The first theatrical cartoon released by the Walter Lantz Studio. The first Oswald the Lucky Rabbit cartoon produced by Walter Lantz. The first appearances of Oswald and Pete in a Walter Lantz cartoon. First onscreen credits for Bill Nolan and Tom Palmer at Lantz. The first musical score by Bert Fiske. The copyright synopsis for this cartoon refers to Oswald's horse by the name "Mopey." The titles for the early Lantz Oswalds have an animated Oswald popping out from behind a fence to laugh at the audience. These titles were used until early-1930.
The first appearance of Kitty (Originally Sadie in the Disney shorts) in a Walter Lantz cartoon. Earlier films such as this used specialty closing titles, suiting the cartoon. The soundtrack of this cartoon features the tune Sing a Little Love Song, written by Con Conrad, Sidney D. Mitchell, and Archie Gottler for the 1929 Universal musical Broadway based on the play of the same name by George Abbott and Philip Dunning. Kitty's appearance is different from her other appearances from 1929 and Early-Mid 1930, having lipstick, a black skirt, and a white like body, rather than her white/pink skirt, black body, and no lipstick like in the Disney/Winkler shorts, her appearance would later go back to the Disney/Winkler design in her following appearance, though her lipstick would be used again starting with Not So Quiet.
Lost cartoon. Oswald speaks for the first time. Some online sources claim that Bill Nolan provided Oswald's voice for this cartoon. However, such an assertion cannot be verified, given the fact that written records stating this have yet to surface, that a print (or at least a soundtrack) of this particular film has yet to surface, and that an audio recording of Bill Nolan's voice has yet to surface. If at least the latter two of these three were available, only then, through a comparative audio analysis, could this claim be confirmed either way.
The soundtrack of this cartoon features the tunes Winter (written in 1910 by Albert Gumble and Alfred Bryan), Hi-Lee, Hi-Lo, and A Hot Time in the Old Town Tonight (written in 1896 by Theodore August Metz and Joe Hayden).
Lost cartoon. The final musical score by Bert Fiske, David Broekman would take over until mid-1930. Many sources give this cartoon an erroneous January 5, 1929 release date (therefore citing this as the first Walter Lantz cartoon instead of Race Riot). January 5, however, is actually the short's copyright date. This issue was present in the first two editions of Jeff Lenburg's Encyclopedia of Animated Cartoons. In the third edition, it was corrected in the Oswald filmography, but not in the Oswald character description.
Russell Merritt has suggested that the 1929 Silly Symphony El Terrible Toreador may have been based on an unfinished Disney Oswald cartoon. In that case, Chilly Con Carmen may represent the later Oswald staff finishing their version of the short.
Cartoon found in 2010. The soundtrack of this cartoon features the tunes Broadway and Hittin' The Ceiling, both written by Con Conrad, Sidney D. Mitchell, and Archie Gottler for the hit 1929 Universal musical Broadway based on the play of the same name by George Abbott and Philip Dunning. In addition, the following songs can also be heard on the soundtrack: In My Merry Oldsmobile (written in 1905 by Gus Edwards and Vincent P. Bryan), Alexander's Ragtime Band (1911 by Irving Berlin), (You're the Flower of My Heart,) Sweet Adeline (1903 by Richard H. Gerard and Harry Armstrong), Chicago (That Toddlin' Town) (1922 by Fred Fisher), and Hearts and Flowers (1893 by Theodore Moses Tobani and Mary D. Brine).
An Italian print of the cartoon exists. The Audio Track also survives. The soundtrack of this cartoon features the tunes Yes! We Have No Bananas (written in 1922 by Frank Silver and Irving Cohn) and Down By The Winegar Woiks. The latter tune, played over the short's opening titles, was written in 1925 by Don Bestor, Roger Lewis and Walter Donovan and famously recorded in 1926 by Aileen Stanley and Billy Murray (the voice of Fleischer's Bimbo character).
This cartoon was produced to help promote the 1930 Universal musical King of Jazz and prominently features a caricature of bandleader Paul Whiteman as well as several songs from the film. In addition, Lantz and his staff were commissioned by Carl Laemmle to create an animated color sequence for King of Jazz.
This cartoon is a satire of the 1930 Academy Award-winning Universal feature All Quiet on the Western Front. Ironically, the score for that film was provided by former Lantz musical director David Broekman. Kitty's design was slightly modified giving her lipstick that was originally used in Oil's Well, and most of the time stayed having that throughout most of her later appearances.
