Cartoons of 1950, Part 1

Things were ho-hum in Cartoon Land in 1950. Studios carried on making shorts. Well, except Walter Lantz. In the first half of the year, with Universal re-releasing his old shorts and United Artists still distributing about a dozen he had made a couple of years earlier, Lantz took off for three months, shaking hands while taking in money from cartoons and not spending any on cartoonists.

Disney came out with Cinderella, which turned out to be a hit. He was working on live action stuff. And he turned down a TV deal, smartly waiting for the right one to come along.

TV was slowly being a player in the cartoon world. There still weren’t any deals involving the major Hollywood cartoon studios to put old shorts on the tube yet, but Bray Studios was advertising its silent cartoons to any interested TV stations (and had been since 1949). Primitive made-for-TV animation was just about here. Jay Ward was readying Crusader Rabbit, NBC Comics was about to debut and, on live TV in Chicago, Sam Singer was using two drawings, each in front of a different camera, cutting from camera to camera, and calling it animation. His ultra-cheapness would soon be known in Hollywood when he produced Bucky and Pepito cartoons.

Here are some squibs from Variety for the first six months of the year. We’ve skipped weekly stories announcing Cinderella’s take and a pile of non-animated Disney pieces (and there were plenty). You’ll notice all kinds of announcements from Fred Quimby about MGM cartoons you’ve never heard of. That’s because Quimby or his PR staff made them up. “Cheesecake Cat” and “Atom and Eve” were never planned. A few shorts went through title changes—“There Auto Be a Law” became “Car of Tomorrow.” “Cat of Tomorrow” turned into, I think “Push-Button Kitty,” the final cartoon featuring Lillian Randolph as the maid. “Love in Gloom” was ultimately named “Casanova Cat,” and if Jerry Mann cut dialogue (see story below), it was never used.

January 3, 1950
Births

Daughter, weighing six pounds two ounces, to Mrs. Patricia Avery at Good Samaritan Hospital on Friday. Child has been named Nancy. Father is Tex Avery, member of Metro cartoon department, and mother formerly was a checker in Universal cartoon department.

January 4, 1950
METRO will make its first cartoon with a Hollywood studio background in "Cheesecake Cat," which Fred Quimby will produce. Cartoon department, which has several hundred shorts to its credit, has touched every form of amusement for story backdrop except a studio. Metro lot, however, won't be used for a subject; it will be a glorified movie factory, with emphasis placed on music.

January 5, 1950
Clean Cartoons
Fred Quimby, head of Metro's shorts production, submits that the forthcoming "Tom and Jerry" cartoons might be classed as "Good Clean Fun." The titles are "Mouse Mops Up," "Spick and Span," "The Big Sweep," "The Clean Years."

Schlesinger Left 904G
Estate of $904,000 was left by Leon Schlesinger, it was disclosed yesterday by his widow, Bernice, in superior court. She filed a petition for letters of administration over the property as the veteran cartoon producer left no will.

January 6, 1950
J. T. Ward, president of Television Arts Productions of Berkeley, arrives in Hollywood today for conferences with Jerry Fairbanks. Ward's firm is doing the animation for the producer's "Crusader Rabbit" video film series.

EIGHT TOP FOREIGN VOICES SOUGHT FOR CINDERELLA

Walt Disney is buying the top "voice" talent in eight countries with which to dub foreign versions of his "Cinderella." Move is an important step to reintroduce to the world market the Disney feature product. He will spring "Cinderella" in a gigantic world-encompassing preem next Christmas after a full year of exploiting and softening up foreign film-goers.
Disney has instructed Jack Cutting, head of foreign dubbing who headquarters in Paris, to round up talent in Sweden, France, Italy, Germany, Denmark, Holland and Spain. Cutting will then go to each of those countries to do the dubbing of the film in the language of the country. A Portuguese dubbing will be made in Brazil.
It is expected that the buying of the talent of the various countries and dubbing it in these nations will whip up considerable interest in addition to getting the film more playing time in each country.
At present Disney has men investigating the feasibility of doing a Japanese dubbing, to be made in Tokyo, and a Hindustani version, which would be made in Bombay.
It is likely that foreign prints for showings abroad will be turned out by Technicolor labs in England.
RKO and Disney haven't set any opening date on "Cinderella" in the U. S. as yet.

January 10, 1950
MGM musical director Johnny Green has assigned Scott Bradley, who has scored Metro cartoons for many years, to clef the music for Red Skelton feature, "The Yellow Cab Man."

Metro Shorts Release
Fred Quimby head of Metro shorts department, announced the release of five subjects for January. They include the cartoons "Little Quacker" and "Saturday Evening Puss," the Pete Smith specialties "Pest Control" and "Crashing the Movies" and the FitzPatrick traveltalk, "Land of Tradition."

January 17, 1950
Metro Ski Short
"I’ll be Skiing You" announced by Fred Quimby of Metro as the latest in the cartoon series covering sports subjects.

January 18, 1950
Disney Big Biz Abroad Shown In Annual Report
Big business traditionally corralled by Walt Disney Productions overseas—a far greater proportion than that of other American distribs—showed up sharply in the company's annual financial report for 1949. Disney outfit aired an operating loss of $93,899 for the year ended Oct. 1, against a red-ink total of $39,038 in '48. At the same time, blocked overseas currencies of $450,000 did not play a part in the report because of new bookkeeping practices aimed at crediting only actual dollar remittances.

Gross income came to $5,685,055 during the 12 months against $4,949,744 in the preceding semester. Of this, $2,916,887 was derived from feature pix; $1,478,202 from shorts; and $1,289,966 from comic strips, licensing cartoon characters, commercial tieins and other deals. In the expense side of the ledger, amortization of features showed a sharp rise to $3,176,679 from $2,188,041 in the preceding year. Other items were roughly comparable with the prior stretch, shorts coming to $894,379, administrative expenses to $898,936; other items brought the total to $5,778,954.

January 19, 1950
LEON SCHLESINGER’S FRENCH COLLECTION TO BE SHOWN
Collection of valuable old films produced in France from 1903 to 1908 and valued at between $150,000 and $200,000 was turned over to the Academy of Motion Picture Arts and Sciences yesterday by Mrs. Leon Schlesinger, widow of the Warner Brothers cartoon producer. It's the most important collection of rare motion pictures turned over to the Acad to date.
Cache consists of 45 of the late George Melies' productions. A French magician who converted his talents to the making of motion pictures at the turn of the century, Melies was the first man who ever attempted to tell a story with cameras. He resorted to trick effects to aid in the narration of his fanciful plots.

January 27, 1950

Jerry Mann, from cast of "Oklahoma" current at Biltmore, will do voice of "Casanova Cat" in Metro Tom and Jerry cartoon, "Love in Gloom."

January 31, 1950
Quimby Okes Cat
Fred Quimby has okayed the preliminary black-and-white test shooting on Metro's "Flying Cat." Cartoon goes to the inking department tomorrow.

February 2, 1950
Gil Warren, KFWB news commentator, signed to narrate new MGM technicolor cartoon, "You Auto Be In Pictures."

February 8, 1950
Chatter
Comic books based on Metro's "Tom and Jerry" cartoon characters, will be printed by the Whitman Publication Co. for distribution in India, Brazil and Sweden.

Tokyo
Daiei studio has announced a recent deal with Walt Disney for Jap distribution of Disney cartoon books, dolls, and similar items. Studio is angling for Disney films when private importation is resumed.

February 9, 1950
Larynxing for Leo
Lillian Randolph, vet radio actress, has been inked by Metro to put voice to cartoon maid in Tom and Jerry series of cartoons.

DISNEY VOTES DIV; RE-ELECTS ALL OFFICERS
Walt Disney Productions has declared its regular quarterly dividend of 37 1-2 cents per share on its 6 percent cumulative convertible preferred stock. Divvy is payable April 1 to holders of record March 18.

February 15, 1950
THE FIELD FOR 22ND OSCAR DERBY RACE
SHORT SUBJECTS (Cartoon)
“Canary Row,” Warner Bros.; Edward Selzer, producer.
“Magic Fluke,” United Productions of America, Columbia.
“For Scent-Imental Reasons,” Warner Bros.; Edward Selzer, producer.
“Hatch Up Your Troubles,” Metro; Fred Quimby, producer.
“Toy Tinkers,” Walt Disney, RKO; Walt Disney, producer.

February 17, 1950
LANTZ TO SURVEY EUROPE AS SITE
Walter Lantz leaves March 17 for Europe, to investigate possibilities of cartoon production abroad. Producer has temporarily ceased producing cartoons for United Artists, Because of high costs.
Producer asserts cartoon costs have zoomed so high that it is impossible to continue activities here. Cartoon artists, granted a 26 percent pay boost two years ago, now seek a 15 percent pay uppance. The cartoons bring little more now from exhibs than years before costs went up, claims Lantz who says while cartoon costs have increased 168 percent during recent years, rentals have gone up only 14 percent during corresponding period.
Abroad, Lantz will survey animators and cartoon production facilities touring England, France, Switzerland and Italy. In each country, he will visit both UA and Universal exchanges, since his cartoons are being released by both companies.

February 20, 1950
WARNERS SKEDS 44 SHORTS, TILT OF 2 OVER ‘49
Warners will boost its short subjects program to new high for 1950-61 season. Lineup will include 44 shorts, as against last year's output of 42, and 30 cartoons, same number as previous year.

February 22, 1950
LANTZ CHARACTERS WILL CAPER IN ‘MOON’ SEQUENCE

Walter Lantz has closed deal with George Pal to make cartoon sequence for latter's "Destination Moon," which Eagle-Lion will release. Sequence, in Technicolor, features Woody Woodpecker, a Lantz cartoon character, and will run four minutes. Insert, which appears at opening of film, will demonstrate a story point in picture, which otherwise is live-action.
Lantz and Pal are also talking deal to team up in other productions. Former would provide animated sequences for live-action films to be produced by Pal. Deal is separate from Lantz's other cartoon activities.

Briefs From the Lots
Fred Quimby is keeping his cartoon program up to date with "The Cat's Flying Saucer."

PADDY THE PELICAN
With Ray Sauber, Charles Cavallo, Helen York
Producer-director: Ed Skotch
Writer: Jack Payne
15 Mins., Mon.-Fri., 6:45 p.m.
Sustaining
WENR-TV Chicago
Combining the current video puppet fad with the time-tested comedy cartoon, this 15-minute kiddie show in its 6:45 p.m. slot should send the youngsters off to bed or to their homework chattering happily about their new friend, Paddy the Pelican.
Paddy, the puppet character created by Sam Singer, wisely accepts his fate of being dangled on the end of a string. He doesn't dance around the stage in a pretense of freedom he doesn't possess . Instead, he narrates a kiddie story, sharing the camera with a series of cartoons which supply the visual line of the tale.
The cartoon sequence, sketches of animal characters drawn by Singer, are noW and then given an appearance of animation by alternate use of two cameras focused on slightly different sketches. Paddy's voice and the voices of the cartoon characters are ablv done by Ray Sauber. The story line iskept within the kiddies' range and is effectively underscored by Charles Cavallo's electric organ. Dave.

Cookham Dean Studios Closing; Auction Stock
London, Feb. 14.
Cookham Dean studios, where the J. Arthur Rank group has been filming its Technicolor cartoons during the past few years, are closing and the contents being offered for sale by auction.
Winding up of the studio doesn't necessarily mean the end of the series, it's explained, and they may be resumed elsewhere.

February 23, 1950
'Cinderella' in Comics
King features will peddle series of 16 Sunday comic pages on "Cinderella" starting March 5. It's first new Disney comic in three years.

March 7, 1950
Walter Lantz Leaving For Europe Friday
Walter Lantz leaves Friday for three-month stay in Europe, where he’ll investigate possibilities of cartoon production with frozen coin. While abroad, producer also will look for suitable pictures for possible outright purchase. Choice, if any, will be predicated on subjects which Lantz can build up by addition of some of his own cartoon characters.

March 8, 1950
Rank Reversing; Will Stick to Cartoon Field
Washington, March 7.
The J. Arthur Rank Organization has reversed its previous position and will continue to produce cartoon films. About two months back, it had planned to get out of the animated cartoon field.
"The Rank Organization," according to the motion picture-photographic branch of the U. S. Dept. of Commerce, "now states that they are not terminating contracts with manufacturers who make products using the David Hand cartoon characters, but are in fact negotiating new contracts with manufacturers of other products which make use of these characters."

Animated Cartoon Series For Kiddie Consumption
Charles J. Basch's Television Screen Productions is producing a series of five-minute animated cartoons designed for kiddie consumption. Strips, labeled "Jim and Judy in Teleland," will run three-and-one-half-minutes, leaving the remaining time for commercials.
Four shows have already been completed, with a total of 13 episodes scheduled to be wrapped up by May.

March 10, 1950
DISNEY COMICS TEACH JAP KIDS AMERICANO
General MacArthur has sanctioned deal for Walt Disney whereby Japanese children will learn English language and American customs from Mickey Mouse, Donald Duck, Pluto and other Disney cartoon stars. It'll be done via comic book route. Test run of six books has been made. Comics carry balloon copy in Japanese and English translation underneath. Japanese report read: "Books sold like hot doggies."
As result of runoff test, a monthly comic will be issued by Japan International Publishing Company. Also deal is ready for inking whereby Heath readers, illustrated by Disney, will be used in Japanese schools. Many American schools use this reader as text book.
An interesting fact about comic book is that it has glossary in back of each book which translates American slang phrases into Japanese.
Deal got under way when Disney signed licensing agreement giving M. Nagata of Daiei Moon Picture Corporation rights to handle licensing of Disney products in Japan. Success of publishing venture has led to MacArthur okaying full licensing deal for Disney.
Disney originally entered into agreement to make his characters known to younger generation of Japs before making arrangements for his cartoons to play that country. He figures now that hell have ready made audiences when his license to sell pix in Japan goes through.

March 14, 1950
PAR SCHEDULES 23 FILMS FOR 1950 RELEASE
HEAVY SHORT SUBJECT
In short subject line, studio's 1950-51 release slate, beginning Oct. 1, calls for 52 one-reelers and six two-reelers to go out. Figure includes eight Popeye cartoons, four Popeye reissues, 10 Noveltoon Technicolor cartoons, six Screen Song Technicolor cartoons, six Casper Technicolor cartoons, six Pacemakers and 12 Grantland Rice Sportlights.

March 24, 1950
OSCARS AWARDED
Short subjects (cartoon)—"For Scent-Imental Reasons." (Warners)
Most distinctive documentary short—"So Much for So Little" (tie). (Warners)

March 27, 1950
King's Men Quartet has been inked by Metro to dub voices of the four singing cats in new Tom and Jerry cartoon, "Sleepy Tom Cat."

March 28, 1950
Disney Buys 480 Color Prints For Cinderella' Saturation

Walt Disney's "Cinderella" will play over 800 engagements within two-week period immediately prior to and following Easter. To take care of unprecedented saturation booking Disney has bought a total of 480 Technicolor prints. Fifty prints will be used for foreign distribution, following American use. Most tint prints ever used by Disney before were 350.
Playdates lined up include 120 in the NY area and 65 Coast dates; also a heavy play during period on Interstate circuit. While Easter "push" is slanted at drawing the kids during Easter school vacation, Disney execs point out that attendance in spots where film has already opened, including here and NY, is running from 68 to 70 percent adult. Film has racked top biz in NY where its winding its fifth week and is doing this town's top biz since it opened Saturday.

LOCAL FILM BIZ DOMINATED BY ‘CINDERELLA’
The big noise on the first-run scene this week is "Cinderella." Playing the RKO Hillstreet and Pantages Theatres, picture should take down estimated $54,000, biggest for this unit in months and way ahead of anything else currently screening. First two days went slightly over $23,500.

April 4, 1950
‘Cinderella’ Sparks ‘Snow White’ Reissue; Latter's $8,000,000 Gross
Business being racked up by "Cinderella" has Disneyites and RKO prepping to reissue "Snow White" next Christmas. Pic has been re-released only once, in 1944, which will mean the passage of seven years before it makes the rounds again.
Disney sales chief William B. Levy figures the birth rate since that time has averaged about 3,000,000 annually, which would provide a brand new audience of about 20,000,000 kids for the film.
"Snow White," the highest-grossing cartoon to date, took in $4,000,000 domestically on its first time out. In a reprise immediately after the original release it garnered about $200,000 more. The 1914 reissue added another $1,600,000, to provide a total of almost $6,000,000. Foreign revenue has accounted for another $2,000,000.
While it is actually too early to make any wide comparison between "Cinderella" and "Snow White," former is running somewhat ahead of its predecessor on the first round. That's partially due to the difference in admission prices between 1937 and the present. Second highest Disney grosser, "Song of the South," took in $3,600,000 domestically.

April 7, 1950
JOHN SUTHERLAND ANIMATING SPOT SHOTS FOR TEEVEE
John Sutherland productions is making heavy plunge into production of minute-spot animation briefies for television use, as well as one-minute commercials for regular theatrical display. During past six weeks, company has made these film spots for five different companies, both in form of series and singletons. Just completed are six for General Electric, five for Rubin J. Donnelly Co., of Chicago, six for Beechnut, three for DeSoto and one for United Fruit. In past, Sutherland has turned out excess of 26 for latter company. Unit also is about to go on one-reel animated cartoon for Swift & Co., for institutional exhibition, and another short for Harding College. This will be sixth one-reeler to be made for Harding.
In addition to its own production, which includes live-action filming as well as animated subjects, studio is becoming active again as rental lot. Lippert productions currently is filming a Don Barry western, and Phil Krasne late next week will move onto stage for several "Cisco Kid" video films.

Music Notes
Sammy Fain and Paul Webster have completed the score for "My L. A." Pair start work immediately on "Peter Pan" for Walt Disney.

Quimby Slates Three
Fred Quimby, MGM cartoon producer, has scheduled "Ventriloquist Cat," "The Cuckoo Clock" and "Safety Second" for May, June and July releases, respectively.

April 12, 1950
Disney Reluctant About TV But May Drag In 'Reluctant Dragon' Plan
Walt Disney, who has repeatedly refused to sell his theatrical product to tele, is reportedly working on a new, cheaper process for making cartoons for TV. It is understood to be an adaptation of the combination live action and story board technique which he introduced in "The Reluctant Dragon" in 1941.
Disney, like other producers, has been wary about making his films available to tele because of the bitter squawks from exhibs. These howls could considerably trim his rentals during a period in which TV is not yet ready to compensate for the decline.
Cartoon producer, however, feels that the day of color video will open that field to him on a profitable basis, although his emphasis will continue on films made exclusively for theatre showing. It is understood that because of Disney's interest in the color aspects of TV, his forces were more than casually concerned with RCA's announcement last week of a new color tube which appears certain to bring tinting much closer.
"Reluctant Dragon" technique with which Disney is said to be experimenting as a comparatively low-cost means of entry to video does not offer the full advantages of his normal cartoon action. The 1941 picture employed Robert Benchley as a narrator who told the story of "The Reluctant Dragon" by means of cartooned stills much of the way. Only in spots did the stills go into action.
Technique was suggested by Disney's own method of laying out the plot of his pix. That's by "story boards' hung on a wall. Each board contains the key scene from a sequence and, by following them along, the entire pattern of the story is revealed.

Big By-Product Take On 'Cinderella' Tieups

Aside from strength it is showing at the b.o., Walt Disney's "Cinderella" is proving a top coin getter for exhibs in the gadget merchandising department. There's a scramble by theatremen to line up all sorts of tie-in products for over-the-counter sale in lobbies as result of the phenomenal turnover of such goods during the film's six and a half week run at Brandt's Mayfair on Broadway and in other key engagements.
Curiously, Disney is not profiting by the sale of much of the merchandise, despite his extensive licensing" department. Since the "Cinderella" theme itself is naturally in the public domain, there have been many objects, such as small glass slippers, which have been made without Disney licensing and on which he can't claim infringement.
There are also, however, a great many items which have been licensed and which will add tremendously to the cartoon-maker's income from the pic. Among the big-sellers at the Mayfair were RCA-Victor albums of the music at $2.50 per copy, Simon & Schuster "Cindy" books from 25c to $1.50, jewelry, balloons, novelties of all kinds and specially – packaged candy.

Potential Fans, Too
With an eye on moppet "Cinderella" fans as the theatregoers of the future, RKO prez Ned E. Depinet ordered particular care taken in choice of the feature to be dualled in New York this week with the Disney cartoon. As a result, "Savage Splendor," a 55-minute animal pic in color, got the secondary slot.
Depinet said yesterday (Tuesday) that he felt the great kid reaction to the dual bill made such attention to choice of supporting product an important plus-quality for the industry's future. "Cindy" and "Splendor" are playing about 170 Easter Week engagements in the New York metropolitan area.

April 18, 1950
Pinto Colvig Will Bark for Metro
Pinto Colvig, who does the voice of Bozo the clown on Capitol Records, yesterday was signed by Metro cartoon producer Fred Quimby to imitate "The Seal," new character in Metro's "Tom and Jerry" series. Colvig, before clicking on Cap wax, was a story constructionist in the Metro cartoonery under Quimby.

April 24, 1950
NY Cartoonists Guild Bars Non-Union Work
New York, April 23. — Screen Cartoonists Guild here has served notice that members will not be permitted to work for a non-union studio. Ruling is aimed at "the fly-by-night" newcomer who might cash in on the TV boom in the animation industry at the expense of established studios. Animated cartoons are one of the most popular commercials on video.

April 25, 1950
Screen Cartoonists Tell NLRB 5 Studios Here Are ‘Unfair’
Unfair labor practices complaint will be filed with National Labor Relations Board this week by Screen Cartoonists, Local 862, against five cartoon studios—Walter Disney, Metro, Warners, Walter Lantz and George Pal. Milton Tyre, attorney, and William Littlejohn, business agent for organization, are propping charges, following vote of SC membership to prefer complaint.
Decision to file with NLRB was reached after current negotiations with studios bogged down, and producers last week rejected demand for 10 percent increase for all minimums. Original SC demand asked for 16 percent across the board and all contract minimums, with no one to receive uppance of less than $10.00 per week. In case of reissues, members asked 20 percent of gross as their share. These demands later were modified to 10 percent, after negotiations indicated that producers might go for this latter figure.

April 27, 1950
Walt Disney is building a cartoon idea around "Johannesburg," new tune by Tony Martin, Herb Magdison and Ben Oakland.

May 3, 1950
DISNEY OFFERED $1,000,000 TO SELL 350 OLD CARTOONS FOR TELEVISING
Walt Disney has received numerous offers for television rights on the more than 350 one-reel cartoons reposing in his vaults. Group includes subjects in the Mickey Mouse, Donald Duck and Silly Symphony series. The shorts sought were all made prior to March, 1946, and hence under American Federation of Musicians' contracts can be sold freely for televising. One big national advertiser has offered $1,000,000 for TV rights to the product. When bid was turned down, the contact asked that a price be set by Disney.
The nix is predicated on two factors. Firstly, Disney feels he should protect the exhibitors now buying and playing his new product against any possibility of TV competition with his cartoons. Producer also figures that the tele situation is still in a state of flux, and he will not make a move in that direction until the industry is stabilized so film producers can get the proper perspective on relation of TV and theatrical films.
Disney's position on video is the same as his stand against making his old cartoons available for 16m libraries. Six or eight black-and-white subjects, made 20 years ago, were given a trial in the 16m field more than a decade ago, but subsequently withdrawn from circulation. Producer, however, has made short clips of 50 and 100 feet of discards available for the eight m "toy movie" market.

May 5, 1950
ICE CAPADES
Walt Disney's "Toy Shop," production number that closes first half, is without doubt season's most glittering spectacle. Disney, [John] Harris, Chester Hale, Rosemary Stewart, Robert Dench and Co. have hit an imaginative jackpot. In this pot-pourri of Mickey and Minnie, Pluto and Donald Duck, Pinocchio, Dumbo and other cartoon characters, Miss [Eileen] Seigh shines with [Bobby] Specht a dashing toy-maker.

May 10, 1950

Skeds 'Sleep' Shorts
Fred Quimby, producer of Metro cartoons, will launch a series of "Sleep" subjects as a result of audience reception of "Sleepy Time Tom." Two new subjects now being prepped are "Cat Napping" and "Good Yawning, Tom."

May 11, 1950
CARTOONIST GUILD MULLS STRIKE IN WAGE-HIKE FIGHT
Membership of the Screen Cartoonists Guild, at a meeting late Tuesday night, voted unanimously to instruct the executive board to call a special membership meeting if by May 17 the Guild's last wage increase demand has not been agreed upon.
Membership has indicated that If a second meeting is necessary it will empower the exec board to call a work stoppage or strike in any or all classifications of work at any studio engaged in current negotiations.
Guild has been in negotiations with Animated Cartoon Producers Association; MGM, Warner Bros., Walt Disney, Walter Lantz and George Pal since last November. Guild is asking a $10 increase in all minimums.

