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Monthly Archives: March 2012

March 11

March 11, 1933 – The Silly Symphony Short Film, Birds in the Spring, is Released to Theaters

The Silly Symphony short, Birds in the Spring, was released in theaters on March 11, 1933 by United Artists. Directed by Dave Hand, with music by Bert Lewis, the short tells the story of a baby bird whose thirst for curiosity brings him a day full of adventures. The title card of the Silly Symphony attests to the popularity of Mickey Mouse in the early 1930s, as it states: “Mickey Mouse Presents Walt Disney’s Silly Symphonies.” It had been believed that, as far as animation, people would only want to see Mickey Mouse cartoons, and Mickey’s name on the title card would ensure an audience. Luckily, the Silly Symphonies were popular in their own right.

The scene opens on a beautiful spring day, in a field full of apple trees in bloom. Birds are flying about, chirping their songs as they flit around the branches, with some being romantic, while others are working on building nests. A nervous mother is seen in her nest, wondering when her eggs are going to hatch. She flips the eggs and sits on them again, hoping they will hatch soon. The father paces back and forth on a branch, looking equally anxious. Without warning, the first egg hatches underneath the mother, and the proud parents cheer when all three eggs hatch to reveal healthy chicks. The father gathers all the birds in the field to come see his newborns.

The babies have singing lessons with their father

The newborns begin to cry for food, and as they do, we suddenly see the time elapse, with the newborns becoming healthy young birds, who are learning to sing instead of crying for food. A bee buzzes around the nest, attracting the attention of the only male baby bird (named Otto, according to the Disney Archives), and causing him to depart from the music lesson to catch a quick snack. Otto hurries back to sing the final note in the song, only to let out a buzzing sound instead. Otto’s father’s disposition turns sour at this development, and while Otto tries to sing, he is still only able to let out the buzzing noise from the bee inside him.

After the bee escapes from Otto’s insides, the father decides it’s time for a flying lesson. He tries to impress his children with his grace, only to end up flying into a tree, making them laugh. Nevertheless, they follow him in their flying lesson, making a chain by grabbing each other’s tails as they fly through the air. When they let go, the birds surprise themselves by being able to fly, but unfortunately they also quickly fall. Otto then finds himself separated from the others, but decides it’s a better time to explore than to go home.

Otto excitedly watches grasshoppers at play

Otto’s first part of the adventure involves two grasshoppers playing leapfrog, and he follows them with great interest. He tries to eat one, but the grasshopper continues to jump, taking the poor baby bird with him until he jumps out of Otto’s mouth and spits in his face. Otto, not really fazed by the reaction, then follows a hummingbird, and tries to eat the way the hummingbird does, only to get poked by another hummingbird when he is inside the blossom.

Otto’s next adventure begins with a simple rattle in the bushes. He sees what is making the noise and shakes the rattle, only to find that the rattle belongs to a rattlesnake, one that is very hungry. The snake hypnotizes the baby bird, but Otto falls into nearby pond, breaking the spell. He begins to flee, with the snake following with great vigor. Otto tries to fly over the water, but his flying still needs a lot of work, and the snake is rather faster – even faster on land. Otto manages to get the snake to tie himself in knots to escape.

The bees harvesting wheat while trying to attack Otto

Otto attempts to dive for cover in a beehive, only to have the swarm inside chase him out and pursue him angrily, destroying everything in their path. Otto lets out frantic chirps, which alerts his family nearby, and the father races to his rescue. The birds manage to hide under their nest while the bees race past. Otto’s curiosity comes at a price, as his father takes the baby over his knee and spanks him for running away.

March 10

March 10, 2009 – The Official Disney Fan Club, D23, is Announced at the Disney Annual Meeting

Image Credit: D23 Website

“Are You 23?” – The teaser released to fans before the D23 announcement

At Disney’s annual meeting on March 10, 2009, CEO Robert Iger announced the formation of a new official club for devoted fans. The D, naturally, stands for Disney, with the 23 representing 1923, the year Walt Disney arrived in Hollywood and founded the earliest version of the Disney Studios. The goal of the club is to provide fans an inside look at the past, present, and future of Disney Studio projects.

The image used on the cover of the first issue of Disney Twenty-Three

The first issue of the quarterly magazine, Disney Twenty-Three, featured a famous black-and-white image of Walt behind a camera, and included articles about the beginning of Disney archives by Dave Smith, a behind-the-scenes look at Tim Burton’s Alice in Wonderland, Pixar’s UP, the Broadway version of The Little Mermaid, and the design of the most exclusive accommodations at Disneyland and Walt Disney World. The charter membership also included a special gift from the archives—a limited-edition print of the new Mickey Mouse portrait, and a certificate of membership, as well as special offers and a special store on the online Disney Store. D23 also has a website with information, special videos, and other tidbits of history.

As a member of D23, I can tell you that the information the magazine provides is mind-blowing for any Disney fan. The scope of information each issue is broad; members can read about something from the parks in one article, to a special Disney project in another (an example being the Annie Leibovitz portraits of famous Disney scenes), to a behind-the-scenes look at a new movie. For anyone who loves Disney history and wishes to learn more, D23 is highly recommended.

