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Director: Alex Lovy
Release Date: September 9, 1939
Stars: Andy Panda
Rating:  ★
Review:

Life Begins for Andy Panda © Walter LantzAs Lil’ Eightball failed to become Walter Lantz’s next star, Lantz came up with a new one for his second full color cartoon. It was an animal never used before: a panda.

‘Life Begins for Andy Panda’ literally starts with his birth, in a scene remarkably anticipating a very similar one in ‘Bambi‘ (1942). Soon we skip six months and watch Andy as a young brat, ignoring his father’s lessons, and leaving the forest, where his father is captured by a tribe of stereotype pygmies. The forest animals come to help, but it’s the skunk who scares the natives all away.

‘Life Begins for Andy Panda’ is a very bad start for Andy Panda’s career: the film just makes no sense. To start, Lovy seems to be at loss at what this film actually is: a 1930s morality tale, or a 1940s gag short. Moreover, his timing is terribly slow, the designs are often mediocre (especially Andy’s parents are badly designed), and the animation is erratic and over-excessive. Finally, this cartoon world, in which pygmies, kangaroos and pandas are all living together next to a Utah-like landscape, defies believability. The cartoon’s best feature is a short swing track during the chase scene.

Despite its shortcomings, ‘Life Begins for Andy Panda’ apparently was a hit, and Andy Panda would continue to outwit his dad for years to come.

Watch ‘Life Begins for Andy Panda’ yourself and tell me what you think:

‘Life Begins for Andy Panda’ is available on the DVD set ‘The Woody Woodpecker and Friends Classic Cartoon Collection’

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Director: Burt Gillett
Release Date: September 4, 1939
Stars: Lil’ Eightball
Rating:  ★★★½
Review:

A Haunting We Will Go © Walter LantzAfter the closing down of the Van Beuren studio, and a short return to the Walt Disney studios we find Burt Gillett directing at the Walter Lantz studios. In 1939-1940 Gillett directed seven cartoons for Lantz, of which ‘A Haunting We Will Go’ is the fourth.

‘A Haunting We Will Go’ was Lantz’ first cartoon in full Technicolor, and it excels in high production values, making it a kind of strange mix between a Silly Symphony (Gillett’s specialty) and Warner Bros.-like nonsense.

The short stars a black boy called Lil’ Eightball, whom Gillett had introduced in July in ‘Stubborn Mule’, but who would disappear from the screen after this cartoon, after starring only three cartoons. This is not a pity, as Lil’ Eightball is a clear black stereotype. Despite being a boy, he has a deep Southern voice, provided by Mel Blanc (when he stutters in the end, his voice is practically that of Porky Pig), and part of the humor stems from the boy using extraordinarily difficult words, while remaining the stereotyped ignorant and fearful negro figure.

Lil’ Eightball is visited by a baby ghost, but he doesn’t believe in ghosts. So the baby ghost drags him to his poppa in a haunted house, where several ghosts give Lil’ Eightball “the works”. Gillett had also directed the Mickey Mouse short ‘Lonesome Ghosts’ (1937), and the ghosts in ‘A Haunting We Will Go’ are exact copies from those in the Disney cartoon, with their red noses and bowler hats. The haunting scene is the highlight of the cartoon, featuring great surreal gags, and some extraordinarily flexible animation, unmatched at the time. The best scene arguably is the one in which a room shrinks to Lil’ Eightball’s size.

Watch ‘A Haunting We Will Go’ yourself and tell me what you think:

‘A Haunting We Will Go’ is available on the DVD set ‘The Woody Woodpecker and Friends Classic Cartoon Collection Volume 2’

Director: Svend Noldan
Release Date:
 1930
Rating: ★★★★
Review:

Hein Priembacke in Afrika © Svend NoldanHein Priembacke was a cartoon character conceived and animated by Svend Noldan. Noldan had his origins in the German dadaist avant-garde scene, something that is not visible in this cartoon.

‘Hein Priembacke in Afrika’ is a silent film and uses German title cards in rhyme. Hein Priembacke is a sailor who’s washed ashore an African desert. Being hungry he first tries to retrieve a coconut, which turns out to be a wallaby. Later he goes to a settlement (which was visible in the background all the time), where he pulls two turnips, which turn out to be Negroes (forgive me the word – it’s used as such in the film itself). The angered cannibals soon chase our hero (“Jetzt wird’s bedenklich, lieber Christ. Der Neger ist kein Pazifist” reads the title card, which translates as “Now it becomes questionable, dear Christ, for the negro is no pacifist“), but he manages to escape to his homeland, hanging on the legs of a stork.

The animation is surprisingly well done, although the action is at times ridiculously slow. The film’s highlight are the animation of the waves and of the landscape on Priembacke’s flight back home. Done with cut outs, the landscape moves stunningly realistically under our hero, creating a great sense of depth, predating Disney’s multi-plane camera by seven years.

Indeed, special effects turned out to be Noldan’s expertise. His star rose when the National Socialists came to power in 1933, and many film makers left Germany. He later provided special effects for German propaganda films, like Leni Riefenstahl’s ‘Triumf des Willens’ (1935), and ‘Der ewige Jude’ (1939). During World War II he worked for the German war industry. Although his role in Nazi Germany is dubious to say the least, he survived the war unscathed, and returned to making films, which he kept on doing until the end of the 1960s.

Watch ‘Hein Priembacke in Afrika’ yourself and tell me what you think:

‘Hein Priembacke in Afrika’ is available on the DVD ‘Uncensored Animation 2: Cannibals!’

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