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Director: Wilfred Jackson
Release Date: November 12, 1932
Stars: Mickey Mouse, Minnie Mouse, Pete, Goofy
Rating: ★★★★★ ♕
The bar scene is pretty complex, with a lot going on. Goofy is there, too, seemingly just to show he’s a star to stay, for he has no involvement in the plot, at all. Outside, Minnie is freezing, and Mickey takes her inside, but then Pierre (a.k.a. Pete) arrives, peg leg and all. Soon he runs off with Minnie after a short gun fighting scene. Mickey, of course, rushes out to follow him, and jumps on a sled pulled by Pluto. In a remote log cabin, a fight ensues…
In essence ‘The Klondike Kid’ is ‘Gallopin’ Gaucho‘ in Alaska. But what an execution of such an old idea! The gags are plenty and funny and build up to a fast paced finale. This short is unique for its time in its clever integration of story and gags: the gags are not bonuses, but really add to the story. Highlight must be the ridiculous fight between Mickey and Peg Leg Pete hindered by spiral springs. Mickey Mouse arguably reached the apex of his solo career with this cartoon.
Because of the strong similarities in setting and storyline ‘The Klondike Kid’ feels like a direct ancestor to Tex Avery’s two settings of the poem ‘The Shooting of Dan McGrew’: ‘Dangerous Dan McFoo’ (Warner Brothers, 1939) and ‘The Shooting of Dan McGoo‘ (MGM, 1946).
Watch ‘The Klondike Kid’ yourself and tell me what you think:
This is Mickey Mouse cartoon No. 49
To the previous Mickey Mouse cartoon: The Wayward Canary
To the next Mickey Mouse cartoon: Mickey’s Good Deed
‘The Klondike Kid’ is available on the DVD ‘Walt Disney Treasures: Mickey Mouse in black and white’
Director: Wilfred Jackson
Release Date: October 15, 1932
Stars: Mickey Mouse, Minnie Mouse, Pluto, Horace Horsecollar, Clarabelle Cow, Goofy
Rating: ★★★★★ ♕
Like the earlier ‘Barnyard Olympics‘, ‘Touchdown Mickey’ is as fast-paced sports cartoon. It plunges right into action, when we watch Mickey getting a touchdown for his team Mickey’s Manglers, in an attempt to defeat their opponents, the Alley Cats. The Alley Cats all look like Pete sans peg leg, and they prove tough opponents to Mickey’s much more diverse team.
The sheer speed with which the countless gags are delivered is astonishing, especially when compared to contemporary cartoons from other studios, or earlier Mickeys. By 1932 the studio made better use of Mickey the little hero than ever before, and ‘Touchdown Mickey’ excellently plays on Mickey as the underdog beating the odds. This means we can immediately sympathize with him and his feeble team, drawing us into the match ourselves – as we really want him to win.
The short marks Goofy’s third screen appearance and already he is a more recognizable and more defined character than Horace Horsecollar and Clarabelle Cow would ever be. In ‘Touchdown Mickey’ he’s a radio reporter, if a rather uninformative one, and in one of the numerous gags he accidentally mistakes the head of a colleague for his microphone. Twelve years later Goofy would be playing football himself, in ‘How to Play Football’ (1944), but by then is character had gone through quite some transformations.
Interestingly, there’s another character with a characteristic laugh in this cartoon, a fat pig in the audience, who wears glasses and holds a cigar. As his design is more complex than that of all other characters, I suspect him to be a caricature, but of whom?
‘Touchdown Mickey’ was released only twelve days after the Flip the Frog cartoon ‘The Goal Rush‘, which covers exactly the same subject to less satisfying results.’Touchdown Mickey’ is great, it’s fun and absolutely among Mickey’s all time best cartoons.
Watch ‘Touchdown Mickey’ yourself and tell me what you think:
‘Touchdown Mickey’ is available on the DVD ‘Walt Disney Treasures: Mickey Mouse in black and white’
Director: Wilfred Jackson
Release Date: May 12, 1932
Stars: Mickey Mouse, Minnie Mouse, Horace Horsecollar, Clarabelle Cow, Pluto, Goofy
‘Mickey’s Revue’ is famous for introducing Goofy, whose guffaw we had heard off-stage in the previous Mickey Mouse cartoon, ‘Barnyard Olympics‘.
