Variations on a theme, working backwards in time

Fans of classic Warner Brothers cartoons might observe that Isadore "Friz" Freleng was quite fond of re-using gags and story ideas, often transplanting them onto different characters. (See my earlier post on "Curtain Razor") Here is another example, his 1957 cartoon "Bugsy and Mugsy".

Bugsy and Mugsy:


In this short, Bugs is living under the floorboards of bank robbers Rocky and Mugsy's latest hideout. Throughout the cartoon, he tries to convince Rocky that his dim-witted sidekick Mugsy is smarter than he looks, and is trying to kill Rocky and take the stolen loot for himself. As the two crooks beat each other up, Bugs alerts the cops to their presence (which Rocky blames Mugsy for, continuing their fight even in the back of the police car). Why does Bugs do this? Just out of a sense of justice, it would appear. The two gangsters don't actually threaten Bugs in any way - they have no idea he's there - but he feels the need to turn the two criminals in. As they are established as Bad Guys at the beginning we don't seem to mind when Bugs starts playing mind-games on them unprovoked. Well... we don't feel too bad for Rocky. Mugsy is so clueless you've got to feel bad for the befuddled guy, being constantly beaten up for things he hasn't done.

Freleng had already used most of the same plot elements before, in 1950's "Stooge for a Mouse".

Stooge for a Mouse:

Sylvester The Cat - (Ep. 20) - Stooge For A Mouse by cartoonNetworks

This earlier version has an all-animal cast. A mouse takes the role later played by Bugs, with Sylvester the cat in Mugsy's role and a bulldog named Mike in Rocky's. Mike and Sylvester are much friendlier with each other than Rocky and Mugsy would be, and neither is portrayed as being particularly villainous, so I think more audiences would sympathise with them than with the gangsters in the later cartoon. One notable difference is that Sylvester and Mike *are* a threat to the mouse, and so he has more of a personal reason to plot against them. Does his make him more sympathetic, or less so because he appears less selfless than Bugs in the later cartoon? (Notice that in "Stooge for a Mouse", he, not the characters he plots against, is described as a robber) Some audiences may automatically side against Sylvester, recognising him from other cartoons where he comes across as a villain... but Sylvester was often portrayed as a hapless victim or even as a hero in other cartoons, so we can take our pick really.

Well, it doesn't matter who you root for because the end result is that all three characters are knocked unconscious, with an ironic "Home Sweet Home" sign falling behind them. There is less of a straightforward "good guys win through pluck and cunning, bad guys lose through suspicious and violent nature" ending than there would be for the later cartoon.

But this was not the first time this plot was used either. Come upriver with me to Famous Studios. Yes, Famous Studios. That's what they were called. They were the successor to the Fleischer studios which made Popeye cartoons, and they continued to make Popeye cartoons along with Casper the Friendly Ghost and other less well-known characters. One of these characters was Herman the Mouse, who starred in 1946's "Cheese Burglar." Usually he was paired with a cat named Katnip, and their relatively obscure cartoons were actually a bigger influence on The Simpsons' "Itchy and Scratchy" than the more famous Tom and Jerry.

Cheese Burglar:


Well, this is the story Freleng would use for "Stooge for a Mouse", all right. But one story element which didn't survive to either Freleng cartoon was that this cat and dog overhear Herman explaining his scheme to the audience (!), stop fighting, and fool Herman into thinking they've killed each other. They repair their friendship, something that Sylvester-Mike and Rocky-Mugsy would not be allowed to do. In fact, instead of having all three characters punished at the end, they all end up forgetting their quarrels in a state of drunkenness, and singing the same friendship anthem the dog and cat sang at the beginning.

In fact, that's another difference. Not only do this cat and dog manage to become friends again, but they are much more affectionate in general to each other than their later Freleng counterparts would be.

As for Herman, is he more sympathetic than the "Stooge for a Mouse" mouse or Bugs? Less sympathetic? Well, he comes across as more morbid ("The cat's death rattle! Music to my ears!") But... the cat and dog are more of a threat to him, and his need to steal from the fridge comes across as greater than that of Freleng's mouse. Again there is no clear "hero" or "villain", and so, while the makers of this cartoon were kinder on the cat and dog than Freleng would be, as in "Stooge for a Mouse" all three characters end up in the same state.

But this idea has been animated before. The roles of hero and villain are even more clear cut than in "Bugsy and Mugsy", and they are the other way around. Here is Columbia Screen Gems' "Cholly Polly", released 1942.


Cholly Polly:


The parrot fills the role later played by Herman, the nameless mouse, and Bugs. Once again he is trying to break up the friendship between a cat (Myrtle) and a dog (Harold). The difference is, well... the parrot is in no danger from the cat and dog, and he is explicitly depicted as, well, a Nazi. His objection to the cat-dog friendship is because he believes it to be unnatural. Herman and the "Stooge" mouse do tell their respective cat and dog enemies "A cat and dog should be enemies, not friends", but they have an ulterior motive - steal the food once the cat and dog have beaten each other senseless. The parrot does not have anything to gain from making Harold and Myrtle fight. He's just doing it For The Evulz.

As a result, the satisfying ending is that Myrtle and Harold realise that the parrot has been plotting against them and throw him out of the house.

Oh, and if you thought that the "Cheese Burglar" cat and dog were more friendly to each other than their later counterparts, check out Harold and Myrtle. Making them fight is like pulling parrots' teeth. It's only just before the very end that the parrot manages to make them fight... and then they realise that they've been tricked. In fact, this is the only time the two characters are one male and the other female. It's almost as if they are being presented as a married couple. Well, the parrot does object to them "sleeping together" at the beginning? Hmmm, could be.

Of course, during World War II there were a lot of anti-Nazi cartoons. But most of them were simple "We're the good guys, they're the generic bad guys" stories. The villainy of the Nazi character here, the parrot, is more specific. He is repulsed by an inter-species... friendship? Romance? Anyway, it seems like this is a rare example of an anti-Fascist cartoon being specifically anti-racist.

(Incidentally, there is a lot of romantic imagery for the cat and dog in "Cheese Burglar", and the cat's voice is slightly androgynous. But when the "Stooge" mouse accuses Mike the bulldog of being a "sissy" for "liking cats", specifically (the male) Sylvester... No, I'm sure that's not what he means.)

So there you go.
Nazi parrot tries to turn innocent cat and dog friends/couple against each other For the Evulz, and fails
becomes
Sadistic but hungry mouse tries to turn cat and dog BFFs against each other so he can get a bite to eat, succeeds for a while, and they call reconcile and get drunk
becomes
Vaguely hungry mouse tries to turn cat and dog good friends against each other so he can steal some food, succeeds, but ends up beaten up like them
becomes
Smart-aleck rabbit tries to turn wanted criminals against each other in order to see justice served, he succeeds with no ill effects.

I don't know if Freleng was influenced by the "Cheese Burglar", or if the people at Famous Studios were influenced by "Cholly Polly", but the similarities -- and therefore the differences -- are fascinating.

What do other animation fans think? Are there any notable similarities or differences I neglected to mention? Do you agree or disagree with any of my interpretations? Please let me know in the comments!

Hoch Hech!

Is anyone familiar with the Zagreb (Croatia) School of Animation?

