Release date: June 11th, 1938
Series: Merrie Melodies
Director: Cal Dalton, Cal Howard
Story: Dave Monahan
Animation: Joe D'Igalo
Musical Direction: Carl Stalling
Starring: Johnnie Davis (Johnny), Mabel Todd (Kitty Bright), George MacFarland (George), Mel Blanc (Cuckoo Bird), Fred Waring Glee Club (Chorus)
Awhile back, I mentioned that I’d start crediting story, animation, and musical direction when the title card system got split into chunks starting in 1942, rather than all of the credits being on the same card. I’ve jumped the gun and aim to start doing that now—it’s just simpler that way. I was waiting purely for the sake of waiting, which is much too arbitrary.
Speaking of credits, Dave Monahan makes his big credit debut. Monahan was only 19 when he wrote this cartoon (20 at the time of the short's release), which is a major feat within itself. Monahan would continue as a writer, credited with shorts such as Tortoise Beats Hare, Porky's Preview, and Wabbit Twouble to name a select few. Lights Fantastic (1942) credits him as Sgt. Dave Monahan--he wrote a handful of Art Davis cartoons in the late '40s, a 5 year gap in credits between Lights Fantastic and Mexican Joyride.
As for the expansive list of voice credits, the cast (Johnnie Davis, Mabel Todd, George MacFarland, and Poley McClintock) starred together in the 1937 film Varsity Show, distributed by WB, perhaps serving as ripe inspiration for this cartoon's own cast.
The middle (and most notorious) entry directed by the two Cals, Katnip Kollege is unapologetically musical as it illustrates the story of a young cat without a notion of swing or rhythm. Shunned by his musical classmates, he makes an effort to prove himself as the King of Swing, which pays off.
Any cartoon in the late '30s involving education is bound to have a music score of "We're Working Our Way Through College", and indeed, such is the opening underscore as the audience gets a view of the eponymous kollge college. Students arrive to school (a barrel adorned with tin cans and bottle caps, which seems more appropriate for a setting of mice rather than cats) all stacked in a jalopy. So eager to get an education, the cats pile out of the car before it has a chance to stop. A lone straggler observes helplessly as the car rolls down the hill and crashes offscreen--he plugs his ears upon the impact, decides he isn't that bothered, and heads inside.
Puzzling physics of the college building aside--the exterior shot is way too small compared to what lies inside--I love how whimsical and lighthearted the environment feels. Even a shot of the hallway is playful: a line of doors all boasting their respective "-ology"s (physiology, sociology, biology, zoology) are covered in cobwebs, save for one--swingology. A simple yet spirited way to establish the cartoon's priorities and setting.
A contrast to the remaining lifelessness of the college, the Swingology room is bumping, the door physically swinging off of its hinges and serving as appropriate percussive accompaniment to the trumpet rhythm that blares from inside.
Cross dissolve to the interior of the classroom. Cats sit at their sardine can desks, clapping in time to the rhythm... save for one, a meek, awkward fellow who struggles to keep time to the rhythm, flashing helpless glances to his classmates. Again, the exposition is simple but incredibly striking as a result. Strong parallels and juxtaposition easily establish the cartoon's story, and not a word has been spoken--this is a college that prioritizes music and swing, and the awkward bespectacled cat has some homework to do.
One doesn't think of excellent character design upon mention of the Cal Howard/Cal Dalton cartoons. Admittedly, some of the designs of the cats verge on the ugly side, but I personally really enjoy them. Some of the markings are strange, the ears feel too small and can be positioned too low on the head (which make them feel like a bunch of hairy Howard/Dalton designed Porky Pigs), the fleshy muzzles range from slightly appealing to awkward, and so forth.
Regardless, I feel the designs have potential and could look rather nice in the hands of a strong layout artist. Even the variety of the fur designs are much appreciated--the cats aren't all carbon copies of each other. Rough around the edges, yes, but also in a charming way.
Back to the cartoon at hand. The professor of the class is a caricature of Kay Kyser, adorning his trademark cap and gown as he rises from a podium, pecking along to the rhythm spurred on by his students. The trumpet accompaniment blares an ending cue of "Shave and a Haircut", which the prof. tops off by hitting the bell on his desk.
This cartoon is almost all music. There are a number of purely musical cartoons (especially from the likes of Friz Freleng)--the most comparable on to this would probably be Friz's Three Little Bops 19 years later, which IS all music. As such, the story is conveyed through song quite a bit. Our first song number is sung by the students, "Good Morning to You (Dear Teacher)".
As to be expected, the song has all the makings of '30s swing and scat, "roo-roo-roo-doo"s and all. It's short, but fun--I especially enjoy the drawing of the professor on the chalk board dancing along to the real professor.
