You are currently browsing the tag archive for the ‘Paul Terry’ tag.

Director: Henry Selick
Release Date: April 12, 1996
Rating: ★★★½
Review:

Based on the children’s book by Roald Dahl from 1961 ‘James and the Giant Peach’ is, in fact, a hybrid, starting and ending as a live action movie, with the middle forty minutes (ca. half the movie) being done entirely in stop-motion.

The opening scenes set ‘James and the Giant Peach’ as one of the great fantasy films of the nineties. The sets and atmosphere are magical and dreamlike, with no attempt at reality. James’s horrific aunts, too, are grotesque and deeply rooted in caricature. They are excellently played by British actresses Miriam Margolyes and Joanna Lumley, who are allowed to play their personas as broadly as possible. Young James, in contrast, remains perfectly normal, and Paul Terry’s performance is on the brink of boring.

Despite the great opening scenes, the real fun starts when James descends into the giant peach. During this scene he transforms into his puppet self, and inside he meets a sextet of giant ‘insects’ (in fact, three of them are insects, the others being a myriapod, an arachnid and an annelid), with whom he decides to fly to New York, cleverly using sea gulls to propel the peach into the air.

Except for the all too bland glowworm, the arthropods are delightful characters: there is a very American sounding boastful and bragging centipede (Richard Dreyfuss), a motherly ladybug (Jane Leeves), an aristocratic and knowledgeable grasshopper (Simon Callow), an anxious and gloomy earth worm (David Thewlis), and a femme fatale-like but friendly French female spider (Susan Sarandon). The design of these is less eccentric than that of the protagonists in ‘The Nightmare Before Christmas’, but still have some freaky touches, most notably Miss. Spider’s eyes, which each consist of two yellow eyeballs. Moreover, they all have the correct number of legs, with Miss Spider’s eight legs all ending in elegant boots. The animation, too, retains some creepy-crawly quality, and Miss Spider remains a little scary, despite her friendliness.

The voice cast is excellent, and most of the humor originates from the interplay between these characters, but there is plenty of action anyway, with the bugs having to battle a mechanical shark, defend themselves against a ghost ship, and fight starvation.

Unfortunately, after 59 minutes we return to live action, when James and his friends land in New York. True, this New York remains a fantasy-product, with very stagy and crooked sets, but lasting a staggering 30 minutes this finale turns out to be overlong and weak. It does not really help that the film makers decide to make the aunts survive the crushing of their car and to follow James into New York, an idea not in the book. Believability is certainly breached in these scenes, because of the fake character of the sets, some wooden action of the crowds, and the strange interplay between the grotesque aunts and the more down-played Americans. Moreover, the insects are mostly absent from these scenes, which only show that young actor Paul Terry cannot carry these scenes on his own, which seem to drag without inspiration.

Another letdown of this film are the four songs by Randy Newman. All four are weak and forgettable. Even worse, they are clearly superfluous, and they threaten to stall the action instead of helping the story forward. Luckily, there are only four of them, making ‘James and the Giant Peach’ much more tolerable as a film than ‘The Nightmare Before Christmas’ was, but nevertheless I regard this film yet another victim of the unwritten rule that every animation film should be a musical, which was prevalent in the 1980s and 1990s.

The overlong finale and unwelcome songs prevent ‘James and the Giant Peach’ to become an all-time classic, and certainly it was not well received back then, becoming a box office bomb. With this the short Disney adventure into stop motion ended. This is pity because the stop motion animation is excellent and delightful to watch throughout.

There is also a fair deal of computer animation, surprisingly executed by Sony Pictures Image works, who did an excellent job on the rhinoceros, some dancing clouds, and the mechanical shark. The latter, especially, is a great piece of computer animation, as it blends surprisingly well with the stop-motion and never loses its fantastical character.

Disney thus may have stopped making stop motion films, but both Tim Burton and Henry Selick continued to follow this path, with Tim Burton making ‘Corpse Bride’ in 2005 and ‘Frankenweenie’ (again for Disney) in 2012, while Henry Selick joined Will Vinton’s LAIKA studio in 2005 to make the widely acclaimed ‘Coraline’ (2009).

Watch the trailer for ‘James and the Giant Peach’ yourself and tell me what you think:

‘James and the Giant Peach’ is available on Blu-Ray and DVD

Director: Paul Terry
Release Date: August 25, 1916
Stars: Farmer Al Falfa
Rating:

Farmer Al Falfa's Revenge © Paul TerryIn this very short animated cartoon a near-sighted British hunter called Sir Henry Bonehead comes poaching at farmer Al Falfa’s game reserve.

The hunter even shoots at Al Falfa, thinking the bearded man is a goat. In the end the farmer disposes of both hunter and his black servant.

This short shows that quality never has been in Paul Terry’s vocabulary. The story makes no sense, there’s no plot to speak of, the gags are lame, and the animation stiff as hell. Others at the Bray studio could do better, much better.

Watch ‘Farmer Al Falfa’s Revenge’ yourself and tell me what you think:

‘Farmer Al Falfa’s Revenge’ is available on the DVD ‘Before Walt’

Director: Paul Terry
Release Date: October 18, 1916
Stars: Farmer Al Falfa
Rating: ★★

Farmer Al Falfa Sees New York © Paul TerryIn 1915 Paul Terry joined the Bray studio and introduced a character of his own called farmer Al Falfa.

Farmer Al Falfa never amounted to something of an interesting character, like for example a Bobby Bumps or Felix the Cat, and I doubt whether he ever had many fans. Yet, the animated farmer lasted until 1937, and even didn’t completely disappear after that.

‘Farmer Al Falfa Sees New York’ is Farmer Al Falfa’s ninth film, and has the farmer visiting the big city, where he’s seduced by a remarkably realistically drawn woman. Later he plays cards with some cheating criminals, only to win after all.

Unlike J.R. Bray, Paul Terry was a rather poor draftsman, as this film clearly shows. The animation is weak and formulaic, and the farmer and the woman don’t inhabit the same cartoon universe. The result is a rather inferior cartoon that nevertheless foreshadows the quality of most animation of the silent era, unlike Bray’s own early high quality films.

Indeed, most of the secret of Terry’s success did not lie in the quality of his work, but in his working speed. Yet, his stay at Bray’s studio was not a happy one, and at the end of 1916 he left, only to get inducted in the army. A few years after World War I, in 1921, Terry would return to the animation business, co-founding a studio with Amedee J. van Beuren, reviving his character Al Falfa, and becoming one of the biggest players in the field.

Watch ‘Farmer Al Falfa Sees New York’ yourself and tell me what you think:

‘Farmer Al Falfa Sees New York’ is available on the DVD & Blu-Ray-set ‘Cartoon Roots: The Bray Studios Animation Pioneers’

Director: Frank Moser
Release Date: 1930
Rating: ★★
Review:

Family Album © Audio Productions‘Family Album’ is a commercial by Charles W. Barrell for the Western Electric Company, glorifying the telephone, and its ‘offspring’: other inventions that are derived from telephone technology, including the microphone and the speaker.

The film reuses the character Talkie from Fleischer’s earlier film ‘Finding his voice‘ (1929), but its star is an anthropomorphized telephone, talking about his family. Although quite educational, the film is less interesting than Fleischer’s film. The animation, by veterans Paul Terry and Frank Moser, is rather poor and limited. There’s no rubbery animation whatsoever, and the designs are still in 1920s style.

‘Family Album’ is available on the DVD ‘Cultoons! Rare, Lost and Strange Cartoons! Volume 2: Animated Education’

Director: John Foster
Release Date:
 October 11, 1929
Stars: Farmer Al Falfa
Rating:
Review:

Summer Time © Van BeurenOf all American animation studios from the 1930s the Van Beuren Studio must be the least known.

This is no small wonder, for it was not only short-lived, lasting nine years, it was also the weakest studio of the lot, never reaching the heights of Max Fleischer or Walt Disney, and with only a few great cartoons in its entire catalog.

Thanks to Steve Stanchfield and his Thunderbean company, however, quite a sample of this studio’s output has been made available on DVD, so everybody can enjoy them (and incidentally making the Columbia/Screen Gem studio the least known studio – as its films remain utterly unavailable).

Before 1928 Van Beuren’s cartoons were made by Paul Terry, but in November 1928 the success of Disney’s ‘Steamboat Willie‘ prompted Amadee J. Van Beuren to announce that his studio would make the switch to sound, too. This led to a clash with Terry, who left mid-1929, leaving most of the staff and the studio’s main character, the bland Farmer Al Falfa, until Paul Terry reclaimed him in 1930.

The Van Beuren studio was more or less forced into the area of sound, and its crew totally unprepared, lacking experience. Indeed, ‘Summer Time’, Van Beuren’s 16th sound cartoon, is a strange blend of silent film and sound film: words and sound expressions are still visible on the screen, and while there’s music, there’s no rhythmical movement. Moreover, both design and animation are still firmly rooted in the 1920’s and there’s practically no plot, only three unrelated scenes.

The most interesting aspect of this film is Gene Rodemich’s music score, which still sounds fresh. In fact, Rodemich’s scores turned out to be the only constant quality within Van Beuren’s output, being among the best of all 1930s cartoon scores.

The three scenes of ‘Summer Time’ are 1) a frog and a monkey playing some music, waking up an angry owl. 2) A mouse playing in a fat woman’s shadow, attracting other mice, and scaring the woman away, and 3) Farmer Al Falfa being hot and making himself a drink. This story contains a weird scene in which the sun zooms into the camera to visit farmer Al Falfa at his own doorstep. This is the only interesting piece of animation in the entire film.

The cartoon ends with a moral, like many Aesop’s Fable cartoons before it. However, this practice was soon abandoned in 1930.

Watch ‘Summer Time’ yourself and tell me what you think:

‘Summer Time’ is available on the DVD ‘Aesop’s Fables – Cartoon Classics from the Van Beuren Studio’

Director: Frank Moser
Release Date: 1919
Stars: Bud and Susie
Rating:
Review:

Still from 'Down the Mississippi' featuring Bud, Susie and their cat on a raft pulled by an alligator‘Down the Mississippi’ is a cartoon created by Frank Moser, who would later co-found Terrytoons with Paul Terry.

Like, Ub Iwerks, Moser is known as a very fast animator. However, unlike Iwerks, Moser wasn’t either innovative or funny. It may be unfair to use such an early cartoon as ‘Down the Mississippi’ as an example, but the ‘Bud and Susie’ series was Moser’s own creation, so it could have been inspired. This is not the case.

In ‘Down the Mississippi’ Bud, Susie and their cat read ‘Huckleberry Finn’. When the sandman puts them to sleep, they dream they’re on the Mississippi. The cat catches an electric eel and Bud a crocodile. They camp at the river bank, where they’re eaten by a bear(?, the animal isn’t very distinguished). The animation is crude and the animal design typical of the twenties. Nothing is particularly outstanding in this cartoon, which isn’t funny either.

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

Director: Walt Disney
Release Date:
November 18, 1928
Stars:
Mickey Mouse, Minnie Mouse, Pete
Rating:
★★★★★ ♕
Review:

Steamboat Willie © Walt Disney

In 1928 Walt Disney was at a low point in his career. He had refused to work for Charles Mintz at lower wages, he had lost most of his staff to Mintz, and he had no distributor for his new cartoon star, Mickey Mouse.

Mickey’s first two cartoons, ‘Plane Crazy‘ and ‘Gallopin’ Gaucho‘, were well-made and entertaining films, but they didn’t impress any distributor. The problem was that despite their high quality, they were not really different from other cartoons, like Disney’s former own Oswald the Lucky Rabbit series. Disney had to think of something.

