When I was a child, I was a big fan of "ace reporter" Sweet Polly Purebread. As an adult, I occasionally find myself singing the "Oh, where, oh where has my Underdog gone, oh where, oh where can he be?" when I am roaming around parking lots trying to remember where I left my car.
Admittedly, it I cannot say with certainty it has ever helped me find my car; and a flying dog wearing a red union suit never showed up to guide my way, but it did pass the time until I found it.
Underdog was always my favorite hero: brave, gallant, extremely humble and well-mannered, and spoke in rhyming couplets. If he were real, I would have asked him to marry me.
When he became a balloon in the Macy's Thanksgiving Day Parade in 1965, my world was complete. He remained my favorite part of the parade until he was retired in 1984. I still miss him.
The series Underdog ran from 1964 through 1967, and then in repeats in syndication for a few more years after that. He did not outlive my childhood, and yet, he lives on in golden memory.
Wally Cox voices Underdog, and Norma MacMillan is the career-woman, Sweet Polly Purebread. She did a number of voice roles in cartoons, some television shows, but you may also remember her from Vaughn Meader's 1962 hit comedy album parodying President John F. Kennedy and his family, The First Family, where she voiced the children, John-John and Caroline Kennedy. (The 22nd of November will invariably bring to mind other memories today.) She was also the mother of Alison Arngrim, who played Nellie on Little House on the Prairie. The above episode is a Thanksgiving-themed adventure where one of show's villains, Simon Bar Sinister (whose speech is meant to mimic Lionel Barrymore. Another villain in the series, gangster Riff Raff, is meant to parody George Raft), tries to take over the city in another evil plot, but he can't get through the Thanksgiving parade. So he invents a time travel device "a time bomb" - how clever is that -- to go back to the First Thanksgiving and cause discord between the Indians and the Pilgrims.
Of course, the Pilgrims do not sound like the Pilgrims of 1621, and their "fort" is rather grand; and the native Wampanoag people did not have teepees or sound like Jay Silverheels reading the part of Tonto onThe Lone Ranger. Still, it's a masterful plot with modern lessons of not so much brotherly love as the more practical advice of not allowing your enemy to divide you. It's a lesson for our times (and pre-dates any elaborate plot on Pinky and the Brain by decades).
When you watch the above episode, you will not be transported, like Simon and his toady, Cad, to 1621 Massachusetts; you'll be sent back only as far as the mid-1960s of my early childhood.
The March of Time short subject Teen-Age Girls (1945) is a window on a societal ripple in postwar America that is, unusually, both dated and prescient. The documentary examines the emergence of teens as a new and important demographic, particularly females in this case, with a lighthearted and even amused attitude, but with a curious reservation—perhaps not unlike the way a parent first notices that a child isn’t a child anymore. This is our final post in this series about how Hollywood depicted children during World War II. The March of Time apparently felt, and perhaps not wrongly, that the dawn of the Teen-Age was as likely to be as influential a force in American society as the nuclear age. The narrator begins: Of all the phenomena in wartime life in the United States, one of the most fascinating and mysterious…has been the emergence of the teenage girl in her own right. This was not something Hollywood evidently considered earlier in the war, when the worldwi...
The Search (1948) is tenderly filmed. The plot of the story carries the weight of the world and the eternal suffering of children during war, but lifts our hearts, though they may be breaking, as if on wings of angels. Those angels are UNRRA (United Nations Relief and Rehabilitation) workers, and a young GI, and even us, if we have taken this movie to heart and take something away from it. This is the fourth post in our series on how Hollywood depicted children during World War II. This time, we leave the well-fed American kids behind, and step back to Europe in the aftermath of war. It is said that the first casualty of war is truth. The final byproduct is refugees. We encounter a small boy, one of the millions of refugees after World War II who have been released from concentration camps. He is brought with nameless others to an UNRRA central tracing bureau to be processed and, if possible, reunited with relatives searching for them. ...
I'd like to shine the spotlight today on two fellow classic film bloggers and their splendid achievements: Raquel Stecher, and John Greco. Raquel pens the Out of the Past blog, which is celebrating a ten-year anniversary. Have a look at her anniversary post here. I've been a regular reader of her blog for many years, and probably among my favorite posts are about her annual participation in the TCM Classic Film Fest. Her exploration of classic movies has brought her on a wonderful journey, which she shares with us with eloquence and enthusiasm. John Greco, who writes the Twenty Four Frames blog likewise shares his passion and knowledge on classic film in very entertaining and informative posts, but John also has other talents: he is a professional photographer (you can peruse and purchase some of his work here at Fine Art America ), and also a writer. John's latest eBook is a collection of short stories called Devious Tales. With a decidedly noir streak and some ve...
0 Komentar