I'm sure I've seen that Zagreb Film horse logo before, maybe on a Public Domain video. After which I would presumably have fast-forwarded through the cartoon, expecting there to be a culture and/or language barrier.

I think when most people think of Eastern European animation, they think of this:



From the Simpsons episode "Krusty Gets Kancelled", where kids' TV show host Krusty the Klown shows a cartoon starring "Eastern Europe's favorite cat and mouse team, Worker and Parasite!" The title, gloomy music and settings (a factory and a bread-line) are clearly meant to invoke images of the austere, work-driven Soviet Union at the time of the Cold War, and the joke is that it is neither entertaining nor comprehensible to anyone who doesn't live east of the Iron Curtain in the '50s.

(As a side note, in another Simpsons episode from the same time, "Mr Plow", Homer tries to buy a car from "Crazy Vaclav's Place of Automobiles", and is told that the car was built in a country which "no longer exists". I like to think this was the same country that produced "Worker and Parasite", whose titles are written in a fictional Slavic language. And the head animator of the Rembrandt Films Tom and Jerry series, animated and scored - but not written - in 1960s Czechoslovakia, was named VACLAV Bedrich! Coincidence?)

Soviet-era Eastern Europe may well have produced animated shorts which bring "Worker and Parasite" to mind. But the Zagreb cartoons from the 50s and 60s I have found have, I think, a universal appeal. They are generally dialogue-free but manage to tell stories through animation and music. I don't know if their creators had American animation in mind when they made them - were they trying to copy the style of U.S. cartoons, or react against it, or neither?

This cartoon, "Ersatz/Surogat", has the distinction of winning an Academy Award (an Oscar to you and me). It's very quirky and doesn't look anything like a U.S. cartoon... well, not a mainstream U.S. cartoon anyway. It's still easy for Western audiences to follow and be entertained by it, but putting it out as an example of Croatian animated film making kind of implies "they don't think the way we do".



The same director, Dusan Vukotic, was also capable of creating cartoons that were much more recognisable to people in the West. This one tells a story of childhood rivalry and ingenuity that's familiar to all who have been children, but still exaggerated in a suitably cartoony way. It's a bit like the final act of "Hare Today, Gone Tomorrow", where Buster and Babs fool Elmyra into thinking she's travelled to another planet.



The events from 6:15-6:50 bring to mind the fable of the blind men and the elephant.

Another director, Zlatko Grgic (who previously worked as character designer on Vukotic's cartoons) appears to have had two favourite themes: "No Good Deed Goes Unpunished" and "I Don't Know How To End This Thing". Here's his "Musical Pig". Watch as the poor pig brings happiness to all around him by his singing, and how his refusal to let them eat him anyway (!) causes conflict, strife, and even war!

Oh, and the knife-eating sound effects are painfully convincing!

From Dick... to Duck... to Pluck!

This is the Tiny Toon Adventure short "The Return of Pluck Twacy", part of the episode "New Character Day", one of the last episodes of the original 65-episode run. It was written, 'boarded and directed by Eddie Fitzgerald. The opening few seconds of the video are the end of the first segment of the episode. You can ignore that.



First of all, I'd like to clear up any confusion caused by the multiple Tracy/Twacys:

Dick Tracy is a private detective from a newspaper comic strip.
Duck Twacy is from the 1946 cartoon "The Great Piggy Bank Robbery". In this cartoon Daffy avidly reads a Dick Tracy comic strip, knocks himself unconscious, and dreams about being a Dick Tracy style character named "Duck Twacy."
PLUCK Twacy is from the Tiny Toons episode. It is the character *Plucky* dreams about after hearing a speech by Daffy in his Duck Twacy persona.

All sorted? Good. Why do I think there might be some confusion? Well, the segment is supposedly Daffy/Duck Twacy's audition tape, and yet most of it is about Plucky/Pluck Twacy. Also, at one point on his blog Eddie Fitzgerald said that *Pluck* Twacy was a character from a 1940s cartoon who he brought back for TTA. (although he later deleted that, either when someone else pointed out his mistake or when he realised it)

Finally, there is the title, The *Return* of Pluck Twacy. We have never seen Pluck Twacy before, and never will again. So why The Return, unless someone mistook Pluck Twacy for a character who had already appeared?

Anyway, ignoring these problems (which is easy to do after the first few seconds) this is a pretty fun cartoon. The scenes where Plucky bashes himself over the head in order to cope with the tickling are really funny, and the bit on the neon train (a reference, perhaps, to GPBR's "Neon Noodle") is gloriously imaginative, although some may feel it drags out a little.

Some TTA fans are quite hard on it, including one review (on the Tiny Toons Reference Guide) who says that it "sinks to the level of its inspiration", which sounds like a criticism of the original "Great Piggy Bank Robbery". So, it's probably not one for audiences who are into 90s cartoons but not the ones from the 40s. (well, unless there are actually 40s WB fans who don't like "The Great Piggy Bank Robbery" for some reason)

I can kind of understand the problems some people might have with it. There's nothing particularly distinctive to Tiny Toons about it, except in the opening and closing scenes, set in Acme Looniversity, and the point where Plucky gets the vision of Daffy/Duck Twacy giving him advice (that is, because it follows the TTA theme that these are the fans/disciples of the classic characters). Mostly it's a mash-up of multiple classic Warners cartoons, made by someone who is clearly a fan of them and saw this as a chance to make his own.

Obviously, the main set-up comes from Bob Clampett's "The Great Piggy Bank Robbery". The "aura" character is based on Hata Marie from Frank Tashlin's WW2 era "Plane Daffy", and "Tickle-Puss" is Sloppy Moe from Clampett's "Wagon Heels", who saves the day by tickling the villain into submission. There may also be an influence from Bob McKimson's "The Super Snooper" in the way the aura behaves towards Plucky, but the style is much more influenced by Clampett and Tashlin. The scenes where Plucky is surrounded by criminals with weird names, and he gasps as he lists them, is directly from GPBR, although it had already been given a TTA treatment in "Return of Batduck." (I feel the Batduck version works a little better, as it is more imaginative and unexpected, and making all the criminals parodies of Batman's Rogues Gallery gives it a life of its own. Putting it in a setting more directly influenced by GPBR feels less imagintive and more derivative.)

Some shots even seem to be traced from the original cartoons: the long shots of Plucky surrounded by the weird criminals - who all of a sudden look much more like the GPBR villains than the ones in the rest of this cartoon, and the part where Plucky leaps off the guillotine and faces-off the aura - the helmet which he puts on to protect himself from the blade makes him look even more like Daffy in Plane Daffy.

The animation is by Glen Kennedy's studio, which is probably the best choice for a Clampett/Tashlin influenced cartoon. I'm a lot easier on Kennedy than a lot of people, but their animation here is a lot weaker than on some of their other episodes. The scene where Plucky wakes up on the floor of the classroom is particularly bad looking (and there's a strange mistake, where he is seen writhing around for the first few seconds without anyone surrounding him... is he, like, dreaming that he's waking up in an empty classroom, before he actually wakes up in a full one?) Jon McClenahan of Startoons fame animated the introduction where Babs and Buster audition Daffy, and speech Daffy makes to the class, although the last shot of Daffy with the apple seems to be a different animator. It's a shame there isn't more of him, though. I'm sure that Eddie himself was happy to see it assigned to Kennedy, because as we all know he admires Glen Kennedy's work. But I'm not sure if Glen actually animated anything on this one.

