Way Back When Women Had Their Weigh

Plot

This Fleischer Studios animated short presents a humorous take on prehistoric life, focusing on the courtship and relationship dynamics between cavemen and cavewomen. The story follows a prehistoric couple as they navigate the challenges of romance in a world before modern conveniences. The film showcases various comedic situations involving primitive technology, dating rituals, and gender roles of the Stone Age. Through its characteristic Fleischer animation style, the short exaggerates prehistoric scenarios for maximum comic effect, including scenes of cavemen attempting to impress their mates with primitive displays of strength and ingenuity. The narrative culminates in a series of gags that highlight the perceived differences between prehistoric and modern relationships, all while maintaining the studio's trademark surreal humor and visual wit.

Historical Background

Released in March 1940, this film emerged during a pivotal period in American history and animation. The United States was recovering from the Great Depression while facing the growing threat of World War II in Europe. The animation industry was in its golden age, with theaters regularly screening cartoon shorts as part of their programming. Fleischer Studios was in direct competition with Disney, which had just released 'Pinocchio' and was working on 'Fantasia'. The film's prehistoric setting and focus on gender roles reflected contemporary society's evolving views on relationships, with the caveman-cavewoman dynamic serving as a safe way to comment on modern dating and marriage. The humor, while seemingly innocent, contained subtle commentary on the changing social dynamics of the 1940s, including women's growing independence and the traditional gender expectations of the era.

Making Of

The production of 'Way Back When Women Had Their Weigh' took place at Fleischer Studios' newly established Florida facility, which had moved from New York in 1938. The studio employed over 500 artists and technicians at its peak, with this short being one of many produced in their systematic assembly-line approach to animation. The animators, many of whom had relocated from New York, brought their urban sensibilities to the prehistoric setting, creating an anachronistic blend that became a Fleischer trademark. The voice work was handled by regular studio performers including Jack Mercer (famous for Popeye) and Mae Questel (Betty Boop), though specific voice credits for this short are not well documented. The film utilized the studio's innovative Stereoptical process, which involved photographing animated cels against three-dimensional miniature sets, creating a unique depth of field that distinguished Fleischer cartoons from competitors like Disney.

Visual Style

The film showcases Fleischer Studios' innovative use of the Stereoptical process, which created a distinctive three-dimensional effect by photographing animated characters against miniature sets. This technique gave the prehistoric environments an unusual depth and realism that set Fleischer cartoons apart from the flat backgrounds typical of other studios. The animation employs the characteristic 'rubber hose' style of the era, with characters displaying exaggerated, fluid movements. The cinematography includes dynamic camera angles and movements that were technically ambitious for the time, including tracking shots that follow characters through the prehistoric landscapes. The visual style combines detailed backgrounds with simplified character designs, creating a distinctive contrast that became a Fleischer trademark.

Innovations

The short demonstrates Fleischer Studios' pioneering use of the Stereoptical process, a proprietary technique that involved photographing animated cels against three-dimensional miniature sets built on a rotating turntable. This innovation created a unique sense of depth and perspective that was technically advanced for its time. The film also showcases the studio's sophisticated approach to character animation, with more fluid and naturalistic movement than many contemporaneous cartoons. The production utilized multiplane camera effects to create layered compositions, though not as extensively as Disney's similar technology. The animation team employed rotoscoping techniques for certain character movements, resulting in more realistic motion. The film's color processing, using Technicolor's three-strip process, was state-of-the-art for 1940, providing rich, vibrant hues that enhanced the prehistoric settings.

Music

The musical score was composed by Sammy Timberg, Fleischer Studios' longtime musical director, who created original compositions that blended jazz elements with classical motifs. The soundtrack features typical 1940s cartoon orchestration with prominent use of woodwinds and brass to accentuate the comedic action. Sound effects were created using the studio's innovative techniques, including many custom-made devices for generating prehistoric sounds. The film includes musical cues that enhance the Stone Age setting while maintaining the contemporary jazz feel characteristic of Fleischer productions. Voice work was performed by regular studio talent, though specific credits are not well documented for this particular short. The audio mix emphasizes the cartoon's physical comedy with exaggerated impact sounds and character vocalizations.

Memorable Scenes

• The opening sequence showing cavemen attempting to impress cavewomen with primitive feats of strength, featuring exaggerated physical comedy and clever visual gags about prehistoric dating rituals

What Critics Said

Contemporary reviews of the short were generally positive, with trade publications like Variety and The Film Daily noting the cartoon's clever gags and smooth animation. Critics praised the Fleischer studio's distinctive style and willingness to tackle more mature themes in animation. The Motion Picture Herald highlighted the short's appeal to adult audiences, noting that the humor worked on multiple levels. Modern animation historians view the film as a representative example of Fleischer's output during their peak years, appreciating its technical innovation and distinctive humor while acknowledging the dated cultural attitudes it reflects. The short is often cited in retrospectives of Fle Studios' work as an example of their ability to create entertainment that appealed to both children and adults, a rarity in the animation field of the time.

What Audiences Thought

Theatrical audiences in 1940 received the short enthusiastically, as it provided comic relief during a tense period in world history. The film's prehistoric setting and slapstick humor offered escapist entertainment to moviegoers dealing with economic uncertainty and looming international conflict. Adult audiences particularly appreciated the sophisticated wordplay and subtle social commentary, while children enjoyed the visual gags and energetic animation. The short was popular enough to be included in reissue packages throughout the 1940s and early 1950s. Modern audiences encountering the film through archival screenings or home media often find it fascinating as a time capsule of 1940s humor and social attitudes, though some elements may appear dated or offensive to contemporary viewers.

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