Michael Sporn Animation – Splog

I received a wonderful email from Peter Hale. He wanted to send me this beautiful booklet adapting Peter Pan for children. What follows is Peter’s letter accompanying the book.

Dear Michael

Following on from Hans Perk‘s recent drafts of Peter Pan, I thought you might be interested in this curious book, published in Britain in 1953.

Curious, not so much in it’s format (15mm x 7mm, landscape, 2 staples on left
covered by cloth binding, and consisting of two panels per page with text beneath – Brockhampton Press produced a series of these, primarily featuring stories about Enid Blyton’s “Mary Mouse”, then “Jimmy and his Little Old Engine”, and subsequently some other one-offs) but in the fact that although drawn in the style of the completed Disney cartoon the story sticks closer to J M Barrie’s novelisation of the play (including building the Wendy House, Peter’s rescue by the Never Bird, and Tinkerbell’s drinking the poisoned medicine – see scans).

The story adaptation is by Irene Pearl, a children’s writer whose other works
include a series of ‘Nursery’ classics – retellings of such traditional stories as Alice in Wonderland, The Snow Queen, Sleeping Beauty, etc. – in the late 30s, for publishers Hodder & Stoughton, and later, in the 50s and 60s, some original stories of her own.

I had wondered if the “Nursery Classics” series that Irene Pearl had worked on in 1938 might have included “Peter Pan”, and if so whether the text might have come from it. A Google search revealed there had been a “The Nursery Peter Pan and Wendy”, but that it had been ‘retold’ not by Irene Pearl but by May Byron, who hadalso done other books in the series. The Publisher was given as Brockhampton, rather than Hodder & Stoughton, but I think that might just be a cataloguing error.

The book was a one-off intended to capitalise on the release of Peter Pan (there are no other Disney books in the series as far as I know) so the adherence to the Barrie version, with its need for drawings not derived from the film, is curious – perhaps it was thought that the British would not accept Disney’s deviations from Barrie in book form.

I do not know who the artist was. This version does not appear to have been printed in any other form.

I originally had a copy of this book as a child, but although I kept it for a long time it final got lost. I recently found another copy and have had the opportunity to regain my childhood!

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Many thanks to Peter Hale who took great care in scanning and preparing the material to present it all in its best possible light.

- Here, I continue with the recent outburst of model sheets. The following is a collection of Snow White and all seven dwarfs. I assume some of these can be found in print in one of the many collections of art from the film. I found two of the models in an old, expensive book I have which came via American Express.

The first two beautiful, original models come courtesy of Bill Peckmann‘s collection. The remainder of the group were Xerox copies I made years back. I’ve tried to clean them up a bit (lots of old grit from the ancient copies on glossy paper.)

- Back in Oct 2007, I posted Bill Peet‘s excellent storyboard for the Tar Baby sequence from Song of the South.

Given yesterday’s post of color sketches and storyboard drawings from this film, and given that the original posting of these boards was done relatively small, I thought it time to put them up again, but I’ve taken the time to break them down and post them in a slightly larger form, making them a bit more legible.

As with other recent boards loaned me by John Canemaker, I first display them in the original size of the stats as they came to me.

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(Click to enlarge images so you can read them.)

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Here is my breakdown of the boards:

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I just love the drawings from this section.

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There are another two pages of the storyboard
which I’ll break down and post tomorrow.

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.- Here’s the conclusion to the storyboard by Bill Peet that I began yesterday. It’s the Tar Baby sequence from Song of the South.

I first posted this in October 2007, but I hadn’t broken up the board so that it could be enlarged enough. I’ve done that.

Many thanks go to John Canemaker for initially lending this material for me to post.

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This picture comes from the Bill Peet website, worth a visit.

Here are the two remaining original boards:

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(Click images to enlarge.)

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And here are the same two boards broken down by rows:

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As the War came to an end, Walt Disney realized that he needed to find a way to raise money for his movies or, at the least, make films more profitably. One idea he chose to employwas to make more live action film.

He’d had some modest success with The Three Caballeros and Saludos Amigos by combining live action and animation.

For years he’d thought of doing a combination film with Alice In Wonderland placing a live action Alice in an animated world, not unlike the early silent films Alice in Cartoonland.

Disney also thought of going to the stories of Joel Chandler Harris. By making the story of the humans in live action and the stories of Br’er Rabbit, Br’er Fox and Br’er Bear in animation, as told by Uncle Remus who would star in the significant part of the story told in live action. Thus he could easily work as the voice over narrator for the animation.

The film went into production in 1945 and pulled Disney down a harsh and difficult path.

Now, some 70 years later, studio head, Robert Iger, has vowed numerous times to keep Song of the South (the film’s title) on a shelf in the Disney vault, which is where it remains.

Disney historian, Jim Korkis, has written a series of excellent essays which act as chapter in a new book about the making and unmaking of this film. In his book, Who’s Afraid of Song of the South, a great weight of information completely informs us about this movie while being written in a positive and gentle approach.

Were the film as bad as Iger and other Disney executives want us to believe, here would still be a good reason for this book’s existence. Perhaps, though, it might have been a larger and more colorful tome.