May 18, 1950
DISNEY IN BLACK; 75G 6-MO. NET
Walt Disney Productions went from a six-month 1949 loss to a net profit of $75,906 for the first half of company's 1960 fiscal year. During the period company had a total income of $2,261,444, as compared to $2,746,251 for the corresponding period last year. Net profit is equal to 10 cents a share on 662,840 common shares outstanding. During the first six months of 1949, company had a loss of $29,245.
In a report to stockholders, Paul L. Pease, treasurer, said the "outlook for the fiscal year, ending Sept. 30, 1950, has been materially improved by the boxoffice showing of 'Cinderella.' The prospect now is for a modest net profit for 1960, compared with a net loss of $98,899 in 1949."
He pointed out that while "Cinderella" earnings over the long term should be substantial, the picture's profits during the last four and one-half months of the fiscal year "will probably be partially offset by the absorption of losses on three features released in 1948 and 1949."
Company applied $508,273 to debt reduction during the six months. Debts comprised notes payable of $824,904, long term serial loan of $142,379, principal amount of debentures purchased for retirement of $20,440, and $16,550 par value of preferred stock purchased in anticipation of sinking fund requirements. During the six-month period, income was credited with $300,000 of an amount set aside to provide for possible losses on inventories. Film rental income from features and shorts totalled $1,408,499, while income from Disney licenses reached $847,945. Costs and expenses of making the shorts and features was $1,514,127.
Report revealed that "Treasure Island," feature ready for release, used about 80 percent of its production cost in blocked sterling, and that company intends to use substantially all of its blocked coin in that manner. Feature slated for 1950 release is "Alice In Wonderland.

May 19, 1950
Cartoonists to Meet On Strike Vote
Exec board of Screen Cartoonists Union Local 862 has called special membership meeting next Thursday night at The Troupers for authorization of a strike against producers. Vote, if favorable, will give power to board to call a work stoppage or strike in any or all classifications in any studio. Issue is over a wage increase and new contract. Producers, it is stated, have offered to renew present contract for another two years.

May 24, 1950

NAKED TRUTH: Fred Quimby's Tom and Jerry cartoon, "Atom and Eve," goes before the cameras at Metro tomorrow on a CLOTHED set!

May 25, 1950
CARTOONISTS TO SOLICIT STRIKE VOTE TONIGHT
Strike vote will be taken tonight at a special meeting of screen cartoonists against Walt Disney, Metro, Warners, George Pal, and Walter Lantz Studios. Session yesterday between reps of AFL union and Animated Cartoonists Producers Association on union demand for a $10 a week pay increase for all employes broke up without an agreement. Producers concerned have refused to make an offer, although meetings have been going on for the past six months.
Union states the last general wage hike for cartoonists was in 1946 after a two-day strike; and its craft did not secure benefits of an 11 percent raise general throughout the studios in 1947. Producers, on the other hand, claim that few—if any—recoup costs of cartoon shorts; revenue is dropping; and general conditions cannot justify any increase at this time. If a strike is voted tonight three hundred and fifty cartoonists will be affected.

Disney's Own 'Cinderella' Yarn: His Prospects Look Like Some Pumpkins
Walt Disney and his producing unit now stand ready to cash in the blue chips on a complete reversal of fortune dramatizing the now-you’re-down, then-you're-up convolutions of indie producers in the film biz. After suffering the red-ink woes for several years, Disney gave evidence of his better expectations this week when his company aired half-year profits of $75,905 against a loss of $29,245 for the same period last year.
Disney rally, of course, has been touched off by the tremendous grossing of his "Cinderella," currently in release. According to RKOers who are handling the pic, it will do a $5,000,000 domestic business. Besides that tidy chunk of coin, film is earmarked for tremendous profits overseas because of its universal appeal and the unvarying fact that the Disney signature has stronger pull abroad than in the U. S.
RKO also has ready for release "Treasure Island" which the cartoonist produced entirely in Britain. Disney owns 50% of the pic with RKO holding title to the balance. Film was made using 80% in blocked sterling, hence there has been very little dollar drain on the producer for the completed opus. It is expected that the pic will turn in a solid profit.
Producer also stands to gain some ready cash without amortization on "Snow White and the Seven Dwarfs," first full-length pic ever made by Disney. Understood that Disney will reissue the film timed for the Christmas holidays. It will be the first time "Snow White" has hit the theatres in seven years.
Added financial development for the company is the fact that it is now exclusively handling the tremendous commercial tieups and licenses. In the past six months, income from that source reached $847,945. Previously, that end of activities was supervised by Kay Kamen, who was killed some six months ago in a plane crash. Kamen's deal with Disney called for an even split on profits. Following Kamen's death, Disney has merged the operation into his company with attendant increase in revenues.
Producer has also staged a rally on his shorts business. For a number of years, Disney took a beating on the revenues from briefies because of exhib resistance to any boost in rentals proportionate to the climb in production costs. Drive by RKO has about overcome that factor and Disney is currently in the black on his yearly program of 18 shorts.
Two more features are currently in preparation, "Alice in Wonderland" and "Peter Pan." While it is impossible to predict grossing potential in advance, producer has the advantage of operating at reduced costs through economy reforms. "Alice" will be released early next year.
Total gross for the six-month stretch ended March 31 came to $2,251,444, compared with $2,746,251 for the corresponding period last year. Net is equivalent to 10c per share on 652,840 shares outstanding. During the period, company applied $503,273 to debt reduction. Some $300,000 was set aside to provide for possible losses on inventories.

June 2, 1950
Just For Variety
London Hospital for Sick Children, to which James M. Barrie willed the play's royalties, gets $20,000 of the chunk Walt Disney paid Paramount for film rights to "Peter Pan".

June 6, 1950
On Quimby Slate
Fred Quimby has added "Putty Cat" to his 1950-51 MGM cartoon schedule, for release in September.

June 8, 1950
NBC has taken James Saphier's cartoon series for television. It's a telecomics package in which voices are dubbed to the characters.

June 20, 1950
Quimby Quills Queen
Lillian Randolph, who plays Madame Queen on the Amos ‘n’ Andy airshow, was inked by Metro yesterday for an off-screen role. She'll dub one of the featured character's voices in the Fred Quimby Cartoon, "Cat of Tomorrow."

On the Air Waves
Carnation has bought Jerry Fairbanks' cartoon series, "Crusader Rabbit," and will spot it on KNBH three times a week starting July 15. Other markets will be added later.

June 21, 1950
METRO CARTOON CHARACTERS will get a big promotional push at the World Boy Scout Jamboree at Valley Forge, Pa., the first week in July. Patrols from the Santa Monica Bay area will carry insignae of "Tom Cat," "Jerry Mouse," "Droopy the Dog" and "Barney the Bear." Deal was set up by Scoutmaster Reg Cochrane, who also is an MGM studio official, with cartoon producer Fred Quimby. Bay council will also erect an arch at Valley Forge with the Metro cartoon characters prominently displayed.

NEW CONTRACTS
Kathryn Beaumont has signed term thespact with Walt Disney. Contract, which has $1,000 limit starting at $200 a week, was approved in superior court yesterday.

Topical 'Yankee'
Metro plans release of two cartoons for July 4 bookings in the key runs, and has requested Technicolor to rush prints on "Yankee Doodle Mouse" and "Safety Second" for delivery to exchanges before that time.

June 22, 1950

Lantz Due Back from Europe On July 5
Walter Lantz returns to his studio here July 5, following three month and one-half junket to Europe. Producer will then decide whether he will reactivate cartoon production, which has been virtually at a standstill during his absence. While abroad, Lantz is visiting United Artists and Universal exchanges in half a dozen countries, in connection with his cartoons.

June 23, 1950
MANPOWER LACK IN METRO CARTOONERY
Research men for Metro's cartoon department are busily pouring over the scores of notebooks covering research for studio's spectacle of two years ago, "The Three Musketeers." It's all for an upcoming Tom and Jerry short titled "The Two Musketeers." When checked last night, Producer Fred Quimby explained that title is not for economy reasons but stems from fact that the cartoon will have only two stars.

June 28, 1950
'Cartoon Comics' Set As NBC-TV Summer Series
"Cartoon Comics," series of semi-animated films revolving around a science-fiction motif, has been set by NBC-TV to take over the 5 to 5:15 p.m. cross-the-board slot. Kids' show is a Jimmy Saphier package.
Web is still undecided on how to fill the 5:15 to 5:30 period but will experiment this summer with a new program idea titled "Calling all Cowboys." Show will feature a series of westerns each broken into five 10-minute segments, which will be run one a day. Films will be preceded and followed by a cowboy authority, as yet unselected, who will tell the kids about Indian lore, horsemanship, etc. If the idea works out successfully during the summer, NBC plans to slot it on a permanent basis in the fall.

A Fink! Ain't That Funny!

Why is this cat desperate to escape? Because it’s been stuck into that sorry piece of business called Bunny and Claude, which Warner Bros. produced apparently after someone came up with a lame pun based on the advertising slogan for the feature film Bonnie and Clyde (“We rob banks”).



Having exhausted their imagination on that one pun (“We rob carrot patches”), Warners proceeded to fill the screen for six more minutes.