March 9

March 9, 1955 – Man in Space Premieres on the Disneyland Television Show

“One of man’s oldest dreams has been the desire for space travel, to travel to other worlds.” – Walt Disney

On March 9, 1955, audiences watching the Disneyland Television Show saw a different kind of episode, called Man in Space. The first installment of the Tomorrowland segments of the show, Man in Space was directed and produced by Ward Kimball (see March 4th entry), who had written the episode with William Bosche, and features guests Werner von Braun, Willy Ley, and Heinz Haber, who were major scientists associated with space exploration. It was so well received that President Dwight D. Eisenhower asked for a copy to present to the Pentagon, and this helped push the space program into the forefront of the public imagination. In 1956, an edited version of Man in Space was nominated for an Academy Award for Best Short Subject (Documentary), after it was released to theaters on a double bill with Davy Crockett and the River Pirates.

Ward Kimball (C) looking at mock-ups and prototypes in the design room

As the Man in Space episode opens, the audience is taken to a design room, where men are hard at work designing prototypes of rockets and developing methods of space travel. Walt explains that the creative talents of the Disney Studios are working with engineers and scientists to make the dream of interplanetary travel a reality. “In working with engineers and scientists,” director and producer Ward Kimball explains, “we have found that there are many different opinions as to how we will eventually cross the space frontier.” The one common point between these opinions, though, is that it will be a rocket-powered ship heading into space. Kimball then leads the viewers into a history of rocketry, beginning with China in the 13th century.

The rocket was not a modern invention, Kimball points out; the Chinese invented it at the battle of Kai-fung-fu in 1232. A brief animation segment shows two Chinese men shooting rockets at each other from far distances, with each rocket increasing in size. Kimball then jumps forward 500 years to Sir Isaac Newton and his often paraphrased “for every action force, there is always an equal but opposite reaction force.” Kimball makes this clearer by using the example of the family dog when it sneezes. The segment also shows a few examples of rocket propulsion experiments, including a steam-powered rocket, and notes that designers ultimately stuck with gunpowder-powered designs.

A stylized photograph of one of the early German societies dedicated to the study of rocket science

In 1865, Jules Verne published From the Earth to the Moon, which again piqued people’s interest in flying into space. Verne’s story inspired the French filmmaker Georges Melies to create the first space-travel film in 1902. Kimball shows the audience this silent film, and continues with a history of the different kinds of fuels used to power small rockets that could one day be used to send men to space. Rocket frenzy was highly evident in the 1920s and ’30s, with rockets attached to any possible vehicle. Around this time, a new society in Germany was founded, with the mission of scientifically exploring the possibility of space travel. The German army took a keen interest, and used the society’s findings to create rocket missiles and one of the forerunners of a spaceship, known as the V-2. After WWII, 75 of these V-2 rockets were taken to the U.S. for study in its newly developed rocket program.

Kimball then introduces rocket historian Willy Ley to explain how rocket firing works. Ley begins by showing a model of a rocket motor and explaining to Disney artists how it works. An animated sequence explains how the motor continues to work in space where there is no oxygen. Ley asks the animators to create a sketch of a three-stage rocket to help him explain how it would work. The animators ask some very interesting questions as Ley uses the chalkboard to help his explanations, but the section is not overly technical, so the audience is still be able to understand well.

The "ordinary man" example, after going through rigorous (and humorous to the audience's perspective) training, passes the space medicine course

In the next segment of Man in Space, Kimball describes a new field of science known as space medicine, or how man will react physically and mentally in space, and introduces the expert in this field, Dr. Heinz Haber. Haber pulls down a screen to set the stage for another animated segment, this time of the “common man” who will be sent into space. As we follow this common man through his daily routine in space, Kimball’s special brand of humor keeps things light.

In the third segment of the episode, Kimball explains the two problems of space flight: building a rocket ship, and preparing and training the men to travel into outer space. Kimball then introduces Dr. Wernher von Braun, the chief of the Army’s guided missile division, who was the overall director of development for the original V-2 rocket. Von Braun is seen explaining to two other men the problems of space travel. Looking at some similar present-day situations can help come up with solutions, von Braun says. He gives a few examples of the current research, with testing performed on the ground in simulated atmospheres. The tests that von Braun describes are then presented in an animated sequence narrated by Dick Tufeld, best known as the voice of the robot in the television show, Lost in Space. The animated short ends with an accomplished mission into space, with the next goal of getting man to the moon, then the planets, and then to what lies beyond.

 

March 8

March 8, 1946 – The Goofy Short, A Knight for a Day, is Released to Theaters

“Stand by, everybody, as we turn the calendar back 500 years and bring you the 123rd running of the Canterbury tournament at Blunderstone Castle.”

Directed by Jack Hannah, A Knight for a Day was released on March 8, 1946. This short continues the trend of having Goofy play a part in the story, rather than being the regular Goofy audiences were used to from earlier Mickey Mouse shorts. Also, all the characters in Knight for a Day are designed to look like Goofy. The story was written by Bill Peet, with music by in-house composer Oliver Wallace.

Knight for a Day relies on clever puns woven throughout the story, such as the names of the knights: Sir Loinsteak and Sir Cumference. Modern day sports-casting and a medieval setting mix as the audience is taken back in time to attend, the announcer says, the 123rd annual Canterbury jousting tournament. Everyone in town flocks to the castle for this event, and it sells out fast. The winner is to receive honor, glory, and the hand of the beautiful Princess Esmeralda, who is seen watching from her tower.

The squire Cedric, dreaming of the day he can win the favor of the princess through jousting as a knight

We then head to the dressing room of Sir Loinsteak, whose squire, Cedric, is busy polishing the knight’s suit of armor and preparing him for the fight. Cedric dreams that one day he shall be a knight “and face death for the smile of a lovely princess.” He takes a moment to daydream, but quickly sets back to work preparing the knight.

As the trumpet sounds, Cedric races to help Sir Loinsteak mount his horse, breaking the knight’s sword in his haste. He hides the pieces and continues to prep, but as he tries to shove the knight onto his horse, he pushes the Sir Loinsteak out of his armor (and Cedric into it) and the knight is knocked out cold when he lands on an anvil. Cedric can’t believe that Sir Loinsteak is unable to fight, and then realizes that he is wearing the armor. The narrator tells Cedric that this is his big chance—he can win the honor and glory, not to mention the hand of the fair princess.

The tournament begins with the champion, Sir Cumference (“Old Iron Pants, they call him”), entering the arena. His horse has hash marks for all the gallant knights who have fallen in battle against him. Cedric enters from the other gate, and is blown a kiss by Princess Esmeralda; the narrator comments that it must be love at first sight. Cedric’s dreamy-eyed gaze is cut short when he notices that the knights are prepared to joust, with shields made of bricks and sharp points at the end of their lances. He quakes in his armor.

Although nervous, Cedric charges with all of his might

The umpire checks his wrist-sundial, and the crowd waits anxiously for his signal to begin. The umpire waves his flag, the trumpet sounds, and off they go into the joust! Cedric charges gallantly forward, but it’s no use again Sir Cumference – Cedric and his horse are pushed out through the castle wall into the moat. Sir Cumference is still the champion, but this does not please the princess, who lets out a loud shout of discontent at this outcome.

Suddenly, Cedric is seen climbing through the hole in the castle wall, still on his horse, ready to try again. The champion puts on his helmet again, charges, and sends Cedric flying into the air and landing in the bleachers. The crowd lifts him back to his horse, infuriating Sir Cumference, who pulls out his sword and charges. Cedric pulls out his sword, too—forgetting that he had destroyed it earlier. Thinking fast, he attaches the arm from his armor to the end of the broken sword and goes full speed ahead, using it to knock the champion out of his seat. He then uses the armor arm to push the challenger back as he tries in vain to hack away at Cedric.

Cedric is able to hide comfortably inside the armor as Sir Cumference beats it relentlessly with a mace

Cedric begins to throw pieces of his armor at Sir Cumfrence, and the fight becomes a no-holds-barred scuffle. Sir Cumference takes out a mace and begins to smash the Cedric’s armor, with Cedric hiding inside. Cedric, however, being a lot smaller than the armor would suggest he is, is able to hide away without being injured. The champion is exhausted from his angry work, and Cedric becomes the new champion when “Old Iron Pants” falls from his horse. The princess leaps from her balcony and begins to shower Cedric with kisses. “What a day for a knight,” the narrator ends, “and what a knight for a day.”

 

 

March 7

March 7, 1936 – The Mickey Mouse Short, Mickey’s Grand Opera, is Released to Theaters

“Pluto! Go home!”

On March 7, 1936, the Mickey Mouse short, Mickey’s Grand Opera, was released to theaters. Directed by Wilfred Jackson, the short is about Mickey directing an opera, only to have his effort ruined by Pluto’s run-in with a magic hat. Although the short was released as a Mickey Mouse short, it deals more with Pluto, Donald Duck, and, to a lesser extent, Clara Cluck, more than Mickey. The short stars the vocal talents of Walt Disney as Mickey Mouse, Pinto Colvig as Pluto, Clarence Nash as Donald Duck, and Florence Gill as Clara Cluck. This was not the only time Donald and Clara had an operatic duet, as Clarence Nash and Florence Gill were seen as themselves in The Reluctant Dragon, recording a session of their characters singing together. Mickey’s Grand Opera was also the last short film to use the original design of Donald Duck before making him a rounder character.

Pluto flies into the crates in the prop room after being told off by Mickey

The scene opens on a big sign proclaiming “Mickey Mouse presents GRAND OPERA featuring Mme. Clara Cluck and Donald Duck.” The viewers are taken backstage where Mickey is checking out the audience through a hole in the curtain. Suddenly his dog, Pluto, jumps on him. Mickey angrily asks him how he got into the theater, then tells him to go on home. Pluto sadly skulks away, but keeps turning back in hopes that Mickey will change his mind. When Mickey screams at him to go home, it startles Pluto to the point that he accidentally runs into the prop room and knocks into boxes for next week’s act, Hoodunit the Magician. The contents of the boxes spill everywhere, including the magician’s famous magic hat.

