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Director: Michael Lah
Release Date: July 4, 1958
Stars: Droopy, Butch (Spike)
Rating: ★★
Review:

Droopy Leprechaun © MGMIn his last screen appearance, Droopy is a tourist with a few hours in Dublin, Ireland where he buys a leprechaun hat.

Then street bum Butch (Spike) thinks Droopy is a real leprechaun, and follows him into (non-existing) Shillelagh Castle to catch him. There Droopy mistakes Spike for the mad duke of Shillelagh Castle. What follows are several appallingly uninspired blackout gags, involving medieval instruments like an iron maiden, a catapult, and a crossbow.

Droopy is completely out of character in this cartoon: he’s no more than a helpless victim of Spike’s fancy, never in control, and constantly fleeing for ‘the mad duke’. Spike, too, has little of himself: he speaks with an Irish accent and has none of the trickster character traits of earlier Droopy films. The result is certainly the least funny Droopy film ever made. As ‘Droopy Leprechaun’ was also the last of the Droopy cartoons, this is a particularly sad farewell to the once so hilarious character.

Watch ‘Droopy Leprechaun’ yourself and tell me what you think:

‘Droopy Leprechaun’ is available on the DVD-set ‘Tex Avery’s Droopy – The Complete Theatrical Collection’

Director: Michael Lah
Release Date: April 4, 1958
Stars: Droopy, Butch (Spike)
Rating: ★★
Review:

Mutts About Racing © MGMIn this Cinemascope cartoon ‘Daredevil Butch’ (Spike) and ‘Buzz Droopy’ race against each other in a car race.

As should be expected, Spike hardly plays fair, and the cartoon consists of several blackout gags in which Spike tries to stop Droopy from racing, including the classic paint-a-tunnel-on-a-wall gag.

The cartoon suffers from a bad sound design (especially Butch’s voice sounds like it was recorded in a toilet) and from an inconsistent story line, which does not build to a climax. Moreover, Lah’s timing is too relaxed for the race theme, and none of the gags really come off. All this unfortunately makes ‘Mutts About Racing’ one of the weakest of all Droopy films. Only the last one, ‘Droopy Leprechaun‘, would be worse…

Watch ‘Mutts About Racing’ yourself and tell me what you think:

‘Mutts About Racing’ is available on the DVD-set ‘Tex Avery’s Droopy – The Complete Theatrical Collection’

Directors: Bill Justice & Wolfgang Reitherman
Release Date: August 28, 1957
Rating: ★★
Review:

The Truth about Mother Goose © Walt DisneyThis fifteen minute short tells about the historical origin of three nursery rhymes: ‘Little Jack Horner’, ‘Mary, Mary, Quite Contrary’ and ‘London Bridge is Falling Down’.

Each rhyme is first sung in quasi-jazzy style by the The Page Cavanaugh Trio, then a voice over takes over, telling the real stories. The presentation is rather dour, with only a few rather poor attempts at gags. These ‘gags’ are at times uneasily at odds with the grave subject matter, like the tragic fate of Mary, queen of Scots or the London fire of 1666. In fact, the short is quite educational, but also remarkably boring, and fails to entertain.

The short is noteworthy, however, for its very intricate background art, e.g. by Eyvind Earle. Unfortunately, against these elaborate backgrounds the rather angular characters don’t read very well. In this respect ‘The Truth about Mother Goose’ foreshadows the problems of ‘Sleeping Beauty’ (1959). The design is stylized and baroque, but not very elegant, except for some silhouette scenes in the Queen Mary episode, which combine blacks and blues in an graceful way, reminiscent of the color scheming in ‘Cinderella‘ (1951).

Nevertheless, the background art is far more interesting than the animation, and several shots contain little or no animation at all. The best animation goes to two knights in a tournament, otherwise a rather superfluous scene, adding little to the narrative.

The short is further hampered by the ugly, uninspired music, and consequently, ‘The Truth About Mother Goose’ must be regarded as one of the weakest of all Disney one-shots, despite the clear effort that went into the film.

