game slot đổi thưởng uy tín _tien cuoc bong da mien phi_quay slots https://www.google.com//26a Fri, 11 Jan 2019 08:01:08 +0000 en-US hourly 1 https://wordpress.org/?v=4.9.9 Animation Anecdotes #397 https://www.google.com//26a/index.php/animation-anecdotes-397/ /26a/index.php/animation-anecdotes-397/#comments Fri, 11 Jan 2019 08:01:08 +0000 /26a/?p=50613 "With the Garbage Pail Kids - we had all the best intentions of being able to translate the cards into a program but it didn*t work. The fit just wasn*t right.§]]>

Garbage Pail Kids. Based on the popular Topps cards, Garbage Pail Kids the animated television series (a parody of Cabbage Patch Kids) meant to premiere on a Saturday morning in September 1987 was abruptly cancelled less than 24 hours earlier on Friday. The exact reasons for the 11th hour cancellation were never discussed although it was assumed that protests from several groups that the series ridiculed the handicapped, glorified violence, and was primarily just a commercial for the cards as well as sponsors and affiliates (also pressured by the same groups) pulling out support was the reason.

CBS stated at the time that ※CBS is well aware of a variety of pressure groups that contacted the network to voice their concern. CBS has never reacted to pressure from groups in programming decisions. Basically, it was an internal decision. We had all the best intentions of being able to translate the cards into a program but it didn*t work. The fit just wasn*t right.§

While CBS claimed ※no full shows were completed at the time§, the thirteen episode series was completed and shown in Spain, Brazil, Portugal, Trinidad, Tobago, United Kingdom, Iceland, Israel, Italy and the Philippines among other countries and was released on home video in 2006.

Director Bob Hatchcock said, ※We could not use the really gross stuff. The show got pulled anyway. The protest was about the cards and they never saw a frame of film. If they had seen the show without prior knowledge of the cards there would have never been a problem. We were so close to being finished that it made more sense to get them in the can for possible future use.§


Another Forgotten Animator. In 1924, artist Bert Green sued showman Flo Ziegfeld for non-payment. Green had done portraits of some of the Ziegfeld girls upon Ziegfeld*s request and the famous producer felt they weren*t good enough to receive payment. The court agreed.

Green had been an animator working with Hy Mayer in 1912, Hearst (1916-1918), Path (1919), Moser Studios in the 1920s and MGM sometime in the late 1930s and early 1940s. He also did advertising work in the 1920s which is where Ziegfeld probably saw his work and offered him the job. Green also did a newspaper strip called Kids in 1928 and comic book work starting in 1946 for Novelty probably through Leon Jason*s shop who used Famous Studios as well as other New York animators to do comic book stories.


Mr. Potato Head. In a press interview at the premiere of Toy Story (1995) with reporter Mal Vincent of the Norfolk Virginian-Pilot newspaper, comedian Don Rickles who voiced Mr. Potato Head in the film said, ※I was very surprised. I thought this would be very Mickey Mouse. I did it just for the money. I thought I*d just hear my voice coming out of this doll, but look, this thing looks like no other movie. I thought when they called me it would be like Popeye and Olive Oyl or something.

※They wanted the character of Don Rickles so they asked me not to act. My motivation was the money so I said, &Fine, I won*t act*. I wanted the Tom Hanks part but they would have had to pay me more for that. They*re no fools.§


The Raggedy Ann That Never Was. In November 1993, Cambium Productions approached the Canadian animation company Catapult about doing a Raggedy Ann television series (The Magical World of Raggedy Ann) but it wasn*t until August 1995 that a promo piece was created consisting of costumed actors in a computer generated set being menaced by a computer animated bat. It was hoped that Children*s Television Workshop would pick it up for Cartoon Network*s The Big Bag show but it was not selected. Cambium also pitched the idea to another buyer who was only interested in cel animation holiday specials.


Glen Keane. From Premiere magazine November 1991, animator Glen Keane talked about working on Beauty and the Beast (1991): ※I think we*re rushing too fast through it all. On Friday night, I worked 每 just racing, physically moving my hand across the page at lightning speed, just driving as fast as I could. The next day, I couldn*t hold a cup of coffee. My hand was shaking. At first, I thought I had palsy or something.

※I*ve grown to respect (Jeffrey Katzenberg). He comes up with as many ideas as animators can 每 and as fast. The fact that he throws out whatever comes into his head is valuable to me. You just kind of have to take it with a grain of salt.§ One of Katzenberg*s suggestions was that one of the servants in the castle was transformed into a punching bag so he would be a human punching bag.


Ron Miller Ratigan. In the Wall Street Journal for July 14th, 1986, animator Glen Keane talked about the inspiration for Ratigan in The Great Mouse Detective (1986): ※Our first version of the villain was thin and sort of weaselly. But he didn*t have the power or presence we wanted. Then one day, we heard Mr. (Ron) Miller*s footsteps coming down a long linoleum hallway. You could hear the floor shaking as this 6-foot 6-inch guy with 260 pounds of muscle moved into the room.

※So we started doing caricatures of Miller as a huge rat. It wasn*t done to be derogatory. I sweated it out when I presented the first sketches to him but he didn*t recognize his own face and said, &Go with it*.§ The Journal contacted Miller who was the former president and CEO of Walt Disney Productions and he replied, ※That*s news to me.§


Phil Mendez at Disney. In a 1986 interview, animator Phil Mendez said, ※I started work at the age of 19 at Dancer-Fitzgerald-Sample (doing commercials) under Bill Tollis who was a great disciplinarian. He made me do a storyboard thirteen times. That*s how I learned to draw. When I left, I joined Disney as an animator. The seven months I spent there were the roughest, toughest of my life. I went there expecting it would be a friendly, wonderful place to work. It was a factory. I lost twenty pounds. I lost my job when I asked for a small raise.

※I was told that I should be grateful that as a black I was given an opportunity to work there. I told this man that Mickey Mouse was black. He instantly fired me and barred me from the lot for four years until he left.§

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Favorite Character Moments in Animation https://www.google.com//26a/index.php/favorite-character-moments-in-animation/ /26a/index.php/favorite-character-moments-in-animation/#comments Thu, 10 Jan 2019 08:01:37 +0000 /26a/?p=50603 There*s a lot of cartoons I really like, but when it comes right down to it, there*s often brilliant *moments* that are especially great. Here's my list.]]>

I*m taking a momentary break from thinking about Thunderbean the company since nearly all waking moments have been either teaching or dubbing and sending things.. so, today*s TB Thursday is about things I love in animation 〞 and I*d love to hear what yours are too. There*s a lot of cartoons I really like, but when it comes right down to it, there*s often brilliant *moments* that are especially great. There*s *so many of these that it*s really impossible to make any kind of definitive or accurate list, so instead I thought I*d stick with a 10 that come to mind when thinking about cartoons.

From “The Helpful Genii” (Terrytoons, 1951)

So, in no particular order, some of mine are:

Tortoise Wins by a Hare (1943)
I really love this cartoon in general, but there*s a wonderful little moment near the beginning where Bugs quickly reveals himself to the audience to let us know it*s him in disguise. This never fails to brighten my day and make me laugh with it*s unusual timing and quick action.

