I (perhaps prematurely) consider myself a bit of a connoisseur of things that are the courtesy of childhood. -Toys, pop music, childrens' books and cartoons are among my delights although I am sure pop music and cartoons are also widely enjoyed by "groan ups." -Those that will admit to it anyway.
And I am pleased today because I was able to procure copies of the old Merrie Melodies classics, The Dover Boys of Pimento University or, The Rivals of Roquefort Hall (that's the full working title) from 1942 and the 1961 Academy Award nominated Nelly's Folly.
A great component of my love for these cartoons are their uses of music. Dover Boys contains two songs (of the same melody, so that could arguably be just ONE song), the PU Alma Mater Song and the Dover Boys' rescue song. And Nelly's Folly? Why it's about a singing giraffe so, I think it runs courses around the Boys musically.
So basically the Dover Boys contains just a slight storyline about --you guessed it, the three brothers from Pimento University, Tom (the fun loving one), Dick (a lad of eighteen winters and a summer in Florida) and, Larry (the youngest of the threejerks, brothers).
They visit their fiancée, Dora Standpipe (note how it says "their" fiancée.) for a little frolic which involves a ridiculous game of hide- and- seek and leaves the "it," Dora easily susceptible to the boys' rival Dan Backslide's kidnapping. A rescue mission ensues which is, given the tragedy of this being a cartoon, somewhat botched by the brothers. Nevertheless, we can assume that Dora lives happily ever after and the boys live out their morally upright lives affably without Dora.
The film plays out like one of those old time theatrical presentations. The characters are ridiculously stagey as one would see from the part when the boys pass by the snooker salon. And even Dan Backslide, suffering from what seems to be a green greasepaint-y complexion, is given to the staple villain's stage whisper. I guess that's why i like the cartoon so much. It's got the camp and charm of a stage play, and it's not so bewilderingly over-the-top as most other cartoons.
The Dover Boys of Pimento U.
*
Now Nelly's Folly is an absolute charmer but aside from that, it also contains social commentary on celebrity (thankfully not an overwhelmingly preachy commentary because I would otherwise try to escape as soon as it begins). All in all, it's a smart and enjoyable film, if I do say so myself.
It starts off in the jungle where Nelly is heard singing sweetly to an audience of animal friends. There she is discovered by an adventurer who may be channeling Tony Danza's voice a few years early and brought to the city where Nelly is a success. She starts off with a liver tonic jingle (to the tune of Auld Lang Syne) and branches out to Broadway plays and multiple records.
But despite the success of her musical career, Nelly feels empty and finds solace in someone who can understand her, a male giraffe from the zoo. But also, he's a MARRIED male giraffe from the zoo. At first Nelly is aghast that a married man would consider flirting with her. --But when you're lonely...
And I am pleased today because I was able to procure copies of the old Merrie Melodies classics, The Dover Boys of Pimento University or, The Rivals of Roquefort Hall (that's the full working title) from 1942 and the 1961 Academy Award nominated Nelly's Folly.
A great component of my love for these cartoons are their uses of music. Dover Boys contains two songs (of the same melody, so that could arguably be just ONE song), the PU Alma Mater Song and the Dover Boys' rescue song. And Nelly's Folly? Why it's about a singing giraffe so, I think it runs courses around the Boys musically.
So basically the Dover Boys contains just a slight storyline about --you guessed it, the three brothers from Pimento University, Tom (the fun loving one), Dick (a lad of eighteen winters and a summer in Florida) and, Larry (the youngest of the three
They visit their fiancée, Dora Standpipe (note how it says "their" fiancée.) for a little frolic which involves a ridiculous game of hide- and- seek and leaves the "it," Dora easily susceptible to the boys' rival Dan Backslide's kidnapping. A rescue mission ensues which is, given the tragedy of this being a cartoon, somewhat botched by the brothers. Nevertheless, we can assume that Dora lives happily ever after and the boys live out their morally upright lives affably without Dora.
The film plays out like one of those old time theatrical presentations. The characters are ridiculously stagey as one would see from the part when the boys pass by the snooker salon. And even Dan Backslide, suffering from what seems to be a green greasepaint-y complexion, is given to the staple villain's stage whisper. I guess that's why i like the cartoon so much. It's got the camp and charm of a stage play, and it's not so bewilderingly over-the-top as most other cartoons.
*
Now Nelly's Folly is an absolute charmer but aside from that, it also contains social commentary on celebrity (thankfully not an overwhelmingly preachy commentary because I would otherwise try to escape as soon as it begins). All in all, it's a smart and enjoyable film, if I do say so myself.
It starts off in the jungle where Nelly is heard singing sweetly to an audience of animal friends. There she is discovered by an adventurer who may be channeling Tony Danza's voice a few years early and brought to the city where Nelly is a success. She starts off with a liver tonic jingle (to the tune of Auld Lang Syne) and branches out to Broadway plays and multiple records.