The cats interject lyrics throughout the song, and symmetry is a strong notion throughout the scene that works in its favor. Two lines of cats identical to each other, three cats framing each other as they put their heads together, and so on. Symmetry is simple and effective, and something I enjoy seeing in cartoons--it feels so unnatural compared to the way we move in real life that it's almost a reminder that you're watching a cartoon in the first place.
Mel Blanc is surprisingly absent in this cartoon, voicing a cuckoo bird who sings the final line of the song before getting hit with a book. Controversial as this may be, I think it's nice that he's not featured prominently in the short. I obviously foster nothing but respect and admiration for him and his talents, and this is in no way a knock on him, but his voice is just that recognizable--regardless of whatever voice he does, you know it's him doing the voice.
Here, the absence of his voice furthers the notion of this cartoon being a bit of an anomaly. This isn't a standard Merrie Melody in more ways than one. His absence leads to a more unique end product, something that stands out as being different from other cartoons we've seen.
On the topic of voice acting, the professor's voice (who provides it, I haven't found) leaves a bit to be desired. He invites "Mr. Jones" to recite his history, speaking and bouncing in rhythm to the drum beat that accompanies him. The up shot of the professor is a nice surprise for a Howard/Dalton cartoon, as unconventional angles aren't typically in their forte.
Mr. Jones, a student with a very loud outfit, gives his report by singing "Let That Be a Lesson to You", instead reciting the history of Christopher Columbus. In fact, this version of the song would serve as the title card accompaniment to the opening of Kristopher Kolumbus Jr. just a year later.
George MacFarland's vocals are nice to hear, as is Carl Stalling's accompaniment. As Jones (no relation to Chuck) gives his "report", a few classmates "peck" along to the music, using yardsticks as rowing oars to fit the lyrics of Columbus sailing the seas. Elsewhere, a rather hulking cat shoves a trashcan over another cat's head, prompting Poley McClintock to growl his signature "frog voice" as he sings "...as Columbus wound up in the jugaroo!"
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| Note the "HOLD THE ONIONS" gag on the chalkboard. |
A drum solo on some pots and pans by the professor, and then it's on to to the next act. Kitty Bright, voiced by Mabel Todd, recites the history of Napoleon to the same tune. Todd's vocals are charming and clean, as is the guitar accompaniment to the song. It seems that Kitty has her own back-up dancer, a nearby classmate serving as a zany caricature of Napoleon, eyes crossed, tongue out, the works. Nothing too remarkable to comment on--the animation of the scene is very appealing, and again, Todd's vocals are a treat to here. A worthy spotlight. Devon Baxter suspects this to be the work of Herman Cohen.
Meanwhile, a hand places a tack on the professor's chair, who is busy conducting his star pupil. As he finally sits down, he lets out an "Ohhh!" of pain, which cleverly (albeit a little annoying) segues into the main chorus of the title song. Our befuddled protagonist is the only one who isn't singing, instead gawking at his classmates.
The next cutaway is a little vague in its depiction (or perhaps it just may be personal error.) One cat wags his finger to get the professor's attention, visually uncomfortable and meek, unsure of his skills. A close-up shot of the professor giving an oddly timed, slow nod is all the validation the student needs; his face brightens and he struts over to join the festivities, shaking his hips and wagging his finger. Up until now, I always interpreted the scene as an odd attempt at some bathroom humor, as if the cat had to really go to the bathroom... I suppose that reveals a lot about my comedic sensibilities.
"Now, Johnny, let's hear your sonnets--and make 'em sound like Kostelanetz!" Referring to Russian musician and orchestral pioneer Andre Kostelanetz, the professor puts our timid, bespectacled cat on the spot.
A fitting, humble score of "You're an Education" is a stark contrast to the other acts we've seen, as is Johnny's performance. Johnny pats his sides, pushes his glasses up from his face, sinks into himself as he mutters "Vo-de-oh-doh... uh... Charleston, uh... uh... razz-a-ma-tazz...and uh... boop-oop... a-doop." While not 100% confident, if I had to hazard a guess, I'd say the animation here is the work of one Volney White due to the rapid timing of his movements and long, rectangular eye highlights. The animation, though constantly moving, is quite appealing, as is the musical score in the background. (Edit: the work is that of Joe D’Igalo’s, not Volney White. A big thank you to Devon Baxter for the correction!)
However, the professor doesn't share that same opinion. Instead, he taps his foot with an awkward frown on his face before turning to the audience. "Boy," he confides to us, "is that corny!" With a growl, he orders Johnny to come up to the front of the classroom and to sit in the chair at the corner.
