Tag Archives: Joe Shuster

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.

2/3Recommended

CREDITS

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.


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The Magnetic Telescope (1942, Dave Fleischer)

The Magnetic Telescope is about a power-mad astronomer who builds an observatory with a giant magnet on top so he can attract meteors and comets to the Earth for further study. The device, in attracting meteors, is an obvious public safety issue but the astronomer doesn’t care. He’s willing to let thousands die so he can observe a comet.

The cops try to stop him, but he locks himself in and they have to try to destroy the giant magnet’s supporting machinery. They do, but it then means the astronomer can’t control the comet he’s brought to Earth. So he does a run for it.

Lois (Joan Alexander) is the only reporter covering the story. The cops aren’t very worried about her. She ends up trapped. Luckily, when Clark Kent (Bud Collyer) takes a cab over to save her, a fragment of the comet hits the cab and he decides to save the day as Superman. Though his plan isn’t initially much brighter than hitting the comet, which both times knocks him out.

Magnetic is too visually tepid to be exciting. The animation is rushed and lacks detail, the story is weak. Weak might actually be a compliment. The comet fragments hitting the city sequence is all boring–there’s a definite lack of detail throughout, but when not even the set pieces get any attention, well… then there’s nothing to Magnetic Telescope.

The end “it’s all thanks to Superman” tag would almost be amusing if Clark weren’t such a wet blanket. It’s hard to get excited about a Superman too dense to know he can’t stop a comet–and he appears to fly towards it, not jump–not to mention when Clark takes a cab to help possibly mortally injured Lois.

Magnetic it ain’t. But who knows what better animation would’ve done for it.

1/3Not Recommended

CREDITS

Directed by Dave Fleischer; screenplay by Dan Gordon and Carl Meyer, based on characters created by Jerry Siegel and Joe Shuster; animated by Thomas Moore and Myron Waldman; music by Winston Sharples and Sammy Timberg; produced by Max Fleischer; released by Paramount Pictures.

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


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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.

2/3Recommended

CREDITS

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.


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The Mechanical Monsters (1941, Dave Fleischer)

The Mechanical Monsters has a lot of promise. Or at least it seems like it’s going to have a lot of promise. A mad scientist has built around thirty giant flying robots he sends out to rob Metropolis. The cartoon opens with one of them returning with its loot. No one can stop him.

Back in the city, Lois and Clark are both covering a new jewelry exhibit. Clark (Bud Collyer) isn’t happy to see Lois there. The defining aspect of Collyer’s Clark Kent performance is how much he loathes Lois Lane when she’s doing her job, which makes the cartoon’s epilogue all the stranger.

So the giant robot attacks. Turns out it’s bulletproof too because the Metropolis police shoot tommy guns at it and the bullets ricochet everywhere. Presumably not into the fleeing civilians.

When Clark and Lois go to call the story in, Lois gives Clark the slip to get back to the giant robot, hitching a ride in the loot compartment. Then it’s Superman time.

The aforementioned promise starts building once Superman’s in play. Even after he somehow gets knocked out of the sky by the robot (it’s unclear if Superman’s jumping or flying, I suppose–whatever’s most convenient for the story) and gets into a fight with electrical lines, Monsters always seems like there’s about to be a great sequence.

When Superman finally gets to the mad scientist’s fortress to duke it out with the two dozen plus giant robots, it’s got to be a great sequence. Then it’s not. It’s rushed because it’s not even like Lois is in danger from the robots. She’s in danger from the mad scientist dropping her into molten lava. Good thing Superman’s cape is molten lava-resistant.

The epilogue has Clark complimenting Lois on her page one scoop; of course, she says she only got the story because of Superman. Fade out on knowing smile from Clark. Kind of gross.

There’s some nice stuff in the cartoon–effective close-up on the mad scientist, for example–but the story’s all over the place and the characters are weak. Joan Alexander, as Lois, gets about two and a half lines. Though at least this time director Fleischer cuts away from the villain assaulting her.

1/3Not Recommended

CREDITS

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

Starring Bud Collyer (Clark Kent/Superman/Scientist) and Joan Alexander (Lois Lane); narrated by Jackson Beck.


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