Pluto, still saddened by Mickey’s unfriendly manner, attempts to take a nap in the prop room, but keeps thinking he sees something pop out of the hat. As he tries to sniff the hat, a rabbit pops out and punches him on the nose. Angered, Pluto takes the hat with his teeth and shakes it, causing a flock of doves to fly out into the room. After they scare him and fly back into the hat, Pluto decides to jump on it, thinking this will stop the strange occurrences. As he tries to walk away, though, the hat pops back into shape as if nothing had happened, scaring Pluto silly. The two then play a game of cat and mouse as Pluto tries to chase the magic hat around a crate.

Clara Cluck, singing of her despair that her love has not come to see her

Applause marks the beginning of the opera, and Mickey takes his place at the podium. The curtains open on a balcony scene, where Clara Cluck appears in the spotlight. She begins to “sing,” looking and listening for her love. When he does not appear, she begins to cry in longing, but the gate suddenly opens, revealing none other than Donald Duck, playing her Romeo. He sneaks into the courtyard with a bouquet of flowers and trips over his own feet, making the audience laugh. This gets Clara’s attention, and she begins to sing to him. Donald then quacks his song back to her, and throws the bouquet to her.

As they continue their duet, Donald pulls out his sword dashingly, only to get it stuck in one of the trees from the set. He tries to pull it out, unsuccessfully, which leaves poor Mickey to try and conduct the orchestra to match Donald’s frustrated quacking. Donald finally does get the sword out, and the opera continues peacefully. Unbeknownst to them, Pluto is following the magic hat, which has appeared on the side of the stage. Noticing that Pluto has been following it, it hurriedly waddles onto the stage, with Pluto timidly following it.

The orchestra follows Mickey's example, ordering Pluto to go home

The hat and Pluto cross the stage right in front of Mickey, with the audience breaking into peels of laughter. Mickey finally notices his dog and is furious that Pluto never went home. Mickey once again orders the dog home, but Pluto only looks at his master sadly before looking back at the suspicious hat. Once again, Mickey orders Pluto home, but Pluto won’t move away from the strange hat. Finally, the whole orchestra stands up and yells at Pluto to go home, which startles the dog and hat and they run off in different directions. As Pluto watches from the wings sadly, the hat suddenly crawls underneath him, surprising him.

Having had quite enough, Pluto begins to chase the hat, which falls into a tuba, letting loose a steady stream of doves, mice, and rabbits as the tuba player plays his instrument. Donald and Clara try to continue with the scene, although two doves attempt to take off with Donald’s cape, and the doves dart around Clara. The tuba player keeps playing, and a strange plant sprouts from inside, releasing a frog as the sunflower on top opens. Pluto follows the frog, until Donald accidentally swallows it. The frog continues to jump, taking Donald with him. With one large hop, Donald accidentally stabs Clara through the balcony, causing the hen to fly into the rafters from the surprising poke. When she comes back down, the set comes crashing to the floor. When Pluto, Clara, Donald, and the frog, break through the backdrop, they give their final high note of the night, at least bringing this strange opera to an end.

March 6

March 6, 1992 – Tim Burton’s Short Film, Frankenweenie, is Released With the Live-Action Film, Blame it on the Bellboy.

“I guess we can’t punish Victor for bringing Sparky back from the dead.”

Tim Burton’s Frankenweenie, although completed in 1984, was released on a double bill with the live-action film, Blame it on the Bellboy, on March 6, 1992. Filmed in black and white, the short is an homage to horror films of the 1930s, with Mary Shelley’s Frankenstein as its base inspiration. The short is the story of a young boy named Victor Frankenstein, who brings his dog back to life after a tragic accident. The short was directed by Tim Burton, with the screenplay by Lenny Ripps, and stars Barret Oliver as Victor Frankenstein, Shelley Duvall as Susan Frankenstein, Daniel Stern as Ben Frankenstein, and Sparky as himself. Tim Burton was fired from Disney after the film was finished; studio heads felt the film was too scary for young audiences and that resources had been wasted making the short. A new full-length version of this short, which will be closer to Tim Burton’s original story idea, is set for release in October 2012.

The short opens with a film entitled “MONSTERS from Long Ago” by Victor Frankenstein, starring Sparky as the titular monster. The camera pans out to see the Frankenstein family and some friends watching a home movie. Meanwhile the son, Victor, goes outside to play with his dog, Sparky. Victor throws a baseball and Sparky, running to retrieve it, is struck by a car.

Victor is inspired by his teacher's science experiment

The next scene shows Victor and his parents in a pet cemetery, paying their last respects to Sparky. Victor falls into a deep depression. When his friends ask if he’ll get another dog, Victor says that he doubts that he could ever find another one like Sparky. In science class, Victor is unable to pay attention, as he draws pictures of Sparky in his notebook. The science teacher, however, is about to give a lesson on electricity and the central nervous system, pulling out a frog corpse. When the teacher proposes introducing electricity into the frog’s system, Victor suddenly pays attention. Seeing the frog’s legs move, Victor is inspired, thinking that this is the way to bring Sparky back.