Oh, and the ending takes Daffy's "manic depravity" (John Kricfalusi's description of "The Great Piggy Bank Robbery") to a new level. When Daffy woke up, he found himself kissing a pig in a mud pen, and was disgusted for about a second before whooping around excitedly, no doubt because of how much fun his dream was. But in Plucky's case, he bashes himself over the head with a mallet so he can return to his dream! (watch Daffy's encouraging expression at this point!) Kind of reminds me of a certain cop show that I won't name to avoid spoiling people.

Bosko The Minstrel

Those early rubber-hose cartoon characters, with their basic facial designs altered only by the shape of their ears and, occasionally, noses... it can be pretty hard to tell what kind of creature they're supposed to be. Indeed, they made a running joke of it many years later in Animaniacs, where people often wonder what species the Warners are, with their late-20s-early-30s inspired designs.

The Warner Brothers studio's first character, Bosko, fits the usual design pattern - white face, black nose, solid black eyes, and black... hair? covering the rest of his head. But he was apparently meant to be a human character. His ears, the usual species giveaway, look like simplified forms of human ears, compared to the large black things protruding from the tops of Oswald the Lucky Rabbit, Mickey Mouse or Foxy's heads. In fact, he was meant to be a *black* human.

Which seems quite a bizarre claim to make about a white-faced character, but when Harman and Ising took the character to MGM, they made him (and Honey) obviously dark-skinned human characters. I suppose when you think of the stereotyped depictions of black people that were common at the time, Bosko's white face could be seen as comprising large white eyes and large white lips... with the black portion behind his face being his skin.

Certainly, when Bosko and Honey were brought back for an appearance on Tiny Toon Adventures, they were redesigned to have floppy black ears atop their head... making them a more indistinct species like the later Warners on Animaniacs. So, to the people who made that episode at least, there was something controversial about their original appearance.

However, Bosko doesn't really read as a "blackface" caricature. Harman and Ising, and their staff, probably forgot that's what he was meant to be in the first place, or discarded the idea. Take a look at the final gag from this cartoon:



A bomb goes off in Bosko's face, covering it with... bomb dust or whatever, and transforms him *into* a blackface character, announcing "Mammy!" So if he had to be turned into a blackface character, what is he the rest of the time?

Another face-changing reptile

From Bob Clampett's "The Bashful Buzzard" (1945) You won't like this dragon when he's angry. Not only does he suddenly grow himself some teeth, but his head changes shape and size! It's not like we actually see his head changing on-screen... but Beaky Buzzard doesn't recognise the "mean" face when the dragon starts growling at him (0:58-1:08), so we have to assume either a) the dragon's head changed off-screen or b) Clampett assumed his audience would forget that they and Beaky had seen the "turtle" face a few seconds ago. (0:25-0:45)

By the way, anyone know where those "bringing home a baby bumblebee" lyrics orginated? Apparently there's a girl guides / girl scouts song with the same tune and the same lyrics, followed by "I'm squishing up / licking up / bringing (or barfing) up / sweeping up my baby bumblebee"... I wonder if this version predates or postdates Clampett's use here.

Dumboards - Part Two

First of all, I'm not sure when he added this, but thank you to Michael Sporn for adding a link to my blog on his "Splog"! Now, it's high time I returned to the Dumbo storyboards he posted up several months ago.

Bath time!

Carrying on where I left off, here is a sketch of Mrs Jumbo taking her son to be washed... everyone remembers this sequence in the film - a look at the loving relationship between mother and son before they are separated. Tytla's animation is a great portrayal of warmth and affection, of the way they are thoroughly happy to be in each other's presence. This sketch goes for a more comical approach: Dumbo is being taken to his bath against his will, a sulky, bratty expression on his face, while Mrs Jumbo's expression shows amusement at her son's ineffectual resistence. A perfectly valid depiction of a mother-son relationship, but hardly fitting for the only time we see them alone together. To me, Dumbo's expression makes him look too specifically to a drawing of a human boy in a children's storybook... in the film his appearance seems more universal, appealing on both human and animal levels.

Mother and son

Speaking of humans, this pose for Mrs Jumbo and the way she holds Dumbo are much more anthropomorphic than the approach they finally settled on.

Whack-an-elephant

An unused example of the pain and humiliation Dumbo undergoes as a clown.

Wealthy Ringmaster

Now, in the film, the last we see of the Ringmaster is when Dumbo gets back at him during the Big Town sequence. In the following success montage, Timothy becomes Dumbo's manager, and is seen in a still, proudly signing a contract for him. All this is fitting: the Ringmaster was the one who separated Dumbo from his mother, while Timothy has been a loyal friend who we know can be trusted to look after Dumbo's interests. This sketch, however, shows the Ringmaster gaining from Dumbo's success - perhaps he was intended to be a more positive character than he eventually became.

The Dumbo Hop

Dumbo Peanuts

Presumably the story department came up with various ideas for the success montage, and Walt Disney, Ben Sharpsteen or whoever chose which ones to include in the film. There are a few on the Splog which I wish had survived, as they show Dumbo entering the popular consciousness... I'm particularly fond of the "Dumbo Peanuts"... a bit more endearing than the implications of using Dumbo likenesses to bomb civilians in German cities...

Anyway, there are actually many more boards in Michael's post: these are only the ones which I felt I had something to say about. Once again, you can find the rest here. Until next time!

Dumboards - Part One

With Mark Mayerson's Dumbo mosaic drawing to a close I realised I should post my impressions on the story sketches Michael Sporn posted on his "splog" back in May. They're a really interesting look at some unused (or changed) ideas the story-men came up with.

Casey Jones Jr

First of all, Casey Jr, "slow asleep" as Jerry Colonna would have it, in his shed. Notice the full name "Casey Jones Jr" which never appears in the film. (I remember a Little Golden Book or something which referred to the loco as "Casey Jones" though) The name comes from the American legendary figure of Casey Jones, who would later inspire Jack Kinney's short "The Brave Engineer".

Dumbo, Mrs Jumbo, and "friends"

Here we have the other elephants surrounding Mrs Jumbo, with Dumbo resting at her back end. Human figures can be seen in the foreground, and the backdrop (with coconut palm trees) suggests an outdoor setting. The elephants are arranged in the same semi-circular position they are when they complain about Dumbo in the film, but their expressions appear to be kind and indulgent. I'm not sure if this is meant to be a version of Dumbo's birth/delivery, but he already has the big ears.

Toot-Toot-O!

Here we have Casey Jr (deliberately) scaring Dumbo and Timothy. Casey doesn't really behave in this manner in the film, where "he" doesn't do anything as humanised as his annoyed finger-drumming in his Reluctant Dragon segment.

Giant of the Jungle

Monarch of the Jungle

Now, these two are the big'uns. People have often wondered who Dumbo's father is. His mother is referred to as Mrs Jumbo, with a married woman's title, and Dumbo himself is originally named "Jumbo Jr." So, who is Jumbo Sr? The fact that Dumbo is delivered by a stork shows that, in this fantasy world, childbirth (and conception) doesn't really work the same way it does in our world, so we just generally assume he doesn't have, or need to have, a father.

