Today my subject is the second of the two-reeler Popeye cartoons. Its original release was the 26th of November, 1937. This is one day short of a year after the previous two-reeler, Popeye the Sailor Meets Sindbad the Sailor. The credited animators are Willard Bowski, Geroge Germanetti, and Orestes Calpini, all of whom worked on Sindbad.
So, ah, this short. You see what the title is. I’m not quite sure that I need to warn people about its content. It’s got a lot of characters meant to be Arabian. And it was drawn in the 1930s. I don’t think there’s ethnic stereotypes direct enough to be offensive. But there’s stuff close enough to leave me uncomfortable. Most of it comes to Popeye being a surprisingly bad traveller, grumbling that he can’t read the menu or stuff like that.
This short opens gorgeously. One of the Fleischer’s greatest technical tricks was the setback camera. It let them use real, three-dimensional models as backdrop to animation. They used it to good effect. They had a knack for making models that looked like animated backgrounds. It — and a multiplane camera — get used for the opening credits. It’s almost a dare to the Disney studios, challenging them as masters of animation. Disney would respond by releasing Snow White and the Seven Dwarves the next month. So, yeah, Disney won the year. But it was a close one.
Still. As much as the setback camera got shown off in Popeye the Sailor Meets Sindbad the Sailor, here it gets used. I lost track of how many backgrounds are three-dimensional settings. But it seems less showy to me. The setback seems to be used only to make the camera moves more interesting. It strikes me as being like the difference between a technology demonstration and a mature use of the technology.
As with Sindbad the short opens with the heavy, looking like Bluto playing a part, singing about himself. It’s not as long or as catchy a song as Sindbad’s bragging song. It’s not bad. But Sindbad had a nice call-and-response bit, and call-and-response songs are always more fun. Popeye, Olive Oyl, and Wimpy get on screen much sooner than in Sindbad. They’re even given something of a reason to encounter Abu Hassan, with Popeye and Wimpy the Coast Guard (huh?) troops responding to the worldwide (huh?) distress call. Popeye’s boat turning into an airplane is as loopy a thing as the logic for his involvement. And I love the way this gets treated. It’s casual and confident, sure that the audience will buy all this. (Does the ship-plane crashing count as another shipwreck for Popeye?)
I’m impressed by how well this cartoon is put together. It’s got a clear plot. But it’s still got plenty of time for amusing sidelights. And many great little asides by Jack Mercer as Popeye.
Yet it still seems lesser than Sindbad. I’m not sure what it’s missing. It might be in the efficient, quick way that this cartoon gets to work. Sindbad opens with a lot of atmosphere. It luxuriates in the vastness of Sindbad’s island. It builds slowly. It gives this impression of hugeness.
Forty Thieves has a great, vast desert. A good-looking city. The cave of the Forty Thieves, too. But I don’t feel the same epic scale to this. Maybe the editing is too sharp and the story progression too efficient. The short has a few moments that feel it. Popeye, Olive Oyl, and Wimpy in the incredible distance walking across the desert by night and day, particularly. But that doesn’t last long. The short has plenty of stuff happening. But it feels more like a regular (if good) Popeye cartoon running longer, instead of something different in kind.
Once again it’s surprisingly long for Popeye to meet the heavy. Popeye doesn’t face Abu Hassan until about 8:40 in. That’s 40 seconds sooner than Popeye met Sindbad, in a carton that’s a full minute longer. It’s still longer than the average Popeye cartoon just for them to be on-screen together. Their first fight is funnier than Popeye’s meeting with Sindbad. There’s something delightful and childlike about Abu Hassan stealing Popeye’s belt. Popeye swiping his long underwear right back is a perfect topper.
As I watch it, and re-watch it, I’m left wondering why I don’t like it as much as Sindbad. The animation’s at least as good. The plotting may be stronger. The dialogue is much better. A lot of the best bits are Jack Mercer muttering whatever popped into his head. But so much of what he thought of was great. Seriously, Popeye slamming uselessly against the solid wall of the Forty Thieves’ cave and declaring “it’s giving way”? Perfect. He’s got many other great lines too; listen to any random fifteen-second bit and there’ll be something you like. The biggest story weakness is how little Wimpy adds to the proceedings. His pursuit of a duck in Sindbad had a clear story to it. Here, he’s just here. But even he gets a great blink-and-you-miss-it joke in snagging some chicken while chained to a post.
There’s less direct interaction between the animated characters and the real, setback backgrounds. Nothing like Sindbad picking up a handful of gems and letting them drop. The most dramatic is Popeye and all coming up to a traffic signal in the desert, and that’s nothing but them watching a thing change. But there’s also much more real background. The final battle between Popeye and Abu Hassan feels slight. Possibly it’s diffused too much by Popeye having to get past the Forty Thieves first. I am aware that last time around I thought there could be a battle between Popeye and all the animal residents of Sindbad’s island. And this time I get a battle between Popeye and all the Forty Thieves and I’m still not satisfied. Somehow, despite it being a nice big battle. Maybe Popeye needed to use the twisker punch again.
Something you notice in the Thimble Theatre comic strip is that Popeye spends a lot of time in the desert for a sailor. Possibly Segar thought that irresistibly funny a setup. And now here we are in the second of the two-reelers, and he’s wandering the desert. And I can’t help remembering that the 1980s version of Popeye — the G.I.Joe cartoon’s Shipwreck — was also first encountered in the desert. There’s something deep going on here.