Woefully does Johnny oblige, taking off his hat in favor of another of the dunce variety. He presses a button on the side of the wall, prompting the stool to rise into the air with a rather inapt violin slide sound effect. As he rises into the air, a dunce cap hanging from a metal hook is placed onto his head for a dose of public humiliation.
The festivities of the past few minutes are long gone as the professor dismisses the class with a growl. Thus, Johnny is subject to ridicule from his classmates. The animation is a noticeable step down from D’Igalo’s previous scenes, his classmates jittering and suffering a case of poor lip sync. "Boy, you swing like a rusty gate!" "You ain't got rhythm!" "Gee, is that awful!" "What corn!"
However, the most stinging insult comes from Kitty Bright herself. She tosses Johnny a pin and tells him "Here's your old frat pin; you can look me up when you learn how to swing!" A frat pin is essentially like an early wedding--a fraternity man "pins" his partner, indicating he intends to stay with them, essentially pinning them down for a future marriage. Johnny can only place his head in his hands as his lost love walks away from him singing a few strains of "As Easy as Rolling of a Log".
With the heartbreak of the previous scene, a more chipper atmosphere is in order. All of the swingin' students from before gather outside the college, now nighttime as indicated by a caption. Couples and musicians alike gather together to sing an original song (apparently titled “No Name Stomp” in the cartoon’s cue sheets, credited to Dave Monahan—another thank you to Devon Baxter for finding this information!) in the schoolyard--as soon as the full moon rises with a timpani drum sound, the number begins.
To get anecdotal, this is a cartoon I remember very well from my childhood years, and one that was evidently quite formative. I didn't grow up watching a TON of these cartoons--usually, my only exposure to them was on some DVD sets we had during long car rides, which would be about once a year. As a result, I don't have a very strong memory of which cartoons I saw and which I didn't as a kid. This one, though, I remember most clearly, and for this song number in particular.
I had(? have?) an odd affinity with the "alley cat at night" aesthetic, hyper specific as that was. Those cartoons were always my favorite as a child--my favorite Tom and Jerry cartoons were the ones with Butch and the gang in the alley. Even today, cartoons such as The Hep Cat and A Gruesome Twosome are some of my favorites for the atmosphere alone. As an adult, I knew there was a cartoon that was the "cause" of this, but could never remember which, and it frustrated me to no end. I distinctly remembered a shot of three cats singing in a junkyard at night and was at my wits end trying to find out which cartoon this was.
Somehow (and thankfully so) I stumbled across this short last year and realized this was that short. More specifically, this was that shot. Everything makes sense now, hallelujah! I have very strong nostalgic connections to this cartoon as a result, which is nice, considering I don't exactly have that same nostalgia that other people have with these cartoons. This song number is one of my favorites to be featured in any Merrie Melody. The vocals, the orchestration, the atmosphere, the colors, it's all a treat. Animated comfort food!
I digress. A chorus of three cats (all of varying sizes) gather at a microphone--a sieve tied to a toilet plunger--to sing the main chorus as cats of all fur variations dance and move along to the music. The backgrounds are gorgeous. Rich in color and detail; I'm particularly fond of the can of "ERL" in the shot of the cats singing. Gorgeous backgrounds and nice composition, with some cats "pecking" in front of a fence, as we get a back-view shot of another cat conducting a group of students.
As the festivities continue, we eventually get a pan of the entire schoolyard, with cats pecking and dancing together. Included in the schoolyard is a not to subtle nod to co-director Cal Dalton, a statue of a cat labeled "PROF. DALTON -- 1908" (his birth year) proudly in the center of the action.
The pan continues before trucking (a little shakily) into the college itself. Poor Johnny is still seated at his throne, a lone stream of light illuminating and highlighting his solitude as he can merely listen to the music with his head in his hands.
Regardless, a moment of inspiration strikes. The clock on the wall clicks to the last strains of the music before serving as the only background noise. Johnny heaves a sigh before flashing a glare of contempt at the clock, its uniform ticking sounding like a mockery. Just then, slowly, he starts to pat his legs to the rhythm of the clock. A smile as he begins to peck along to the rhythm, the underscore a warm, hopeful, and jazzy reprise of the main song. A musical breakthrough.
"I got it. I got it!" Johnny continues to peck and pat his legs, sounding much more confident and outgoing. "The rhythm bug bit me! La-de-ah!"
Johnny is quick to discard his dunce cap for his regular gray cap. He pecks along to the clock a few more times for good measure before taking his leave, practically a blur as he dashes out of the college. While not as fast as the speed in Frank Tashlin or Tex Avery's cartoons, the quickness is welcomed and wonderfully accentuated by Carl Stalling's music score, which increases in tempo and bravado, its confidence mirroring Johnny's own.
