Meet Thunderbean Steve

The Bijou Blog is delighted to welcome character animator Steve Stanchfield as a guest contributor on vintage cartoons. Steve's Thunderbean Animation produces animation for TV, multimedia and commercials as well as releasing collections of rare vintage animated shorts. He is also a professor of animation and animation history at the College for Creative Studies in Detroit.

Steve, we look forward to your cartoon news and views in future posts, but let's start at the beginning. Do you recall how you got hooked on cartoons?

I remember even as a small child really liking the B/W Fleischer Popeyes, as well as the few 1930's cartoons that were part of the Lantz TV package. "Toyland Premiere" (1934), with Oswald the Lucky Rabbit was easily my favorite cartoon by the time I was 4. I do remember my mother taking us to see the reissued Disney features, and that it was clear to me from a fairly early age that I was much more into these films than my older brother. Waking him up at 6 in the morning because an early Porky Pig was on TV was not his idea of fun!

I don't know how we end up liking these little films so much. It could be that multiple viewings of certain shorts often are retained because the films had something special to them. I do know that I sat through hundreds of hours of Saturday morning cartoons as well, but didn't remember ANYTHING about any of those. I didn't have any idea that people could actually collect films as a child, but I do remember wanting to use a home movie camera to shoot "Toyland Premiere" so I could watch it whenever I wanted to.

Seeing “Matinee at the Bijou” as a 13 year-old made a huge impression on me. I was able to see, for the first time, some of the films I had only heard about. Then I started to shoot my own little films (thanks to my grandfather’s Super 8 Camera) and discovered that I could buy b/w silent cartoons at Kmart!

Thanks for the unexpected Bijou tribute. (Here’s your $10.) What was the first cartoon you acquired on film?

I'm not sure! It was out of an ad in Movie Collector's World though and in Super 8mm. It was either “Puss in Boots” (Disney, 1923) or “In the Good Old Summertime” (Fleischer, 1927). The first 16mm print I bought was The Little King in “Christmas Night” (aka “Pals,” Van Beuren, 1934) well before I owned a 16mm projector. I remember running it at my junior high school, amazed at how much better it looked than Super 8!

What is the rarest cartoon in your collection?

I especially like to find films that no one else has released. There's so many things of sort of equal rarity.... It might be “Monkey Doodle” (1931, Les Elton) or “PM Picnic” (Al Stahl/ Chad, 1948), or maybe the Brewster Color nitrate print of “Mendelssohn's Spring Song” (Cy Young,1931). Still, I have a fairly small collection of around 600 film prints on 16mm and 35mm. Many of the super cartoon collectors have been kind enough to lend some of their rare material for transfer. They and the film archives are where the majority of the cartoons come from, although sometimes I get lucky and find something on eBay or through a friend.

What and when was your first VHS cartoon release?

I started Snappy Video when I was 19. I released five titles at the same time. I did a movie
collector's show with the first five titles in Chicago in 1988. I eventually started working in animation in 1993 and the videos took a back seat, until more recently.

Do you have a favorite among your DVD releases?

That's hard to say. I've had a great time putting the new Thunderbean Animation collections together. The Popeye DVD was a lot of fun, and led to being able to help out on the official Warner Brothers sets. I've always loved Cubby Bear too. I think the “Cartoons for Victory” came out really good...and the “Cultoons” sets... “Little King” ... heck, I like all of 'em.

We’ll take a quick break while everyone runs to Thunderbean Animation to complete their collections.... OK? That took longer than the reader expected. Are you working on any new DVD releases?

Yes, I'm working on quite a few. Some have been in progress for many years as I track down key films for the collections. “Cultoons, Volume 3" is almost done, a long in-progress “Stop Motion” DVD is starting to turn into 2 DVDs, and a disc of the unseen “Rainbow Parade” cartoons has been in the works since 2004, among others....

Finally, are there any “lost” cartoons you have been searching years for?

Strange cartoons I've been looking for? Yes, quite a few. At the top of the list are the two 1930 Dr. Seuss cartoons by Harman and Ising, some of the lost Felix the Cat silents, a few still lost Toby the Pups (6 have been found now) and the lost color Barney Google cartoons (though b/w silent prints exist).

Many thanks, Steve. We’ll have you back soon to discuss all these and more.

Leaping Off The Screen in 3D!

When it became clear, around 1950, that television wasn’t going away, the movie industry knew it had a problem to deal with. The steady decline at the box office seemed to be in inverse proportion to the number of antennas sprouting on rooftops everywhere. Studio chiefs had to figure out how best to reinvent their content to compete with the new technology.

The biggest challenge was to figure out how to create a compelling film experience that audiences could not get at home on their Philcos. Necessity being the mother of invention, studio showmen gave birth to Cinemascope, Cinerama and other forms of wide screen projection, along with the delights of stereophonic sound.

In 1952 United Artists led the way in introducing the most gaudy of the new technologies, 3D, with the release of Bwana Devil starring Robert Stack and Barbara Britton. The advertising taglines promised “A Lion in Your Lap” and “A Lover in Your Arms.” (No you couldn’t choose…you either got a lion in your lap or a lover in your arms…or both. You pays your money and you takes your chances.) Surprisingly the first feature-length 3D movie was The Power of Love, released in 1922.

