{"id":74802,"date":"2022-09-13T00:01:22","date_gmt":"2022-09-13T07:01:22","guid":{"rendered":"https:\/\/cartoonresearch.com\/?p=74802"},"modified":"2022-09-13T11:27:09","modified_gmt":"2022-09-13T18:27:09","slug":"max-and-dave-popeye-1936-37-most-remarkable-and-extraordinary","status":"publish","type":"post","link":"https:\/\/cartoonresearch.com\/index.php\/max-and-dave-popeye-1936-37-most-remarkable-and-extraordinary\/","title":{"rendered":"Max and Dave: Popeye 1936-37 – Most Remarkable and Extraordinary"},"content":{"rendered":"

\"\"<\/a>It would be interesting to see the trade magazines of 1936 – 37, to see if they confirm what everyone expects – that Popeye cartoons were becoming the most popular ones around. Meanwhile, the industry was probably abuzz with news of \u201cDisney\u2019s Folly\u201d – plans for a feature-length cartoon. Max Fleischer wasn\u2019t yet ready to go that far – but he did think to try a two-reel Popeye cartoon – eventually producing three of them, all in Technicolor. After all, the two reel format was already standard for comedy shorts and serial chapters, so the exhibitors were well-familiar with fitting them on their programs. Max decided both the vibrant hues of Technicolor and the effects of the turntable camera could be well showcased on the two-reelers, along with more adventurous storylines (though Max chose not to mirror the longer story arcs of the Segar strip). One suspects the exhibitors were delighted. The returns preached their delights. It was even nominated for an Academy Award. I\u2019ve also seen claims that some theaters advertised the Popeye two-reelers more than the features they were supposed to accompany. Of course it cost more to produce such a special than the usual black-and-whites – so these had to be categorized in \u2018special\u201d status, as \u201cA Popeye Color Feature\u201d, while the black and whites continued to satisfy the needs of a regular schedule. <\/p>\n

Popeye the Sailor Meets Sinbad the Sailor<\/strong> (11\/20\/36) – We are introduced to Sinbad (Bluto) as the lord and master of an island on top of a whale, complete with creatures he has mastered over the years, including a \u201cRukh\u201d (commonly known as \u201cRoc\u201d), dragons, snakes, big cats, and a two-headed giant named Boola. This is a great vehicle for Gus Wickie and his booming basso voice (not that Mercer and Questel are left in the dust). It also appears to mark the first instance of Jack Mercer voicing Wimpy – a role he would return to in the TV productions of King Features Syndicate. Popeye, Olive, and Wimpy are sailing around, and Sinbad spots Olive through his periscope. As for Popeye, Sinbad comments, \u201cWho fills the air with notes so sour, and dares to challenge Sindbad\u2019s power?\u201d He orders the Runh to wreck the ship – \u201cbut bring me the woman\u201d. Popeye brings Wimpy along for a rescue from the shipwreck, and encounters the Rukn in battle (\u201cThere y\u2019are …With gravy\u201d), and Boola (unaccountably voiced in mock-Grecian accent like Parkyakarkus). Then, the climactic battle with Sinbad, which has the whole island abuzz. The green of Popeye\u2019s spinach is fully appreciated for the first time, as the sailor hoists Sinbad on Popeye\u2019s own \u201cpetard\u201d – a flag with insignia of a spinach can and anchor. Songs:<\/strong> \u201cEmmett\u2019s Lullaby\u201d (with special lyrics for Boola while punching Popeye), a full version of the Popeye theme (for the first time on film by Mercer), and an original song \u201cI\u2019m Sinbad the Sailor\u201d, included in the Popeye Song Folio<\/em> and also included on the Floyd Buckley Bluebird recording (embed below) and Cricket LP culled from the same folio. <\/p>\n