking the Ice” (1938). And there was a brief period at Walter Lantz’ studio; Boxoffice of December 11, 1937 reports he was hired as a composer at the same time Frank Marsales was hired as an arranger and Nat Shilkret as a conductor and musical advisor. But he carried on composing for Walt’s features until his sudden end in 1942.

COMPOSER OF SONG HIT FATALLY SHOT
Death of Frank Churchill, Who Wrote “Who’s Afraid of the Big Bad Wolf?” Termed Suicide.
Newhall, Calif., May 14.—(AP)—Frank Churchill, composer of the song hit, "Who's Afraid of the Big Bad Wolf?"—the tune with which America laughed itself out of the depression—was shot and fatally wounded today on his ranch near Newhall. Deputy Sheriff John Morrell said the death was a suicide.
The composer, 40 years old, long had been employed at the Walt Disney studios in Hollywood. He returned here only yesterday for a rest.
Morrell said he left a note to his wife, reading:
“Dear Carolyn: My nerves have completely left me. Please forgive me for this awful act. It seems the only way I can cure myself.”
The composer’s "Big Bad Wolf" was from Disney’s “The Three Little Pigs.” His most recent tunes are in the Disney films, “Dumbo” and “Bambi,” the latter not yet released.
Churchill wrote the songs for “Snow White,” including the memorable “Heigh Ho, Heigh Ho” and “Whistle While You Work.”
Studio associates said his last composition probably was his greatest. It is called “Love is a Song That Never Ends,” and was written for Bambi. He was ranked among the highest paid members of the American Society of Composers, Authors and Publishers.
Morrell said Mrs. Churchill, aroused by a shot, asked Don Dernford, a hired man, to investigate.
He found Churchill, a bullet wound through his heart and a rifle lying beside him. Beneath his body was a rosary.
“I’m sorry,” Mrs. Churchill quoted him. “Put me to bed.”
He was dead when Dr. E. C. Innis reached the ranch from here.
Studio associates said his health had long been poor, and he spent much time on his ranch.

The United Press of June 3, 1942 had this post-script with further indication Churchill’s home life was troubled:

The will of the late Frank E. Churchill, composer for the Walt Disney studios, was filed for probate Tuesday, disclosing he left his daughter, Corrine, 20, only $1 because she “refused to accept any educational advantages or moral guidance” from her father.

Is there more to the story? Could be. This news site story from Santa Clarita, California leaves questions hanging for the reader to decide on their own.

Churchill isn’t as well known as his predecessor at Disney, Carl Stalling, because of the enormous popularity-—and endless rerunning on television—of the Warner Bros. cartoons that Stalling went on to score. But Churchill ultimately had more influence. He was responsible for Disney’s first hit song. Considering all the fortune-making musical features the Disney people have had over the years, they owe a great deal to Frank Edwin Churchill.

Friday, 8 June 2012

Stop Staring!

The early Fleischer cartoons are great fun. Lots of crazy gags as just about anything comes to live. Then there are the weird background characters that just stand or sit there because they’re on a drawing. Like these ones in ‘Betty Boop’s Ker-Choo’ (1933).



The background people weren’t credited at Fleisher’s for years. The animators on this one are Seymour Kneitel and Bernie Wolf.

Thursday, 7 June 2012

Ub’s Classroom

Whoever did the backgrounds at the Ub Iwerks studio loved settings with curves and warps in them. They found their way into the ComiColor cartoons, but they’re more effective in black and white. Here are some from “Mary’s Little Lamb.”







None of the artists are credited so I haven’t any idea who might have drawn these. The school teacher in this one is a standard old crone design used at the studio.

Wednesday, 6 June 2012

Jack Mather

Researchers have to be careful in making assumptions. There’s an awful lot of sloppy research when it comes to classic cartoons. Some people simply go on the internet and make guesses, and treat them as indisputable truth. If they do any research, they simply go on the internet and read other people’s guesses and accept them as fact. All you need is one person with screwy information and it can be perpetuated on the web forever. Or in the popular press, in the case of all those stories claiming the late Dick Beals was the voice of Gumby.

Here’s a good example of where one has to do their research. Jack Mather was a radio actor and on a growing list of people who provided voices in animated cartoons without any credit at the time, mainly at the Walter Lantz studio. In trying to do some biographical work on him, I went through census information and a number of newspaper stories on radio and started compiling information. But, after awhile, something didn’t add up. It took a little more digging before I realised what the situation was. There were TWO Jack Mathers who acted in the 1940s on radio, one from Canada and the other from the U.S. And the Canadian one ended up in the Los Angeles where, of course, the American one had been living and working.