(Appears at 2:03)


Pinocchio (1940)
I love this film for many reasons, but one of my favorite animation moments is a shot that holds an extra frame while Jiminy Cricket is falling into a pool pocket. The extra texture this adds in hilarious, and pretty unusual (I can*t think of another example of this technique to emphasize a fall in any other Disney animation).

(Appears at 1:22)


The Dog Snatcher (1931)
There*s plenty of stange moments in Scrappy cartoons, but several are so odd that they almost deserve an analysis of length to start to understand. In The Dog Snatcher (1931) Scrappy is responsible for killing one of the guard dogs, then pretending to be that dog by wearing its freshly skinned fur and skin as a costume. It*s a funny idea when viewed as cartoony, but it*s hard to find Scrappy lovable when he bears more a resemblance to a serial killer than a lovable little boy. One of my all time favorite cartoons.
(Appears at 3:02)


Betty Boop, MD (1932)
Bimbo breaking into Red Pepper Sam*s ※You*re somebody*s Sweetheart Now§ has been discussed on one of these Thursdays before, but I can*t help but think of this whole sequence as one of my favorite things in any cartoon, ever, especially the perspective shot of everyone contorting together.
(Appears at 5:05)


Dough Ray Meow (1948)

I love so many things about this cartoon, but I especially love the little mopey walk that Heathcliff does when told to go away in this scene

(Appears just after 1:18)


Going Home (1943)

Bob Cannon*s fun and unusual dance animation is always something I think about when thinking about the Snafu series:

(Appears at 2:57)


Gulliver*s Travels (1939)

The King turning into his most rubbery self seems super out of place in Gulliver, but perfectly appropriate in a Fleischer cartoon.

(At 43:05)


The Gorilla (1930)

Mickey and Minnie were maybe never more in love than in this cartoon (with possibly the exception of Building a Building). Mickey*s realization that the gorilla has Minnie is funny in ways that only this cartoon could be:

(At 3:34)


Busy Barber (1932)

I always thought this was one of the most inappropriate of the Lantz Oswald cartoons for lots of reasons, but my favorite moment is when Oswald beats a lion (or what is it?) with the tail he cut off the sleeping creature earlier in the film. As revenge, the tiger eats him, only to be turned inside out by the barber chair. This bad copy appears to be from a VHS transfer I did some 30 years ago〞 funny how these things still show up!

(Appears at 5:01)


The Helpful Genie (1951)

I especially love the especially mean bulldog*s attempts to scare the cat in this cartoon. Some really fun Jim Tyer scenes throughout the film:
(Appears at 1:51):

There are of course plenty more, but it*s time for me to get back to cleaning up some Noveltoons.

Now, what are some of yours?

Have a good week everyone!

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Early Animation From Western Europe https://www.google.com//26a/index.php/early-animation-from-western-europe/ /26a/index.php/early-animation-from-western-europe/#comments Wed, 09 Jan 2019 08:01:01 +0000 /26a/?p=50494 This week from Mark Kausler's Film Vault: two films from England and one from France - one featuring Sam Small and another with France's Cap'taine Sabord. ]]>

This week from Mark Kausler’s Film Vault – two films from England and one from France. First up:

The Mysterious Island (Andr谷 Rigal, 1943) Animator and print comics cartoonist Andr谷 Rigal made several animated films using his Cap’taine Sabord character in the early 1940s, during the Nazi Occupation Of Fance. This particular one has US home movie titles. “I have another Captain Sabord, too. In French,” Kausler told me. If its as much fun as this one, I want to see it!


Sam’s Musket (1935) Mark has a black & white print (missing the title card above) of this rare film originally produced in Dunning Color. “British cartoonist Anson Dyer’s biggest hit. It features Stanley Holloway narrating the story, based on his famous monologues about soldier Sam Small”. Astor Pictures released the series of these films (I believe their were five) in the US in 1936.


Widdicombe Faire (1947) by the Larkins Studio of England, is a rendition of the traditional English folksong ‘Widdicombe Fair’, accompanied by drawings. “I like how quietly this cartoon starts out, with a little song about the Faire, then toward the end, the visuals take on a mysterious and witchcraft tinge,” says Kausler. “One of my favorite British cartoons.”

As always, reader’s contributions to our collective knowledge is always welcome (in the comments below).

Next Week: Films from the Carpenter-Goldman Studio.

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The Big Boys Go To Wonderland https://www.google.com//26a/index.php/the-big-boys-go-to-wonderland/ /26a/index.php/the-big-boys-go-to-wonderland/#respond Tue, 08 Jan 2019 08:01:51 +0000 /26a/?p=46815 RCA Victor--one of the big boys in the record business--got on Disney's Alice In Wonderland bandwagon -- in a big, big way.]]>

The issue of “Billboard” for March 31st, 1951, saw RCA Victor–one of the big boys in the record business–get on the Alice In Wonderland bandwagon — in a big, big way.

The company issued four consecutively-numbered discs with at least one side of each being from the upcoming Disney animated feature.

On 20/47-4087 (available on both 78 and 45 speeds), Hugo Winerhalter’s picked group of studio players played the theme from the film. Stuart Foster–an ex-Tommy Dorsey employee — took the vocal on this disc. Winerhalter, a big-band veteran, had cone to RCA in 1950, and was proving his worth, both as an accompanist for such singes as Eddie Fisher, and in his own records, as well.

The next release, 20/47-4088, featured two lively numbers – “I’m Late” and “‘Twas Brillig”–as sung by Mindy Carson. Ironically, Carson–a singer regarded as being colorless–was the wife of Eddie Joy–who was the “Joy” of the Santly-Joy publishing house—that had handled Disney songs in the later 1940’s, before the establishment of Walt Disney Music, Inc.

20/47-4089 featured the ballad “All In The Golden Afternoon”, sung by a Chicago-based singer who had been featured on radio, and who was making a name for herself on television. Fran Allison had been appearing on “Don McNeill’s Breakfast Club” over ABC radio, both as a singer and as “Aunt Franny”. But she would earn more lasting fame interacting with Burr Tillstrom’s puppets on Kukla, Fran and Ollie.

And, finally, 20/47-4090 featured “March of the Cards”, as played by the Three Suns, a cocktail-combo that was quite popular in the day. This group had been kicking about for ten or more years, consisting of Al Nevina (accordion), Morty Nevins (electric guitar) and Artie Dunn (Hammond organ and occasional vocals).

The group had recorded before for Varsity, Decca, Hit and Majestic before going to RCA in 1947. At RCA, they would be augmented with other instruments or other singes, as the occasion demanded. Al Nevins would later partner with a young Don Kirshner, and their Aldon Music house set up in New York’s Brill Building (1619 Broadway), where they became involved in producing many popular records during the 1958-64 period.

The disc of “March of the Cards” might have sold quite decently–especially as it was coupled with the Leroy Anderson’s current instrumental hit “The Syncopated Clock:”.