The live action, representing about 60% of the film is not well conceived. It is terribly out of date and not well directed. Most importantly, the film is not well written. It’s somewhat confusing as to when the story takes place (pre- or post-Civil War?) What are the father’s resources, who owns the plantation where they’re living and where is the story trying to take us.

The acting by James Baskett as Uncle Remus is superb and wholly deserving of the Special Oscar he received. Child actor, Bobby Driscoll, is also fine, but many of the other performances are bland and not very noteworthy. The film is horribly dated. The Disney people sought the finest cinematographer they could get, and they did find him in Gregg Toland. He was the brilliant photographer of Citizen Kane and How Green Was My Valley. However, Song of the South was his first color film, and that was an enormous leap to make at the time. Toland had good reason to want to do the movie, but the film feels like Gone With the Wind – lite and helps to make it feel dated.

However bad the live action was, the animation was the polar opposite. The stories are told very economically with lots of excitement and life in the storytelling. All those who worked on it spoke openly about how much fun they had in doing it. Those results showed up on the screen. The characters are delightful and beautifully developed. This was certainly the spark everyone in the animation department needed as they came off years of toiling away at dry, training films for the military.

While the live action dates the material and plops it in a marginally racist context, the opposite is true of the combustible animation.

The Disney studio has hidden the DVD of this movie from the General Public. There are illegal copies of film circulating the Internet, but the quality could never be as good as a studio sanctioned copy of the movie. It’s truly unfortunate, for the sake of that great animation, that the film is inaccessible.

Korkis’ book is a very quick read and he seems to cover the story well. One would have liked a richer book with glossy images, especially of the beautifully designed Mary Blair animation.One wishes that there were lots of stills of the great Bill Peet storyboard or those great animation drawings by the Nine Masters who were truly in their prime. But we have what we have, and we’re thankful for that.

If you have any interest in this film you will have to get your hands on a copy. The last half of the book if filled with some essays about other, lesser films. Some of th essays are truly excellent and feel hidden in the back of this book. One, for example, about a commercial producing studio Walt had on the lot. Learning that Walt’s daughter, Sharon, worked as an assistant to his sister-in-law’s sister, who ran the company, would seem to be a key piece of information. But when you start to learn who Walt used to do the animation work (Tom Oreb designing for Charles Nichols directing with Phil Duncan, Amby Paliwoda, Volus Jones and Bill Justice all were among those animating. There’s even the story of Bill Peet being punished by Walt and made to work on a Peter Pan peanut butter campaign.) This is an excellent piece. As is the story behind The Sweatbox, the feature documentary that was hidden by the Disney studio about the adventures in the making of the Emperor’s New Groove. Lots to read here.

All in all, this book is an excellent bargain.

All of these illustrations were done by Mary Blair for the film.
They’re not part of Jim Korkis’ book.On Thursday I’ll repost Bill Peet’s storyboard for The Tar baby.

- With the re-release of Snow White, came an overhaul of the comic strip. The strip that had been syndicated in the newspaper in 1937, was now shoe-horned into a comic book version, with some modifications. This is that revised edition. Again many thanks to Mr. Bill Peckmann for having such an amazing archive and for sharing it with us. This is the note he sent along with it:

Dell Comics’ early 1950′s ‘Snow White’ comic book. They took the original 1937 SW comic strip and cut it up to fit the comic book page format of the day. Seeing the book now only shows how good those original strip layouts were. This adaptation was first done 1944, that comic book had a Walt Kelly cover and was colored differently. I believe since then it’s been used for reprinting many, many times.

I’d posted that original 1937 version last week here.

The brand new cover with artwork
by Walt Kelly.

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Inside Front Cover

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The cheap printing on the newsprint
adds something to this version.

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The cross hatching stands out and brings out
the expressionist feel of the original artwork.

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That’s a great looking piece of art.

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Inside Back Cover

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Back Cover

- It’s not always easy to kill a witch. This sequence from Snow White couldn’t be designed better. It’s short, it’s tense, it’s a tight sequence that handily does its job. The witch is killed in record time. Today, the sequence would be dragged out for half the length of the film.

Some of these drawings are great.

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(Click any image to enlarge.)

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Well involved with the two J.B. Kaufman books on Snow White, and about to re-read Mike Barrier‘s writing on the making of the feature, per his book, Hollywood Cartoons, you can be sure that a lot of Snow White material is going to comve your way via this blog.

Bill Peckmann offered to send the initial strip done to coincide with the release of the feature, so thank you, Mr. Peckmann, I couldn’t be happier than to offer this.

Disney had, since 1932, a Silly Symphony comic strip that ran weekly. With the release of Snow White, the strip’s regular writers were replaced with writer, Merrill De Maris, pencils artist, Hank Porter, and the inker, Bob Grant. The strip continued for a full 20 weeks, beginning on December 12, 1937.

