Between Books - They Drew as They Pleased: The Hidden Art of Disney's Musical Years The 1940's - Part One

 

Short Version - They Drew as They Pleased by Didier Ghez is really good.  If you like or love Disney animation and books you will want very volume.

Long Version - They Drew as They Pleased: The Hidden Art of Disney's Musical Years The 1940's - Part One by Didier Ghez is the second volume in this art driven series.  Ghez again features treasures from Disney's story artists.  The book covers artists that are well known in Kay Nielsen and Retta Scott but also those that Disney fans may not be as familiar with like Walt Scott.  Each chapter includes a brief description of the artist's work and the pages of their art, which are well-framed and often striking to the reader.

Honestly, I do not have a lot to say about this volume.  The artists picked are a great representation of the studio and the films which Disney had in production during a time that Ghez labels a musical era.  Ghez faces some issues straight one such as the status of women in the studio and Walt Disney's views of their contributions.  A theme which is unstated in this volume is short tenures with many of these artists quickly moving on in the time of economic uncertainty as World War II opens and labor changes after the studio strike.  If I had a to pick a criticism, I would have loved to see more of Retta Scott's art for Bambi and less of unfinished Disney projects due to her skill drawing animals.

If you are reading this review you probably like or love Disney books.  Yes, you need a copy of They Drew as They Pleased: The Hidden Art of Disney's Musical Years The 1940's - Part One by Didier Ghez in your library.  There is a pretty good chance you were already thinking about this!  Just let me confirm it for you.  It is an excellent volume with fantastic art that you want in your collection.

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Between Books – 2020 Hyperion Historical Alliance Annual

 

As someone who has a history degree and been part of history associations, I have some pretty high standards for what content should be from these professional groups.  Then tie in Disney and the contributors who are participating in the Hyperion Historical Alliance, well a fairly high bar is set.  With the “2019Hyperion Historical Alliance Annual”, I found a concern or two.  Would the Alliance’s second annual correct the concerns I had?

In his introduction, Hyperion Historical Alliance President Didier Ghez notes that the first Annual appeared to really focus on production and artists.  And for this volume they attempted to provide a wider array of topics.  I am not sure that they fully hit with this stated goal as five of the six essays are really based on filmed productions and only one theme park based article.  However, I never really noticed the focus on production.  Instead I found myself caught up on an unintentional theme, Disney female pioneers.  Of the six articles, three have a focus on female contributions in Disney history and unearthed to me some unknown interesting Disney figures.  And Ghez’ article on Mickey Mouse productions also adds additional female contributions.  And on a whole I found these articles interesting and engaging. 

The “2020 Hyperion Historical Alliance Annual” consists of six articles.  The first two highlight the contributions of two female creators in the 1930s and 1940s giving an overview of the careers of Betty Smith-Totten and Grace Huntington.  Both articles make it clear these women were trailblazers in numerous areas of their lives and the impact of women at Disney.  “A Preview of Disney’s World” chronicles the Walt Disney World Preview Center, with a focus on staffing and the Center’s impact on promoting the future theme park.  “Wise Dwarfs and Thrifty Pigs” outlines the use of Disney animation to promote Canadian War Bonds during World War II, which really shows the innovative ways Disney reused animation for new purposes.  And finally, “Mickey’s Revivals” discusses the attempts to get Mickey back on the big screen from the 1970s to the recent past. 

One of my complaints of the earlier volume was adapted work that I had seen elsewhere and in multiple forms.  To me these articles were all fresh and new research.  The one that likely worked the least for me was the Mickey article, as it felt like it was the one which could have been written without special access to unpublished documents or interviews.  And it just reminded me that I wish the Hyperion Historical Alliance was less exclusive and a path for those who are interested in Disney history to have more active participation.

And I can guarantee, I will purchase next year’s annual especially after the quality of the articles in the 2020 edition. 

Walt's Windows - The New Spirit

One of the highlights for me in David Lesjak's Service with Character: The Disney Studio & World War II is the discussion of the 1942 short "The New Spirit" produced for the U.S. Department of Treasury.  The goal for the film was to encourage the 15 million new taxpayers to pay their income taxes, seriously you could not prosecute them all if they did not pay! 

One can see how this short would have cut into Disney short bookings.  It really is humorous and over 70 years later Donald is still a star.

Man I wish my taxes were that easy.  Did you notice that along with living in Hollywood as an actor that Donald Duck has adopted his nephews?

It is a little unsettling to me to see Disney animation being used to depict guns, battleships and bombers.  But it does make a point, your taxes pay for the war effort.  And I cannot get "Taxes to Sink the Axis" out of my mind.

Honestly, I do feel like this short was a success, despite the fact that it resulted in little profit for the Walt Disney Studios.  It is funny, well animated, has star power and shows how Disney supported the war effort during World War II. 

Between Books - Service with Character

I'm a pretty sure that David Lesjak wrote Service with Character: The Disney Studio
& World War II for me.  My Master's degree focused on World War II history.  And when I crash my way through Disney books it is often this era my mind wanders towards.  So I am pretty sure that Lesjak wrote this title mostly so I can finally have my curious questions answered.

David Lesjak in Service with Character: The Disney Studio & World War II details the efforts of the Walt Disney Studio in supporting the American, and Allied, war effort.  He provides detailed chapters on the home front, insignia creation, propaganda and training films and contributions to print media.  Along with these chapters that provide a transactional history of the studio's efforts, Lesjak provides a detailed look at the development of the failed Gremlins live-action film and all its complications.  As a companion to the chapters, the authors provides a detailed list of supporting artifacts that can be viewed online.  And he reprints letters and messages of interest in a series of Appendixes.  