But despite the success of her musical career, Nelly feels empty and finds solace in someone who can understand her, a male giraffe from the zoo. But also, he's a MARRIED male giraffe from the zoo. At first Nelly is aghast that a married man would consider flirting with her. --But when you're lonely...
And there Nelly's career starts its downward spiral as the public find fault with her consorting with a married man. She is initially unconcerned by this, even as the Tony Danza-adventurer/agent pleads with her to find someone else, until on the opening night of one of her shows, she is abandoned by the public that was once so smitten by her. Without her celebrity, Nelly is also left by the lecherous man she risked her career for.
Nelly leaves Hollywood brokenhearted and goes back into the jungle singing the saddest songs you can possibly imagine with the same sweet voice. And before you think all is lost, a beautiful deep voice joins her as a handsome (and presumably single) giraffe enters the scene. And Nelly is happy again.
Nelly's Folly is a beautiful cartoon, a mix of aural and visual artistry. Nelly's singing is amazing, with vocals done by Gloria Wood. --I can't say I can remember anyone that her voice reminds me of but the style harkens a smoother, more relaxed Judy Garland or the Andrew Sisters (possibly, but you can help me out here) and concert hall music. The fact that such a unique voice was used for a liver tonic advert is pleasantly absurd.
The visuals are jazzy, they call into mind beat poetry but that's just me. Highly stylized and shape-heavy, they also rely on cool tones unusual for a movie that contains jungle creatures (this scheme, in fact, carries over from the jungle jungle to the other jungle, the city), perhaps as a complement to Nelly's yellow and brown colouring.
As for the commentary, well, it shows us how the earlier 20th century audience was with regards to their adulation for their celebrities. Apparently, if their idols succumb to vices, or to what society deems taboo, they lose faith in them.
Nelly leaves Hollywood brokenhearted and goes back into the jungle singing the saddest songs you can possibly imagine with the same sweet voice. And before you think all is lost, a beautiful deep voice joins her as a handsome (and presumably single) giraffe enters the scene. And Nelly is happy again.
Nelly's Folly is a beautiful cartoon, a mix of aural and visual artistry. Nelly's singing is amazing, with vocals done by Gloria Wood. --I can't say I can remember anyone that her voice reminds me of but the style harkens a smoother, more relaxed Judy Garland or the Andrew Sisters (possibly, but you can help me out here) and concert hall music. The fact that such a unique voice was used for a liver tonic advert is pleasantly absurd.
The visuals are jazzy, they call into mind beat poetry but that's just me. Highly stylized and shape-heavy, they also rely on cool tones unusual for a movie that contains jungle creatures (this scheme, in fact, carries over from the jungle jungle to the other jungle, the city), perhaps as a complement to Nelly's yellow and brown colouring.
As for the commentary, well, it shows us how the earlier 20th century audience was with regards to their adulation for their celebrities. Apparently, if their idols succumb to vices, or to what society deems taboo, they lose faith in them.
Does this still hold true for our generation? How do we explain the "fame" someone like Paris Hilton who’s been arrested already for irresponsible drinking and driving? Or similarly, Gretchen Baretto’s fame, despite the questionable photograph with a man not her husband? On the one hand it is better that we do not pass judgment so quickly (let the one without sin cast the first stone yadda yadda). But what about those that cheer them on? Sometimes I wonder if the drugged up, destructive and silly behavior celebrities project is a tonic that revives careers. It seems like it sometimes. Oh. Oh well.
Regardless of the commentary, you can still enjoy Nelly's Folly as a moving animal musical movie.
Nelly's Folly
Regardless of the commentary, you can still enjoy Nelly's Folly as a moving animal musical movie.
*
By the way, both movies were directed by the legendary Chuck Jones who, as I belatedly realized, was the cartoonist behind most of my favorite Looney Tunes shorts like Rabbit of Seville, One Froggy Evening, Broom-Stick Bunny (I have a weakness for any cartoon that involves Witch Hazel, Gossamer, and breaking the fourth-wall), Transylvania 6-500, and Hair-Raising Hare.
Mr. Chuck Jones, wherever you are, you are a genius and you certainly made my childhood bearable.
And oh, I'm looking for Disney's Casey At Bat and Peter and the Wolf too, if anyone wishes to help.
By the way, both movies were directed by the legendary Chuck Jones who, as I belatedly realized, was the cartoonist behind most of my favorite Looney Tunes shorts like Rabbit of Seville, One Froggy Evening, Broom-Stick Bunny (I have a weakness for any cartoon that involves Witch Hazel, Gossamer, and breaking the fourth-wall), Transylvania 6-500, and Hair-Raising Hare.
Mr. Chuck Jones, wherever you are, you are a genius and you certainly made my childhood bearable.
And oh, I'm looking for Disney's Casey At Bat and Peter and the Wolf too, if anyone wishes to help.
