This peculiar Raccoon (Mad variety) was beautifully drawn by Cathy Hill in 1997 to start a sort of “Weird Science” EC vibe in potential “Mad Raccoons” comics. Next post we will start the heretofore unpublished tale “Racketty-Ann and the Lost World”. It’s definitely weird, monstrous and strangely sweet. Watch for it next time!
Felix is from 7-17 to 7-23-1933 this time. Felix is on the farm in the dailies, including Messmer’s trademark cows in the 7-17, which were usually the symbol of sustenance for Felix. The Room and BOARD gag is pretty choice in the 7-18. I like the touch of pathos in the 7-23 Sunday as Felix tears up at Danny’s lack of funds to buy circus passes in the second panel.
Myrtle originally appeared 4-18 to 4-24-49. The dailies really explore Myrtle’s Tomboy side, especially when she loses her braids in the 4-20 and starts to look like a boy. In the 4-21, the boys of the Eager Beaver Patrol all don phony braids to make Myrtle feel included. I love the subtle Fisher touch in the 4-19 as Myrtle pounds the floor in frustration accompanied by her look-alike doll doing the same thing. Myrtle is finally allowed to join the Boy Scout patrol after she pitches a no-hit baseball game for the 3rd Grade team. In the Sunday, Hyacinth the cat makes a rare appearance on top of a fence as Minnie and Slug announce their engagement: Minnie got a job!
Krazy ran in Hearst and other papers from 10-4 to 10-16-1943. Herriman makes a very soft-spoken comment on WW2 in the 10-5 as Krazy declares war on “no budda”. Thanks to Gerd Heinlein, we have one of Garge’s rare elephant strips in the 10-7. I love the drawings of the absent-minded pachyderm as they change proportions and size in each panel. The last panel with the elephant in front of a row of cat-tails is worthy of framing by itself. The 10-18 is one of those incredibly corny puns that Herriman somehow turned into a quiet moment of “Kat” reflection. There’s also a touch of magic in the 10-14 strip as Krazy silently follows a firefly in the Coconino desert only to see it collapse into ashes on the sand.
My dear brother was a consummant collector of movie stills and memorabilia. He took over the Ronald Colman collection of the late George E. Schatz of Illinois and augmented it with beautiful original and rare material that he collected over more than 40 years. He also collected on Clark Gable and Carole Lombard, Vivien Leigh and many other actors. His huge collection was carefully tucked into loose-leaf three-ring binders, each one immense and thick. Every still was in special plastic punched sheets that make it easy to remove and replace the stills from each binder. Here are three very rare stills from the Colman files:
The lovely Benita Hume around 1926. She was doing a bit of acting in British cinema such as “The Happy Ending” (1925) in which she played “Miss Moon” and “The Lady Of The Lake”(1928) which gave her the title role. She became Mr. Colman’s second wife and co-starred with him on the Jack Benny Program and The Halls of Ivy on radio. In the Halls of Ivy, her character Victoria often does a bit of music hall singing and tap dancing. The Halls of Ivy ran from 1950 to 1952 and was written by Don Quinn who wrote for Jim and Marian Jordan and created the character of Throckmorton P. Gildersleeve on the old Fibber Magee and Molly radio show. The Halls of Ivy was very classy and incredibly gentle comedy, the theme song sounds a bit reverent, like the “Whiffenpoof Song”.
Here’s a rare still of Benita and Ronald Colman rehearsing with the radio maestro and Angel of Comedy, Jack Benny in April of 1948. Jack loved being the object of the Colman’s scorn, he constantly irritated them by borrowing every tool and kitchen appliance they had. Jack lived next door to the Colmans in “radio land”, and even borrowed Colman’s Oscar which R.C. won for “A Double Life” in 1947. Jack promptly was robbed of the Oscar on his way home with it by a gangster played by Eddie Marr (info provided by Don Yowp).
It’s hard to recognize Mr. Colman in 1921, when he first came to the United States from his native England to tour in the stage play “The Dauntless Three” and hadn’t yet grown his trademark mustache. He eventually used a grease paint mustache for early silent film parts, such as “The White Sister’ (1923), before he grew his own. Ronald Colman’s speaking voice was just about my brother’s favorite sound in the world. Kurt prized wisdom and gentleness in actors and writers, such as Colman and James Hilton. The great Frank Capra picture “Lost Horizon” combined Colman and Hilton in one of my brother’s all-time favorite movies. Kurt’s incredible collection of stills is with me now, but will soon join the archives of the Margaret Herrick library at the Motion Picture Academy. Kurt and I often discussed his collection’s eventual “home” and soon they will be going there. Over the next several posts, Kurt’s Corner will feature more rare and unusual bits of cinematic curios. I hope you will look at them and celebrate the love of movies that was such a major part of my brother’s life and dear to his heart.