It is quite possible that this short was a withheld 1929 entry. It runs for approximately five minutes, which is shorter than the average running time of a Lantz cartoon from this period. One might also note that the short's production number, 5082, is a number that would have been routinely assigned to a 1929 cartoon. Further, some elements of the film, such as Oswald's thoughts being transcribed onscreen, are strongly reminiscent of Lantz productions from 1929 as opposed to those from mid-1930. There is also an abrupt jump cut that occurs approximately three minutes into the short and it is possible that an edit may have taken place here. Specifically, the cut appears during the scene when Oswald first leads the cat family into his music shop. He puts up his index finger as if to address the crowd but, before anything can actually happen, the scene abruptly shifts to the feline family laughing. In addition to this, the cartoon opens with an iris, much like a Lantz release from September or October 1929; but it also closes with a curtain, a technique first introduced in either late October or early November 1929.
First cartoon co-directed by William "Bill" Nolan. First onscreen credits for Fred "Tex" Avery and Lester Kline. First time James Dietrich is credited under "Musical Score" instead of "Synchronization and Score" This cartoon's title is a play on the 1928 Warner Bros. feature The Singing Fool starring Al Jolson.
Pinto Colvig provides the voice of the hippo in this short.
In this short, Oswald sings the song Johnny Schmoker, a traditional German folk tune brought to America by the Pennsylvania Dutch and first published under the title Jemmy Boker in 1863. The song involves an old German musician telling his friend Johnny Schmoker about the many instruments he can play. He describes each one and goes through the motions while he sings. It is likely that musical director James Dietrich, himself of German ancestry, had an influence on the inclusion of this song in this cartoon.
Oswald wears gloves for the first time. The song It Ain't Gonna Rain No Mo' (written in 1923 by Wendell Hall) is featured on the soundtrack of this cartoon. As the parrot is lowered down via fishing line, he greets each of the fish, "Hi Bill, Hi Charlie, Hello Cecil, Howdy Ella!" Bill, Charlie, Cecil, and Ella are actually referring to staff members, William "Bill" Nolan, Charles Hastings, Cecil Surry (an inbetweener at this point), and possibly a woman from the ink and paint department by the name of Ella.
The cartoon fell into the public domain in 1959. Includes reused animation from My Pal Paul (1930). The songs Ragamuffin Romeo (written by Mabel Wayne and Harry DeCosta) and Happy Feet (written by Milton Ager and Jack Yellen) are featured on the soundtrack of this cartoon. Both were written in 1930 for Universal's King of Jazz and both appear in this short in sequences that were more-or-less reused from My Pal Paul (1930).
The soundtrack of this cartoon features the tunes I Like to Do Things for You (written in 1930 by Milton Ager and Jack Yellen for Universal's King of Jazz), And If You See Our Darling Nellie (also written in 1930 for King of Jazz), and One More Time (written in 1931 by Buddy DeSylva, Lew Brown, and Ray Henderson).
The final onscreen for Chet Karrberg at Lantz. The animator suddenly died at the age of 21 due to pneumonia. He was replaced by Vet Anderson from New York, best known for his work on Paul Terry's "Aesop's Fables" series in the 1920s. Kitty's appearance was once again modified giving her a yellow curly wig like hair, which she would have this until Carnival Capers (1932), though she wouldn't have the hair and looking more like her design before this cartoon in The Hunter, and The Winged Horse (1932).
Starting around this period in 1932, Lantz and Nolan split into two separate units. Despite the fact that Lantz and Nolan are still credited as co-directors on the Oswald series, these units are easily differentiated. Those shorts listing animators Ray Abrams or Tex Avery first were directed by Bill Nolan. Those with Manuel Moreno and Lester Kline were directed by Lantz. First onscreen credit for Jack Carr.
The First Cartoon of The Pooch the Pup series. Obviously a spoof of the 1932 Summer Olympics held in Los Angeles, California. All of the Pooch cartoons were directed by Lantz only, despite the fact that many books claim that Lantz and Nolan worked as a directing team on this series
Starting with this cartoon, Kitty's design was completely changed from a cat to a beagle (which the design was used for Pooch the Pup's girlfriend, but the only difference with the two female characters being that they have different clothes. Her design would be like this throughout 1933.
The Mills Brothers make an appearance singing Hold That Bull (a take-off on Hold That Tiger). The song Lady of Spain (written in 1931 by Robert Hargreaves, Tolchard Evans, Stanley J. Damerell, and Henry Tilsley) is prominently featured on the soundtrack of this cartoon.