But, these drawing suggest he was originally going to have one. Quite a famous one too, identified as "Jumbo, Giant of the Jungle", advertised on a poster for "...ingling Bros" circus. The elephants comment that Dumbo "belongs right alongside his daddy" and that "he'll be there soon". What does this mean? Are the other elephants encouraging him to go on to a greater circus? Was this before their personality/ies had been decided on? Or are they just wanting him out of their circus?

Following Pinocchio and with Bambi in production, it seems to fit the mold that Dumbo, as a young male protagonist, would have a father out there somewhere, if not by his side, and it seems that one of Dumbo's themes was, at one point, going to be about the little elephant trying to live up to his father's success. In the second sketch, look at the size of Jumbo Sr's ears! Were the storymen making these sketches even thinking there was to be anything "un-natural" about the size of Dumbo's own ears?

Keep watching this blog for more thoughts on these story sketches, and thanks to Michael Sporn for posting them up! I would be posting these as comments on his blog, if they were a bit shorter (and, if I hadnt waited until so long after he had posted them up in the first place...)

Dumbo Deleted Scenes - Part 4

OK, here we go... the rest of the deleted scenes. I can't claim that my reflections are completely comprehensive, so if any of you notice anything you feel I should have mentioned... either about any of these scenes or others I may have missed... then let me know in the comments!

As before, these are transcripts from the drafts - you can find scanned copies of the originals on the A. Film L.A. website by following the links in the scene titles. The portions of the transcript in italics are the parts which don't appear in the film, the rest is included to provide context.



Sequence 16: Clown Sequence (Draft No. 1)
____

1 LS - Tent. Clowns in sillhouette celebrating and singing, "WE'RE THE SMARTEST CLOWNS ----."

2 MS - Ollie and Frank dancing and singing, "WE'RE THE ANSWER TO AN OLD RINGMASTER'S DREAM."

3 MS - "WE'RE THROUGH WITH PLAYING HICK TOWNS, FROM NOW ON IT'S ---"

4 MS - Group of clowns dancing and singing finish of song - "---THE BIG TOWNS, FOR THE GREATEST CLOWNS THE WORLD

HAS EVER SEEN."

5 CU - Clown who says "HERE YOU ARE JOEY, POUR IT IN ME SLIPPER."
____

The dialogue throughout this sequence is not given in full in the draft, but in a shortened (and sometimes very slightly paraphrased) form. Fortunately most of the cut song is included in the draft, and, better yet, Hans has posted up an acetate recording of it, and of the "hit the big boss for a raise" reprise that survived into the film.

Mark Mayerson mentioned that a lot of the film relies on "the principle of contrast", and there's certainly a lot of contrast going from the tear-jerker previous sequence to the clowns laughing it up in their tent. There would have been more of a direct contrast if they had kept these scenes in, as the film would have gone from one song (the lullaby) to another (the clowns' celebration song). Maybe that kind of cut would have been a bit too jarring, though.

And, yes, two of the clowns are identified as "Ollie and Frank". If they really are named after the two animators Frank Thomas and Ollie Johnston, it's very interesting. Neither worked on Dumbo, but would have been occupied on Bambi at the same time. Seems like some light-hearted in-house rivalry. It's also interesting that, so soon after Ollie's promotion to full animator, than he and Frank would already have been seen as some kind of double-act.



Sequence 17: Hiccups and Cure (Draft No. 2) has quite a few differences in the draft, but not much in the way of deleted scenes. Scene 12 is a kind of deleted scene: after Dumbo has swallowed the alcohol-enhanced water, he lets out a hiccup, and the draft mentions a close-up of Timothy saying "OH, I GUESS YOU HAD ONE LITTLE ONE LEFT OVER." However, in the film he is off-screen when he says this.

Also, in scene 18, after Timothy emerges from the bucket, the draft has him say "GIGGLE WATER!", evidently in response to his own question about "WHAT KINDA WATER IS THIS ANYHOW?" The question is in the film but the answer isn't.

Mostly, though, we can see the opposite of deleted scenes - scenes which are in the film but not in the draft. I expect Mark Mayerson will cover this when he reaches this sequence in his mosaic.



Sequence 19.2 - Dumbo learns to fly (Final Draft)

Now, this one's a bit more complicated than the usual clean lifts. Thanks to Zartok-35 for first noticing it.
____

29 CU - Dumbo's head. Crows flying around. Timothy jumps out of Dumbo's hat on to his trunk. Crows Laughing.

30 EXTREME CU - Timothy on Dumbo's trunk talks to him, kisses feather. "DUMBO! I KNEW YOU COULD DO IT. NOW OUR TROUBLES ARE OVER. HO-HO!" To crows off-stage: "YOU BOYS KEEP THIS UNDER YOUR HATS. MUM'S DA WOID."

31 CU - Crows on top of Dumbo's head: "SHO' NUFF, BOY." "WE DON'T GONNA TALK." "NOT TO NOBODY." "MUM'S DE WOID."

32 CU - Two crows on top of Dumbo's head. Crow with deep voice: "MUM'S DE WOID."

33 CU - Timothy on Dumbo's trunk, says "WAIT'LL WE GET TO THE BIG TOWN."
____

As Zartok mentioned, a close-up of J.C. was added after this, saying "BOY, THEM CITY FOLKS IS SURE IN FOR A SU'PRISE!" This seems like a bit of a redundant addition: more something that would be taken out to condense dialogue (see story notes from The Reluctant Dragon) than added. In the next sequence, Timothy says basically the same thing - in both the draft and the film.

Or maybe they really needed to hammer it in that flying elephants are supposed to be surpising, in a world where storks literally deliver babies! Then again, we have just had a whole song about how unusual a flying elephant would be.

But a couple of other things, too. I'm not sure if I'd describe scene 29 as a close-up of Dumbo's head, also, it contains Timothy's "I knew you could do it!" line that the draft places in the next shot. I guess they didn't want to lose that line even though they were cutting the scene where it appeared. It seems a surprising number of differences for a so-called "Final" draft.



Sequence 20 - Big town, Dumbo triumphs (Draft No. 2)
____

3 LS - Burning building. Old Woman Clown running back and forth, yelling, "POOR BABY, OOH, OH."

4 CU - Old Lady Clown yelling, "SAVE MY CHE-ILD."

5 MS - Fire truck enters and throws clowns.

6 MS - Firemen land and run in confusion.

8.1 Clowns grab net - They all fall down.

9 Fireman cranks group of firemen up ladder.

10 Firemen on ladder come up into scene. Ladder out. Firemen fall out of scene.

18 MS - Four Firemen run in with net yelling: "JUMP, COME ON, JUMP."
____

It seems that originally this sequence was going to have a build-up to Dumbo's leap as big as the one in the earlier "Fireman Sace My Child" sequence, with several scenes of clowns fooling around as before. In addition to those actually included in the draft, there are also mentions of scenes 2, 7, 11, 12, 13, 14 and 16 as "No Scene" and 8, 15 and 17 as "Out of Picture". The difference in terminology might refer to different dates when these scenes were removed. At any rate, it appears that they gradually cut more and more of the build-up and eventually decided to just lose the whole thing and "cut to the chase".