There are noticeable differences between the story in the strip and the released film. The movie’s story, from the start, had a sequence called “Prince Buckethead” which lasted in the original storyline until the last months in making the film. Then the sequence found itself dropped from the film, but, oddly, reappears in this comic strip version. It’s a game the Prince plays was supposed to play with Snow White at the beginning of the movie. The Prince also is imprisoned in the original story in the caverns of the castle; the same is true here. Other things like the huntsman having the name, “Humbert,” return to the story. I’m curious as to who made these decisions to keep the noticeable differences. Many versions of the stirp appeared over the years and in many languages. You can check them out here.

Without wasting more time, here’s the original strip.

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Thanks, again, to Bill Peckmann for putting this all together.

- A friend (who asked to remain anonymous) sent a copy of this script of “The Story of Pluto,” an early episode of the Disneyland TV show. This document obviously follows the show very closely, but I think a lot of the on screen dialogue is actually missing. Regardless, I thought it a good opportunity to go back to the show (which when it hit TV was called “The Story of Dogs.” (At least, the video on the Lady and the Tramp DVD, which has the same date listed is longer.)

I’ll first post the “script” and then will follow with frame grabs from the TV program wherein Lady runs from some rough dogs who are chasing her, and Tramp comes to her rescue. The original show aired in B&W, but this version mixes B&W PT to color ruff-cut. It’s one of my favorite sections of the film with a lot of animation by Woolie Reitherman. (It comes on page 11 of the script.)

Here are the script pages:

Script Cover

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This sequence is followed immediately by Milt Kahl‘s sequence where Lady and the Tramp go to the zoo. They seek the help of the beaver to remove her muzzle.

- On the DVD of Alice in Wonderland, there’s an extra little short that supposedly gives you a tour of the studio and a lesson in how animated films are made. (Do you think we’ll ever see one about Dreamworks or Pixar? I’d like to get a video tour of either studio.)

Since I’ve been focussing on Alice’s Milt Kahl scenes, I thought it’d be interesting, as an accompaniment, to post some frame grabs from this theatrical short that was done to promote Alice.

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(Click any image to enlarge.)

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Of course, the film has to start with Walt
riding a toy train around the studio.

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Two storyboard guys sitting in the middle of the studio.

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Storyboard: the walrus grabs a clam.

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Ward Kimball in a funny jacket.

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The actor posing as the Walrus for the camera.

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Walt in a funny pose.

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The Walrus & Carpenter sequence.

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Walt and Winston Hibler. Hibler eventually narrated
most of the Disneyland shows and True-Life adventures.

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Flowers from storyboard to final film.

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Walt gives a demo of the animation camera and
seems to be wrinkling the cels as he does this.

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Walt operating an animation camera. Ludicrous.

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Walt and Kathryn Beaumont (who’s
supposed to be doing schoolwork.)

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Kathryn Beaumont and Ed Wynn.

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Les Clark.

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John Lounsbery on the right. The other animator looks to be
Fred Moore. Older and heavier than we’ve seen him in the past.

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Ed Wynn as the Mad Hatter.

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More of wacky Ward Kimball pretending to draw.

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Kathryn Beaumont and Jerry Colonna.

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Jerry Colonna leads us into pencil test of the scene.

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This scene was animated by Ward kimball & Cliff Nordberg.

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John Lounsbery is on the left.
I’m not sure who the other two are.

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The cards in action in the film.

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One of the highlights of the film is this dancer doing
march steps for the cards – to be studied.

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The multiplane camera in operation.

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The cameraman at the top always looks a bit devilish.

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No “how animation is made” film would be complete
without the sound effects guys making a racket.

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Walt and Wilfred Jackson.

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Walt going over some artwork with
John Hench (L) and Claude Coats (center)
Thanks to Hans Bacher and Gunnar Andreassen for identifying them.

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Before riding his toy train into the sunset, Walt sits
in front of his real toy, the multiplane camera.

If anyone can identify any of those I couldn’t, or if you think I’ve mistakenly identified anyone, please leave a comment.

There’s an art gallery of images, many of which are by Mary Blair (and I’ve already posted her pictures a while back.) I’ll finish this post with some more of the images on the dvd.

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Mary Blair in B&W.

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More of the same.

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Thiis looks like it comes from HOPPITY GOES TO TOWN.

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Lots of David Hall designs, here.

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More Mary Blair.

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To see more Mary Blair designs for Alice go here.

- I’m reading J.B. Kaufman’s two Snow White books, both at the same time, and I’m taking my time about it. Bill Peckmann aroused my interest with a couple of Snow White oddities. Featured in Kaufman’s The Fairest One of All is a the Whitman children’s book that was released with the initial release of the movie in 1937. (See the cover to the right.)

Bill sent me the cover of his copy of the book, bought at a local street fair. His version was the rerelease of the book by Grosset and Dunlap done in 1938. And it’s a beauty. The book contains some B&W screen images from the movie,, but more than half of it is made up of illutrations by Gustaf Tenggren, the studio artist/designer so responsible for some of the film’s look. He joined the studio in 1936 and had involvement in finishing the movie and giving it the Old World look that it has. Ferdinand Horvath and Albert Hurter were already at the studio when he joined and had equally strong contribution in the design. Tenggren was principal in the publicity materials done for the movie. Here’s the copy of bill’s book, complete with damaged cover:

This is the dameaged cover of Bill’s book.

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