A Self-Made Mongrel

Plot

A wealthy eccentric gentleman owns a talking mongrel dog who becomes dissatisfied with his humble pedigree and decides to reinvent himself as a sophisticated watchdog. The dog begins practicing his protective duties with comical overconfidence, believing he has natural born instincts for guarding the household. To test his dog's newfound abilities, the owner devises a plan to break into his own house wearing a burglar's mask, intending to stage a fake robbery. However, before the owner can execute his plan, a genuine burglar breaks into the house and takes control of the situation, much to the surprise of both the self-proclaimed protector and his owner. The mongrel dog must now prove his worth as a real watchdog against an actual threat, leading to a chaotic and humorous confrontation.

Historical Background

This film was produced during the final months of World War II, a period when animated shorts served as both entertainment and propaganda vehicles. The animation industry was experiencing significant changes, with many studios dealing with wartime resource shortages and personnel issues as animators were drafted into military service. Famous Studios, having been established by former Disney and Fleischer animators, was competing in a crowded market that included Disney, Warner Bros., MGM, and Universal. The year 1945 marked a transition period in American animation, as studios began moving away from the wartime themes that had dominated their output and returning to more traditional comedic fare. The film's release coincided with the beginning of the post-war economic boom that would eventually lead to the golden age of television, which would later threaten the theatrical animated short market.

Making Of

The production of 'A Self-Made Mongrel' took place at Famous Studios' animation facility in New York City, which was unusual as most animation studios were based in Hollywood. Dave Tendlar, who had previously worked as an animator for Fleischer Studios, brought his distinctive style to this short. The voice work was recorded using the primitive sound technology of the era, requiring actors to perform their lines multiple times to get the right timing with the animation. The animation team used the exposure sheet system to coordinate dialogue with character movements, a meticulous process that required precise timing. The character designs were created to be both expressive and simple enough for efficient animation production, reflecting the studio's need to produce cartoons quickly for theatrical release.

Visual Style

The animation utilizes traditional cel animation techniques with hand-painted backgrounds and character cels. The visual style features bold outlines and vibrant colors typical of Famous Studios' productions in the 1940s. The camera work includes dynamic angles and movement to enhance the comedic timing, particularly during the action sequences. The animation employs squash and stretch techniques to create exaggerated character movements that enhance the humor. The color palette uses saturated primary colors that were characteristic of the three-strip Technicolor process used for theatrical cartoons of this era.

Innovations

While not groundbreaking in terms of technical innovation, the short demonstrates the polished animation techniques that Famous Studios had perfected by the mid-1940s. The film showcases smooth character animation and effective use of the multiplane camera system for creating depth in certain scenes. The synchronization of dialogue with character mouth movements was particularly well-executed for the period, reflecting the studio's expertise in limited animation techniques that maximized efficiency while maintaining quality. The color work demonstrates effective use of the three-strip Technicolor process, with careful attention to color harmony and visual appeal.

Music

The musical score was composed by Winston Sharples, who was the house composer for Famous Studios and created music for hundreds of their animated shorts. The soundtrack features typical 1940s cartoon music with lively orchestral arrangements that punctuate the comedic action. The music includes leitmotifs for different characters and situations, using brass and percussion to emphasize physical comedy moments. Sound effects were created using traditional cartoon techniques, including slide whistles, boings, and other exaggerated audio cues that enhance the visual gags.

Memorable Scenes

• The scene where the dog practices his watchdog skills by barking at his own reflection, demonstrating his overconfidence and lack of real experience. The climactic confrontation between the self-proclaimed watchdog, the disguised owner, and the real burglar creates a three-way confusion that drives the film's comedic resolution.

What Critics Said

Contemporary critical reception for animated shorts like 'A Self-Made Mongrel' was limited, as these films were typically reviewed as part of the overall theatrical program rather than as standalone works. Trade publications of the era generally praised Famous Studios for their consistent quality and entertainment value. Modern animation historians and critics view these shorts as important examples of the period's animation style, noting their distinctive character designs and fluid animation techniques. The short is often cited by animation enthusiasts as an example of Dave Tendlar's directorial work and his ability to create engaging comedic scenarios within the limited runtime of a theatrical short.

What Audiences Thought

Audiences in 1945 received the film as part of the typical theatrical experience, where animated shorts were expected entertainment before the main feature. The talking animal premise and comedic situations were popular with moviegoers of all ages during this period. The short's humor, based on the dog's overconfidence and the ensuing chaos, would have resonated with audiences seeking light entertainment during the final months of World War II. Like many animated shorts of the era, it likely enjoyed positive audience reception as part of the overall movie program, though individual shorts rarely received specific audience feedback or ratings.

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