Also, from the end of the sequence:
____

62 CU - Timothy in hat says, "THAT'S THE STUFF, NOW THE VERTICAL FLIP-FLOP."

51 LS - Dumbo weaves through tent poles and zooms out at upper left.

64.1 Dumbo's shadow on tent top. Timothy says, "YOU'RE MAKING HISTORY!"
____

Now, as you can see, this is another more complicated cut -- it seems that the visual from scene 62 was used to end the sequence, but with Timothy's dialogue from scene 64.1. Also notice the numbering - quite a few shots in this sequence have been rearranged, as noted on the draft - similar to the "Fireman Save My Child" sequence. The draft we have is of the sequence as a work in progress, after they had started and before they had finished rearranging and removing scenes.

Well, that's it for deleted scenes. But the realms of "what could have been" extend further, with Michael Sporn posting some fascinating early storyboards on his blog last month, many of which are of unused story concepts. I'll take a closer look at them in a later post.

Dumbo Deleted Scenes - Part 3

As before, these are transcriptions from the draft posted on Hans Perk's A. Film L.A. blog - material that was deleted from the film is put in italics, the rest is included for the sake of context.

Sequence 12: Gossips disown Dumbo (Draft No. 1)

This missing section includes a few more shots of the "gossip" elephants speculating about what happened to Dumbo after the Pyramid Act disaster. You'll also notice if you look at the draft that the sequence begins with scene 13, and the note: "Scenes 1 through 12 inclusive are out". Either the sequence was originally longer and the beginning was taken out before they even reached draft stage, or scenes 1-12 were an earlier version of the whole sequence, which was later discarded and replaced by the version described in the draft.
___

15 CU - Catty with block of ice on head - "OH, THAT WONT BE NECESSARY, DEARIE ... THEY'VE FIXED HIM GOOD!"

16 MCU - Matriarch and two elephants. Matriarch: "WHAT DID THEY DO?" Ella: "DID THEY BEAT HIM?"

17 CU - Prissy: "DID THEY THROW HIM IN THE... AH... CLINK?"

18 CU - Giggles (hopefully) "DID THEY SHOOT HIM?" (Giggles)

19 CU - Catty: "OH, A LOT WORSE THAN THAT, MY DEARS!"

20 CU - Matriarch. Catty, o.s.: Continues: "HE'D BE BETTER OFF DEAD." Ad lib chatter: "GO ON, TELL US, TELL US!" Matriarch, angry: "I DEMAND TO KNOW!"

21 CU - Catty: "WELL, THEY'VE GONE AND.." She pushes ice back into place with trunk "..MADE HIM...OH DEAR, I JUST CAN'T SAY IT!" Matriarch, o.s.: "OUT WITH IT!" Catty "....MADE HIM A CLOWN!"
___

It's strange to hear one of the "gossip" elephants use Timothy's term "clink" ... don't they have their own term for it? (The Ringmaster was going to call it "jail" in the "Menagerie" sequence, but that line was also cut)

I'm not sure why these lines were taken out. Maybe the "ad lib" nature of the "chatter" meant that they were just never recorded? Was the gleeful "did they shoot him" deemed a little too harsh? Did they think that it would be more reasonable for Dumbo to have been shot or locked up, and they didn't want to call attention to the unusual nature of his punishment?



Sequence 14: Fireman save my child (Draft No. 1)

Scenes were taken out and shuffled around both before and after this first draft was typed up.
As we can see by the scene numbers as well as additional notes, scenes 2, 7, 14, 20 and 25 have already been taken out, and scene 12 has been moved to follow scene 22. Then, some time after the draft was written, scenes 18 and 21 were taken out, and 19 moved to between 16 and 17.
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16 MS - Clown running in with sprinkler to flower box. Cocoanut [sic] tree springs out of flower box.

17 Two-shot. Big clown runs in with little clown who has barrel on back - takes out eye dropper and puts one drop of water on fire.

18 Two-shot. Old woman screaming - mouth wide open. Clown comes in with atomizer and sprays mouth.

19 LS - Firemen running up ladder to burning house and throwing water in Dumbo's face.

21 MS - Eskimo clown runs up to fire and warms [rear end].

22 MS - Dumbo in midst of smoke. Fireman climbs up and fans him.
___

With a bit of detective work we can also speculate that, before the draft was written, some scenes were added to give Dumbo more of a presence in this sequence, which otherwise might lose him amid all the clowning. A reaction shot of Dumbo is numbered 12.1, and scenes showing the effect of pouring gasoline on the fire, including another reaction shot of Dumbo, are 26.1 and 26.2. These numbers suggest these were late additions to the sequence. It may be that the rearranging of the other scenes was also to make sure that the audience didn't lose sight of Dumbo for two long at a time. I'm reminded of the Battle of Helm's Deep in the film version of The Lord of the Rings: The Two Towers, where they made sure that one of the main characters was on-screen for at least every third shot, so the audience had a focus.

As for the missing scenes themselves: I'm not sure who "old woman" in scene 18 refers to, although I guess it would have to be the clown dressed up as the elephant woman. Presumably "atomizer" means a breath freshener... I guess the gag was taken out because it's almost identical to scene 12 where a clown does the same thing with water from a flower, but a little less "clown-like." The "eskimo clown" from the deleted scene 21 doesn't appear at any other point in the sequence, and I'm curious as to what he would look like, and how late he was removed from the film. Then again, the "captain" from scene 12 doesn't seem to appear in any other shots either (notice the blue coat and epaulettes).

Dumbo Deleted Scenes - Part 2

It occurs to me I should have listed what the draft number has been for each sequence. I have therefore edited the previous posts to include this information.

Sequence 10: Ringmaster's Idea for Pyramid Act (Draft No. 2)
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1 MLS - truck to MCU - Shadows of Ringmaster and Joe appear against side of tent. Ringmaster says: "WHAT AN IDEA! YOU KNOW, SOMETIMES I WONDER WHAT MAKES ME..."

3 MCU - Tim and Dumbo watching Ringmaster. o.s. Ringmaster: "SO SMART!" Tim talks over his shoulder to Dumbo: "HUH! HE NEVER HAD AN IDEA IN HIS LIFE -" Ringmaster continues: "JUST VISUALISE..."

4 MCU - Shadows of Ringmaster and Joe. Ringmaster tosses coat - Joe catches it. Ringmaster, excited, continues: "IN THE RING STAND SEVENTEEN ELEPHANTS!"

4.1 MCU - Shadow of Joe - "hangs up" coat, missing pet [?] and allowing coat to fall on floor. Ringmaster o.s. continues "ONE ELEPHANT CLIMBS ON TOP OF ANOTHER ELEPHANT UNTIL..."

5 CU - Ringmaster wriggles out of pants, kicks them up in the air and catches them, as he says: "...FINALLY ALL SEVENTEEN ELEPHANTS HAVE CONSTRUCTED AN ENORMOUS PYRAMID..."

6 CU - Joe's shadow. Ringmaster, o.s., continues "...OF PACHYDERMS!" Joe, puzzled, scratches his head - asks: "WHAT'S A PACHYDERM, BOSS?"