Includes reused animation from Africa, Alaska, The Singing Sap, and Mars (all 1930). The snake charmer is actually a caricature of Mahatma Gandhi. This cartoon's title is a play on the 1926 Paramount feature Beau Geste, based on the 1924 adventure novel of the same name by P. C. Wren.
Pooch's appearance in this film (as well as the others to follow with the exception of Hot and Cold) is much more different than in previous ones. His new design is strikingly similar to Fleischer's Bimbo.
This short prominently features the song Turn on the Heat from the 1929 Fox musical comedy Sunnyside Up featuring Janet Gaynor and Charles Farrell. The final appearance of Pooch The Pup with the original design.
Includes reused animation from Ham and Eggs. Caricatures include Jimmy Durante, Charlie Chaplin, and Laurel and Hardy. The first cartoon to use the Warner-esque Oswald-zooming-in opening titles, while previous Lantz Oswald releases used an opening title with some variation of the rabbit appearing from behind a fence. This short prominently features the song I Found a Million Dollar Baby (in a Five and Ten Cent Store) originally sung in 1931 by Fanny Brice and later popularized by Bing Crosby and the Boswell Sisters in separate recordings. It should also be noted that Ragamuffin Romeo (written in 1930 by Mabel Wayne and Harry DeCosta for Universal's King of Jazz) is played over this cartoon's opening titles.
The Final Pooch the Pup cartoon. This cartoon is a satire of the 1933 Universal feature She Done Him Wrong starring Mae West. First onscreen credit for George Grandpre. Grandpre replaced Charles Hastings who left shortly after blinding Tex Avery in the left eye with a rubber-band powered paper clip. A frequent player in the 1933-35 Lantz cartoons, Dopey Dick, makes his first appearance here. Dopey looks and acts strikingly similiar to that of Wimpy from the Fleischer Studios' Popeye series. The soundtrack of this cartoon features the songs And If You See Our Darling Nellie (written in 1930 for Universal's King of Jazz) and Minnie the Moocher's Wedding Day (written in 1932 by Harold Arlen and Ted Koehler for Cab Calloway). Since the Pooch series would be discontinued, Lantz returned to directing Oswalds, but still soley directing them as well as Nolan. Avery and Jack Carr soon started doubling up as gagmen for Nolan, and Avery started functioning as something of a co-director (ditto for Manuel Moreno working with Lantz). Interestingly, the next two Lantz-directed Oswalds released (The Merry Old Soul in 1933 and Chicken Reel in 1934) both have the rabbit sporting a Pooch-like sweater as opposed to his usual white-collar shirt. It could be that both were initially planned as Pooch the Pup cartoons.
The Zoo is most notable for Tex Avery's gag involving moths who chew up a bear's fur coat. When the bear is left in his underwear, he turns to the audience and, instead of running away or blushing, says "Well, imagine that!"
Academy Award nominee There is a cameo appearance by Laverne Harding's comic-strip character Cynical Susie. They're caricatures include Charlie Chaplin, Greta Garbo, Ed Wynn, Laurel and Hardy, Joe E. Brown, Will Rogers, Paul Whiteman, Roscoe Ates, Edna Mae Oliver, W.C. Fields, Al Jolson, Mae West, Jimmy Durante, Harold Lloyd, Zasu Pitts, and all four Marx Brothers.
Kitty's design was changed once again making most of her white skin more black here, afterwards, she would have this design once again in King's Up (1934), then afterwards, her design would changed over and over with her next appearance all the way until her final appearance in 1935.
Last cartoon to credit Walter Lantz and Bill Nolan as co-directors, despite them directing cartoons by theirselves starting with Day Nurse (1932). Many copies of this cartoon have the Jolson blackface gag omitted.
The story within the cartoon is based on "The Gingerbread Man," a fairy tale published in 1875. No credit is given for the director of this cartoon. While judging from the animators listed, one would tend to think this is a Nolan effort. The big question, however, is why would he leave his name off of the film? One might speculate that the director is in fact Tex Avery, since Avery's name is now listed in front of Ray Abrams in the animation credits, while traditionally, Avery's name would follow Abrams.
First cartoon to feature a sole director's credit for Bill Nolan. Includes reused animation from Five and Dime (1933). Starting here, the design for Kitty would change every time she made an appearance now and then until her final appearance in 1935.
This short prominently features caricatures of the monsters from Universal's famous horror films, including the Hunchback of Notre Dame, Dracula, Frankenstein, the Mummy, and the Invisible Man. Mr. Hyde of Paramount's 1931 feature Dr. Jekyll and Mr. Hyde (based on the Robert Louis Stevenson's Strange Case of Dr. Jekyll and Mr. Hyde) is also featured as well as Bluebeard from Georges Méliès' 1902 film of the same name (based on the folktale by Charles Perrault).
First onscreen credit for Joe d'Igalo. This cartoon is notable for a gag that Tex Avery came up with and animated on the spot. It involves the villian getting his peg leg stuck in a lit cannon! The film depicts Oswald/Columbus having an audience with a young Isabella I of Castile and a very elderly Ferdinand II of Aragon. However, the real Isabella (1451-1504) and Ferdinand (1452-1516) were around the same age with Isabella actually being an entire year older than Ferdinand! The Guild/Firelight reissue of this cartoon omits the scene where Isabella shouts "Bon Voyage" to Oswald/Columbus and then accidentally breaks a bottle of wine against the head of Dopey Dick as opposed to the bow of the ship. Dopey subsequently licks the wine off of his face and then hiccups.
Academy Award nominee. The first full-length Walter Lantz cartoon in color. The first one-shot Walter Lantz cartoon. Jolly Little Elves was made in two-color Technicolor, as were the subsequent Lantz Cartune Classics released during 1934 and 1935.
The live-action clip from the Universal Newspaper Newsreel shows professor Auguste Piccard, a Swiss scientist who was able to go higher than anyone ever before in a diving bell-like vessel carried by a balloon.
Last onscreen credit for Bill Nolan at Lantz. Nolan would leave the studio in 1934 and briefly find work as head animator on a series of shorts based on the Skippy comic strip before going to work at the Charles Mintz studio and later Felischer studios in Miami. The final appearance of Pete in a Lantz cartoon until 1937.
Features Oswald the Lucky Rabbit. Includes reused animation from Merry Dog (1933). Caricatures include Bing Crosby, Eddie Cantor (in blackface), Frankenstein, Laurel and Hardy, Shirley Temple, and Johnny Weissmuller among others.
Features Oswald the Lucky Rabbit. Lyrics by Walter Lantz. This opening title of this cartoons refers to Oswald as simply "Oswald Rabbit" as opposed to "Oswald the Lucky Rabbit". Following this release, the full name would continue to be applied to both the character and the series until Doctor Oswald (released on December 20) when the adjective "lucky" was permanently dropped.
The final appearance of Oswald in his original design, the first appearance of Meany, Miny and Moe (who were supporting characters). their popularity led to their development into a series of their own for Universal.
The production process of this cartoon is featured in Cartoonland Mysteries, the eighteenth installment of Universal's Going Places documentary series narrated by Lowell Thomas and directed by Charles E. Ford.
First onscreen credits for Dick Bickenbach and Jack Dunham. This cartoon's title is a play on the 1935 Universal comedy Night Life of the Gods. Freddie and Ginger Centipede (an obvious spoof of Fred Astaire and Ginger Rogers) dance to the tune The Lady in Red (written in 1935 by Mort Dixon and Allie Wrubel).
The first Oswald cartoon to feature the more streamlined, slimmer variation of Manuel Moreno's Oswald. Beginning in 1937, Lantz began to try alternative musical directors to James Dietrich. Lantz would use George Lessner, Nathaniel Shilkret, and song writing duo, Irving Actman and Frank Loesser.
Animation pioneer Charles Bowers joined the Lantz staff in 1937 as a storyman. To streamline the product of the films, Bowers created a new character, the Dumb Cluck. This cartoon marks the first appearance of Oswald's short-lived costar.
The first New Universal Cartoon. The name of this series did not derive from the fact that the shorts were new Walter Lantz productions, but rather because Universal, under the immediate post-Carl Laemmle management, attempted to refashion itself as the "New Universal" in order to distance itself from the "Old Universal" (i.e., that of Laemmle and his family). The name "New Universal" was applied to most of Universal's output from 1936 into 1940. The first of many 1890's melodrama lampoons produced by the Lantz studio during 1938 and 1939.
This "cheater" cartoon features no new animated segments and, with the exception of the soundtrack and the newsreel-esque intertitles, is comprised entirely of footage from the following Lantz releases: The Hillbilly (1935), Monkey Wretches (1935), Soft Ball Game (1936), Alaska Sweepstakes (1936), The Barnyard Five (1936), Music Hath Charms (1936), House of Magic (1937), and The Big Race (1937).
