Fewer cartoons, but lots of discography today, as trends continued at MGM favoring original scores over Tin Pan Alley.
Nov 26, 2024 • Subscribe
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A Musical Up-Roar 1949-51
The early 50s saw Scott Bradley increasingly writing his own scores, and not incorporating MGM's own published songs.
A Musical Up-Roar: 1945-47
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A Musical Up-Roar 1954-57
Fred Quimby departed from the reins, and Hanna and Barbera were forced to take over production on much tighter budgets.
A Musical Up-Roar 1944-46
If an exhibitor who had been running MGM cartoons in 1935 did a Rip Van Winkle and awakened in 1945, he would have seen quire a difference in…
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The MGM cartoon division’s response to television was mostly derisive. Scott Bradley was now more willing to mine the classics - via the public domain.
A Musical Up-Roar 1943-44
At MGM - Tex Avery settled into place, Tom and Jerry’s were rounding out nicely, and Barney Bar provided gentler laughs.
A Musical Up-Roar 1947-49
MGM’s cartoon unit was humming during this period - including continuing to use tunes from various MGM musicals.
A Musical Up-Roar 1941-43
The musical highlights in the 1942-43 season of MGM cartoons.
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The cartoon department didn’t have any stellar successes, but were producing a consistent line of cartoons that pleased exhibitors and audiences alike.
Columbia’s Musical “Gems” – 1935-36
One can only wonder what exhibitors thought of the Columbia cartoons, which continued to improve artistically as the years went by.
Columbia’s Musical “Gems” 1933-34
The Mintz studio began closely paralleling the efforts of Walt Disney, and embellishing the motion of both Scrappy and Krazy Kat.
Columbia’s Musical “Gems” 1934-35
More from the same season as last time, but an increasing tendency to compose new pieces exclusively for use within the cartoons.
Columbia’s Musical “Gems” 1930-32
Joe De Nat’s music is peppy, without being all that distinctive. But his use of popular tunes continues.
Columbia’s Musical “Gems” (Part 1)
Love him or hate him: Charles Mintz put out a great deal of product, most of which seems to have satisfied movie patrons of the time.
Mother (おかあさん, Mikio Naruse, 1952)
A teenage girl struggles to understand her self-sacrificing mother in Mikio Naruse’s subversive take on the hahamono
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Tokyo Sweetheart (東京の恋人, Yasuki Chiba, 1952)
A fake ring causes untold chaos in a small corner of Ginza in Yasuki Chiba’s charming ensemble rom-com.
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