Bwana Devil, was the first 3D movie shot in color utilizing the new Polaroid dual projector system. Until the invention of the Polaroid system, 3D glasses of the red/green anaglyph type severely changed the color of the perceived image, making 3D only practical for black and white.

Thus began a steady stream of 3D releases by the major studios. Warner Brothers released House of Wax, produced in both 3D and stereophonic sound, shortly after Bwana Devil. Vincent Price, the star of House of Wax, shamelessly went on to make three more 3D movies; The Mad Magician, Dangerous Mission, and Son of Sinbad.

Warner Bros also distributed Hondo, a popular John Wayne western in 3D, Phantom of the Rue Morgue, a 3D thriller starring Karl Malden, and Dial M for Murder, directed by Alfred Hitchcock and considered by aficionados of 3-D to be one of the best examples of the process.

Other successful major studio 3D productions included Universal International’s Taza, Son of Cochise, starring Rock Hudson, and It Came From Outer Space with Richard Carlson. Paramount’s first 3D feature was Sangaree, with Fernando Lamas and Arlene Dahl, and the studio put Dean Martin & Jerry Lewis even more in people’s faces in Paramount’s 3D comedy Money from Home. MGM pulled out all the stops with a hugely popular blockbuster musical in 3D called Kiss Me Kate, starring Kathryn Grayson, Howard Keel and Ann Miller.

The French Line, starring Jane Russell, an RKO/Howard Hughes 1954 production, achieved notoriety by being released without an MPAA seal of approval due to suggestive lyrics and costumes. Of course, the movie went on to make big bucks at the box office. The studio’s tagline was “See Jane Russell in ‘The French Line’ – she’ll knock BOTH your eyes out!”

Columbia Pictures released several westerns in 3D and also produced its own adult-oriented 3D movie starring the glamorous Rita Hayworth in Miss Sadie Thompson. Columbia and other studios produced some entertaining short subjects in the 3D process as well. Among them, The Three Stooges received the 3D treatment in two shorts; Spooks and Pardon My Backfire. Paramount gave us Casper, the Friendly Ghost in 3D in Boo Moon, and Popeye the Sailor popped off the screen at audiences in Popeye, Ace of Space.

Three short years after Bwana Devil the 3D fad seemed to have run its course with the release of Universal’s Revenge of the Creature. The novelty had worn off, and technological limitations severely limited the types of shots that could be captured with two cameras forced to stay in sync. Anyone who’s seen the astounding 3D productions featured at Imax theatres or at Disneyworld knows that 3D movies have only begun to deliver on their promise. Though 3D didn’t start with Bwana Devil or end with Revenge of The Creature, it’s a pop culture phenomenon, like hula hoops and coonskin caps, that will always be inextricably linked with the zeitgeist of the 1950s.

Mary Carlisle-Matinee Sweetheart

Mary Carlisle graced more than sixty films from 1930 to 1943, from supporting parts in A-films to the female lead in classy B’s. She played the rich daughter who got in trouble, the college belle with an eye on the teacher, the spunky radio reporter on top of a breaking story and the wholesome girl next door who tangles with gangsters and murder. Whatever the role, Mary’s infectious smile, perky personality and comic flare made her every man’s Valentine.

Mary signed a contract with MGM while still in her teens. Her first walk-on was as Little Bo Peep in DeMille’s “Madame Satan” (1930). She cavorted as the very hot “Impy” in the color short, “The Devil’s Cabaret” (1930), and can be spotted in the finale of “Grand Hotel” (1932) as a cheerful honeymooner checking in. MGM never knew how to best utilize the vivacious starlet though they did cast her as Lionel Barrymore’s daughter in two films, and gave her the second female lead in “Kind Lady” (1935).

After her honor as one of 15 WAMPAS Baby Stars of 1932, every studio wanted her, and MGM graciously loaned her out. Mary’s career took off, starting with the Will Rogers Fox comedy, “Down to Earth” (1932).

Mary was the envy of every coed when she aggressively pursued and won music teacher Bing Crosby in “College Humor” (1933). Her unexpected kiss on the mouth after class disarms Bing, and his temperature rises later as he sings “Moonstruck” to her in his room. Mary takes off her shoes and cuddles close in a steamy promise of delights to come. Bing tries to say no. Their earthy chemistry would clash again in “Double or Nothing” (1937) and “Dr. Rhythm” (1938).

In dozens of endearing roles Mary played opposite Jack Benny, Wheeler and Woolsey, Lew Ayres, Buster Crabbe, Joe E. Brown, Lon Chaney Jr., the Dead End Kids and George Zucco. She even enjoyed a rematch with Will Rogers in “Handy Andy” (1934) where she was romanced by a young Robert Taylor. Mary makes a perfect couple with Bert Wheeler in “Kentucky Kernels” (1934). Spanky McFarland plays matchmaker as Bert sings “One Little Kiss.” With a sweet southern accent, Mary can best be described as irresistible. See for yourself in this brief clip...