Watch ‘The Truth about Mother Goose’ yourself and tell me what you think:

‘The Truth about Mother Goose’ is available on the DVD-set ‘Walt Disney Treasures: Disney Rarities’

Director: Alex Lovy
Release Date: February 24, 1958
Stars: Woody Woodpecker
Rating: ★★
Review:

Watch the Birdie © Walter LantzIn ‘Watch the Birdie’ we follow a bird watcher, who repeatedly addresses the audience with his sophisticated voice (by Daws Butler).

After watching two love birds and a humming bird (both gags are puns), Woody Woodpecker invites the bird watcher to watch him. First the bird watcher doesn’t believe Woody is a bird, but then he does, and the rest of the cartoon consists of Woody taunting the bird watcher, for no apparent reason.

This cartoon falls short in several ways. First, Homer Brightman’s story is less consistent than his contemporary efforts, and the gags more trite than usual. Second, Alex Lovy’s timing is too relaxed to make the gags come off, especially when compared to contemporary Woody Woodpecker cartoons by Paul J. Smith. Third, the bird watcher himself is a rather unfunny character, and the cartoon is hampered by the large amount of dialogue. And fourth Woody’s appearance feels too small in this cartoon.

Watch ‘Watch the Birdie’ yourself and tell me what you think:

 

‘Watch the Birdie’ is available on the DVD-set ‘The Woody Woodpecker and Friends Classic Cartoon Collection Volume 2’

Director: Seymour Kneitel
Release Date: August 16, 1957
Stars: Herman and Katnip
Rating: ★★
Review:

From Mad to Worse © Paramount‘From Mad to Worse’ takes place at a department store, where Katnip is a night guard.

We watch Herman and his cousins playing with a toy train in the toy department. When Katnip tries to catch them, Herman and his fellow mice play tricks on the cat, making him think he has gone mad, much like Hubie and Bertie did to Claude Cat in the Chuck Jones cartoon ‘Mouse Wreckers‘ (1949). Katnip even goes to a psychiaCATrist (got it?).

Compared to Chuck Jones’s cartoon, ‘From Mad to Worse’ is a rather tiresome experience. The short is surprisingly dialogue-rich, hampering the gags, and in this short Herman ‘quotes’ Confucius twice, turning into a stereotyped China-man while doing so. The animation is full, but mediocre. In fact the cartoon’s highlight is the cartoon modern background art, especially the background paintings of the first scenes are very beautiful.

Watch ‘From Mad to Worse’ yourself and tell me what you think:

‘From Mad to Worse’ is available on the DVD ‘Herman and Katnip – The Complete Series’

Director: Goran Sudžuka
Release Date:  1992
Rating: ★★
Review:

Paranoia © Zagreb Film‘Paranoia’ is a short film (lasting only four minutes) about a young man who thinks he’s followed on the street.

The film is set in monochromes, with strong black and white contrasts. Sudžuka indeed includes in his images a reference to Corto Maltese, a comic hero by Hugo Pratt, an artist with a similar palette. Sudžuka’s own style is much more angular than Pratt’s, however, and more confined to the 1980s. The film looks well, but is hampered by its trite ending.

Watch ‘Paranoia’ yourself and tell me what you think:

 

‘Paranoia’ is available on the DVD ‘The Best of Zagreb Film: Be Careful What You Wish For and The Classic Collection’

Director: Ralph Bakshi
Release Date:  July 10, 1992
Rating: ★★
Review:

Cool World © Paramount‘Cool World’ looks like a poor man’s version of ‘Who Framed Roger Rabbit‘.

Sure, the film boasts Brad Pitt and Kim Basinger as leading actors, and it even features a title song by David Bowie, but Ralph Bakshi’s product feels half-baked and derivative compared to Touchstone’s milestone film from 1988.

The film’s main problem is its story: it features a weird and obligate prologue to explain (unconvincingly) why Frank Harris (Brad Pitt) even wanders in the ‘doodle world’. Only half way we can extract this world’s core problem: ‘doodles’ and ‘noids’ (real people) cannot have sex together, because this will distort the universe. But sexy doodle ‘Holli Would’ (yes, that’s her name) would. And she does, with her own creator Jack Deebs (Gabriel Byrne).

