Director: Chuck Jones
Release Date: September 19, 1942
Rating: ★★★★★ ♕
It introduces his trademark of extreme poses, which in this cartoon are combined with ‘smear animation’, devised by Bob Clampett, to unique results.
The extreme posing leads to highly stylized animation, which in itself is hilarious in its unnatural depiction of movement. In ‘The Dover Boys’ we watch both movement through poses, especially in the animation on Dan Backslide, as well as non-movement, with Dora descending the stairs as a prime example. Both techniques are important steps away from the classic squash-and-stretch animation, and from ‘believability through full animation’. Indeed, the animation style of ‘The Dover Boys’ looks forward all the way to the fifties, the era in which stylization of design and animation would flourish and dominate the animation industry. Indeed, the short’s prime animator, Bobe Cannon, would play an important role at UPA, the most influential animation film studio of the fifties.
The subject of ‘The Dover Boys’ is a sophisticated parody on melodrama, consisting of an archetypical story of a villain (called Dan Backslide) kidnapping a damsel in distress (dear Dora), taking her to his cottage in the mountains, where she is rescued by the heroes, in this case, the three Dover Boys, Tom, Dick and Larry.
Or is she? In the final scene they knock each other out, and Dora runs off into a distance with an odd bearded character in a bathing suit, who, as a running gag, hops along rather randomly throughout the picture to the music of ‘The Good Old Summertime’. This character is a relative of the equally mysterious Minah Bird from Chuck Jones’ earlier cartoon ‘Inki and the Lion’ (1941).
‘The Dover Boys’ is both innovative and funny. Its humor is as sophisticated as it is silly. In any case, the gags come fast and plenty, with hilarious nonsense as a result. An all time classic.
Watch ‘The Dover Boys’ yourself and tell me what you think: