This Thread will be different since I will usually update this about either weekly or a less semi-weekly
Fleischer Bros: The Next King of Cartoons
- Thread starter bennymaker
- Start date
The Beginning: Koko the Clown: Out of the Inkwell
Max Fleischer's journey into animation before joining Bray Productions and working on the Koko the Clown cartoon shorts in 1918 is marked by creativity, challenges, and a quest for recognition.
Born in 1883, Max deviated from a conventional career path to explore the nascent field of animation during the early 1900s. Self-taught and inspired by avant-garde art, he honed his animation skills, collaborating with other visionaries of his time. Max's artistic prowess led him to establish his own studio, where he pushed the boundaries of animation, setting the stage for Experiment No. 1, a groundbreaking animated short that showcased his avant-garde vision.
Despite Max's creative achievements, the Koko the Clown cartoons that followed, from 1919 to 1928, faced tough competition. They achieved popularity but fell short of the widespread acclaim enjoyed by contemporaries like Felix the Cat and later Oswald, leaving Max grappling with the desire for greater success.
In this alternative history, Bray Productions takes a bold step by producing "The Jazz Singer" in 1927, embracing the revolutionary concept of synchronized sound in film. Despite the innovative approach, the movie unexpectedly bombs at the box office, leading to unforeseen consequences for Bray Productions.
The decision to pioneer synchronized sound technology is met with skepticism from audiences and critics, who are unprepared for such a groundbreaking departure from silent films. The experimental nature of "The Jazz Singer" fails to resonate with the movie-going public, and its unconventional approach proves to be ahead of its time.
The financial failure of "The Jazz Singer" becomes a significant blow to Bray Productions, causing a severe downturn in the studio's fortunes. The costly venture, coupled with the public's reluctance to embrace the new technology, leads to a financial crisis that forces Bray Productions to shut down.
As a consequence, other studios avoid the financial pitfalls experienced by Bray Productions, allowing them to navigate the shift to synchronized sound more gradually and strategically. This alternative history reshapes the trajectory of the film industry, influencing how and when sound is integrated into cinema, ultimately altering the course of Hollywood history in the late 1920s and beyond.
In a pivotal moment in 1928, Bray Productions, the company behind Koko, faced financial collapse. Coincidentally, the same year marked the debut of a new cartoon star, Mickey Mouse, in "Steamboat Willie," catapulting Walt Disney to household fame. Max, envious yet respectful of Disney's success, envisioned a new chapter for himself.
In response to Disney's triumph, Max, along with his brother Dave, embarked on a new venture—the creation of Fleischer Studios. This studio aimed not only to compete with Walt Disney but to surpass him. The inaugural creation, Bosko the Dog, drawn by animators Harmen and Ising, became the first cartoon star under the Fleischer banner.
Born in 1883, Max deviated from a conventional career path to explore the nascent field of animation during the early 1900s. Self-taught and inspired by avant-garde art, he honed his animation skills, collaborating with other visionaries of his time. Max's artistic prowess led him to establish his own studio, where he pushed the boundaries of animation, setting the stage for Experiment No. 1, a groundbreaking animated short that showcased his avant-garde vision.
Despite Max's creative achievements, the Koko the Clown cartoons that followed, from 1919 to 1928, faced tough competition. They achieved popularity but fell short of the widespread acclaim enjoyed by contemporaries like Felix the Cat and later Oswald, leaving Max grappling with the desire for greater success.
In this alternative history, Bray Productions takes a bold step by producing "The Jazz Singer" in 1927, embracing the revolutionary concept of synchronized sound in film. Despite the innovative approach, the movie unexpectedly bombs at the box office, leading to unforeseen consequences for Bray Productions.
The decision to pioneer synchronized sound technology is met with skepticism from audiences and critics, who are unprepared for such a groundbreaking departure from silent films. The experimental nature of "The Jazz Singer" fails to resonate with the movie-going public, and its unconventional approach proves to be ahead of its time.
