Popeye and the Langridge of Heroism, by Michael H. Price
The breakthrough of the season, as far as superhuman heroism goes, might lie beyond such big-screen spectacles as Iron Man and the June 13 opening of The Incredible Hulk. The watershed lies, in part, in a set of Popeye the Sailor cartoons that have gone largely unseen – in authentic form, anyhow – since the late 1930s and the earlier 1940s.
A companionable development is a new series of hardcover books reprinting the original Popeye comic strips of writer-artist E.C. Segar. The current volume is Popeye Vol. 2: “Well, Blow Me Down!” (Fantagraphics Books; $29.95). A third collection is due in the fall. The elaborately packaged Fantagraphics shelf commences at the commencement with Popeye Vol. 1: “I Yam What I Yam.”
The books qualify as near-architectural marvels in their own right – towering, heavy-stock packages with die-cut front-cover windows and an interior design that showcases many days’ worth of the newspaper feature with each spread. A full-color section devotes a page to each of what originally had served as Sunday-supplement episodes, complete to the extent of reproducing Segar’s subordinate feature, Sappo, about a household in perpetual turmoil.
The stories in Vol. 2 include a wild Frontier Gothic pitting Popeye’s entourage against a mob of cattle rustlers; and a scathingly funny commentary upon charity-vs.-greed, in which Popeye attempts a banking career in defiance of all practical sense. There surfaces a gemlike example of Segar’s gift for mangling and/or improving upon the langridge: When Popeye uses the adjective liberous, does he mean “liberal,” or “generous,” huh? Neither – he means liberous, and So There. The book also sports a touching tribute to Segar from Beetle Bailey’s Mort Walker.
Together, Segar’s comic-strip novelettes and the Fleischer Studios’ Popeye films reveal all that anyone could hope to know about an essentiable cartoon character. Everything post-Segar and post-Fleischer has proved inferior, despite occasional reminders of greatness from such Segar-loyalist successors as Doc Winner, Bela Zaboly, and Bud Sagendorf. Segar’s newspaper feature, in turn, is stronger than the animated cartoons in terms of plotting and characterization. But the early movies boast a distinctly gritty allure and a consistency with Segar’s rambunctious style of drawing.
The short films are hardly unknown – long having circulated on television, though in degraded copies – but their DVD restoration from master film-vault elements is a revelation. The visual design, with an astonishingly rich palette of black-and-white shadings and the occasional indulgence in Technicolor, packs almost a palpable sense of texture.
For anyone who has wondered how a Fleischer Popeye cartoon must have looked in its first-run prime, some answers lie in a forthcoming DVD box called Popeye the Sailor: 1938-1940, Vol. 2 (due in August from Warner Home Video; $34.98). The restorations, as with the Popeye Vol. 1 set of 2007, render useless any number of off-brand video releases that purport to represent the series but often blur the line between the Fleischers and the post-Fleischer Popeyes from Paramount Pictures’ Famous Studios subsidiary. The difference is basically a matter of the organical vs. the synthetical.
Vol. 2 continues to track the Fleischer Studios’ Popeyes in chronological stride. The series reached a sustained plateau of accomplishment during the later 1930s, with increasingly inventive variations on the standard theme of Indignant Everyman Popeye vs. the Eternal Thug, Bluto, with a stringbean romantic interest named Olive Oyl usually caught in the middle as the scrappy third leg of an inexorably shifting triangle. Key titles are “It’s the Natural Thing To Do,” in which Popeye and Bluto attempt gentlemanly behavior with awkward results; “Females Is Fickle,” in which Popeye attempts a death- and dignity-defying rescue; and a Technicolor variation, Popeye-style, on the Arabian Nights fantasy of Aladdin.
Bonus tracks include a documentary account of the rocky history of the Fleischer Studios, profiles of voice-actors, and an example of the Fleischers’ Superman series. The more nearly realistic Supermancartoons demonstrated the studios’ versatility while suggesting a subtle kinship between Superman and Popeye: Both characters helped to define the concept of the superhuman protagonist at a crucial stage. (A revealing insight lies in Time magazine’s early-day perception of Superman as a crossbreed of Segar’s Popeye and Al Capp’s Li’l Abner Yokum.)
Matters are hardly so simply laid out in the original Popeye yarns of E.C. Segar. Spinach, supposedly the source of the sailor-man’s might, plays a lesser role in Segar’s grim-but-uproarious tales, and so does Bluto – whom Segar had arrayed among a procession of grotesque troublemakers. (Bluto the Terrible will enter in a third volume from Fantagraphics.) The Fantagraphics editions make patent Segar’s mastery of desperate suspense and biting humor as essential components of storytelling, combining serialized ordeals with the gag-a-day imperative.