Victor reads several books for research, including Life After Death, On Death and Dying, Modern Chemistry, and Electricity and the Creation of Life. He then begins gathering appliances in the house, beginning with the toaster, until he has constructed a lab in his attic. One night, after pretending to be ready for bed, Victor pulls a shovel out from under his bed and sneaks out to the pet cemetery to dig up Sparky. He hurries home through the rain with Sparky’s corpse and sets about trying to bring the dog back to life, in the same manner as his namesake, Dr. Frankenstein. But nothing seems to happen. Victor brings the corpse back downstairs, believing that he has failed, until he feels the dog licking his hand.

Ben Frankenstein discovers Sparky and Victor hiding out in the attic, unbeknownst to the pair

The next morning, Victor claims he doesn’t feel very well and asks to stay home from school. His parents see right through his charade, and send him off, but Victor waits until they both leave for work, then stays home to play with Sparky, who stays hidden away in the attic. While Victor naps, however, Sparky leaves the attic and goes outside to explore. He climbs into the open window of the next-door neighbor’s shed, only to scare the poor man inside, who sets Sparky into accidentally terrorizing the neighborhood before running back inside the house. Victor’s parents are questioned about their dog when they come home from work, and the father offers to check their house for any dogs. He discovers that Sparky is, in fact, alive. He drags the mother inside to see for herself that Sparky has been brought back to life.

The family sits around the kitchen table, wondering how to deal with this situation, and the implications of it. They are unable to sleep that night, wondering how exactly does a parent deal with their son playing God. They decide to keep Sparky in the house and walk him at night, so people don’t see him and become alarmed. The neighbors, however, start to ignore the Frankensteins, as they know something strange is going on. The father decides that they might as well just introduce the neighbors to Sparky that night, for “the longer they wait, the worse it will be.”

The angry mob of neighbors stands outside the old miniature golf course windmill, demanding "the monster"

The neighbors are seen gathered in the Frankenstein’s living room, with Mr. Frankenstein trying to reassure them that they’ve been seeing the same plain old Sparky. Upon seeing Sparky, however, the neighbors immediately lose their heads in fright, and Sparky runs out the dog door. Victor follows the dog, and the neighbors decide that their best course of action is to kill Sparky. Sparky escapes into the ruins of an old miniature golf course, and runs up to the windmill, with Victor calling his name from the gate. Victor slips through the gate and tries to retrieve Sparky. The neighbors stand as an angry mob outside the windmill, demanding to have their vengeance, while one neighbor pulls out a lighter and sets the old windmill ablaze. Victor and Sparky are trapped inside the burning building, and while everyone stands and watches with horror, they are suddenly amazed to see Sparky pull Victor out of the windmill. As his parents pull Victor away, the windmill suddenly begins to fall apart, trapping Sparky in the wreckage. Victor can only watch as Sparky dies once more.

Lights flash, and Victor is surrounded by car headlights, with one neighbor proclaiming that if Victor brought Sparky back to life before, he can do it again. Inspired by Sparky’s bravery at saving Victor, everyone is ready to start their engines and use their car batteries to give Sparky a jumpstart. Their plan is a success, and Sparky once again is brought back to life.

March 5

March 5, 1928 – The Oswald the Lucky Rabbit Short Film, Rival Romeos, is Released Through Universal Pictures

On March 5, 1928, Universal Pictures released a new Oswald the Lucky Rabbit short silent film entitled Rival Romeos. Oswald was Disney’s first animated hit after the Alice Comedies, and soon became very popular, along with such characters as Felix the Cat. Patterned after the leading swashbuckling actor of the day, Douglas Fairbanks, Oswald was an easily frustrated rabbit, and the shorts relied on slapstick and subtle humor: the sheet music Oswald produces, if one looks closely, include the names of Hot Lips and Hot Mama. This was the 15th of out 26 Oswald shorts created by the Disney Studios before Charles Mintz took Oswald away. Many elements in this short are seen in some of the early Mickey Mouse and Silly Symphony films, including the goat used as a gramophone (seen in Steamboat Willie), the main character fighting a rival for the lady’s affections (as seen in Mickey’s Rival), and the main characters kicking each other for being idiotic (as seen in The Wise Little Hen)

A clearly smitten Oswald is on his way to see his girlfriend, Ortensia the Cat, holding a bouquet of daisies and traveling slowly in his jalopy. He starts playing a game of “She Loves Me, She Loves Me Not” with the flowers, before dreaming of Ortensia again. Behind him, in a much nicer car, is Oswald’s rival, also armed with a bouquet, dreaming of Ortensia. His own lovestruck mood is broken by the sight of Oswald, and he angrily honks his horn at the rabbit.