In this cartoon he’s an elderly person, bearded and wearing glasses. We don’t hear him speak, only his guffaw can be heard, and together with Pluto he forms the running gag of the cartoon. Although Goofy literally has the last laugh, nothing points to the direction of a star career beyond the laugh itself, and indeed, in ‘Trader Mickey‘ his guffaw was used by a cannibal king, indicating it was not an exclusive trait, yet.
Nevertheless, Goofy would return in ‘The Whoopee Party‘, redesigned, christened Dippy Dawg, and here to stay. In fact, Goofy arguably is the first cartoon character, whose voice predates the screen persona, which is completely built around the stupid laugh, and ditto voice.
Apart from Goofy’s debut, there’s enough to enjoy in ‘Mickey’s Revue’, even though it revisits two themes explored earlier in the Mickey Mouse cartoons: that of Mickey and the gang giving a performance and that of animals causing havoc. Here, the source of havoc are the small kittens from ‘The Barnyard Broadcast‘ and ‘Mickey’s Orphans‘ (both 1931). It was their last screen performance, for they would soon be replaced by little mice, first introduced in ‘Mickey’s Nightmare‘ (1932).
‘Mickey’s Revue’ follows the same lines as ‘The Barnyard Broadcast’, but is much better executed, cleverly intertwining the subplots of Goofy’s annoying laugh, Pluto trying to enter the stage, and the kittens interfering with Mickey’s performance. One of the gags involve a kitten caught in the hammers of Minnie’s piano, a gag looking forward to a similar one in the Tom & Jerry cartoon ‘The Cat Concerto‘ (1947). Despite it’s great comedy, ‘Mickey’s Revue’ was the last cartoon exploiting the ruin finale, as used in 1931/1932 cartoons like ‘Mickey Cuts Up‘ and ‘The Grocery Boy‘.
‘Mickey’s Revue’ is a typical ensemble cartoon, also starring Minnie, Horace Horsecollar and no less than three Clarabelle Cows. By now Horace Horsecollar had caught up with his comic personality, and had grown in personality beyond that of a stereotyped horse. Unfortunately, Horace was not developed further on the movie screen – it was left to Floyd Gottfredson to explore Horace’s character further in his comic strip.
Watch ‘Mickey’s Revue’ yourself and tell me what you think:
‘Mickey’s Revue’ is available on the DVD ‘Walt Disney Treasures: Mickey Mouse in black and white’
Directors: Bill Roberts, Jack Kinney, Hamilton Luske & Wilfred Jackson
Release Date: August 24, 1942
Stars: Donald Duck, Goofy, Joe Carioca
This trip was financed by the Coordinator of Inter-American affairs, and ‘Saludos Amigos’ feels like an advertisement for South America. It’s the first of several ‘package films’ Disney made in the 1940s, and like its followers, it is uneven. There is not much of a story, just a live action travelogue across Bolivia, Chile, Argentine, and Brazil. In between there are four cartoon sequences: Donald Duck as a tourist at Lake Titicaca, the story of Pedro the airplane, Goofy as a Gaucho and a samba sequence featuring Donald and a new character, Joe Carioca.
Donald’s antics at Lake Titicaca are only mildly funny, until its finale, the suspension bridge scene, which evokes a genuine sense of heights. Pedro the airplane is a children’s story using a narrator. It’s probably the first animation film starring a humanized vehicle, and very successful at that. Pedro is well-designed, being both a plane and a likable little boy. His story reaches an exciting climax when Pedro gets caught in a storm near Aconcagua. ‘Goofy as a gaucho’ is a nice follow-up to ‘How to ride a horse’ from ‘The Reluctant Dragon’ (1941), with Goofy acting as an Argentine gaucho. This sequence is based on the art of Argentine painter Florencio Molina Campos (1891-1959), without being as gritty. The result is both educational and funny.
However, the real highlight of the film is its finale, in which Donald meets the Brazilian parrot Joe Carioca. Both dance to a samba, following a background which is created ‘on the spot’ by a brush. This sequence is alive with creativity, seemingly introducing a new era of more stylized images and brighter colors, which would dominate the 1940s and 1950s.
Joe Carioca was such an intoxicating character, he was returned to the screen, where he would reunite with Donald in ‘The Three Caballeros‘ (1944) and ‘Melody Time‘ (1948), in still more stylized and colorful scenes.
Watch an excerpt from ‘Saludos Amigos’ yourself and tell me what you think:
Director: Jack Kinney
Release Date: October 21, 1951
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
Director: Jack Kinney
Release Date: June 29, 1951
Several of the Goofy cartoons of the 1950s cover everyday problems like driving and smoking, and, in ‘Tomorrow We Diet!’, dieting. These subjects remain remarkably topical, which makes them enjoyable to watch today.