Segar had introduced Popeye during the late 1920s in a comic strip called Thimble Theatre. The sailor soon sidelined such characters as Castor Oyl (Olive Oyl’s conniving brother) and Harold Hamgravy (Olive’s suitor, later known as Ham Gravy) in terms of popular appeal and narrative possibilities. Popeye’s credo, “I yam what I yam and that’s all what I yam,” is a succinct manifesto of self-effacing confidence. His handling of the English language reflects the resilient restlessness of Immigrant America, assimilating by improvisation.
In simplifying Popeye for the motion-picture screen, the Fleischers also took pains to capture an essence of Segar’s vision, retaining the working-class outlook and keeping the characters attuned to the scrappy resourcefulness that was the only sensible acknowledgment of the harsher economic realities of the day. The overall look is colorful, figuratively speaking, as only black-and-white photography can allow, displaying a shades-of-gray depth unequaled by Walt Disney’s or the Warner ’toonshop’s rival B&W products of the general period. (Only three Fleischer-shop Popeyes were produced in Technicolor.)
Warner Home Video prefaces the works with a disclaimer cautioning the viewer to beware of rampant Political Incorrectness. This fatuous reminder – presumably accounting for such elements as reciprocal violence, occasional ethnic caricatures and Popeye’s appetite for tobacco – hardly diminishes the Fleischers’, or Segar’s, brilliance at suggesting plain gumption as a response to dehumanizing economic circumstances. The cartoons yam what they yam, and that yam more than enough to render them relevant to a massed audience of this ill-acknowledged New Depression. The Segar Popeye books prove still more so.
Recommended Listening: Smiley Burnette: Country Songs & Comic Cuts (British Archive of Country Music CD-D-080), contains the largely unknown “I Can Whip Any Man but Popeye” – with the singer’s recurring deployment of a very persuasive Popeye voice. (http://bacm.users.btopenworld.com/CD-details2.html)
Prowler and Fishhead co-author Michael H. Price is responsible for the Forgotten Horrors series of movie-history books, from Baltimore’s Midnight Marquee Press. Price’s arts-scene commentaries can be found at www.fortworthbusinesspress.com, and in the Times Leader of Wilkes–Barre, Pa.
Great Review. Thanks. What do you think of Robert Altman's "Popeye"?
And thanks for reading. Pardon tardy reply — long weekend away from the office.Took a while to develop a real fondness for Robert Altman's POPEYE feature, although I had enjoyed it well enough as a new release. The clincher was a much later series of interviews with Mr. Altman, in which he spoke expansively of POPEYE as a thematic ancestor of THE PLAYER and KANSAS CITY — "the maverick, at large in an insular and corrupt society," as the Great Man put it, adding "always been fascinated with that notion of landing in some place where one doesn't belong but trying to gain something of an edge." The Altman's POPEYE plays out well and holds up likewise, as far as I'm concerned. Generally loyal to Segar, smart casting overall. The music still strikes me as a bit too precious — even though I'm a big admirer of Harry Nilsson's work elsewhere. No accounting for taste.
I know what you mean about Harry Nilsson. I'm a HUGE fan. And he would regularly walk the thin line between cloying and clever. "The Point" is like that. "The Moonbeam Song," from "Nilsson Schmilsson." His theme music to "The Courtship of Eddie's Father." He could usually put just enough of an ironic twist on things to keep them from getting too schmaltzy. I have to admit, I haven't seen Altman's "Popeye" in over twenty years and I never saw it in the theater. I can't remember the music that well. I remember being amazed at the sets and casting. Shelly Duvall was born to play Olive Oyl. But as I recall the movie had a problem sustaining my interest.By contrast, I saw the Arabian Nights/Popeye spoof in a theater about fifteen years ago. There are elements from that short that I can readily picture. Especially Bluto singing as Abu Hassan and the 40 theives hiding in crockery. It's funny what sticks with me.http://www.theneitherworld.com/popeye/lyrics.htmI just Googled "Abu Hassan" to see if I had the spelling right. (I do!) But I also found out that "Abu Hassan" was a one act opera from the early 1800s by Carl Maria von Weber, who I've never heard of, but Wikipedia insists is very influential. My guess is that the Musical Director for the Fleischers knew of the opera and suggested the name, "Abu Hassan" and the song.