RCA would dip into the “Alice” well again more than a month later. The May 5, 1951 issue had an advertisement for 20/47-4155, on which Ralph Flanagan’s big band would play “Very Good Advice”. Peggy King–who would hve a moderately-successful career in nightclubs and on television (especially on George Gobel’s shows of 1954-56) took the vocal refrain.

And, of course, RCA would have a very good seller in the children’s field, when they released a “storyteller” set on Alice in Wonderland, with Kathryn Beaumont (from the film) well and truly featured. This would prove to be a good seller on the “Best-Selling Children’s Records” chart in “Billboard”. Greg Ehrbar has more hau qua cá độ bóng đá trên mạnghere.

IN TWO WEEKS: Even More “Alice”

NEXT WEEK: Greg Ehrbar returns!

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The George Pal Puppetoons and Jasper – Part 4 https://www.google.com//26a/index.php/the-george-pal-puppetoons-and-jasper-part-4/ /26a/index.php/the-george-pal-puppetoons-and-jasper-part-4/#comments Mon, 07 Jan 2019 08:01:33 +0000 /26a/?p=48498 In 1946 Jasper recieved an Academy Award nomination - and one of Pal's Puppetoons was an animated adaptation of the American folktale, John Henry. ]]>

In the spring of 1946, George Pal hosted the Panamanian delegate to the United Nations and presented him with a model of Jasper, according to Showmen*s Trade Review. In the fall Film Daily noted that Pal was producing both swing-music cartoons and fairy-tale cartoons. Several educational associations requested that Pal produce more fairy tales, and he responded by announcing an upcoming adaptation of The Clock of St. Sierre. Concerning swing, he had completed production on cartoons starring Duke Ellington and Woody Herman, and Pal promised an upcoming cartoon showcasing musician Artie Shaw.

Meanwhile, Pal*s marquee star Jasper reached a critical peak. For the first time, the African American character received an Academy Award nomination for one of his episodes: Jasper and the Beanstalk. He lost to the ※Tom and Jerry§ cartoon Quiet, Please. Afterwards, Pal promoted his non-Jasper work even more. He hoped that Paramount would release Date with Duke in time for the following year*s Academy Award nominations.

However, Jasper*s popularity made him a target for critics. Back in October 1944 Pal*s good friend Walter Lantz headed the Hollywood Screen Cartoon Producers Association, which promised the powerful African American newspaper Pittsburgh Courier that the group would discuss the African American stereotypes in its members* films. Pal likely would have been privy to this vow as Lantz*s friend and as a probable member of the association. Much if not all of Pal*s cartoons for the 1945 season would have been completed by then, and the changes in the ※Jasper§ series for the 1946 season reflected that he produced them after the meeting.

Before 1946 the only major change in Jasper had been in voicing the main character. An African American boy named Glenn Leedy provided the original voice for Jasper, but Sara Berner replaced Leedy after puberty changed his voice, according to a Hollywood gossip column by Erskine Johnson from March 1944. Otherwise, the story formula and ethnic stereotypes were the same, and actor Roy Glenn remained on hand to voice the Scarecrow. However, the Scarecrow and the Crow appeared in only the first of the three ※Jasper§ episodes of 1946: Olio for Jasper. For Jasper Derby and Jasper in a Jam, Jasper starred without them.

The first film is a farewell to the familiar formula, because the Scarecrow tells his origin story of woe in order to try to swindle a yo-yo from Jasper. Pal had to tinker with his usual plots in the episodes without the Scarecrow, and he decided to make musicals. In Jasper Derby Jasper*s fiddling helps a racehorse he befriends to win the Kentucky Derby. Jasper in a Jam finds our hero inside a pawn shop, watching toys come to life and perform songs. He grabs a clarinet and joins them. Stereotypes remain with dialect and even with musical selection; one song in Jasper Derby*s score is the minstrel tune ※My Old Kentucky Home.§

One of the two non-Jasper films of 1946 was John Henry and the Inky Poo–an animated adaptation of the old folktale. Pal faithfully told the story of the African American steel-driver who outperformed a machine but at great physical cost. The producer*s telling of the legend cast Henry as a man who was born as an oversized adult and who lived only with his mother. African American press outlets promoted and praised the film, and they welcomed how much the cartoon was not like Jasper. Henry*s mother says in dialect, ※I*s your ma,§ and the protagonist has neither a father nor a romantic interest. Nevertheless, to the critics Pal*s good-faith effort overrode the few references to stereotypes. Technically speaking, the choral singing and the camera angles of the hammering are superb.

“John Henry and The Inky Poo” (1946)

With Pal having reconfigured his ethnic images for 1946, he sought further changes in 1947 not just for Jasper but in filmmaking as a whole. These changes would ultimately spell the end for ※Puppetoons.§

NEXT MONTH: The final Jasper Puppetoons

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An Open Letter: Changes for 2019 https://www.google.com//26a/index.php/an-open-letter-changes-for-2019/ /26a/index.php/an-open-letter-changes-for-2019/#comments Sat, 05 Jan 2019 08:01:00 +0000 /26a/?p=50554 This is a special post to announce this blog's new 5-posts-a-week policy. Plus information on cartoons being presented at UCLA's 2019 Festival of Preservation. ]]>

Dear Reader,

Welcome to 2019!

It’s been a while since we had a heart-to-heart talk about what’s going on behind the scenes here at Cartoon Research.

Actually things are going pretty good – but the time has come to make a small change. It’s been five years since we started this new daily blog format (and I believe almost 19 years since I launched this website/news site/blog). It’s incredible we’ve been able to maintain a 7-day a week schedule, providing a new post every single day, for those 5 years.

Couldn’t have done it without all those names on the masthead above – special above-and-beyond shout outs to Jim Korkis, Greg Ehrbar, Devon Baxter, Steve Stanchfield, the late Fred Patten… and really everyone noted above, for keeping this collective going all this time. I’m so proud of everything we’ve posted here.

Okay Okay… Let’s be clear: We are not coming to an end. It’s not over! It’s just becoming very difficult for me to provide a new post here every day. You might not know it from your POV but it takes a lot of work for all our writers to maintain the quality of post you’ve come to expect. And it takes more time than you’d believe to get those posts laid out and ready for posting every single day. In addition to my other activities, maintaining the Cartoon Research blog has been tough to juggle – For me, it’s like the old plate spinning routine, where one of these days a dish is gonna fall and smash…

But I love it! Cartoon Research is a labor of love. This blog is not a business (unfortunately). None of the ads you see here are paid for. It’s essentially my hobby – our hobby. (I do derive a piece of my income from my other blog Animation Scoop). This blog is exactly the way I like it – and it gives me great satisfaction.

So – to alleviate the pressure on my weekly schedule I’ve made an executive decision to cut back from seven days to 5-days-a-week – Five new posts, Monday through Friday, each week. And heck, I’ll leave the door open for an occasional Saturday post when I feel so inclined.

