2007 Review: 1 Carlo Vinci

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.


From Carlo Vinci: The Training of a Golden Age Animator
August 28th, 2007
NUMBER 1: CARLO VINCI

The history of animation is populated by scores of remarkably talented animators. But Carlo Vinci was much more than just an animator. "Legend" is a word that has been overused in recent times, but when applied to Vinci, it's perfectly apt.

Carlo Vinci was born in New York City in 1906, the only son of Italian immigrants. He showed artistic talent from a very early age, and after graduating from high school, he was awarded a scholarship at the prestigious National Academy of Design. Here he received a full classical arts education. We recently posted the syllabus of his curriculum at the National Academy.


From How To Pick An Animation School December 18th, 2007

The Academy believes firmly in the development of individuality but denies that such development is helped by the ignoring of the universal heritage, the heritage of the graphic manifestations of Man's temperament and impressions. It therefore approves careful consideration of the Art of the past and its correlation with the Art of the present. It encourages progressive experiment admitting the vitality of real Art under and form and condemning only ignorance, insincerity and the contempt which is born of them. -Edwin H. Blashfield, Chair of the National Academy of Design

Around 1933, Vinci joined the staff of Terry-Toons. His classical art training enabled him to advanced to the position of animator in less than a year. In the height of the depression, Vinci was earning $75 a week, a very good salary for the time. His family allowed us to digitize a book that describes the production process at Terry-Toons in the mid 1930s... Nat Falk's How To Make Animated Cartoons.


From Nat Falk's "How Animated Cartoons Are Made"
January 4th, 2007
The next chapter of this fascinating book explains how to animate, with lots of examples of Vinci's amazing animation.


From Nat Falk's "How To Animate" February 3rd, 2007
We also posted a batch of Terry model sheets from Vinci's collection...


...and a cartoon titled "The Temperamental Lion", which features some great Vinci scenes.


From "The Temperamental Lion" January 6th, 2007
John Kricfalusi and I visited Carlo's widow, Margaret Vinci last June. While we were there, she shared a bundle of notes that Carlo had sent her when they were courting. Since they lived on opposite sides of the city, they could only be together one day a week. Between visits, he sent her a note every day in the mail, and on each one was a cartoon commenting on the happenings of the day...


From Carlo Vinci Notes June 5th, 2007
Back in September, a 19 year old aspiring cartoonist named Bruce Watkinson wrote in to say...

The post that blew my mind the most was Carlo Vinci: The Training of a Golden Age Animator, especially the following quote: "Vinci's job was to animate, but his occupation was ARTIST. The same was true of most of the other great talents in animation- Marc Davis, Milt Kahl, Grim Natwick... The reason they were great animators was because they were great artists." Now I’m doing my damn best to be the best, to best the best, and maybe one day to teach what I know to anyone who is interested.

From Carlo Vinci: Training of a Golden Age Animator June 5th, 2007
I agree with Bruce. The most important post of this past year was Carlo Vinci: Training of a Golden Age Animator. Carlo Vinci left behind a lot more than just classic cartoons. He left behind a legacy that will inspire and enlighten artists for generations to come.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Theory: How To Pick An Animation School

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 posts about art instruction.


Today, I read a post on Cartoon Brew titled When Angry Animation Students Attack. Apparently, an animation student became frustrated by the poor quality of instruction at his school, so he crapped out his final film and ended it with a credit for his professor that read, "Thanks for nothing."

This particular post resonated with me, because the most common question I'm asked by young artists is, "How should I pick an animation school?" They always expect me to recommend a specific school, but my answer usually surprises them. Before I tell you the advice I give them, take a look at this past post...

Carlo Vinci: The Training Of A Golden Age Animator

Carlo Vinci was one of the most talented animators who ever lived. When he passed away in 1993, he left behind a remarkable legacy. But of particular interest to students of animation was his collection of student work. Tucked away in a closet was a portfolio full of studies that chart his education. Vinci's family is generously allowing the ASIFA-Hollywood Animation Archive to document this material with the intent of reconstructing his education as a model for current students of animation.

