Today? We’re back to Paramount Cartoon Studios. Also to 1961. And not only is Seymour Kneitel the director of record (I believe he always is, for Paramount), the story again one by Joseph Gottlieb. So here’s some thoughts about Kiddie Kapers.
This is another cartoon I’d almost think was a leftover 50s-Paramount script. The presence of the Sea Hag foils that, of course. I don’t know whether Famous Studios/Paramount lacked the rights to use the Sea Hag in the 50s, or whether they just lacked the interest. The 60s cartoons opened up the character bundles.
But we have another cartoon with a pretty good, even fresh, premise that sort of peters out. It never does anything wrong. It just somehow leaves the idea under-used. It also feeds into that question about whether the Famous Studios animators were on Bluto’s side. Brutus, with a drop of the Sea Hag’s youth potion, is a handsome fellow, and he’s able at least for a while to act like a pleasant person. This was a workable scheme.
The action starts with Olive Oyl fed up with Popeye, one of her traditional modes. This over their relationship being frozen, the way these cartoons (and the comic strip) demand. She uses this as reason to call him old, and Brutus pounces on that with supernatural speed. Then he figures if he were young, he’d have a better chance with Olive Oyl, and what do you know but the Sea Hag can help with that.
I like that Popeye sees through Brutus’s scheme right away, although given how different Brutus does look it’s fair to wonder how. Maybe he knows there’s only like six people who are ever in these cartoons. Still, it can’t be his voice giving him away, not with how many parts Jackson Beck does.
Popeye spots the Youth Potion, because nobody in these cartoons ever leaves valuable stuff at home where it’s safe. Taking from the directions that one drop made Brutus young and handsome, he takes a big swig. This is dumb but it’s dumb in a realistic way, and we get Popeye turned into an infant for … this has to be at least the third time. I know he turned into a kid once when Martians kidnapped him and put him under their ageing ray. I don’t remember the second time but feel like there’s got to be another. This is a daft paragraph and I should get out of it. Anyway it’s not the first time Popeye’s been turned into a kid and I’m just guessing it’s not the second.
Brutus uses Popeye’s whining as excuse to spank him, a move that offers no subtexts and no prospects for cheap jokes either. Olive Oyl’s ready with the spinach and to my surprise it doesn’t age Popeye back to normal. He spanks Brutus, again a move you can’t write anything about, but he stays a kid. To close the cartoon Olive Oyl takes a swig of the anti-age potion and luckily gets enough to become Popeye’s new age. It’s not how I expected the cartoon to end, but it’s an interesting end.
So if I keep finding pieces of the cartoon interesting why don’t I like the whole thing? I’m not sure I dislike the whole thing. I feel, though, like “Brutus is a handsome young man and Popeye is a bawling infant” should make for a cartoon with more unique scenes than what we get here. It might be that with five and a half minutes of screen time, credits included, that’s just impossible. A seven-minute version of this cartoon could fit three or four extra scenes, letting Brutus be a fake Popeye parent. Lose 90 seconds and something has to go.