And he did. Mickey’s third cartoon would have the distinction of sound. Sound was an extremely fresh cinematic feature at the time. The breakthrough feature, ‘The Jazz Singer’ had only been released in October 1927, and the first all talking picture, ‘Lights of New York’ was only released in July 1928, the month in which production on ‘Steamboat Willie’ started.

Using sound creatively

Surprisingly, ‘Steamboat Willie’ was not the first cartoon to use synchronized sound. The Fleischer studio, for example, had experimented with the technique as early as 1924, and in October 1928 Paul Terry would release ‘Dinner Time’, which also used a synchronized soundtrack. However, Fleischer’s films failed to reach complete synchronicity, and Paul Terry’s film (which can be watched here) is essentially a silent and remarkably boring cartoon, which just happens to have sound to it.

‘Steamboat Willie’ on the other hand makes perfect use of the novelty of sound. Already in the opening scene we’re treated on something no less than spectacular: we watch and hear Mickey Mouse whistling a joyful tune. After watching several silent cartoons, this sole scene still has a startling effect. But all scenes in ‘Steamboat Willie’ are there to show us the novelty of sound: we watch and hear whistles blowing, cows mooing, chickens cackling, and Minnie shouting “yoo”-hoo”. And thanks to the invention of the click track all sounds are in perfect synchronization with the moving images.

However, the real treat of ‘Steamboat Willie’ comes after 4 minutes, when a goat swallows Minnie’s sheet music and guitar. What seems a disaster turns out to be a delight, for the goat becomes musical, and Mickey and Minnie turn it into some kind of hurdy-gurdy. This gag, in fact, had already been used in the silent Oswald the Lucky Rabbit cartoon ‘Rival Romeos‘ (released in March), but makes much more sense with the added sound. For now the goat-hurdy gurdy provides an intoxicating soundtrack for Mickey to improvise on, incidentally mostly by torturing animals. This musical number, based on ‘Turkey in the Straw’ is a sheer delight, and entertains even today.

The impact of ‘Steamboat Willie’

Needless to say ‘Steamboat Willie’ boosted both Mickey Mouse’s and Walt Disney’s career and it gave a valuable shot to the ailing animation industry. Yet, it also caused a setback, one that can already be seen in this cartoon. In ‘Steamboat Willie’, sound is the sole raison d’être of some of the shots (chickens cackling, a cow mooing). But more important, storyline has given way to an extensive musical number. While the two Mickey Mouse shorts that were made before, ‘Plane Crazy’ and ‘Gallopin’ Gaucho’, had strong, albeit simple stories, Steamboat Willie has almost none. It wasn’t necessary: simply watching Mickey Mouse dancing and playing to the music was marvelous enough for the audiences of that time.

Therefore, in the years after the success of ‘Steamboat Willie’, Disney would favor often tiring sing and dance routines above great story lines. It took the studio almost two years to bring back strong stories to its cartoons (Mickey’s 19th film, ‘The Fire Fighters’ from 1930, is arguably the first).

Conclusion

Nevertheless, ‘Steamboat Willie’ is a great cartoon, and a lot of fun to watch. It is still deeply rooted in the silent era: because lip synchronization had not been developed yet, the characters’ vocabulary remains rather limited. Therefore, it still uses a comic strip-like visual language to express the characters’ feelings. Yet, the musical number is both fresh and catching.

When you’ve seen Steamboat Willie, you’ll be whistling ‘Turkey in the Straw’ for days, with a smile on your face.

Watch ‘Steamboat Willie’ yourself and tell me what you think:

This is Mickey Mouse cartoon No. 3
To the previous Mickey Mouse cartoon: Gallopin’ Gaucho
To the next Mickey Mouse cartoon: The Barn Dance

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 1,112 other followers
Bookmark and Share

Follow TheGrob on Twitter

Categories