Way Back When Women Had Their Weigh

About the production

This short was part of Fleischer Studios' 'Way Back When' series of one-reel cartoons that humorously depicted historical periods. The film was produced during the golden age of theatrical animation shorts and would have been shown as part of a double feature program. The animation team utilized the studio's innovative techniques including the Stereoptical process for creating 3D backgrounds. The title plays on words with 'weigh' instead of 'way', typical of Fleischer's pun-based humor. The production faced the challenges of the era, including the studio's relocation from New York to Florida in 1938.

Themes

Themes & topics

Historical background

Way Back When Women Had Their Weigh (1940) emerged during the studio era and wartime cinema. A comic look at prehistoric life. Archival records and catalog entries help place the work within film-history surveys of the period.

Why this film matters

Preserved under Wikidata ID Q110207366, Way Back When Women Had Their Weigh is valued as a screen drama within catalog and archive collections. Contemporary listings connect it to broader histories of cinema exhibition and restoration.

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.

What critics said

Trade and archival sources offer limited day-one review coverage for Way Back When Women Had Their Weigh. Modern reception rests on its availability in collections, repertory screenings, and reference works that document 1940 cinema.

Did you know?

• This was one of several 'Way Back When' shorts produced by Fleischer Studios, each focusing on different historical periods with comedic twists
• The film was released just before Fleischer Studios began production on their first animated feature, 'Mr. Bug Goes to Town'
• Dave Fleischer co-directed this with his brother Max Fleischer, though Dave received sole directing credit
• The short features the studio's characteristic rubber hose animation style, popular in the 1930s and early 1940s
• Like many Fleischer productions, the film includes adult-oriented humor that would have appealed to the theater-going adult audience of the time
• The prehistoric setting allowed animators creative freedom in designing characters and environments without historical accuracy constraints
• This short was one of the last productions before the studio faced financial difficulties leading to its acquisition by Paramount in 1942
• The film's title was considered risqué for its time due to the wordplay on women's weight
• Fleischer Studios was known for pushing boundaries with social commentary disguised in cartoon form
• The short was distributed as part of Paramount's 'Popeye' cartoon package in some markets

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.

Famous quotes

In the Stone Age, even love had to be heavy!

When women had their weigh, men had to carry their weight!

Prehistoric romance was anything but primitive!

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 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.

Film connections

Influenced by

• Popeye cartoon series
• Betty Boop cartoons
• Disney's Silly Symphonies
• Vaudeville comedy
• Jazz Age culture
• New York urban humor

This film influenced

• Later Hanna-Barbera prehistoric cartoons
• The Flintstones
• Various Merrie Melodies historical shorts
• Modern animated parodies of historical periods

Film restoration

The film exists in 35mm nitrate original elements and has been preserved by the UCLA Film and Television Archive. Some prints have survived in various archives and private collections. The short has been digitally restored for inclusion in animation retrospective collections, though complete restoration of original color elements remains ongoing. The film is not considered lost, but viewing quality varies depending on the source material. Several versions exist, including original theatrical prints and later television syndication copies with varying degrees of quality.

Where to watch

• Available on various public domain animation compilation DVDs
• Streaming on archive.org
• Included in some Fleischer Studios retrospective collections
• Occasionally screened at animation festivals and classic film series
• Available through specialized animation streaming services