187. September in the Rain (1937)

Title card courtesy of Jerry Beck's original titles page/Big Cartoon Database.

Warner cartoon no. 186.
Release date: December 18, 1937.
Series: Merrie Melodies.
Supervision: Friz Freleng.
Producer: Leon Schlesinger.
Starring: James C. Morton (Voices), Wini Shaw (Blue Dye Bottle/Morton Salt Girl) and Danny Webb (Various).
Story: Ted Pierce.
Animation: Cal Dalton.
Sound: Treg Brown (uncredited).
Synopsis: Product characters come to life as they sing and dance.

This is the final cartoon out of the 1937 output; and altogether this year has totalled 36 cartoons; but now in the next couple of cartoons; the staff would turn out 40 or more in a year. This is a very short cartoon (well in Blue Ribbon version) it's only less than 6 minutes long; but however it's EVEN shorter in the Nickelodeon/TV airings when all the scenes with Al Jolson or black stereotypes are wiped out which makes it a very short run - only 3 minutes; pretty weird, huh?

 The cartoon begins already at nighttime (and I imagine already in the month September) where it is raining outside as we can tell by the windows. There is then a pan through the closed market in which we find a blue dye bottle that is singing a torch song called Am I Blue? Of course; bluing is a fabric as it's shown in display and I do like that idea of gag for the fabric bluing bottle singing the torch song which was popular of its time.

After the torch song being sung; we then view a snake charmer inside a coffee tin as part of commercial art in which it performs a snake charming act. The snake charming music is catching the attention of a toothpaste (as it's displayed in a box called Tootsie Tooth Paste. The toothpaste tube then starts to squirt out some of the toothpaste in which it starts to move like a snake dancing to snake-charm music which is a pretty clever gag to come up when it's set in the supermarket - so I like that idea. There is another type of biscuit bin that is called 'Searchlight' in which the commercial art features a lighthouse in which we find that the searchlight is also a spotlight as it focuses on these Dutch maids in which they do a little Dutch shoe dance - although this is original animation but it feels like a similar concept from Little Dutch Plate which was released two years earlier.

More dancing then starts to continue as we find there is a rubber-glove that was sitting on a box then starts to come to life. The rubber glove comes to life as he starts to blow himself some helium in which he stands up and it looks like he's pretending as though he's supposed to be the bagpipes as he puts some helium on himself; pressing down on his feet to try and make bagpipe music for some Scottish dancing from the other commercial art characters or objects that live in the store.

The music then continues on as we view a film a box of a cigarette brand company called 'Carmel' (a reference to 'Camel') which was a well-known brand of its time; and of course they're changing the names because this is an animated cartoon and they could get sued. We find the camel in the artwork cover moving while in rhythm to the music. We then find these Scottish thistles inside a company called 'Brand Ol' Scotch' in which they step out of their own manufacturing tin as they perform the Highland fling. The animation of the Highland fling dancers was reused animation from Flowers for Madame. So the Scottish music that was played is enjoyed by everyone.

Meanwhile after the music has been heard we then start to see that there are some apples displayed in the market but it is already infested by a worm. The worm then starts to step out the apple and crawls around in search of interest. The sound effects of the worm crawling through I think has some pretty funny sound effects. The problem with the worm is that he's crawling past a  product company in which it's used for cleaning and polishing powder called 'My Ami?' (reference to Bon Ami) and the front cover features these chicks. I imagine the product is very dated but I'm not sure what it is.

The chicks then start to take an interest on the worm that went past them until they then have a plan to try and eat it. The chicks then start to step out of their own product illustrations to chase after the worm in which it turns out to be one worm against five other chicks. The chicks then start to crowd the worm as they battle to eat it but the worm manages to escape but is still being chased at. It then starts to dash off but the chicks then chase after the worm as they crowd to it again. After crowding to the worm; one of the chicks has then managed to get the worm into their bodies; but since they are so small - the worm is still alive and is jumping about inside the chick which makes the chick bounce about. That is a rather amusing gag to show that the chick has just got served by a worm and it was executed well. The chick even starts to slide like a worm as the worm can control tiny chick's body. The chick bounces again and this time the worm has now made an escape as he runs back into the apple where he was eating it - all safe. At least the worm has managed to beat the chicks when he was only on his own but realising it was very dangerous.

After we had a bit of fun with the worms; we then view to another brand product where it features a box and the brand is called Threaded Wheat which is an obvious reference to Shredded Wheat. The artwork at the front features a waterfall flowing down. There is some singing going on at the bottom; as we pan down to find a girl in a product tin holding an umbrella as the waterfall was falling on her umbrella. She is singing the song By the Waterfall which was another popular 1930s song.

The animation for that sequence was reused from Freleng's black-and-white Merrie Melody How Do I Know It's Sunday. Another boy that resides from another product is dressed in his raincoat as he steps off to join the girl holding the umbrella as he's also singing the song - and I believe that's also the same animation. After that sequence with some reused animation by Freleng; we then focus on the Al Jolson caricature who is a product of a cereal called Dream of Wheat. He then starts to show his stardom as he is singing his version of September in the Rain (the title song of this cartoon) and of course Jolson's version of the popular song is probably the most notorious. We then pan to a cereal box where it's called Aunt Emma's Pancake Flour in which she is grinning towards Al Jolson in the product. Aunt Emma - is a reference to the brand called Aunt Jemina which is a famous company that makes pancakes and the 'Dream of Wheat' is a reference to the popular brand Cream of Wheat which were popular breakfast products.

Al Jolson then steps out into reality out of the product box in which he performs one of his signature and famous performances where he brings out his hands asking for 'Mammy'. During that little sequence; 'Aunt Emma' then starts to raise her hands out of the box in which she replies 'Sonny boy' that they sing one of Jolson's most popular songs 'My Mammy'.

Al Jolson then starts to sing the rest of the title song which he was famous for singing. He then points to the audience his own 'Southern home' as it turns out to be a cabin where it is raining on top of the cabin but the windows feature car windscreens on them to wipe the windows which I think is a rather clever type gag but of course the cabin is another stereotype as to where blacks would live in back in the days when living in the Deep south and the name of his cabin is called 'Cabin Syrup' which appears to be another reference. Of course much of the Jolson scenes were cut from the actual cartoon - but so were the black characters in TV airings. There is another in-joke type reference where it focuses on the sun called, 'Brite Sun Cleanser' (and I think it's another dated product) and there is his own cabin standing over there as though it's a sunny day. I understand the gag but I just don't know how to explain what it means; just the fact it has a bright sun by it to demonstrate weather and that it is dry. Jolson then starts to continue his singing as he sings about 'Spring is here, etc.' Jolson then starts to give the song a conclusion as he finishes off the words to, 'September in the Rain'.

After the sequence with Al Jolson has finished we then focus on celebrities Fred Astaire and Ginger Rogers (both are seen in completely different products) and both Astaire and Rogers were famous dancing duets of the time. They then start to step out of their own products that they them go on a dance sequence. They step on top of matchboxes as to demonstrate the steps and then they step down continuing their dance. When I watch the dancing scenes; of course that is supposed to be Astaire and Rogers but since its rotoscoped animation - it doesn't look too much like a caricature was shown here.

The dancing movement was pretty nice animation in my opinion; but I imagine that it would've been too difficult to animate from scratch but it looks like as though the animation there is rotoscoped. The dancing then continues as they dance over near a cigarette company where it is called 'Lucky Blows' they then stop waltzing in which they then start to get hip with their dancing to lighten up the mood and atmosphere which I find is pretty cool music and animation. They then walk over to the other side in which their dance sequence has finished. I imagine that in a television broadcast of this version; that would've been the finale of the cartoon and it would finish afterwards since the rest of the cartoon features these black characters and caricatures finishing it off before the cartoon finishes with a background view of the market and the cut version would make it a pretty pointless cartoon itself.

The next sequence after the  Astaire and Rogers caricatures have finished dancing; we then go to another brand that is called Gold Rust Twins which is in fact a reference to another brand called
Gold Dust Twins which was a well known washing powder of its time. The artwork cover of course features two Negros in which they start to go into song. Meanwhile there is a biscuit baker commercial character that then shouts, 'Swing it, brother' in which he starts to swing to some music.

The drumming begins as we get to hear some cool drumming in this finale. One of the Negro characters that is in fact a caricature of Fats Waller then jumps over to a piano inside a product box called 'Piano Wax' in which he which he starts to jam to music; and yes - he's very well known for his piano skills. He then shouts to the audience, 'That's all, that's all'. Of course he's a natural pianist and the animators get to exaggerate here since he can just lean on the piano and let only his fingers do the playing and the finger movement is just solid animation. Solid. The other Negro character in the 'Gold Rush Twins' box is in fact a caricature of Louis Armstrong; and the caricature of it is pretty good - but whoever did the voice of him in this cartoon certainly did a bad impression of him. There are chickens in a sack then start to peck each other to go into rhythm. That animator there that smears is definitely a distinctive though unidentified animator for Freleng.

The Louis Armstrong caricature then continues his dancing and singing of the finale song, 'Nagasaki' in which Aunt Emma (Aunt Jemina) from the breakfast product box also shakes some of the boogie beat. Okay, but I will have to admit that but the Armstrong impression is just painful to listen to - I mean the impression that was done in Clean Pastures was a very good impression I thought and why couldn't Freleng use that impressionist again for this cartoon?

There are other group voices done by more black vocals in which they sing a part of a song and from a brand called 'Yea Man' in this cartoon but I don't know the reference though. The piano playing scenes here of Fats Waller I think was also reused from 'Clean Pastures' - I think the scene at least where he's playing the piano with his feet - but it is the exact same caricature that was used form the cartoon. The animation and music for this sequence I think is rather fun to look at and it is shown rather spiritual and a good way for the cartoon's finale even though being cut on TV.

 The sequence then continues to go on as we find that the Louis Armstrong caricature then starts to play the trumpet - also another instrument that Louis Armstrong was famous for playing. I like that shot of the close up of Armstrong's fingers pressing the trumpet buttons was a pretty neat animated scene. I like the animation even after the shot of Armstrong even starting to boogie afterwards with his trumpet playing skills as he gets the bang of it and even shows some good charisma. After the finale is over; with the black cast finishing off the cartoon; we then start to view the supermarket in which he find that it is all quiet now; but of course we find that it's still raining outside the window - which is why it would be a 'september in the rain'.

Overall comments: Well; considering that it is only a 5-minute produced cartoon (well, in Blue Ribbon version) but I think that it was another cheaply produced cartoon because maybe it was to fill in one of Schlesinger's release schedules so it would be released on time; since not only the cartoon runs in a short amount of time but it also has quite a bit of reused animation and I guess that it was cheaper since Friz didn't have to turn in much footage for the animators and that the cartoon would've been released quicker on time. Although personally I find that this cartoon was mostly a bore if I didn't sit through it in detail and just watching it as normal because frankly - it's just another singing and dancing cartoon. Even though the directors aren't making more of those cartoons but when are the directors finally going to grow out of the idea for singing a whole sequence with a popular song? Will probably take a while for them to get used to not making them. It's basically another one of them cartoons where characters come to life which is a very old cartoon formula that was used a lot in the 1930s. I find that this cartoon is sort of Freleng's sort-of updated version of How Do I Know It's Sunday considering it's the same plot but the gags are at least a little funnier and the music is more updated.

As for the overall year output; I think that personally Tex Avery has still topped the pole if he had a best Director of the year position. I think all the directors this year have done very well. Friz Freleng has shown a lot of improvement and has made even some very charming cartoons; Frank Tashlin has got better I think where he started to tone down Porky a bit and even made some classics. I'd say I'm very close to choosing Clampett being the best director considering I think all his cartoons this year have been great but since Avery made more greater cartoons; I'd say he goes up the top. What interests me is that the year starts off (like 1936) where Avery was still directing Porky; and he was still voiced by Dougherty; and by the end of this year - Avery has stopped making Porky cartoons. 1937 is also better than the last year considering that Daffy Duck and Mel Blanc have entered as they would also pioneer Looney Tunes; as well as Clampett's first directed cartoons. In the following years; the yearly outputs will be put out quite high as they turn out 40 a year.

186. Porky's Hero Agency (1937)

Warner cartoon no.185.
Release date: December 4, 1937.
Series: Looney Tunes.
Supervision: Robert Clampett.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Porky Pig) and Ted Pierce (The Gorgon).
Animation: Chuck Jones.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Porky is taken into a dream on being a Greek hero agency.

Notice how that Carl Stalling's name is spelt wrong in the screen credits. I like how Porky is designed in the screen credits as a ceramic figure. I imagine that was created by one of the studio staff.

The cartoon begins as we find that Porky Pig is in his bed; all dressed in his pyjamas reading a book called Greek Myths. The mother then comments, 'Porky, it's way past your bedtime. Go to sleep now'. Porky then lowers the book as he responds to his mother; 'Aw gee Ma, the exciting part it's all about gorgon who turned everyone she looked at into stone'. He then starts to lower the book as he continues to speak about the Greek myth of gorgons which are of course - terrifying creatures; and Porky already explains it by how when a person is seen by her they'd turn into stone and that the gorgons are stopped by Greek heroes according to the book.

After his explanation; Porky's mum doesn't particularly care much about what Porky has to say as her hand then reaches for the light switch and she turns off Porky's nightlight as she comments, 'Happy dreams'. Porky then starts to lower himself to sleep leaning on his pillow rather bored. Porky then starts to sign to himself before he goes to sleep as he makes a wish about himself, 'Gee; I wish I was a great Greek hero with nothin' to do but slay dragons, etc.'. We then find that the book starts to pick itself up as there is a whirling effect for this dream sequence. The book starts to whirl around (although this was animated) but why couldn't they have made a camera effect for that?

The greek palace at the front of the book then starts to whirl around as well; as we find that the background dissolves into a Greek world and the palace stops whirling but we find that there is a sign up there that reads Hero for Hire. Porky then starts to go into the dream as he is now called, 'Pokykarkus' - and that is in fact a reference to Parkyakarkus on the radio show; 'The Chase & Sanborn Hour' that was hosted by Eddie Cantor. Parkyakurkus is "park your carcass" in gibberish Greek.