The financial failure of "The Jazz Singer" becomes a significant blow to Bray Productions, causing a severe downturn in the studio's fortunes. The costly venture, coupled with the public's reluctance to embrace the new technology, leads to a financial crisis that forces Bray Productions to shut down.
As a consequence, other studios avoid the financial pitfalls experienced by Bray Productions, allowing them to navigate the shift to synchronized sound more gradually and strategically. This alternative history reshapes the trajectory of the film industry, influencing how and when sound is integrated into cinema, ultimately altering the course of Hollywood history in the late 1920s and beyond.
In a pivotal moment in 1928, Bray Productions, the company behind Koko, faced financial collapse. Coincidentally, the same year marked the debut of a new cartoon star, Mickey Mouse, in "Steamboat Willie," catapulting Walt Disney to household fame. Max, envious yet respectful of Disney's success, envisioned a new chapter for himself.
In response to Disney's triumph, Max, along with his brother Dave, embarked on a new venture—the creation of Fleischer Studios. This studio aimed not only to compete with Walt Disney but to surpass him. The inaugural creation, Bosko the Dog, drawn by animators Harmen and Ising, became the first cartoon star under the Fleischer banner.
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You know what, just got you guys I might just do one or two for bosko and later the story of his replacements more soon
Bosko as a Fleischer character, huh? I just know that WB would be regretting this.
The Burned Out Stars of Bosko and Buddy
After retiring Koko the Clown, Max Fleischer embarked on a quest to find a new cartoon star capable of rivaling Mickey Mouse. His answer came in the form of Bosko the Dog, debuting in the 1930 cartoon "Swing Your Sinners." This marked the beginning of a successful era for Fleischer Studios, incorporating the upgraded "Vitaphone" sound system.
Over the next five years, from 1930 to 1933, Bosko starred in 37 cartoons and became widely popular. However, internal tensions arose as Harmen and Ising, the animators behind Bosko, grew disillusioned with Max Fleischer's relentless pursuit of outshining Disney and his insistence on larger budgets despite the challenges of the Great Depression.
In 1933, a pivotal moment unfolded as Harmen and Ising, along with much of the studio staff, left Fleischer Bros, taking Bosko with them since they owned the character. They joined MGM and launched "Happy Harmonies," featuring Bosko as the star. Despite being well-animated, the shorts failed to capture the popularity of Bosko's earlier works, and over the decades, Bosko gradually faded from public memory.
Simultaneously, Max Fleischer attempted to create a new character named Buddy, a typical Mickey Mouse clone portrayed as a human boy. However, Buddy faced widespread disapproval, leading to his appearance in only seven shorts before Max decided to discontinue the character.
As Fleischer Studios struggled, Max initiated a last-ditch effort to revive the company's fortunes. Taking inspiration from Disney's Silly Symphonies, he created "Merrie Melodies," an anthology of cartoon shorts. After a few initial releases, Max introduced a group of characters aimed at revitalizing the studio. Among them, one character emerged as a standout star, marking a turning point for Fleischer Studios and setting the stage for a new chapter in animation history.
Over the next five years, from 1930 to 1933, Bosko starred in 37 cartoons and became widely popular. However, internal tensions arose as Harmen and Ising, the animators behind Bosko, grew disillusioned with Max Fleischer's relentless pursuit of outshining Disney and his insistence on larger budgets despite the challenges of the Great Depression.
In 1933, a pivotal moment unfolded as Harmen and Ising, along with much of the studio staff, left Fleischer Bros, taking Bosko with them since they owned the character. They joined MGM and launched "Happy Harmonies," featuring Bosko as the star. Despite being well-animated, the shorts failed to capture the popularity of Bosko's earlier works, and over the decades, Bosko gradually faded from public memory.
Simultaneously, Max Fleischer attempted to create a new character named Buddy, a typical Mickey Mouse clone portrayed as a human boy. However, Buddy faced widespread disapproval, leading to his appearance in only seven shorts before Max decided to discontinue the character.
As Fleischer Studios struggled, Max initiated a last-ditch effort to revive the company's fortunes. Taking inspiration from Disney's Silly Symphonies, he created "Merrie Melodies," an anthology of cartoon shorts. After a few initial releases, Max introduced a group of characters aimed at revitalizing the studio. Among them, one character emerged as a standout star, marking a turning point for Fleischer Studios and setting the stage for a new chapter in animation history.
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The Rise of Betty Boop, Porky Pig, Daffy Duck, and Inkwell Studio
In this alternative history of Fleischer Studios spanning 1933 to 1938, the studio experiences a tumultuous journey marked by the rise of Betty Boop, the retirement of Buddy, the challenges posed by the Hays Code, the emergence of Porky Pig, Daffy Duck, and ultimately, the unexpected star, "Rex Rabbit."
Buddy, initially groomed to be the "Mickey Mouse" of Fleischer Studios, takes a backseat as Betty Boop steals the spotlight. Betty becomes the studio's biggest star between 1933 and 1935, headlining iconic cartoons like "Minnie the Moocher," "The Old Man of the Mountain," "Snow-White," and "Red Hot Mamma."
The imposition of the Hays Code during this period negatively impacts Betty Boop's character, leading to adjustments in her portrayal as the studio strives to comply with the code's regulations.
Max Fleischer, recognizing his artistic limitations, renames the animation division to Inkwell, drawing inspiration from the "Out of the Inkwell" series. He assembles a team to create a new cast intended to replace Betty Boop, including characters like Oliver Owl, Ham and Ex, Litty Kitty, and Beans the Cat. Despite Beans being slated as the main star, the unexpected popularity of Porky Pig in "I Haven't Got a Hat" shifts the studio's direction. The cast from this short receives its own cartoon series called Talkatoons, succeeding the original Out of the Inkwell series.
Throughout 1935-1936, animators including Bob Clampett, Fred Quimby, and Chuck Jones recognize the comedic potential of Porky Pig. "The Blowout" is created, starring Porky Pig, leading to the gradual phasing out of the supporting cast, including Beans, and a focused emphasis on Porky Pig.
In 1938, Max Fleischer introduces Gatsby Goat as Porky Pig's sidekick, though Gatsby Goat proves unpopular. Meanwhile, in the Merrie Melodies series, a revolutionary star emerges in a short titled "Egghead's Duck Hunt," later revealed to be Daffy Duck. Daffy joins the official Inkwell Toons as a star, later featuring in Porky Pig cartoons and gaining popularity, though not surpassing that of Mickey Mouse.
Fred Quimby's departure to MGM leaves Fleischer Bros without a director, impacting the studio's operations. Despite established stars both on and off-screen, Fleischer Studios reaches a plateau. Max Fleischer, seeking the next big thing to rival Disney, discovers the answer under his nose
Buddy, initially groomed to be the "Mickey Mouse" of Fleischer Studios, takes a backseat as Betty Boop steals the spotlight. Betty becomes the studio's biggest star between 1933 and 1935, headlining iconic cartoons like "Minnie the Moocher," "The Old Man of the Mountain," "Snow-White," and "Red Hot Mamma."
The imposition of the Hays Code during this period negatively impacts Betty Boop's character, leading to adjustments in her portrayal as the studio strives to comply with the code's regulations.
Max Fleischer, recognizing his artistic limitations, renames the animation division to Inkwell, drawing inspiration from the "Out of the Inkwell" series. He assembles a team to create a new cast intended to replace Betty Boop, including characters like Oliver Owl, Ham and Ex, Litty Kitty, and Beans the Cat. Despite Beans being slated as the main star, the unexpected popularity of Porky Pig in "I Haven't Got a Hat" shifts the studio's direction. The cast from this short receives its own cartoon series called Talkatoons, succeeding the original Out of the Inkwell series.
Throughout 1935-1936, animators including Bob Clampett, Fred Quimby, and Chuck Jones recognize the comedic potential of Porky Pig. "The Blowout" is created, starring Porky Pig, leading to the gradual phasing out of the supporting cast, including Beans, and a focused emphasis on Porky Pig.
