Molly Moo-Cow and Robinson Crusoe

Plot

Molly Moo-Cow, a friendly bovine character, washes ashore on a deserted island where she encounters Robinson Crusoe, who has been living in solitude for years. Crusoe, content with his isolated existence, immediately tries to drive away the enthusiastic Molly, who desperately attempts to befriend him through various comedic antics. Throughout the short, Crusoe delivers monologues about the virtues of solitary life while continuously attempting to rid himself of his unwanted visitor. After finally succeeding in getting Molly to leave the island, Crusoe's victory is short-lived as cannibals suddenly arrive on the shore. The natives capture Crusoe and prepare to cook him in a large pot, leading him to desperately call for help - ironically from the very companion he had just banished from his island paradise.

Historical Background

1936 was a pivotal year in American animation history. The industry was transitioning from sound cartoons to the golden age of theatrical animation, with Disney's 'Snow White and the Seven Dwarfs' in production and set to revolutionize the industry in 1937. Van Beuren Studios, where this cartoon was produced, was one of several smaller studios trying to compete with Disney's dominance. The Great Depression was still affecting the economy, making it difficult for smaller studios to secure funding and distribution deals. Animation was becoming increasingly sophisticated, with studios experimenting with Technicolor and more complex storytelling techniques. This cartoon reflects the era's trend of adapting literary classics (Robinson Crusoe) into animated shorts, making classic literature accessible to general audiences through humor and visual storytelling.

Making Of

The production of 'Molly Moo-Cow and Robinson Crusoe' took place during a tumultuous period for Van Beuren Studios. The studio was struggling financially and artistically to compete with the dominant Disney studio and the rising Fleischer Studios. Director Burt Gillett, who had been lured away from Disney with a substantial salary, brought with him Disney's attention to character animation and storytelling quality. However, Van Beuren's limited budget and resources meant that the animation quality couldn't match Disney's standards. The Molly Moo-Cow series represented the studio's attempt to create memorable recurring characters, but the character never achieved the popularity of Mickey Mouse or Popeye. The cartoon was produced using the standard animation techniques of the era, with animators working on paper drawings that were then transferred to cels for coloring and filming.

Visual Style

The cinematography of 'Molly Moo-Cow and Robinson Crusoe' follows the standard practices of 1930s theatrical animation. The film uses static camera angles typical of the era, with occasional pans and tracking shots to follow character movement. The background art employs watercolor techniques common in Van Beuren productions, creating a tropical island atmosphere with limited color palettes due to the two-color Technicolor process used. The animation style is more fluid than earlier cartoons but lacks the weight and depth that Disney was developing during the same period. Character movement follows the rubber hose animation style popular in the early 1930s, with exaggerated, elastic movements.

Innovations

While not groundbreaking in its technical achievements, 'Molly Moo-Cow and Robinson Crusoe' utilized the standard animation technologies of its time. The film was produced using the cel animation process, where characters were drawn on transparent celluloid sheets and photographed over background paintings. The cartoon employed early two-color Technicolor processes, which limited the color palette compared to the three-strip Technicolor that Disney was pioneering. The synchronization of sound and animation follows the techniques developed in the early sound era, with careful timing of dialogue, music, and visual action. The film represents the technical standards of mid-tier animation studios during the golden age of theatrical shorts.

Music

The cartoon's soundtrack was typical of Van Beuren productions, featuring original musical compositions combined with adaptations of popular classical pieces. The score was likely composed by Winston Sharples or Gene Rodemich, Van Beuren's regular musical directors. The film uses synchronized sound technology that was standard by 1936, with character voices, sound effects, and musical accompaniment all integrated into the soundtrack. Robinson Crusoe's monologues are delivered in a theatrical style common to voice acting of the era, while Molly Moo-Cow communicates primarily through mooing sounds and expressive gestures. The cannibal scenes feature tribal drum rhythms and exotic instrumentation to create atmosphere.

Memorable Scenes

• The opening scene where Molly Moo-Cow dramatically washes ashore on a makeshift raft, immediately disrupting Crusoe's peaceful morning routine
• Crusoe's elaborate attempts to scare Molly away from the island, including building ridiculous scarecows and creating elaborate traps
• The ironic climax where Crusoe successfully drives Molly away only to be immediately captured by cannibals and thrown into a cooking pot
• The final shot of Molly sailing away on her raft, oblivious to Crusoe's desperate cries for help in the distance

What Critics Said

Contemporary critical reception of 'Molly Moo-Cow and Robinson Crusoe' was minimal, as theatrical shorts rarely received detailed reviews from major publications. Animation trade publications of the era noted that the cartoon was competent but lacked the innovation and polish of Disney's output. Modern animation historians view the cartoon as a representative example of Van Beuren Studios' work - technically adequate but lacking the artistic ambition of its competitors. The Molly Moo-Cow series is generally considered a footnote in animation history, interesting primarily for its place in the broader context of 1930s animation rather than for its individual merits.

What Audiences Thought

Audience reception in 1936 was likely modest, as Molly Moo-Cow never became a breakout character like Mickey Mouse or Popeye. Theatrical audiences of the era typically viewed cartoons as entertaining preludes to main features, and Van Beuren's offerings were generally well-received but not enthusiastically remembered. Modern audiences encountering the cartoon through animation festivals or classic cartoon compilations often find it charming but dated, with humor that reflects the simpler comedic sensibilities of the 1930s. The cartoon's historical value often exceeds its entertainment value for contemporary viewers.

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