This idea is preposterous to start with, but the execution is worse. Frank Harris, who apparently has become a cop, wanders through cardboard sets most of the time, aimless and clueless. All dialogues feel wooden and disjointed, and in several key dialogue scenes the actors clearly aren’t even together in the same room (!) with Bakshi falling back to a very unconvincing technique of suggestion of continuity of space that goes all the way back to the Keystone Comedy films of the early 1910s.

Kim Basinger acts more like a caricature of a sexy woman than being one, and the role of Jack Deebs remains vague and unclear to the very end: if he’s the creator, why did Cool World already exist in 1945, if he’s not, why is he the only one depicting it? Frank Harris somewhere suggests that more visitors are coming to this world, why then is Harris the only one allowed to stay? It just makes no sense.

The film’s main attraction, of course, is the animation. Supervised by Bruce Woodside, most of the animation is in fact is quite good (the crew even boosts a veteran animator like Bill Melendez), if completely arbitrary most of the time. Many scenes are filled with random animated scenes, mostly rather violent, sometimes grotesque, sometimes harking back to Max Fleischer, Warner Bros. or Tex Avery, at other times spoofing Disney (a cute rabbit, a hippo from Fantasia emerging from cigarette smoke, Gepetto and Pinocchio depicted in the inside of one of Holli’s ‘goons’). Being a Bakshi film, ‘Cool World’ also features a fair deal of rotoscope, most clearly so on Holli Would and Brad Pitt’s flat doodle girl friend Lorette.

Despite the high quality of the full animation, the animated scenes are mostly insane, not funny. The best attempt at humor is the finale, in which Deebs inexplicably changes into a rather pompous superhero, completely losing his former character.

Unfortunately, the scenes in which animated characters interact with humans have nothing of the sophistication of ‘Who Framed Roger Rabbit’. Instead, Bakshi only deploys static scenes, a technique in existence since ‘The Three Caballeros‘, and in no scene in which ‘doodles’ and humans touch each other, one has the feeling that this is really happening.

Sadly, we must conclude that a lot of animation talent has been wasted on a meandering, clueless, badly written and badly directed film, with an immature focus on sex. The film did bad at the box office, and I’m afraid I must judge rightly so.

Watch the trailer for ‘Cool World’ yourself and tell me what you think:

‘Cool World’ is available on DVD

Director: Bill Kroyer
Release Date:  April 10, 1992
Rating: ★★
Review:

FernGully - The Last Rainforest © 20th Century FoxUp until the rise of computer animation in the late 1990s, with powerful players entering the field (first Pixar, then Dreamworks, followed by BlueSky, Sony Animation and Illumination) the Walt Disney studio was the virtual monopolist of the animated feature.

In the 1980s their only challenge had come from former Disney-animator Don Bluth, who made three successful animated features during that decade, before going downhill with ‘All Dogs Go to Heaven’ (1989) and ‘Rock-a-Doodle’ (1991).

All the more surprising to find the young animation studio Kroyer Films (only founded in 1986) to make a brave attempt to beat Disney at its own game with ‘FernGully: The Last Rain Forest’. The film is extraordinarily Disney-like, starring a heroin, with a rather bland male love interest, Disney-like designs and animation, and a plethora of songs, changing the film into one of the obligate musicals, which animated features up to 1996 were expected to be.

What makes the film unique is its Australian setting and its ecological message, which quite fits the time, but which falls into the trap of over-romanticizing nature severely: why did the animators consider it necessary to add elves and an evil spirit? Why couldn’t the forest animals themselves be the heroes, and the humans the only villains? Why showing surprising healing powers at the end of the movie, while its scientifically known that it takes several centuries for primary forest to recover, if ever?

Despite its Australian setting, the film is very American (using voice artists like Robin Williams, Tone Lōc, and Cheech and Chong, and film music by Alan Silvestri for example), and as said, very Disney-like. Unfortunately, the film hardly lives up to its high ambition: the animation never reaches Disney’s height – there’s in fact quite some superfluous movement, revealing the use of rotoscope. Moreover, the designs remain generic to downright ugly. For example, the film’s heroin, Crysta, is not half as appealing as Disney’s Ariel (The Little Mermaid, 1989) or Belle from ‘Beauty and the Beast (1991). Worse, Crysta and Zak are surprisingly devoid of character, and comedy duo Cheech and Chong are wasted on side characters of no interest.

