![]() Hugh Harman and Rudolph Ising, who produce "Merrie Melodies" and "Looney Tunes," in association with Leon Schlesinger, played hosts to the employes of Harman-Ising Productions at a dinner-dance at the Airport Gardens. The program will be made up of Magic Carpets, song cartoons and a series compiled from library shots made years ago. 27.įox is planning to extend its short subject activities in 1933-34 through distribution of 52 single reels in addition to its usual newsreel issues of two a week. She takes part in a stage and screen novelty devised by Fleischer.īetty Boop, Max Fleischer's cartoon character being broadcast regularly by NBC on stations east of Chicago, goes on a national hookup Jan. Mae Questal, who does the vocalizing for Betty Boop in the Max Fleischer cartoons released by Paramount, will appear in person at the New York Paramount starting Friday. His clients had included John Bunny (look him up if you’ve never heard of him) and Mae West when she was part of a double.ĪT LAST Neil McGuire is getting a chance to show what he really can do with his miniature sets and painted backgrounds Neil now has his own studio in Hollywood.he projects living actors against these painted backgrounds and miniature settings he also creates animated cartoon figures that are cleverly blended with the flesh-and-blood actors.McGuire's motivating thought is the creation of illusion for he is sold on the idea that there is too much realism in pictures and not enough of the fantasy and airy-fairy quality."Folks want the dream-stun," sez Neil "That's the principal reason they attend the motion picture theater." I’ve posted cartoon reviews after the news items, including one of a Soviet cartoon and one a two-reeler with a cartoon insert which I’ve never heard of.Īs a side note, Harman-Ising may have received a good share of blurbs because their agent was an old New York vaudeville booker. Oh, and something about Walt Disney looking into a feature-length cartoon with Mickey Mouse. There are reminiscences by Paul Terry and J.R. A couple of new studios were announced, one to make a series of Goofy Gus cartoons one, “No Fare,” was apparently released. A TV station-yes, there was television then-decided to air old Disney cartoons without paying for them. The Film Daily has some other interesting revelations in its January to June issues of 1933. Telling, too, is Schlesinger announced an expansion of his studio in March after renewing his cartoon contract with Warners. It seems to me if you’re publicly looking for someone else to release your cartoons, you know your current contract likely won’t be renewed. The paper reported that Harman-Ising was trying to work out an alternate release for its cartoons several months before Schlesinger announced he was through with Hugh and Rudy. But The Film Daily tells a tale that’s not so cut and dried. Animation histories leave one with the impression Hugh and Rudy were suddenly left out in the cold by Schlesinger, who went behind the backs of his sub-contractors and tried hiring their staff. Whether Harman and Ising were pushed or jumped isn’t so clear-cut in reading the pages of The Film Daily, a trade paper out of New York. No Bugs Bunny, no Daffy Duck, no Porky Pig. There would have been no Tex Avery, no Bob Clampett, no Frank Tashlin, no Chuck Jones. If that hadn’t happened, Leon would have continued releasing the cutesy, wannabe-better-than-Disney cartoons that Hugh and Rudy saddled on M-G-M through the rest of the ‘30s. But the most significant may be something else which eventually changed the course of animation history.ġ933 was the year Leon Schlesinger parted ways with Hugh Harman and Rudy Ising then opened his own cartoon studio. It was Paramount’s bread-and-butter series into the 1960s and it’s conceivable the character is known today because of his exposure on film (especially later on TV) than in print. Others might say it was the release of the first Popeye cartoon by Max Fleischer through Paramount. It caused a sensation like no other cartoon to that time. Some would argue it was the release of “The Three Little Pigs” by Walt Disney through United Artists. If you had to pick the most significant event in theatrical animation in the first half of 1933, you might get disagreements.
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