Saturday, November 22, 2014

Snooper and Blabber — Chilly Chiller

Produced and Directed by Joe Barbera and Bill Hanna.
Credits: Animation – John Boersma, Layout – Jerry Eisenberg, Backgrounds – Bob Gentle, Written by Mike Maltese, Story Director – Paul Sommer, Titles – Art Goble, Production Supervision – Howard Hanson.
Voice Cast: Snooper, Blabber, J. Evil Scientist – Daws Butler; Mrs. J. Evil Scientist – Jean Vander Pyl; Ghost, Junior, Wolf Monster – Don Messick.
Music: Hoyt Curtin.
Episode: Quick Draw McGraw Show M-044, Production J-128.
First Aired: 1962.
Plot: Snooper and Blabber are hired to evict the J. Evil Scientist family from a haunted house.

Boris Karloff hosted a horror anthology series from 1960 to 1962 called “Thriller,” which featured a series of lines appearing on the screen and the word “Thriller” fading in as his face faded out.



Something like couldn’t be passed up by Mike Maltese, who parodied it in “Chilly Chiller.” In the cartoon, the lines instead form a tic-tac-toe game before the word “Chiller” flashes on the screen.



Your host for the show isn’t the ghostly-sounding Karloff, although there is a ghost in it. Snooper welcomes viewers with the words “Greetin’s, lovers of spine-chilling stories. If you are the scary type, do not watch this show. You had best go prune a daffodil, or something.” “Snoop is right, folks,” adds Blabber. “This is a real scaaaary story. Honest.”

We’ll get to our story in just a moment. First, let’s check out some of Bob Gentle’s backgrounds. The haunted house exteriors are top notch and the overhead angle on Snooper’s office door is unique; perhaps it comes from Jerry Eisenberg’s layout. (Note Scott Shaw!’s note about layouts in the comments).



The story starts with Snooper admiring his “fabulous butterfly collection.” The phone rings. The detectives are called to Creepy Mountain House by someone who finally has to shout “Help!” into the phone to prove he needs them. “Now are you convinced?” says the phone. “Yeah. Especially me left ear.” The cartoon cuts back to the present and Snooper outlining the story. “So, after a visit to me left ear doctor...” he begins, then allows Blab to pick up the story. John Boersma animated the cartoon. See what he does with Snooper’s pinkie in one frame. You’ll see the same pinkie-crooked-up hand on Blab “Bronco Bluster,” Augie Doggie in “Vacation Tripped” and Huck Hound in “Bars and Stripes,” all Boersma cartoons. He liked gestures. See one of Blab’s below.



Our heroes arrive at the spooky mansion to find its occupant, a ghost with the Professor Gizmo voice from “Ruff and Reddy,” can’t haunt it because the J. Evil Scientist family (though unnamed in this cartoon) has moved in and refuses to move out. J. Evil ignores Snooper’s “writ of habeas vacancy” so the detectives decide to remove the furniture from the home, starting with Junior’s crib. That brings on the gags. First, Junior pushes a button to zap Snooper with electricity. Then Junior pushes another button so Snoop falls through a trap door into the basement, where he fights a huge octopus with a chair (“What a dastardly tribulation experience,” says Snooper after closing the door on the creature.



Next, Junior mixes a formula (with a cue used during the Pebbles birth episode of “The Flintstones” in the background) which he feeds to a mosquito. The insect grows to a huge size and smugly battles a sword-wielding Snoop (“That giant mosquita is going to shiska-blab us, Bob, I mean shiska-bob us, Blab”). After escaping, our heroes run from a wolf monster that Junior lets out of his TV set.



“I’m not takin’ in every Tom, Dick and Scary Ghost,” says Snoop as their client wails that he’s now homeless. But the final scene has Snooper on the phone trying to sell his life story to a TV station. “It’s bein’ written now. By a ghost writer.” Cut to a shot of the ghost at a typewriter. Oh, but Mike Maltese’s groaners aren’t over. Blab observes: “When it comes to ghosts, Snoop has the right spirit.” With that truly cringe-worthy pun (and cringing is, no doubt, what Maltese had in mind), the cartoon ends.

And, with that, we end our reviews of all 45 Snooper and Blabber cartoons.

Wednesday, November 19, 2014

Little George Jetson



Above you see the opening background drawing for the Jetsons’ cartoon “The Little Man,” the 17th show put into production. And to the right, you see a dialogue page from the opening.

Heritage Auctions had the latter up for auction awhile ago, along with some storyboard panels that you can see below (and click on to enlarge). The final dialogue in the cartoon isn’t exactly the same as what you can read on the panels. Lines have been added and subtracted. There’s a salt gag that’s not in the panels on sheet 21.

The story was written by Tony Benedict and the sketches below are his. If you look at the numbering, you’ll observe that number 22 is broken down into four sheets: A, B, C and D. Whether the story was expanded later to include those scenes, I don’t know. And there’s a whole bedroom routine in the cartoon that takes place between the first and third panels of 22A.

Saturday, November 15, 2014

Huckleberry Hound — Bullfighter Huck

Produced and Directed by Joe Barbera and Bill Hanna.
Credits: Animation – Ken Southworth, Layout – Tony Rivera, Backgrounds – Dick Thomas, Written by Tony Benedict, Story Director – John Freeman, Titles – Art Goble, Production Supervisor – Howard Hanson.
Voice Cast: Huckleberry Hound, Crowd – Daws Butler; Narrator, Bull, P.A. Announcer, Crowd – Don Messick.
Music: Hoyt Curtin.
First aired: 1961-62 season.
Plot: In Spain, Huck fights a bull.


A staple of Hanna-Barbera cartoons was for characters to whisk themselves off-screen, followed by a camera shake and sound effects to indicate violence, and then a cut to a character in some kind of disarray. In this cartoon, there are a lot of impact drawings involving Huck and the bull he is fighting.



The animation in the cartoon is by Ken Southworth, who settled in at Hanna-Barbera after bouncing around in the ‘40s and ‘50s. Thomas Kenneth Southworth was born in England in 1918 and came to the U.S. with his parents. They settled in Chicago where his dad Thomas was a janitor and Ken got a job as an office clerk at a wholesale grocer. He graduated from the Chicago Institute of the Arts then headed west to Disney. Southworth moved on to the Walter Lantz studio, then MGM (where he was in the Hanna-Barbera unit) and was introduced to the world of TV animation through Sam Singer Productions, the home of the astoundingly bad “Bucky and Pepito.”

Southworth managed to escape thanks to a company called Animation Associates, set up by John Boersma, Lou Zukor and Rudy Cataldi to make animated commercials; Cataldi had worked for Singer. Variety reported the company had completed a pilot for a cartoon tele-series about a private eye. The trade paper then announced on August 19, 1960 the company had hired 11 animators to work on Q.T. Hush cartoons—the ten listed were Bill Carney, Xenia DeMattia, Jack Ozark, Dan Bessie, John Freeman, Clarke Mallery, Volus Jones, Don Williams, Ed Aardal and Virgil Ross—along with a second film cutter (Lucky Brown, in addition to Charles Hawes). On the 31st, Variety blurbed that Southworth had been hired by the company to direct 20 cartoons (as a side-note, the paper also revealed in the same edition that “Ruff and Reddy” would be replaced by “King Leonardo” on Saturday mornings in the fall). A number of these people ended up doing work, freelance or otherwise, at Hanna-Barbera soon after. Southworth’s career at the studio lasted into into the 1990s. He died in 2003 at the age of 89.

This may be his best cartoon. He tries to a little something extra out of the limited animation. H-B almost always animated action horizontally or vertically. Here are two drawings of an angular run. Southworth either drew in perspective or a camera trick was used. Either way, the studio rarely did this.