The music is by Alan Silvestri, of ‘Back to the Future’ and ‘Who Framed Roger Rabbit‘ fame, but his romantic themes get to the nerves. Besides, there are way too many songs, most of which stop the action, instead of pushing it forward. The best song, sung by rapper Tone Lōc, is also the most superfluous. The character who sings it, a goanna (or monitor lizard, as it is known outside Australia) enters the film to sing this song, only to disappear again.

On the positive side: the opening sequence, done in aboriginal style, is beautiful; Robin Williams does his best as the comic relief Batty Koda, a laboratory bat; the animation on the amorphous villain Hexxus is quite impressive, making him into a remarkably scary character; and the healing sequence is simply beautiful, with its bold Fantasia-like colors and abstract designs.

‘FernGully’ did moderately well at the box office, but remains Kroyer Films’ only feature. Later in the nineties, distributor 20th Century Fox teamed up with Don Bluth to make two more animated features, the successful, and again very Disney-like ‘Anastasia’ (1997), and the flopped science-fiction feature ‘Titan A.E.’ (2000). It was only after 20th Century Fox purchased the animation studio ‘Blue Sky’ (1997) and released ‘Ice Age’ (2002) that the company became a major player in the animation feature field.

In hindsight, ‘FernGully’ is most interesting for being a forerunner of ‘Avatar’ (2009), which features a surprisingly similar tale. Like most of the Don Bluth films, the movie mostly manages to demonstrate how Disney’s ideas on animated features had become the gospel on how to make one. And even though some of these dogmas were to be seriously challenged from 1996 on (the idea that all animated features have to be musicals, for example), most of these unwritten rules remain to this day, making most American animated features, and many of their European imitations, awfully generic.

Watch the trailer for ‘FernGully: The Last Rain Forest’ yourself and tell me what you think:

 

‘FernGully: The Last Rain Forest’ is available on DVD

Director: Émile Cohl
Release Date:  1912
Rating:
Review:

Zozor ruine la réputation de sa famille © Éclair New YorkAfter his move to the United States in 1912 Émile Cohl starting experimenting with putting the idiom of comic strips to the animated screen, being the first person to do so.

Cohl used ‘The Newlyweds’ my comic artist George McManus as the source for his new series, and the resulting films form not only the first animated series, but also the first pictures that could be titled animated cartoons.

This could have been a milestone in animated cinema, but unfortunately, the result is appalling: apart from the metamorphosis with which Cohl bridges scenes, there’s no animation at all, resulting in extremely static images. The text balloons fill the whole screen, more often than not obscuring complete personages.

Without the text balloons, there’s no story to follow. The result is that this is probably the first film suffering from too much dialogue, despite being silent!

Despite all its flaws, the Newlyweds films were a success, and Cohl made several of these pictures, of which only two survive: this one, ‘Zozor ruine la réputation de sa famille’, and ‘He Poses for his Portrait‘ (also known as ‘Le Portrait de Zozor’).

Watch ‘Zozor ruine la réputation de sa famille’ yourself and tell me what you think:

 

‘Zozor ruine la réputation de sa famille’ is available on the DVDs ‘Émile Cohl – L’agitateur aux mille images’

Director: Émile Cohl
Release Date:  May 4, 1913
Rating: ★★
Review:

Bewitched Matches © Éclair New YorkAfter short stints at Pathé and Eclipse Cohl sailed to the United States to join Éclair New York.

‘Bewitched Matches’ is one of the few films Cohl made in the United States before sailing back again to France in 1914.

‘Bewitched Matches’ has a rather zany fairy tale plot of a witch visiting three daughters. When their father chases the witch out of his house, the witch bewitches the matches. This leads to a long animation sequence in which the matches form images of a horse, crosses, a windmill, the American flag, a pipe smoking man, a radiant sun, an acrobat on the tightrope and a skeleton.