In the late ‘40s, Bob McKimson prided himself on “calming” the expressive animation of Rod Scribner. In 1968, McKimson’s animators were so calm the action in this short is barely a step above Hanna-Barbera’s Saturday morning cartoons—made all the more noticeable by being slathered in Hanna-Barbera sound effects (even though the designs remind you a DePatie-Freleng TV show).

Tex Avery used to have fun with literal gags like the “road block.” Writer Cal Howard’s just phoning it in, topping with a gag that might appeal to someone under age seven.



And Claude doesn’t even have a lower body in one scene.



I’ll spare you an assessment of Bill Lava’s score.

The cartoon may have had a bit of an effect a couple of years later. From Variety, April 14, 1970:

Bette Davis AIP'a Gunslinging 'Bunny'
Bette Davis has been signed by AIP to star in "Bunny and Claude."
Gerd Oswald will produce and direct the film, to roll July 1 in New Mexico and Arizona. Screenplay is by Stanley Z. Cherry. Miss Davis will portray a gun-slinging grandma.

The title of Davis’ film was changed to Bunny O’Hare, probably to avoiding conflicting with the title of the cartoon. Miss Davis appeared in some stinkers over her career, but nothing as bad as this cartoon.

Bimbo Gets the Chair

Uh, oh. Bimbo thinks he’s pulled a chicken out of a weird coop. It turns out to be a cop.



Imaginative artificial dissolves here (especially for 1930) as Bimbo imagines himself being given the chair for theft.



Ted Sears and Willard Bowsky get the animation credits on one of Fleischer’s all-time great cartoons, Swing You Sinners!

Did Somebody Really Bawl For Her?

“Amos ‘n’ Andy” wasn’t the only show on radio featuring white men playing someone of a darker skin. It was just the longest running programme, one that was a national obsession in the early ‘30s. No, there was another where, for a time, a white man named Marlin Hurt (photo, right) played a black woman. A black maid, to be precise. Her name was the name of the show—“Beulah.”

The character was tremendously popular on radio. Her catchphrase “Somebody bawl for Beulah?” brought laughter and applause. But were Beulah’s gags and situations really funny? It’s impossible to ask that question today without getting bogged down in the endless baggage of the polarised racial debate in the U.S. So, let’s go back the days when the show aired. Herald-Tribune syndicated columnist John Crosby wrote about it twice in 1947. He pretty well sums up the problem with the show and, in fact, the things that plagued most radio sitcoms. The jokes were eye-rollingly obvious and characters were the same kind you heard on who-knows-how-many other shows. The material is even hokier today. And Crosby had a problem with “the scene.” You’ve seen it on TV comedies, when the characters suddenly turn serious in the climax before resolving their situation, breaking for a final commercial, then returning to yuck it up during the tag.

This is Crosby’s column from March 14, 1947.

Radio in Review
By JOHN CROSBY
Beulah
Beulah is a radio character who has wandered restlessly from network to network and program to program like a lost sheep. Way back in 1938 the late Marlin Hurt originated Beulah, a negro maid with a perpetually distressed voice, on a comedy program called “Hometown, Unincorporated” on NBC. In 1943 Beulah drifted away from Hometown to become Fred Brady’s girl friend in a program called “That’s Life”, also on NBC.
Beulah’s next job was opening the door at Fibber McGee’s house, where she attracted considerable national attention. So much, in fact that she was given her own program as a summer replacement on CBS in 1945. The program was good enough to be continued as a regular winter show, which came to an end when Hurt died in 1946. There followed a 12 month search for a voice to replace Hurt’s which ended when the program’s producers signed Bob Corley, of Atlanta, Ga., who says he had a negro mammy who sounded just like Beulah. Mr. Corley can be heard as Beulah on ABC, 9 p. m. Mondays.
I’m not entirely sure Beulah is worth all this explanation except as a bit of radio folklore showing how a radio character, once well under way, is perpetuated virtually forever. Beulah, as I recall, was funny on the Fibber and Molly show but then she didn’t have to carry an entire half hour by herself. Beulah is now the harassed maid of the Jones family, which is composed of young Harry Jones and Aunt Alice Jones, who devote much of their time toward rescuing Beulah from the scrapes her boy friend Bill gets her into.
Bill is shiftless, scheming, grasping and everlastingly hungry and he is always on the verge but never quite marries Beulah, which provokes much of the discussion in the Jones household, I’m afraid Bill also sounds a little too much like de Kingfish in Amos 'n' Andy.
“We gotta assume the canine.”
“Assume the canine?”
“Put on de dog."
That’s a fair sample of Bill’s conversation. Recently Bill bought a piece of land with Beulah’s money. The property looked for a moment as if it might contain oil, but you and I knew all along that it wouldn’t. This sort of by-play isn’t enough to fill half an hour so several other minor characters bob into the Jones household now and then with their problems which are entirely unrelated to the rest of the plot. One of them is a man named Mr. Frank, who sounds like Titus Moody and who exists in a state of total confusion. The act never varies much and goes something like this:
“Howdy do. This is Mr. Frank at the front door.”
“Howdy do, Mr. Frank.”
“What brings you here?”
"You de one dat rang de doorbell.”
“Uh . . . . I did? You mean I’m on the outside and you’re on the inside?”
“That's right.”
“I thought this room was rather large. What’s that?”
"That's the front hall mirror. That's your reflection in it.”
“Oh my! Gotta get that fixed.”
There’s also another character who stutters ba-hup, ba-hup and whistles, a device you can get tired of in an awful hurry. That about sums up Beulah. There really isn’t anything the matter with it except that it isn’t very funny and, at times, the writing seems a little aimless.
It’s also at time sentimental to an extraordinary degree. Unabashed sentiment seems to, be a new trend in comedy programs. You find an awful lot of it in the new movies too. Maybe it’s a sign of the times. For all I know we are headed into a postwar era in the popular arts, not at all like that of the last war, but like that after the Napoleonic wars which culminated in Queen Victoria.

CBS changed the “Beulah” format in the fall of 1947 and that occasion prompted Crosby to review the show again. There was also a cast change. Crosby sarcastically takes a shot at the radio industry for doing what it should have done earlier. This was published on December 30th.

Radio in Review
By JOHN CROSBY
A COMIC STRIP ON THE AIR
To sum up the “Beulah” show in as few words as possible, it's good-natured, harmless, engaging and, at infrequent intervals, very funny. Beulah has been around a long time. Originally she was played by the late Marlin Hurt, who was white and male and yet somehow very convincing as a Negro maid. Since Mr. Hurt’s death, several other white males tried out not very successfully as Beulah; then the program's producers, in one of those rare flashes of inspiration, thought of Hattie McDaniel who was both the wrong sex and the wrong color for a negro maid but somehow qualified anyhow. How do they think of these things in radio?
Last year Beulah was a once a week half-hour show. Now it’s on five times a week (CBS 7 p. m. Mon.-Fri.) which is a happy solution to her problem. As a half-hour heroine she wheezed rather strenuously in the last 15 minutes. By putting her on five times a week, CBS is pushing radio ahead some 20 years, way up to 1928 when Amos ‘n’ Andy did the same thing on NBC. It’s not a bad idea either. A 15-minute show five times a week has an entirely different quality from a half-hour show once a week. It is — if you’ll pardon the expression and I’m not going to pardon that expression much longer myself — soap opera with humor which, in a small, different way, is a stride toward wherever radio is going.
Beulah has much of the fascination of the comic strips—same people—same time, station, five days a week. You don’t expect the polish of a 15-minute show; you do ask that the people involved be interesting and above all human enough to keep you absorbed. Beulah does it rather well.

