Way, way, back, when I started reviewing the King Features Popeye cartoons of the 60s I skipped this bundle of cartoons. I had said none of these cartoons interested me enough. Well, I’m running out of 60s Popeyes to review, and I’ve built up a tolerance for not-interesting cartoons. I think I can say something about them now.
So this is another cartoon produced by Larry Harmon. You know what that means: it’s the future crew of Filmation. The story’s credited to Charles Shows and the direction to Paul Fennell. From 1960 here’s Hoppy Jalopy.
There’s obvious affects the tiny budget, in money and time, have on these shorts. There have been good animation bits, but never a scene that captures the imagination like overflowed in the 30s and filled a bunch of the 40s cartoons. The scope of the plots also diminishes. Popeye cartoons never have big casts, but they could at least give exits to the other competitors in the car race, or not introduce anyone but Popeye and Bluto/Brutus. That they were introduced, but not excused from the story, must reflect a lack of time to think the story through and rewrite it to a smooth finish.
But the subtler effect is to give the cartoon this weird, formalistic structure. Popeye and Brutus are racing, fine, of course they do. Is anyone else racing? Why not? Who cares what happens to them if they aren’t main cast? Olive Oyl’s scooped up in Brutus’s trunk, a thing she could only avoid by trying in any way. Why doesn’t she try in any way? Because it’s a Popeye cartoon, what is she doing in it if she isn’t abducted by Brutus? (Or being Popeye’s cheerleader, as in Swimmer Take All or Hot Air Aces.)
I know this is the result of not having the animation cells to spare, to have Olive Oyl try and get away. But the effect is seeing things happen because they’re the things supposed to happen in a cartoon like this. And, in that regard, it’s fascinating. I am not proposing that the team which would, eventually, give us the animated adventures of Gilligan and the Skipper in outer space was experimenting with the audience’s concept of narrative. I mean that they ended up, somehow, creating a cartoon that works fine if you watch it while distracted and becomes odd if you pay attention.
I know I watched this — every King Features — cartoon a lot when I was a kid. I don’t remember ever wondering about why anything was happening. Yes, part of that is that the target age for this cartoon is not renowned for critiquing stories. But I wonder if it’s also that the roles of Popeye and Brutus and Olive Oyl are clear enough that as long as everyone is doing roughly what makes sense, the whole cartoon does. Or at least it looks enough like a cartoon that makes sense to pass.
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