Neither the framing story nor the animated part is too interesting, and ‘Bewitched Matches’ should be regarded as one of Cohl’s lesser inspired films.

‘Bewitched Matches’ is available on the DVDs ‘Émile Cohl – L’agitateur aux mille images’

 

Director: Émile Cohl
Release Date:  1910
Rating: ★★
Review:

Rien n'est impossible à l'homme © Émile CohlÉmile Cohl was an extremely prolific animation artist, virtually responsible for almost the world’s complete animation output of 1908-1910. Thus it doesn’t come as a surprise that not all his films are masterpieces.

For example, ‘Rien n’est impossible à l’homme’ is a rather disjointed gag film about what man can do nowadays. The most interesting scene is the first one, in which we watch a live action street scene from above (supposedly from an airplane, but the camera remains static throughout). Other scenes use cut-out animation to show a diver smoking at the bottom of the sea, or a musician making an obelisk cry.

None of the gags are remotely funny, and the whole film feels like a garbage bag of unrelated gag material, making watching the short a rather tiresome experience.

Watch ‘Rien n’est impossible à l’homme’ yourself and tell me what you think:

‘Rien n’est impossible à l’homme’ is available on the DVDs ‘Émile Cohl – L’agitateur aux mille images’

Director: Émile Cohl
Release Date: 1910
Rating: ★★
Review:

Le champion du jeu à la mode © Émile Cohl‘Le champion du jeu à la mode’ is about a company of people, who all try to solve a jigsaw puzzle, until one of the men exclaims that he can solve the puzzle in no time. How he does it is never revealed, but we watch the puzzle assemble itself through stop motion.

Essentially, this is a one trick film, and both the comedy and the animation pale, when compared to Cohl’s contemporary films, like ‘Le placier est tenace’ and ‘Le peintre néo-impressioniste’.

Watch ‘Le champion du jeu à la mode’ yourself and tell me what you think:

‘Le champion du jeu à la mode ‘ is available on the DVDs ‘Émile Cohl – L’agitateur aux mille images’

Director: Émile Cohl
Release Date: 1910
Rating: ★★
Review:

L'enfance de l'art © Émile CohlThis animation film uses both cut-out, stop-motion and pen animation in a mix unique to Émile Cohl.

Nevertheless ‘L’enfance de l’art’ is among Cohl vaguest and least impressive films: things are just happening on the screen, like a monster disturbing a painter or some monsters drawn on human hands. We can also watch some morphing images of animals and more monsters. In this respect the title is well chosen…

Watch ‘L’enfance de l’art’ yourself and tell me what you think:

 

‘L’enfance de l’art ‘ is available on the DVDs ‘Émile Cohl – L’agitateur aux mille images’

Director: Émile Cohl
Release Date: February 19, 1910
Rating: ★★
Review:

Le Binetoscope © Émile CohlIn ‘Le Binetoscope’ a clown presents some kind of apparatus that absorbs something from the audience and puts it on the screen.

This idea is an excuse for some animation, first shown on a screen behind the (live action) clown, but after two minutes filling the complete movie screen. In this sequence Cohl uses his metamorphosis technique on faces. He even changes a complete alphabet into faces. Then the clown returns to take a bow.

Cohl’s metamorphosis technique remains always interesting to watch, and it’s clever how he uses pen animation and cut-out together in this film, but his pictures in ‘Le Binettoscope’ aren’t too remarkable, and pale when compared to some of his 1909 films like ‘Les générations comiques‘ or ‘Les transfigurations‘.

Watch ‘Le Binetoscope’ yourself and tell me what you think:

 

‘Le Binetoscope’ is available on the DVDs ‘Émile Cohl – L’agitateur aux mille images’

Director: Émile Cohl
Release Date: 1909
Rating: ★★
Review:

Monsieur Clown chez les lilleputiens © Émile Cohl‘Monsieur Clown chez les lilleputiens’ is one of Cohl’s experiments in puppet animation.

Unfortunately, puppet animation never became Cohl’s forte, and this film shows Cohl’s limited fantasy when using this technique, which is disappointing when compared to the wild, limitless surrealism (avant la lettre) of his drawn films.

