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HomeMax Fleischer

Max Fleischer

Animation

Saturday Morning Cartoons: Popeye the Sailor Meets Sindbad the Sailor (1936)

Sep 17, 2016 Brandie Ashe 0

By the summer of 1933, the Fleischer brothers’ self-named animation studio was riding high. Based largely on the success of flapper dream girl Betty Boop, whose risqué series of cartoons became immensely popular in the […]

Animation

Saturday Morning Cartoons: A Selection of Animated Red Riding Hoods

Sep 3, 2016 Brandie Ashe 0

Fairy tales have long served as source material for filmmakers–only natural when one considers how universal those stories truly are. These fantastical, largely archetypal narratives draw on moral codes and lessons that transcend time, telling and […]

No Picture
Animation

It’s a bird! It’s a plane! It’s … Saturday Morning Cartoons!

Jan 9, 2016 Brandie Ashe 1

In 1941, Paramount approached Max and Dave Fleischer, heads of their in-house animation production, with a proposal: to adapt the increasingly popular Superman comic book into an animated series for the big screen. But the Fleischers were reluctant. […]

Animation

Saturday Morning Cartoons: Minnie the Moocher (1932)

May 30, 2015 Brandie Ashe 2

“Folks, now here’s a story ’bout Minnie the Moocher … she was a red-hot hoochie-coocher …” With her somewhat inauspicious debut in 1930’s Dizzy Dishes, Betty Boop became the most unlikely of stars. Initially drawn as a […]

Animation

Saturday Morning Cartoons: Dizzy Dishes (1930)

Aug 2, 2014 Brandie Ashe 4

In the eight decades since her 1930s heyday, Betty Boop has been licensed and merchandised to the point of pure excess, appearing on everything from key chains and coffee mugs to bed sheets and car floor mats. I […]

Animation

Saturday Morning Cartoons: Christmas in July with Max Fleischer’s Rudolph

Jul 19, 2014 Brandie Ashe 0

Today marks the 131st anniversary of legendary animator Max Fleischer’s birth. Last week over at True Classics, we looked at Fleischer’s gorgeous Superman series from the early 1940s, a series that marked his final work for Paramount. […]

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