Superman (1941 Dave Fleischer)

Wait, everyone on Krypton had superpowers, and Superman was raised on Earth in an orphanage? Mr. White is the newspaper boss. Lois flies a plane, is the only person investigating the letter they got saying an electrothanasia ray would cause devastation at midnight, the villain a mohawked creep, vaguely popeye-voiced, with a pet vulture. “This looks like a job for Superman,” Kent says casually the next day, after Lois is kidnapped and many people are dead, goes out and punches the electric ray into submission (and unforgivably, saves the girl and the villain but not the vulture). A silly story, but check out these colors.


The Mechanical Monsters (1941 Dave Fleischer)

These have a catchy theme song. Another rich mad scientist, this one in a purple suit and twirlable mustache, has developed drone technology – radio-controlled bank-robbing robots. Haha, when Lois and Clark are present at the next robbery, Clark steps into a booth to “phone this in” and… he phones it in! He just calls the newspaper office… it doesn’t occur to him to use the booth to become Superman until later. Lois is of course kidnapped, dangled over a smelter. I suppose all of these stories end the same way, with rescued Lois’s cover story in the paper the next day while Clark winks at the camera.

Everyone on Krypton also sports a Magic Cape:


Let’s Sing with Popeye (1934 Dave Fleischer)

Oh no, this was a two-minute short where Popeye punches some of his own stuff aboard a boat, then sings his theme song in a low, disinterested voice with follow-the-bouncing-ball lyrics.


Betty Boop’s Crazy Inventions (1933 Dave Fleischer)

Opens with fireworks with live cats inside, so it’s gonna be good. Betty and friends are at a giant trade show under a circus tent, showing off different impractical inventions. She and Bimbo escape after a haywire sewing machine goes on a rampage, presumably hundreds of people are dead.


In the Future (2019 Phil Mulloy)

Absurd shadow-characters discuss the future. Very short, and a quarter of the runtime is a guy peeing. Phil has been out there since the 1970’s, making a pile of shorts and some features.


Endgame (2015 Phil Mulloy)

Two guys leave the city for some weekend war games and get more war than they bargained for. Stick figure art, the roughly drawn backgrounds include random-seeming numbers and figures. I was with it until the gang-rape joke.


Peter & the Wolf (2006 Suzie Templeton)

Great birds in this: an emotional support duck and a crow tied to a balloon, and terrific camera perspectives and stop motion work. Peter just wants to play in the backyard with his friends, help the crow with bad wings pretend to fly, and skate on the frozen pond, but grandpa wants him to stay indoors because there’s a wolf out there. The boy traps the wolf after it eats his comfort-duck, but frees the wolf at the end rather than hand it over to the ruffian townies. No dialogue, so it premiered with live orchestra accompaniment, and won the oscar, obviously.


My Love (2006 Aleksandr Petrov)

Another half-hour movie based on a Russian story featuring ducks, a cat in a tree, and some good birds. 16-year-old gives a crystal duck to a girl he likes, is figuring out what love is. He dreams of marrying his family’s poor maid, also starts worshipping a hot neighbor, but he is finally weird to the neighbor and when he becomes sick with brain fever the maid leaves to become a nun. My DVD copy isn’t high-res enough to get the full effect, but this is lovely – painted frames, smearing the backgrounds as the characters move past, exploding into fantasy scenes in the kid’s imagination. Feels too wordy, watching so soon after Peter & the Wolf. Petrov’s followup to his great Old Man and the Sea.


The Pied Piper of Hamelin (1981 Mark Hall)

It took a minute to even realize this was stop-motion; my copy’s contrast is off. The opposite of the Petrov in that the wordless animation moments are alright but it comes to life when the narrator is going off – he is Robert Hardy of the 1970’s version of The Green Knight, reading the original poem. Obviously not a movie to explore unless you’re ready to see hundreds of stop-motion rats. Jiri Barta also made a version, which would be worth digging up. A good effort for England, who still had ten years to wait until Wallace & Gromit. Hall was a British TV veteran, working on Danger Mouse among others.


Who Would Comfort Toffle? (1980 Johan Hagelback)

Toffle is alone and scared with nobody to talk to when the night monsters come, so he ditches his house and wanders to find somewhere new. Limited storybook animation with a rock musical soundtrack. The Hemulens are giant things outside that are maybe moomins? Real kids stuff, cute – you don’t see a lot of Swedish mythology cartoons.


The Chimney Thief (1944 Paul Grimault)

A thief who steals lightning rods and uses them to pole-vault across the rooftops is a pretty great idea. What ever happened to lightning rods anyway? You don’t see them around much. The scene where he distracts a guard dog with a wind-up mechanical bone is simply odd, all the character animation timing wonky. Their stretchy rubber-band bodies seem Boop-inspired. Nothing more to it than a rod thief outsmarting two identical cops chasing after him, some typical chase scene bits, but remarkably good use of 3D space. Grimault worked with Jacques Demy and made some other widely-acclaimed works that I’ve meant to find.


Birds/Ptakhy (2012 Mykyta Liksov)

Unlike the Blackbird short, this movie called Birds is about birds – this is all I ask for. The birds dance through the air, form couples and nests on the last above-water structures of a flooded Earth, except for one who swims underwater in search of a fallen spouse and finds a glowing egg in the irradiated wreckage of human civilization. I was already enjoying this before its all-timer end-credits sequence.


The Baby Birds of Norman McLaren (2014 Mirai Mizue)

Aha, someone is into maximalist mutations, colorful patterns, and bright pop music. Someone watched the entire McLaren DVD set and took away all the correct lessons, turning in a fun, short, snappy piece with tributes to Norman’s different animation and sound sync styles.


The Big Snit (1985 Richard Condie)

Squiggle-vision cartoon about a domestic squabble over a scrabble game while nuclear war is beginning outside. Between the two Ukraine-related shorts and this one, I hadn’t meant to get so topical tonight. The couple reconciles just in time to be vaporized, a happy ending. This and Condie’s La Salla are maybe over-acclaimed, but I like his very random sense of humor, and he also produced The Cat Came Back.