When he draws Huck being ploughed into by the bull, Huck’s montera comes off his head and twirls end-over-end in the air. Southworth could just as easily have it fly from the frame or land on the ground and save work (in one scene, there are duplicate monteras for a couple of frames; it may be a camera error). Instead of straight run cycles, Southworth changes Huck’s body position, and he also stretches out the bull’s body, giving them some variety (and making it look like the characters are accelerating). There are also some little extras, like nostrils flaring in a little cycle, and the bull’s lips wavering in anger. And he actually gives a real startled take in the cartoon, not something lame like eyes getting a little wider. Huck pulls his sword on the bull. With perfect timing, the bull chomps on it. Huck’s body shows the surprise. It makes the scene funnier, though the drawing is on threes (two of them have brush lines) so it may not register as well as it could.



Dick Thomas constructed the backgrounds. Here are a few.



Tony Benedict’s story starts with the usual format. Off-screen narrator Don Messick sets up the scene. Huck is a matador in Spain. As usual, Huck butchers the native tongue as he chats with the viewers. “Bonus daisy!” he happily tells us. He arrives at the stadium. “Well, I’d better get into my purdy bullfightin’ suit, the embroidery and all like that,” he tells us. “Keep your eye on me, folks, ‘cause I gets terrible handsome once-t I get my bullfightin’ garments on.” And the version of “Clementine” he sings this time includes the word “Tory-dory” (as in “toreador”).

As you’ve seen by the drawings, the bull pounds Huck pretty well. The crowd boos. “Folks around here always ‘boo’,” he explains to the viewers at home, “you know, to kindly show their contempt.” Then he adds, in Daws Butler talk, “But they don’t reas-lize that this is the basic matador stra-gedy.”

Tony pulls off a funny little scene where Huck and the bull run out of the arena. That doesn’t faze the P.A. announcer one bit. “We shall continue with the audio version of the programme,” he decides. Then he continues with a play-by-play of the fight that’s completely made up. “Of course, I ad-lib just a little,” he confides in us. While he’s doing this, he’s oblivious that the bull and Huck are running back and forth behind him. Finally, they stop and look at him. When he realises where they are, he shouts “¡Ay, Chihuahua! I think it’s time for a station break!” and he dives right off the broadcast area (with the sound of crashing dishes). Huck turns to the bull and says “Let’s get on with the show, Toro.” And they do. Southworth, incidentally, doesn’t simply have the announcer’s body rigid on one cel during the play-by-play. He puts him in about four different positions, with hand-claps and an arm thrust. He’s trying to keep the scene from looking stagnant.

Finally, the bull sends Huck crashing through the wooden barrier in the ring. “Does the matador have some last words for his fans about the moment of truth?” asks the announcer. “Just one thing, a-mygo” replies the pain-eyed Huck. “The moment of truth shore hurts.” At this point, the bull sticks his head in the frame and happily growls “Ain’t it de truth?” and gruntingly laughs as Huck turns his eyes to the audience to end the cartoon.

There’s a camera error during one of the run cycles. The camera man has the background going in the wrong direction for four frames.

The Hoyt Curtin underscore doesn’t include any Spanish-sounding music. Some short neutrals are used for the first minute and a bit. During one of the Huck-runs-from-bull scenes, there’s a Hammond organ piece used in a number of cartoons. You can also hear a short variation of the Flintstones “Rise and Shine” when Huck walks into the ring and before the bull comes out.

Wednesday, November 12, 2014

Jerry Mann

Dino talked.

We’re referring to the first season episode where a snorkasaurus with a Phil Silvers voice surreptitiously hitches a ride and becomes the Flintstones’ pet/housekeeper. Who played him? If you watched the episode in syndication in the ‘60s and ‘70s, you never would have known as the closing animation was changed, meaning the voice credits were lopped off.

Unfortunately, when the Flintstones’ DVD came out, the closing credits for each episode of the first and second season were not restored. But the late Earl Kress and others put together some gang credits over the original closing animation and included was the name of Jerry Mann.

Mann appeared in a bunch of the early Flintstones’ episodes. And he was great at playing fast-talkers. That’s Mann as the producer who hires Fred as the Frog Mouth in “Hollyrock, Here I Come” and as the Ed Wynn-ish title character in “Hot Lips Hannigan.” So where did he come from and why did he disappear from the Hanna-Barbera roster of voice talents?