The new line-up, starting immediately, will be:

MONDAY – “Anything Can Happen Day” – Chris Lehman, Dave Bossert, Jonathan Boschen, Charles Brubaker, other guest columnists – and oh yes, ME (I will be continuing the Warner Bros. newsletters, later Fleischer News, and others down the road – I’ll also do book reviews and other column topics)
TUESDAY – “Fun With Music” Day – Greg Ehrbar and James Parten will alternate each week
WEDNESDAY – Baxter’s Breakdowns/Kauslers Film Closet
THURSDAY – Thunderbean Thursday
FRIDAY – Jim Korkis
SATURDAY – A Day Off – with occasional reviews; news; or guest columns
SUNDAY – Closed

Also Note: Jim Korkis’ traditional Animation Anecdotes column will come to an end with number #400 on February 1st. Jim will kick off a new column, “Suspended Animation”, on Friday February 8th. It’s a closer look at various classic animation subjects. Don’t miss it!


While I’ve got you here, I might as well plug a special upcoming local appearance – a re-post of a recent announcement from Animation Scoop that should be of interest to Cartoon Research readers:

I’ll be co-presenting a set of recently restored 35mm animated films at the bi-annual hau qua cá độ bóng đá trên mạngUCLA Festival of Preservation next month – at the Wilder Theatre in the Hammer Museum, in West Los Angeles (in Westwood).

This year for the first time, the bi-annual UCLA Archive event will be presented as a 3-Day weekend festival, instead of spread out over a whole month, as in previous years. The cartoons will be showcased in a special screening beginning at 11am (10:56am to be precise) on Sunday February 17th. A majority of this program are films preserved with funds provided by Asifa-Hollywood – these include a trio of rare 1930s Terrytoons, a duo of Technicolor George Pal Puppetoons and a classic Max Fleischer Betty Boop cartoon. Here’s the line-up:

Jasper Goes Hunting (1944)

Preservation funding provided by The International Animated Film Society, ASIFA-Hollywood.

George Pal won an Honorary Academy Award in 1944 for the development of ※novel methods and techniques in the production of short subjects known as Puppetoons.§ His achievement was the creation of ※replacement animation§〞a method still employed by puppet animators today. Jasper Goes Hunting perfectly illustrates this effect as little Jasper daydreams of elephant hunting through a Technicolor Congo. This short is notable for an unusual cameo using (spoiler alert!) Warner Bros. cartoon star Bugs Bunny (voiced by Mel Blanc, animated by Bob McKimson) in a Paramount short〞the sort of cross-studio, once-in-a-lifetime team up that literally never happened again〞until Who Framed Roger Rabbit 44 years later!〞Jerry Beck

35mm, Technicolor, 7 min. Production: Paramount Pictures. Distribution: Paramount Pictures. Producer: George Pal. Director: George Pal.

Restored by UCLA Film & Television Archive. Laboratory services by YCM Laboratories, Audio Mechanics, DJ Audio, Inc., UCLA Film & Television Archive, Fotokem. Special thanks to Paramount Pictures Archives.


A Hatful of Dreams (1944)

Preservation funding provided by The International Animated Film Society, ASIFA-Hollywood.

George Pal*s stop motion Puppetoons were peopled with all types of characters. Two of his most popular were a pair of lovestruck kids named Punchy and Judy. Here, down-on-his-luck Punchy obtains a magical straw hat from a plucky talking horse and transforms himself into Aladdin and, with the official permission of DC Comics, Superman. Hoping to impress Judy, Punchy*s delusions of grandeur only land him in jail. The talking horse is a witness at Punchy*s trial and cajoles the judge, arresting Officer Moriarty and members of the jury to test the hat, causing their secret selves to emerge inbound, a hilarious spectacle as their unfettered dreams and desire hold sway. 〞Jerry Beck

35mm, Technicolor, 7 min. Production: Paramount Pictures. Distribution: Paramount Pictures. Producer: George Pal. Director: George Pal.

Restored by UCLA Film & Television Archive. Preserved from the 35mm nitrate Technicolor successive exposure camera negative and an a 35mm acetate track positive. Laboratory services by YCM Laboratories, Audio Mechanics, DJ Audio, Inc., UCLA Film & Television Archive, Fotokem. Special thanks to Paramount Pictures Archives.


The Old Man of the Mountain (1932)

Preservation funding provided by David Stenn.

The Fleischer Brothers* third and final pairing of Betty Boop and Cab Calloway, The Old Man of the Mountain (preceded by Minnie the Moocher, 1932, and Snow-White, 1933) opens with Calloway and his orchestra performing a brief version of ※Minnie the Moocher§ in live action. That*s the last we see of Calloway on screen but he voices all of the characters to come, except for Betty, who*s voiced by Bonnie Poe. Things get animated as the country animals raise a musical alarm, warning of The Old Man on the Mountain, to the melody of Calloway*s composition. Her vacation interrupted, Betty hikes to the peak where she confronts the bearded hermit who, at first, comes off like a misunderstood hepcat: ※You*ve got to kick the gong, to get along with me,§ he sings in ※You’ve Got To Hi-Di-Hi.§ When he turns lascivious, Betty makes a break for it and is saved by the animals who race to her rescue. 〞Jerry Beck

35mm, b/w, 7 min. Production: Fleischer Studios. Distribution: Paramount Pictures. Producer: Max Fleischer. Director: Dave Fleischer. Cast: Cab Calloway and his Orchestra.

Restored by UCLA Film & Television Archive. Preserved from the 35mm nitrate picture and track negatives a 35mm nitrate dupe negative. Laboratory services by YCM Laboratories, Audio Mechanics, Simon Daniel Sound, DJ Audio, Inc., Special thanks to Paramount Pictures Archives, the British Film Institute. A complete list of the program is below.


Pink Elephants (1937)

Preservation funding provided by The International Animated Film Society, ASIFA-Hollywood.

In this absolutely lunatic chase comedy, Paul Terry*s most enduring character, Farmer Al Falfa, is run out of his bed and through the house by pink pachyderms conjured when his pet goat eats a few beer cans during a midnight stroll (a scene censored for later Saturday morning kidvid television). The herd of spectral, dipsomaniacal elephants, evoking hi-dee-ho man Cab Calloway along the way, torment Al Falfa until the clever farmer plots his revenge. This is the only Terrytoon co-directed by talented Dan Gordon and the last cartoon at the studio to feature the work of future animation superstars Joe Barbera, Jack Zander and George Gordon, all of whom would leave Terry to reboot MGM*s cartoon studio in Culver City.〞Jerry Beck

35mm, b/w, 7 min. Production: Terrytoons. Distribution: Twentieth-Century Fox Film Corporation. Director: Paul Terry and Dan Gordon.

Restored by UCLA Film & Television Archive. Preserved from the 35mm nitrate camera negative and a 35mm nitrate print. Laboratory services by Fotokem, Audio Mechanics, DJ Audio, Inc., UCLA Film & Television Archive. Special thanks to Paramount Pictures Archives.


The Banker’s Daughter (1933)

Preservation funding provided by The International Animated Film Society, ASIFA-Hollywood.

