Story: Writing Cartoons Pt 2- A Continuity Emerges

This post is just the tip of the iceberg... see the bonus reason on our The Top Ten Reasons To Support The A-HAA for links to more great posts featuring animation art.


When I was beginning to draft this series of articles, I remembered a folder of thumbnails that Grim Natwick's family gave me. The folder was labelled "Valiant Tailor Gags". I thumbed through the drawings several times over the years, but I only looked at the drawings individually- I didn't look at them as a group. I pulled the folder out this week and upon closer examination, I discovered that the drawings formed a clear record of a gag session from 1934. This set of sketches is particularly important because it shows how the gags were created, how they evolved and grew as the artists discussed them at the story meeting, and how they found their way into the continuity of a finished cartoon.


The basic premise of this sequence is... The King is being chased by bees. He dives into a lake to escape them. The Giant arrives and harasses the King. The Tailor defeats the Giant and saves the King. Grim Natwick directed this cartoon, and his notes appear on the drawings in red. A check mark indicates that the gag is approved for the film. A question mark indicates that he isn't sure where to use it yet.

Here are some of the gags that the staff of the Iwerks Studio came up with for this premise. At the end is a Quicktime movie of the complete cartoon, so you can see how these plans were realized in the finished film.


William Hamner suggests a gag where the King is swallowed by a whale and is shot out his blow hole. (Since the character design hadn't been established yet, Hamner draws the character as Otto Soglow's Little King!)


An artist named Hudson elaborates on Hamner's basic idea, adding a tail flip to the end.


This gag suggests that the King be underwater, hiding from the Giant. The Giant tries to catch him like a fish with a gold watch as bait.


Underwater, the King uses a looking glass as a teeter totter.


The Giant blows on the water and a passing octopus offers him Listerine.


Ed Friedman suggests a gag where the Giant breaks a limb off a tree and uses it as a boomerang.


Another variant on the broken tree branch- The Giant uses it as a straw to drink the lake dry.


Several unrelated gags: The King runs out of the lake with streams of water from his crown. / The King is poked in the butt by a sword fish. / The Giant gets honey poured on his head. / The King is stung by bees on the patch on his butt.


The Giant runs from a swarm of bees and stumbles over some wagons.


Grim suggests a gag where the Giant takes a header into the dirt, plowing the ground in a furrow.


He attempts a topper gag with a farmer using the Giant to plow his field.

Now comes the really interesting part! Here are Grim Natwick's thumbnails showing how he takes the random gags and works them into a rough continuity. The drawings are very rough. You might want to print them out so you can compare them to the finished film.


(32) The King enters scene and does a trout dive into the lake to escape the bees. We pan with the soldiers as the pursue the Tailor and chase him up a tree.
(33) The King bobs up and down in the water as the bees circle in a repeating cycle above him.
(34) A thunderous laugh is heard in the distance. The Giant steps over the crest of the hill and takes a few steps over them.
(35) The Giant scares the soldiers away. He looks at the King and laughs. The King ducks.
(36) The Giant blows on the water and throws a stone at the King.
(37) The King reaches up into the tree and grabs a branch. The Tailor jumps to another branch.


(39) The Giant uses the branch like a gaffing hook, reaching to catch the King with it.
(40) The hook at the end of the branch catches in the patch on the King's butt.
(41) The Tailor sees what is happening and ducks into a hole in the tree. The camera pans down the outside of the tree to its base, where the Tailor crawls out of another hole.
(42) The Tailor sneaks past the Giant and runs off screen
(43) Dissolve to: Interior tailor shop. The Tailor grabs a jar of honey.


(44) Exterior Tailor Shop: The Tailor runs down the street with the jar.
(45) Dissolve to: The Tailor diving back into the hole in the tree trunk.
(46) The Tailor, standing on a high limb of the tree, drops the honey jar.
(47) The pot of honey dumps all over the Giant's head.
(48) The King comes to the surface of the water as the bees go after the Giant.
(49) The Giant runs from the bees. He shoves his head in the dirt to escape them. He runs through a barn and a church over the hill and into the distance.

The sequence went from here to the storyboard stage, where the action was defined better and the gags were plussed. Watch the film and see how it came out...


The Valiant Tailor (Iwerks/1934)
(Quicktime 7 / 7 minutes / 18.5 megs)

PLEASE NOTE The text and media files on the ASIFA-Hollywood Animation Archive Blog are not to be duplicated, redistributed or hosted on other websites without the prior written permission of the Board of Directors of ASIFA-Hollywood.

The next article in this series will show how the structure of cartoons became more sophisticated in the mid-1930s, and the development of organizational tools that made that possible.

For more on the Iwerks Studio, see... Grim Natwick's Scrapbook: The Golden Age, Berny Wolf: Iwerks Model Sheets, and Grim Natwick's Job Offer From Disney

For more on cartoon writing see... The Greatest Cartoon Writer of All Time, Alvin Show Pilot Board, Alvin Show: The Whistler Storyboard, Clair Weeks' Banyan Deer Storyboard, Louise Zingarelli's Cool World Board, Ren & Stimpy Big House Blues Board Part One, Part Two and Part Three, Stimpy's Invention Board Part One and Part Two.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Filmography: UPA's Man On The Land 1951

This post is just the tip of the iceberg... see reason number 7 on our The Top Ten Reasons To Support The A-HAA for links to more great cartoons to study.

Our server is maxed out right now, so the movie file may take a while to load. Check back a little later and it will be a lot smoother. You've already got the ASIFA-Hollywood Animation Archive in your bookmarks... Right?


We received a surprise in the mail today from Archive supporter James Tucker- a DVD of great fifties industrial films, including UPA's groundbreaking Man On The Land. This film includes animation by Pat Matthews, Grim Natwick and Art Babbitt, but animation isn't the primary attraction here. It's the drop dead brilliant layouts by Director Bill Hurtz, Associate Director Art Heinemann and background artists Bob Dranko, Boris Gorelick and Paul Julian (among others). Just about every setup in this film is strong enough to be an illustration in a book. Check out the depth and lighting in these backgrounds. They may be painted flat, but they sure aren't composed flat. If this sort of design sensibility was applied to a cartoon with vivid characters, humor and entertainment value, wouldn't it be incredible? (Like this!)





















This is a large file, so allow yourself some time before clicking on the link.

Man On The Land (UPA/1951)
(Quicktime 7 / 16 minutes / 35 megs)

PLEASE NOTE The text and media files on the ASIFA-Hollywood Animation Archive Blog are not to be duplicated, redistributed or hosted on other websites without the prior written permission of the Board of Directors of ASIFA-Hollywood.