In 1938, Max Fleischer introduces Gatsby Goat as Porky Pig's sidekick, though Gatsby Goat proves unpopular. Meanwhile, in the Merrie Melodies series, a revolutionary star emerges in a short titled "Egghead's Duck Hunt," later revealed to be Daffy Duck. Daffy joins the official Inkwell Toons as a star, later featuring in Porky Pig cartoons and gaining popularity, though not surpassing that of Mickey Mouse.
Fred Quimby's departure to MGM leaves Fleischer Bros without a director, impacting the studio's operations. Despite established stars both on and off-screen, Fleischer Studios reaches a plateau. Max Fleischer, seeking the next big thing to rival Disney, discovers the answer under his nose
Are the likes of Tex Avery, Friz Freleng and Chuck Jones going to be joining Fleischer in TTL?
Will Popeye the sailor be making an appearance soon and be able to compete with Betty Boop?
If so it would definitely be interesting to see how it plays out, especially in the 1960s and onward.
The Birth of Rex Rabbit
In this intricate history, Max Fleischer's creative journey introduces the character Happy Bunny, who undergoes a significant evolution. Initially portrayed as a violent screwball akin to Daffy Duck in "Porky's Bad Hare Day," Happy Bunny's character takes a turn in "Prest-O Change-O," becoming more sly, calm, and trickster-like.
The rabbit's visual transformation occurs in "Hare-um Scare-um," where he is redesigned with orange fur, a white underbelly, and yellow gloves. As the year 1940 unfolds, Friz Freleng's return from MGM becomes a pivotal moment for Fleischer Studios. Freleng's debut cartoon, "You Oughta Be In Pictures," stars Porky Pig and Daffy Duck in a competition for the actor role in Fleischer's new cartoon short. Surprisingly, Happy Bunny makes a cameo appearance, securing the coveted actor role and marking his presence in the cartoon world.
The character's development nears completion with the planned short "Elmer's Camera," where Happy Bunny encounters Elmer Fudd in a wildlife photography escapade. After a series of comedic escapades, the rabbit decides to let Elmer take a picture, showcasing a more amicable side.
Later in 1940, the rabbit takes center stage in "A Wild Hare," with a redesigned look crafted by Robert Gibson, Tex Avery, and Robert McKimson. Sporting a darker shade of orange fur, white gloves, and a blue shirt, the rabbit is officially named Rex Rabbit, derived from a model sheet mix-up.
On July 27, 1940, "A Wild Hare" is released in theaters, portraying Elmer Fudd as a hunter in pursuit of rabbits. Rex Rabbit's iconic introduction, uttering the famous line "What's Up Doc," stems from a casual Texan greeting. The carrot-chomping mannerism further contributes to the short's success, leading to widespread laughter in theaters. The acclaim culminates in an Academy Award in 1940, establishing Rex Rabbit as a household name and the most beloved character in Inkwell character history.
The success of "A Wild Hare" sets the stage for Rex Rabbit to become an enduring icon in the world of animated characters. His popularity reaches new heights, making him a cultural phenomenon and a key figure in the legacy of Fleischer Studios. The intricate blend of humor, character development, and visual design contributes to Rex Rabbit's status as a timeless and cherished cartoon character.
The rabbit's visual transformation occurs in "Hare-um Scare-um," where he is redesigned with orange fur, a white underbelly, and yellow gloves. As the year 1940 unfolds, Friz Freleng's return from MGM becomes a pivotal moment for Fleischer Studios. Freleng's debut cartoon, "You Oughta Be In Pictures," stars Porky Pig and Daffy Duck in a competition for the actor role in Fleischer's new cartoon short. Surprisingly, Happy Bunny makes a cameo appearance, securing the coveted actor role and marking his presence in the cartoon world.
The character's development nears completion with the planned short "Elmer's Camera," where Happy Bunny encounters Elmer Fudd in a wildlife photography escapade. After a series of comedic escapades, the rabbit decides to let Elmer take a picture, showcasing a more amicable side.