‘Monsieur Clown chez les lilleputiens’ just shows a clown performing some tricks for an audience at a circus. The clown performs tricks with an elephant, a black dog, a chair, a horse, and a female acrobat. The film knows only one setting and one camera point, and there is little to laugh. The best gag is when the clown pulls an enormously long thread, only to reveal that the thread is attached to a miniature horse.

Watch ‘Monsieur Clown chez les lilleputiens’ yourself and tell me what you think:

 

‘Monsieur Clown chez les lilleputiens’ is available on the DVDs ‘Émile Cohl – L’agitateur aux mille images’

Director: Émile Cohl
Release Date: 1908
Rating:  ★★
Review:

Le petit soldat qui devient dieu © Émile Cohl‘Le petit soldat qui devient dieu’ is a short film about a little tin soldier.

We watch him and the other tin soldiers leave their box, and perform some antics in front of a childlike drawing of a house. At one point the little soldier is left behind, when the others return to their box. Suddenly we watch him floating on a paper boat down the sewer, and on the Seine.

Apparently the tin soldier floats to the ocean, because in the next scene he’s found by an African boy and taken to his negro tribe, who are about to kill another black man. The chief licks the tin soldier and dies instantly. Then the other tribesman crown the other black man. The end.

‘Le petit soldat qui devient dieu’ is another one of Cohl’s early experiments in stop-motion, blending it with live action. Unfortunately, the short is the weakest of Cohl’s 1908 films: the tin soldier sequences are very static, all taking place against the same backdrop, and consisting of little more than soldiers marching. Moreover, none of the action makes sense. But the end is the worst: not only is this scene totally incomprehensible, the cannibals are but white men in blackface, and their characters are the worst cliche cannibals imaginable.

Watch ‘Le petit soldat qui devient dieu’ yourself and tell me what you think:

 

‘Le petit soldat qui devient dieu’ is available on the DVDs ‘Émile Cohl – L’agitateur aux mille images’

 

Director: Cody Cameron
Release Date: August 8, 2007
Rating: ★★
Review:

The ChubbChubbs Save Xmas © Sony‘The ChubbChubbs Save Xmas’ sees the return of the ChubbChubbs, the title heroes of Sony’s Academy Award winning short ‘The ChubbChubbs!‘ from 2002, and their alien keeper Meeper.

After five years these personas are still as annoying as they had been in 2002, but surprisingly, ‘The ChubbChubbs Save Xmas’ is a better movie than the original short had been. Things at Sony animation clearly had improved in the five years that separate the two films, and both character design, color schemes and overall design are much more consistent in the new film than in the original. Consequence is that Meeper and his friends are rather out of tune with their more modern and slicker surroundings, which makes them even more obnoxious.

The short’s story is utterly forgettable, but there are some good gags, even if some are pretty violent for a Christmas film. Nevertheless, ‘The ChubbChubbs Save Christmas’ is only one notch up from the earlier film, and remains mediocre, if only because Meeper and the ChubbChubbs themselves are such ugly-voiced and annoying characters.

Watch ‘The ChubbChubbs Save Xmas’ yourself and tell me what you think:

‘The ChubbChubbs Save Xmas’ is available as a bonus on the DVD ‘Surfs Up’

Director: Dick Lundy
Release Date: October 24, 1941
Stars: Donald Duck
Rating: ★★
Review:

Donald's Camera © Walt Disney‘Donald’s Camera’ opens with Donald reading a sign saying ‘Shoot nature with a camera instead of a gun’.

Donald immediately becomes anti-hunting, eschewing the sight of a gun and deploring the fate of some stuffed animals in a hunting shop’s window. In the next scene Donald is on his way in the forest, trying to photograph some wild animals. He fails to take a picture of a chipmunk, and is laughed at by a whole bunch of cute animals, who seem to have entered the cartoon straight from ‘Snow White and the Seven Dwarfs’ (1937).