7 MCU - Shadow of Ringmaster - Tosses pants to Joe, o.s., as he says "THAT'S AN ELEPHANT, STUPID. HANG UP MY PANTS!"

8 CU - Joe's shadow - He catches pants, hangs them up as he says "GEE, BOSS, I DON'T KNOW HOW YOU THINK 'EM UP!" Ringmaster, o.s.: "THAT'S NOTHING!"

11 CU - Shadow of Ringmaster wriggling into nightshirt - continues: "THERE STANDS THE PYRAMID OF ELEPHANTS..." Arms shoot up thru sleeves - "I STEP OUT!" Head pops thru neck of shirt - "I BLOW THE WHISTLE!"

12 CU - Tim on tent-peg - Ringmaster continues... "THE TRUMPETERS ARE TRUMPETING - THE DRUMS ARE DRUMMING -" Tim stands up to listen. Ringmaster, o.s., very excited continues "...AND NOW..."

14 MCU - Shadows of Joe and Ringmaster. Ringmaster continues: "...COMES THE CLIMAX!" Joe: "YEAH... WHAT IS THE CLIMAX?" Ringmaster: "I DON'T KNOW"

16 CU - Tim. Ringmaster, o.s. "...DOT'S CHUST VOT I DON'T KNOW." Tim relaxes into disappointed expression - says: "I KNEW HE NEVER HAD NOTHIN' ... BUT STILL I WAS HOPIN'."

17 MCU - Shadow of Ringmaster - "WELL, MAYBE IT COMES TO ME IN A VISION WHILE I DREAM. GOODNIGHT, JOE." Climbs into bed. Joe, o.s. "GOODNIGHT, BOSS."
___

The main thing from this draft section that isn't in the final film is the Ringmaster explaining to Joe what a pachyderm is. I'm glad they took this out - it just feels like the storymen are calling attention to the fact that they know a word which they think the "average Joe" doesn't. Anyway, we already know that the Ringmaster is talking about a pyramid of elephants, so the audience should know what he means, even if they've never heard the word "pachyderm" before. I do think that the Ringmaster ordering Joe to hang up his clothes is funny though, just after insulting him.

Notice that one of the Ringmaster's deleted lines is written in a thicker German accent than the rest of the dialogue. I'm not sure why that is, although even in the final film he starts to sound more Germanic as he falls asleep.

Also noteworthy is that Timothy's line about "hopin'" the Ringmaster had an idea was cut. I'm not sure why he would hope this: it hasn't occured to him yet that this could be Dumbo's chance to shine. I guess Timothy himself sort of makes a living from the circus and wants it to be successful.

Notice that although the film does not retain the Ringmaster's full description of the pyramid act, he still says "seventeen" elephants will perform rather than the seven who do (or eight in the opening shot, for some reason).


Sequence 11: Pyramid Act (Draft No. 3)

Not really a deleted scene, but an alternative version of a line, at the start where the Ringmaster is announcing his act.

___

3.2 CU - Rearview of Ringmaster: ...PYRAMID OF PROUD, PONDEROUS, PULSATING.....

3.3 CU - Ringmaster:...PULCHRITUDINOUS PACHY. PACHY.....I GIVE YOU THE ELEPHANTS!

___

It appears that the Ringmaster struggles over the word "pachyderm" and gives up. In the film he has no such problem with the word. Once again, the film differs from the draft in that it does not make such a big deal about the word "pachyderm" - the film-makers aren't trying to call attention to their vocabulary.

Dumbo Deleted Scenes - Part 0

(edited 4th June 2010 - see "Dumbo Deleted Scenes - Part 2")

OK, in the rush to get that first post out, I missed out a couple of things - nothing really major though, and the first one isn't really a deleted scene, because more changes seem to have been made than just removing some footage.

Ain't that just like me to forget?

(Once again, deleted material goes in italics)

From sequence 5 "Circus Parade" (Draft No. 1)
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13 - Dumbo's mother pans through - Dumbo holding onto her tail. Dumbo runs underneath mother. She goes out, leaving Dumbo in the open.

14 - Mother looks back at Dumbo.

15 - Dumbo looks up, runs after mother and falls in mud.

16 - Rear view, parade going back toward tent. Dumbo runs in, trying to catch up with parade.
___

In the film, scenes 13 and 15 seem to have been run together. The important thing missing is the extra shot of Mrs Jumbo and the final rear view. I don't know what kind of expression Mrs Jumbo was supposed to have, but the fact that she just carries on ahead and leaves him to try to catch up seems uncharacteristically neglectful. When they finished putting the sequence together, it seems they decided to solve the problem of "What is Mrs Jumbo doing?" by ignoring it, and keeping Dumbo as the only character on screen. Having the final shot be of Dumbo fallen in the mud puddle with the crowds laughing once again keeps the focus on Dumbo's ears as the source of his misfortune. It also leads nicely into the following sequence, of Mrs Jumbo washing him.

In the "Elephants Gossip" (Draft No. 4) and "Timothy Befriends Dumbo" (Draft No. 4) sequences there are a few extra scenes/lines I didn't catch last time but nothing worth writing home about. In "Elephants Gossip", the line in scene 8 "Yes, but mother love doesn't have to be blind" seemed to become "...can hide a multitude of sins." Scene 14 and the accompanying line "I'll bet she's furious" were cut, as were a couple of shots where Timothy is frightening the elephants.

In scene 31 of "Timothy Befriends Dumbo" Timothy rejects one of his own (unmentioned) ideas with "Aw, no... that's old stuff..." before he overhears the Ringmaster coming up with an idea of his own. Unlike his deleted lines from earlier in the sequence, I can't think of much of an argument for keeping this one.

If anyone catches anything else on the draft that I should have caught bit didn't, please let me know!

Dumbo Deleted Scenes - Part 1

(edited 4th June 2010 - see "Dumbo Deleted Scenes - Part 2")

It's a good time to be a fan of Walt Disney's Dumbo and animation history. Hans Perk has just posted up a(n almost) complete animation draft, which Mark Mayerson is currently using as a basis for one of his celebrated mosaics. Also, as in the Pinocchio craze of '07, Michael Sporn is getting into the act by posting up some production drawings (including Bill Peet's bathing storyboard briefly glimpsed in the extra features on the 101 Dalmatians DVD).

The draft Hans posted isn't a final version - some scenes are uncredited on it, and some were cut from the film. It's these "deleted scenes" which I'm going to look at over two or three posts, starting with this one. The way I will do this is by transcribing the relevant parts of the draft and putting the deleted material in italics. Once again I would like to make it clear that what a draft calls a "scene" is what most people would think of as a "shot". I'll be using "scene" and "shot" fairly interchangeably here.

Probably the first material on the draft which was deleted from the film is in seq. 6.0 "Menagerie: Mrs Jumbo Goes Berserk". The relevant portion of the draft (Draft No. 2) is as follows:

45 - EXT CU - Mrs Jumbo's back legs - Skinnay reaches in between her legs - Pulls Dumbo out by the tail - Skinnay "C'MON OUT AND PLAY, LOP-EARS" Dumbo looks at Skinnay. Kids o.s. "MAKE A SAIL-BOAT OUT OF HIM!" Skinnay blows in Dumbo's ear. Dumbo looks at his mother, o.s., for help. [i]Skinnay grabs Dumbo's ears, jumps on Dumbo's back, and starts "Roman chariot" riding act. Kids, o.s., start laughing.[/i]

46 - EXT CU - Mrs Jumbo, very alarmed at Skinnay's treatment of Dumbo.