It's great folks like James Tucker that make sure that cartoons like this aren't lost and forgotten. We all owe him a big thank-you for sharing his film collection with us at the ASIFA-Hollywood Animation Archive.

If you found this article to be interesting, see also... John Sutherland's Rhapsody of Steel, Artzybasheff's Machinalia, The Alvin Show Pilot Storyboard, Jules Engel's Alvin Show Color Keys, UPA Done Right, Early 50s UPA Model Sheets, Herb Klynn The Shrimp, and Grim Natwick's Post UPA Commercials.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Biography: Lu Guarnier 1914-2007

This post is just the tip of the iceberg... see reason number 4 on our The Top Ten Reasons To Support The A-HAA for links to more great biographies of important artists.



Michael Sporn reported today that animator, Lu Guarnier passed away on December 29th. (Read his post here.) He writes...

Tissa David told me that the UPA studio was one long space that was divided into cubicles. She called them “stalls” like horses would occupy at a racetrack. Grim Natwick, Tissa and Jack Schnerk shared the end corner cubicle. The only one who had his own space and the only one to have a window was Lu Guarnier.

Here are the studio gag drawings relating to Lu's window...

















If you enjoyed this post, see... Grim Natwick Exhibit: The Modern Era (UPA and beyond), UPA Model Sheets, Grim Natwick's Post-UPA Commercials, UPA Done Right

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

2007 Review: 2 Grim Natwick

As the ASIFA-Hollywood Animation Archive completes its second year in operation, it's time to review the accomplishments of the past year. Here's a countdown of the ten most important subjects we've covered in 2007. See if your list matches mine. (View the complete list.) Click on the links to read more on this topic.



NUMBER 2: GRIM NATWICK

The ASIFA-Hollywood Animation Archive is pleased to present an exhibit of material from the collection of legendary animator, Grim Natwick. If you are in the area, stop by to see the exhibit.

Grim Natwick is undoubtedly one of the most influential animators who ever lived. His career spanned the entire history of animation- from its earliest days in New York to Richard Williams' Cobbler and the Thief in recent times. Grim worked at many of the major studios- Hearst, Fleicher, Iwerks, Disney, Lantz, UPA, Jay Ward, Melendez and Richard WIlliams. He animated in every style, but was able to maintain his own personal flavor, regardless of whether he was animating for modern studios like UPA or cartoony ones like Fleischer. If one had to define the single element that set his animation apart, it would have to be that his characters always seemed to have a genuine spark of life.

Grim was a friend of mine. I spent many entertaining afternoons with him on his porch, listening to his memories of "the old days". Grim remembered everything. I once mentioned the name of an assistant animator he worked with at Fleischer. Grim not only recalled working with him more than half a century before, he remembered his bowling scores! When Grim passed away at the ripe old age of 100, his family asked me to organize his artwork. Whenever Grim left a studio, the contents of his desk was emptied into boxes and sent off to his storage locker in Missouri. When all of the boxes arrived for sorting at his apartment in Santa Monica, I was astonished to find thousands and thousands of drawings- amazing examples from a career that spanned more than 75 years.


The drawings that were most precious were the gag drawings and caricatures that grew on the walls of the studios like leaves on a tree. There were also many important sketches documenting Grim's thought process- the roughs that were usually thrown in the trash after a job was completed. These are the drawings that make up this exhibit. I hope this exhibit gives you a clear idea of who Grim Natwick was as an artist and as a person. -Stephen Worth

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THE ONLINE EXHIBIT CATALOG

• Introduction: Grim Natwick's Scrapbook


• Part One: Grim's Early Years In New York (Hearst/Krazy Kat/Fleischer)
• Anatomy Studies
• "Swing, You Sinners" (1930)
• "Mariutch" (1930)


• Part Two: The Golden Age of Animation (Iwerks/Disney/Lantz)
• Disney's Offer
• Natwick on Iwerks
• Iwerks Model Sheets


• Part Three: The Modern Era (UPA and beyond)
• UPA Model Sheets
• Post-UPA Commercials


• Part Four: The Greatest Animator Who Ever Lived (Studio Gag Drawings and Caricatures)

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Assistant Archivist, Joseph Baptista views the exhibit.
GRIM NATWICK'S SCRAPBOOK
An Exhibit Presented By The ASIFA-Hollywood Animation Archive
2114 W Burbank Bl
Burbank, CA 91506
Now Showing, Tuesday through Friday 1pm to 9pm

Follow this series of posts over the course of this coming week. I think you'll be amazed at the versitility and creativity of this great artist. Stop by and see the exhibit soon.

Many thanks to the Walter Lantz Foundation for providing the facilities for this exhibit, and to the Walt Disney Animation Research Library for providing the mattes.

Go To Number 1 on the list of Top Ten Subjects of 2007

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
,

Stumble It!

Exhibit: Grim Natwick's Scrapbook Index

Feel free to bookmark this page as a "jump page" to read the articles on Grim Natwick in order.

• Introduction: Grim Natwick's Scrapbook


• Part One: Grim's Early Years In New York (Hearst/Krazy Kat/Fleischer)
• Anatomy Studies
• "Swing, You Sinners" (1930)
• "Mariutch" (1930)


• Part Two: The Golden Age of Animation (Iwerks/Disney/Lantz)
• Disney's Offer
• Natwick on Iwerks
• Iwerks Model Sheets


• Part Three: The Modern Era (UPA and beyond)
• UPA Model Sheets
• Post-UPA Commercials


• Part Four: The Greatest Animator Who Ever Lived (Studio Gag Drawings and Caricatures)

Please help us spread the word about this exhibit. Tell your friends. Post about it to your blogs. Thanks!
.

Stumble It!

Exhibit: Grim Natwick's Caricatures And Gag Drawings

This post is just the tip of the iceberg... see reason number 4 on our The Top Ten Reasons To Support The A-HAA for links to more great biographies of important artists.


Grim Natwick with his "kid assistant",
Chuck Jones (Iwerks/1933)

PART FOUR: THE GREATEST ANIMATOR
WHO EVER LIVED
Like most animators, Grim Natwick had a unique sense of humor. He was famous for his limericks, scribbled in on the margins of his animation drawings. Here are a couple of doozies by Grim...

I've broken my friendship with Babbitt
Because of his slovenly habit
Of eating out loud
And I've never been proud
Of his nibbling bones like a rabbit!

"It's true!" said the painter to the prude
"I sketch all my ladies in the nude
A dress is OK
For a window display
But on my girls, it wouldn't improve."

A nail sitting Hindoo said "I
Have perched here and gazed at the sky
Till I've punctured my hide
Fillagreed my back side
I'm damned if I've ever known why!"


Grim prized his studio gag drawings above all the others in his collection. He described how they came to be for me one day...

"At Lantz, we all worked very hard. But occasionally, we would need to take a break and have fun. One of us would draw a quick caricature of one of the other animators, or do a cartoon on a funny situation that had taken place. He'd tiptoe out into the hallway and pin it up on the board and sneak back to his desk. Pretty soon, someone else would come along and see the drawing and run back to his desk to answer the gag, pinning up their sketch on the board alongside the other one. By the end of the day, the board would be covered with funny drawings. We'd pull them all down and start all over again the next day."

THE ANIMATOR & HIS ASSISTANT
A Series Of Studio Gag Drawings From UPA NY (ca. 1955)
As an "animation historian", I've never been as interested in the dates and figures related to animation as much as the process- and how it felt to be a part of a golden age studio. These sketches give a clear indication of that, better than words could ever tell...











CONCLUSION
Well... It says "conclusion" up there, so I better get to telling you why Grim Natwick was the greatest animator who ever lived. I don't know how many readers of this blog have had a chance to digest all of my articles from this week. It certainly has been very difficult to summarize a career as long and varied as Grim Natwick's. I had always intended to write a book on Grim, but the weblog may actually be the best format for telling his story.

Books on animation history are usually organized by studio. If you read Leonard Maltin's great book, Of Mice & Magic, Grim Natwick's name is sprinkled throughout six chapters. That might give you the idea that Grim was a marginal figure who moved around a lot. But when you read his life story chronologically- not inserted into six separate chapters- you realize that Grim's life story IS the story of the history of animation. The history of animation isn't the story of studios and characters- it's the story of the artists whose talents created the magic up there on the screen.

Grim Natwick was the greatest animator who ever lived. But I still haven't told you why yet!

Grim loved to tell long, convoluted stories that would inevitably ramble back around to his point. Here's a story like that...

ASIFA-Hollywood heard that Grim was in town and was celebrating a birthday, so we threw a party for him. As he was blowing out the candles, Grim announced that he was pleased to spend his 100th birthday in such fine company. Everyone in the room gasped. No one had any idea that it was Grim's 100th birthday. The room burst into applause. Antran Manoogian, the president of ASIFA-Hollywood drove Grim home after the party. In the car, Grim was uncharacteristically quiet and sheepish. He finally said, "Young man, I have a confession to make... I told everyone that I was 100, but I'm only 97." Antran laughed and promised Grim that ASIFA would throw him an even better party in three years- the best birthday party ever.

Antran kept that promise. when Grim turned 100, ASIFA threw a huge celebration at the Sportsman's Lodge in Studio City. Hundreds of people attended, including co-workers from every studio Grim ever worked with. Grim described it as "the most illustrious gathering of animators since Winsor McCay's testimonial dinner in the late 1920s". At the end of the evening an announcement was made for all of Grim's former coworkers and assistants to gather on the stage for a photo. Animator, Michael Sporn recently posted this photo...



Three of Grim's former assistants were chosen to address the audience that evening... Walter Lantz (Hearst), Chuck Jones (Iwerks) and Marc Davis (Disney). All three spoke of Grim's generosity and friendship. They credited Grim with teaching them their trade and inspiring them to become better artists. Those three men weren't alone in that. Dozens of other great animators... Bill Littlejohn, Irv Spence, Willard Bowsky, Berny Wolf, Tissa David, Shamus Culhane- too many to mention- all traced their own accomplishments back to Grim's example when they were just starting out. Grim's "kid assistants" went on to form the artistic core of every major animation studio in the United States.

Grim is the greatest animator who ever lived, not just for his own accomplishments, but for what he shared with the people he worked with. Animation was never just a job to him. It was his passion. He instilled that passion in his assistants, and those assistants went out into the world and became great themselves. Grim Natwick was the catalyst who made the entire history of animation possible. That's why he is the greatest animator who ever lived.

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EXHIBIT CATALOG: GRIM NATWICK'S CARICATURES & GAG DRAWINGS


Top Row: Caricatures of Grim (left to right) Self caricature* (ca.1926/Hearst) / Self caricature with assistant, Chuck Jones* (1933/Iwerks) / Caricature of Grim on studio outing to Catalina by Chuck Jones (1933/Iwerks) / Caricature of Grim in his fancy suit (ca. 1942/Lantz) / Caricature of Grim at his "studies in Vienna" possibly by Art Heinemann (UPA ca.1955)

Middle Row: (left to right) Two sketches depicting the love/hate relationship between Emery Hawkins and Grim Natwick* (ca. 1944/Lantz) / Bill Nolan at the Krazy Kat Studio* (ca. 1926) / Studio gag drawing (ca. 1959/Robert Lawrence) / Studio gag drawing* (ca. 1936/Disney)

Bottom Row: Tony Sgroi and "Bugs" Hardaway (ca. 1947/Lantz) / Manny Gould* & Sammy Stimpson* (ca. 1926/Krazy Kat Studio) / Bill Nolan with a cold* (ca. 1919/Hearst) / top: Dick Lundy* (ca. 1936/Disney) bottom: Freddie Moore* (ca. 1936/Disney) / Studio gag drawings* (ca. 1929/Fleischer) / Caricatures of Jack Carr* (ca.1923/Krazy Kat Studio)

* denotes a drawing by Grim Natwick

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Assistant Archivist, Joseph Baptista views the exhibit.
GRIM NATWICK'S SCRAPBOOK
An Exhibit Presented By The ASIFA-Hollywood Animation Archive
2114 W Burbank Bl
Burbank, CA 91506
Now Showing, Tuesday through Friday 1pm to 9pm

Many thanks to the Walter Lantz Foundation for providing the facilities for this exhibit, and to the Walt Disney Animation Research Library for providing the mattes.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
,

Stumble It!

Exhibit: Grim Natwick In The Modern Age

This post is just the tip of the iceberg... see reason number 4 on our The Top Ten Reasons To Support The A-HAA for links to more great biographies of important artists.

PART THREE: GRIM NATWICK AND MODERN ANIMATION


It's important to keep in mind Grim's age when you look over his career. When he animated Snow White, he was one of the oldest artists at the Disney studio- 49 years of age. When his former assistant from Iwerks, Stephen Bosustow convinced him to join UPA in 1950, he was sixty. Most animators of his generation were thinking of retirement, or coasting on their past accomplishments until their pensions came through... but not Grim. He dove into the stylistic revolution of UPA with both feet. Grim animated on the early Magoo cartoons, as well as one-shots like "Rooty Toot Toot" and "Gerald McBoing Boing". In the early 50s, he was sent to New York as the keystone animator for UPA's East coast office, where he animated many commercials and industrial films for the company, along with his assistant Tissa David.


When UPA NY shut its doors, Grim worked at various New York commercial studios like Ray Favella and Robert Lawrence Productions. He animated on the first television cartoon series, Crusader Rabbit, and later took in work from Jay Ward and Bill Scott on the George of the Jungle program. He freelanced for Melendez and Duane Crowther's Duck Soup Producktions, eventually settling in with director, Richard Williams. He animated on Raggedy Ann & Andy and travelled to the UK to teach while working on Cobbler & the Thief. He continued to draw into his early 90s, until his failing eyesight made it difficult.

One afternoon, as I sat with Grim on his front porch, he casually mentioned that he had been told that there were machines that animated- computers. He wondered aloud "how they manage to get the machines to hold a pencil" and expressed an interest in finding out more about it. So I called my friend Charlie Gibson, who was a partner at Rhythm & Hues in Hollywood. I arranged for Grim to take a tour of their studio the following week.

When we arrived, we found the entire staff of R&H standing in the lobby waiting for us. Charlie showed Grim their machine room and demo reel, and sat him down at a workstation to see how wireframe characters are posed. After a few minutes working with the mouse, Grim leaned back in his chair and said, "I've seen some amazing things here today that I never would have imagined possible. I don't pretend to understand everything I've seen, but I have a basic idea of what you do here. I have just one question to ask you... When I animated Snow White or Mickey Mouse, I had certain tricks to put the personality of the character across... a gesture, the raising of an eyebrow, a bit of acting... How do you do that sort of thing with your computer?"

The room went silent. Charlie paused for a moment and replied, "Well, Grim, you just put your finger on the thing we struggle with every day... Computer animation is still very new. We're constantly learning as we go. To answer your question, we study classic cartoons to learn those secrets from great animators like you."

In the space of an afternoon, Grim had gone from "How do they get the machines to hold a pencil?" to putting his finger on the main issue facing CGI animators. He was truly a remarkable man.

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EXHIBIT CATALOG: GRIM NATWICK IN THE MODERN AGE


Top Row: A Selection Of Natwick Animals (left to right) Chicken character designs from "Solid Ivory"* (Lantz/1947) / Lion doodle (after Jones' "Inki & The Lion")* (ca. 1947) / Tiger studio gag drawing* (ca. 1944) / Character design for Lantz Wartime cartoon (ca.1943) / Concept for children's book* (ca. 1947)

Middle Row: 1950s Commercials (left to right) Character design (ca.1959) / Self caricature of layout artist Art Heineman (UPA ca.1952) / Studio gag drawing depicting an animator being replaced by children cutting out paper dolls (UPA ca.1952) / Model drawing of Bert Piels (Piels Beer) by Tissa David from Grim Natwick animation (UPA ca. 1955) / Model drawings from unknown commercial by Tissa David from Grim Natwick animation (UPA ca.1955)

Bottom Row: Studio Gag Drawings Self caricature by Bill Melendez (ca. early 60s) / Studio gag drawing depicting Bill Scott explaining to a West coast animator how to dress like an East coast animator (UPA NY ca. 1952) / Three studio gag drawings by Bill Scott depicting the relationships between Grim Natwick, John Hubley and Scott (UPA NY ca. 1952)

* denotes a drawing by Grim Natwick

Next Chapter: THE GREATEST ANIMATOR WHO EVER LIVED (Studio Gag Drawings & Caricatures)

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Assistant Archivist, Joseph Baptista views the exhibit.
GRIM NATWICK'S SCRAPBOOK
An Exhibit Presented By The ASIFA-Hollywood Animation Archive
2114 W Burbank Bl
Burbank, CA 91506
Now Showing, Tuesday through Friday 1pm to 9pm

Many thanks to the Walter Lantz Foundation for providing the facilities for this exhibit, and to the Walt Disney Animation Research Library for providing the mattes.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
,

Stumble It!

Exhibit: Grim Natwick- Golden Age Animator

This post is just the tip of the iceberg... see reason number 4 on our The Top Ten Reasons To Support The A-HAA for links to more great biographies of important artists.

PART TWO: GRIM NATWICK IN ANIMATION'S GOLDEN AGE


In California, Walt Disney had seen some of Grim Natwick's animation of Betty Boop in "The Bum Bandit" and sent his brother Roy to New York to convince him to join them in Hollywood. Ub Iwerks had just left Disney to form his own studio, and an experienced animator was sorely needed to take his place. Roy Disney made Grim a remarkably generous offer, but Grim wasn't sold on going to work for the Disney brothers. He spoke to his friend Ted Sears on the West coast and was advised that Walt Disney was just a businessman- Iwerks had been the real creative core of the studio. So Grim decided that Iwerks' new studio was the place for him.


Click to read Disney's offer to Grim.
Several of Grim's former assistants and co-workers from Hearst and Fleischer were already working for Iwerks. Grim phoned Ub and offered his services, agreeing to work for less than half what Roy Disney had offered him. When Grim arrived at Iwerks, he was so accustomed to leading the crew of young animators, he hit the ground running. Ub had lost interest in animation at this point, and willingly handed over the day to day direction of the cartoons to Grim, while he focused on tinkering in his workshop behind the studio.

At Iwerks, Grim got the opportunity to direct, making a clear mark on films like "Jack Frost", "Room Runners", "Stratos Fear" and "Aladdin's Lamp". But he always loved a challenge. When Grim heard that Disney was planning a feature length cartoon based on Snow White and the Seven Dwarfs, he knew he had to be a part of it. Ub offered him a full partnership in the studio to entice him to stay on, but money wasn't Grim's primary concern. Animation was. Grim reluctantly said goodbye to his friends at Iwerks and joined the Disney studios.


Grim's first animation for Disney was the female lead in "Cookie Carnival". He received great praise from Walt for his work, and was assigned the female lead in the upcoming feature, Snow White to animate. Grim was given some of the studio's top assistants to work with- most importantly, Marc Davis, Les Novros and Jack Campbell. By the end of the picture, he had animated over 120 scenes, with six assistants working under him, producing as much as 35 feet of finished animation a week!

Grim's tenure at Disney was not without turmoil, however. Ham Luske had been promised the character of Snow White before Grim arrived at the studio, and he considered Grim's assignment to be an incursion on his territory. Although Luske had the directing animator credit on the film, he had little direct interaction with Natwick's unit. There was considerable tension on the lot between Walt's boys- the animators who had been with Disney for years- and the East coast animators who had been hired for the feature. Grim paid no mind to it, focusing on his work, but the bad feelings would eventually boil over.

Grim's assistant, Jack Campbell showed promise and wanted to animate, so he was allowed to move to Luske's unit as an animator. There are three Snow Whites in the finished picture... Luske's, Campbell's and Natwick's. Luske's girl is doll-like and close in style to the female leads in the Silly Symphony series (the scene with the bluebird in the forest is a good example), Campbell's girl showed a strong influence of rotoscope (the scene at the wishing well). Natwick's Snow White is the most lifelike and alive (the sequences where she investigates the Dwarf's cottage, the house cleaning scenes, the dancing scenes and the "Someday My Prince Will Come" sequence).


While Grim was putting in many hours of unpaid overtime, Dave Hand, the director, had promised a him bonus if the picture was a hit. But when the bonus checks went around, Grim was passed over, despite the fact that he was one of the key animators on the film. He contested the oversight with the paymaster and requested a copy of the draft to make a list of the scenes he had animated. He was disgusted to find that Luske's name had been substituted for his own on scenes Grim himself had animated. When Max Fleischer called to invite Grim to join him at his new studio in Florida, Grim left Disney without a second thought. The paymaster had arranged for a token bonus, but Grim didn't even bother to pick it up.


Looking back on the situation many decades later, Grim felt that perhaps he should have swallowed his pride and stayed on with Disney to work on Fantasia and Pinocchio. Gulliver's Travels wasn't Natwick's best work. He didn't have the support of talented assitants like Marc Davis, and the application of the rotoscope was much more limiting than it had been at Disney. But after the political struggles at Disney, the Fleischer Studio felt like home, and Grim enjoyed the company of his co-workers.


Grim Natwick Concept Drawing
For "Flies Ain't Human" (1941)
One afternoon, Max Fleischer visited Grim in his office and asked him to animate a sequence of Betty Boop for "old time's sake". He explained that Betty had been a great asset to the studio, but the series had run its course, and this was to be the final Betty Boop cartoon. (The cartoon in question was most likely "Musical Mountaineers".) Max expressed his appreciation and offered to make a gift of the character to Grim upon the completion of the film. Not knowing anything about the legalities of transferring ownership of a property, Grim did nothing about it. But years later, he read in the trades that the rights to Betty Boop had been sold by the Fleischers to King Features Syndicate for a great deal of money. Grim sued, but he had nothing in writing and lost the case. Although some writers have tried to belittle Grim's contribution to the creation of Betty Boop, saying that his part was minimal, history bears out the fact that the character was 100% the creation of Grim Natwick.


World War II made it difficult to find work as an animator, but Grim's old friend Walter Lantz was producing animated training films for the War Department. Grim returned to Hollywood to work for Lantz, where he had the opportunity to reunite with longtime friends like Shamus Culhane and Dick Lundy. In fact, Grim picked up his lunchtime game of horseshoes with storyman "Bugs" Hardaway right where they had left it when he left Iwerks ten years earlier! Lantz's friendly, family atmosphere appealed to Grim, but he didn't become complacent. He reinvented his style to suit the brash, slapstick style of animation at the time, and succeeded in creating some of the finest animation ever produced at Lantz.


Lantz Animators in 1944 (Back Row: Paul Smith, Grim Natwick, Sidney Pillet, Bernard Garbutt Front Row:Les Kline, Shamus Culhane, Pat Matthews, Dick Lund, Emery Hawkins)
Grim's earliest work at the studio included "Take Heed Mr. Tojo" starring Hook, and "Enemy Bacteria", one of the most successful Wartime training films. His great animation for Dick Lundy and Shamus Culhane stood out in films like "Who's Cookin' Who", "Bathing Buddies", "Ski For Two" and "Solid Ivory". In his autobiography, Walter Lantz cited Natwick as the best animator he ever had the pleasure of working with.

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EXHIBIT CATALOG: GRIM NATWICK GOLDEN AGE ANIMATOR


Top Row: (left to right) Girl doodles* (ca. 1936) / Snow White Animation Rough* / Left: Character designs from "Funny Face"* (1933) Right: Animation drawing from "Stormy Seas"* (1932) / Studio gag drawing from Iwerks / Tracings from Natwick Animation of Wally Walrus from "The Beach Nut" (1944)

Middle Row: (left to right) Girl doodle (ca. 1936) / Girl doodle (ca.1940) / Studio gag drawing depicting Ub Iwerks as a boy playing hookey from school* / Studio gag drawing for Art Turkisher* / Character designs from "Enemy Bacteria"*

Bottom Row: Character design for Miss X from "Abou Ben Boogie"* (1944) / Caricature of Lantz Ink & Paint girl / Character designs (ca. 1940) / Character design for "Sliphorn King of Polaroo" (1945) / Animation drawing from "Abou Ben Boogie"* (1944) / Animation drawing from "Who's Cookin' Who?"* (1946)

* denotes a drawing by Grim Natwick

Next Chapter: GRIM NATWICK IN THE MODERN AGE (UPA and beyond)

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Assistant Archivist, Joseph Baptista views the exhibit.
GRIM NATWICK'S SCRAPBOOK
An Exhibit Presented By The ASIFA-Hollywood Animation Archive
2114 W Burbank Bl
Burbank, CA 91506
Now Showing, Tuesday through Friday 1pm to 9pm

Many thanks to the Walter Lantz Foundation for providing the facilities for this exhibit, and to the Walt Disney Animation Research Library for providing the mattes.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
,

Stumble It!

Exhibit: Grim Natwick In New York

This post is just the tip of the iceberg... see reason number 4 on our The Top Ten Reasons To Support The A-HAA for links to more great biographies of important artists.