A strong role came in “Rovin’ Tumbleweeds” (1939) with Gene Autry. Mary convinces a reluctant Gene to become a radio singer so he can help flood victims, and later talks him into running for Congress so he can pass a flood control bill. Guess who shows up as his secretary in Washington? As Smiley Burnette comments, “Boy, what a gal! You know, I’m gonna see if she’ll be Mrs. Frog someday.”

Mary started a new life in 1942 when she married actor James Blakeley, who had co-starred with Bing Crosby in “Two for Tonight” (1935) and in films like “The Shadow Strikes.” She retired from films after PRC’s “Dead Men Walk” (1943) with George Zucco. James went on to become an executive producer/editor at Fox, where he wore a 3-piece suit to work every day until his death in Jan., 2007. The perfect couple had one child and remained happily married for 65 years.

Mary Carlisle Blakeley, surrounded by wonderful friends and remembered by fans seeking autographs, is the absolute epitome of Hollywood glamour. Here's a big Bijou toast to you, Mary, and to your charming presence that enhanced many matinees past and yet to come. You will always be our Valentine!

Other of Mary's clips are NOW PLAYING in our Bijou Mini-Matinee theater. Read about them below, then click on the link under the marquee on the right to enjoy the show

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Before There Was Prozac

We at The Bijou Blog really admire the folks at Google, and all the innovations they keep bringing to the internet experience. Without Google Alerts we might never have seen this remarkable post. Marianne Richardson writes with great charm about her dad, about her younger self and about the role the original Matinee At The Bijou series played in their lives. With her permission we’re pleased to reprint her memoir...

Long, long ago in a galaxy far, far away, there was no Prozac. There were no SSRIs, period. The only "lifestyle drug" available was cocaine. Understand that I was very small at the time, so my memory is not so good, but in those times, there were about 3 ways people dealt with depression: they committed suicide, they drank a lot, or they slogged through it.

Right now I want to say, unequivocally, God Bless SSRIs. For many people they are a lifeline, a ray of hope, that thing they need to get out of a paralyzing situation. I've used them. I know. But are we, as Americans all so deeply depressed that we need a daily lifeline -- for a lifetime? Do the Blues and the Mean Reds need to be cured? Is PMS -- oh, excuse me -- "PMDD" really a mental disease? "To Use, or not To Use..." It's a personal choice, and I will judge no one. But I am speaking about a Long Ago when there was no choice.

I think I was about twelve when my father took me aside and said, "These periods of moodiness you get, when nothing seems good and you don't want to do anything? It's called 'depression,' and you probably got it from me and my side of the family. It's just a thing you have to deal with. But you need to learn to recognize when it's coming on, and learn the things that will help you through it."

And this is how I learned about classic Hollywood movies.

Saturday night began with a bath, and then the TV lineup was the following:
7pm - The Muppet Show
7:30pm - The Pink Panther
8pm - I have racked my brains and I can't remember...
9pm - the Love Boat

After 10pm came the tricky part. 10pm was Fantasy Island, which I really didn't care anything about, but if I was very quiet (that is, I didn't stand on anyone's last nerve getting in a fight with my sister), I could stay up until 11pm, and that was when Matinee at the Bijou came on PBS.

I still remember Rudy Vallee crooning snippets of the theme song: "Andy Hardy never had to go hungry/There was no bank panic/at Tarzan's branch/Mussolini and der Fuhrer/couldn't have been obscurer/on the planet Mongo or the Melody Ranch." (My Search Fu has failed me and I cannot find the complete lyrics on the Internet - yet.) If I made it as far as the song, my Dad would turn to me and say something like, "Hey Mar, you ever seen the original Flash Gordon?" or "You should see this, Mar; this is a good one." ("Mar" is pronounced like "mare," and there's like four people on the planet allowed to call me that, and you are not one of them.)

Together we would watch this show, lights off bijou-style in flickering darkness. And I learned that the same guy who did Popeye cartoons also did Betty Boop, that the Bowery Boys were the Dead End Kids long before they were Junior G-Men, and that Gene Autry was a much better singer than an actor.

It's taken me a long time to unravel the secrets of my family, my parents. I thought my Dad stayed up late because he liked to watch old movies, but the truth is depression wouldn't let him sleep, and Errol Flynn kept him company. He wouldn't give in, and he wouldn't drink; like so many of his generation, he Slogged On. I am certain he learned toughness from Cagney, but he admired him just as much for his dancing. Not many people know about Jimmy Cagney's song and dance movies -- but my Dad does. Thanks to him, so do I.

And this is what he gave to me before there was Prozac: A love of old movies, and the knowledge of how to rest inside them, for an hour or two, while trying to build up the energy to face and move through depression. He had no control over giving me the genes, but he made sure I had the tools I would need not to go under.

Strange gifts from Father to Daughter. Thanks Dad.

We knew in the 1980s that we had a successful show, but we’re only now beginning to discover the special place MATB held for some. If you count yourself as one of those people, please send us a note via the comments button below. We’d love to hear from you...and thanks again Marianne for a very special post.