Ted Sears | Dr. Grob's Animation Review

Director: Burt Gillett
Release Date: May 27, 1933
Rating:★★★★★ ♕
Review:

‘Three Little Pigs’ is one of the most successful, most famous and most perfect cartoons ever made. It was hugely popular when it was released, with people associating its catchy theme song ‘Who’s Afraid of the Big Bad Wolf’ with an optimism with which one could fight the haunting effects of the Great Depression.

Norm Ferguson and Fred Moore were the principle animators on the film. Norm Ferguson animated the wolf in his typical broad vaudeville acting style, which comes to full bloom in this film. The wolf is a great character, with his glances at the public. He’s a real villain, but somehow too sympathetic as an actor to be really threatening. Unfortunately, his design is not very consistent. Especially his eyes are unsteady and a bit wobbly. One can clearly watch the wolf’s design improving during the film, as if it was animated chronologically. And this may very well be possible.

However, it’s Fred Moore’s animation that made the deepest impression on the animation field. Because of his animation on the three pigs, ‘Three Little Pigs’ is regarded as the first animated cartoon to feature so-called character animation. The three pigs form the key to character animation: although the three are drawn the same, the sensible pig behaves differently from the other two: he’s clearly a different character, not by design, but by animation. This was a great step forward in the evolution in animation, and one admired by the whole animation industry.

Apart from that the pigs’ designs, by the highly influential concept artist Albert Hurter, are highly appealing. Hurter had joined Disney in June 1931, first as an animator, but soon he switched to concept art, and he had a tremendous influence on the looks of Disney’s films in the 1930s. It must have been around this time that Disney started to think of an animated feature – a daring project which would dominate the studio during 1934-1937. For this ambitious project Moore would design no less than seven similar, yet different characters, while Hurter would indulge in elaborate sets, full of little details.

‘Three Little Pigs’ was a success not only within the animation industry, but with the American public, as well. The audiences took the film and its catchy song ‘Who’s Afraid of the Big Bad Wolf’ (sung by Mary Moder, Dorothy Compton and Pinto Colvig) as a sign of comfort and hope in the dark days of the Great Depression era. And even after more than eighty years, Frank Churchill’s song is still extremely catchy, even though it’s never heard in its entirety during the short. After a while the cartoon became no less than a sensation, lasting weeks in some theaters, and spawning a great deal of merchandise, like alarm clocks and jigsaw puzzles. In 1934 it won the Academy Award for best animated short film. In 1941 it was still famous enough to be changed into Disney’s first war propaganda film: ‘The Thrifty Pig‘.

The film undoubtedly was Walt Disney’s most famous and most successful short, and the first Silly Symphony to spawn sequels – due to the pressure by distributor United Artists. These sequels (‘The Big Bad Wolf‘ from 1934, ‘Three Little Wolves‘ from 1936, and ‘The Practical Pig‘ from 1939) were, of course, much less successful than the original, and are all but forgotten today. As Walt Disney himself said “You can’t top pigs with pigs’.

The film also raised director Burt Gillett’s fame, and soon he was lured away by the ailing Van Beuren studios to repeat this immense success. However, at Van Beuren it soon became clear that ‘Three Little Pigs’ was not a success because of Burt Gillett’s genius, but because of the ambitious group effort of the Disney studio, and Gillett never managed to come near his most successful films at Disney again.

For ‘Three Little Pigs’ was a true collective effort, with Hurter, Churchill, Ferguson and Moore showing their best work thus far, but also through contributions by e.g. Art Babbitt, Dick Lundy and Jack King, who also animated some sequences, voice artist Pinto Colvig, the voice of the practical pig, and story man Ted Sears, who both contributed to the cartoon’s theme song, and Carl Stalling, who provided the practical pig’s piano-playing.

The film has easily stood the test of time: not only are the characters still appealing, its backgrounds are gorgeous, its music catchy, and its storytelling extraordinarily economical and effective, probably because ‘Three Little Pigs’ may have been the first animated cartoon with a complete storyboard. The short’s joy is still infectious today. And although one will always remember the short’s cheerfulness, it contains some black humor, too: look for the portraits of dad and Uncle Tom in the wise pig’s house.

By the way, present-day viewers see an altered version of the film. The original featured a sequence in which the wolf dressed as a stereotyped Jewish door-to-door salesman. For its video release in the early 1980s this sequence was completely redrawn, to remove all Jewish references.

Watch ‘Three Little Pigs’ yourself and tell me what you think:

This is Silly Symphony No. 36
To the previous Silly Symphony: Father Noah’s Ark
To the next Silly Symphony: Old King Cole

Director: Dave Fleischer
Release Date: July 18, 1930
Rating: ★★★★
Review:

The Fleischer studio had already experimented with synchronized sound in 1924, four years before ‘Steamboat Willie‘, so of all cartoon studios they made the transition to sound the most easily.

The Fleischers’ first sound series were the Screen Songs, the first of which was released in February 5, 1929. Eight months later they were followed by the aptly titled Talkartoons. These Talkartoons didn’t have a single star, but like Disney’s Silly Symphonies explored a wide range of subjects.

These Talkartoons show the Fleischers’ disregard of lip synchronization. This feat was reserved for special scenes, like song sequences. Unlike Disney, the Fleischers recorded all dialogue after animation, inviting the voice actors to ad-lib at will. Thus the Fleischer cartoons were the most talkative of all 1930s shorts. This technique reached its peak when Jack Mercer became Popeye’s voice in 1935, but already peppers their earliest output.

The improvised dialogue suits the studio’s free spirited, and equally improvised animation style perfectly. Add a multitude of zany gags, strikingly jazzy soundtracks and remarkably adult subject material, and it’s clear why the Max Fleischer cartoons from 1930-1933 are among the most delightful of all studio cartoons from the golden age.

‘Wise Flies’, the seventh Talkartoon, is a perfect example. It uses the theme of ‘the spider and the fly’, a theme Walt Disney would also use one year later in ‘The Spider and the Fly‘ (1931). However, the Disney version lacks the sexual overtones present in this Fleischer’s version. In it a six-legged spider spots some flies on a hobo’s head. He tries to catch one, but returns home to his wife empty-handed.

However, later he seduces a female fly, playing ‘Some of These Days’ on his web (a delightfully fast piece of guitar jazz). He then starts singing this tune, popularized by Sophie Tucker in 1926, and a hit for Louis Armstrong in 1929. His song leads to a dance sequence much akin to Disney’s Silly Symphonies from the same era. The film ends when the spider’s wife gets jealous, and interrupts the spider’s courting.

The animation by Willard Bowsky and Ted Sears is crude and simple, but the swinging soundtrack is delightful. The end result is an enjoyable piece of rubberhose animation.

Watch ‘Wise Flies’ yourself and tell me what you think: