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Director: Burt Gillett
Release Date: July 30, 1932
Stars: Pluto
Rating: ★★★★
Review:
‘Just Dogs’ opens with a dog pound, with several dogs howling to the tune of Vernon Dalhart’s 1924 hit ‘The Prisoner’s Song’.
Then a little black dog escapes, and helps Pluto and several other dogs escaping, too. Once outside the little dog repeatedly tries to gain Pluto’s sympathy, to no avail. Not even when it shares a large bone with Pluto. When an annoying little Pekingese warns the other dogs of the bone, trouble starts, but the little dog saves the day with the help of legion of fleas, while Pluto remains busy with an alarm clock. Only then he gains Pluto’s much wanted sympathy.
‘Just Dogs’ is not a particularly funny or beautiful short and its star, Pluto, is most of the time quite unsympathetic, but it does show the advancements in animation Disney was making at the time: we’re not watching ‘just dogs’, we’re watching several recognizable types of dogs, among them a very lifelike St. Bernard.
By now, the Disney animators didn’t need to stick to stereotyped ducks, pigs, cows, horses, or in this case, dogs, but were able to draw and animate real dogs, who looked like dogs, moved like dogs and behaved like dogs. This kind of naturalism is quite unprecedented in earlier films. ‘Just Dogs’ is still a mixed bag: some of the designs are still very primitive, especially during the escape scene, but there are some striking new designs here, not in the least, the small, optimistic black dog, who ‘s the real hero of the short.
The two main protagonists, Pluto and his clever comrade, are two distinct characters, which behave and move differently, a great advancement in character animation. Disney would develop both naturalism and character animation into perfection in the coming seven years.
Two years later the little dog would reappear as Pluto’s rival Terry in Floyd Gottfredson’s Mickey Mouse comics.
Watch ‘Just Dogs’ yourself and tell me what you think:
This is Silly Symphony No. 28
To the previous Silly Symphony: The Bears and the Bees
To the next Silly Symphony: Flowers and Trees
Director: Walt Disney
Release Date: May 10, 1929
Rating: ★★★★★ ♕
Review:
‘Skeleton Dance’ is the first of the Silly Symphonies and easily one of the best. It deservedly even ranks among the best cartoons of all time.
It starts spectacularly to begin with: we first watch lightning crack, immediately followed by an extreme close up of huge eyes, which only after the camera zooms out appear to belong to an owl.
The complete film is simple, yet perfect in its timing and its peculiar mix of eerie atmosphere and silly gags. The animation (which includes a remarkable quantity of repetition) is extraordinary fluent and the skeletons are convincing throughout the picture.
More than in any earlier cartoon the animation and music are a perfect match. This cartoon single-handedly puts Walt Disney, animator Ub Iwerks and composer Carl Stalling to the eternal hall of fame. A masterpiece.
‘The Skeleton Dance’ clearly shows Disney’s ambition. From now on Disney would use the Silly Symphony series to propel the art of animation forward, until the series ended 1939, after becoming a little obsolete, because their role had been taken over by the animated features.
Watch ‘The Skeleton Dance’ yourself and tell me what you think:
This is Silly Symphony No. 1
To the next Silly Symphony: El Terrible Toreador
Director: Jack Cutting
Release Date: April 7, 1939
Rating: ★★★★★ ♕
Review:
The remake of ‘The Ugly Duckling‘ (1931) is the last of the Silly Symphonies and, like the very first (The Skeleton Dance, 1929) one of the best.
Following Hans Christian Andersen’s tale much closer than the original ‘Ugly Duckling’, the 1939 version reaches the apex in animated storytelling. One can even watch it silent and understand the cartoon perfectly, and even more significant, remain emotionally involved, as well.
The Duckling is an instantly likeable character whose emotions are totally convincing and moving. Even the colors of the backgrounds add to the drama, changing from bright greens to blues when the Duckling is expelled. The 1931 version was a milestone in its time, yet it looks crude and primitive today. This 1939 version of The Ugly Duckling, however, is an all time animation masterpiece, and it will doubtless never date.
Watch ‘The Ugly Duckling’ yourself and tell me what you think:
This is Silly Symphony No. 75 (the last in the series)
To the previous Silly Symphony: The Practical Pig
Director: Wilfred Jackson
Release Date: December 12, 1931
Rating: ★★★★★
Review:
This is the first of two versions of ‘The Ugly Duckling’ made by Disney.
Unlike the latter, more familiar version, this ugly duckling is a real duck, accidentally born to a chicken. He’s rejected until he saves his chick brothers and sisters from drowning in a long, fast and exciting action scene, involving both a tornado and a waterfall.
Although looking crude and primitive when compared to the 1939 short, this first version of The Ugly Duckling is a milestone in Disney’s storytelling: while the earlier Silly Symphonies contain a lot of repetitive animation and dance routines, The Ugly Duckling is the first Silly Symphony to tell a coherent story from the beginning to the end. Even the Mickey Mouse films of that time are not that consistent. There still is some rhythmic movement, especially at the beginning, but most of the animation is there to tell the story.