‘Tomorrow We Diet’ features a particular fat type of Goofy with a weird faint voice. This fat Goofy is encouraged to diet by his rather independent mirror image. This unfortunately leads to hallucinations of food and to sleep-walking. When he finally gives in to his hunger he discovers that ‘the man in the mirror’ has eaten everything.
The highlights of the cartoon are a number of fatness gags, and the nightmarish hallucination sequence with its continuous voices saying “eat!”
Watch ‘Tomorrow We Diet!’ yourself and tell me what you think:
This is Goofy cartoon No. 30
To the previous Goofy cartoon: Cold War
To the next Goofy cartoon: Get Rich Quick
Director: Jack Kinney
Release Date: April 27, 1951
From now on our hero is known as Mr. George G. Geef, who has a characterless, average voice and who is married to a human wife, of whom we only see her arms and legs. Despite these departures, ‘Cold War’ stills uses the voice over from the sports cartoons, putting the cartoon firmly back into a great tradition. Nevertheless, George G. Geef has little to do with the original Goofy from ‘On Ice‘ (1935), and it’s almost inconceivable that it’s still the same character.
As George Geef Goofy would deal with the troubles of the average American man, like diets, children, and cigarettes. And so, in this first entry of the ‘George Geef’ series within the Goofy series, Mr. Geef catches a cold at work, and is nursed to the max by his over-caring wife…
Watch ‘Cold War’ yourself and tell me what you think:
Director: Jack Kinney
Release Date: March 23, 1951
‘Home Made Home’ features the updated design of Goofy, introduced in ‘Tennis Racquet‘ (1949). Nevertheless, this cartoon has an old-fashioned feel to it. Like the sports cartoons from the 1940s, it uses a pompous narrator, and Goofy’s original voice. Moreover, the cartoon consists of three elongated situation gags in a style we had not seen since the 1930s. In the first Goofy is trapped in a blueprint, in the second he has to deal with a glass panel with a will of his own, recalling the piano from ‘Moving Day‘ (1937), and in the third he has to battle a snake-like paint-gun.
The gags are clever at times. Nevertheless, this short is rather slow and unfunny and only a shadow of the 1930s cartoons, the style of which it seems to try to evoke.
Watch ‘Home Made Home’ yourself and tell me what you think:
Director: Burny Mattinson
Release date: December 16, 1983
Stars: Mickey Mouse, Scrooge McDuck, Donald Duck, Daisy Duck, Goofy, Jiminy Cricket, Pete, Willie the Giant
Star of the film is Scrooge McDuck, which of course comes natural to the old miser as the character was actually named after Dickens’ main protagonist. Unlike the other characters Scrooge McDuck was mainly a comics hero, created by Carl Barks, and he had appeared on the screen only one time before, in the educational film ‘Scrooge McDuck and Money’ (1967). However, only four years later he would be animated extensively, in the highly successful televison series, Ducktales.
Most people however will remember ‘Mickey’s Christmas Carol’ as Mickey’s return to the screen for the first time since his retirement in 1953. But it also marks the return of Donald (as Scrooge’s nephew Fred) and Goofy (as his former partner Jacob Marley) to the screen after a 22 year absence. The film has an all-star cast in any case, reviving many other classic Disney stars, like Jiminy Cricket (as the ghost of Christmas Past), Daisy (as Scrooge’s former love interest) and Pete (as the ghost of Christmas future). Also featured is Willie the giant from ‘Fun and Fancy Free‘ (1948) as the ghost of Christmas present, and several characters from ‘The Wind in the Willows‘ (1949). Apart from these we can see glimpses of the Big Bad Wolf and the three little pigs, Clarabella Cow, Horace Horsecollar, Huey, Dewey and Louie, Minnie Mouse and some characters from ‘Robin Hood‘.
This all-star cast gives the film a nostalgic feel that fits the story. Indeed, with hindsight, one can see ‘Mickey’s Christmas Carol’ as an early example of the Renaissance that was about to happen, in which the classic cartoon style was revived after ca. twenty dark years.
‘Mickey’s Christmas Carol’ is no ‘Who Framed Roger Rabbit?‘, however, and it only looks back, not forward. For example, the rather uninspired score is by Irwin Kostal, who had been composing for Disney since ‘Mary Poppins’ (1964). Moreover, the film’s design, using xerox cells and graphic backgrounds, is firmly rooted in the tradition of the 1960’s and 1970’s.