Fred Kopietz's directorial debut. This cartoon features a new design of Oswald. His fur is now colored and his pants are held up by a single suspender. This design was also used for the character in his cameo appearance in Snuffy's Party (1939) and in his final cartoon, The Egg-Cracker Suite (1943). Oswald would also make two more appearances in two Woody Woodpecker shorts as cameos, Well Oiled (1947) and The Woody Woodpecker Polka (1951).
The first appearances of Jock and Jill, the Simple Simeons. Jock would appear alone in two more shorts: The Rabbit Hunt (1938) and Soup to Mutts (1939). "Simians" is really misspelled as it pertains to the characters' names.
The Final Cartoon of the New Universal Cartoons. The final musical score by Frank Churchill. Among the stars seen in this cartoon are Leopold Stokowski, Hugh Herbert, Greta Garbo, Groucho Marx, Bing Crosby (and his horses), Charlie McCharthy, W.C. Fields, Joe Penner (who is given the cold shoulder by Edna Mae Oliver), Ned Sparks, Clark Gable, Charles Laughton, Joe E. Brown, Katherine Hepburn, Ben Bernie, Fats Waller, Rudy Vallee, Martha Raye, Benny Goodman, Cab Calloway, Fred Astaire, and Jack Benny.
Fell into the public domain in 1967. The final Lil' Eightball cartoon. Lil' Eightball would appear in one more cartoon known as A Haunting We Will Go. The last Walter Lantz cartoon filmed in black and white.
Includes reused animation from Life Begins for Andy Panda (1939). The opening credits feature an unusual theme song. The vocal version was used only once for this cartoon while instrumental versions would play over the opening titles of 100 Pygmies and Andy Panda (released in April) and Crazy House (released in September).
Andy refers to the turtle (who talks like Jack Benny's valet, Eddie Rochester) as "Mr. Whippletree." Model sheets refer to him simply as "Rochester Turtle" while Nat Falk's 1941 book How To Make Animated Cartoons features an illustration of the character labeled "Winchester Turtle." The 1940 children's book adaptation of 1939's Life Begins for Andy Panda by Paul T. Gilbert also refers to the character as "Winchester Turtle."
The first Andy Panda cartoon to have no involvement with the Panda Hunters at all. The first cartoon to be directed by Walter Lantz since Barnyard Romeo (1938), however he would mostly be uncredited throughout most of his directing career starting with this cartoon.
Features Punchy. No credit is given to the musical director of this cartoon. One would tend to think that Frank Marsales would have done it, but it is also possible (and very likely) that Darrell Calker could have as well. Calker would take over Marsales' place starting in 1941.
The first musical score by Darrell Calker. Poppa Panda's voiced changed, now he sounds like W.C Fields. Most copies of this cartoon are missing the drinking scene featuring the mouse and the cat. Also missing in many prints is the scene that takes place after Poppa Panda tries to shoot an apple off of the mouse's head. Poppa is such a bad shot, that the mouse hands him a card reading "You Are Exempt from Military Service" (obviously a reference to FDR's peacetime conscription).
Fell into the public domain in 1969. This cartoon has been withheld from distribution by Universal since 1949 due to its portrayal of African-Americans. The decision was made after a strong objection was raised by the NAACP upon the short's reissue in 1948. The entire episode was a shock to Lantz who prided himself on avoiding problems with the censors. He repeatedly stated that his cartoons were never meant to offend anyone. After the 1948 decision, Lantz made a major effort to make sure that offensive caricatures of any racial or ethnic group would never appear in his cartoons again. He also personally made sure that Scrub Me Mama would never be distributed on television.
By this time, Poppa Panda had become such a success that Lantz decided to have him star in his own cartoon. It should be noted that Andy Panda himself does not appear here at all. Andy's mother does make a cameo appearance, however.
The final appearance of Mel Blanc as the voice of Woody Woodpecker. Danny Webb would provide the voice for the character in Pantry Panic and The Hollywood Matador before being replaced by Kent Rogers. Blanc's famous Woody laugh would continue to be utilized until 1951, while his "Guess Who?" would be used until the end of the series in 1972.
Fell into the public domain in 1969. Model sheets for this cartoon refer to the cat as "Korny Kat". The first time that Danny Webb provides the voice of Woody. The only Woody Woodpecker cartoon to fall into the public domain.
The 2nd and final time Woody Woodpecker is voiced by Danny Webb. A New York Times article dated July 5, 1944 states that "The Motion Picture Society for the Americas convinced Lantz that the title of this cartoon should be changed to "The Hollywood Matador" and that he should refilm 200 of the 600 feet in the short to eliminate a number of Mexicans shown without shoes and another comic Mexican shown sleeping blissfully with a sombrero over his face. The fear was that Mexican audiences would resent the implications of national laziness."