47 - CU - Skinnay in Roman chariot act. Mrs Jumbo's trunk lifts Dumbo out from under Skinnay - Skinnay falls flat - Kids, o.s., laugh harder than ever.

48 - MCU - Mrs Jumbo puts Dumbo between her legs. Pan with Dumbo, and truck in, as he runs to camera left and peeks around Mrs Jumbo's other leg. Kids o.s. "THE BIGGEST SLING-SHOT IN THE WOILD!" Kid's hand reaches into scene - grabs Dumbo's ear - stretches it - Snaps it in Dumbo's face - Dumbo squeals, hurt.

49 - EXT CU - Mrs Jumbo, angry - reaches with trunk past camera. Kids' o.s. laughter changes to frightened yells.

50 - MCU - [Rear ends] and feet of kids scramming out of scene. Skinnay is grabbed by Mrs Jumbo's trunk, hung over rope and paddled. Skinnay: "HELP! MAMA!" Kids, o.s. "HELP! SHE'S MOIDERIN' SKINNAY!"

The main thing which didn't make it into the final cut was Skinnay's "Roman chariot act." Maybe this is an example of Walt's desire for restraint, as witnessed in his decisions for the mourning scenes in Snow White or the "Your mother can no longer be with you" scene from Bambi. Alternatively, it could be that there was no way to animate it convincingly. Perhaps most importantly, limiting Skinnay's torments to blowing into and snapping Dumbo's ears helps to keep the focus on the large ears - if he were to jump on top of the poor elephant and ride him like a chariot he'd be mocking him all right, but not mocking the size of his ears.

A few more scenes were cut from this sequence.

53 - CU - Ringmaster cracks whip - yells: "DOWN, MRS JUMBO!"

54 - EXT. CU - Mrs Jumbo dodges whip.

54.1 - CU - Ringmaster. Cracks whip again. Turns to yell: "CALL THE RIOT SQUAD!" etc.

55 - MCU - Five or six roustabouts run in thru curtains, carrying pipes, ropes, etc., shouting. Ringmaster, o.s. yells "KELLY! RIOT SQUAD!" etc.

56 - MCU - More roustabouts run into sideshow thru side-door.

57 - CU - Ringmaster yelling "GET THE CHAINS! SURROUND HER!" Cracks whip at Mrs Jumbo, o.s. Roustabouts swarm into scene, hiding Ringmaster from view.

These cuts were probably made to quicken the pace of the scene - the film no longer contains a reference to the "riot squad". Note the odd reference to "Kelly", addressed by the Ringmaster. The animator of these scenes was named Walt Kelly - was this unseen character named after the animator, or did the typist just make a mistake?

Finally, the last shot in the draft for this sequence includes an additional line for the Ringmaster.

74 - CU - Mrs Jumbo's water tub (same tub Dumbo was bathed in at start of sequence) Ringmaster is soused in tub. Stands up in tub, dripping wet, very mad. Yells: "TAKE HER AWAY! PUT HER IN JAIL!"

In the film, he just seethes. The line is unecessary as the next shot is of Mrs Jumbo in "jail", and cutting the line means that the audience experience a mood shift (from "relishing Mrs Jumbo's short-lived victory" to "sympathy for Mrs Jumbo's plight") at the start of a sequence, rather than a few seconds before the end of one.

The draft (Draft No. 4) for seq. 9.0 "Timothy befriends Dumbo" contains some missing dialogue for Timothy.

19 - CU - Dumbo looks doubtfully at one ear, wiggles it, then becomes very proud, smiles, looks at other, wiggles it. Tim, o.s.: "YA KNOW, LOTS OF PEOPLE WITH BIG EARS ARE FAMOUS." Dumbo reacts to "famous," looks down at Tim, o.s.

19.1 - CU Dumbo, draws his head back in surprise as Tim runs up Dumbo's trunk. Tim says "FAMOUS. NOW, LOOK DUMBO..." Dumbo cross-eyed as he watches Tim. Tim: "IF YOU'RE FAMOUS, THEY DON'T MAKE FUN OF YA, YOUR MA DON'T GET SORE..." Dumbo's eyes uncross as he watches Tim. Tim turns suddenly to face Dumbo. Tim: "IF SHE DON'T GET SORE..." Tim runs back up the trunk to between Dumbo's eyes... "THEY LET HER OUTA JAIL 'N EVERYTHING'S OKAY!" Tim turns and starts towards end of trunk again. Dumbo's eyes uncross again as he watches Tim. Tim: "OH BOY! ALL WE GOTTA DO IS BUILD AN ACT!" Dumbo's eyes cross again quickly as Tim rushes back, taps Dumbo on the forehead as he says "...MAKE YOU A STAR!" Tim jumps up in the air as he says "A HEADLINER!" Dumbo's crossed eyes go up and down, following Tim. Tim runs toward the end of the trunk.

It's a good thing they took out the "If you're famous, they don't make fun of ya". While I'm sure there was much less celebrity mocking in 1941 than there is now, they still made fun of famous people. Heck, Timothy's previous line about big ears just goes to show that. Unfortunately, it also means there's not much of an explanation for why Timothy tries to make Dumbo famous, or what this has to do with his earlier offer to "help get your mother outa the clink." Maybe it was cut because someone in authority thought that too much spoken dialogue (well, monologue) was "boring" or something, but Timothy's logic is a little suspect... with Mrs Jumbo chained in a wagon, would she really get much of a chance to show she isn't "getting sore" at the treatment of her son?

I'll leave it here for now... if you're interested in finding out more about these or any other scenes from the film - such as who animated them, check out Hans' posts (although you can only see as far back as the May 2nd post, most of the others can be seen by looking for April 2010 posts), or, if you feel the need for the scenes to be identified visually, just keep an eye out for Mark Mayerson's marvelous, magnificent... I think I'm turning into the Ringmaster. I give you, the mosaics.

No-one... but Donald Duck!

When I was a kid I got a set of three videos with Disney shorts on them. They were:

Celebrate With Mickey
Mickey's Circus - starring Mickey and Donald
Foul Hunting - starring Goofy
Beach Picnic - starring Donald and Pluto
Mickey's Birthday Party - starring Mickey, Donald, Goofy, and others
Wide Open Spaces - starring Donald
Man's Best Friend - starring Goofy

Donald's Birthday Bash
Donald's Happy Birthday - starring Donald
Contrary Condor - starring Donald
Crazy Over Daisy - starring Donald
The Eyes Have It - starring Donald and Pluto
The Flying Squirrel - starring Donald
Wet Paint - starring Donald
Clown Of The Jungle - starring Donald

Frontier Pluto
R'Coon Dawg - starring Mickey and Pluto
Flying Jalopy - starring Donald
Pluto's Playmate - starring Pluto
Moose Hunters - starring Mickey, Donald and Goofy
Donald's Nephews - starring Donald
T-Bone For Two - starring Pluto

Notice something here? (Besides the fact that you'd think they'd have a trio of videos named after Mickey, Donald and Goofy, rather than Pluto)

Mickey appears in
Celebrate With Mickey - 2 (co-starring with Donald and Goofy)
Donald's Birthday Bash - 0
Frontier Pluto - 2 (one co-starring with Pluto, one co-starring with Donald and Goofy)

...and by "co-starring with" you can pretty much read "upstaged by".