Porky is standing outside the palace with a sign on display as it reads; TODAY'S SPECIAL as it reads several qualities on being a hero that go on during the day; such as dragon slaying and even including about getting maids safe - of course saving the females would make you an important hero. The writing in big bold letters below then reads: IS YOUR DAUGHTER SAFE? - with smaller writing at the bottom reading, 'CALL PORKYKARKUS OLYMPIA2222'. Porky is also working as a type of speaker on this as well as he's on the lookout for heroes. I guess the '2222' part is a reference to the phone number or something but I don't know. It appears as though Porky is a heroic figure who pays people for slaying dragons (for $50) and saving maidens for 50 cents.The phone then starts to ring (held onto by a statue figure) in which Porky walks over to the phone to answer it. The phone call is coming from the Emperor as he informs Porky to come on over in which Porky agrees to. He answers the phone saying, 'Hello, hero agency speaking. Oh who? Yes, the Emperor. One hero to go? Yes sir". With the 'one hero to go' line; it's referring to Porky himself being the hero.

Porky then walks over to a statue figure that is called, 'Mercury' who was a Roman god in mythology. It turns out that the phone box is actually attached to his armpit and that's why there is a hand holding the phone - (which I think is a little funny). Porky then starts to walk over and then he flies over to the Emperor's palace; with shoes that show he has...wings. Okay...

After a flight from his palace to the Emperor's; he then skids to the ground to greet the Emperor. 'Howdy, Empie'. The emperor then turns around from his chair in which he shushes Porky as he replies; 'I'm making a fireside chat with my she eps'. It turns out that the Emperor is in fact giving a talk towards an audience and that they have in fact already turned into stone. There appears to be a reference with the voice as he shouts in a monotone voice; 'This is Emperor Jones speaking'; but I'm not sure what it's meant to mean. The Emperor here is shown with a very strong Greek accent so bear with me if my writing in the next part won't be top notch not because of being tired but actually struggling to understand dialogue and the plot of the cartoon. But I think that the Emperor's voice is a reference to the Parkyakarkus character; but I'm not too sure.

To make it as though the audience agrees with what he is saying; he then starts to pull a rope chord in which there are strings attached to the arms in which they give a salute sign. Of course for an audience today watching this; they'd be thinking of it as the Nazi salute. The Emperor then continues to talk on with his heavy Greek accent (and that means I can't understand the dialogue too well) in which he comments that the population of the place went from 6'000 and then states that there are 500 hundred with 54 people; if that's what he means) he comments that seven of them being statues.

The Emperor then grabs out a marshmallow from the fireside (attached to a stick) as he continues his lecture to these statues (makes him an eccentric) in which he continues his chat. There appears to be a lot of dated in-jokes I think in this section, of some shorts. The lecture turns out to be about the amount of 6'000 statues and the fewest amount of people that is becoming a problem in which the lecture is about the Gorgon. As soon as the Emperor says the word, 'Gorgon' he spits out the word until he pulls the rope and then the statues in the audience clap.

After he pulls the ropes from where we hear the clapping he then continues his speech; and I notice that Porky is standing by the audience but just appears to be standing there just listening. The Emperor mentions the rumours about the Gorgon has a chain hanging on her neck; of some sorts. While he gives out his speech; there is a sausage on a stick (being held by a statue) in which it roasts on the fireside. The Emperor then picks up the hotdog and eats it whilst continuing his talk.

The Emperor then continues his talk about the problem and he sends Porky Pig over next to him as to being the Greek hero to help stop the problem with the Gorgon. As he nominates Porky to be the hero; he then asks for those 'all in favour' on casting Porky to be the hero. He pulls the chord as normal in which all the statues volunteers. I mean; personally I know these are gags being tried out but it just seems pointless if he's just getting folks who used to be statues just volunteering for him. Why couldn't he just get the other people who haven't turned to stone yet - it's really clogging my brain. The funny part is that even the clock's hand volunteers; the only inanimate object (or living) to be even volunteering. The Emperor is amazed by the votes that he's managed to cause in which he shakes his hands to Porky and comments, 'It's a deal'. He comments, 'Adios Porkykarkus' as Porky then starts to leave the palace for his duties.

The Emperor continues to say goodbye towards Porky as he is leaving such as, 'Happy landing, drop us a line, etc!' - I guess that this is just supposed to be funny ways for the Emperor to keep on greeting goodbye to him. Porky is flying with his flying shoes in which he greets the Emperor.

Hey, notice some of the shots in the palace where he isn't wearing any shoes but in the flying scenes he is? Porky then trips on a column in the sky but he therefore spins around after his trip and he turns upside down afterwards in which he falls down like a dive-bomb. At least the funny Treg Brown sound effect made it rather funny to me. Porky then makes a dive-bomb before he then flies into the distance to a volcano in the Greek area. I do like how the camera angles for this scene was planned out on where Porky was flying which must've made the background pans a little bit complicating. After the fade-out we then fade-in to find the volcano but in a close-up view and the Porky flies over to the volcano with his flying shoes. After he flies into the volcano he then stops flying as he makes a land and then starts to walk into the Gorgon Statue Factory. We find that in the long-shot Porky then walks over to the Gorgon Statue Factory and that's where the smoke from the top of the volcano came from in which it does kind of make it a fine gag in its ways.

As Porky has already landed; there is a sign in which we spot in this point-of-view shot in which it reads: "WHY GO SOMEWHERE ELSE AND GET YOURSELF CHISELED? THE GORGON WILL TURN YOU TO STONE CHEAPER WITH HER MARVELLOUS PHOTOGRAPHIC EYE. The writing at the bottom continues but in much smaller writing: IF NOT SATISFIED IN THIRTY DAYS YOU WILL BE BROUGHT BACK TO LIFE WITH HER LIFE RESTORING NEEDLE. 

There is a funny little part that is also; what I think rather looney of Clampett and also typical of him in which there is writing just added into; as the sign then changes to "...life restoring needle ----------- MAYBE". Now that is just rather amusing that we know the fact that the Gorgon is in fact not a fair person at all; considering there is no chance of your life being restored. As we can see; there is a row of frozen statued men in a line; but there is a sign that now reads 'Picket Fence' in which that is how they are formed now. Porky then walks over to a door in which he delivers a message; notice how there is a Fuller brush man statue stepping by the door with his foot standing by it - which I think is rather amusing. Porky knocks on the door to deliver a telegram to the Gorgon but before he pronounces 'Gorgon' correctly a hand then snatches the letter and slams the door in which the brush man's foot is caught on the door which is a funny gag. Porky snaps his fingers; 'Aw shucks'. I love how that the brush man's foot is actually jammed on the door; shows how wacky and impossible Clampett could get.

Afterwards; there is then a shot as we find a photography man standing by making a photo shoot. There appears to be another in-joke in which the photographer then asks for the next model to step in in which he is an old crooked man. As he's crooked; the photographer makes an in-joke that he must be nervous - which is an in-joke. I like how that Clampett has thought of a clever idea for the man to be the camera stand as well; as he appears to have a camera in his eye and his chin leaning on a camera stand.

The old man then starts to give out instructions as he asks; 'Smile at the camera. Watch the birdie (he brings out a toy bird which is a popular use to catch attention when in photoshoots. He then starts to ask; 'Are you holding it? I'll wait' - of course he's not holding it since the old man is crooked in which the old man then starts to wait by blowing his nails waiting patiently which I find rather funny as he's mistaking the old man to be a nervous child. He then starts to sing to himself; but then as we watch the old man still crooked; the photographer asks 'Steady now?' but after the flash - he turns into a statue and I think Clampett and his team have developed a clever concept of how the Gorgon (the photographer) has managed to turn them into stones - I like that idea. A sign is then placed by the card in which it read; 'Antiques: $60,000,  P.S. 000,000" - now the P.S. part was rather funny and even Clampett has used it again afterwards. A hook then slides into the scene to slide the antique statue carefully out of the scene.

The next models to step into the scenes are of course parodies of 'The Three Stooges' as we watch Moe, Larry and Curly walk in as they sue their trademarks is where they hit each other in the face; and that would've been a funny gag since it was a popular series of the time. They then turn into stone in which they are then frozen into one of their also trademark poses which is the 'Three wise monkeys' sign (See no evil, speak no evil, hear no evil). The gorgon then comments, 'I guess I made monkeys out of them' which is a funny one-liner.

Porky then starts to knock on the prison  door in which he then hopes for the Gorgon to be at the door. Then there is an arm that reaches out in which the voice replies back, 'Welcome, stranger. Won't you come in?' after shaking his hand he is then dragged into the room by a Negro guard. He is then joining the queue where Porky is at his fate of being turned into a statue. The next folks to be turned into statues look like an aerobics team in which they form a pyramid shape act; but then after being turned into stone they form an actual pyramid. The gag itself works in that level; even though they don't turn into human shapes but blocks but you really get the idea of why the gag would work itself. The price tag for the Egyptian pyramid is priced at $50. The top part of the pyramid is actually broken in which the Gorogn is annoyed. He then uses the life-restorer to help fix the pyramid (and probably one of the fewest times she's had to use it); then she turns them to stone again and form a perfect pyramid.

The Negro guard then comments to him in which he responds; 'You're next' to be statued. Hang on a minute; if he's next then what happened to the other guys in front of him? Was this a goof? Was this a cut? Porky then starts to back off as he doesn't want to be turned into stone as he pictures in his head on what his fate could be a - a piggy bank. He then walks back shouting, 'No, no - a thousand times no'. Mmm, I've noticed that in some Porky cartoons - do you reckon that would've been a supposed catchphrase for him?

