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Cartoon Movie Posters

September 14th, 2008 by Scott Marks

My friend Tomi over at Celebrity City asks, “Did cartoons get billed with the main feature with lobby posters?”

Many cartoons didn’t even have lobby posters. There would be a stock one sheet with a blank space for theatre owners to insert a title card. In the case of the stock Warner Bros. poster pictured above, the short of the week was Friz Freleng’s Tweety Pie (1947). If there was room, exhibitors would frequently stick the names of popular cartoon stars on the marquee.

According to movie poster guru Bruce Hershenson, “The studios never cared very much about making cartoon posters…Perhaps the studios felt that since theatres already had to display two posters for their double feature, they wouldn’t have space for a cartoon poster.

“In the case of cartoons for which individual posters were made, very few survive. For silent cartoons, there are only a few examples known for most series, even though some series lasted many years, and for some series no examples exist. For 1930s cartoons, a greater number of posters are known on each series but still only a small percentage of the total number made. Most of the posters made after 1940 are known to exist, but certainly not all of them.”

All of these scans come from my collection of animation books, most notably Mr. Hershenson’s Cartoon Movie Posters (1994). Just for the record, I would kill for a copy of that Warner Bros. Cartoons poster. More than an original Holiday, hell, even more than The Day the Clown Cried, that’s the one sheet I’d love to wake up to every morning.

From Disney, to Warners to Avery to Terrytoons and many, many more of your animated favorites, visit the Cartoon Movie Poster Gallery here.

And for even more anthropomorphic fun, check out the Cartoon All-Stars Gallery.

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Notes on Speedy Gonzales & Slowpoke Rodriguez, his half-baked cartoon cousin

July 27th, 2008 by Scott Marks

Last night a Mexican friend came over to watch some cartoons and, being the patronizing gringo that I am, the evening began with a handful of Speedy Gonzales shorts.

Of all the superstars in the Warner Bros. cartoon canon, Speedy Gonzales is probably the most nonessential. Within thirty-six hours of purchasing each of the five Looney Tunes Golden Collections, I had watched every cartoon and most of the supplementary features, including the audio commentaries. Until last night, the Speedy Gonzales disc remained the only virgin in the set.

With the possible exception of Being There, a feature length comedy cannot, nor should not be a one note proposition. (See Arthur. The title character is a drunk. Get it?) Live actors squandering five reels in search of variations to play on a one trick premise seldom works, yet with a little ink and paper and only seven minutes to fill, one joke can work miracles. Everywhere that the Wolf went Droopy was sure to go. No matter how hard he tries, Wile E. Coyote will never dine on Road Runner. Every move Daffy makes leads to a buckshot facial from Elmer’s rifle. In each instance, the comic resourcefulness and precision character response jumps out from the screen.

A grinning Speedy Gonzales yells, “Andale! Andale! Epa, Epa! Arriba! Arriba!” as he zips past El Pussygato, arms burdened with cheese for his impoverished amigos who react to his beneficence by jumping up and down.

Suddenly Little Audrey looks good.

Speedy wasn’t always a cuddlesome, Mexican hat-dancing mouse. In Robert McKimson’s Cat-Tails for Two, the pesos needed in order for Speedy to secure what would eventually become his trademark sombrero were spent on an unappealing gold front tooth. According to Robert McKimson, Jr., the fastest mouse in Mexico (and friend of everybody’s sister) was based on a pair of Mexican brothers his father played polo with. The grimy rodent, pitted opposite a much more appealing pair of John Steinbeck retreads, discharged little audience appeal short of Mel Blanc’s well-seasoned vocalization that he had spent years perfecting on The Jack Benny Program.

The studio had faith in the character so Friz Freleng and his designer Hawley Pratt set about retooling the rodent. Their final solution was a featherless cross between Tweety Pie and the Road Runner. As a Coyote substitute to play opposite Gonzales, Freleng recruited the services of his venerable foil, and Tweety’s arch nemesis, Sylvester the Cat aka Sylvero Gato. Speedy would frequently sneak up behind Sylvester and substitute a couple of “Arriba! Andale’s!” for “Meep Meep’s’” that sent the cat soaring to the stratosphere. Cannibalizing his own creation, Freleng modified Tweety’s “I like him, he’s silly” catchphrase to fit the mouse.

Continue reading Notes on Speedy Gonzales & Slowpoke Rodriguez, his half-baked cartoon cousin

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