‘Mickey’s Christmas Carol’ is a nice and entertaining movie, but it would take another five years for the Renaissance hitting Disney in full glory, with inspired and innovative films as ‘Who Framed Roger Rabbit’ (1988) and ‘The Little Mermaid’ (1989).
Watch ‘Mickey’s Christmas Carol’ yourself and tell me what you think:
This is Mickey Mouse cartoon No. 126
To the previous Mickey Mouse cartoon: The Simple Things
To the next Mickey Mouse cartoon: The Prince and the Pauper
Directors: Pinto Colvig, Walt Pfeiffer & Ed Penner
Release Date: April 17, 1937
Stars: Mickey Mouse, Donald Duck, Clarabella Cow, Clara Cluck, Goofy
We watch Donald trying to recite ‘Twinkle Twinkle Little Star’ while forgetting the words, Clarabella Cow and Clara Cluck performing an operatic song, and Goofy with an automatic one man band that goes haywire.
Donald surprises not only his but also the modern audience by drawing a tommy gun to shoot at the audience(!). However, it’s Goofy’s silly musical machine which draws the biggest laughs in a hilarious sequence, with particularly silly animation.
‘Mickey’s Amateurs’ ends with Donald getting caught in the closing end circle. Self-awareness gags like this were rare at Disney’s (another example is the burning title card in ‘Mickey’s Fire Brigade‘ from 1935), but would become standard repertoire at Warner Bros. and in Tex Avery’s cartoons at MGM.
Watch ‘Modern Inventions’ yourself and tell me what you think:
This is Mickey Mouse cartoon No. 94
To the previous Mickey Mouse cartoon: Moose Hunters
To the next Mickey Mouse cartoon: Modern Inventions
Director: Ben Sharpsteen
Release Date: June 20, 1936
Stars: Mickey Mouse, Donald Duck, Goofy, Pete
‘Moving Day’ is the this third of the classic trio cartoons featuring Mickey, Donald and Goofy. In this entry Mickey is hardly visible. Most of the cartoon is taken by his co-stars in two all too elaborate sequences: one featuring Goofy in a surreal struggle with a piano with a will of its own, and another featuring Donald’s trouble with a plunger and a fishbowl.
Despite the great animation, one gets the feeling that in this cartoon the artists were too much obsessed with character and less with gags, making this cartoon a bit slow and tiresome, when compared to the previous trio outings ‘Mickey’s Service Station’ and ‘Mickey’s Fire Brigade‘ from 1935. Luckily, in later trio shorts like ‘Moose Hunters’ or ‘Hawaiian Holiday’, the fast pace was found again.
‘Moving Day’ is the first cartoon to feature Pete in color. It was also the last of only three cartoons in which Art Babbitt animated Goofy. After he had done so much for the character in ‘Mickey’s Service Station’ and ‘On Ice‘, one can say that in ‘Moving Day’ he went a little too far in milking the goof’s scenes. Anyhow, Babbitt went over to feature films, but after these three shorts Goofy’s character was established well enough for others to take over with equally inspired results.
Watch ‘Mickey’s Fire Brigade’ yourself and tell me what you think:
This is Mickey Mouse cartoon No. 85
To the previous Mickey Mouse cartoon: Mickey’s Rival
To the next Mickey Mouse cartoon: Alpine Climbers
Director: Jack Kinney
Release Date: January 5, 1951
Stars: Goofy, the mountain lion
Unfortunately, he’s visited by the tree’s former owner, the mountain lion from the Donald Duck short ‘Lion Around‘ (1950), and together they fight over the hammock.
The gag routine is laid out well, involving many ringings of doorbells and falls from great heights, resulting in an extraordinarily long falling sequence. However, the comedy is hampered by irritating vocal sounds by both Goofy and the mountain lion, and by a slightly sloppy timing. This is too bad, for a possibly very funny cartoon now only becomes average.
In 1952 the mountain lion would reappear again in the Goofy short ‘Father’s Lion’.
Watch ‘Lion Down’ yourself and tell me what you think:
Director: Jack Kinney
Release Date: November 30, 1950
This cartoon starts with the opening shot of a tired Goofy dragging himself into his own home from ‘Goofy Gymnastics‘ from the previous year.
This time, however, the voice over advises Goofy to get a hobby, for example photography. This leads to several great photography gags, especially when Goofy tries to make pictures of a bear, which results in a long, fast and gag-packed chase sequence involving a funfair. It also reuses a gag involving a cab from ‘Baseball Bugs‘ (1946), showing Jack Kinney’s interest in the gag language of Disney’s rivals.