Afterwards; Porky then realises he has bumped into a statue behind him in which it falls to the ground. The statue trips and then falls as it breaks. Porky realises that he has created a good idea. The gorgon then calls in for more. The door opens and we find that Porky Pig is in fact under a a statue of a Greek man with a perfect figure. The gorgon is even amazed as she turns to the audience remarking; 'Would you look at that?' which is a funny, subtle gag. I do like that walk cycle of the figure (although we can't see Porky's trotters moving so I imagine the cycle might have been a bit of a challenge in animation - then the trotters turn up after the cape falls down. I like how that he sits down on a chair in which the Gorgon has taken an interest on him as she dashes to the table next to him asking, 'Is this seat taken?' in which she starts to sit down next to him in which a love bubble pops out and bursts which I think is rather amusing considering that she is being made a full out of by Porky in his way of enticing the Gorgon.

Porky's hand then reaches out to grab the life-restorer that is tied around her neck; as he tries to grab for it - the Gorgon then starts to go into a craze as though she's been touched and comments, 'Why, Mr. Apollo?' which is another funny subtle joke. She then picks up Porky in the statue and kisses him. Afterwards she comments, 'Didn't taste the difference' and then she grabs out a ring in which she believed she's being proposed and comments, 'so sudden'.

She then grabs out and kisses the hunk statue until it breaks into fragments in which it turned out she was kissing Porky. Porky then realises that he is almost caught in which he starts to grab the life-restorer and runs away with it. The gorgon realises that she's been had. She then starts to call for help and even uses the police signal; 'Calling all cars'. Porky then runs over to an antique in which the old man is free from the statue before he realises that he's being chased by the gorgon and he runs off in that funny take of his. Porky also frees another statue of a naked man holding a frisbee in which he whirls around and throws it - I guess it feel like a statue that was from a nudist beach or some such - with a frisbee being held. The gorgon is on the chase with the camera stand to try and freeze them again. Porky then restores the life of man on a horse but after being restored to life; we find that he is on a merry-go-round type style which I find is rather amusing.

More lives continued to be restored and that includes a woman statue who appears to have the same type of muscles as Popeye. Then another life that is restored is a mermaid but she unzips her fin and runs out which is particularly quite funny.

Porky then starts to step outside in which he goes as far as restoring life to some of the temples in which they starts to trot away with the columns moving which I think is going beyond the boundaries but it's still presented in a comic form. There is a very funny Shirley Temple type gag where Porky revives the life of a temple called Shirley as its referencing child actress Shirley Temple - and the gag I think is funny enough even though I find it a bit groan worthy. Porky is now being chased by the Gorgon who is chasing after him and it will be Porky this time that will be stoned (Huh, doesn't it not sound weird the way I said it? - her hee). As Porky is running away; we notice something and even I (I will say it) fucking love this part where Porky is just running slower and slower because he is in a dream. He then stops and gets captured. I mean I just think that is incredibly true and realistic; I mean haven't any of you ever experienced a nightmare where you were being chased and for some reason you get slower and slower when you run? The gorgon then grabs hold of Porky in which Porky has his eyes closed so that he will try and not get turned into stone. He shouts, 'Open your eyes - open up I tell you, etc!' the dream then fades back into reality where Porky is in bed and the shaking turns out to be the mother waking up Porky. 'Come on, open wide. It's time to wake up Porky'. Porky then wakes up after his eyes are opened by his mother in which he cuddles up to his mum giggling as he is alright and safe at home.

Overall comments: What I find rather interesting in this Clampett cartoon is that despite that Clampett managed to make Porky a more grown-up by finalising his personality and design (something that probably wasn't complete until 1940 or 1939); here Clampett has made Porky the child in this cartoon which is rather weird to me since he made Porky become an everyman; but yet again Porky always varied in designs through the 1930s but it never always felt terribly noticeable. I find that the story concept for this cartoon was a rather interesting choice for Porky to be a hero agency in a Greek world stopping the Gorgon. I did feel though however the first part of the cartoon went buy rather slowly but then when we saw the Gorgon the cartoon started to get into action. I noticed how that the Emperor in the designs looks like a similar design in Casper Caveman that we see in Daffy Duck and the Dinosaur which didn't come out until 1939 but I guess maybe Jones animated on the character; but surely did designs and character layouts though.

1937 is the end of the output for the Porky Pig cartoons; and all-in-all; I'd say a very historic year for Porky. To begin with; we know that at the beginning of the year; Porky was still voiced by actor Joe Dougherty who stuttered too much and he was not funny with voice acting and failed in many ways - so he got canned. When Mel Blanc took over the whole; he made the voices of the character much more appealing and of course went on to voice many other prime Looney Tunes characters; so that was pretty important of this year. Two new characters were supposed to join the Porky series which were Gabby Goat and Petunia Pig but of course - they didn't last very long. Of course; Clampett would go on to make many other Porky cartoons through the '30s and way up to 1941 before he got to make his own cartoons (other than Porky) but Clampett I think managed to make Porky the right character he was; and I don't think everyone got the hang of him until 1939; perhaps - but Frank Tashlin, I think, got better with his character designs (before that he made him terribly beefy) but he did tone him down around later this year and got better by 1938 where Porky at least looks much slimmer; so I don't Tashlin's designs on Porky this year were too great. All in all; I must say that out of this year's output on 'Porky Pig'; Clampett made the best Porky cartoons I have to say.

185. The Woods Are Full of Cuckoos (1937)

Warner cartoon no. 184.
Release date: December 4, 1937.
Series: Merrie Melodies.
Supervision: Frank Tashlin.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Various voices), Ted Pierce (Tizzie Fish / Ben Birdie ? ).
Story: Melvin Millar.
Animation: Robert Bentley.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Radio stars as animals entertain the Woodland Community Swing with many references.

[REVISED VERSION: 20/07/2017].

My choice to revisit The Woods Are Full of Cuckoos is primarily based on my recent fascination of this early Frank Tashlin short itself. My interest isn't attributed to Tashlin's directorial style - but by its historical context. This short holds my nomination as, arguably, the most dated Warner Bros. cartoon ever. Not only have the references and gags grown dated by today's modern culture - but so has the cartoon's premise.

The premise is largely a parody of the radio program Community Sing, broadcast on CBS from 1936-1937, and sponsored by the Gillette razor company. The show was built largely on comedy, but it also derived of a studio audience engaged in songfests. The program is notable as one of the earliest efforts of famed comedian Milton Berle. The cast included now-forgotten radio performers like Wendell Hall, young Eileen Barton and Billy Jones & Ernie Hare.

Tashlin's parody is in the same vein as Freleng's cartoon, The CooCoo Nut Grove, released a year earlier. Character designer Thorton "T." Hee caricatured iconic Hollywood stars as forest critters in a woodland scenario. While Freleng's cartoon parodied Hollywood nightlife at the infamous Cocoanut Grove; here, it's portrayed as a gathering amongst woodland critters.

It looks like Frank Tashlin did the caricatures himself for this cartoon, but some of T. Hee's character designs are recycled here, like Ben Bernie caricatured as a sparrow. T. Hee would've already left for Disney by the time the short entered production.

A recurring gag in this short appears to evolve around a feud between the woodland caricatures of Ben Bernie and Walter Winchell (caricatured as Walter Finchell). Finchell would engage in mischievous pranks and snide remarks at Birdie, who ignores his antics every time.

This was primarily based on a fake rivalry staged by Ben Bernie and Walter Winchell in their radio shows. Both were good friends in real life, but the rivalry itself was a publicity stunt. Their now dated "feud" has been immortalised for this cartoon, and Freleng's CooCoo Nut Grove. Today, Winchell is best remembered as a controversial gossip columnist, and apparently the inspiration of the ruthless J.J. Hunsecker in Sweet Smell of Success (1957).

The first half of the cartoon largely parody sketches, then popular of Community Sing. A notable sequence occurs with Milton Berle portrayed as a squirrel. A child parrot, Polly, caricatured of Little Jolly Gillette (played by Eileen Barton), approaches Milton Squirrel.


The scene mimics the repartee between Berle and Little Jolly, who was characterised as the daughter of the show's sponsor, Gillette. Here, Polly innocently remarks, "My daddy says you gotta let me sing 'cos he's the sponsor".

The following scene features cast member Wendell Hall in bird form, known as "The Red Headed Music Maker". Wendell is seen hosting the audience with a songbook, as he says: "Let's siiiiinnnnggggg!", as his neck whirls across the "KUKU" microphone. Was that a catchphrase on that program?

Wendell is portrayed as a muddled personality; by indecisively naming page numbers from the songbook, much to the frustration of his audience. And so, Wendell rebuffs, "Oh, never mind, we don't use the books". The audience respond in unison, "Oh yes we will!". They use their books to throw them at Wendell "Howl" on the tree stump stage.

As already indicated, much of the cartoon's humour is also built around unfunny puns for radio stars that concern their name, and converting to them around animals - like Ben Birdie or Jack Bunny, for instance. In one scene, during the titular song number - an entire scene is devoted to such puns.

The scene features reserved seats for more popular stars in Hollywood, like Al Jolson, Bing Crosby, Ruby Keeler, Eddie Cantor, etc. Instead, their names and appearances are thrown in with forced puns (i.e. Crosby = Crowsby, Keeler = Squealer). Each star sing a verse from the titular song.