Releasing a new cartoon to theaters every two weeks, producer Paul Terry had the idea to create an animated movie serial parodying 1890s melodrama. This was the proposed first installment with four more ※chapters§ to be released over the next two months. The concept didn*t catch on, but the characters and tropes did〞zaftig Fanny Zilch, the damsel in distress, pursued by mustachioed villain Oil Can Harry in his opera hat and the dashing (albeit effeminate) hero Strongheart. The cliffhanger situations and operetta format became a Terry studio staple over the next 20 years, including the return of Oil Can Harry himself, tropes later adopted by Terry*s 1940s-50s ※Mighty Mouse§ cartoons. Here*s where that all began.〞Jerry Beck

35mm, b/w, 6 min. Production: Terrytoons. Distribution: Audio-Cinema, Inc. Director: Frank Moser. Screenwriter: Paul Terry, Frank Moser. Music: Philip A. Scheib.

Restored by UCLA Film & Television Archive. Preserved from a 35mm acetate composite fine grain master. Laboratory services by Fotokem, Audio Mechanics, DJ Audio, Inc., UCLA Film & Television Archive. Special thanks to Paramount Pictures Archives.


Caviar (1930)

Preservation funding provided by The International Animated Film Society, ASIFA-Hollywood.

The first release from Terrytoons, a new studio run by animators Paul Terry and Frank Moser, formerly of Van Beuren*s popular silent-era Aesop*s Fables. Obtaining a contract from Educational Pictures (※The Spice of the Program§) for 26 sound cartoons a year, Terry made &em fast and cheap〞but they are not without their charms. In his first year, every cartoon was named after a food that would suggest a setting for the gags and musical score. In this case the gags revolved around life in the USSR; the music, a symphony of pseudo Russian melodies. Note, that*s composer Philip A. Scheib seen in silhouette in an opening prologue.〞Jerry Beck

35mm, b/w, 7 min. Production: Terrytoons. Distribution: Educational Film Exchanges, Inc. Director: Paul Terry, Frank Moser. Screenwriters: Paul Terry, Frank Moser.

Restored by UCLA Film & Television Archive. Preserved from a 35mm nitrate print. Laboratory services by Fotokem, Audio Mechanics, DJ Audio, Inc., UCLA Film & Television Archive, Special thanks to Paramount Pictures Archives.


Freight Yard Symphony (1963)

Preservation funding provided by the National Film Preservation Foundation.

This early UCLA student film by noted visual effects pioneer Robert Abel (1937-2001) employs a mixed media approach to distill the kinetic energy of an industrial train depot into bold graphic elements. With a jazz score, Piet Mondrian-inspired lines and Oskar Fischinger-style movement, the highly-accomplished animated short evokes the modernist works of Saul Bass and Ray and Charles Eames.

16mm, color, 6 min. The Motion Picture Division, Department of Theater Arts, U.C.L.A. An Animation Workshop Film. Director: Robert Abel. Story and Design: Robert Abel. Music: Victor Feldman.

Restored by UCLA Film & Television Archive. Laboratory services by FotoKem, Audio Mechanics, Simon Daniel Sound, DJ Audio, Inc. Preserved from 16mm original A/B positives, 16mm mag track and 16mm print.

The cartoons will be followed by a program (at 1:11pm) of newly restored Laurel and Hardy shorts, featuring Perfect Day (1929), which was restored thanks to an incredibly successful UCLA Spark crowdfunding campaign, The Battle Of The Century (1927), Hog Wild (1930) and Brats (1930).

This event is at the Billy Wilder Theater at the Hammer Museum in Westwood, California. Admission to the Festival of Preservation is $50. for blanket admission to all shows, all three days. Advance tickets for just the animation program is $10. click here – or $9 at the box office on the day of the show.

For more information on this festival – click here.

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Animation Anecdotes #396 https://www.google.com//26a/index.php/animation-anecdotes-396/ /26a/index.php/animation-anecdotes-396/#comments Fri, 04 Jan 2019 08:01:36 +0000 /26a/?p=50472 When Miles Laboratories released Flintstones Chewable Vitamins in 1968, there were Fred, Wilma, Barney, Bamm Bamm, Pebbles, Dino and Fred*s car but no Betty.]]>

Betty*s Not a Vitamin. When Miles Laboratories released Flintstones Chewable Vitamins in 1968, there were Fred, Wilma, Barney, Bamm Bamm, Pebbles, Dino and Fred*s car but no Betty. For twenty years, there was no Betty figure. The firm replied to inquiries that she was left out because ※she was a subsidiary character who could not be readily distinguished from Wilma when reduced to tablet size.§

So she was replaced by Fred*s car. The rock band Betty’s Not a Vitamin was named after this situation.

Later, the firm tried the excuse that her waist was too thin and kept breaking although it was the same size as Wilma*s waist.

Rosie O*Donnell, who played the role of Betty in the 1994 live action film, complained in press interview about the situation. Bayer (who had taken over Miles) saw this as a marketing opportunity and set up prehistoric style voting booths in regional shopping malls across the country, as well as a 1-800 number.

More than 3,000 kids and their mothers voted in person and more than 17,000 calls were logged, with 91 percent in favor of bringing in Betty. She replaced the car in December 1995.


Chuck Jones Projects That Never Were. The Hollywood Reporter for July 23, 1991 announced several Chuck Jones upcoming projects including Jones working with comedian Richard Belzer on developing Comic Man, an animated project that might initially take comic book form. Jones who was then 78 years old was also working on a pair of books. He was to provide illustrations for The Chuck-Billed Platitude, a collection of observations based on names man has given to animals and Mark Twain at the Fingertips of Chuck Jones containing Jones-illustrated interpretations of notable Twain quotations.


Gabor Csupo. In the L.A. Times August 8th,1991, producer Gabor Csupo talked about why he preferred working on his own show Rugrats: ※When we created those characters for Simpsons, it was a cooperation. There were a lot of people approving, disappoving. We had to report to too many clients. We had a lot of reluctance when we wanted to make the characters yellow, even though the yellow color is pretty much part of the trademark of Simpsons now. It took a fight. With Rugrats, we are pretty much left alone to go wild.§


Not a Disney Guy. In a November 22nd, 2010 interview, animator Glen Keane said, ※I see myself as an artist first. I never wanted to be a Disney animator. I put my portfolio in at CalArts to become a sculptor, a painter, and it was sent to the school of animation by accident, and it was accepted. So I always felt like maybe some day I*ll get to follow this path I originally wanted. I always feel like I*ve got one foot in Disney, and one foot out of the door. I*ve never felt like a Disney guy. I know that there*s people who possibly work at studios for a long time and they lose themselves. They become, I don*t know, a formula of some sort. A caricature of themselves. And I really don*t want that.§


Homer Simpson. From The Comics Journal April 1991, The Simpsons* Matt Groening said, ※I love Homer Simpson. In a way, I like him most of all the characters because for him there*s more disastrous consequences to his mistakes. For one thing he could blow up Springfield. I think he*s the funniest. I do like the name Homer. My father*s name is Homer. I named my son Homer. I actually took the name from the novel The Day of the Locust where there is a character named Homer Simpson. I find it funny that people admire Bart because he*s such a jerk.§


The Shoe People. The Shoe People was an animated television series first broadcast in the U.K. in 1987 and later in 62 countries around the world. The characters were created by James Driscoll who once won a five pound bet by being able to identify a car salesman by his patent leather shoes.