Today, I'd like to share a brochure with you... This is the course outline for National Academy of Design, the art school that Carlo Vinci attended... I hope you take the time to read over this material carefully, especially if you are a student looking to pursue a career in animation. It will help you know what to look for in an animation school.


The Academy believes firmly in the development of individuality but denies that such development is helped by the ignoring of the universal heritage, the heritage of the graphic manifestations of Man's temperament and impressions. It therefore approves careful consideration of the Art of the past and its correlation with the Art of the present. It encourages progressive experiment admitting the vitality of real Art under and form and condemning only ignorance, insincerity and the contempt which is born of them.





The students have at all time free access to the Academy's large and valuable collection of standard and rare books on every branch of the fine arts... Of especial advantage to the student is the easy accessibility of the great collections in the Metropolitan Museum of Art, the New York Historical Society, New York Public Library, Brooklyn Museum, the City Hall, the Hispanic Society, and the galleries of innumerable private collectors and art dealers in the city, where the best American works and art treasures from foreign countries may be studied to better advantage than anywhere else in America.

REQUIREMENTS



SCHEDULE OF CLASSES

The class schedule runs six days a week from 9 in the morning until 4 in the afternoon. First year studios in drawing from sculpture, life drawing, portrait painting, still life painting, and composition run from two to three hours apiece. Second year courses consist of life drawing, sculpture from life, portrait painting, etching, composition, and mural decoration. And three hour night courses are offered in sculpture, life drawing, drawing from sculpture and composition.

First year students receive lectures in anatomy, perspective and art history. Second year students attend lecture classes in color theory, various printing techniques, stained glass, mosaic and the history of art and architecture.

COURSE OF STUDY


Note that students first draw from still life and sculpture, and only when they have proved their abilities, are they allowed to advance to drawing from life.






INSTRUCTORS




HISTORY OF THE SCHOOL



PAST GRADUATES






HOW DO I PICK AN ANIMATION SCHOOL?
Here's the surprising answer... You don't! Schools that specialize in animation as a trade do a lousy job of preparing you for a career in animation. While you're a student, you should focus on your core art skills- drawing, design, composition and color. Look for a school that can give you a solid classical art background. Avoid ones that just teach computer programs. You don't have to spend thousands of dollars to learn Maya!

Carlo Vinci was one of the greatest animators who ever lived, but he never took a class in animation. Instead, he spent three years of intense study to learn to be an artist. With the experience he gained at the National Academy of Design, he was able to learn animation and advance quickly on the job. It was the same for great animators like Marc Davis, Chuck Jones and Frank Thomas who studied at Chouinard on the West coast.

IT'S A LOT EASIER TO LEARN ANIMATION THROUGH SELF STUDY ONCE YOU'VE BEEN TAUGHT THE CLASSICAL ARTS THAN IT IS TO DO IT THE OTHER WAY AROUND. Start with the general skills and work your way towards the specific ones.


Students at the National Academy of Design
around the time Vinci attended.
You have an advantage that the Golden Age animators didn't have. Personal computers and inexpensive animation software make it easy to experiment and learn animation on your own. You have amazing resources on the web, like the $100,000 Animation Drawing Course, Mark Kennedy's Seven Golden Camels and John Kricfalusi's invaluable blog, All Kinds Of Stuff. You have no excuse for not learning to animate.

You can't buy an education, but you may be able to buy a degree. Students graduate without any marketable skills from good colleges every year. But that isn't the schools' fault. Your education is your own responsibility. It's not your professor's job to MAKE you learn. Learning is a life-long occupation. Apply yourself.

If you can't afford a university degree, you can still obtain a first class art education. Attend classes at your local community college and pick up copies of the Famous Artists painting, commercial art and cartooning sets on eBay. Self study is the key to becoming a great artist. Once you start to master the fundamental skills, THEN apply yourself to learning to animate.