PART ONE: GRIM NATWICK'S EARLY YEARS


Grim Natwick's career in animation began in 1917 at International Film Service Productions, managed by Gregory LaCava. The studio was owned by William Randolph Hearst, who wanted to exploit his comic strip characters in the new medium of the animated cartoon. LaCava had been lured away from Raoul Barre's studio where he had been working as an animator. His organizational skills were put to good use setting the studio on the right track, but he was having trouble finding experienced animators. He did however, know of a great draftsman who was working as a sheet music illustrator- a classmate from art school...

LaCava enlisted Grim to help out for "for two weeks or so" until he could locate experienced animators. Grim's first task was to animate a racehorse in a Happy Hooligan cartoon. He spent more than a week on the sequence experimenting and struggling, and at the end of the two weeks, he was ready to quit. But LaCava told him that Hearst would pay him the unheard of amount of $100 a week if he would stay on. Money talked, and ultimately, Grim took to animation like a duck to water. The two weeks ended up stretching into over seven decades.

Around 1920, Grim took a few years off to study art in Vienna- drawing from life, landscape painting, portraiture- a full classical art education. He returned to New York a much stronger artist than he had left. International Film Service no longer existed, but Bill Nolan had organized a studio to produce Krazy Kat cartoons. The series bore little resemblence to George Herriman's classic comic strip. The animation was done using the "slash system" and animators were expected to not only assist their own scenes, but to ink them as well. The artists at the Krazy Kat Studio at this time included some of the best in New York, two of whom- Walter Lantz and Jimmie (Shamus) Culhane- would work with Grim again much later in his career.

In 1929, Grim joined the Fleischer Studios. Fleischer had just made the transition from silent films to sound, and was abandoning the high contrast inked look of the Out of the Inkwell cartoons for a more rounded style with a full range of gray tones. Disney had just raided the studio for talent, taking several key animators, including Dick Huemer, back to California with him. A few months later Ted Sears headed West. Grim was left with a group of inexperienced, but enthusiastic and talented young artists. He quickly whipped the crew into shape and provided the Fleischers with some of the most imaginitive animation ever produced at the studio. We've featured two cartoons from this period here in the past... Swing, You Sinners and Mariutch, both from 1930.

One day, Dave Fleischer handed Grim a photograph of singer, Helen Kane and asked him to design a caricature. Fleischer had found a sound-alike, and planned to use her in the upcoming Talkartoon, "Dizzy Dishes". Grim exaggerated Kane's wide eyes and rosebud mouth, creating a slightly coarse, but strikingly original design. A few weeks later, Dave asked Grim to design a girlfriend for Bimbo to star as the "fair young maiden" in a cartoon adaptation of the popular song, "Barnacle Bill the Sailor". Grim streamlined and refined his caricature of Kane for the part. But Dave Fleischer objected, insisting that since Bimbo was a dog, his girlfriend should also be a dog. Grim quickly sketched Betty Boop's head on a four legged canine body. He held up the drawing next to the pretty girl design, and asked, "Which would you rather have as your girlfriend? A girl? Or a dog?" Dave laughed and agreed that the pretty girl was the right choice.

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EXHIBIT CATALOG: GRIM'S EARLY YEARS


Top Row: Animation From Hearst & The Krazy Kat Studio (left to right) Drawing from "Judge Rummy" cartoon* (ca. 1918) / Concept sketch for unproduced series based on Cliff Sterrett's "Polly & her Pals"* (ca. 1926) / ibid* / ibid* / Self portrait of Grim Natwick* (ca. 1926)

Middle Row: Animation From Fleischer (left to right) Animation drawings from "Mariutch"* (1930) / Animation drawing from unknown film* - Animation drawing from "Mariutch"* / Animation drawings from "Swing, You Sinners"* (1930) bottom dwg- collection of Kent Butterworth / Character designs for Bimbo* (ca. 1930) / Character designs for Bimbo in "Barnacle Bill The Sailor"* (1930) / Caricature of Grim Natwick by Rudy Zamora - Self portrait of Grim Natwick* (ca. 1930)

Bottom Row: Anatomy Studies After Bridgeman* (ca. 1920)

* denotes a drawing by Grim Natwick

Next Chapter: GRIM NATWICK, GOLDEN AGE ANIMATOR (Iwerks, Disney, Lantz)

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Assistant Archivist, Joseph Baptista views the exhibit.
GRIM NATWICK'S SCRAPBOOK
An Exhibit Presented By The ASIFA-Hollywood Animation Archive
2114 W Burbank Bl
Burbank, CA 91506
Now Showing, Tuesday through Friday 1pm to 9pm

Many thanks to the Walter Lantz Foundation for providing the facilities for this exhibit, and to the Walt Disney Animation Research Library for providing the mattes.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
,

Stumble It!

Exhibit: Grim Natwick's Scrapbook Introduction

This post is just the tip of the iceberg... see reason number 4 on our The Top Ten Reasons To Support The A-HAA for links to more great biographies of important artists.


The ASIFA-Hollywood Animation Archive is pleased to present an online exhibit of material from the collection of legendary animator, Grim Natwick. If you are in the area, stop by to see the exhibit.

GRIM NATWICK'S SCRAPBOOK

INTRODUCTION

Grim Natwick is undoubtedly one of the most influential animators who ever lived. His career spanned the entire history of animation- from its earliest days in New York to Richard Williams' Cobbler and the Thief in recent times. Grim worked at many of the major studios- Hearst, Fleicher, Iwerks, Disney, Lantz, UPA, Jay Ward, Melendez and Richard WIlliams. He animated in every style, but was able to maintain his own personal flavor, regardless of whether he was animating for modern studios like UPA or cartoony ones like Fleischer. If one had to define the single element that set his animation apart, it would have to be that his characters always seemed to have a genuine spark of life.

Grim was a friend of mine. I spent many entertaining afternoons with him on his porch, listening to his memories of "the old days". Grim remembered everything. I once mentioned the name of an assistant animator he worked with at Fleischer. Grim not only recalled working with him more than half a century before, he remembered his bowling scores! When Grim passed away at the ripe old age of 100, his family asked me to organize his artwork. Whenever Grim left a studio, the contents of his desk was emptied into boxes and sent off to his storage locker in Missouri. When all of the boxes arrived for sorting at his apartment in Santa Monica, I was astonished to find thousands and thousands of drawings- amazing examples from a career that spanned more than 75 years.


The drawings that were most precious were the gag drawings and caricatures that grew on the walls of the studios like leaves on a tree. There were also many important sketches documenting Grim's thought process- the roughs that were usually thrown in the trash after a job was completed. These are the drawings that make up this exhibit. I hope this exhibit gives you a clear idea of who Grim Natwick was as an artist and as a person. -Stephen Worth

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THE ONLINE EXHIBIT CATALOG

• Introduction: Grim Natwick's Scrapbook


• Part One: Grim's Early Years In New York (Hearst/Krazy Kat/Fleischer)
• Anatomy Studies
• "Swing, You Sinners" (1930)
• "Mariutch" (1930)


• Part Two: The Golden Age of Animation (Iwerks/Disney/Lantz)
• Disney's Offer
• Natwick on Iwerks
• Iwerks Model Sheets


• Part Three: The Modern Era (UPA and beyond)
• UPA Model Sheets
• Post-UPA Commercials


• Part Four: The Greatest Animator Who Ever Lived (Studio Gag Drawings and Caricatures)

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Assistant Archivist, Joseph Baptista views the exhibit.
Many thanks to the Walter Lantz Foundation for providing the facilities for this exhibit, and to the Walt Disney Animation Research Library for providing the mattes.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
,

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Biography: Grim Natwick On Animation Design

This post is just the tip of the iceberg... see reason number 8 on our The Top Ten Reasons To Support The A-HAA for links to more great art instruction posts.


Mickey Mouse Hand Model Sheet by Les Clark ca. 1932
Grim Natwick was a remarkable artist. His career as an animator spanned the entire history of animation, from silent Mutt & Jeff cartoons all the way through Richard Williams' The Thief and the Cobbler. I don't know of anyone more qualified to answer the age-old question...

Who invented the three fingered hand?
Grim studied art in Vienna soon after the end of World War I. Included with this article are scans of Grim's anatomy studies from a little before his studies there. Some of you may see a similarity with Bridgeman's wonderful books on constructive anatomy. Grim was in New York when Bridgeman was teaching there, so it's entirely possible that these drawings were done studying under Bridgeman himself.



DESIGN FOR ANIMATION
By Grim Natwick

Who invented the three-fingered hand? Someone way back in the dark ages of animation got tired of drawing hands with four fingers and simply left one off, and cartoon hands have been much easier to animate ever since. It was a stroke of genius. The four fingered hand disappeared from animation until "Snow White" (1937). Somehow a pretty girl didn't look right with only three fingers. But the Seven Dwarfs still had three fingered hands.


Characters and drawing styles changed as animation became a popular form of entertainment. Straight lines were changed to curved lines- square shapes became round shapes. Curved figures moved better on the screen and eliminated what we used to call "strobe".


Mickey Mouse was a good example of a character designed to eliminate the early problems of animation. His head was a ball with a rounded lump for a nose, a few circles for eyes, and two frisbees for ears. His body was shaped like a pear or gourd. Four pieces of garden hose were used for arms and legs. His hands were just two bunches of peeled bananas. Four old-fashioned donuts served as cuffs and anklets. He had a hair snake for a tail, and his shoes were two boxing gloves with the thumbs cut off. He animated perfectly. Mickey has changed through the years, but the formula is still the same.


By 1930, special artists were assigned the job of designing characters for animation. Cartoon stories had become more sophisticated and so had the viewing audience. The characters became individuals- stars- a part of Hollywood. A whole galaxy of heros and heroines have become famous in distant corners of the globe. At a recent animation festival in Zagreb, Yugoslavia, several Chinese animators appeared wearing Betty Boop buttons. Mickey Mouse, Donald Duck, Bugs Bunny, Woody Woodpecker and the Flintstones are as well known in Paris, London and even Gnosjo, Sweden, as they are in Oshkosh, Wisconsin. They have become world classics, and good design and good drawing have made them so.


The great animators were almost always good draughtsmen. Milt Kahl, Marc Davis, Frank Thomas, Ollie Johnston, John Lounsbery, Ward Kimball- These men drew exceptionally well. Among the animators who preceded them, those who could stay in the saddle when the wind was blowing were talents like Dick Huemer, Bill Tytla and the enigmatic Art Babbitt. Babbitt always said that he hated to draw, yet he animated the "most beautiful of all Queens" in Disney's "Snow White". He drew the complicated Mushroom Dance in Fantasia, an animation masterpiece that required the mind of a ballet dancer and the patience of a Saint, which Babbitt is not. One could name a host of beautifully drawn characters that Art Babbitt "hated to draw".


How vital a part does drawing play in animation? Is it more important than a dramatic sense, a delicate feeling for humor, spacing and timing?

While an animator may borrow craftsmanship from an actor, he is faced every day with playing a new role, acting out a new scene, breathing life into a new character. His tools are ordinary sheets of paper, and an ordinary lead pencil. If his drawings lack magic, a scene will be a failure.


Can one compare animation with the more dignified art of easel painting? Is a Ward Kimball any less talented than Seurat? Or is Bill Tytla less gifted than Raol Dufy? If we transpose the question to a more familiar area of the culinary arts- the Art of Cookery- one could say that one chef prepares a meal of barbecued spare ribs with Spanish sauce and chilled beer; while the other serves wild pheasant under glass with Rhone River wine and truffles. Either meal could taste best at a chosen time and a chosen place.


If Claude Monet had tried to draw a Mickey Mouse, the result would probably have been a real gnocchi- a dodo! On the other hand, if you had asked a Les Clark or a Freddie Moore to paint purple haystacks or pointillistic water-lillies, the result might have been equally disappointing. They are two different art forms.


For more posts on Grim Natwick, see... Grim Natwick's Scrapbook and the Grim Article on Michael Sporn's Splog.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

10.15.08
.

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Biography: Three Interesting Documents

This post is just the tip of the iceberg... see reason number 8 on our The Top Ten Reasons To Support The A-HAA for links to more great info on the careers of great animators.


A couple of days ago on The Animation Guild Blog, Steve Hulett posted a portion of a letter to Grim Natwick from Roy Disney that I gave to Tom Sito to use in his new book, Drawing The Line. The xerox of the second page had been misplaced, so I'm posting it complete here along with the story behind it.

GRIM NATWICK JOB OFFER FROM ROY DISNEY

In 1930, Ub Iwerks unexpectedly quit Disney to form his own studio with Pat Powers. This left Disney in a very tough position. He had contracts to fill for cartoon shorts without a lead man to supervise. Disney hired Ted Sears away from Fleischer, and encouraged him to recruit other top animation talent in New York to fill the void left by Iwerks' departure. Sears' top prospect was his coworker at Fleischer, Grim Natwick.