She is a warm-hearted, earnest, loyal, lovable female Rochester of literal mind and extraordinary patience who is employed by the Henderson family, which consists of Mistah Harry, Miz Alice and Donny, a small, vexing thorn of indeterminate years. (Somewhere between 11 and 14, I’d say, but don’t quote me.)
Beulah is quite a cross to the family and they are a bit of a cross to her. As the repository of all family confidences, she was told, for instance, by Miz Alice to save $10 out of the family food budget to pay for Mistah Harry’s Christmas present and then, a few moments later, requested by Mistah Harry to save $15 out of the same budget for Miz Alice’s Christmas present.
That's the sort of crisis you get in Beulah, intimate, domestic, human, credible and consequently totally unsuited for the housewives, in daytime programming. (A housewife confronted with a dramatic problem involving what to have for dinner instead of a routine poisoning might be emotionally upset for weeks.)
Most of Beulah’s humor is harmless and reasonably engaging. “In college I spent four years with Sigmund Freud,” somebody told her not long ago. “Your roommate?” asked Beulah innocently. Sometimes the gags are so weighty and worked over they sound a little like an address by Sen. Robert R. Taft: “All I know is that if I don’t make up my mind soon, (about Christmas presents) I’ll deliver my presents in the middle of an Easter egg hunt”—is one I have been trying to break up into small units and not succeeding ever since I heard it.
Besides the Hendersons, Beulah is beset by a boy friend. Bill, a swaggering hedonist, who is a compilation of all the worthless but lovable Negroes of fiction. (“I’ll come back later and watch you do the dishes.”) I have nothing against him except that he laughs a little too uproariously at his own jokes.
These 15-minute shows are fairly complete in each episode while allowing further elaboration the next day—again something like the comic strips. CBS now has two and a half solid hours of 15-minute shows lined up from 5:30 p. m. E.S. T. to 8 p. m. All of it is pretty good listening except that a solid hour is news, much of which is the same news.
Right, after Beulah comes Jack Smith, a very hearty singer who appears to be laughing at himself all the time. He’ll remind you strongly of all the musical comedy singers you ever saw particularly if you haven't seen a musical comedy for some time. I thought the type had vanished years ago. The announcers on both the Beulah and the Jack Smith shows are also laughing boys whose vigorous mirth at the opening and closing of each show may leave you rather seriously depressed.

Both “Amos ‘n’ Andy” and “Beulah” came to TV in 1951. By now, discussions of racial stereotypes were out in the open. There was no agreement, showing things haven’t changed a lot in 64 years. Crosby lit into the show in his column of April 28, 1951. Listening was one thing; seeing a show was something altogether different to Crosby. His column is to the right; click on it to enlarge it.

Let’s give you some reaction to the column from editorialist Joseph D. Bibb of the Pittsburgh Courier, a bastion of the black press. It was published on May 19, 1951.

‘BEULAH’ FLAYED
Famed Radio and TV Critic Condemns Ethel Waters and TV Show
By JOSEPH D. BIBB
CAUCASIAN radio and television critic, John Crosby, for the New York Herald-Tribune, the Chicago Sun-Times and a host of other daily newspapers, swung hard on the “Beulah TV Show” now featuring the talented Waters and other well-known artists.
In a recent column he blistered and excoriated the presentation. Because Ethel Waters is a versatile and headline artist—likewise the author of a current bestseller, “His Eye Is on the Sparrow”—the respected and recognized critic, John Crosby, cannot contemplate or comprehend just why Miss Waters should exploit her diversified talents in such sordid fashion.
He writes: “I don’t know whether we will forgive this sort of stereotyping on television . . . ” Clearly and definitely he sees how the televised Beulah TV show stereotypes colored Americans. Crosby also takes a caustic and devastating fling at other colored actors in the Beulah show. Roles played by them include such characters as Bill, a jobless, good-for-nothing yokel who "generally messes up things beautifully.” Also depicted are Jasmine, Petunia, Magnolia and Oriole. The latter character, played by Butterfly McQueen, especially arouses Crosby’s ire. He observes: “She is a feather-brained idiot.”
• • •
THIS REPORTER shares completely in the opinion of Mr. Crosby. The Beulah TV show, with Miss Waters and her feeble cast marks, stamps, defiles and desecrates colored people. The dread and despised stereotype—that of colored people presenting themselves as buffoons, slavish menials and ne’er-do-wells—is subtly, impressed upon the minds of ever-growing television audiences. Herein is great peril and inherent danger.
Television, if not already, is destined to become a dynamic and far-reaching medium of propaganda. Through this medium the stereotype can be preserved indefinitely. Other craven plans are being laid to continue such disgraceful libels on colored Americans. Soon the nauseating “Amos and Andy” show will be televised. But this time all-colored actors will play the rollicking roles of such as the King Fish—who according to his radio counterpart—is a worthless bum. Miss Waters, we regret to note, is establishing a most disgraceful precedent. Her Beulah presentation does nothing to advance the cause of the darker minority. To the contrary, it gives succor and aid to those who advocate second-class citizenship.
While on the subject of Ethel Waters, her brutal, stark and tragic autobiography as set out in “His Eye Is on the Sparrow,” strikes a new low in crudeness, lack of a sense of fitness, and in cold contempt for the laudable tendency of struggling but progressing people, who would rather hide the rattling skeletons in their musty closets. The book has no survival value and no literary merit. It just panders to the morbid appetites of jaded Anglo-Saxons. But seemingly it matters little to Ethel Waters.
Some of the other “Uncle Tom” and “Aunt Dinah” performer hasten to defend their miserable roles by loudly wailing, “We got to eat.” Ethel Waters, who collects splendid royalties from her songs, who gathers shining shells from her literary efforts and who is already well supplied with funds, cannot pretend that dire necessity causes her to take to television with the role of the ridiculous and nauseating Beulah. Her position is defenseless. Crosby is eminently correct in his acidious criticism.
[Arthur] GODFREY, [Ted] MACK and [Horace] Heidt present colored people as gifted American citizens. Much goodwill has been built up by them. But the Beulah Show and the heralded “Amos and Andy” fiasco will surely show up the struggling minority as being inferior, ignorant, superstitious, lazy and shiftless. Such portrayals are typical of the impediments and barriers to recognition and respect.
Crosby has done a splendid service for the American people by denouncing and decrying such deadly histrionics.
Ethel Waters and Josephine Baker do not see eye to eye on the types they portray. Lena Horne, likewise, has refused to lend her talents in roles that will reflect upon her people. In the opinion of this reporter, Miss Waters deserves condemnation, while orchids should be bestowed upon La Baker and Miss Horne. The power and influence of television have been demonstrated by the intensive and widespread interest shown in the Kefauver quiz and with the welcome for the MacArthurs. Radio had a strong impact upon the people, but nothing like TV. That is why colored Americans should unite with Mr. Crosby and this scribe in a bold and valiant effort to establish a high TV level in presenting a lowly people.

Despite the criticism—which seems to have been focused more on “Amos ‘n’ Andy” when it debuted on TV—“Beulah” remained on the air for three seasons. Louise Beavers replaced Waters for the second season (McDaniel was supposed to take the roll but was ill; she taped six episodes which were played during summer 1952); new actors had earlier taken over for Butterfly McQueen and Bud Harris, who had played Bill and complained about his character. Columnist E.B. Ray of the Afro-American wrote.

The “Beulah” TV show, starring Louise Beavers, strikes Encores [the name of Ray’s column] as being a relief from the stereotyped shows we have been forced to swallow.
Frankly speaking, it is strictly a comedy presentation to get laughs, and in so doing it achieves its purpose in a way that shouldn’t shock the sensibilities of the most super-sensitive.
It comes nearer to being made up of skilled players of both races without the playing up or down of racial tendencies.
The relationship between the Henderson family, Miss Beavers, Bill and the other characters is tantamount to simple human proportions.
The producers have eliminated the kow-towing antics and placed the principals in a relationship that should inspire a better understanding between household employers and employees.
Beulah is a far cry from the gossipy, tell-it-all type of servant. The TV version is a loveable story in which the everyday problems of Beulah and the Hendersons get sympathetic treatment in a reciprocal manner.

The column was published October 3, 1953. By then, “Beulah” had been cancelled, though it had some life in syndication. Its distinction of being the first network TV show starring a black woman is pretty much forgotten. Considering the controversy it caused, it’s doubtful anyone will be bawling for Beulah again.

Buzzard Burger

Nothing like wanting you eat your buddy for good old cartoon fun! A scene from “What’s Buzzin’ Buzzard?”



Ray Abrams, Preston Blair and Ed Love get screen credit for animation. Kent Rogers is Joe; I won’t venture a guess at who the Durante buzzard (or is it a vulture?) is. MGM employed several different people who did a Durante voice in cartoons.

It's a Cat-Eat-Woodpecker World

Nothing like wanting you eat your buddy for good old cartoon fun! A scene from “Pantry Panic.”



Alex Lovy and Les Kline get the animation credits. Danny Webb is the voice of Woody and the hungry kitty.

The Tralfaz in the Stafferzat

The question has arisen “Where did the word ‘tralfaz’ come from?” Those of you reading here on a regular basis likely know it was the original name of Astro the dog in Hanna-Barbera’s “The Jetsons,” and had been used several times before that in various Warner Bros. cartoons (Warren Foster wrote for both studios). And we tracked down a variation before that from the Burns and Allen radio show which we discussed here.

But there’s an even earlier reference, one that also comes from network radio.

Cliff Nazarro was a vaudevillian who eventually adopted a gimmick that brought him work. He came up with a double-talk act. Jack Benny loved it and started using Nazarro on his radio show.

