Molly Moo-Cow and Rip Van Winkle

Plot

Molly Moo-Cow, a curious and mischievous bovine character, encounters the legendary Rip Van Winkle in the Catskill Mountains. Despite warnings from her conscience, Molly drinks the same magical brew that caused Rip to sleep for twenty years. The animated short follows Molly's surreal adventures after consuming the potion, including encounters with little men (likely the spirits of Henry Hudson's crew), hosting her own keg party, bowling against her ghostly double, and eventually awakening the famous Washington Irving character. The film concludes with Molly successfully reviving Rip Van Winkle just in time for the classic iris-out ending, creating a bizarre blend of the original literary tale with cartoon absurdity.

Historical Background

The film was produced in 1935 during the depths of the Great Depression, a time when animated shorts served as affordable entertainment for struggling audiences. This was also the golden age of American animation, with studios like Disney, Warner Bros., Fleischer, and Van Beuren all competing for theater screen time. The animation industry was rapidly evolving technically, with the recent introduction of three-strip Technicolor and improved sound synchronization. The film's release came just two years after the creation of the Production Code, which would soon begin to influence cartoon content. Van Beuren Studios was attempting to establish itself alongside industry giants, and adaptations of familiar literary works like Rip Van Winkle were seen as a way to appeal to both children and adults.

Making Of

The production of 'Molly Moo-Cow and Rip Van Winkle' took place at Van Beuren Studios in New York during a competitive period in American animation. Director Burt Gillett brought his Disney experience to the project, attempting to elevate Van Beuren's typically more chaotic animation style. The animators faced the challenge of adapting Washington Irving's classic American literary tale into a seven-minute cartoon format while maintaining the surreal humor that characterized the Molly Moo-Cow series. The production team incorporated elements from both the original story and cartoon slapstick conventions, creating a unique hybrid that reflected the experimental nature of 1930s animation. The voice work and sound effects were created using the primitive audio technology of the era, with live sound recording onto optical film tracks.

Visual Style

The cinematography utilized the standard black and white cel animation techniques of the mid-1930s. The visual style featured the characteristic rubber-hose animation popular during this period, with characters having flexible, boneless limbs. The film employed typical Van Beuren visual aesthetics including exaggerated expressions, surreal transformations, and dreamlike sequences. Background paintings were relatively simple but effective, creating the Catskill Mountains setting with minimal detail to focus attention on the animated characters. The iris-out ending was a common cinematic technique of the era, transitioning from the scene to black through a closing circular aperture.

Innovations

While not groundbreaking in terms of technical innovation, the film demonstrated solid execution of contemporary animation techniques. The production utilized the multiplane camera setup that was becoming standard in the industry, allowing for more dynamic movement between background layers. The animation team achieved smooth character movement through the use of exposure sheets and careful timing charts. The surreal effects, such as Molly's ghostly double, were accomplished through double exposure techniques and careful cel layering. The film represents the technical capabilities of a mid-tier studio during a period of rapid advancement in animation technology.

Music

The film's soundtrack consisted of typical 1930s cartoon music, likely featuring orchestral arrangements with prominent use of woodwinds and brass to accentuate the comedic action. The music would have been synchronized to the animation using the click track method common in early sound cartoons. Sound effects were created live in the studio using various props and techniques typical of the era. The film may have included some musical numbers or recurring motifs associated with Molly Moo-Cow's character. The audio was recorded using the optical sound-on-film technology that had become standard by 1935.

Memorable Scenes

• The scene where Molly Moo-Cow drinks the magic brew against her conscience's warnings
• Molly's encounter with the little men in the mountains
• The surreal bowling match between Molly and her ghostly double
• Molly's private keg party with animated barrels and mugs
• The final awakening of Rip Van Winkle with the iris-out ending

What Critics Said

Contemporary critical reception of the film was minimal, as animated shorts were rarely reviewed in detail by major publications of the era. The few trade paper mentions noted the film's unusual premise and surreal humor. Modern animation historians and critics view the film as an interesting curiosity piece that exemplifies Van Beuren Studios' distinctive style. Critics generally acknowledge the film's historical value as an example of 1930s animation experimentation, though most agree it lacks the technical polish and narrative coherence of contemporary Disney works. The film is often cited in discussions of how smaller studios attempted to compete with industry giants through more bizarre and unconventional content.

What Audiences Thought

Audience reception in 1935 was likely modest, as the Molly Moo-Cow series never achieved the popularity of characters like Mickey Mouse or Betty Boop. Theater audiences of the era typically enjoyed animated shorts as part of larger film programs, and the surreal humor and bizarre imagery probably appealed to children and adults looking for escapist entertainment during the Depression. The combination of a familiar literary character with cartoon absurdity may have confused some viewers while entertaining others. Modern audiences who discover the film through animation festivals or classic cartoon collections often find it fascinating as an example of the more experimental side of 1930s animation.

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