He noticed that the style and appearance of people*s shoes told a lot about their personalities and he developed some stories about shoe people that a cobbler can*t repair or are abandoned and live in the back room of his shoe repair shop. He used to tell his children these stories to lull them to sleep. Prince William and Harry were notable fans of the animated characters. A number of books were published about the characters and their adventures.


Allan Burns. In the New York Times December 8, 1996, writer Allan Burns said about his work with Jay Ward: ※It was a wonderful place to work because of the freedom. Jay wouldn*t come in and say &do such-and-such*. He*d say, &Figure out something you*d want to do*. That was Jay*s style: Be thinking of new stuff.

※Jay*s philosophy was this: you*re not that much smarter than everybody else so if you do what you think is funny, chances are there*s going to be a lot of people out there who are going to find it funny. And don*t write down. When we were doing the Mary Tyler Moore Show, we were told by CBS that what we were doing was a little too smart for the room. We resisted that and it worked. I believe that it was a lesson that I learned from Jay ten years before.§


David Hand. In the U.K. edition of Good Housekeeping magazine August 1947, producer and animator David Hand said, ※At the end of the silent film period, the cartoon was slipping into a rut and it didn*t get ahead until sound came in. Sound gave it its opportunity and color brought more opportunities. Now the animated cartoon is the most powerful graphic medium in existence because you can do anything in cartoon films. There are no restrictions. It is a medium of exaggeration. The sky*s the limit. One day, perhaps, something big will come out of all this.§


Ron Clements. In Cinemagic #33 (1986), co-director of The Great Mouse Detective (1986), Ron Clements said, ※Character animation is at the very heart of this picture. The animators are absolutely integral to developing the personalities of the characters. Everything that happens up to the point an animator picks up a pencil 每script, storyboard, etc. 每 is just planning. The story suggests a direction but the animator, the really top animators, determine the character*s personality. From that comes the drama. And that is the way it should be! This is an animator*s medium, not a director*s.§

]]> /26a/index.php/animation-anecdotes-396/feed/ 11 “Six Legged Saboteurs” (1943) https://www.google.com//26a/index.php/six-legged-saboteurs-1943/ /26a/index.php/six-legged-saboteurs-1943/#respond Thu, 03 Jan 2019 08:01:38 +0000 /26a/?p=50540 This odd little film was produced by Cartoon Films Limited, a small commercial outfit that evolved out of the Ub Iwerks Studio after the split from Pat Powers.]]>

I hope everyone had a good New Year! I*m taking a break from working on digital cleanup on Flip Flap to write a little.

In the Thunderbean world: I*m still somewhat obsessively working on finishing the things I have here for Flip the Frog and Rainbow Parades. I feel like I*ve been saying enough about those titles for the moment, so I*ll concentrate on things not related. I will say I had the best cleanup week here in a long time, doing cleanup and putting finishing touches on 6 of the Rainbow Parades and four more Flips.


I think the oddest films are especially interesting, and the WW2 seems to provide a treasure chest of oddball shorts; many of these were better known (especially the Snafus and some of the Disney shorts) but others really remained nearly unseen. To this day, there isn*t any kind of complete list of the animated films that were sponsored by the United States Government; since many of the companies that were hired were independent, the production records that have survived on those films are limited to whatever correspondence with the branch of the government produced the film. Much of this paperwork exist at the US National Archives, often along with the really fascinating films that are referred to.

Six Legged Saboteurs

The cataloging there at times makes it hard to track them down, however. I*m hoping at some point to do another deep dive in there. When I was working on ※More Cartoons for Victory* I was lucky enough to track down some real oddities, but there are more things there that are either not catalogued or haven*t been officially listed as *animation*. I did manage to get through all the animation that was contained in *all* of the Army/Navy Screen Magazines. Since those were officially productions of the First Motion Picture Unit of the Army, there is an excellent paper trail related to the films they made. For films produced for the Navy, however, it*s a really different story, with lots of productions scattered to the wind. I have yet to see any kind of complete filmography of films made for the Navy.

This short, Six Legged Saboteurs (1943) produced for the US department of Agriculture, made its rounds to both the Military and civilian population. The paperwork on the film makes a note on changes to footage for non-Military viewing, including a change to the title sequence. This version of the film seems to be the one to show to the civilian population (The military versions usually mention whether a film is classified or not and usually list the year). I have to wonder what the Military purpose of the short may have been given how this version seems specifically aimed at a non-military viewer. I find it an especially odd short in its attempt to find a correlation between war enemies and mosquito/bug problems related to agriculture. I*d love to see if the military version exists and what is different.

The Youtube channel &Vegan Pop Tarts* was nice enough to post our scan/ cleanup of the short.

This film was produced by Cartoon Films Limited, a small commercial outfit that evolved out of the Ub Iwerks Studio after the split from Pat Powers. Iwerks remained at the helm of the studio until late 1939, returning to the Disney Studio in 1940. Lawson Harris seems to have taken the role of president of the company, with Paul Fennell as the usual director. The studio produced mostly short commercials (branded as Mini-toons) for all sorts of products.

Here*s a past post on How War Came one of the specialty shorts produced by Cartoon Films Ltd. My guess is that they made a distribution arrangement with Columbia since they already had some relationship with the company, having done animation production for cartoons that were released as part of their Color Rhapsodies Series.

Here is the previously posted Keep It Under Your Hood also produced by Cartoon Films Ltd.

And, here are some of their Mini-Toons also posted a few years back.

Have a good week everyone and Happy New Year again!

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Little Known Silent Cartoons https://www.google.com//26a/index.php/little-known-silent-cartoons/ /26a/index.php/little-known-silent-cartoons/#comments Wed, 02 Jan 2019 08:01:44 +0000 /26a/?p=50486 Welcome back to our semi-regular visit to Mark Kausler's film vault. Here's where we take a look at several animated films we've never seen or heard of before. ]]>

Welcome back to our semi-regular visit to Mark Kausler’s film vault. Here’s where we pick through his vast collection and take a look at animated films we’ve never seen or heard of before (or at least, ones I’ve never seen before). These are presented with minimal commentary because — well, because I don’t know much about them myself. Any and all additional information readers can share (in the comments below) is welcome.

This week’s theme is “Little Known Silent Cartoons”.

Leap Year (1916) by Rube Goldberg, or at least written by him. May be from one of the “Boob Weekly” releases, animated by George Stallings at the Barre studios. Kausler adds, “Looks like Rube did the layouts”.


The Seattle Times Animated Supplement This is a fun little reel – mostly live action – created for local Seattle Washington audiences. Says Mr. Kausler. “It contains rare early animation, including Billy DeBeck’s “Aleck and Pauline” characters from his pre-Barney Google strip “Married Life”.