Here’s Nazarro talking about his self-minted vocabulary in an article that appeared in the New York Sun of March 4, 1939.

● ● ● ●

IT’S GIBBERISH BUT IT PAYS WELL
Double Talk of Cliff Nazarro Started as Hobby.
When a man wins a prize for perfect diction, that's not news. But when a chap wins the hilarious approval of millions of listeners for being utterly incoherent, that’s Cliff Nazarro.
Cliff, he of the glib tongue which pours forth a conglomeration of senseless syllables, is radio’s Doctor of Double Talk today. But until a year ago this smallish man in his early thirties had been successively a juvenile and musical comedy singer on Broadway, a vaudeville master of ceremonies and a radio crooner.

Then Jack Benny invited Cliff to try his double-barreled linguistic artifice on a Sunday night broadcast. Now his insane banter manages to confuse everybody in the Benny gang except Kenny Baker. (Trying to confuse Kenny is like to trying to fatten up Don Wilson.)
Nazarro is not the originator of doubletalk nor is his current stock in trade anything new. Doubletalk has been a well-known prank among vaudevillians for years. Cliff, however, certainly deserves the credit far using radio to make America doubletalk conscious.
A mere half-dosen words, original Nazarro creations, are the secret to his baffling double-talk on the Benny shows. After sin exhaustive search for words which sound almost but not quite legitimate, Cliff simmered the list down to the following: Pul-gin-dasiphin, rastrot, tralfaz, stafferzat, albal-jul-dundee and bersopher. Try them on your own larynx.
Although the words are obviously phony when spoken slowly, by the time Cliff rattles them off in his machine-gun-like delivery, they’re enough to confuse any microphone.
Started as a Hobby.
Doubletalk had been just a hobby—a gag with which to torment unsuspecting victims—to the five-foot-three-inch verbal dynamo during his career on the stage. He seldom used the bewildering banter professionally, although he had become quite adept at making head waiters and policemen think they'd better be fitted for ear trumpets before he outgrew juvenile roles.
When the bottom dropped out of vaudeville, Cliff was making a tour of the West as master of ceremonies of a Fanchon and Marco unit. Like another trouper named Jack Benny, Nazarro saw the handwriting on the wall and decided to try radio. Unlike his present boss, however, Cliff never guessed that his forte might be straight comedy. On the stags Cliff had sung sad songs, tempered with a line of patter and a comic piano routine. After landing a job as singer on a San Francisco radio station, Cliff pigeon-holed his doubletalk for a while and became serious about his new work. For several months he sang with Meredith Wilson's orchestra over a coast-to-coast NBC hookup, recorded occasionally and devoted all his time to music.
Then one day, while hanging around the studio after a show, he started ribbing a very serious piano tuner with his doubletalk. The ivory osteopath’s bewilderment struck bystanders so funny that the station manager soon heard of the incident.
Against his better judgment, Cliff was induced to take a fling at doubletalk on the air. Although he argued that it was a visual as well as audible trick, he wrote a skit involving a doubletalk payoff and presented it on a West Coast sustaining program. The listener response proved his misgivings to be foundless.
Warned Against Diction.
One old lady summed it all up beautifully when she wrote: "Dear sir, I enjoyed your skit tremendously and think you're a very clever comedian, but please do try to watch your pronunciation. I could scarcely understand a word you said."
After that he tossed a doubletalk routine into his local radio acts from time to time, and whenever be made personal appearances he’d use doubletalk to soften up tough audiences—with excellent results.
On one of these occasions—it was at the Paramount Theater in Los Angeles—Jack Benny was in the audience He made a mental note to remember the dapper little guy who'd double-talked his way under the skin of the most brutal audience Jack ever remembered.
A year ago Jack ran into a situation that was tailor-made for Cliff. While casting his parody of "A Tank at Oxford," Benny discovered he needed some one to direct him to the college town. Cliff’s description of the road to Oxford, all done in doubletalk launched him in a new career.

Funny Even to Comedians.
Since that time, Nazarro has almost forgotten about singing—except for joy. In addition to frequent appearances on the Benny programs, he's garnered several motion picture parts for himself. His bit with Jack Benny in "Artists and Models Abroad" was so spontaneously funny that it had to be retaken five times. The first four takes were ruined by irrepressible laughter from stagehands and extras.
But Cliff is not one to rest on his laurels. He’s even now at work creating new uses for doubletalk, just to keep the demand ahead of the supply. A routine in which he sings in doubletalk is already being considered for a film spot. And his present experiment is playing a piano in doubletalk. In fact, he claims he’s already trained his dog to yelp in doubletalk so craftily that the neighbors’ mutts are all being treated by alienists.

● ● ● ●

On the May 29, 1938 Benny broadcast, Nazarro launches into a phoney-word list of the principal industries in Czechoslovakia: “Zennatophatusurate and Clump raising.”

Jack: What raising?
Cliff: Clump.
Jack: Oh. I thought you said “Tralfaz.”

Unfortunately, gimmicks don’t tend to last. Nazarro’s double-talk routine ran its course and the Benny show went on to other things. Nazarro survived with small parts in films into World War Two. He died at the age of 57 in 1961.

Two Landmark Silly Symphonies

So much has been written about Walt Disney’s cartoons, there’s no point in me analysing them. Instead, let me post a couple of full-page trade ads for two of Disney’s three landmark cartoons before his studio made “The Three Little Pigs” in 1933. The first was “Steamboat Willie,” where Disney took a lead character and turned into a musician and cavorting dancer. The synchronised noises as Mickey played animals as musical instruments was more than enough to captivate 1928 audiences, especially compared with the crudely-drawn generic mice of an Aesop Fables cartoon.

We skip past that to look at a cartoon from the following year that, thanks to the internet, has probably been seen more these days than it did when it came out in 1929.



Spake Variety on July 17, 1929:

"THE SKELETON DANCE"
Animated Cartoon
Cinephone
5 Mins.
Roxy, New York
Title tells the story, but not the number of laughs included in this sounded cartoon short. The number is high.
Peak is reached when one skeleton plays the spine of another in xylophone fashion, using a pair of thigh bones as hammers. Perfectly timed xylo accompaniment completes the effect.
The skeletons hoof and frolic. One throws his skull at a hooting owl and knocks the latter's feathers off. Four bones brothers do a unison routine that's a howl.
To set the finish, a rooster crows at the dawn. The skeletons, through for the night, dive into a nearby grave, pulling the lid down after them. Along comes a pair of feet, somehow left behind. They kick on the slab and a bony arm reaches out to pull them in. All takes place in a graveyard.
Don't bring your children.
Bige.

“The Skeleton Dance” wasn’t much different in the basic concept than a Mickey cartoon. Lots of music. Lots of cavorting. A little humour. No plot. It’s still fun to watch today, but it was captivating in 1929. Soon other studios, especially Van Beuren, populated their cartoon shorts with dancing and singing skeletons.



The early Mickey cartoons followed a loose format of musicality in the first half, with Mickey rescuing Minnie in the second. The Harman-Ising cartoons at Warner Bros. followed the same format (as did Merrie Melodies until some guy named Tex Avery showed up) and you can see it at other studios. “Flowers and Trees” in 1932 wasn’t much different—flora and friends battled flames in the second half—but what made it different was the full spectrum of hues, thanks to the studio’s inaugural use of three-strip Technicolor. The cartoon still has some charm, despite its comparatively languid pace (it wouldn’t be unfair to credit Avery with picking up the overall speed of cartoons in the ‘40s).

If you’re an animation fan, even if you’re not partial to Disney, you’ve seen “The Skeleton Dance” before. But it’s always worth watching again.

Murray and Al

Al Molinaro never struck me as being an actor. He was that genuine on camera.

He was a likeable lump of a guy who was perfect in The Odd Couple, which proved in reruns to be one of the best-written and acted sitcoms of all time. The show had to overcome the almost impossible—being inevitably compared to the terrific movie it was based on. It succeeded. The casting was flawless. The TV show included the same poker-playing buddy characters the movie did but, eventually, Molinaro’s Murray was the only one left. The writers found enough in Molinaro’s camera presence to make his character more than one-dimensional.

Molinaro was fortunate enough to appear in the supporting casts of two monster comedies of the ’70s. He moved on to the cast of Happy Days.

Let’s pass on a few newspaper clippings about Molinaro, who died this week at the age of 96. This is an unbylined story, published on this date 44 years ago, not too many weeks after The Odd Couple began its run on TV. His background is quite surprising.