If you follow this advice, you'll never have to make excuses for your lack of skill as an animator, and you'll never need to blame anyone else for your lack of education. Best of all, your education will form the foundation for any creative endeavor you undertake.

If you found this post to be useful, see also... The Training Of A Golden Age Animator, John K's Advice Letter, Ward Kimball's Advice Letter, CGI Animators Should THINK Like Animators, Live The Fabulous Lifestyle of a Hollywood Cartoonist, The Application Of Inspiration, How To Properly Use Reference, Incorporating Natural Forms, (Visual) Literacy, Why Do We Need An Animation Archive?, Parody: Whack Comics Part One and Ripoff vs Inspiration: Chaplin's Shadow

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Filmography: Gandy and Sourpuss in Aladdin's Lamp

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.


Over at John Kricfalusi's blog, All Kinds of Stuff, John posted an appreciation Gandy Goose and Sourpuss- the cartoon comedy team that were one of the inspirations for Ren & Stimpy.

I've long thought that the Gandy Goose cartoons are underappreciated. They're funny, well animated and have a great deal of variety. The early ones, in particular "Doomsday", have lavish production values. "Aladdin's Lamp" is a typical wartime short featuring the duo, and it includes a great jitterbug dance sequence by Carlo Vinci. (Vinci's hand is evident throughout this short.) I'll be presenting the very best Gandy Goose cartoon at the upcoming Treasures of the ASIFA-Hollywood Animation Archive benefit next month. You'll have to come to the screening to find out which one it is!









Gandy Goose & Sourpuss in
Aladdin's Lamp (Terry/1943)
(Quicktime 7 / 14.5 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.

If you found this post to be interesting, you'll also want to check out our... Profile of Carlo Vinci, The Training Of A Golden Age Animator, Carlo Vinci Notes, The Terry-Toons Studio Tour, Tytla and Terry: Jeckyl & Hyde Cat, The Temperamental Lion 1940, Catnip Capers 1940, Jim Tyer's Barnyard Actor 1955 and Terrytoons Lobby Cards

Many thanks to John Kricfalusi for donating this great cartoon to our archive.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive
.

Stumble It!

Biography: The Training of a 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.


If you have been reading our blog for a while, you're familiar with Carlo Vinci. He was a brilliant animator whose work you've seen many times in Mighty Mouse cartoons...

...and on The Flintstones.

You might remember that John K and I visited his family a few months ago...

This weekend I returned with Archive volunteers Joseph "JoJo" Baptista, Chris Allison and Mike Nassar to photograph some of the incredible artwork that lines the walls of Mrs. Vinci's beautiful home. Carlo Vinci left behind an important legacy, and the family is now sharing it with you.

It's interesting how different aspects of one's life can come together to point in the same direction. Recently, I was participating in an internet discussion forum where we were discussing the best way to educate aspiring animators. Some people in the discussion felt that basic drawing skills are necessary. Others believed that drawing is unnecessary for students aiming at a career in computer animation. There was disagreement over just what sort of education is best for a student animator. This led me to ask a question... What sort of education did golden age animators have?

Carlo Vinci provides the answer...


Carlo Vinci attended The National Academy of Design in New York. This isn't just any art college. This is one of the most prestigious art schools in the world. It's the school that Winslow Homer, Thomas Nast, William Steig, Norman Rockwell and James McNeill Whistler attended. Students are accepted by invitation, free of tuition or cost. The instructors are major artists who serve without pay as a public service. At the end of his studies, Vinci didn't just receive a diploma. He was awarded a medal and was given the honor of being able to put N.A. after his name. (Much like the Royal Academy in the UK awards R.A. status.)

Vinci's work at the National Academy included studying the work of classical painters. Here are two paintings he made after Boucher...