Overall I was impressed with Service with Character as a solid historical monograph that has been well researched and written in a clear manner that even non history buffs could read.  The topics did satisfy my interest on a number of topics, like insignia.  I am pleased to now have this volume in my Between Library for easy reference.  My only quibble is around the lists of supporting collectibles for viewing.  I really wish that some of them could have been included as illustrations within the text.  It would likely be cost prohibitive to print images of the numerous items listed.  I am still old school reading print copies.  And it is difficult to reference a website during my prime reading time.  So, reading through the artifacts I was inspired to go look for some of these objects.  At the time of this posting, the website supporting the book with the collectibles is not yet up.  

The book really illuminated this period of Disney history for me.  And the book makes it clear that the Walt Disney Studio was financially pressed during this era, and much of it was due to Walt Disney's own efforts.  Disney legitimately supported the American war effort and his choices lead him to lose money during a time where his film markets were already dwindling.  For example, the short film he made for the Treasury Department The New Spirit further limited his markets by providing a free Disney short to theaters.  Therefore, they did not need to order the newest Disney short to bring in an audience.  And it is remarkable reading the struggles Disney went through to get paid by the U.S. government while being accused of price gouging on a product that was actually cutting into Disney profits.  And the story of Disney's insignia production, which was completed for free and always in demand, was a topic I have wanted to read about for awhile.  As one reads through the chapter one can easily grow to admire the dedication of Henry "Hank" Porter who took the lead on this Disney morale initiative for the armed forces.    

Service with Character is a must own for Walt Disney Studio history fans.  The text does an excellent job outlining a key moment in studio history.  Additionally, World War II history enthusiasts will also enjoy this book, since it shows one company's war efforts.  In many ways, Disney is one example of the many companies who's production was reoriented towards the war and struggled with diminishing profits and dwindling work forces.  

For me, Service with Character has filled a key need in my Between Books library.  I love the detailed accounts of film and insignia production found in the text.  And I cannot help but admire the efforts of Walt Disney and his staff for keeping a studio open while finding their own avenues to support the war effort.  

Review Copy Provided for Review

Mousey Movies - Captain America: The First Avenger

I do have standards and despite what you may think I do not declare every movie is Mousey.  First, I need to find a minimum of four hooks that tie into the Disney legacy.  So when I rewatched The Incredible Hulk, I could not find those four hooks and I declared it not Mousey.  Other movies that I have simply not enjoyed I refuse to declare Mousey out of spite.  For example I will not call Gnomeo and Juliet Mousey, despite the role of Elton John and a Kermit t-shirt on a clothesline because I did not enjoy it.  I do have standards!  Despite that I really want Captain America: The First Avenger to be Mousey.  It is the last offering from the Marvel Cinematic Universe before The Avengers with the post-credit scene likely running straight into the 2012 blockbuster. 

Now a friend, let us call him Universal Urgings or Harry Hangover, and I discussed the possibility via email.  And he thought my reasoning was weak!  Honestly, he may be right.  I truthfully cannot use links to the other Marvel films to declare the movie Mousey.  And though it also has Stan Lee in a cameo, that really does not count for declaring a movie Mousey.  Sadly, there is no Agent Coulson, unless you count the bonus features or the trailer immediately after the post credit scene.  So I had to get creative.  You be the judge, was I too hasty in declaring Captain America: The First Avenger Mousey?:    

·     Driven to Serve:  Puny Steve Rogers is driven to serve. He wants to do his fair share in the war effort against the Axis powers in World War II.  But he is disqualified over and over again because he is too sickly, too small, too weak.  In order to overcome these obstacles he agrees to become a super solider, undergoing a treatment that gives him strength and speed.  He uses these super abilities as Captain America to thwart Germany’s foremost scientific organization, Hydra, and its leader the Red Skull. 

There is a real life parallel with Walt Disney.  During World War I, Disney also wanted to serve and do his fair share in the war in Europe.  His older brother Roy O. Disney was serving in the Navy and Walt thought he should be carrying part of the burden of the war effort.  At age 16 he dropped out of school and tried to join the Army.  He was rejected for being too young.  But like Rogers, Disney found a way to overcome his obstacles to service.  He joined the Red Cross and drove an ambulance in France.  Unlike Rogers, Disney’s service was all in peace time.  He did not begin his year in the Red Cross until after the November 11, 1918, armistice.            

·     Are You Mad:  Sebastian Stan plays Steve Rogers best friend and companion in arms Sergeant James Bucky Barnes.  Barnes prepared for his role by studying hours of World War II films and documentaries.  This leads me to ask, how does one prepare to be the Mad Hatter  Stan steals an entire episode of ABC’s Once Upon a Time as this iconic Disney character.  It is nice to be reminded that some worlds, including ours, need magic!  

·     Rockets Away:  Director Joe Johnston clearly knows two things.  First, he has been successful with films set during World War II.  Second, he has a proven track record with using fantastic scientific devices as a plot device.  Third, what wait three, he knows how to direct his bad guys as German baddies.  Johnston not only was successful with this formula in Captain America: The First Avenger but also in the cult classic The Rocketeer. 

·     Ohana: The movie is scored by prolific composer Alan Silvestri.  Silverstri’s past Disney credits include but are not limited to Lilo and Stitch, Flight of the Navigator, and The Parent Trap (Lindsey Lohan version).  Silvestri was nominated for a Grammy for a Disney offering, 1988’s Who Framed Roger Rabbit.  

Well, did I pull it off?  Do you agree this is a Mousey Movie?  It sure does smell like it to me!  Take that Potter Pal, you have been defeated.  And good will carry the day as we await the release of Disney and Marvel’s The Avengers.