‘Hold that pose’ is one of Goofy’s funniest shorts, and certainly one of his best cartoons of the fifties.
Watch ‘Hold That Pose’ yourself and tell me what you think:
Director: Jack Kinney
Release Date: June 30, 1950
Rating: ★★★★★ ♕
‘Motor mania’ is a quite disturbing film about road manners, it even becomes nightmarish when we watch cars bark at a helpless pedestrian. It is as moralistic as it is funny. And it remains somehow strikingly relevant today, making it an original classic within the Goofy series.
‘Motor Mania’ is the only Goofy cartoon in which our hero is depicted as an unsympathetic and even evil character. But by now Goofy had lost all his former persona. He had changed into a random citizen, so it works very well.
‘Motor Mania’ forms another step in the evolution of Goofy into the American everyman. By now Goofy had replaced Donald Duck as a representative of the American citizen. Donald Duck had been the average citizen in the 1940s, but at the end of the decade his role had been diminished, evolving into a straight man for the antics of Chip ‘n Dale, the little bee and such. Jack Kinney’s Goofy took over, cumulating in the typical 1950s everyman, George Geef, in ‘Cold War‘ from the next year.
Watch ‘Motor Mania’ yourself and tell me what you think:
Director: Jack Kinney
Release Date: September 23, 1949
In this short Goofy orders some home training devices to improve his condition. All his attempts fail, of course, sometimes in surprisingly long and elaborate gags, involving great situation comedy. It’s this cartoon Roger Rabbit watches in the cinema in ‘Who Framed Roger Rabbit?‘ from 1988.
Together with the previous ‘Tennis Racquet‘, Goofy Gymnastics’ is a transitional Goofy cartoon: it’s the first cartoon showing the restyled Goofy as an average American citizen. Unlike ‘Tennis Racquet’, however, there’s only one Goofy in this cartoon, who even sings his own theme song ‘The world owes me a living’ again. ‘Goofy Gymnastics’ marks the last time we see Goofy in his original hat, which he only puts on after changing into his gym costume. It’s also the last of the Goofy sports cartoons. The next year, the same tired Goofy is advised to get a hobby, in ‘Hold That Pose‘.
Like the earlier great sports cartoons it uses a posh voice over, who’s completely out of tune with Goofy’s antics with his home training gear. The action is a bit slow, however, and the animators make no attempts to synchronize their character’s lip movements with the now obligate Goofy vocalizations.
Watch ‘Goofy Gymnastics’ yourself and tell me what you think:
Director: Jack Kinney
Release Date: August 26, 1949
Kinney’s first Goofy film in four years, ‘Tennis Racquet’ is a transitional film: together with the next Goofy short, ‘Goofy Gymnastics‘, it’s firmly rooted in the 1940s Goofy tradition, being a sports cartoon, similar in content to ‘How to Play Football‘ (1944) and ‘Hockey Homicide‘ (1945). Moreover, in the first scene we hear one of the Goofy characters (the cartoon contains several of them) singing Goofy’s own theme song “the world owes me a living”, and in the end we can hear the typical Goofy yell, introduced in “The Art of Skiing” (1941). The short even features a slow motion gag, not seen since ‘How to swim‘ (1942).
On the other hand, it can also be seen as the first entry of Goofy’s second series, for the character has been completely redesigned. The next year this new, redesigned Goofy would turn into Mr. Geef, the everyman.
Like ‘How to Play Football’ and ‘Hockey Homicide’, ‘Tennis Racquet’ has no educational value: the cartoon consists of one frantic tennis match between two Goofy characters. It’s a fast and funny cartoon, full of silly gags. The highlight may be the running gag of the stoic gardener, who enters the game at several points, undisturbed by the frantic action around him.
Watch ‘Tennis Racquet’ yourself and tell me what you think:
Directors: Jack Kinney, Hamilton Luske & Bill Roberts
Release Date: September 27, 1947
Stars: Jiminy Cricket, Mickey Mouse, Donald Duck, Goofy, Edgar Bergen, Luana Patton
It consists of two unrelated stories, which were both originally conceived as feature films in 1940/1941. The two stories, ‘Bongo’ and ‘Mickey and the Beanstalk’ are loosely linked by Jiminy Cricket, who sings the happy-go-lucky theme song.
