Category Archives: Recommended

He's Your Dog, Charlie Brown (1968, Bill Melendez)

He’s Your Dog, Charlie Brown opens with Snoopy terrorizing the kids. He’s indiscriminately vicious, leading to the kids complaining to Charlie Brown about it. Charlie Brown’s solution is to send Snoopy off to the puppy farm for reeducation.

Snoopy is Dog’s draw. His worst moments are the initial terrorizing and even those are perfectly good. They’re beautifully animated. The transitions from cute Snoopy to terrorizing Snoopy are phenomenal. Melendez’s direction is strong throughout, particularly during the travel montages, but the opening terrorizing is more than solid stuff. Charles M. Schulz’s script works fast, getting Snoopy in trouble–after a quick, well-directed Red Baron (ish) sequence–and getting him off for retraining.

Unfortunately, Charlie Brown (Peter Robbins) decides to give Snoopy a layover on his trip. Snoopy’s going to spend the night at Peppermint Patty’s. Peppermint Patty (Gabrielle DeFaria Ritter) who just thinks Snoopy is a funny-looking kid.

Once Snoopy gets to Peppermint Patty’s and she treats him so well, he decides he’s not going to leave and instead goes on furlough. I mean, she’s got an in-ground swimming pool and waits on him hand and foot. While Snoopy’s various antics–and his eventual emotional breakdown–are Dog’s essentials, DeFaria Ritter is the one who makes it all work. Snoopy (despite director Melendez contributing growls and such) is nonverbal. DeFaria Ritter gets a lot of dialogue–all of the verbal jokes and gags–for most of the cartoon.

Even after Charlie Brown comes back in–he finds out Snoopy is skipping retraining and heads over to Peppermint Patty’s leash in hand, causing a further rift between he and Snoopy–DeFaria Ritter still gets the best material. When Snoopy comes back to her house after his dust-up with Charlie Brown, Peppermint Patty has had enough with the waiting on him and instead puts him to work cleaning the house, which ends up being as hilarious as when she’s waiting on him.

Charlie Brown once again comes back, this time because he and the kids miss Snoopy, only for the reunion to again go south, leaving Snoopy more trapped than ever.

Schulz’s plotting is outstanding, Melendez’s direction is spry, the animation is exquisite–Vince Guaraldi’s score is a little wanting but still fine. He’s Your Dog is a fine cartoon, a great showcase for DeFaria Ritter, as well as Snoopy as a lead character. Schulz gives Snoopy multi-layered adventures. There are his daydreams, his main plot, then the incidentals. There’s always something different, even when they repeat the same animation (just once, but noticeably). Schulz and Melendez do a great job keeping Snoopy’s adventure fresh.

And when Dog needs to be sentimental or emotional, Melendez and Schulz always make it happen without getting too saccharine.

The cartoon’s pragmatically exquisite.



Produced and directed by Bill Melendez; written by Charles M. Schulz; edited by Robert T. Gillis; music by Vince Guaraldi; aired by the Columbia Broadcasting System.

Starring Peter Robbins (Charlie Brown), Sally Dryer (Lucy), Christopher Shea (Linus), and Gabrielle DeFaria Ritter (Peppermint Patty).



Electric Earthquake (1942, Dave Fleischer)

Outside the racist–though not exceptionally racist all things considered–characterization of the villain, a Native American engineer who’s going to level Manhattan because it was stolen from his people, Electric Earthquake is pretty much great. Well, it’s outstanding. For what it does, it’s outstanding.

So there’s the opening, where only Clark Kent (Bud Collyer) thinks the Native American guy has a point–while Julian Noa’s Perry White is a piece of crap, apparently–but neither think the guy is actually going to do anything. Only Lois (Joan Alexander) thinks to trail him back to the docks, where he catches her and takes her down to his undersea laboratory.

The cartoon has already introduced the laboratory, complete with the wires going to the various parts of the ocean floor so the engineer can shock an earthquake. And he does. Manhattan falls apart. Cracks in the streets, skyscrapers crumbling, the Daily Planet having a big chunk fall away. And no nonsense regarding Superman–he’s in action right away (well, after the disaster starts).

And he saves the day. With some complications and some troubles.

There are a couple things not animated well, but otherwise it’s all phenomenal work. Good direction from Fleischer. Some of the animation doesn’t quite match, but it’s still good. The rocky parts are in the explosions. They’re lacking in detail and size.

And, story-wise, it’s not like the engineer turns out to be some great villain or even an interesting one. He doesn’t beat up Lois, which is nice, though he does leave her to drown in his getaway. He’s almost sympathetic.

The Superman action, including his various troubles with electric wiring, collapsing buildings, and just having enough breath, is great. The ending is fun too.

The fun might be the best thing about Earthquake. Even though it’s obviously full of catastrophic danger, Fleischer and his animators enjoy the heck out of Superman’s response to it.

Though Lois gets a particularly bad part. She’s present for almost everything and gets no reaction other than silent fear.



Directed by Dave Fleischer; screenplay by Seymour Kneitel and Izzy Sparber, based on characters created by Jerry Siegel and Joe Shuster; animated by Steve Muffati and Arnold Gillespie; music by Winston Sharples and Sammy Timberg; produced by Max Fleischer; released by Paramount Pictures.

Starring Bud Collyer (Clark Kent/Superman), Joan Alexander (Lois Lane), Julian Noa (Perry White), and Jackson Beck (Lenape scientist); narrated by Beck.


The Bulleteers (1942, Dave Fleischer)

Three genius mechanical engineers come up with a flying, rocket-powered bullet car, with a penetrating nose, and try to extort millions from Metropolis. When their extortion fails, they attack. After some trouble, Superman stops them. The Bulleteers is nothing if not concise.

The cartoon starts introducing the bullet car, then its owners. They’re in a mountain hideout, of course, but it doesn’t turn out to be important. The emphasis of the cartoon, for the first half, is on the city. Lots and lots of people in Bulleteers–since they’re in a mountain the Bulleteers are able to use a very loud speaker to threaten the city, everyone comes outside to listen. So it’s a lot of beautiful design work, then nice, deliberate animation of the crowds. Until the nighttime attack, Bulleteers’s Metropolis feels vibrant and full.

The attack is a bunch of disaster sequences, as the bullet car easily knocks through police defenses and starts shooting through buildings, sending debris everywhere. Luckily, Lois Lane (Joan Alexander) has ditched Clark Kent (Bud Collyer) and he’s able to put on the longjohns to try to save the day. There’s some good tension in whether or not he’ll be able to do it.

The finale with the Bulleteers is a tad perfunctory, but the cartoon’s already done its stuff–the first part of their attack is on a power plant, which leads to some great disaster inserts. And some of the Superman action is excellent. All of the animation is excellent, regardless of content.

Bulleteers’s exquisite visuals and simple narrative add up to a nice eight minutes.



Directed by Dave Fleischer; screenplay by Bill Turner and Carl Meyer , based on characters created by Jerry Siegel and Joe Shuster; animated by Orestes Calpini and Graham Place; music by Winston Sharples and Sammy Timberg; produced by Max Fleischer; released by Paramount Pictures.

Starring Bud Collyer (Clark Kent/Superman/Bulleteer), Joan Alexander (Lois Lane), Julian Noa (Perry White/Bulleteer), and Jackson Beck (Bulleteer); narrated by Beck.


Voyeur (2017, Katharine White)

Voyeur has five shots. Maybe six… but I think five. The main shot is of star (and writer and producer) Stephanie Arapian’s front door. A little of the apartment interior is visible, but mostly in shade. Or, during the night shots, it’s just a lighted window. Over the film’s six minute run time, Voyeur explores Arapian’s life (as it relates to her parents). They live on the other side of the country, they’re getting older, they’re getting sick, they’re not communicating well. The short starts on Arapian’s birthday (or thereabouts) and ends just before Christmas. In between, a lot happens. The viewer hears about some of it, some of it is just implied in the dialogue, some of it is just on Arapian’s face and in her expressions, as the time wears on her.

The short is a showcase for Arapian’s acting. Even though there are only five (or six) shots and most of it is that one shot, Arapian does a lot, often when she’s on the phone. Even more than when she and her friend (Kate Volpe) are sitting outside talking through a particularly emotional scene, nothing feels quite as voyeuristic as those times Arapian is on the phone. Because in the conversation, her expressions and the emotion in them aren’t private–Volpe’s there–on the phone? Those moments are when the short is peeking in.

Of course, there’s also a phone scene where Arapian’s in the apartment and only visible–occasionally–walking past the window. That scene showcases Arapian’s acting from just voice alone. Again, it’s a great showcase for her.

Great photography from director White; nice editing from Tiffany Gibson. Voyeur’s simple and direct and rather affecting.



Photographed and directed by Katharine White; produced and written by Stephanie Arapian; edited by Tiffany Gibson.

Starring Stephanie Arapian (Lynn) and Kate Volpe (Eva).