After three-and-a-half minutes Donald meets the main adversary of the cartoon, the obnoxious woodpecker from ‘Self Control‘ (1938). The angry bird doesn’t want to get photographed and gives Donald a hard time. Thus in the end, we watch Donald wandering the forest, carrying two guns and dragging a miniature canon with him in search of the pesky little bird.

‘Donald’s Camera’ is a genuine gag cartoon, and contains some very fast animation, but the short is hampered by Lundy’s gentle approach to directing. The silliest gag is when Donald puts the woodpecker into two ridiculous poses.

Watch ‘Donald’s Camera’ yourself and tell me what you think:

This is Donald Duck cartoon No. 28
To the previous Donald Duck cartoon: Old MacDonald Duck
To the next Donald Duck cartoon: Chef Donald

‘Donald’s Camera’ is available on the DVD-set ‘The Chronological Donald Volume 1’

Director: Jack King
Release Date: September 12, 1941
Stars: Donald Duck
Rating: ★★
Review:

Old MacDonald Duck © Walt Disney‘Old MacDonald Duck’ was the cartoon announced three months earlier in ‘The Reluctant Dragon‘. As Donald Duck explains himself in that feature in this cartoon he’s a farmer.

The short opens with a musical routine on ‘Old MacDonald had a farm’ (naturally). This almost Silly Symphony-like sequence lasts ninety seconds. Then the main body of the cartoon starts, in which Donald milks his cow Clementine, hindered by a fly. This leads to a battle between Donald and the fly, with Donald using milk squeezed from Clementine’s udders to bomb the little insect, in a rather early war analogy (predating the attack on Pearl Harbor by two months). Of course, it’s the fly who has the last laugh.

Clementine, whose theme music is, of course, ‘Oh My Darling’, is wonderfully animated. The fly is the second of a line of insects Donald had to deal with, after the bee in ‘Window Cleaners‘ (1940). The battle between duck and fly is well done, but never becomes hilarious. There’s a little too much emphasis on the fly being a small, innocent creature unnecessarily bullied by Donald. Apparently to give the otherwise obnoxious animal some sympathy, something that’s typical for all the Donald vs. insect cartoons. I guess, however, that the humor would have worked better, if the audience’s sympathy had remained with Donald himself, with the fly playing the same role as the inanimate objects did in contemporary, much better cartoons like ‘Donald’s Vacation‘ (1940) or ‘Early to Bed‘ (1941).

Watch ‘Old MacDonald Duck’ yourself and tell me what you think:

This is Donald Duck cartoon No. 27
To the previous Donald Duck cartoon: Truant Officer Donald
To the next Donald Duck cartoon: Donald’s Camera

‘Old MacDonald Duck’ is available on the DVD-set ‘The Chronological Donald Volume 1’

Director: Dave Fleischer
Release Date: August 8, 1941
Stars: Popeye, Poopdeck Pappy
Rating:  ★★
Review:

Pest Pilot © Max FleischerIn ‘Pest Pilot’ Popeye suddenly has exchanged sailing for flying.

Apparently, Popeye owns an “air-conditioned airport”, where he works on some planes. Poopdeck Pappy drops by, begging Popeye to let him fly, which Popeye keeps refusing. When put outside, Pappy finds an idle plane, and the old man takes off immediately, flying recklessly all over the world, and crashing into Popeye’s airport again.

Surprisingly little happens in this ‘Pest Pilot’: we practically only see Pappy begging and flying. Poopdeck Pappy’s flight is mildly amusing, and in fact the short’s best gag is Popeye’s original way of making a propeller.

‘Pest Pilot’ was the last Fleischer cartoon featuring Poopdeck Pappy. Popeye’s old man would turn up in ‘Seein’ Red White ‘n Blue’ (1943), but was revived by Paramount in only eight cartoons. Poopdeck Pappy’s last three Fleischer cartoons were rather weak, but earlier ones had shown that the character certainly had comic potential, so why he was eventually shelved, we’ll never know.

Watch ‘Pest Pilot’ yourself and tell me what you think:

This Popeye film No. 98
To the previous Popeye film: Child Psykolojiky
To the next Popeye film: I’ll Never Crow Again

‘Pest Pilot’ is available on the DVD set ‘Popeye the Sailor 1941-1943’

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