The duckling (who repeatedly looks to the audience for sympathy – not unlike Oliver Hardy) is a real character who transforms from an outcast to a hero, and gains its well-earned sympathy at last. Its best scenes are when it feels rejected, not only by his ‘family’, but also by a cow, a dog and a frog. There’s some genuine feeling of loneliness and unhappiness in these scenes, unparalleled in any other animated film of the time.
This short, which is neither about gags nor about moving to music, would be the first testimony of Disney’s ambitions in storytelling.
Watch ‘The Ugly Duckling’ yourself and tell me what you think:
This is Silly Symphony No. 25
To the previous Silly Symphony: The Fox Hunt
To the next Silly Symphony: The Bird Store
Directors:Clyde Geronimi, Wilfred Jackson and Hamilton Luske
Release Date: February 15, 1950
Rating: ★★★★★
Review:
‘Cinderella’ was Disney’s first fairy tale movie since ‘Snow White and the Seven Dwarfs’ (1937) and Disney’s first real feature animation film in eight years.
With its classic fairy tale story featuring a heroine, whose unhappy fate is turned, Cinderella seems to be like ‘Snow White and the Seven Dwarfs’, Disney’s only million seller feature up to that point, and, indeed, ideas for this film go back as far as 1938. However, it is very clear many things had changed for the studio since then:
First: Gone are the lush water color backgrounds. They’re replaced by way more stylized oil backgrounds, based on the colors and styling of designers Mary Blair and John Hench, who both favored bright and unrealistically vivid colors. Mary Blair’s influence is particularly strong in the dreamlike ‘So This Is Love’ sequence and the chase of Cinderella’s pumpkin couch: here the stunningly beautiful backgrounds lose all sense of realism, in favor of emotional storytelling.
Second: The animation of humans, hardly mastered in 1937, now looks fluent, convincing and even easy. It’s also striking how very realistic humans (Cinderella, the prince, the evil stepmother) blend easily and convincingly with more caricatured humans (the king, the grand duke and the two stepsisters) and anthropomorphic animals. The Disney studio clearly had matured.
Indeed, the animation studio had been greatly streamlined in the forties. Gone were the experimental, time consuming and costly work methods of ‘Snow White’, ‘Pinocchio‘ and ‘Fantasia’. For his new feature Disney would take no chances: all human scenes would be filmed first with live action actors, in order to perfect the staging before it went into animation. Only one short scene with outrageously colored soap bubbles evokes some of the earlier experimentalism.
Disney’s animation unit was now led by a group of younger, highly talented animators, who had matured their skills in the forties, and whom Walt Disney affectionately called his ‘Nine Old Men’. In Cinderella these Nine Old Men are all credited as supervising animators (alongside, like a ghost from the past, pioneer animator Norm Ferguson [see ‘Frolicking Fish‘ and ‘Playful Pluto‘], although his contribution remains unclear). The Nine Old Men would be responsible for Disney Feature animation way up to ‘The Rescuers‘ (1978). The fluent and confident animation in ‘Cinderella’ clearly shows why.
Especially the stepmother (animated by Frank Thomas) is a wonderful character: she’s very nasty, but her evilness is acted out in the subtlest way. She’s only indirectly responsible for the most dramatic scene of the film, in which the two stepsisters tear Cinderella’s dress from her body. The horror of this scene is heartfelt, especially because we had seen that this dress was made for her by some friendly birds and mice in an earlier scene .
These animals star a huge subplot with leading roles for a keen mouse called Jaq, a fat, dumb mouse called Gus, and a mean old cat called Lucifer (all animated by Ward Kimball, who went berserk on the outrageous animation of Lucifer). This subplot provides a funny counterpoint to the familiar fairytale and even completely dominates the first twenty minutes of the film.
Cinderella was a huge success and paid the studio well. Once again Disney’s attention and reputation rested with animated features and the studio would dominate the scene up to the 1980s, being practically the monopolist on animated features in the United States.
In a time when TV would cause the decline and fall of the animated cartoon industry, this was no luxury, at all.
Watch an excerpt from ‘Cinderella’:
Director: Norm Ferguson
Release Date: December 21, 1944
Stars: Donald Duck, Joe Carioca, Panchito, The Aracuan Bird
Rating: ★★★
Review:
Donald stars in his first and only very own feature film.
In the opening scene he receives a large package full of presents. When he opens these presents, they lead him to the mild story of Pablo the cold-blooded penguin (narrated by the melancholy voice of Disney-favorite Sterling Holloway), and to the childish story of ‘Gauchito and his flying donkey Burrito’, before it reintroduces Joe Carioca from ‘Saludos Amigos‘ (1942). Joe takes Donald to Baía, where they dance the samba with Aurora Miranda, nicely blending animation with live action, something that occurs throughout the picture.
Another package introduces the Mexican rooster Panchito. Together the trio sings the intoxicating theme song, wonderfully animated by Ward Kimball, who regarded the scene as his best work. Panchito takes Donald and Joe on a magic serape ride over Mexico, visiting Mexico City, Veracruz en Acapulco Beach, where Donald plays blind man’s buff with a bunch of girls in bathing suits. Actually, Donald keeps hunting girls like a hungry wolf throughout the picture.