The final cartoon to be directed by Walter Lantz until 1951, this is also the last time Walter Lantz is credited as a director. The first Solo-Andy Panda cartoon. This cartoon's title is a play on the 1939 MGM feature Goodbye, Mr. Chips starring Robert Donat and Greer Garson. One of the tags Andy reads is signed "Bernie Kreisler". Kreisler was the head of the Universal short subjects sales department at the time. Lantz had quickly inserted the name as a joke. When Kreisler found out he demanded Lantz to take his name off. Lantz replied, "Well, Bernie, I'm sorry I can't take it off. Universal made three hundred fifty prints of it, we can't just make all new prints." The name stayed, but Kreisler was not happy about it at all.
The final Cartune short. The first appearance of Homer Pigeon. Most prints of this cartoon are missing several scenes involving the Japanese vulture as well as Homer's "kick in the Axis for Hitler" line.
The first appearance of Charlie Chicken. Charlie would make his second and final appearance in Meatless Tuesday (1943). After his screen career, Charlie became a prominent player in comic books (usually paired with Andy Panda).
The final official appearance of Oswald the Lucky Rabbit. He would appear as a cameo in Well Oiled (1947) and The Woody Woodpecker Polka (1951). First onscreen credit for Emery Hawkins at Lantz. The only Lantz short co-directed by Ben Hardaway. Emery Hawkins would later co-direct Ration Bored (released in June) with Milt Schaffer.
The first time Woody wears gloves. The final time Kent Rogers voices Woody. This is the last appearance of Early Woody Woodpecker, this also the few episodes that Woody dies in the End. The original end title card features a plug for war bonds. Last onscreen credit for Alex Lovy at Lantz until his return to the studio in 1955. The only Lantz short co-directed by Milt Schaffer and the second and final short co-directed by Emery Hawkins.
The first appearance of Ben Hardaway as the voice of Woody. The first cartoon to use the famous opening where Woody pops out of a tree stump, animated by Emery Hawkins. The first cartoon to feature a new streamlined version of Woody. He is now cuter and less rough and wild. The last appearance of Woody with green eyes until Musical Moments from Chopin (1947).
First onscreen credit for Grim Natwick at Lantz. First onscreen credit for Don Williams at Lantz since his depature in 1933. This cartoon is perhaps best known for the sequence (animated by Dick Lundy) of Woody skiing and singing the melody The Sleigh (a la Russe) (written in 1926 by Richard Kountz and Ivor Tchervanow). According to the memoirs of director Shamus Culhane, the composition was used in the cartoon with the belief that it was in the public domain. However, near the short's completion, it was discovered that the tune was actually still under copyright. Instead of having the sequence re-edited to a new song, Lantz sent a fifty dollar offer to the publishing firm of The Sleigh for its use in the film. They sent a letter back stating that they would only accept nothing less than a hundred dollars, an amount that Lantz gladly paid.
This cartoon features a very different design of Andy Panda. Apparently, it failed to gain favor with audiences and was never used again for any subsequent releases. Andy's usual happy-go-lucky personality seems to have changed here as well. By his behavior, the "new Andy" could easily pass as Andy's evil twin brother.
The Final Swing Symphony cartoon. Early storyboards show Wally Walrus in the role of Jackson, the Sliphorn King of Polaroo. For whatever reason, Wally was dropped and the character was played by a lion in the finished cartoon. Dick Lundy's directorial debut
Excised from many circulating copies of this cartoon is the scene where Woody spits alphabet soup at Officer Wally. The letters of the soup spell out: "Roses are red. Violets are blue. This test stinks and so do you".
The final Walter Lantz cartoon to be released by Universal Studios until Puny Express (1951). First onscreen credits for Ed Love and Webb Smith. The first appearance of salesman Buck Beaver. His second, and last, animated appearance was in Scrappy Birthday (1949) with Andy Panda.
The first Walter Lantz cartoon to be released by United Artists. Features Andy Panda. The original production number for this short was F-13. However, F-13 was later reassigned to Woody the Giant Killer.
