Time on My Hands

Plot

In this surreal Fleischer Studios short, a fisherman finds himself in a bizarre battle with rebellious worms that refuse to stay on his hook. The narrative shifts underwater where a diver encounters a Betty Boop-like mermaid who transforms into live-action performer Ethel Merman. The mermaid/Merman character sings the title song 'Time on My Hands' using the studio's patented Bouncing Ball technique, inviting audience participation. The cartoon blends typical Fleischer surrealism with innovative live-action/animation integration, creating a dreamlike sequence where animated characters interact with real performers. The short concludes with musical numbers and visual gags characteristic of early 1930s animation.

Historical Background

Released in December 1931, 'Time on My Hands' emerged during a pivotal moment in American history and cinema. The nation was deep in the Great Depression, with unemployment reaching nearly 16%, making escapist entertainment more valuable than ever. The film industry was transitioning from silent to sound pictures, with animation studios racing to adapt their techniques. Fleischer Studios, based in New York rather than Hollywood, represented an alternative approach to animation, emphasizing urban sophistication, jazz music, and surreal humor over Disney's more pastoral, family-friendly style. 1931 also saw the rise of the 'talkartoon' format, short musical cartoons that capitalized on the public's fascination with sound technology. The inclusion of Ethel Merman reflected Broadway's growing influence on Hollywood, as musical theater stars increasingly crossed over into film. This period also saw the beginning of the Motion Picture Production Code's enforcement, though pre-Code films like this could still feature more adult themes and surreal content that would later be censored.

Making Of

The production of 'Time on My Hands' exemplified Fleischer Studios' experimental approach to animation during the early sound era. The studio, operating from their New York studios, was known for pushing technical boundaries, and this short was no exception. The live-action segments with Ethel Merman required careful synchronization between the animated elements and the live performer, a complex process for the time. The Bouncing Ball sequences involved projecting the film frame by frame and animating the ball's movement to match the musical tempo. Mae Questel, who had recently become the official voice of Betty Boop, recorded her lines in the primitive sound recording facilities available in 1931. The surrealist elements, particularly the rebellious worms sequence, reflected the influence of European surrealism on American animation during this period. The animators at Fleischer were given considerable creative freedom, resulting in the bizarre dreamlike quality that distinguished their work from Disney's more refined style.

Visual Style

The visual style of 'Time on My Hands' exemplifies the distinctive Fleischer Studios aesthetic of the early 1930s. The animation employed the studio's characteristic 'rubber hose' style, with characters featuring flexible, boneless limbs that could stretch and bend in impossible ways. The underwater sequences utilized subtle color tints, as was common in early cartoons before full three-strip Technicolor became standard. The integration of live-action footage required careful matting and compositing techniques that were innovative for their time. The Bouncing Ball animation demonstrated precise timing and synchronization skills, as the animated element had to match exactly with the musical tempo. The surrealist sequences, particularly with the rebellious worms, showcased the animators' ability to create bizarre, dreamlike imagery that pushed the boundaries of conventional cartoon humor. The visual gags and transitions between scenes employed creative metamorphosis techniques that became a Fleischer trademark.

Innovations

The film's most significant technical achievement was the seamless integration of live-action footage with traditional animation, a process that required careful planning and execution in 1931. The Bouncing Ball technique, patented by Max Fleischer, represented an innovative approach to audience participation and educational entertainment. The film demonstrated advanced synchronization between audio and visual elements, particularly challenging given the primitive recording equipment available at the time. The underwater sequences required special animation techniques to create the illusion of movement through water, including the use of ripple effects and bubble animations. The metamorphosis sequences, where characters and objects transform into one another, showcased the animators' technical skill and creativity. The film also employed early special effects techniques to create the surreal visual gags that distinguished Fleischer Studios' work from their competitors.

Music

The soundtrack for 'Time on My Hands' centers around the title song 'Time on My Hands,' a popular standard from 1930 composed by Vincent Youmans with lyrics by Harold Adamson and Edward Heyman. The song is performed by Ethel Merman in her distinctive Broadway style, showcasing the powerful voice that would make her a theater legend. The musical score incorporates typical early 1930s jazz arrangements, reflecting the urban sophistication that characterized Fleischer Studios' productions. The Bouncing Ball segments required precise musical timing to synchronize the animated element with the lyrics. The sound effects, created using early recording techniques, include exaggerated cartoon noises that enhance the surreal humor. Mae Questel's voice work as the mermaid character employs the distinctive Betty Boop vocal style that combined childlike innocence with flapper-era sexuality. The overall musical approach reflects the transition period of early sound animation, where synchronized sound was still a novel and exciting technological achievement.

Memorable Scenes

• The opening sequence with the fisherman battling rebellious worms that refuse to stay on his hook
• The underwater encounter between the diver and the Betty Boop-like mermaid
• The transformation of the animated mermaid into live-action Ethel Merman
• The Bouncing Ball sequence inviting audience participation in singing the title song
• The surreal metamorphosis gags throughout the short

What Critics Said

Contemporary critical reception of 'Time on My Hands' was generally positive, with reviewers praising the innovative combination of animation and live-action. The trade papers of the era, such as Variety and The Film Daily, noted the technical achievement of synchronizing the Bouncing Ball with Ethel Merman's performance. Critics particularly appreciated the surreal humor and visual gags, which were seen as distinguishing Fleischer Studios' work from the more straightforward entertainment offered by competitors. The musical elements were highlighted as strong points, with the title song being recognized as a popular standard given new life through the animated format. Modern animation historians view the film as an important example of early experimentation in hybrid animation techniques, though it's often overshadowed by more famous Fleischer works. The film is now appreciated for its pre-Code freedom and the distinctive urban jazz aesthetic that characterized early Fleischer productions.

What Audiences Thought

Audiences in 1931 responded positively to 'Time on My Hands,' particularly enjoying the novelty of the Bouncing Ball sing-along segments and the appearance of Ethel Merman, who was gaining fame as a Broadway performer. The surreal humor and visual gags resonated with Depression-era audiences seeking lighthearted entertainment. The Betty Boop character, even in mermaid form, was extremely popular during this period, contributing to the short's appeal. Modern audiences encountering the film through classic animation festivals and home video releases often express fascination with the experimental techniques and the distinctive pre-Code content that would later be censored. The film serves as a time capsule of early 1930s popular culture, with its jazz music, flapper aesthetics, and surreal humor offering insight into the entertainment preferences of the era.

You Might Also Like