Customer Reviews

Before Walt [VHS]

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Editorial Reviews
Jerry Beck, Animation Authority/Historian
"The print quality is the best...and the transfers are excellent."

Brian Lemay, Animation Instructor
"Excellent quality and I liked the music and sound effects which did not intrude on the original animation, nice job!"

Without question, the three most important figures in the development of 20th century American animation are Winsor McCay, Max Fleischer, and Walt Disney. Although most histories credit Paul Terry's AESOP'S FABLES as Disney's inspiration, little mention is made of the influence of Max Fleischer. As early as 1919, Fleischer was combining animation with live action in his OUT OF THE INKWELL films. When Disney started his ALICE COMEDIES, he reversed the format by placing the live-action girl in a cartoon environment, and used many of the conventions and techniques developed by those who came before him.

When Walt Disney was just 19 years old, animated cartoons were an established novelty on the movie theater program. And while working at The United Film Service Company in Kansas City, he began experimenting with animation, as seen in NEWMAN'S LAUGH-O-GRAMS (1920) and PUSS AND BOOTS (1922). Examples from OUT OF THE INKWELL, AEASOP'S FABLES and FELIX THE CAT are among the examples of Disney's formative years seen in this program.

BEFORE WALT covers the history of animation from its Stone Age birth with cave drawings that would "animate" by the flicker of a campfire, to the concept of "The Persistence of Vision" applied by the Egyptians in The Temple of Isis; and the invention of the projector in 1840--all taking place in the "Pre-photographic Days". The development of photography leads through the experiments of Eadweard Muybridge, to James Stuart Blackton and his work with Thomas Edison, then Windsor McCay, Max Fleischer, and Walt Disney, who were considered to be the most important figures in animation of the 20th Century. In addition to the chronological order of development, BEFORE WALT contains examples that clearly illustrate the early influences on Disney. Seeing this program, it becomes clear that Disney derived his boy and girl characters in PUSS IN BOOTS (1922) from the work of Wallace Carlson's DUD LEAVES HOME (1919). In addition, it appears that many of these cartoons have their original title art restored, which enhances their beauty and helps retain their "original quality."

The main program is about 60 minutes, but there are extras that add to a solid 105 minutes with all menus working with ease. And what DVD would be complete without the "extras"? There is a Poster Gallery that includes a nice assortment of promotional art for various silent cartoons. There is also a "Profiles" section, which gives us an biographical write up on the various "fathers of early animation" done in encyclopedia style, with complete examples of works by Paul Terry, Earl Hurd and John Randolph Bray. Two of these include audio commentary by Blackton and a clip from a 1967 interview with Terry. Lastly, there is a very nice promo for Ray's "Animation Anthologies", including OUT OF THE INKWELL, KRAZY KAT, MUTT AND JEFF, and ALICE IN CARTOONLAND, and seeing it, viewers will want to purchase the rest of this wonderful series.

As usual, the cover art and back jacket "biography" are insightful, relevant, and eye-catching. There is a four-page insert that comes with the DVD, that is a variation on Ray's posted article on "The Centennial of American Animation" complete with pictures. The DVD itself was replicated on the new scratch-resistant TDK Armor disc. The presentation is what would be called a "docutainment movie", as Ray has mixed documentary narration and historical film clips with full-length cartoons. The transfers and mastering of the vintage films is superior, yet challenging since he was cursed with an amount of deteriorated source material in some cases. He has once again taken silent cartoons and created authentic period-sounding tracks with music and sound effects that enhance the cartoons to the degree that they seem as if they had been a part of the original.

Ray Pointer has delivered a full-bodied look at the history of early animation, and has done it in an entertaining way that pays a respectful tribute to the 100th birthday of American Animation. This DVD is a must buy, not just for the animation enthusiast, but, for teachers, students, and those who are merely curious about the roots of animation. There is so much time and effort that goes into a Ray Pointer DVD, and it shows, as this DVD may possibly be his best yet.

Richard Kish
Beacon, New York

This tape reminds the viewer of the wonderful programs on animation that used to appear on the old DISNEYLAND television show in the 1950s. In the process we see a nicely done summary of the development of cartoon animation from 100 years ago, with some revealing evidence of Walt Disney's influences in his formative years. Although the texts on Disney always created Paul Terry's AESOP'S FABLES as his inspiration, it is very clear now that Max Fleischer had the strongest influence, as Disney

copied many of the formats, gags, and techniques from Fleischer's OUT OF THE INKWELL films. This is more than obvious in Disney's ALICE COMEDIES, which placed a live action girl in a cartoon world, which was a reverse of Fleishcer's concept. Included are two examples of Disney's Kansas City period, two ALICE films, an AESOP'S FABLE, and one FELIX THE CAT cartoon.

Lastly, the transfers are bright and clear, and the use of music is superior, making this program superior to the Winstar releases and many other tapes of silent cartoons now on the market.

This tape reminds the viewer of the wonderful programs on animation that used to appear on the old DISNEYLAND television show in the 1950s. In the process we see a nicely done summary of the development of cartoon animation from 100 years ago, with some revealing evidence of Walt Disney's influences in his formative years. Although the texts on Disney always created Paul Terry's AESOP'S FABLES as his inspiration, it is very clear now that Max Fleischer had the strongest influence, as Disney

copied many of the formats, gags, and techniques from Fleischer's OUT OF THE INKWELL films. This is more than obvious in Disney's ALICE COMEDIES, which placed a live action girl in a cartoon world, which was a reverse of Fleishcer's concept. Included are two examples of Disney's Kansas City period, two ALICE films, an AESOP'S FABLE, and one FELIX THE CAT cartoon.

Lastly, the transfers are bright and clear, and the use of music is superior, making this program superior to the Winstar releases and many other tapes of silent cartoons now on the market.