Later in 1940, the rabbit takes center stage in "A Wild Hare," with a redesigned look crafted by Robert Gibson, Tex Avery, and Robert McKimson. Sporting a darker shade of orange fur, white gloves, and a blue shirt, the rabbit is officially named Rex Rabbit, derived from a model sheet mix-up.
On July 27, 1940, "A Wild Hare" is released in theaters, portraying Elmer Fudd as a hunter in pursuit of rabbits. Rex Rabbit's iconic introduction, uttering the famous line "What's Up Doc," stems from a casual Texan greeting. The carrot-chomping mannerism further contributes to the short's success, leading to widespread laughter in theaters. The acclaim culminates in an Academy Award in 1940, establishing Rex Rabbit as a household name and the most beloved character in Inkwell character history.
The success of "A Wild Hare" sets the stage for Rex Rabbit to become an enduring icon in the world of animated characters. His popularity reaches new heights, making him a cultural phenomenon and a key figure in the legacy of Fleischer Studios. The intricate blend of humor, character development, and visual design contributes to Rex Rabbit's status as a timeless and cherished cartoon character.
Questions:
1) Is Mel Blanc doing voice work?
2) Will a lisping cat, a sassy canary, and the Fastest Mouse In All Mexico(TM) be starring in TTL?
3) Will Rex ever remember to take that left turn at Albuquerque?
1) Is Mel Blanc doing voice work?
2) Will a lisping cat, a sassy canary, and the Fastest Mouse In All Mexico(TM) be starring in TTL?
3) Will Rex ever remember to take that left turn at Albuquerque?
I will be taking that week break after finishing Rex Rabbit, I'll see this thread next time
The First Character Sheets of Talkatoons
Koko the Clown:
- Appearance: Koko is an animated clown with a classic and whimsical design. He features white face paint, a red nose, a bowtie, and colorful, oversized clothing, reflecting the traditional circus clown aesthetic.
- Personality: Koko is known for his jolly and mischievous personality. His character often engages in slapstick humor and surreal adventures, embodying the playful spirit of early animated entertainment.
- Role: Originally created by Max Fleischer in the silent era, Koko the Clown became an iconic character in Fleischer Studios' early cartoons. As a versatile and expressive figure, Koko played a crucial role in the studio's transition from silent to sound cartoons.
Notable Cartoons:
1. "Out of the Inkwell" (1918): Koko's debut cartoon series where he interacted with Max Fleischer in a live-action/animation blend.
2. "The Clown's Little Brother" (1920): One of the earliest shorts featuring Koko in a solo animated adventure.
3. "Koko's Earth Control" (1928): A pioneering cartoon that showcased early special effects and animation techniques.
Legacy:
- Innovation: Koko the Clown was integral in pushing the boundaries of animation, particularly through the "Out of the Inkwell" series, where he interacted with the real world.
- Cultural Impact: Koko's popularity contributed to Fleischer Studios' success in the animation industry during the silent and early sound eras.
- Transition to Sound:.While Koko's popularity waned with the advent of sound, his character's influence persisted in the evolution of animated storytelling.
- Appearance: Koko is an animated clown with a classic and whimsical design. He features white face paint, a red nose, a bowtie, and colorful, oversized clothing, reflecting the traditional circus clown aesthetic.
- Personality: Koko is known for his jolly and mischievous personality. His character often engages in slapstick humor and surreal adventures, embodying the playful spirit of early animated entertainment.
- Role: Originally created by Max Fleischer in the silent era, Koko the Clown became an iconic character in Fleischer Studios' early cartoons. As a versatile and expressive figure, Koko played a crucial role in the studio's transition from silent to sound cartoons.
Notable Cartoons:
1. "Out of the Inkwell" (1918): Koko's debut cartoon series where he interacted with Max Fleischer in a live-action/animation blend.