The first appearance of Buzz Buzzard. First onscreen credit for Heck Allen at Lantz. The first cartoon to feature The Woody Woodpecker Song. The Woody Woodpecker Song became a huge hit in June 1948 (selling over 250,000 records within ten days of release). In response to the tune's popularity, Lantz rushed the song into this cartoon (which was released in August 1948). This explains why the action and music don't really match up for the first minute or so into the film. The Woody Woodpecker Song was originally recorded by Kay Kyser and his Orchestra. The vocals were provided by Gloria Wood and Harry Babbit, who also provide the vocals for the version heard in this cartoon. This cartoon has the honor of being the only cartoon short ever to be nominated for an Oscar for "Best Song" (for The Woody Woodpecker Song).
Last onscreen credits for Dick Lundy and Ed Love at Lantz. The final musical score by Darrell Calker. Clarence Wheeler would take over starting in 1951. The final Walter Lantz cartoon released through United Artists. The last time Ben Hardaway would provide the voice for Woody. Grace Stafford would begin to voice Woody regularly in 1953 (while providing his laugh in 1951-52 releases).
First onscreen credit for Don Patterson at Lantz. The first musical score by Clarence Wheeler. The first Walter Lantz cartoon to be released through Universal Studios since 1947. Grace Stafford, Lantz's wife and the future permanent voice of the woodpecker, provides Woody's trademark laugh for the first time in this cartoon. It can be heard at the beginning and end. Oddly, the original Mel Blanc Woody laugh can be heard at one point during the short as well. When his studio reopened, Lantz felt that Woody ought to be streamlined again. Woody's top knot would now be pushed forward, his beak would curve up slighly, and he would also became shorter. Lantz felt that Woody's size played an important role in the films, as he observed that audiences were more inclined to empathize with the "little guy" over the "big bully."
First onscreen credit for Ray Abrams since his depature in 1937. The gopher in this cartoon was identified on model sheets as "Goofy Gopher." He is identified onscreen as "J. Goofer Gopher." In one scene, the gopher speaks to Woody in what many identify at first as gibberish. However, when slowed down, one can hear a man saying random phrases such as "Cohen is trying to call off the manager of a certain bank, who happens to be his landlord" or "Hello? What? What number do I want? Well, what numbers have ya got?" Later in the short, Woody confronts the gibberish-speaking gopher for a second time. Again, when slowed down we hear a man speaking a few more choice phrases including "Are you the bank?" or "This is not a telescope? It's a telephone?" The speaker is actually early 20th century comedian Joe Hayman performing the Cohen on the Telephone monologue. It was recorded in London in 1913 and is believed to be the first comedy monologue to sell a million copies.
As Woody first comes into the Western town, look for "Ray Abrams' Gun Shop", "Patterson's Mining Supplies", and "Ken's Coffee and Do-Nuts" (probably refers to animator Ken Southworth) in the background.
This cartoon marks the first time Grace Stafford provided extensive dialouge for Woody (in all previous cartoons, she merely provided his laugh). However, it should be noted that she is doing the voice of Woody dressed as a woman, not Woody's "normal" voice.
The first cartoon to be directed by Paul J. Smith who would direct cartoons for the Lantz studio until it's final shutdown in 1972. The final cartoon to be directed by Walter Lantz. The first non-Woody Woodpecker cartoon produced by the Lantz studio since the return to Universal. First onscreen credits for Gil Turner and Robert Bentley at Lantz. First onscreen Cecil Surry at Lantz since his depature in 1935. It should to be noted that Surry was moonlighting at Lantz while also working for United Productions of America (UPA).
The first Sugarfoot cartoon. First onscreen credit for Michael Maltese at Lantz. Sugarfoot the Horse appeared in only two solo cartoons, before he became a supporting character in later Woody Woodpecker cartoons. The second and final short in the Sugarfoot solo series was Hay Rube (also released in 1954).
Even though Cuddles the Great Dane was only featured in this one cartoon, he appeared on merchandise including drinking glasses and coloring books. Lantz, a great dane owner himself, was probably fond of this cartoon and the character. Dig That Dog and Broadway Bow Wow's were made independently by the Grantray studio. Grantray (Lawrence) was of course Grant Simmons and Ray Patterson's post-MGM studio. Lantz gave them the go-ahead to write and direct several theatrical cartoons for him. There was no need for them to hire their own music director or background people since Lantz people needed the work. Walter Lantz went so far as to have have a complete budget worked out for every facet of these two cartoons, but was shrewd enough to be sure he obtained ownership of them outright.
As John and Mary's name quickly moves up to the top of the marquee it shows the names, "Mophisto the Magician", "The Duo Trio", "Chinese Jugglers", "Trained Seals", "Omalet in Hamlet", "Tightrope Walkers", "'Gulpo' the Sword Swallower", "Tiny the Elephant", "Snake Hips 'Suzzy'", "Pierre's Puppets", "Seedy's Bird Act", "Max and His Sax", and "The Gilhooley Girls".
Pigeon Holed marks the first appearance of Homer Pigeon (now redesigned) since 1943. It was also his final cartoon. In one scene, Homer's two friends are identified as "Alex" and "Paul". They were probably named after directors Alex Lovy and Paul J. Smith.
First onscreen credit for Grace Stafford at Lantz. The first musical score by Eugene Poddany The first Maggie & Sam cartoon. Since the two characters were so successful in Crazy Mixed Up Pup (1955), Alex Lovy decided to cast them in their own short-lived series. This cartoon's title is a play on the 1947 Universal feature The Egg and I starring Claudette Colbert and Fred MacMurray.
Includes reused animation from Termites From Mars (1952) "Captain Zoom" is actually a caricature of Dal McKennon. "Zoom" was based on a character called "Captain Jet" who McKennon played on a local Los Angeles television station at the time.
The first and only appearance of Pepito Chickeeto. A headline on one of the newspapers reads "LANTZ TV SHOW -IG SMASH!!" This refers to the ratings success of The Woody Woodpecker Show which debuted on ABC in October, 1957.
An unproduced Woody Woodpecker short entitled Trail Blazin' Rangers was originally slated to be production U-89. While storyboards were made, the cartoon itself was never produced for reasons that are not entirely clear. This cartoon features a prototype of Gabby Gator, named "Ali Gator." The character would not be officially billed "Gabby" until Southern Fried Hospitality (1960).
The Gabby Gator prototype "Ali Gator" is featured again in this cartoon. This time, he looks pretty much the same as Gabby, but would not be officially called "Gabby" until Southern Fried Hospitality (1960).
The first appearances of Hickory, Dickory, and Doc and the first in the Hickory, Dickory, and Doc series. Doc would eventually star in a series of his own solo cartoons. An early concept sketch dated August 11, 1958 (courtesy of Monte and Taylor Robison) features a scruffier (and more sinister) version of Doc. Meanwhile, Hickory, a character who would be eventually developed into a female mouse, is shown here as a dim-witted male in blue overalls. It is possible that the Lantz studio opted not to use the dumb-smart formula for Hickory and Dickory due to similiarities with Chuck Jones' mouse pair Hubie and Bertie from Warner Bros. Despite the title of this cartoon it does not feature the Lantz comic book character, Space Mouse.
Last onscreen credit for Robert Bentley at Lantz. There are some hidden gaggs, such as one of the little leaguers, briefly seen at the beginning of the cartoon, on the 'Bubble Gummers' team resembles MAD Magazine mascot, Alfred E. Newman. On one of the advertisements in the ball park, the name "Paul's" can be seen (probably a reference to director, Paul J. Smith). "Joe's Cafe and Catering" can also be seen, that one is most likely a variation of the old "Eat at Joe's" gag.
First appearance of Fatso the Bear and the first cartoon in the Fatso the Bear series. Fatso the Bear and Ranger Willoughby are nearly identical in appearance and personality to Humphrey the Bear and Ranger Woodlore, characters Jack Hannah created at the Walt Disney Studio.
The narrator introduces the Inspector by his full name: Inspector Seward Willoughby. At the time, the Lantz Studio was located at 861 Seward Street in Hollywood, California (and, we should note, that a Willoughby Ave. crosses Seward Street at that corner).
The final theatrical Woody Woodpecker cartoon. The last theatrical cartoon released by Walter Lantz Productions. The Lantz studio remained independent (having full ownership to the Lantz characters and licensing rights) until Walter Lantz sold everything outright to MCA/Universal in 1984. Walter remained active in overseeing how Universal handled his characters (for merchandise, TV, home video, theme parks, limited edition cels, etc) up until his death in 1994.
The following is a list of miscellaneous works produced by or related to Walter Lantz and the Walter Lantz studio. These include Lantz's earliest works at the Bray Studios, unreleased cartoons, films produced for the government, made-for-TV shorts, and other odds and ends.
In 1948, Walter Lantz was approached by the Coca-Cola Company to produce animated theatrical advertisements for their popular soft drink. Lantz agreed and produced twelve of them. Released throughout 1949, they run about one to two minutes each. Unfortunately, the Lantz studio closed and production of these films ceased. After the studio reopened in 1950, the Coca-Cola Company again approached Lantz and eight more theatrical advertisements were produced and released in 1953, again running about one to two minutes each. Today all of these shorts are in the public domain.