A simple yet striking bit of animation, Johnny skids to a halt to join his fellow classmates, the pan following him the entire time as he glides along the screen. Smoothness doesn't always equate great animation, but here it certainly works in Johnny's favor as he flashes a wave to Kitty Bright and their bewildered classmates.
With that, Johnny (literally) jumps into his show-stopping moment, singing "As Easy as Rolling Off a Log". Funnily enough, this isn't the first time Johnnie Davis has sung the song--he sang the same number in the 1937 WB film Over the Goal.
Here, his performance is much more grandiose. The composition of the scene starts out quite nice, with the moon serving as a frame for Johnny's head and as a way to guide the audience's eye. His good vocals are a shock to all of the classmates around him, who turn their heads and all stop in their tracks to gawk at them. (As an aside, the couple who poke their heads out of the tree are what I was referring to when I mentioned the "hairy Porky Pigs".)
Incredibly smooth and fun animation as Johnny hugs himself, dancing on the log and flashing Kitty a playful wink as she can only observe in astonishment. Couples all across the schoolyard sway together in a huddle, reflecting Johnny's lyrics. Outcast no longer, Johnny brings Kitty to her feet, who has obviously rescinded her earlier comments, completely smitten.
Thus, it's Kitty's turn to sing, Mabel Todd giving a nice performance as she sings her share of the song. At one point, Johnny interjects, turning the song into a duet. He's met with a close-up, which almost looks like a bit of Rod Scribner animation, what with the detailed mouth and prominent eyebrows.
Kitty reverts back to her own close-up, singing solo once more. It's not a cartoon without a visual metaphor--as Kitty sings about how love has got her "in a fog", a cloud of fog appears right over her face. The string section that accompanies the lyric is floaty, sweet, and lovely--the cartoon's soundtrack is in top form. Kitty's hand gestures and head shakes are also a nice bit of flavor. While this short certainly has its share of sloppy animation, for the majority it's been rather well done, especially for a Howard/Dalton cartoon.
To compliment the high notes (pun half intended) of the song number, Johnny initiates a brassy orchestral break, borrowing a trumpet and blaring out a rousing solo. His animation against the moon is intriguing--the simplicity of the moon and sky and nothing else makes for a really striking background, allowing the focus to be on the animation itself. Johnny's arms verge on the rubber hose side at some points, which makes for a rather interesting effect visually.
With that said, the animation of his cat cohorts isn't as strong, but still fun to watch. A number of students instantly jump into dance with each other, the animation slipping into awkward tendencies; at one point, the couple dancing in the middle appear to slide across the screen. A close-up of Johnny and Kitty also appears to be a little crude, Kitty especially seeming to jitter and look slightly off-model (as much as I dislike using that term.)
Nevertheless, the number is raucous and spirited and difficult to dislike. At last, the song--and cartoon--come to an end as Johnny slips back into the main chorus, the tone much more saccharine and romantic. Living up to the title of the song, Johnny and Kitty both accidentally stumble off of the log, the scramble animation a tad out of place but fun as they both roll off the log and onto the ground below. Our story comes to a close as the camera trucks in on Kitty, who lifts up a dazed Johnny and smothers him in lipstick.
Though not without its awkward moments, this is a cartoon I really enjoy. Maybe that's the nostalgia talking. Either way, it's a difficult cartoon to dislike. The music score is excellent all the way through--I don't believe there's a song number or piece of accompaniment that I don't find catchy.
The environments are playful and gorgeous (I'm utterly smitten with those nighttime backgrounds), and while the character designs could use some revising, I applaud the variety they have. It would have been much easier to make all of the incidentals solid, opaque colors, but instead there are a variety of patterns and color combinations that add an extra bit of life and color to the picture.
I'd say the biggest folly of the cartoon is its occasional lack of coherency, and that's more rooted in the animation itself rather than the story. The scene of the cat asking the professor to join into the festivities is relatively unclear in its intention, and some pieces of animation seem more liquidy and loose than others. Perhaps that's an issue with the clean-up department. Either way, it's not a giant hinderance, especially since the scenes that are good effectively counteract the bad.
This seems to be a cartoon that most people remember and think of fondly. For good reason, too. With that, I'd urge you to watch it. If nothing else, it's a very happy and feel-good cartoon, a nice way to spend 7 minutes if you need a little pick-me-up. Unapologetically musical, I'd say this is one of the better musical cartoons that makes use of modern musical stylings (that is, not counting cartoons that use classical music as a soundtrack). Music takes precedence more than dialogue, and it works in its favor.
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