“Ratskin” and “Saucy Sausages” (currently a lost cartoon) released 4 days from each other and both shorts had Screen Gems as its production company, the former was released on August 15th 1929 and distributed by Columbia while the latter was released on August 19th 1929 and distributed by Universal it was an Oswald The Lucky Rabbit cartoon (talking about the latter)
Am I the only one to find that Rosario Bourdon was a much better musical director than Joe De Nat ? The music is much more varied and catchy than usual.
My way of describing the plot: Krazy with his wagon and horse go on a trek to hunt turkeys. Upon discovering a turkey, Krazy fires his gun at it, only for it to swallow the bullet, and hatch an egg with damaged babies. Krazy tries to shoot the turkey, only for him to shoot a native who would chase him. Eventually, the native ties him to a tree and lights him on fire. Many natives circle around him as Krazy blows cold air on the flames. As Krazy escapes, the natives shoot him with arrows and Krazy flies away, he discovers a rifle and finds a disc made by the arrows. Krazy plays many songs and one of the natives pretends to be a female. Krazy hits the "female" native with his rifle then the other natives circle around him in anger. Krazy gets an idea, creating a phonograph with the natives and an amplifier horn of the end of a rifle.
The 1913 comics of Krazy Kat where better then this! The humor was the best! 😸 fans of Krazy Kat hated these cartoons at the time since they had been reading the comics for years and the animations where nothing like the comics! 😓 so even back then there where die hard fans complaining about how they didn’t get the Krazy Kat they wanted! 😸
The 1963 Krazy Kat series was closer to Herriman's comic(1913-1944)but how many cartoon viewers then knew anything about the comic strip. Personally, the 1963 cartoons gave me a foundation when I found and read many old and new Krazy Kat collections in my later years.
The International Film Service and Bray Krazy Kat cartoons were good however once Bill Nolan began directing them in 1925 they started to feel like ripoffs of Felix cartoons the Krazy Kat cartoons began to dig their own grave the dug their grave more when Ben Harrison and Manny Gould started directing them in 1927 and then dug their grave even more when the series switched to sound in 1929 Krazy started to have a Mickey-ish personality when the series switched to sound the series eventually just became a big mess until 1936 when Screen Gems finally started to notice that nobody liked the cartoons and decide to make a Krazy Kat cartoon like the Herriman comic strip however the cartoon was hated and went back to the cartoons with Krazy having a Mickey-ish personality with the only Screen Gems Krazy Kat cartoon that was actually like Herriman’s strip being “Lil’ Ainjil” (1936) the Krazy series ended in 1939 the last Krazy Kat cartoon was “Krazy’s Shoe Shop” (1939) and the last short featuring him was “The Mouse Exterminator” (1940) which was part of the Phantasy series the Krazy Kat comic strip ended in 1944 the same year as Herriman’s death the Krazy Kat cartoons eventually restarted in 1962 for TV by Gene Deitch and when Deitch started making Krazy Kat cartoons the Krazy Kat cartoons undug their grave as they started to return to Herriman’s format the series ended in 1964
@No-hd4cg The Krazy Kat cartoons by Bill Nolan are also very good, even if they are not at all faithful to the comic book. And the 1929 Krazy Kat's are definitely not Mickey Mouse imitations, the character design is unique and totally different from what Disney did and Krazy Kat is much more violent than Mickey. Krazy Kat's cartoons did not begin to imitate Disney until the Mintz studio moved to California in February 1930, at which time a permanent girlfriend was added even though Krazy did not have one originally. From that point on, Mintz's cartoons became bland plagiarisms of Disney.
107 years old! Krazy Kat debuts as a five-panel daily vertical strip which runs down the side of a full comics page. This remains its daily format until sometime in 1920.
Charles Mintz became indebted to Columbia and sold the studio to them just before he passed away. Columbia already had an stake of ownership of the studio before the sale.