Pen and Ink VaudevilleThe Hoboken Nightengale and The Artist’s Model both by Earl Hurd, inventor of Bobby Bumps and Cel animation. “These are sort of gag anthology cartoons,” says Kausler. “Filled with cycle animation. The series was not well-received – and was cancelled after 13 shorts were produced.” Educational Pictures released these in 1924.

NEXT WEEK: Early Animation From Western Europe

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UPA*s ※Mr. Magoo*s Christmas Carol§ on Records, Part Two https://www.google.com//26a/index.php/upas-mr-magoos-christmas-carol-on-records-part-two/ /26a/index.php/upas-mr-magoos-christmas-carol-on-records-part-two/#comments Tue, 01 Jan 2019 08:01:49 +0000 /26a/?p=50499 This time we look at how the legacy of this classic animated television special continued to impact music, theater, publishing〞and even the loved ones of those who first created it. ]]>

This time we look at how the legacy of this classic animated television special continued to impact music, theater, publishing〞and even the loved ones of those who first created it.

MR. MAGOO*S A CHRISTMAS CAROL
Wonderland Book and Recording #00339 (7§ 45 RPM Record) BC-339 (Cassette) (Mono)

Released in 1979. Based on the 1962 UPA TV Special, Adapted from Dickens by Barbara Chain. Recording Producer: Ralph Stein. Text Adaptation: Horace J. Elias. Running Time: 10 minutes.
Performers: Jim Backus (Mr. Magoo / Ebenezer Scrooge); Tom Cipolla (Narrator); Dyan Forest (Belle).

A Happy, Peppy New Year from Animation Spin!

Thank for all your kind responses about last week*s exploration of Mr. Magoo*s Christmas Carol! Clearly there*s a sizable audience of all ages out there for this treasured gem, both as an animation property and a Broadway-level musical score.

This unforgettable special was rerun countless times in one form or another over the decades before making its transition to VHS and then to DVD. For Blu-ray it received a loving treatment for its 50th anniversary, coinciding with the second edition of Darrell Van Citters* prized tome, The Making of Mr. Magoo*s Christmas Carol.

In its initial broadcast, there were a handful book tie-ins, but even years later, the interest in the special was such that scattered items continued to appear. In 1977, a trade paperback was released with an adaptation of the story by Horace J. Elias, illustrated with black-and-white film images. Horace J. Elias a name that might create strong emotions in Hanna-Barbera fans who saw the glory days of richly illustrated Golden Books of the &60s give way to less-elaborate storybooks and paperbacks of the &70s. These lesser volumes were all written by Elias and originating in Canada from Ottenheimer Publishers (many of Peter Pan*s Hanna-Barbera 45 RPM book and record sets were also done in this manner).

Elias also adapted a shorter children*s storybook version of Mr. Magoo*s Christmas Carol (the title altered to Mr. Magoo*s A Christmas Carol) that retained the basic show-within-a-show concept of the special. The uncredited illustrator, perhaps because of rights issues or lack of reference materials at the time, did not use any of the character designs except for the suggestion of the cloaked Ghost of Christmas Yet to Come.

This storybook was produced by Wonderland Records (formerly Golden Records) as a read-along book packaged with either a cassette or 45 RPM record. Wonderland had previously released an album of six soundtracks from the Magoo TV cartoons on an album that we covered in hau qua cá độ bóng đá trên mạngthis Spin. This time around, there was no soundtrack available (it had to have been much too expensive for a short recording such as this). Instead, the music is the same as is heard on many other Wonderland read-alongs of the time. The two performers are also Wonderland regulars, particularly Tom Cipolla, who had appeared on Golden and Wonderland records produced by Ralph Stein since the early &70s, including two albums in the role of Geoffrey Giraffe, the mascot for Toys &R Us.

The surprise is that Jim Backus was hired to play Magoo as Scrooge, perhaps for the first time since 1962. His name does not appear on the cover, but only on the record label. To speculate, printing his name on the package as advertising to help sell the product may have required an extra fee that Wonderland likely did not have. The hiring of an actor and the use of his/her name can be two different negotiations. To further speculate, UPA may not have allowed a licensee to use anyone else to play Magoo (at least this author does not recall hearing a sound alike except for impressionists on TV variety shows).

So in a way, Mr. Magoo*s Christmas Carol did make its way on to records, but not to its fullest extent. Just as the original soundtrack album of Mr. Magoo*s Christmas Carol was released as a download, but not in its full glory. At least, most recently, a very elaborate and faithful graphic novel version graced comic and book stores. Who knows what might be next? One thing we do know is that Marie Callender sells Razzleberry Pies.

GIVE A LITTLE LISTEN

Mr. Magoo was once a radio spokesperson for La-Z-Boy chairs (※By George, it*s a La-Z-Boy! World*s finest chair!§). On this record, Jim Backus sounds as if he was sitting back in his complimentary recliner when he said his lines into a Realistic cassette recorder, to be mixed in with the remaining portions of the recording.


LOST IN THE STARS
Roberta Levitow
UPC 7-00361-46425-1 (Stereo / Compact Disc available on CDBaby https://store.cdbaby.com/cd/robertalevitow] )
Available for download on amazon and iTunes

Released in 2018. Producer/Arranger/Engineer: Mitch Greenhill. Musicians: Carroll Ashby (Trombone); Paul Fleischer (Baritone Saxophone); Lisa Gutkin (Violin); Mitch Greenhill (Guitars, Programmed Samples, Etc.) Running Time: 29 minutes.

Abe Levitow Suite: ※Winter Was Warm,§ ※Alone in the World§ (from Mr. Magoo*s Christmas Carol) by Jule Styne, Bob Merrill; ※Little Drops of Rain§ (from Gay Purr-ee) by Harold Arlen, E.Y. Harburg.

Other Songs: ※Lost in the Stars§ (from Lost in the Stars) by Maxwell Anderson, Kurt Weill; ※God Bless the Child§ by Billie Holiday, Arthur Herzog, Jr.; ※A Fool Such As I§ by Bill Trader; ※Malaika (My Angel)§ by Fahidi William; Les Chemins De L*Amour§ by Jean Anouilh, Ernest Poulenc; ※My Last Go Round§ by Rosalie Sorrels.

Abe Levitow

The legendary animator in such classic shorts as Hair-Raising Hare, For Scent-imental Reasons and One Froggy Evening, co-director of The Phantom Tollbooth, director of Gay Purr-ee (which we discussed in this Spin and Mr. Magoo*s Christmas Carol was just known as ※Dad§ in the Levitow household.

So when he and his family gathered to watch the completed Mr. Magoo*s Christmas Carol special on the night of December 18th, 1962, it was a big event as it was to many viewer–but making cartoons was also ※Dad*s job,§ according to the fond memories his daughter, Roberta.

※Well# you know, we were kids,§ she told me. ※We didn*t understand the context, the reasons why it was special. We said, &Dad*s stuff is on TV tonight!* we watched it and sat together as a family, but we didn*t understand what it meant to him or what it meant to the larger context〞 &first TV animated holiday special!.* But we loved it. It was such a treat to talk to him about it. And then we*d watch it, of course, when it was repeated.