Grim was comfortable in New York, and hadn't considered moving West, but Sears told him that Disney was doing great work and there was money to be made. When Sears relocated to Hollywood, Natwick sent word with him that he was willing to talk with Disney about making the move. Roy Disney wasted no time in making the trip to New York to try to get Grim to commit. Grim invited him over to his apartment, and they spent the afternoon relaxing, eating and listening to a ball game on the radio- doing just about everything but talk business.

When time came for Roy to leave, he asked Grim what it would take to get him to join Disney. Grim really didn't want to move, but he thought Roy was a nice guy, and he didn't want to hurt his feelings. So he told him that he would go to Hollywood for $400 a week. (At that time, he was making $50 a week at Fleischer!) Roy told him that he would have to discuss it with Walt, and he would get back to him. Grim figured that he wouldn't hear back, but a couple of weeks later, this letter arrived in the mail...



Grim was always the sort of person who welcomed new opportunities, and the prospect of making nearly three times what he was being paid by Fleischer was enough to make him willing to go West. He called a few of his friends who had already made the trip to Hollywood and asked them if the Disney brothers were on the level. His friends told him about Iwerks' unfriendly departure from the studio, and they explained that Walt and Roy were just businessmen- that Iwerks had been the real creative spark behind Mickey Mouse. Some of Grim's coworkers at Fleischer had already joined Iwerks at his studio in West Los Angeles, so Grim had them offer his regards to Ub. Within a few weeks, Grim was packed up in his car driving West to work for Iwerks for $75 a week!

In his later years, Grim would laugh about being crazy enough to pass up $200 a week in the height of the depression. It's likely that no one at the Disney Studio without the Disney surname was making that much at the time. Grim made a good choice though. When he arrived, Iwerks handed over the day to day supervision of the films to him, and he directed some wonderful Flip the Frog, Willie Whopper and Comicolor cartoons along with many of the same kid animators he had supervised at Fleischer. When Grim heard that Disney was starting work on a cartoon feature in 1934, he couldn't hold off any longer. He joined the Disneys and did the lion's share of the animation of the title character in Snow White.

For more on this subject, see... Grim Natwick's Scrapbook

LETTER FROM CHARLES MINTZ TO VIRGINIA DAVIS

Virginia Davis played the live action Alice in Disney's Alice Comedies, beginning with the first film, "Alice's Wonderland" in 1923. Her family relocated to Hollywood from Kansas City to follow Disney, and in 1925, her mother decided the time had come to demand more money for her services. There was no lack of child actresses in Hollywood at the time, so Walt and Roy promptly called the bluff and replaced her. Virginia's mother went to the department store and bought dolls of every major cartoon star of the day, and photographed Virginia holding them. She sent the photos to the producers of the cartoons, along with a letter subtly suggesting that "Disney's Alice likes your cartoons!" It didn't result in any jobs for the young actress, but it did produce one very interesting letter in response...

This letter is from Charles Mintz- the man who, along with his wife Margaret Winkler, engineered the takeover of the Disney Studio in 1928. Yes, this letter is proof that Disney's "Alice" offered to work for the man who stole Disney's "Oswald"!



DICK HUEMER'S 1945 DISNEY CONTRACT

I stumbled across a pair of contracts between Dick Huemer and the Disney Studios. The first was dated 1936, and the one I'm posting here is from 1945. The two documents are identical, with one small exception... the insertion of the clause, "...subject further to any subsisting and current agreements entered into with recognized labor unions having jurisdiction over the Employee". This simple phrase was brought about by a battle that almost tore the studio apart. The fascinating story of the Disney strike is told in Tom Sito's new book Drawing The Line. I hope that Tom or Steve Huelett will remark further on this document in the comments below and in The Animation Guild Blog.






For more information on Dick Huemer's amazing career, see... Dick Huemer's Family's Site.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

10.02.08
.

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Filmography: Mariutch 1930

This post is just the tip of the iceberg... see reason number 7 on our The Top Ten Reasons To Support The A-HAA for links to more great cartoons to study.

We continue to digitize and master the Fleischer Bouncing Ball Screen Songs for inclusion in our database. These cartoons haven't been seen since they were syndicated for television in the 1950s. Today's cartoon is a real gem... "Mariutch" (1930).

Up to now, the history of animation has been told by studio, or by character. But the true history of animation is the story of the people who created these cartoons. "Mariutch" is important because it vividly illustrates the impact that one man had on the Fleischer Studios.

You might remember that we posted a 1929 Screen Song a few weeks ago... It was titled, "I'm Forever Blowing Bubbles"...



"I'm Forever Blowing Bubbles" looks very much like the Screen Songs and Out of the Inkwell cartoons that preceded it... stark white backgrounds with heavy black lines around the characters. This was the look of the "slash system", a technique using overlapping paper cutouts which predated painting the characters on celluloid. The sound synchronization in this cartoon is pretty clumsy, and charming as it is, some of the drawing and animation is primitive as well.



This style of animation was par for the course at the Fleischers in 1929. But when Grim Natwick joined the studio in early 1930, the look of the Fleischer films changed completely. A full range of gray tones was added to both characters and backgrounds. The animation became much more fluid and well-drawn, thanks in great part to Grim's expert draftsmanship. Along with his crew of kids... Jimmie Culhane, Willard Bowsky and Rudy Zamora, Grim Natwick proceeded to animate things that had never been seen before on the cartoon screen.




"Mariutch" appears to have been animated almost singlehandedly by Grim. It includes many examples of his experimental movement and timing, which you can see in abundance in another cartoon we posted a few months back, "Swing, You Sinners". Most of all, this cartoon is notable for the early examples of "Grim girls".



Throughout his career, Grim Natwick excelled at animating girls. He created Betty Boop for the Fleischers, refined and expanded upon his girls at Iwerks, and ended up at Disney animating the ultimate Disney heroine, Snow White. In later years, he would recharge himself between scenes by drawing all types of girls, lettering in a suitable name for them alongside the sketch. Here are a couple of animation drawings by Grim from "Mariutch"...




The narration and singing in this cartoon features the first recording star, Billy Murray. He was famous for his dialect songs and made hundreds of records of songs like this for Victor, Edison and Columbia. I hope you enjoy "Mariutch". We'll have another Screen Song for you soon.



Mariutch (Fleischer/1930)
(Quicktime 7 / 15 megs)

PLEASE NOTE The text and media files on the ASIFA-Hollywood Animation Archive Blog are not to be duplicated, redistributed or hosted on other websites without the prior written permission of the Board of Directors of ASIFA-Hollywood.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

8.15.08
.

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