He plays a record to a sad doll and a gloomy bear which features Dinah Shore telling the story of Bongo in rhyme and song. This cute, if unassuming and forgettable little film (after a story by Sinclair Lewis) tells about Bongo the circus bear, who breaks free from the circus, falls in love with a cute female bear called Lulubelle, and combats a large brutal bear called Lumpjack.
Immediately after this story has ended, we follow Jiminy Cricket to a live action setting: a private party with a little girl (Luana Patton), Edgar Bergen and his two ventriloquist sidekicks, the cynical Charlie and the dumb, but gentle Mortimer.
Bergen tells a version of ‘Jack and the Beanstalk’, starring ‘famished farmers’ Mickey, Donald and Goofy in their last classic trio outing. This part had a long genesis, the early drafts of this film go back to 1940. Apparently Pinto Colvig had returned to the Disney studio, because Goofy has his voice back after having been silenced for eight years. Pinto Colvig would do Goofy’s voice in two subsequent shorts, ‘Foul Hunting‘ (1947) and ‘The Big Wash‘ (1948), before leaving again, leaving Goofy voiceless, once more. This sequence is also the last theatrical film in which Walt Disney does Mickey’s voice. Halfway the production Jimmy MacDonald took over.
This second episode of ‘Fun and Fancy Free’ is a delight, if a little bit slow. Its humor derives mostly from Charlie’s sarcastic interruptions. Nevertheless, the animation of the growing beanstalk and of Willie the giant is stunning.
Willie would be the last giant Mickey defeated, after having done with giants in ‘Giantland‘ (1933) and ‘Brave Little Tailor’ (1938). Unlike the other giants, Willie is an instantly likeable character, and he was revived as the ghost of Christmas Present in ‘Mickey’s Christmas Carol‘ (1983).
‘Fun and Fancy Free’ is a lighthearted film. Like Disney’s other package features, it is not too bad, but it is certainly not among the ranks of masterpieces.
Watch the opening scene of ‘Fun and Fancy Free’ yourself and tell me what you think:
Director: Clyde Geronimi
Release Date: February 6, 1948
‘The Big Wash’ was Clyde Geronimi’s last cartoon and his only one in the Goofy series. In the years to follow he would concentrate his directing skills on feature films, with the exception of two short specials, ‘Susie, the Little Blue Coupe’ (1952) and ‘The Story of Anyburg, U.S.A.’ (1957).
‘The Big Wash’ is not really a highlight in Geronimi’s career. Like ‘Foul Hunting‘ from the previous year, it uses the original Goofy character and Pinto Colvig’s voice, and, like in the former cartoon, this results in a slow, boring and remarkably old-fashioned film. The short is cute, but terribly unfunny, especially when compared to most other Goofy cartoons or contemporary entries from other studios.
‘The Big Wash’ was the last cartoon to feature the Goofy character as it was developed in the thirties. In his next cartoon, ‘Tennis Racquet‘, Goofy was not only once again voiceless, he was also redesigned, making him more fitting to the post-war era.
Watch ‘The Big Wash’ yourself and tell me what you think:
Director: Jack Hannah
Release Date: January 23, 1948
In this cartoon we follow two Goofy characters who both bet on a horse race. One of them is a typical Hannah-style underdog, and decidedly a gay stereotype. The gay Goofy’s favorite, Old Moe, wins from the other Goofy’s favorite, star horse Snapshot, because the latter just can’t resist the camera.
In one frantic scene ‘They’re off’ uses footage from ‘How to Ride a Horse’ (1941), ‘Fantasia’ (the unicorns from the Pastoral Symphony sequence) and ‘Hockey Homicide‘ (1945).
Watch ‘They’re Off’ yourself and tell me what you think:
Director: Jack Hannah
Release Date: October 31, 1947
‘Foul Hunting’ is Jack Hannah’s third Goofy cartoon, and it is very different from his first two (‘A Knight for a Day‘ and ‘Double Dribble‘ from 1946). This cartoon returns to the original Goofy character, arguably unseen since ‘Baggage Buster’ from 1941. More surprisingly, Goofy suddenly has his voice back – apparently, Pinto Colvig had returned to Disney.
Unfortunately, it’s this voice that slows down the action, making the cartoon less funny than the voiceless entries and giving it a painfully old-fashioned appearance. After five years of cartoons with multiple Goofies, this return to the ‘real’ Goofy feels like a retrogression. Pinto Colvig would be Goofy’s voice again in the equally unfunny ‘The Big Wash‘ (1948).
Watch ‘Foul Hunting’ yourself and tell me what you think: