Depending on the process director Disney used to marry live action with animation, Alice’s Wonderland is either mediocre or just plain bad. If it’s the latter, Disney has no concept of perspective or, you know, shadows.
The first three minutes are awesome. A little kid (Virginia Davis, in an awful performance–it’s probably Disney’s fault) visits an animation studio and is amazed at how the cartoon characters come alive on the animators’ panels. Disney’s conception of the studio is something technology still hasn’t produced (and probably never will). It’s spellbinding.
Then it becomes about Davis and gets bad. All the little cartoon animals love her and applaud her lame, poorly directed dance. The technical wonders of the first few minutes become lame and cheap tricks, a couple of shocking incompetence.
The animation’s mostly lame with occasional exceptions. Unfortunately, a couple great gags can’t make up for all of Alice‘s failings.
Written, directed and produced by Walt Disney; directors of photography, Rudolf Ising and Ub Iwerks; animated by Hugh Harman, Ising, Iwerks and Carman Maxwell; released by Margaret J. Winkler.
Congo Jazz is a great example of how old Hollywood racism works. Having Bosko, the lead in the cartoon, be a little black kid isn’t really overtly racist… until Harman and Ising have him meet a couple monkeys.
Guess who looks like who?
And then, sort of confirming racists are morons, it turns out the monkeys’ father is a gorilla. So apparently species were unknown to Harman and Ising too.
Strangely, once the cartoon becomes a musical number–and Bosko acts the minstrel role–it becomes a lot less offensive. The last half is Bosko and the jungle animals playing a song and there are a couple almost successful moments.
The problem is the lack of ambition. Harman and Ising put more attention into Jazz‘s backgrounds than the animation.
Without a story, the lazy animation can’t make Congo Jazz succeed. Instead, it putters out, just stopping without a real ending.
Produced and directed by Hugh Harman and Rudolf Ising; animated by Carman Maxwell and Paul J. Smith; music by Frank Marsales; released by Warner Bros.
Starring Johnny Murray (Bosko).
Watching Bosko the Doughboy, I kept thinking, “too soon.” It’s a comedy cartoon about World War I, specifically trench warfare. In the cartoon, Bosko is the only human. The rest of combatants are animals–dogs, cows, a pig or two, a lot of birds. The battle scenes are graphic and, one has to assume at the time of its release, traumatic to veterans of the war.
The cartoon has three significant parts. First, the introduction with all the trench warfare “humor.” Second, a strange musical number so Bosko can show off synchronized sound. Finally, Bosko and his friend get into trouble and Bosko saves the day.
While Bosko’s appearance is a bad racial stereotype, the character in Doughboy is incredibly heroic. During the final sequence, it’s as though the cartoon is working against itself.
It’s technically pretty strong (except the lame musical number), but Doughboy feels wrong on multiple levels.
Directed by Hugh Harman; animated by Rollin Hamilton and Carman Maxwell; music by Frank Marsales; produced by Harman, Rudolf Ising and Leon Schlesinger; released by Warner Bros.