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GREASEPAINT. INKWELL & CO
progressed hand in hand with the gadgeteers. The creative element always needed the technicians to bring their dreams to fruition. Every time a story has presented a requirement some guy in the studios has figured out a way of getting it on the screen. Of course, some of the problems had to wait their turn. But you have to stand in line for butter, too.
Of course, there is still a preponderance of stories to which the addition of the cartoon technique would mean nothing. Those are the stories whose very nature is reality. A fellow works in an advertising agency for example, and he wants desperately to meet the girl who designs those collapsible cabana chairs so that he can get her as a client. Then one day while riding up the escalator at Macy’s, he gets into an argument with a guy who has one of the fanny hammocks under his arm and who insists on trying to put it up. Well, who should be there also but the girl herself?
So after the boy wraps up the girl’s sprained ankle (which she got in the comedy routine) he takes her to lunch, falls in love, and marries her. Not right away, of course, but after a few reels of on-and-off adventure.
There’ll always be stories like that, and their very naturalness is only a healthy contrast to the more fanciful items in literature.
But, if it is handled right the infiltration of cartoon technique will not be called to your attention any more than the countryside outside of Spencer Tracy’s train window is advertised as a trick. You’ll accept it as a story telling ingredient along wtih the rest of the methods of picture making, which is all that it is. To announce “part cartoon and part flesh” would be as unnecessary to a film with a legitimate story appeal as a listing of Betty Grable’s chemical ingredients, intriguing as they might be.
After all, if art is supposed to be the concealment of effort, we should make an effort to conceal the effort.