2. "The Clown's Little Brother" (1920): One of the earliest shorts featuring Koko in a solo animated adventure.
3. "Koko's Earth Control" (1928): A pioneering cartoon that showcased early special effects and animation techniques.
Legacy:
- Innovation: Koko the Clown was integral in pushing the boundaries of animation, particularly through the "Out of the Inkwell" series, where he interacted with the real world.
- Cultural Impact: Koko's popularity contributed to Fleischer Studios' success in the animation industry during the silent and early sound eras.
- Transition to Sound:.While Koko's popularity waned with the advent of sound, his character's influence persisted in the evolution of animated storytelling.
Bosko the Dog:
- Appearance: Bosko is an anthropomorphic dog with black fur. He typically wears a bowtie, oversized pants, and large shoes.
- Personality: Bosko is a carefree and fun-loving character. He is known for his energetic and mischievous behavior, often getting into humorous situations.
- Role: Initially created to rival Mickey Mouse, Bosko became a popular cartoon star in the early 1930s. His character exudes charm and embodies the spirit of animated entertainment during that era.
Buddy
- Name: Buddy
- Species: Human
- Debut: "Buddy's Day Out" (1933)
- Role: Created by Max Fleischer in the 1930s as a character, intended to rival Mickey Mouse.
- Personality: Cheerful, adventurous, and good-natured.
- Appearance: Typically wears a wide-brimmed hat, oversized shoes, blue coat, white dress shirt, brown pants, and a bowtie.
- Catchphrase: Varied, as Buddy was less known for specific catchphrases.
- Skills:
- Comedic Timing: Proficient in slapstick and visual gags.
- Musical Talent: Exhibits musical skills, playing instruments like the piano.
- Adaptability: Often found in various settings and scenarios.
Betty Boop:
- Appearance: Betty Boop is a caricature of a Jazz Age flapper. She has large, expressive eyes, a button nose, and wears a short, red dress with a garter belt. Her most iconic feature is her oversized hoop earrings.
- Personality: Betty is known for her sweet and flirtatious demeanor. She possesses a strong sense of confidence and often finds herself in surreal and musical adventures.
- Role: Betty Boop became Fleischer Studios' biggest star between 1933 and 1935. Her cartoons, including "Minnie the Moocher" and "Red Hot Mamma," showcased the studio's innovation in animation during the Golden Age.
- Appearance: Bosko is an anthropomorphic dog with black fur. He typically wears a bowtie, oversized pants, and large shoes.
- Personality: Bosko is a carefree and fun-loving character. He is known for his energetic and mischievous behavior, often getting into humorous situations.
- Role: Initially created to rival Mickey Mouse, Bosko became a popular cartoon star in the early 1930s. His character exudes charm and embodies the spirit of animated entertainment during that era.
Buddy
- Name: Buddy
- Species: Human
- Debut: "Buddy's Day Out" (1933)
- Role: Created by Max Fleischer in the 1930s as a character, intended to rival Mickey Mouse.
- Personality: Cheerful, adventurous, and good-natured.
- Appearance: Typically wears a wide-brimmed hat, oversized shoes, blue coat, white dress shirt, brown pants, and a bowtie.
- Catchphrase: Varied, as Buddy was less known for specific catchphrases.
- Skills:
- Comedic Timing: Proficient in slapstick and visual gags.
- Musical Talent: Exhibits musical skills, playing instruments like the piano.
- Adaptability: Often found in various settings and scenarios.
Betty Boop:
- Appearance: Betty Boop is a caricature of a Jazz Age flapper. She has large, expressive eyes, a button nose, and wears a short, red dress with a garter belt. Her most iconic feature is her oversized hoop earrings.
- Personality: Betty is known for her sweet and flirtatious demeanor. She possesses a strong sense of confidence and often finds herself in surreal and musical adventures.
- Role: Betty Boop became Fleischer Studios' biggest star between 1933 and 1935. Her cartoons, including "Minnie the Moocher" and "Red Hot Mamma," showcased the studio's innovation in animation during the Golden Age.
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