Jolly Frolics

The DVD collection of UPA Jolly Frolics is now available for pre-order through both the TCM website as well as Movies Unlimited. The pre-release price is $34.99 U.S. For those of you ordering in Canada, Movies Unlimited offers the better deal in that they're charging $8 for postage, where TCM wants $20.

The importance of these cartoons has probably been dulled by time, but when they were released, they shook the foundations of American animation and were widely influential around the world. Prior to UPA, the bulk of American animation was built on the Disney design model, where characters were drawn to be dimensional. While American animation had progressed beyond the circle and hosepipe design approach, it was still based on rounded forms that could be turned in space and that had definite volume. There was also a discontinuity between characters who were painted in flat colours and backgrounds that were rendered to give the impression of light hitting rounded forms. Each American studio had a house style that was a variation on the above.

UPA embraced a flatter graphical approach in their backgrounds, which made the overall design of their films more consistent. In addition, they varied their design approach in each cartoon. While the artists there shared a design sensibility, they worked to avoid developing a house style.

Their films also differed in content. By the time UPA arrived on the theatrical cartoon scene in the late 1940s, American animation had hardened into formula. Slapstick conflict was the norm, whether it was Donald Duck vs. Chip and Dale, Bugs vs. Elmer, Tom vs. Jerry, Popeye vs. Bluto, Woody Woodpecker vs. Buzz Buzzard, or Mighty Mouse vs. Oil Can Harry. UPA returned to stories similar to Disney's Silly Symphonies of the 1930s, albeit with their own sense of design.

The cartoons in this set include Gerald McBoing Boing (written by Dr. Seuss), The Unicorn in the Garden (based on the story by James Thurber), The Tell Tale Heart (based on the story by Edgar Allen Poe) and Madeline (based on the book by Ludwig Bemelmans). In the case of the Thurber and Bemelmans shorts, the films are designed based on the art of the authors.

In addition, there are original cartoons directed by John Hubley (Rooty Toot Toot), Bobe Cannon (Christopher Crumpet) and Art Babbitt (The Family Circus). Hubley, of course, went on to create many independent films such as Moonbird after leaving UPA. Cannon is, in my opinion, an animator and director who deserves much more attention than he's been given. While he animated for Tex Avery and Chuck Jones, his films are very different in tone and subject matter than his animation.

While there are still studios that are underrepresented on DVD such as Terrytoons and Mintz/Columbia, this is one of the most important DVD releases of the last several years. Based on the influence these films had on everything that came after them and the high quality of many of these cartoons, it's about time that they are available. They fill a large hole in American animation history.

Christopher Crumpet

Rooty Toot Toot

The Unicorn in the Garden

Ottawa Animation Festival

I was extremely tired during the Ottawa Festival, so I've decided to only talk about films that I enjoyed even in my exhausted state. It's quite possible that a second viewing would lead me to different conclusions for films I didn't like, so rather than say things I'll later regret, I'll stick to what I liked. I've also reconciled myself to the fact that my taste and that of festival organizer Chris Robinson differ. It's pointless to criticize this year's selection as it was consistent with previous years and will no doubt be consistent with coming years so long as Robinson is making the selection.

The Ottawa Festival is one of the most heavily scheduled events I know of; every time slot now has four events running concurrently. While that pretty much guarantees there will be something of interest every waking moment, it's also a guarantee that you miss things you'd like to see. For the record, I saw three of the five competition screenings, one of the two screenings of films for children, one of four UPA retrospective screenings, and two of the three features. I also attended two panels (one of which I spoke at) and a master class.

I've already praised Perspeolis and Golden Age. In the competition, another favorite film was Lapsus by Juan Pablo Zaramella of Argentina. It's a graphically simple film, black and white with no half-tones, where a nun confronts a dark space. The film is highly inventive and funny, doing a lot with little. You can watch a brief clip of the film here.
Zhiharka by Oleg Usinov of Russia is a fairy tale about a girl trying to avoid being eaten by a fox. The film had great humour and fantastic energy. I'm constantly amazed by the lack of timing in modern animation. This film was expertly timed and really carried the audience along as a result. If you can read Russian, you can find more about the film here. If there's a link to a clip, somebody please let me know.

The UPA screening I attended was the one dedicated to directors. I think that Bobe Cannon is underrated as an animator and as a director. His animation in Robin Hoodlum very stylish and got me thinking about what we've lost in animation. There's no shortage of original design work visible at the Ottawa Festival, but I don't think that there's much in the way of original motion. Certainly, there's little where the quality of movement itself is entertaining in the way that Bobe Cannon routinely animated. I'm pretty sure that he did the fox and the knight here as well as the fox drinking his first cup of tea.

Robin Hoodlum
Uploaded by thadk

Cannon's direction also used movement to entertain. I think that I already linked to Christopher Crumpet, but here it is again. Christopher's walk and his first transformation into a chicken are both fun in and of themselves. Bilgewater's stylized way of moving from pose to pose with no inbetweens is also fun to watch, as is the mother tripping and landing at the dinner table. These things don't take money to do, they just take imagination, but I don't see enough of it these days.