Previously in Krazy Kat cartoon adaptations:
- Krazy Kat and Ignatz Mouse At The Circus, 1916 sometime.
- Krazy Kat in Love’s Labor Lost, January 30, 1920.
- Krazy Kat: The Stork Exchange, December 17, 1927.
There was never a time sound wasn’t possible for motion pictures. The earliest motion pictures in the United States were made by Thomas Edison and his staff; it would take a certain peculiar obliviousness to not think of marrying their sound recording devices to their moving-picture recording devices. But practical sound pictures, well, that’s a bigger challenge. Having the sound on a device separate from the film is an obvious practical problem: even if the picture is synchronized perfectly to start, keeping it synchronized, especially as the film breaks and has to be repaired, is hard to solve. Then, too, a moving picture can be presented to a larger crowd basically by projecting it at a screen farther away; for a record player to be heard by more people requires making it louder, which would have to wait for good amplification technology to come.
After several false starts sound pictures finally caught on in the late 1920s, and somewhat remarkably it changed cartoons as well as live-action pictures. Live-action pictures took a couple years to quite adapt to the new technology; early sound cameras were much bulkier and less mobile affairs than silent cameras were, and for several years as actors were learning to speak, cinematographers were learning how to let the camera not sit fixed at a scene. Animation had to adapt too; it’s easy enough to drop the intertitles or the word balloons that carried what dialogue couldn’t be pantomimed, but also, suddenly, cartoons could be set to music.
They’d always had music, of course, in cinema orchestras playing along, but now the animators could count on particular pieces of music and synchronize the action to that. And I think there’s a noticeable change between the late silent and the early sound cartoons: setting the action to music encourages planning out the scene ahead of time, so that the key events happen at the right moment. Silent cartoons have a tendency to flow from one event to another with a kind of dream logic; early sound cartoons are more likely to be made of individual scenes that make sense, even if the whole reel gets a bit baffling. It would take some time for the plot of the whole cartoon to be sketched out ahead of time.
And in the early days of the sound cartoon, yes, Krazy Kat got adapted to the motion pictures again. These cartoons, some 97 of them if Wikipedia is complete, were made by Charles Mintz — just as the previous run (also of 97 pictures; hm) was — for Columbia Pictures. And for this, the fourth attempt in fifteen years to bring George Herriman’s comic strip to the motion picture screen, we have … well, “Weenie Roast” here is peppy. It’s cheerful and a little weird, playful with a few bits of inexplicable cruelty. It’s built around some nice recognizable music bits and then goes riffing around the idea of things you might see at the seashore that I guess is near Coney Island or an equivalent park, to a conclusion which we might call arbitrary. Inanimate objects come to life and struggle against their own destruction. My love put it perfectly in describing this as “every 1930s cartoon”.
So it is. This is an early Mickey Mouse cartoon with an oddly-drawn Mickey. It’s a Max Fleischer Bimbo cartoon with Bimbo and Betty Boop way off-model. While the comic strip was still running as successfully as it might, a cartoon series that shared nothing but the title was as viable as anything else on the screen at the time. It’s probably nothing personal; the alliterative draw of a “Crazy Cat” seems to me likely to create a cartoon series even if there had been no comic strip.
Here by the way is another curious change that coincided with successful sound pictures, but that as far as I can tell has nothing but coincidence to do with it: the triumph of cell animation. From about 1930 hand-drawn animation would typically be done by drawing and painting characters on pieces of transparent cellophane, placed in front of backgrounds and photographed. Before then, though, the characters being animated might be drawn just on sheets of white paper, placed against white-paper backgrounds, with just as much as needed to change one frame to the next replaced. The edges of ripped paper can be noticed in these silent cartoons, looking like ghosts flickering around a character rubbing his hands. With a full cell there’s no edges to be seen. I understand why cell animation won out overall — it seems to offer great production advantages, particularly in making drawings reusable — but why it should have matched so well the introduction of sound pictures is a mystery to me. Maybe something in the new cameras suggested it.