When Paintbrush had completed the dolls' faces, he informed them that they needed to visit the Castle of Names before sunset or they would spend the remainder of their lives as nameless rags. One evening in Ragland, everything came to life needles, threads, scissors, paintbrushes, and other creative implements came together and created Girl Rag Doll and Boy Rag Doll. Turning down the little girl's request, the owner explained to her the reason behind his refusal. Because she could not afford to purchase both dolls, and because she really preferred the "beautiful girl doll", she asked the toyshop owner if he would be willing to unstitch the hands so that she could buy "the beautiful girl doll". The story of Raggedy Ann and Raggedy Andy begins when a little girl in a toy shop sees two rag dolls whose hands are sewn together. It's unknown whether or not the trio of bickering doctors directly influenced similar characters in the 1984 Raggedy Ann musical, although it's presumable that composer Joe Raposo was aware of the film from his decade of research into the character, and it was discussed by the animators in John Canemaker's book on the 1977 film. The restored version had its debut screening in 2017, but it's yet to be released on home video. Jerry Beck spearheaded a UCLA film restoration from the 35mm negative, and created an archival print that's intended to last 500 years. Its most significant exposure was on a 1983 VHS compilation titled " All-Star Cartoon Parade" and in Leonard Maltin's 1992 A&E TV special " Cartoon Madness: The Fantastic Max Fleischer Cartoons." Unlike the successive Raggedy Ann Noveltoons, this film hasn't had an assortment of home video releases because Paramount still retains the copyright. Due to its excessive length, the movie wasn't suitable for cartoon compilation shows, so it went on to languish in relative obscurity. The film was sold to the NTA Film Network for television airings in the 1958, it was transferred to 16mm and the original Paramount logos were replaced by NTA logos. Raggedy Ann herself went on to appear in two more shorts for the rebranded studio, but other Gruelle characters were omitted. The movie was intended to be the first in a series of 2-reel Raggedy Ann and Raggedy Andy films, but it wasn't as popular as Paramount had hoped, and the studio's direction changed the next year with the buyout. This and an adaptation of Edgar Allen Poe's " The Raven" hold the distinction of being the studio's only non -Popeye 2-reelers. Sheet music was issued for four of the five songs. Neiburg, Dave Fleischer, and Sammy Timberg composed five songs, one of which was a result of the sexy Latin cultural invasion of Hollywood in the 1940s. The characters were designed by Charles Thorson, patterned after characters from the 1935 Silly Symphonies short " The Broken Toys."Īs was standard for later Fleischer films, music was devised to divert from weaknesses in the plot. Production began in New York and continued through the move to Florida. At the time, they were dabbling in features and had created several popular 2-reel Popeye films, but that character's popularity was beginning to wane, and Paramount was keen on aping Disney (as is evident by the Camel's Goofy-inspired voice).Īlthough the film was co-written by Worth Gruelle, the script deviated from his father's vision of Raggedy Ann and Raggedy Andy by depicting them as sweethearts rather than siblings. Unlike Disney, they were not financially independent, their financing was controlled by Paramount Studios, which strong-armed them into churning out content of their choice, further drove a wedge between the siblings, and exiled them to Florida before buying out and rebranding the studio the year after Raggedy Ann and Raggedy Andy's release. The Fleischer brothers were animation pioneers who were ripped off and then eclipsed by Disney. After Gruelle's death, widow Myrtle Gruelle solicited a meeting with Walt Disney, who reportedly stated his intention to use the characters once they'd lapsed into public domain. In the 1930s, he had discussions with Hal Roach Studios about an " Our Gang" crossover, and he corresponded with Paramount scout Emerson Yorke, but nothing came of these talks. He sold the animation rights for Raggedy Ann and Andy in 1924, but nothing materialized. Johnny Gruelle characters first broke into animation in 1917 with the release of " The Quacky Doodles," a series of shorts about a family of ducks produced by Bray Studios.
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