You Can't Go Home Again

Børge Ring called the above to my attention. It's a 2005 Tom and Jerry, co-directed by Joe Barbera. In some ways, it does a remarkably good job of duplicating the look and feel of the Hanna-Barbera Tom and Jerry cartoons of the 1940s and '50s. However, in other ways, it doesn't, and surrounded by those things that work, the lapses stand out even more.

Børge pointed out that Bill Hanna's timing just isn't there and that this cartoon inadvertently shows the importance of Hanna's contribution. He's right. For instance, the gag at 3:05 where Tom hurtles into the garbage truck is timed too slowly. Hanna never would have had the extended pause between Tom landing and the jaws closing. Furthermore, the jaws would have closed faster. That wouldn't have been true to life, but it would have been funnier.

Like the opening titles, a collision of Warner Bros. and MGM fonts, some of the character poses look to be from Warner Bros. rather than MGM. Jerry's look to the audience at 2:36 smacks of Chuck Jones. Jerry's pose at 1:36 has the look of a Robert McKimson cartoon. Tom's look to the camera at 3:26, with his eyes merging, is also more reminiscent of Warners.

The music can't compare to the exuberance of Scott Bradley's scores.

There are good things here. The characters stay on model. The animators have captured the way Tom scrambles off screen, including the subtle stretch in his mid-section, and have also captured the way Hanna and Barbera had characters shooting and rebounding into holds. As I said above, because so much of this is right, what's wrong stand out and that is why you can't go home again.

Revivals work in the theatre because the originals only exist in memory. There is no expectation that a revival will duplicate the look and feel of the original because the original is not there for comparison. In film and TV, though, the originals are not only there, they are often front and center, showing right next to attempts at a revival. The comparisons are inescapable.

Creative works are not only the product of people, they're also the products of a time and place. As the world keeps changing, it is impossible to recreate something from the past. While artists often wish to duplicate what they love, they can only approximate it. Paradoxically, the closer they get to it, the more they've succeeded in doing nothing more than an good imitation. And since the originals are everywhere to begin with, is an imitation necessary?

From a corporate standpoint, it's another cartoon to add to the library. From an artistic standpoint, it's a dead end. What could this budget and these creators, including 94 year old Joe Barbera, have come up with if they tried something new?

Invitation to the Dance

Most animation fans are familiar with the sequence in Anchors Aweigh where Gene Kelly dances with Jerry, the mouse from Tom and Jerry cartoons. Fewer fans have seen Invitation to the Dance, a feature spearheaded by star Gene Kelly which consists entirely of three dance sequences. The last sequence is "Sinbad the Sailor" and features Kelly dancing with animated characters produced by Hanna Barbera while they were still at MGM.

The film will be showing on Turner Classic Movies early in the morning of Tuesday Sept. 20 at 12:15 a.m. Eastern Time. Or if you prefer, late Monday night. In any case, TCM only runs the film every few years, so you might want to catch it if you're interested.

Below is an excerpt from the animated sequence.

Joe and Bill Explain It All

Here is a CBC news clip from 1961 where Joe Barbera and Bill Hanna explain the production process for making TV cartoons. It's a shame that the clip is in such poor shape.

One of the interesting things is the casual sexism. "Girls" do ink and paint, but a "man" paints the backgrounds. Welcome to the era of Mad Men and Wilder's The Apartment.

If you can identify any of the artists who appear on screen, please comment.

(Thanks to Chris Walsh for pointing me to this.)

Hanna and Barbera

There's a discussion going on about Bill Hanna and Joe Barbera, probably prompted by the release of Jerry Beck's book, The Hanna Barbera Treasury. (Mike Barrier talks about them here and here; Thad K talks about them here.) For baby boomers, there's a strong nostalgia for Hanna-Barbera's early work such as Huckleberry Hound, Yogi Bear, The Flintstones, The Jetsons and Top Cat. Hanna and Barbera are undeniably important to TV animation from a historical standpoint as they were the first to crack prime time with an animated series and their studio was able to work with TV budgets and schedules while creating successful shows.

Furthermore, many boomers in the animation industry had direct contact with Hanna and Barbera and have pleasant memories of them as individuals. By all accounts, Joe Barbera was an expert salesman, so his ability to charm people should come as no surprise.

As theatrical animation collapsed in the 1950s and '60s, Hanna-Barbera was there to offer employment to animation artists who suddenly found themselves jobless. While no one claimed that TV work was the same quality as theatrical shorts, it did allow many animation veterans to close out their careers doing work that they were familiar with. They were spared the upset of re-inventing themselves in middle age or later.

Those are the good things that can be said for Hanna-Barbera. There are, however, many bad things that can be said about them. In some ways, it's amazing that animation managed to survive them.

There is no question that TV budgets and schedules were and are brutal for the creation of animation. Hanna-Barbera did nothing to fight this. That is their single biggest failing. Rather than attempt to reform or beat a system that was clearly stacked against the production of good work, Hanna-Barbera embraced that system and milked it for their own personal gain. They expanded the number of shows they produced and with each expansion, the quality of the product suffered. They opened studios overseas in order to take advantage of cheaper labour. The savings went into their pockets, not onto the screen. After their initial decade, when they had the opportunity to work in prime time or in features where budgets were better, the projects were only marginally better than the low-budget work they turned out for Saturday mornings. The thinking and procedures behind their Saturday morning shows infected the entire company. In their hands, the art of animation (and here I'm talking about the entire process from writing to post-production), was degraded and debased without apology.

Some might argue that Hanna-Barbera did not have the leverage to change the way the TV business dealt with animation. I disagree and my evidence is Walt Disney and the movie business. In the early 1930s, Disney was a small company that was not affiliated with a major studio. Theatrical shorts were not all that lucrative, which is why live action comedians in the 1920s like Buster Keaton, Harold Lloyd and Harry Langdon, worked hard to graduate to feature films. Walt Disney re-invested his profits, including those from merchandising, into improving the quality of his cartoons. By raising his standards, he forced other animation studios to raise theirs in order to compete.

Hanna and Barbera were no worse off than Disney at the time they entered TV. If anything, they were in a better position having won multiple Oscars for the Tom and Jerry series. They entered TV with a greater reputation and more experience than Walt Disney had in the early 1930s. As Disney expanded his company in that decade, the quality of the studio's work went up. As Hanna-Barbera expanded in the 1960s and beyond, their quality went down. Like Disney, they had merchandising revenue coming in from early on, but that money was never redirected to the cartoons. Where Disney increased his budgets with the hope that quality would lead to increased revenues, Hanna-Barbera never increased theirs. Walt Disney exceeded the expectations of his distributors and his audience. Hanna and Barbera were satisfied with meeting their minimum requirements, and often failed to do that.

Regardless of what you think of Disney's films, there is no question that Walt Disney enriched the animation industry by raising standards for the entire field. Hanna and Barbera impoverished animation by strip mining it, taking all the wealth for themselves and leaving behind an industrial disaster. There is no question that the animation industry suffered a major blow with the death of theatrical shorts and the rise of television. It took the industry more than 25 years to recover from that blow. Hanna and Barbera had no part in that recovery and if anything, they probably delayed it.