The rival finds a way to get ahead of Oswald, for now

Oswald turns to see this rival, and turns up his nose at him, unconcerned. He continues at his leisurely pace, refusing to move, though his rival starts to throw a fit. The rival pulls a lever, which raises the car, allowing the rival to sail above Oswald and land comfortably in front of him, then he speeds off like a shot.

The rival is eventually stopped by giant patch of mud covering the road. The rival orders his car to go across, but the car refuses, allowing Oswald to catch up. Oswald and his car laugh at the rival, then jump into the puddle with enthusiasm, splashing around and sending mud flying toward the rival. Oswald and his car then take off to continue the trip to his girlfriend’s house. The rival’s car carefully hikes up its skirts and treads cautiously through the mud, with the rival determined not to be beaten. Unfortunately, the car slips on some mud, and they land in the puddle with a mighty splash.

Oswald beginning to serenade Ortensia

Oswald arrives at Ortenisa’s house, heart aflutter, and begins to serenade her with on his banjo. She hears him and steps out onto the balcony, smitten by Oswald’s attempt at romance. While Oswald isn’t looking, however, a hungry goat steps into the front yard, salivating at the sheet music lying on the ground, and begins to snack on some of it, while meanwhile a gentle breeze blows around the sheet music Oswald is currently trying to play. The clearly frustrated rabbit takes out a pin to nail the music to the rock he’s using to prop the music up, only to find that the “rock” is a snoozing pig who, stabbed by the pin, runs off, taking the music with him.

Oswald then sees that the goat has eaten the rest of the music, and is now eyeing his banjo with great interest, before devouring it. Oswald grabs the bit of the banjo sticking out of the goat’s mouth to pull it out, but sends it flying down into the goat’s stomach. Oswald angrily tells off the goat, but the goat doesn’t seem to care, nor wish to give back the banjo. Oswald then tries begging and crying, explaining that he’s trying to woo Ortenisa, but the goat only laughs, infuriating the rabbit. As a last attempt, Oswald strangles the goat and sticks his hand down its throat in order to retrieve the instrument, only to get sucker-punched by the goat. He kicks the goat in the stomach, and notices that music notes come out. Inspired, he opens the goat’s mouth, pulls on his tail, and uses the goat as a sort of gramophone to play his love songs.

Poor Ortensia is caught in the middle of two unyielding suitors

Oswald’s attempts at romance are not beloved by all, for the music wakes up Ortensia’s father, who begins to throw things out the window to stop the noise. Oswald and the goat run for cover, and as Oswald hides behind his car, the rival finally makes it to Ortensia’s house and honks his horn to alert the girl. Ortensia steps outside and waves, and both suitors bow to her, but she stands between the two, with the “Romeos” pulling on her arms as they each try to convince her to date him instead of the other guy. Poor Ortensia stands there as they keep pulling and pulling out her arms like ropes, until they finally let her go. She yells at the two of them before angrily walking away, and the two suitors begin to argue. While arguing, which escalates into physical fighting, they don’t notice that Ortensia has been taken away by a third suitor, and as they watch her drive away, the two agree to kick each other for being so moronic.

March 4

March 4, 1914 – Birth of Disney Legend Ward Kimball, One of the Nine Old Men

“I checked out a scene of Ward Kimball’s animation on Cinderella, and it had some of his rough notes on the scene. He had done the mice in the scene, and Cinderella was also in the scene, but the note to his assistants was, ‘The stooge enters here,’ and the stooge was Cinderella. I think [Kimball] had a certain attitude toward the straighter characters…he lived for the comedy and the counterpoint to the [straight character.]” – Animation Director John Musker.

Ward Walrath Kimball, known as one of Disney’s famed Nine Old Men, was born on March 4, 1914, in Minneapolis, Minnesota. He attended the Santa Barbara School of Art in California, with an ambition of becoming a magazine illustrator. But after catching a screening of Walt Disney’s Three Little Pigs, Kimball quickly put together a portfolio and headed straight to Disney Studios, which he joined in 1934.

Kimball’s animation style, with his focus on comedy, and the emotion he was able to infuse in his drawings was quickly noticed in the studio, One of the most well-known characters he developed was Jiminy Cricket in Pinocchio, which was a bit of a gift from Walt after one of Kimball’s scenes was cut from Snow White and the Seven Dwarfs. Kimball remarked on this: “I spent eight months on it. It was all cleaned up and ready to be inked and painted. Walt sensed it stalled the plot at that point. So he called me to his office and said, ‘Ward, I hate to say this, but I’m going to have to take out this soup sequence.’ Of course, I was crestfallen, but right away he came in and said, ‘But I’ve got a little character in our next picture and we’re going to call him Jiminy Cricket. I’d like to have you be the animation supervisor on this.’ My first impression of him was, ‘This ugly insect.’ I said, ‘How can that guy carry the picture?’ My only answer to this is I’ve got to make him look funny. Walt didn’t really want a clown-looking cricket. As he put it, ‘Make him cute, Kimball.’”

Kimball (R) in a scene from The Reluctant Dragon, showing Robert Benchley how animated characters move

Along with many of the Nine Old Men that created the rules of modern animation, he continued to learn throughout his entire career. “An artist always goes back to the source,” he said wisely. “If he’s drawing animals, he looks at the giraffes and the lions; he caricatures them, but he starts out drawing realistically. Like on Bambi, the guys used to go down at the zoo and see how the animals acted.”