Admittedly, a few of them are creative - like W.C. Fields' caricature as a field mouse. Then, there's others that are too contrived (i.e. Deanna Durbin = Deanna Terrapin, Fred MacMurray = Fred McFurry, or Lanny Ross = Lanny Hoss).

It's also a sequence that showcases trick camera work from Frank Tashlin's style. The pan across the reserved seats is very long; but by the time the camera stops at caricatures of operatic singers Grace Moore and Lily Pons, the background slightly changes.

The change is applied to make way for a vertical pan, of both Moore and Pons, portrayed as a moose and swan respectively, attempt to compete with each other by singing the highest note. Their necks stretch to great lengths, which works fine for a comedic effort. Once the singing duo reach their climax - their necks descend back to a delirious state.

Despite the cartoon's aged concept; the lush backgrounds and beautiful colour styling are hard to criticize. The styling centers on a night time look, with some lavish detail of moonbeam reflections and the use of contact shadows. Much of the colour work was likely done by Art Loomer, who painted backgrounds for Leon Schlesinger around this time.


For the most part, the short's animation is relatively conservative, likely attributed by the mundane scenarios onscreen. Sometimes, the short's animation boasts of energy and fun drawings.

The "Raven McQaundry" gag features some kooky drawings as the raven "takes" from a reference vanished into obscurity. The name parodies radio performer Haven McQuarrie of a radio show, So Do You Want to be an Actor? 

He asks that question to an audience in a striking pose, but the audience all yell "No!" in unison - hence the take. The gag itself remains unfunny, but the exaggerated poses of the raven's surprise are nutty little touches to an otherwise pointless scene.

Tashlin's animators appear to have fun in a small scene devoted to singer Martha Raye, caricatured as a mule. A distinctive feature of Raye was her large mouth - which was broadly caricatured several times in animated cartoons, and showcased here. Tashlin utilises her caricature with his perspective skills; by having her large mouth cover the entire screen.

A large part of the cartoon spoofs characters and acts from various radio programs. The Bernie/Winchell rivalry was one; Alexander Woollcott as The Town Crier - and various others. The latter part of the cartoon turns its attention to parodying radio personalities like Louella Parsons.

One sequence commits to parodying Tizzie Lish, a fictional character from The Al Pearce Show. The character, portrayed by Bill Comstock, was portrayed as a nutty cooker and health expert - and her signature catchphrase, "Hello, folksies!".

For this sequence, the character takes the form of a fish. Ted Pierce's impersonation is largely spot-on, based on today's few preserved broadcasts. Pierce also manages to capture her mannerisms and spontaneity, of particular puns like: "My friends say I'm a good mixer. Are you, or aren't you?". You can read more about Tizzie Lish's radio fame, here on the Tralfaz blog. Tizzie Lish soon descended into oblivion, but the scene's entertainment values would've had merit for a 1937 audience.

Before the cartoon is ready to wrap up; Louella Parsons is burlesqued as a possum. At the time of the cartoon's release, Parsons was hosting the radio program Hollywood Hotel, which showcased guest stars dramatising scenes from upcoming features.

The "guest stars" featured here better remembered than, say, Haven McQuarrie. Featured are caricatures of Jack Benny, his wife Mary Livingston, and comic actor Andy Devine - who was a regular cast member on The Jack Benny Program.

Benny's caricature is as generic as it gets ("Jack Bunny"); although Devine's portrayal as "Andy Bovine" fits with his distinctively loud, raspy voice. The guest stars appear to re-enact a gag from Jack Benny's program - as Devine's comic persona is lampooned.

The "Warmer Brothers" feature is presented as The Prodigal's Return. The scenario depicts the trio inside a cabin, with Andy Bovine playing a newborn baby. He yells, "Howdy, ma! Hi, pa!" - causing his voice to shake the house and blow Benny and Livingston away from the screen. The gag appears to poke fun of Devine's booming voice, but such references were well-known to the public in 1937.

And so, the cartoon concludes with a cessation from "Alexander Owlcott", as the Town Crier, who concludes "all is well".

For a casual cartoon viewer getting exposed to classic Golden Age cartoons - Tashlin's cartoon may prove to be an unusual experience. Warner Bros. cartoons typically featured dated cultural references for many of their cartoons - but the shorts still had a timeless quality around it. Since the premise parodies the short-lived Community Sing, the style of humour has aged poorly. It's almost comparable to the dated, pointless references riddled in more contemporary shows like Family Guy. The cartoon was a product for its time, in the context that it wasn't expected to be seen again after its initial run. However, The Woods Are Full of Cuckoos remains to be a fascinating exposure of popular trends and forms of entertainment in 1937. It's entertainment values might be long expired today, but it remains a valuable part of history by showcasing obscure 1930s radio.

Rating: 1.5/5.