Noah's Lark

Plot

In this early sound animated short, Noah struggles to maintain order aboard his ark as the animals become increasingly restless and discontented. Frustrated with Noah's management, the animals collectively decide to abandon the ship and head to Coney Island and Luna Park for entertainment and freedom. The cartoon follows their chaotic adventures at the amusement parks, where they enjoy rides, games, and revelry away from Noah's supervision. Meanwhile, Noah must deal with the empty ark and figure out how to retrieve his wandering passengers. The film culminates in a musical celebration as the animals experience the joys of modern amusement park life, showcasing Fleischer Studios' signature blend of humor and musical entertainment.

Historical Background

1929 was a pivotal year in American cinema history, marking the full transition from silent films to sound pictures. The stock market crash of October 1929 occurred during the production of this cartoon, creating economic uncertainty that would soon affect the entire film industry. Fleischer Studios, based in New York, was in direct competition with Disney's California-based studio, which had released 'Steamboat Willie' the previous year and revolutionized sound animation. This period saw rapid technological advancement in film sound, with various studios developing competing systems. The cartoon's release in December 1929 came at the end of the Jazz Age, just before the Great Depression would fundamentally change American entertainment preferences. The setting of Coney Island was particularly significant, as these amusement parks represented the carefree prosperity of the 1920s that would soon vanish.

Making Of

The production of 'Noah's Lark' took place during a crucial period in animation history when studios were racing to incorporate sound technology. Fleischer Studios had developed their own sound synchronization system called the Sound Cartridge, which allowed for more precise timing between animation and audio. Billy Murray, a veteran vaudeville performer and recording star, was brought in to provide vocal performances, lending his distinctive voice to the cartoon's musical elements. The animators faced significant challenges matching the characters' mouth movements to the newly recorded dialogue and songs, often having to redraw sequences multiple times to achieve proper synchronization. The decision to use Coney Island as a setting was deliberate, as it was a familiar entertainment venue for New York audiences and allowed for dynamic visual gags with rides and attractions. The production team worked under intense pressure to complete the cartoon quickly, as Paramount was eager to build their library of sound cartoons to compete with other studios.

Visual Style

The animation in 'Noah's Lark' utilized the Fleischer Studios' distinctive style characterized by more three-dimensional character designs and surreal backgrounds compared to contemporaneous Disney cartoons. The film employed innovative camera techniques including the use of perspective to create depth in the Coney Island scenes. The animators used a limited color palette, as color animation was still experimental and expensive in 1929. The cartoon featured dynamic camera movements and tracking shots that were technically advanced for the period, particularly in sequences showing the animals enjoying amusement park rides. The visual style incorporated elements of German Expressionism with exaggerated angles and dramatic lighting to enhance the comedic effect.

Innovations

This cartoon represented significant technical advancement in early sound animation, utilizing Fleischer Studios' proprietary Sound Cartridge system for improved audio synchronization. The production team achieved relatively sophisticated lip synchronization for the period, though it appears crude by modern standards. The animation incorporated rotoscoping techniques for certain character movements, particularly in the dance sequences at Coney Island. The cartoon demonstrated early mastery of sound effects timing with visual action, creating more immersive entertainment than silent cartoons could provide. The production also experimented with multi-plane camera effects to create depth in the amusement park scenes, though this technology was still in its infancy. The film's successful integration of music, dialogue, and sound effects marked it as a significant achievement in the early sound era.

Music

The soundtrack featured original songs and popular tunes of the era, with Billy Murray providing vocal performances. The music was typical of late 1920s jazz and popular music, reflecting the sounds that would have been heard at actual Coney Island venues. The cartoon utilized early sound-on-film technology, allowing for synchronized dialogue, music, and sound effects. The score included novelty songs written specifically for the cartoon, along with adaptations of contemporary popular music. Sound effects were created manually in the studio using various props and techniques, as was standard practice before the advent of modern sound libraries. The musical sequences showcased the 'follow the bouncing ball' technique that Fleischer Studios had pioneered, encouraging audience participation.

Memorable Scenes

• The mass animal escape from the ark as they march toward Coney Island
• The animals riding the roller coaster with exaggerated expressions of terror and delight
• Noah discovering the empty ark and his comical panic reaction
• The grand musical finale at Luna Park with all animals dancing and singing

What Critics Said

Contemporary reviews from 1929 praised the cartoon's technical achievements in sound synchronization and its clever use of popular music. Variety noted the 'amusing antics' and 'excellent sound quality' while The Film Daily called it 'a delightful bit of animated entertainment.' Critics particularly appreciated the novelty of seeing biblical characters in a modern setting, which was considered innovative humor for the time. Modern animation historians view the cartoon as an important example of early sound experimentation, though it's generally considered less sophisticated than Disney's work from the same period. The cartoon is now studied for its historical significance in the development of sound animation and for representing the distinct New York sensibility of Fleischer Studios.

What Audiences Thought

Audiences in 1929 responded positively to the cartoon's novelty as a sound film and its humorous premise. The familiar setting of Coney Island and the inclusion of popular songs made it particularly appealing to urban audiences. The musical elements, especially with Billy Murray's involvement, were well-received by theatergoers who were still excited by the new technology of sound cinema. Children enjoyed the animal characters and slapstick humor, while adults appreciated the more sophisticated jokes about authority and rebellion. The cartoon performed well in theaters as part of the short subjects program, though specific attendance figures were not recorded for individual shorts of this era.

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