‘The Three Caballeros’ was the second of two ‘Good neighbor policy’ features, focusing on South America, and the second of six compilation features Disney made until returning to real features with ‘Cinderella‘ in 1950. When compared to ‘Saludos Amigos’, ‘The Three Caballeros’ is brighter, bolder and more nonsensical. It is noteworthy for its bold color design and for its beautiful color book artwork by Mary Blair, which in its modernity looks forward to the 1950s (especially in the opening titles, during the train ride and in the Mexican Christmas episode).
It is most interesting however, because of its zany surrealism, which invades many scenes with associative images, where metamorphosis and abstraction run haywire, not even sparing Donald himself. In this respect ‘The Three Caballeros’ is the boldest feature Disney ever made.
However, its lack of story, its strong touristic content, its outdated live action imagery, its sentimental songs and the two childish stories at the beginning of the feature all harm the picture. Thus watching the movie feels like being on a colorful journey full of beautiful images that nevertheless turns out to be unsatisfactory in the end.
Watch the title song from ‘The Three Caballeros’ below:
‘The Three Caballeros’ is available on DVD
Director: Jack Kinney
Release Date: January 1, 1943
Stars: Donald Duck
Rating: ★★★★★ ♕
Review:
In ‘Der Fuehrer’s Face’ Donald is apparently a citizen of ‘Nutziland’, a fascist country where even trees and clouds are swastika-shaped.
Donald is awoken by a silly march band singing the sarcastic title song (penned by Disney composer Oliver Wallace and sung with gusto by Spike Jones). Then he has breakfast that consists of only one coffee bean, ‘aroma de bacon & eggs’ and a slice of wooden bread. All too soon he has to work at the assembly line, making shells and saluting to images of Adolf Hitler.
In the end, it appears that it was all just a dream, and Donald, in his Stars and Striped-colored room, sighs, embracing a golden copy of the statue of liberty: “Am I glad to be a citizen of the United States of America”. This closing scene is rather corny and the satire of the film misses some points: most of the (German) citizens of Nazi Germany were not poor and did not have to work like slaves, as is suggested here. Instead, the Nazis used forced labor forces from their occupied territories.
Nevertheless, ‘Der Fuehrer’s Face’ was both artistically and commercially the most successful of the Disney war time propaganda films. It even won an academy award for being the best animated short of 1943. It’s so successful, because, unlike most other propaganda shorts, it’s outrageously funny: its satire is so zany, its depiction of ‘Nutzi land’ so wacky, and the scene at the assembly line so out-to-lunch, that one cannot stop laughing. When Donald goes mad, these segments are even topped by a brightly colored, rather avantgardistic and very surrealistic stream-of-consciousness-like scene, which resembles similar dream sequences in ‘Dumbo‘ (1941) and ‘The three Caballeros‘ (1944).
This short was not directed by any of the two regular Donald Duck directors of the time, Dick Lundy and Jack King, who both preferred a more unassuming type of humor, but by Jack Kinney, who is most famous for directing Goofy, and who was undoubtedly the wackiest of the Disney directors, of which this film certainly is proof.
Watch ‘Der Fuehrer’s Face’ yourself and tell me what you think:
This is Donald Duck cartoon No. 38
To the previous Donald Duck cartoon: Bellboy Donald
To the next Donald Duck cartoon: Donald’s Tire Trouble
Director: Wilfred Jackson
Release Date: August 19, 1931
Rating: ★★★
Review:
In ‘Egyptian Melodies’ the little six-legged spider from ‘Midnight in a Toy Shop‘ (1930) returns to the animated screen.
The short is one of those early Silly Symphonies that offers quite a dull dance routine only (and no story). Nevertheless, the introduction of the cartoon is well worth watching: when we follow the spider down into the pyramid, we experience some astonishing 3D-effect animation, creating the feeling that the camera wanders with the spider through corridors and staircases.
This unique exercise in perspective would not be repeated in animation until labyrinth computer games were introduced in the 1980s. The Disney Studio itself must have been impressed by this stunning piece of animation, for it was reused two years later in the Mickey Mouse cartoon ‘The Mad Doctor‘ (1933).
Once inside the pyramid, the spider watches four mummies dance, and the drawings on the walls coming to life. These last scenes feature 2-dimensional characters, which can be seen as very early and primitive forerunners of the cartoon modern style of the 1950s. Unfortunately, these scenes are a little bit dull, but they do lead to a great finale. This is one of the earliest nightmare-sequences, in which the montage of images is diffuse and increasingly sped up, in order to suggest the feeling of getting insane. This predates similar sequences in films like ‘Der Fuehrer’s Face‘ (1943) by many years.
The idea for ‘Egyptian Melodies’ may have come from the Van Beuren cartoon ‘Gypped in Egypt‘ (1930), which also features dancing hieroglyphs, nightmarish scenes, and even a corridor scene. Notice that the classic horror film ‘The mummy’ (1932) hadn’t been released, yet, at the time.
This is Silly Symphony No. 21
To the previous Silly Symphony: The Cat’s Out
To the next Silly Symphony: The Clock Store
Dr. Grob's Animation Review 