The first question’s pretty easy to answer. Mann was well acquainted with Bill Hanna and Joe Barbera from the 1940s when he provided a few voices on Tom and Jerry cartoons. He was uncredited on screen, but did get mentioned in the occasional story in Variety:

Columbia is scheduling a series of 'Cholly Polly' cartoons, to be produced under supervision of Dave Fleischer, department head. Voice for the bird is furnished by Jerry Mann, radio comic. (Nov. 17, 1942).

Jerry Mason [sic] has concluded voice-dubbing for "Slicked Up Pup," MGM cartoon, and last night left town to join troupe of "Oklahoma," now touring Wyoming. (Aug. 16, 1949).

Jerry Mann, from cast of "Oklahoma" current at Biltmore, will do voice of "Casanova Cat" in Metro Tom and Jerry cartoon, "Love in Gloom." (Jan. 27, 1950).
Mann appeared in at least one other Tom and Jerry cartoon. He’s the voice of the radio announcer in “The Zoot Cat” (1944) and, I suspect, Tom’s voice in the “something’s burning” line. In “Casanova Cat,” he merely sings a couple of lines from “Over the Rainbow” (perhaps dialogue was cut). The squibs above may indicate why his voice acting career at Hanna-Barbera years later was short—he toured a lot and likely wasn’t around often enough to cut tracks for Joe Barbera.

Mann was a veteran entertainer by the time he got to the MGM cartoon studio. He was born Jerome Wolfman on August 1, 1910 in New York City to Dr. Philip and Martha Wolfman. His Los Angeles Times obit states he began doing impressions when he was nine. The first report I can find of his act is in Variety, October 28, 1921:

On Friday evening, Oct. 22, the Victoria Theatre of Ossining gave a big treat to the inmates of Sing Sing prison. We had their entire bill of vaudeville acts. They exceptionally good and were well received by our audience of 1,100.
The first act was Jerome Mann, "The Wonder Child," better known as "Little Al Jolson." Eleven-year-old Jerome Mann is an exceptionally clever lad. He sang and danced and gave excellent imitations of Eddie Cantor, Eddie Leonard, singing “Roley Boley Eyes,” and Al Jolson.
He reached the pinnacle of vaudeville, The Palace, while in his teens. But after a false start. Variety of October 7, 1925:
Jerome Mann, the juvenile artist, was forced to cancel the Palace, New York, this week, due to the Gerry Society. Mann had previously appeared around New York at various picture houses as a member of Ben Bernie’s turn.
The Palace management were forced to a last minute substitution, booking Eddie Miller and Ben Bernard to replace the youngster. Mann does a single act. He is said to be under 16 and under contract to the Shuberts.
He ended up playing the Palace to, initially, not very good reviews in the Show Biz Bible: “[D]id only so-so” (Variety, Sept. 15, 1926), “Nothing new and not particularly well done” (April 27, 1927). But notices started improving. Vaudeville stars moved into radio, and Mann did, too. About 1935, he dropped “Jerome” in favour of “Jerry.” Variety still wasn’t always impressed with his impersonations: “[H]e does not rate with the toppers in this line. Needs more experience.” (Aug. 28, 1935).

About this time, he was getting into a little trouble. Variety of May 1, 1935 announced a lawsuit, the results of which were published in the Philadelphia Inquirer, Jan. 9, 1936:

Jury Votes $1000 Balm Verdict to Night Club Singer
A $1000 VERDICT was awarded to Harriet Asinoff, night club singer, yesterday, in one of the last breach of promise suits that Pennsylvania may ever know.
The action, against Jerome Mann, stage impersonator of leading stars, was filed in July, 1934, a year prior to the State act outlawing breach of promise suits.
The 22-year-old singer, known professionally as Harriet Wesley and Harriet Carr, had asked $25,000 in her suit. She testified that she met Mann, whose real name is Jerome Wolfman, in Boston in 1931.
She said he was an ardent lover up to the point where she notified him that she was to become a mother. Then he lost interest. The suit was filed in consequence, at a time when she was under 21.
Mann denied Miss Asinoff's testimony that he insisted she accompany him to his Boston hotel room at 1 A. M. He said "she lied" when she testified he visited her five... or six times a week.
Like a lot of vaudevillians, Mann turned to radio in the ‘30s. The Brooklyn Daily Eagle reported in 1934: “Jerry Mann, nephew of Joe Weber of the team of Weber and Fields, makes his radio debut as an impersonator and comedian Wednesday evening, [July 25] 8:30, over WABC” [CBS] (his bio in the 1939-40 Variety Radio Directory claimed his first radio job was on “Lum and Abner” in 1934). The show was “Everett Marshall’s Broadway Varieties.” He appears to have lasted there for about a year. The Eagle later reported he would be appearing on a Sunday night oil show as of August 12th; presumably it was the Gulf Refining Show with Will Rogers on WJZ (NBC Blue). By October 7, he had moved over to “Manhattan Merry-Go-Round” on Sundays at 9 p.m. on WEAF (NBC Red), then debuted about 12 months later on “Hammerstein’s Music Hall,” Mondays at 8 p.m. on WEAF. The New York Sun reported he was to leave the show on January 14, 1937 after 82 consecutive broadcasts. In mid-1939, he was hosting a local, unsponsored half-hour variety show on WHN New York and had been working on a soap opera, and in 1940 was in Chicago on “Avalon Time” with Don McNeill. It’s unclear when Mann arrived on the West Coast, but he was there by September 1, 1941, when Broadcasting magazine reported he was writing for Rudy Vallee’s show. The aforementioned Variety directory stated he had also made some short films.

It’s unclear exactly how many cartoons he voiced before heading overseas with the USO (he was in France six days after D Day). There were only two Cholly Polly cartoons made by Columbia, one released at the end of 1942 and the other at the start of 1944. Did he work on more? It’s information to be discovered. Same with his work at MGM (voice historian Keith Scott says it’s not him as the eagle in “Flirty Birdy,” nor is it Daws Butler, who wasn’t anywhere near California at the time it was made). In January 1945, he resumed his radio work on “The Chesterfield Supper Club” (Tuesdays, 8 p.m., NBC) with his wife Betty Linde appearing as well, but concentrated mainly on the stage for the rest of his career. Heart bypass surgery in 1973 slowed him down and a series of strokes left him in a convalescent hospital in California, where he died on December 6, 1987.

His work on “The Flintstones,” according to Mann’s listing on a website (which has inaccuracies in his bio), consisted of:
● Hot Lips Hannigan
● The Monster From the Tar Pits
● Hollyrock, Here I Come
● The Girls’ Night Out
● The Snorkasaurus Hunter
● The Hypnotist
● Love Letters on the Rocks
● The Astra’Nuts
● Fred Flintstone, Before And After (all season one)
● Latin Lover (season two)

Earl Kress once asked Joe Barbera about Mann but Mr. B., by that time, simply couldn’t recall him, and neither could anyone else who worked at Hanna-Barbera who Earl questioned. So we hope this post has filled in some blanks.


Finally, here’s one of Jerry’s characters, the producer on “Hollywood, Here I Come.” George Nicholas came up with this walk cycle that’s used several times in the cartoon. Nicholas was one of several animators (Carlo Vinci and Don Patterson, included) who came up with unique walks for their characters. Note that the producer doesn’t have the same rigid upper body part on one cel used frame after frame. This is full animation, one complete drawing for each position.



Late note: Voice historian Keith Scott sent this note about what he’s been able to discern about Jerry Mann’s career. Oh, for confirmation from studio records!
He did more 1940s stuff. Avery used him. I hear him in BATTY BASEBALL ("That's the old pepper, kid"), George Gordon's THE STORK'S HOLIDAY, and I think he did more at Columbia...he may even have been Meathead to Screwy Squirrel, but that's only supposition. He's in THE DOG HOUSE in 1952. I have one article from the early 40s where a promised movie didn't happen and so he took a job at MGM cartoons for a while, as both a gag man and for standby voice effects...then he quit for OKLAHOMA.