A Musical Up-Roar 1949-51
The early 50s saw Scott Bradley increasingly writing his own scores, and not incorporating MGM’s own published songs.
The early 50s saw Scott Bradley increasingly writing his own scores, and not incorporating MGM’s own published songs.
I have attached the most representative images of Avery’s output to some of Poe’s best-remembered sentences. The results speak for itself.
MGM’s cartoon unit was humming during this period – including continuing to use tunes from various MGM musicals.
During the period covered by these cartoons, the Second World War came to an end.
The MGM cartoons of the 1940s were no longer 30s cutesie-poo – being replaced by the fast-paced, gag oriented style of Avery, Hanna and Barbera.
During the 1940-41 season, MGM celebrated a match made in cartoon heaven – the teaming of William Hanna and Joseph Barbera.
The cartoons were starting to retreat from the ooey-gooey style of the early Happy Harmonies. And at times, they could create an unexpected classic.
In the 1939 season, Harman and Ising came back, each heading their own unit, and offering once again the benefits of full Technicolor.
At MGM, the Harman-Ising cartoons had been becoming more elaborate and more expensive with each passing season.
With their trademark ootsy-cutesie style continuing, and branching out into “swing” cartoons in Technicolor, the MGM cartoons kept the pace, musically at least.