Yep — amazing what a Yahgoogle inquiry can turn up. Showed the Fleischers' POPEYE/SINDBAD short a few years ago as part of a repertory series at our local art-film theatre (billed with a Charley Chase two-reeler, MOVIE NIGHT, and the 1936 SHOW BOAT) and still hear fond impressions of the POPEYE from those who were among the audience. Favorite here among the three Technicolor pocket-epics featuring Popeye is the "Abu Hassan" entry — and yes, the business with the crockery is the first thing that springs to mind about that one.Watched Altman's KANSAS CITY again just the other night. About as hard-boiled as they come. Probably about time for a refresher-look at his POPEYE.
I have 2 Nilsson albums. Son of Schmilsson, which contains a great, unimportant song "You're Breaking My Heart". I delight in listening to it.And the second is the Popeye album. I absolutely loved the music. Thought the movie was pretty good, too.
I know, "You're Breaking My Heart," a very fun song! I know it from the anthology, "Personal Best." Harry's use of the expletive in "You're Breaking My Heart" is very similar to his use of the word, "crap," in "The Moonbeam Song." It's the salt that Nilsson tosses in to keep the stew from getting too treacly.I tried to find the Popeye soundtrack on Amazon and iTunes. Not available. But, iTunes has both the Popeye Movie and Popeye Vol. 1 box set! I will have to give both another try.
I am personally very fond of Altman's "Popeye" film – which, at the time it was released, i was amazed to be able to say about anything featuring Robin Williams ("The Fisher King" being the only other live-action Williams vehicle of which i can say the same).According to Feiffer's "History of Comics", the spinach (and, i assume Bluto) were elements of the adventure that was going on in the papers at the time the Fleischers first began making their cartoons, and they picked it up and used it as a tag to keep the character consistent. (As if Stan and Jack had only intended to use "It's clobberin' time!" as a oneshot thing, but that was when someone else took over the writing…) At the time, many complained that Altman's film wasn't faithful to "the original cartoons" – sort of like the people who complained that Disney's "Return to Oz" wasn't "faithful to the orginal" – even though it was much more faithful to Baum's books than was the Garland "original". (Feiffer's script, i understand, fairly closely adapts an actual sequence from the strip; aside from Castor's character being somewhat "dumbed down", it seems fairly accurate – in spirit at least – to me.)I can't afford these books, but i need to at least look them over…
Alman's Popeye was a delight for people (like me) who knew the original Thimble Theatre strip, as the characters populated the film as real as they could be. It was the first national exposure for magnificent new-wave clown Bill Erwin as Ham Gravy. Richard Libertini as Geezil was a joy to behold. About the only regulars who didn't appear were Eugene the Jeep and Bernice the Whiffle Hen.But alas, for people who knew Popeye and only Popeye, the film was 90-odd minutes of "when's he gonna eat the *&*&in' spinach?" It also suffered from the eternal belief that a character adapted from another medium requires an "origin" story, even where none had even been shown before. To once again quote Patton Oswalt's bit about the SW Proquels, "I don't need to know what the ice cream was before it was ice cream…I just want the ice cream."Both the Fleischer brothers and Elsie Segar were genius experimenters. Segar was notorious for building mad contraptions, usually out of yardsticks, to help in his work, including a device to enlarge and duplicate photos of Popeye for his many fans' requests. The Fleischers, aside from all but inventing the art of rotoscoping, also experimented with 3-D backgrounds behind the cel-animated characters, giving the cartoons a depth that impresses even today. More then just the multiplane method used by Disney (where several partial painted backgrounds are placed at different levels behind the main character), the Fleischers would build full mini-sets for the cartoons, place it behind the character and film the whole thing at once. You see it a few times in the Popeye shorts (and I look forward to see how the pristine copies on the DVDs make them pop) but my personal favorite example is in the Grampy cartoon "Chrstmas Comes But Once a Year" where Grampy and the orphans dance and sing before a 3-D rotating christmas tree.
"…the Fleischers would build full mini-sets for the cartoons, place it behind the character and film the whole thing at once. "As a matter of fact, sometimes – i think "Forty Thieves" was one – they would insert the cels *into* the 3D miniature set (which was on a turntable), and achiever shots with the characters realistically moving *behind* scenery or props.
Good perspective, there, on the Altman film as a reflection of Segar. And on the Fleischer's 3-D mastery, too. CHRISTMAS COMES BUT ONCE A YEAR is still an eye-popping delight.Recently watched an early-talkie Fleischer, SWING YOU SINNER!, in a YouTube presentation. Hadn't seen the thing since the after-school teevee days. Primitive and repetitive by comparison with the studio's strides of the later '30s, but smart usage of a popular song and a good early grasp of the surreal visual design that would evolve in such titles as MINNIE THE MOOCHER and SNOW-WHITE.http://www.youtube.com/watch?v=PqVP8a5C0V0