THREAD: Anybody have a favorite bit of water animation?
The best for me might be Disney’s PINOCCHIO from back in 1940. Amazing mix of stunning realism and painterly abstraction. You could only get a look like this in animation.
Aleksandr Petrov’s paint-on-glass water in THE OLD MAN AND THE SEA is absolutely gorgeous.
Studio Ghibli is always good at water. I love those fish waves in PONYO.
THREAD: One of my favorite movie periods is the Pre-Code Era (1929-1934), the racy period before the Hays Code kept movies of the ‘30s, ‘40s and ‘50s under strict moral guidelines. Here are some of my favorite Pre-Code lines, like this one from 1933's MYSTERY OF THE WAX MUSEUM.
One of the harshest of all movie insults, delivered by Joan Blondell in the great 1933 musical FOOTLIGHT PARADE.
Another ace line reading from Joan Blondell, also from FOOTLIGHT PARADE.
THREAD: What’s the most bizarre entry in your favorite cartoon series? I thought I’d highlight shorts with popular characters that stand out as particularly weird.
For Bugs Bunny, it’s 1946’s THE BIG SNOOZE, where Bugs hops into Elmer Fudd's head to give him a surreal nightmare.
For Daffy Duck, it’s hard to get more nuts than this early entry - 1938’s THE DAFFY DOC - where Daffy goes ballistic at a hospital and chases Porky with a saw to perform surgery. The dialogue that doesn’t match with the mouth movements only strengthens the oddness.
Porky Pig starred in one of the wildest cartoons ever - 1938's PORKY IN WACKYLAND - where he chases a reality-bending do-do bird. This is director Bob Clampett at his most dizzyingly bonkers, and it was even preserved by the National Film Registry.
I feel like I should weigh in on the Dr. Seuss controversy: Seuss used ignorant racial stereotypes typical of the period in his early work, but grew more progressive over time. He was drawing staunchly anti-racist cartoons during WWII, a very bold move in the early ‘40s.
Even as he was fighting for equality for black Americans in this period, he still indulged in racist depictions of the Japanese. This was, again, extremely common for the period, but it goes against the forward-thinking views expressed in his other political cartoons.
Following the war, Seuss saw the error of his ways. He visited Japan, and wrote the classic HORTON HEARS A WHO in 1954 as an allegory for the treatment of the Japanese by isolationists. He dedicated the book to his "Great Friend, Mitsugi Nakamura of Kyoto, Japan.”
THREAD: Lots of us learned classical music from watching old cartoons, so I’m going to identify the pieces that frequently popped up.
One of the most recognizable is Franz Liszt’s “Hungarian Rhapsody No. 2,” performed by those great piano virtuosos Bugs Bunny and Tom & Jerry.
I don’t know who can listen to the famous opera “The Barber of Seville” by Gioachino Rossini without thinking of Bugs Bunny. The way director Chuck Jones synchronizes the slapstick action to the soundtrack is flat-out masterful.
An aria of Rossini’s “Barber of Seville” that shows up constantly in animation is “Largo al Factotum,” which introduces the Figaro character. Even the piece’s Wikipedia article credits the tune’s lasting legacy to its use in cartoons. Here are just a few iconic examples:
THREAD: Old movie stars caricatured in classic cartoons.
One of the actors most frequently parodied in old Bugs Bunny cartoons is Edward G. Robinson, the gangster movie icon famous for his "yeah, see, yeah" lingo. Side-by-side comparison of the real Edward G. and the cartoon.
Hard-boiled Humphrey Bogart, star of CASABLANCA and THE MALTESE FALCON, frequently popped up in Looney Tunes. There's a running gag in 8 BALL BUNNY where Bogey keeps asking Bugs Bunny for money, a reference to his panhandling in THE TREASURE OF THE SIERRA MADRE. See for yourself:
One musical star probably best known today through cartoon caricatures is Brazilian bombshell Carmen Miranda, famous for her iconic fruit hats. Her samba style was aped by Daffy Duck, Olive Oyl, Tom & Jerry, and countless others. A small sample: