Gerald McBoing-Boing (film)
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Gerald McBoing Boing
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This film has been preserved in the National Film Registry in 1995.
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Gerald McBoing-Boing is a 1951 animated short film produced by United Productions of America (UPA) and given wide release by Columbia Pictures on November 2, 1950. It was adapted by Phil Eastman and Bill Scott from a story by Dr. Seuss, directed by Robert Cannon, and produced by John Hubley.
Why It Rocks
- The distinctive style of the short helped redirect the animation industry in the 1950s. It was released through Columbia Pictures by UPA, an independent animation house, which released some cartoons that indicated a new method of animation art, with flat backgrounds and stylized characters. It was considered a breath of fresh air at the time of its release, compared to the more realistic looking animation that was becoming a lot more commonplace at the time.
- According to designer Bill Hurtz they were trying for absolute simplicity—with very few lines in various pictures, and very elemental aspects. Hurtz wanted to make a cartoon that followed a continuous path, without cuts or dissolves. Characters in the foreground would remain constant, while backgrounds would change to indicate new settings. In much of the short, there is no distinction between wall and floor. Sometimes swaths of color stood in for backgrounds, being applied loosely and suggestively rather than realistically. These took on psychological significance, indicating Gerald’s moods during the story.
- It also didn't copy live-action film techniques, or use "realistic" sets for backdrops in the animation.
- It was the culmination of UPA’s efforts to break away from the traditional animation exemplified by Walt Disney and Warner Brothers. It's based on a story written by Dr. Seuss, whose rhyming dialogue would become his trademark in children’s books like. Here, the sing-song rhyme dialogue, adds to the whimsical nature of the animation. Seuss previously wrote the story as a children's phonograph record, but the crew managed to make it work visually, despite all odds. According to Maltin, the portions of his script that could be addressed in purely visual terms were discarded. Thanks to cartoons such as this, the “UPA look” became the new standard for cartoons in the 1950s.
- Interesting concept centering around a young boy who could only speak in sound effects, rather than actual words. While various parts of the short have Gerald looked down upon for his difference (his parents freak out, a doctor can’t help, and his classmates and school reject him), the boy's problem ultimately turns out to be a gift, and the film concludes in a positive way, celebrating difference. It's a humorous metaphor for kids who may feel "odd" or like they're different from other kids. This short celebrates such differences, and as a result, the titular boy comes across as very relatable, especially to young outcasts.
- The music, composed by Gail Kubik, is daringly modern, completely in keeping. Finally, the soundtrack also establishes a whimsical and comical mood for the film. Many of the scenes are accompanied with appropriate background music according to the situation, from frantic and tense music when the father runs around, to melodramatic and dissonant strings when Gerald is depicted as sad.
- The short's far richer in humor and spirit than all the fussily detailed conventional cartoons. It largely relies on verbal humor, voice talent, sound effects, and script writing for success. And with the overall concept surrounding Gerald, the sound effects drive the entire story, from the relationships and interactions Gerald has with his neighbors, to the reason as to why he becomes famous in the feature’s conclusion. Many of the punchlines come from the action of incredible explosive noises emanating from a small, young boy. The humorous and dramatic voice acting also helps to further accentuate the personalities of the characters, along with their exaggerated movements.
Bad Qualities
- The animation, while being different but surprisingly incredible by 1951's animation standards and by the time the short was released, it aged badly in some aspects, though, understandable, this was one of UPA's many revolutionary art styles back in the day.
Reception
Gerald McBoing-Boing won the 1950 Oscar for Best Animated Short. In 1994, it was voted #9 of The 50 Greatest Cartoons of all time by members of the animation field, making it the highest ranked UPA cartoon on the list.
The Film
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