Yes. That's the work of the guy who animated The Flintstones!

Vinci had a life-long passion for learning. He studied sketching from life, painting in oils and watercolor, as well as sculpture and etching. He studied from early in the morning until late at night. Here is one of his student drawings- a self portrait.



His family told me that he was always working and studying. On weekends, he would paint in oils and watercolors. He painted portraits...



...and landscapes...


...and still lifes...


He was an accomplished illustrator...



...and he worked in a dozen totally different styles.

He even designed and painted murals and stained glass windows...


Carlo Vinci wasn't just an animator. He painted, sculpted, designed, illustrated... He worked in the fields of fine art, illustration and cartooning. He was a LOT more than just an animator.

Vinci's job was to animate, but his occupation was ARTIST. The same was true of most of the other great talents in animation- Marc Davis, Milt Kahl, Grim Natwick... The reason they were great animators was because they were great artists.

If you're an animation student, go back and read that last sentence again.

I'm not an animator. I studied graphic design at UCLA. I spent many months learning to spec type, do pasteup, calculate reductions on a Lucigraph and use a Rapidograph pen. A few years after I graduated, the Macintosh came out and all of those skills became obsolete. What I was left with when the dust cleared was my knowledge of composition, color and design.

If you're an animation student, focus on your core art skills, regardless if you plan to do hand drawn, CGI, cut out or puppet animation. Computer programs will come and go. You can always teach yourself Maya or Flash or whatever on your own time. Demand that your school provide you the same quality of education that Carlo Vinci had. Work hard. Study to become an ARTIST.

Read Illustrator Lainey Schallock's comments on this post in her blog, Miscellainy.

If you enjoyed this article, you'll also want to check out... How To Pick An Animation School, Profile of Carlo Vinci, Carlo Vinci Notes, The Temperamental Lion, John K on Flintstones Animators

Also see... An Interview With Playboy's Eldon Dedini, John Canemaker on Bill Tytla, Tytla At Terry: Mighty Mouse Meets Jekyll &' Hyde Cat 1940, The Pencil Test of Art Babbitt's Best Scene, and Remembering Berny Wolf

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

Stumble It!

History: Terrytoons Studio Tour 1939

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 history of animation told through the careers of great animators.


For more on the Terry Studios' production process, see our earlier post, How Animated Cartoons Are Made
Recently, the family of the legendary animator, Carlo Vinci lent us two 8mm films to transfer for the archive. I'll post about the other one soon, but today I have a special treat for you... a color film outlining the animation production process from Terrytoons in 1939!

Here are frame grabs of most of the people appearing in this short. If you can identify anyone, please let us know in the comments below.


Animator Carlo Vinci



Story Man Larry Silverman



Music Director Phil Scheib and Director Connie Rasinski


Animator Carlo Vinci and his assitant





Makin' Em Move (Terry/1939)
(Quicktime 7 / 30.7 megs)

Here is the cartoon we see the artists working on in this film...






Harvest Time (Terry/1940)
(Quicktime 7 / 13.8 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.

Many thanks to the Vinci family for sharing this with us! And thanks to Jerry Beck too for arranging the video transfer of this delicate original film.

For more information on Carlo Vinci, see our Carlo Vinci Cartoon Hall of Fame entry. Also see... Carlo Vinci Notes / Terrytoons Model Sheets and The Temperamental Lion / John K on Flintstones Animators / Nat Falk's How To Draw Animated Cartoons Part One: History Of Animation / Part Two: The Cartoon Studios / Nat Falk's How To Draw Animated Cartoons Part Three: How Cartoons Are Made, Part Four: How To Draw Animated Cartoons and Part Five: How To Animate

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

Stumble It!

Terry-Toons: Carlo Vinci Notes

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.



Last Friday, archive assistant Amir Avni, John Kricfalusi and I took a trip out to visit Carlo Vinci's family at the home of his wife, Margaret. Mrs. Vinci graciously welcomed us into her home for a tour of her collection of artwork belonging to her late husband. Carlo's animation desk, which he designed and built himself, still stands in his office just as he left it, with caricatures by co-workers hanging above it on the wall. Every room in the house has beautiful artwork filling the space. It was an awe inspiring experience to get a chance to see it all.


John K, Steve Worth and Margaret Vinci
Carlo Vinci was a remarkable artist. He received classical art training at the National Academy of Design in 1930. He joined Paul Terry's Terry-Toons soon after, and worked there for twenty years. He came West to join Joe Barbera at MGM, and ended up as the lead animator at H-B for twenty more years. But as I learned at my visit, those great achievements were only a small part of his story. In addition to cartooning, Vinci was an all-around fine artist, adept at oil painting, watercolor, illustration, stained glass and sculpture... in a variety of styles, from classical to baroque to art deco... with a wide range of subjects- still lifes, portraiture, landscapes and religious subjects. It was a mind blowing experience to discover the depth of talent behind a cartoonist we thought we already knew.


Carlo Vinci's son, Paul and grandson, John
with John K in front of Vinci's self-portrait
After we had viewed all the amazing artwork, Mrs. Vinci invited us to enjoy some home made Italian desserts with her family. Excited by everything we had seen, we had plenty of questions about Carlo and his wonderful career as an artist. We asked if she had met him before he started working for Terry-Toons or after, and she replied, "He was working for Mr. Terry when I met him. When we were courting, he lived in the Bronx, and I lived in Brooklyn. It was a long trip across town to meet for our date every Wednesday evening. Carlo would send me a little note with a cartoon every day in the mail when we couldn't be together. I've saved them all these years, but I don't suppose you would be interested in seeing them..."

Naturally, we were! Her son, Paul Vinci helped her to retrieve the hundreds of letters from a closet- all on Terry animation paper in envelopes with the distinctive Terry-Toons logo. Dating from 1938 to 1939, these charming little notes had a personal message, along with brilliant drawings depicting Terry characters. Paul commented that he himself hadn't seen the letters since he was very small; and even then, his mother only shared one or two with him. They had been bundled away carefully for over fifty years. Mrs. Vinci has kindly allowed us to share these drawings with you...


















We will be presenting more material by the great Carlo Vinci in the coming weeks. All of us at ASIFA-Hollywood appreciate Mrs. Vinci's generosity. Paul and John Vinci will be printing out this post and sharing it with her, so you can thank her yourself in the comments below.

For more information on this great animator, see our Carlo Vinci Cartoon Hall of Fame entry. Also see... Terrytoons Model Sheets and The Temperamental Lion / John K on Flintstones Animators / Ruff And Reddy And Pinky The Pint-Sized Pachyderm / Alex Toth Model Sheets / Nat Falk's How To Draw Animated Cartoons Part Three: How Cartoons Are Made, Part Four: How To Draw Animated Cartoons and Part Five: How To Animate

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

Stumble It!

Filmography: Tytla and Terry-Jekyll and Hyde

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.



Today, we continued to digitize our collection of Terrytoons. The second-tier golden age studios have been given short shrift in animation history books. It's unfortunate that book after book about Walt Disney and the Warner Bros. cartoons continue to be published when other studios, like Terry-Toons and Walter Lantz have never been adequately covered. The ASIFA-Hollywood Animation Archive is gathering together information on these studios with the hopes that we can raise the awareness of these neglected cartoons.

Here is a fabulous Terry-Toon featuring Mighty Mouse... Mighty Mouse Meets Jekyll & Hyde Cat. You might remember the recent postings we published here with John Canemaker's notes to a gallery exhibit of artwork by Bill Tytla, (Part One / Part Two). After leaving Disney during the strike, Tytla worked for a brief time at Terry-Toons before moving on to Famous Studios. This is one of his best cartoons for Terry during this period.




In particular, pay attention to Tytla's wonderful transformation sequence...








The animation of the cat running across the rooftops has a creepy sort of "man in a cat suit" feeling. At Terry-Toons, the animators were given much more latitude to handle scenes in their own particular style. Tytla takes full advantage of that in this cartoon.






Mighty Mouse Meets Jekyll & Hyde Cat (Terry/1944)
(Quicktime 7 / 13.8 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.

If you found this post to be interesting, you should also see... Canemaker On Tytla Part One and Part Two, The Temperamental Lion 1940, Catnip Capers 1940, Jim Tyer's Barnyard Actor 1955 and Terrytoons Lobby Cards

Many thanks to John Kricfalusi for donating this great cartoon to our archive.

Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

Stumble It!

History: Nat Falk's How To Make Animated Cartoons Part Five

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 history of animation told through the careers of great animators.

Here is the conclusion of Nat Falk's "How To Make Animated Cartoons". This section contains lessons on how to animate. There are some great examples here taken directly from cartoons by Terry, Lantz, Fleischer and Mintz. If you missed the first chapter of this rare book and would like to start from the beginning, see... Nat Falk's History of Animation. The rest of the chapters are linked at the bottom of this post.

HOW TO ANIMATE













For more from this rare book, see Nat Falk's "How To Make Animated Cartoons" Part One: History of Animation, Part Two: The Cartoon Studios, Part Three: How Cartoons Are Made and Part Four: Drawing For Animation.

For more drawing lessons, see The $100,000 Cartoon Drawing Course, Bill Nolan's Cartooning Self Taught and Willard Mullin On How To Draw Animals.

Thanks
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

Stumble It!

History: Nat Falk's How To Make Animated Cartoons Part Four

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 history of animation told through the careers of great animators.



Here is the first half of the last chapter in Nat Falk's "How To Make Animated Cartoons". This section contains a brief article by Walter Lantz dealing with the creation of Andy Panda, and lessons on how to draw animated cartoons. If you missed the first chapter of this rare book and would like to start from the beginning, see... Nat Falk's History of Animation. The rest of the chapters are linked at the bottom of this post.

Thanks to the family of the legendary animator, Carlo Vinci for sharing this great book with us!

HOW I CREATED ANDY PANDA
By Walter Lantz





HOW TO DRAW ANIMATED CARTOONS











For more from this rare book, see Nat Falk's "How To Make Animated Cartoons" Part One: History of Animation, Part Two: The Cartoon Studios Part Three: How Cartoons Are Made and Part Five: How To Animate.

For more drawing lessons, see The $100,000 Cartoon Drawing Course, Bill Nolan's Cartooning Self Taught and Willard Mullin On How To Draw Animals.

Next week will be a busy one! We will be posting the concluding chapter of this book; the Annie Awards are next Sunday, February 11th; and I have two amazing books loaned to us by the family of Clair Weeks to digitize. If anyone is available to volunteer Tuesday, Thursday or Saturday, please email me and let me know when you would like to come help out.

Thanks!
Stephen Worth
Director
ASIFA-Hollywood
Animation Archive

Stumble It!

Filmography: The Temperamental Lion 1940

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.

Today, we digitized some great Terrytoons model sheets that Carlo Vinci's family loaned to us...







This one is particularly interesting to me...



...because it's from one of the very best Terrytoons of the time, "The Temperamental Lion". Connie Rasinski created the goofy Bert Lahr lion character as the "King of the Jungle" for the classic cartoon "Doomsday" (1938) as well as "The Nutty Network" (1939). The model was adapted a bit in the late 1940s for "The Lyin' Lion", a film that includes some funny Jim Tyer animation...



...but the character was never better animated than he was by Carlo Vinci in this short... Check out his great scene of the lion singing!








The Temperamental Lion (Terry/1940)
(Quicktime 7 / 14.5 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.

Many thanks to the Vinci family for sharing their treasures with us!