Pluto appears in
Celebrate with Mickey - 1 (co-starring with Donald)
Donald's Happy Birthday - 1 (co-starring with Donald)
Frontier Pluto - 3 (including one co-starring with Mickey)

Donald, on the other hand, appears in
Celebrate With Mickey - 4 (three with co-stars, one solo)
Donald's Birthday Bash - all of them (including one co-starring with Pluto)
Frontier Pluto - 3 (including one co-starring Mickey and Goofy)

Not only is Donald the only one to appear in all the cartoons on his own video, but he generally appears in more cartoons in the other videos than their supposed stars. AND his video has more cartoons on it than the other two.

I guess that's what people want. Donald by the barrelfull.

Fridge brilliance and Donald's Lucky Day (Disney, 1939)

The TV Tropes website defines fridge brilliance as a circumstance where your reaction to something you read, watch or listen to is one of confusion and annoyance, but which, at some unspecified point later (proverbially, when you are just going about your life, opening a fridge to get out some food or drink) makes you go "A-ha! NOW I get it!"

Hans Perk posted the animator drafts for the cartoon "Donald's Lucky Day" in August 2006. The following month, Mark Mayerson posted a mosaic of the short, a critique of the story and some thoughts on the animators. It's the critique of the story which I'm mainly interested here, I just provided the other links for background info.

Some of Mayerson's critiisms are deserved: for example, the cat just disappears after the bomb goes off, and the fish are eaten by a smarm of anonymous cats rather than the one who's been appearing throughout the cartoon, which isn't a very satisfying ending. (Actually, it suggests the poor cat was blown up or drowned, which probably wasn't their intention) It would have been better if it had ended with the "hero" cat chowing down on fish, and Donald doing one of his end-of-cartoon "aw, shucks" type chuckles.

However, another of his comments is that Donald "would have been luckier if he lost the package immediately and saved himself a lot of effort." However, this would be impossible, because... it was still Friday 13th! The bomb is supposed to go off at 12 o'clock, right? So, up until that happens, it's Friday 13th and Donald is having an unlucky day. After the bomb goes off, it's now Saturday 14th. Donald exclaims "This is my lucky day!" meaning the new day that's just started. In fact, in the opening scene with the gangsters, they refer to the bomb as a "valentine", so they're thinking of it as going off at the start of the 14th (February, that is) as well.

OK, I don't know if that's what the intention of the writers/animators was. If it was, I guess the main problem is that they didn't make it clear enough. So, here's my revised ending:

Donald gets covered in fish. He hears on the radio something like: "When you hear the sound of the tone, the time will be 12 o'clock, midnight. That's the end of Friday 13th. Did you all make it?" Donald, overjoyed: "Oh boy! This is my lucky day!" Then the cat emerges out of his hat, gobbles down a fish, and rubs against Donald's face. Donald chuckles awkwardly. End.

Hello, all you happy people.

One of the presents I got this year was the DVD set of the theatrical Droopy shorts. It wasn't one of the first I decided to check out... in fact, unlike some of the other DVDs I got, I didn't stick it in my DVD player until a few days later! I guess this is because I had the feeling that these cartoons didn't represent the best of what Avery did at MGM, and that while I was watching them, something would remind me of a better Avery MGM cartoon, and I would wish I was watching that instead.

I think my negative feelings about the Droopy cartoons came from a specific group of them, from around 1950, which pitted Droopy against Spike the bulldog. They were built on a blackout gags formula, in which Droopy and Spike are competing for something, and so Spike tries various schemes against Droopy (either trying to kill him, or just make him fail at something) which all backfire in exactly the same way. The humour levels really seem to go down after the first four where he is pitted against the wolf.

As it turns out though, there were some other good ones made around the same time... "Out-Foxed", for example, and even "Droopy's Double Trouble", although it does feature Spike, is much more enjoyable to me than the five Spike and Droopy entries which came before it. This was the last Droopy cartoon Avery made before his sabbatical and brief replacement by Dick Lundy, and if the quality of the Droopy shorts are anything to go by, it was a much-needed break.


The following cartoons (on Disc 2 of the DVD set) are much more inventive, funny, and inventively funny. Even though "Three Little Pups" is a blackout-gag cartoon, it is still one of my favourites, and contains one of my favourite Avery gags (ironically featuring a bulldog)...






"Break it up, son. Joke's over."





Most of the post-sabbatical Droopy cartoons have a Western theme to them, and this may have been Avery's element.

Now, the last few shorts were directed by Michael Lah, and I was expecting the quality to plunge. But, interestingly enough, it doesn't! I'm not saying it was a similar situation to the Popeye cartoons, where the first Famous entries were better than the last few Fleischers - as I said above, the weak phase for Tex's Droopys came much earlier. I did enjoy them a lot more than those earlier "weak phase" Droopys though. "Grin and Share It" is based on the same formula, but, well, I prefer it. "One Droopy Knight" is largely a remake of the earlier "Senor Droopy" but I find the mythical knights-and-dragons setting more suited to the basic story than the bullfighting arena.



(the only thing that "Senor Droopy" has in its favour over "One Droopy Knight" is the live-action end gag)






Hmmm... it's only when getting that screengrab that I was reminded that Senor Droopy's opponent is the wolf, not Spike. Well, I'd still classfy it as one of the weaker formula shorts, not in the same league as "Dumb-Hounded" through "Northwest Hounded Police".

Jack and Gus

Every Christmas for the past few years I've got one of the Looney Tunes Golden Collections, and was very sad to see there wouldn't be another one this year. However, one of the presents I got this year (one of the two I got on the 24th rather than the 25th) was the Popeye 1933-1938 DVD! Having checked out a couple of shorts with commentary, I realise that the Bluto voice actor who probably voiced Mr Elephant would be Gus Wickie rather than Jackson Beck. I guess I should have looked it up rather than relying on my assumption Bluto = Jackson Beck.

Oh, and happy Christmas or whatever you do for fun on December 25th to all readers of this blog! (All two and a half of you...) :)

Speaking of elephants...

...which I was... um... depending on which order you read the posts. This is the Fleischer studios "Color Classic" titled "An Elephant Never Forgets."



I didn't put this up online, I just discovered it one day when I was browsing a few years ago. It would be great if there's a version of it out there in "Popeye Meets Sinbad" quality but even this copy is *much* better looking than the one I found back then.

There are still a lot of great things about this cartoon to enjoy though...

- The unmistakeably adult voices of this group of, presumably kids. It sounds like Mr Elephant is Jackson "Bluto" Beck and Gus Gorilla is Jack "Popeye" Mercer.

- The opening skipping song. "Rock-a-diddle-di-do-one-three-three"? What does that mean?

- The fact that, when Ferdie Frog pretends to be both himself and his sister, he uses the exact same voice for both of them.

- The names of the characters... usually alliterative, or just plain "Mister", then we have a cockerel named "Rooster Joe."

- The fact that the (swan? goose? stork?) teacher has absolutely no problem with the fighting that's broken out. My sister says she comes across as another kid who's only playing at being a teacher, and given that all the kids sound like adults, who's to say she isn't?