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Director: Jack Kinney
Release Date: October 21, 1951
Stars: Goofy
Rating: ★★★★
Review:

Fathers Are People © Walt DisneyThis third cartoon of the Mr. Geef-series starts with our hero announcing to his colleagues that he has become a father.

We quickly move to several years later, when his son has become a hyper-active and extremely playful young boy, who troubles his father a lot. Like the other George Geef cartoons the humor of the cartoon stems mostly from its recognisability. Fathers can connect immediately to Mr. Geef’s problems with his son.

Although it’s not brought with great bravado, ‘Fathers are People’ is a milestone within the Disney catalog: for the first time a Disney star becomes a parent. Although it may be debatable whether Mr. Geef really is Goofy, the son is his, he’s not some nephew or whatever, like Huey, Dewey and Louie are. This is a very rare happening in the complete cartoon universe. True, Oswald became a father in ‘Poor Papa’ (1927), but this was a pilot film, and Oswald wasn’t a star, yet. And indeed, Pete was the first Disney cartoon character shown to be a father, having a son in ‘Bellboy Donald‘, 1942, but that cartoon didn’t celebrate a birth.

Anyway, George Geef jr. would return the next year in ‘Father’s Lion’. But in ‘A Goofy Movie’ (1995) Goofy had a very different and older son called Max, so maybe George Geef and Goofy weren’t one and the same, after all…

Watch ‘Fathers are People’ yourself and tell me what you think:

This is Goofy cartoon No. 32
To the previous Goofy cartoon: Get Rich Quick
To the next Goofy cartoon: No Smoking

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Director: Âle Abreu
Release Date: September 20, 2013
Rating: ★★★★½
Review:

O menino e o mundo © Âle AbreuIt seems that with their growing economies the BRIC countries enter a new creative era, in which costly projects like animated features are now possible. Especially Brazil is a surprising new country from which unique and distinct animation films sprout.

In 2013 the Holland Animation Film Festival had shown the ambitious ‘Uma História de Amor e Fúria‘, this year it’s the charming film ‘O menino e o mundo’ (The Boy and the World). Surprisingly, given the extremely different animation styles, the two features have more in common than one would expect.

According to its director Âle Abreu* the idea of ‘O menino e o mundo’ was conceived when the little boy character suddenly appeared in his notes when studying Latin American protest music of the last hundred years. The film tells about this little boy growing up in the countryside, near the jungle, who goes to seek his father, who has left for the city to work. On his trip he discovers the real world that is Brazil, far from his idyllic place in the hills. He meets cotton pickers, people in the cotton industry, and even discovers how cotton is shipped to some futuristic cities (vaguely resembling the US) to be made into clothes, which are shipped back to Brazil to be sold at ridiculous prices.

I say Brazil, but Abreu insists that this story is the story of practically every Latin American country, or even every third world country emerging from a dark dictatorial past and now getting caught up in the World Economy. Indeed, the film’s world may be one great fantasy,  with vehicles like animals, towns like mountains, and great futuristic cities in the sky. Yet, what happens in this world is instantly recognizable to people all over the world,

Meanwhile, the film clearly shows the grand effects of the global economy on the lives of ordinary and poor people. Without reservation Abreu shows us cotton pickers being fired because they are old and sick, workers working ridiculously long hours in hot industries to produce cotton, only to be replaced by a machine in the end. We watch poor people living in favelas (slums), while advertisements on the streets and on television produce images of a happy life they’ll never be able to reach. We watch people who demand more freedom being oppressed by military police, in a particular powerful sequence in which a colorful bird of freedom is crushed by a black bird of oppression, etc.

It’s this focus on social injustice that ‘O menino e o mundo’ shares with ‘Uma História de Amor e Fúria’. Unlike the latter film, however, Abreu’s film never becomes too heavy-handed, because we keep on seeing this world through the eyes of a child. To achieve this, Abreu uses a wonderfully naive style resembling children’s drawings and pastel crayons. All images are drenched in imagination and wonder, even those of the city and the oppressive forces, whose tanks look like large elephants. When the boy approaches the city, more and more magazine clippings are added to the colorful images. Abreu says he wanted to tell a tale about freedom, so he wanted to have freedom during the making of this film, too. He says: “A director should listen to the voice of his film, and listen to where the film wants to go“.

The result is an absolutely gorgeously looking film, simply bursting in color and fantasy. The animation, too, is superb, especially when considering that most of it was done in Photoshop. According to Abreu the drawings were then printed, filmed, and imported in After Effects for compositing. Moreover, the whole film was made with a very small crew. Nevertheless, the makers have reached a high quality by any standards.

To tell his story Abreu uses no dialogue. Yes, we hear people speak, but in a language that is constructed of Portuguese words spoken out backwards. Indeed, the voice actors had to act and sing in this backward language. However, in no way comprehensible dialogue is missed, for Abreu is perfectly capable of storytelling by images alone. Added to the mix is the cheerful score by Ruben Feffer and Gustavo Kurlat, which is a perfect match to the colorful images. According to Abreu, even the sounds of nature are made by musical means, like hand claps for rain.

‘O menino e o mundo’ is a magical film of sheer delight, deserving to be shown everywhere in the world. And unlike American films, it doesn’t shun the big questions our world needs to answer. For this bravery alone, it deserves a large audience.

Watch the trailer for ‘O menino e o mundo’ and tell me what you think:

* Quotations from Abreu are taken from his introduction and Q&A at the screening of his film at the Holland Animation Film Festival, March 20, 2014.

Directors: William Hanna & Joseph Barbera
Release Date: October 1, 1949
Stars: Tom & Jerry, Spike & Tyke
Rating: ★★★★★
Review:

Love That Pup © MGMTom’s chases of Jerry disturb Spike’s son Tyke. If Tom is at it again, Spike “will tear him apart”. Needless to say, Jerry takes advantage of this situation.

‘Love that pup’ is one of the most hilarious Tom & Jerry cartoons. The gags come in fast and plenty, and Scott Bradley’s music is particularly inspired, perfectly matching the fast action. Highlight may be the running gag involving Tom rushing into several garden tools.

‘Love That Pup’ marks Tyke’s debut. He has no name, yet. But then again, even Spike is still called Butch in this cartoon. Spike and Tyke would become Tom and Jerry regulars in the fifties, even starring two films without the cat and the mouse in 1957.

Watch ‘Love That Pup’ yourself and tell me what you think:

This is Tom & Jerry cartoon No. 44
To the previous Tom & Jerry cartoon: The Cat and the Mermouse
To the next Tom & Jerry cartoon: Jerry’s Diary

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