※You know, Darrell [Van Citters]〞we call him &the divine Darrell*〞helped us see what our Dad had done and what it meant in its time, the changes were going on at UPA, and so on. There were changes that were going on all over the animation world in terms of just the expense of doing those kinds of films. So he gave us very different eyes to look back on it.§

The ※show-within-a-show§ framing concept of Mr. Magoo*s Christmas Carol〞in which Quincy Magoo was appearing in a hit Broadway musical and giving an acclaimed starring performance–provided for several nearsighted comic hijinks before and after the ※show§ to give viewers the Magoo they knew from TV and theatrical shorts; allowed for several wonderful commercial breaks in which the camera zoomed out from the stage to the applauding ※theater§ audience; established Quincy as a believable actor; and set the format for what would become The Famous Adventures of Mr. Magoo prime time series.

But beyond all that, tying the film to a theatrical event had a personal connection. ※Our family went to the theater a lot.§ Roberta recalled. ※We grew up in the LA area, of course, and had tickets to the Mark Taper Forum. My parents were always going to the theater. My dad worked at the Northridge Theater Guild, building sets at one point in his life. He really enjoyed the theater himself.§

It*s just one of the reasons Roberta loves Mr. Magoo*s Christmas Carol. ※I think it was a super-smart conceit to try to imagine. Why was this particular character in this particular story? It had a convention and gave permission to the songs being the songs. It was really smart and reflected Dad*s love for the theater.§

Little did Roberta know when she was watching Magoo and another of her father*s big 1962 UPA projects, Gay Purr-ee, how much theater would become her life. ※I remember sitting next to him [during Gay Purr-ee] at one point〞an apocryphal moment for me〞and noticing that the rain didn*t fall in continuity from one scene to the next and I# mentioned it. He was not angry, he said, &Oh, that*s very observant of you.* and I thought, &I*m gonna be a director when I grow up, &cause I noticed the rain didn*t fall!*§

Roberta did become a director, not in animation or film but of over fifty theatrical productions in New York and Los Angeles as well as Senior Program Associate-International with the Sundance Institute Theatre Program, but her latest project is called Theater Without Borders, a program connecting people with theater resources around the world.

But the music from her father*s animation continued to dance in her head. Her husband, renowned folk guitarist and composer Mitch Greenhill, frequently hosted gatherings of friends and family in which music and singing would play a part. For years, Roberta would work one or two Abe Levitow tunes into various occasions. These get togethers led to an album called Some French songs that is hau qua cá độ bóng đá trên mạng.

It was Mitch who encouraged her to record the ※Abe Levitow Suite§ on her second album, Lost in the Stars. ※He knows how important my dad was in my life, and he*s an appreciator of music. He also agrees that these are really great songs and belonged in the company of other great songs.

※*Winter was Warm* is just so beautiful. I know of women who are singing it in the cabaret scene in New York. It*s the one, I suppose, that has fallen into popular music the most. &Alone in the World* has always been a favorite for me. I*m so fond of ballads and crooners, and these are a couple of the ballads that come from Mr. Magoo*s Christmas Carol. I didn*t choose to sing &Razzleberry Dressing!* &Little Drops of Rain,§ I love that one, too. Anything that Judy Garland sings. So gorgeous. She did take that into a more &pop* context, because it is such a gorgeous song.§

Fans of Mr. Magoo*s Christmas Carol worldwide have wished and wondered why and/or when there might be a complete soundtrack album of the score, or maybe a full-fledged stage production. Roberta Levitow is among them. ※There was interest in a stage production, a high level concert in New York. Everybody*s talked about it. What I remember finding out was that the rights were really complicated. I think there had been an attempt to actually do a draft and present it to the Styne estate.§

On December 15th, 2015, The Actors Fund, in association with Dreamworks Animation and actress/author Margaret Styne, (widow of Magoo lyricist Jule Styne) presented a New York stage oratorio version of Mr. Magoo*s Christmas Carol with Douglas Sills (Broadway*s Scarlet Pimpernel and of Little Shop of Horrors). Details on the presentation are here, but a key paragraph states. ※It was a shrewd, expensive venture but now Mr. Magoo*s Christmas Carol with this book (adapted by Tom Pinckney from Barbara Steel*s [sic, should be Chain] teleplay) and these orchestrations should have a long future suitable to schools, community theatres, regional theaters, and even a Holiday return to Broadway. Everyone, all those stars and producers who attended, felt that way at the reception afterwards.§

As the daughter of the Mr. Magoo*s Christmas Carol director, Roberta Levitow is constantly meeting fans, including some famous ones. ※Chris Rock loves it. Sarah Jessica Parker and Matthew Broderick play it every year for their kids. Molly Ringwald showed up at the screenings that Darrell did and talked about how it was her family*s favorite film.

※You never say never. And sometimes it has to be long enough away that it*s special again to pay attention to it. It*s a beautiful, touching retelling of the story. It really is.§

GIVE A LITTLE LISTEN
※Alone in the World§ 每 Roberta Levitow

While Roberta*s rendition of ※Winter is Warm§ suggests that of Jane Kean in the original film, the approach she and Mitch Greenhill took for ※Alone in the World§ has a darker tone–a misty, carousel-like swirl of distant memories. There were two reasons.

One was artistic. ※When you*re collaborating with a fellow artist, you want to give them their opportunity to respond to the song the way they hear it,§ she explained. ※I think a lot of the arranging is my husband*s ear, how the songs are resonating with him.

The other reason was more, shall we say, relative. ※&Winter Was Warm* just stands as a ballad,§ she continued, ※But the lyrics to &Little Drops of Rain* and &Alone in the World,* because they were written for young people, kind of verge on# a little corny? I have sung them when my sister Judy has been in attendance at the concert and (laugh) she rolls her eyes when I sing them. She*s like, &Oh, no! You*re not gonna sing that one!* I think she just finds them corny.

※I say, &But they*re beautiful! They*re just so sweet.* She says, &Uuhh! They*re corny!* I think partly we were trying to add a little vinegar to find a way to not come across# to offend my sister. We wanted to see if we could get Judy to buy it! I could just see my sister across the room going, &Uuhh! No.*

Roberta agrees that ※Alone in the World§ packs a powerful emotional kick. ※We have a friend in New York, the daughter of family friends, who told me how much that song meant to her. I think there*s part of me that〞besides my sister〞&Alone in the World* still resonates with a lot of people, because we feel alone in the world a lot of times in our lives when we*re little.§

(Special thanks to Darrell Van Citters and Les Perkins for their contributions to these last two Magoo articles.)

DEAR SPIN READERS,
This will be the final weekly Animation Spin. It can take hours, days, even weeks to create the kind of Spins you have come to enjoy. I cannot bring myself to deliver you less than that. But it is simply not feasible at this time. Please be assured that I have not run out of records or the desire to share their backgrounds and the talents behind them. There is still much to cover, so look for Animation Spin every other Tuesday in 2019.
Many thanks to all who have been reading, commenting and listening along! 每 Greg Ehrbar

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