So, something new’s added to the Talkartoon family for this short, released the 1st of November, 1930. Bimbo’s emerged from his prototypical form as this slow-motion screwball character who’s been around five-or-so times. He’s worthy of a name. It’s not given on-screen because of course not. But it’s there in the title card that I assume is the original title card and not a later addition.
There’s a couple cartoon premises that seem to always work for me. One of them is the orchestra, typically playing the Hungarian Rhapsody Number Two. And another is this short’s theme, that of skyscraper-building. My supposition is that the premise gives the cartoon a natural, logical structure. The underlying material is necessarily ordered, so the cartoon can riff on that and have pretty near every joke land. (And one of the all-time best-ever cartoons is Friz Freleng’s “Rhapsody in Rivets”, fusing the two premises.) With skyscraper-building cartoons I think there’s another factor: all those steel girders. That is, to use the setting at all you need to draw these big steel meshes, often in perspective. It’s hard work drawing a plausibly in-construction skyscraper, and I think the knowledge that they put all this work in influences the audience. The dazzling visual can carry a weaker script.
Skyscraper-building would probably always be popular; the idea just boggles the mind to start. The skyscraper races of the late 1920s added fine and ridiculous drama to the construction, and if you haven’t read up about the spire on the Chrysler Building and its secret installation please go look that up now. Thank you. In the early 30s the last spurt of skyscrapers under construction, such as the Empire State Building and Rockefeller Center, were much-needed work for thousands of people, and a curious note of not-yet-broken ambition. Great themes to hang art on.
So. Bimbo finally gets a name this cartoon. But he’s not called by name in the cartoon. He’s also barely in the cartoon itself. I suppose we do see him repeatedly, but I’m not sure that he stands out compared to the other workers. Dragging his feet to get to work and tripping over two bricks, working sleepily, but racing home, is fine enough, but it’s not a deep bit of personality.
And it feels odd that Bimbo trips over two bricks but hasn’t got a third punchline. And that there’s two strings of him sleepily laying mortar on bricks but not a third. The so-called Rule of Three is, like many comic rules, better a guideline for not screwing up a premise. But this does feel like punch lines were set up and then unresolved. I’d suspect scenes lost to editing but it’s tough to figure what they would be or why.
There’s suspiciously-Mickey-Mice all over this short. And even a suspiciously-Felix-the-Cat too, at about one minute in, having swallowed a quartet of mice while they passed behind a billboard. Which was almost my moment of weird body horror this short. All the while they passed behind the billboard I was thinking about oh no, they’re going to go there. But somehow the skyscraper reaching up high enough its structure pierces the Moon hit me harder. It’s a solid joke, especially as I didn’t suspect it coming.
A couple years after this short Disney would create the multiplane camera, making it possible to have animated elements moving in foreground, middle-ground, and background. The Fleischers would one-up that by building a multiplane camera that could also use real-world sets, for some live-and-animated scenes that are still dazzling. This short might prototype that, by having the girders and people in the foreground moving while the background’s held fixed. It’s a simple trick, but an effective one: there’s distance here.
A skyscraper-building cartoon has three compelling end points: the work day ends, or the building’s finished, or the building collapses in ruin. (And note how “Rhapsody in Rivets” does it.) This short takes mostly the first ending, fair enough, albeit with a weird coda after Bimbo’s rushed home from work. So, once more, I’m satisfied.