With rare exception, Mel Blanc was the only voice actor getting any on-screen credit for cartoon work in the ‘40s. Newspapers and trade papers are a little more forthcoming about others. But all I can find about Mather’s animation career is this squib from February 11, 1945.
NARRATES PUPPETOON
Jack Mather of the Bob Hope radio show, is the narrator for George Pal’s latest Puppetoon for Paramount release titled “Hat Full of Dreams.” Technicolor short introduces a new Pal character “Punchy A. Judy.”
Mather was on Bob Hope? That may be news to fans of old-time radio. Supporting players, especially in comedy and comedy/variety formats, almost never got credit at the end of a broadcast, even the ones most in demand. Old Time Radio encyclopedias written years ago and fan-generated OTR web sites are woefully incomplete. Mather is known for the starring role in the ‘The Cisco Kid’ but he had other radio work as well. Here’s a story from the San Antonio Express of March 12, 1943 that gives a little bit on Mather’s history, probably from a network bio.
Jack Mather passed a new milestone in a varied career when he joined the “Tommy Riggs and Betty Lou” show as an announcer. In his time as an actor, a race driver, pro footballer, poet, etc., this is his first assignment as a sponsor’s spieler. Born on a farm near Chicago 30-odd years ago, he has always wanted to own one himself and raise blooded Angus cattle. At 12 he ran away from home and joined a circus to earn the money. The next few years saw him all over the country as an auto race driver then as a pro football player, wrestler and construction worker. He donned white collar briefly to become a junior trader on the Chicago Stock Exchange, and, somewhere in between all these activities, he joined the staff of a Chicago radio station as half of a music team, singing ballads to his partner’s piano accompaniment. In 1929 he joined N.B.C. in Chicago and moved to Hollywood in 1934. Besides maintaining a heavy radio and movie schedule, Jack is a member of the Sherman Oaks auxiliary police and is a Government farm employe. Mather also finds time to pursue his hobbies, painting and writing. He has had several poems and plays published.
At the time, “Tommy Riggs and Betty Lou” had a supporting cast of people who also found their way into animation—Mel Blanc, Bea Benaderet, Wally Maher (the voice of Screwy Squirrel at MGM) and Verna Felton. Broadcasting magazine of November 16, 1942 reported he had replaced Frank Graham as the announcer (Graham voiced cartoons at Columbia, Warners, MGM and Disney). A newspaper story two months later mentions Mather was in the cast of Groucho Marx’ “Blue Ribbon Town.”

John E. Mather was born on September 21, 1907 to John A. and Ella Mather. He was the third of seven children. After he started in radio, he married Rosalie Encell of Oak Park, Illinois, who had been a student at the Goodman Theatre of the Chicago Art Institute and was in a singing trio with her sisters. Despite the story above, a local newspaper clipping still has him at NBC in Chicago at Christmas-time 1935. In fact, Billboard of December 7, 1935 reveals he left in mid-programme one afternoon, went to a hospital by taxi to donate a quart of blood, then returned to the studio to finish the show. Variety has conflicting information in 1936-37 about his air work; in September 1936, a John Mather was in the cast of Irvin S. Cobb’s “Paducah Plantation” radio show for Oldsmobile which originated on the West Coast (the publication still has him in Chicago on “Little Orphan Annie” the following January).

The family eventually settled in Northridge, California, where Mather was made the honorary mayor, a title bestowed by various communities outside Los Angeles on celebrities (Andy Devine was honorary mayor of Van Nuys, for example). A story in the Van Nuys News of September 13, 1948 tells that Rosalie worked on radio as well on “First Nighter,” “Grand Hotel,” “Myrt and Marge” and “Welcome Valley.” Mather was in the cast of the Charlotte Greenwood summer show in 1943 but the most interesting thing about him was the revelation in several trade papers that he was a government milker during the war, working seven days a week from 5 to 9 a.m. at a Los Angeles Dairy (Broadcasting, Nov. 23, 1942).

In February 1946, Mather became Cisco when the show was revived and produced at the Mutual-Don Lee studios at KHJ for airing on the West Coast. The show was owned by Frederick Ziv Transcriptions, which decided in September 1949 to move it into television. Mather was up for the television role, but the syndicator decided to go with Duncan Renaldo, who had been playing the character in the movie serials. Mather carried on in the twice-weekly radio broadcasts, which seem to have petered out in Los Angeles and Chicago by February 1956. He played some bit roles in television but never starred again. Mather died on August 16, 1966.
J. E. Mather, ‘Cisco Kid,’ Dies at 58
WAUCONDA, Ill. (AP)—John E. (Jack) Mather, 58, known to millions for his starring role in the radio show, “The Cisco Kid,” died Tuesday in this Chicago suburb of a heart attack, it was learned Saturday.
His body was cremated in accordance with his wishes the he died and the ashes were sprinkled near Libertyville, Ill. where he grew up.
Mather was a master of 21 dialects, but he was most famous for the Mexican accent he developed for the Cisco Kid, which ran from 1947 to 1959.
Mather started as half of a musical team on a Chicago radio program. He then moved to Hollywood, where he had roles in numerous films, among them “The Bravadoes”, “This Earth Is Mine”, “Jungle Book”, and “Some Like It Hot”.
He also performed on television in episodes of “Bonanza,” “Dragnet,” “Death Valley Days” and “M Squad.”
Mather’s son, Greg, a former football star for the Navy Academy, won All-America honors in 1960 and 1962.
Mather is also survived by his wife, Rosalie, and another son Robert, who manages a cattle ranch in Clear Lakes, Calif.
Mather and his wife were staying with friends at Wauconda when he died.
One show Mather didn’t appear on was ‘Howdy Doody.’ That was the Canadian Jack Mather, appearing on the Canadian version of the show. Don’t let phoney internet research tell you otherwise.

A late P.S.: Variety not only mentioned the Pal squib above but also made someone other references to his cartoon work, as follows:
Walter Lantz has signed Jack Mather as the voice of Wally Walrus, new cartoon character to make debut in 'Beach Nut,' (November 24th, 1943).
And over at Walt Lantz cartoonery, Hans Conreid and Jack Mather will speak for "Woody Woodpecker." (May 3, 1944).
George Pal yesterday signed Jack Mather, screen and radio thespian of many voices, to perform trick vocals for one of the series of Technicolor industrial shorts now in production for Shell Oil Co. (April 7, 1947).

Tuesday, 5 June 2012

The Lonesome Mouse

Tom and Jerry talk in “The Lonesome Mouse” (1943), which has always bothered me. They’re not supposed to talk.

The concept driving the plot (Jerry getting Tom to agree to a fake fight in the house so the cat can ultimately move back in) could have been handled in pantomime after the narrator sets up Jerry’s thoughts. And if the woman of the house has kicked out Tom for good, why does she think the cat’s going to be able to get back in the house merely by screaming for him?

Well, instead of focusing on this, let’s look at some brushwork. Tom has a run cycle in some of the cartoons where all his legs are off the ground at the same time and at the same height. It’s in eight drawings on ones. One of the drawings has the legs merely as a blur of brush strokes.



The brush is used to a nice effect later in the cartoon when Tom is clobbered. He remains on twos, while the brush lines expand on ones. This is the second drawing.



Oh, and it’s an MGM cartoon, meaning Tom running past the camera in perspective.



Scott Bradley’s score (pts. 2, 8, 10) are copyright May 10, 1943. He mixes classical music with a jazz interlude, tunes in the MGM catalogue and ‘Ach Du Lieber Augustin’, the standard melody whenever there’s a Hitler gag. Bill Hanna and Joe Barbera get the only credits, so the experts can weigh in if Ken Muse, Irv Spence, Jack Zander and Pete Burness animated this one. And I don’t have any idea who is talking for Tom and Jerry.

Monday, 4 June 2012

Bugs Bunny Emotes Again

One of the best Warners cartoons of all time is “Bugs Bunny Rides Again.” There are lots of great bits of acting, like Yosemite Sam looking shocked when he suddenly notices Bugs has turned his guns on him, or the matching expressions Sam and his horse have when chasing Bugs and his horse (who also have matching expressions).

The plot suddenly makes a switch at the end when Bugs and Sam notice a railcar full of bathing beauties on their way to Florida (a Tedd Pierce idea, I’ll bet). Bugs goes through a pile of different expressions to keep Sam out of the train so he can get the women to himself.


GOOFINESS


SURPRISE


EVIL


DISGUST


GRACEFULNESS


ANGER


VICTORIOUSNESS


JOY

Manny Perez, Ken Champin, Gerry Chiniquy and Virgil Ross are the credited animators for Friz Freleng in this one, released in 1948.