Kimball also animated Tweedledee and Tweedledum in Alice in Wonderland, and Lucifer in Cinderella, as well as the Academy Award-winning shorts Tootle, Whistle, Plunk and Boom – the first Cinemascope cartoon – and It’s Tough to Be a Bird. Kimball branched out of animation for the Disneyland show, producing and directing three episodes about space: Man in Space (which discusses the history of rockets), Man and the Moon (about man’s fascination with the moon), and Mars and Beyond (narrated by Paul Frees and discusses the possibility of life on other planets). Kimball also expanded into the story division, and helped write the script for the live-action film, Babes in Toyland.

Kimball brought his unique sense of humor to every aspect of his life, including performing with the famous Firehouse Five Plus Two

Kimball had many interests beyond animation. A railroad buff, his enthusiasm for his hobby spurred Walt to set up a backyard railroad of his own. Kimball was also a fantastic trombone player, and played in the famous group, “Firehouse Five Plus Two,” most notably with Frank Thomas, another member of the Nine Old Men. He was awarded as a Disney Legend at the ceremony in 1989, and his plaque honors his sense of humor by adding an extra finger to the hand holding the wand. Ward Kimball passed away on July 8, 2002, in Los Angeles, California.

 

March 3

March 3, 1950 – The Special Cartoon, The Brave Engineer, is Released to Theaters

“Ah, ‘tis morning, and all the trains in the railroad yard are fast asleep. All except Casey’s. His engine is slow asleep.”

 On March 3, 1950, The Brave Engineer, a  special short subject cartoon, was released to theaters. Based on the “Ballad of Casey Jones,” by T. Lawrence Seibert and Eddie Newton, the short tells the story of engineer Casey Jones, who will stop at nothing to deliver the mail on time. The ballad was based on a real-life engineer, John Luther “Casey” Jones, who died stopping a train and saving many lives in the process. The story was adapted by Dick Kinney and Dick Shaw, with the musical score by Ken Darby, and stars the vocal talents of Jerry Colonna (also known for playing the March Hare in Disney’s Alice in Wonderland) and The King’s Men singers.

Casey checks his watch for the time, only to realize he's already late

The sun rises over the railroad yard, and the camera zooms in on Casey Jones’ engine, as Casey slowly wakes up, and is alarmed by the time shown on his stopwatch. Once signaling he’s ready, Casey takes off like a shot, with the track switches moving as rapidly as possible to match Casey’s speed. Casey’s many close calls cause his poor brakeman to collapse in exhaustion and nerves.

Casey first problem on his route to deliver the mail is a flood that has been building up for five or six weeks. Considerably slowed by the rain, Casey climbs on the roof of the train and paddles with a shovel, but despite his efforts, the western mail is “exactly eight hours late.” When the train emerges from the flood, it is covered by the roof of a house, with an attached laundry line, but it quickly rids itself of the burden and the excess water, and immediately speeds ahead to its next destination.

Close call for the cow

Unfortunately, it is not smooth sailing for Casey, as there is a cow standing in the middle of the tracks. Casey brakes hard, and the train stops just inches from the cow. Casey screams at the cow to move, pulling out his stopwatch and proclaiming that he’s late. Offended by Casey calling her “old cow” and “bossy,” the cow saunters off as slowly as she possibly can. Casey barely waits for her to clear the tracks before he speeds past her, leaving the cow clutching a telephone pole for dear life.

Casey is feverishly shoveling coal into the engine when his next problem arises: a bandit has just tied a helpless maiden onto the tracks. Casey climbs out to the front of the engine and scoops up the girl, with the bandit cursing him. Casey continues to up his speed, although he realizes, as he travels around a mountain track, he’s going too fast. As he travels through a tunnel, the audience sees another bandit getting ready to blow up the train tracks. The dynamite explodes just as Casey travels over the bridge, but Casey’s engine doesn’t give up, and just climbs up the steep sides of the mountain.

A gang of bandits, lurking in the shadows, watching Casey's train

As the train speeds through a tunnel, a gang of bandits lurk in the shadows, ready to jump the train and rob it. Still shoveling coal, Casey doesn’t notice that the robbers are now in the engine, guns drawn, until one is nearly shoveled into the furnace. Angered by this new interruption, Casey attacks the gang with his shovel. He continues to battle the bandits almost nonchalantly as he keeps on shoveling more coal into the engine. He successfully beats the gang, but he’s alarmed to see how late he is when he looks at his watch.

Desperate to make it on time, Casey shovels the coal into the furnace crazily, causing the engine to overheat. After running out of coal, Casey throws anything he can into the furnace, still overheating until gears and gauges explode. The train begins to fall apart, with Casey trying to hold it all together, and the tracks melt. While otherwise occupied, the brave engineer doesn’t notice another train coming toward him on the same track. Casey’s train is heading toward it like a bullet, and the conductor of Casey’s train runs to warn Casey, but Casey can’t hear him, and the trains collide in a cloud of black smoke.

Casey makes it through his sheer determination...and a lot of luck

The mailman waiting at the station thinks Casey is not going to make the stop today, when all of a sudden, the last remaining pieces of Casey’s train appear, with Casey holding the mail. According to Casey’s watch, Casey made it “On Time…Almost.”

March 2

March 2, 1951 – The Donald Duck Short Film, Dude Duck, is Released to Theaters

“D. Duck, Rover Boy, number six.”

 On March 2nd, 1951, the new Donald Duck short, Dude Duck, was released to theaters. In this short, Donald takes his vacation at a dude ranch, but ends up assigned to a horse that does not want him as a rider. As with many of the shorts featuring Donald and an animal, there is a lot of humor in the mutual animosity between the duck and the horse. The short was directed by Jack Hannah, with story by Ralph Wright and Riley Thompson, and stars Clarence Nash as the voice of Donald.

Donald steps off the bus, admiring his surroundings

The audience is taken to the Bar-None Dude Ranch, where the horses are seen relaxing in their stalls, except for one playing horseshoes with his own shoes, whose name is Rover Boy. A bus horn sounds, and a group of beautiful women step out excitedly, ready for their vacation, which causes Rover Boy to wolf whistle and quickly put his shoes back on. Donald is the last to step off the bus, and slowly begins to explore the ranch.

Meanwhile, Rover Boy is busily primping, hoping one of the girls will pick him as her steed. They take little notice of him, however; no matter how much he whistles and pounds his hooves on the fence for their attention. Soon, all the girls are off riding, while Rover Boy stands at the fence, visibly upset.

Donald has found his horse - Rover Boy can't believe Donald's his rider

He soon hears whistling, and looks up to see Donald, who is dressed in formal riding gear. Donald approaches Rover Boy, and he studies Donald’s outfit before bursting into peels of laughter. Donald doesn’t seem to notice, but instead walks in the gate and reads the sheet with his name and assigned horse. The horse stops laughing, alarmed that Donald is his assigned rider. He attempts to hide, unsuccessfully, but Donald insists that they get going.

Now desperate to be rid of Donald, Rover Boy fakes an injured leg and a broken back, as well as having no teeth, a horrible cough, heart palpitations, and ultimately, death. Donald rushes to grab some water to help revive the horse, only to have the horse quickly move out of the way as he throws the water. Donald senses something’s amiss, and pulls an apple from his pocket to tempt the horse. Rover Boy tries to fight the temptation of the treat, but ends up taking it from Donald’s hand, chewing it as he still feigns death. Donald then pulls a trumpet from his coat, and the horse quickly is revived, standing in race position. Donald pulls out a starter’s pistol and fires it, and Rover Boy takes off like a shot, before realizing that he gave up his ruse, causing Donald to begin to laugh.

Donald then throws down the saddle and points the gun at his steed, ordering him to put on the saddle. Rover Boy refuses, and Donald begins shooting at the creature’s feet, causing him to jump around the yard. Quickly, he puts on the saddle, and Donald twirls the gun, thinking he’s won, until the gun slips from his finger, leaving only a metal ring. The horse, seeing an opportunity, takes off the saddle. Donald tries to threaten him again, only to find his gun is gone.

"Moo."

Undeterred, Donald grabs a lasso and begins to chase Rover Boy behind some hay bales, but stops when he sees that Rover Boy has attached bull horns to his hair, and gives his pursuer a haughty “Moo.” He whispers in Donald’s ear, presumably telling him where his “horse” has gone, and Donald races on, until he realizes he’s been duped.

Thoroughly frustrated at this point as only Donald can be, he pursues the horse again, with Rover Boy hiding behind some other hay bales and pretending that he’s gone galloping off. Donald almost falls for it, until he looks down and sees the horse. Thinking fast, Donald stands behind the other side of the bales and laments that the horse got away from him, and he’d better go home, then pretends to walk away. The horse falls for this easily, and begins to laugh, thinking he’s gotten rid of the duck. He is then alarmed at the sound of galloping, and a woman’s voice (which the audience is able to see is Donald doing a spot-on imitation) asking for that “big beautiful number 6.” Excited, Rover Boy races out, only to be caught in Donald’s lasso. Calmly, Donald ties the other end of the rope to a post and waits, while the horse is still running wildly.

Rover Boy comes up with an evil scheme as he passes the bull pen

Rover Boy is suddenly pulled to a stop, falls to the ground, and can only say, “Oh, no.” Donald laughs at this situation and begins to pull the horse in; unfortunately, the horse passes by the wild bull pen, giving him a wicked idea. We see the horse run to the fence, quietly observing his little plan, while Donald still blissfully pulls on the rope. The horse tilts the bull’s horns in the direction of Donald’s tail, and with Donald giving the rope one final pull, the audience sees only Rover Boy’s reaction, but hears Donald give out a loud scream, and a whistle that indicates the duck shot straight up into the air. He lands on the now saddled bull and rides off into the old west, just as he wanted to in the first place.