Bungled Assignments Pay Off for TV Actor
Al Molinaro has a generous-size nose, brown eyes as guileless as a puppy's and the overall aspect of a man who keeps taking wooden nickels, misses buses by seconds and gets a busy signal whenever he dials the telephone.
A born loser. A schlemiel.
Al, who plays Murray the Cop on the ABC's "The Odd Couple," has been acting only three years.
No johnny - come - lately to Hollywood, he arrived in lotus land 20 years ago on tour with a four-piece combo, playing piano and guitar. Fancying the idea of doubling in brass as an actor, he remained when the other sidemen split the scene.
He landed a $75-a-week job as staff producer at a local TV outlet, made good contacts, and throe years later quit the job and began packaging and selling his own video shows. Business was good for six years, and when it petered out he took the plunge into commercial TV as a performer. His first effort, selling frying pans on a Joe Pyne show. "It's Your Nickel." was pure disaster.
"It was live television." he recalls, "and if you goofed once there weren't any second chances. I was kicked off the show and out of the studio."
Al also bungled his next assignment, a foreign car commercial. But he was so funny the producer decided to play the blurb for laughs. The commercial ran two years. In another comedy of errors, he landed his first acting job in a TV series when the casting director of "Green Acres" hired him for a role, thinking he was somebody else. His next break came when the producer of "Get Smart" saw Al in a commercial and signed him to play Agent 44. He appeared in six episodes.
To polish his thesping techniques, Al enrolled in a Hollywood school of acting. While performing in one of the school plays, he attracted the attention of writer - producer Garry Marshall. After the performance. Garry went backstage and told Al he'd keep him in mind when he cast "The Odd Couple."
When Garry began auditioning performers to play the poker players in the series. Al sent him a series of blowups of himself in various poses around a poker table. The hint was obvious — and it worked. He was hired as Murray, the Cop.

King Features interviewed Molinaro a couple of times. First up, a piece that ran in newspapers around May 31, 1973. The photo accompanied the story.

Al Molinaro's Finest' Role Extends Security
By HARVEY PACK
TV Key, Inc.

NEW YORK (KFS)— The Jewish cop—one of New York's Finest—on ABC's "The Odd Couple" is an Italian from Milwaukee.
Al Molinaro, who is the perfect third party foil for Tony Randall and Jack Klugman on the series, is one of those pleasant success stories that offer hope to all who are approaching the middle-age crisis. Al changed careers about four years ago and, as a featured player in a hit TV series, is now relatively secure in his new profession.
"And if it goes bad, I'll find something else," said Molinaro, laughing. Even as "The Odd Couple" begins its fourth season, he is not completely convinced it has all happened.
Despite the fact that he started acting but a few years ago, Al has lived in Hollywood since the early '50s, when he arrived as part of a 4-piece musical combo touring the country. "I liked California, so I stayed," is his only explanation for abandoning the tour.
He landed a job at a local TV station for a lot less money than he earned as a musician, but he stuck with it for three years learning all he could about the local TV operation. Then he went out on his own and began packaging his own ideas. He developed a business which netted him almost $100,000 a year, but each show he sold was either a hit and stolen, or a flop and cancelled. As a result after some seasons of lucrative returns, the business began to falter and Al looked about for something new.
Since most aspiring actors in Hollywood still haven't heard that this is the era of the average looking guy, Al decided to offer his average, man-in-the-street face around for TV commercials.
His first shot was a live spot selling drying pans, and he was not only fired by tossed out of the studio. His second job was also a disaster, but some astute producer thought it might work as a funny commercial, and the spot played for two years, giving Al his first delightful experience with residuals.
After several years of making a buck in commercials, Al decided he should reinvest some of his money and actually take acting lessons. He was spotted by Harvey Lembeck, who told him he had a lot of natural talent. Lembeck invited Al to join his acting lab which specializes in improvisations.
"That was the turning point for me," said Al. "I really found out what it was all about. Harvey runs it as a labor of love, yet anybody who has spent time in the group not only learns his craft but is seen by producers. That's how Garry Marshall first saw me work, and he came back to tell me he'd keep me in mind for a TV series."
Then Al heard that Marshall was in charge of "The Odd Couple" and was looking for types to appear in the famous poker game scene, which established the characters in the original play and was expected to do the same for the TV version. Al called to remind Marshall about their first meeting.
"I couldn't get past the front office," Al said, "but I sent him pictures and notes reminding him. I finally got through. And I got the job."
Al is the only poker player still with the series. The chemistry he created while working with his co-stars was recognized, and he was signed on as a regular. Despite his success playing a New York cop, Al was on his first visit to the big town when I met him. He was bringing his family East for a vacation, and had come ahead hoping to line up enough commercials to cover expenses.
"It's a great town?" Al said. "And everybody recognizes me."

Molinaro had the unenviable job of coming into a sitcom and replacing a well-liked character. How well did he pull it off? Judging by the fact most of the headlines in his obits refer to his role on Happy Days, I’d say pretty well. This column is from Dec. 22, 1976.

For Molinaro, 'Happy Days' Return
By CHARLES WITBECK
TV Key, Inc.

HOLLYWOOD—(KFS)—Needing an exit line on "Happy Days," the fat Italian, Al Molinaro, yells, "Garry, give me a clap-off line" to producer Garry Marshall. Later, during the filming of the show before an audience, Molinaro, as Alfred the new drive-in owner this season replacing Japanese comic Pat Morita, uses the Marshall line and gets a big laugh as he departs.
By now Molinaro knows almost anything Garry Marshall gives him will work. When Al portrayed Murray the poker-playing cop on "The Odd Couple," Marshall always fed him boffo lines. Marshall never had any trouble pegging Al.
When Al protested a line one day as being "hard" during a reading, Marshall urged the staff writers to scan the pudgy actor. "Look at him," said Garry. "He's not a hard man. Write for him, don't worry about the character."
The best thing about Al Molinaro is that he doesn't fit the image of a Hollywood actor. He is the garageman down the street, the Italian minding the store. The body is full of pasta, and the face with the expansive nose can turn dark with fury or light up a gloomy room. On camera beside neatly proportioned actors, Al is reality. Therefore he can say almost anything and be believable.
Hearing about his past, it's apparent Molinaro can do almost anything. Barely out of school in Kenosha, Wis. Al, 17, went to work in a bedspring factory, and soon led the employes out on strike to protest the terrible working conditions. Al didn't know what he was getting into. The strike lasted a month. But the workers stuck by the kid and won.
Next to last in a family of 10 children, Al watched his dad work day and night to keep the family going, but drove his father crazy when he quit a job as assistant city manager to hit the road as a guitar player in a 4-piece band.
Twenty-five years ago, Molinaro the musician hit Hollywood and decided to try acting. Perhaps he was a shade too handsome in his youth. His face needed seasoning. No one would hire the Italian. A girl hit Al with the truth, "How can you get what you never were?"
Television was in its infancy during Al's rounds of rejection, so he decided he would be a TV producer, and muscled his way into an independent station manager's office. Lying about his credits, Al walked out with a $75-a-week job as producer. His tenacity had worn down the manager.
"I moved around the Sunset Boulevard studio with a clipboard under my arm to see what the business was about," Al said. Taking the worst air time available, Molinaro put on a 2-hour square dance party, a show that ran two years. He brokered the air time, fought off an agency man who wanted kickbacks, and got so involved in the rat race his emotions took over. It was time to clear out.
The Molinaro face, and his anger rising up during the reading of a foreign car commercial, changed Al's life not many years ago. Soon that Italian face under a chef's cap appeared on Los Angeles billboards for the gas company. The "Get Smart" producers spotted the billboard and hired Al for six episodes as Agent 44. A "Green Acres" series job followed.
Actor Harvey Lembeck caught his TV roles on the air and asked Al to join Lembeck's comedy improvisational class: "You're a funny guy, but I don't think you know what you're doing."
Al didn't, but he learned with Lembeck. Penny Marshall, Garry's sister of "Laverne & Shirley" fame, was in the class. One night brother Garry came to pick up his sister and watched the final improvisation of the night by Molinaro. It was a rocker, and Marshall came up to congratulate Al: "You are terrific."
Al thought "The Odd Couple" producer was merely another actor, but when auditions for the role of a poker player on "Odd Couple" came up, Al sent Marshall a huge board of Molinaro photos sitting around a poker table. Marshall has never mentioned the promo, but Al's job on the Tony Randall-Jack Klugman comedy speaks for itself.

Al was part of Happy Days when there was far too much applause and cheering from the studio audience greeting every arrival and characters from the ‘50s ridiculously wearing 1970s hairstyles (“Cut it? I’m a star!”). While Happy Days is accused of being the quintessential show that jumped the shark, and despite a best-forgotten spin-off, shark-jumping is something Al Molinaro’s career never did.