The Unicorn in the Garden | |
---|---|
| |
Directed by | William Hurtz |
Based on | The Unicorn in the Garden by James Thurber |
Produced by | Stephen Bosustow |
Music by | David Raksin |
Animation by |
|
Backgrounds by | Robert Dranko |
Production company | |
Distributed by | Columbia Pictures |
Release date |
|
Running time | 6 minutes, 41 seconds |
Country | United States |
Language | English |
The Unicorn in the Garden (also known as A Unicorn in the Garden) is a 1953 American United Productions of America (UPA) cartoon directed by William Hurtz. The cartoon is based on the 1939 short story with the same name by James Thurber. It was released on September 24, 1953.
In 1955, it was nominated for Best Animated Film at the British Academy Film Awards. [2] In 1994, it was voted #48 of the 50 Greatest Cartoons of all time by a group of 1000 cartoon historians, animation professionals and film critics. [3]
One early morning, a husband is having breakfast while his wife is sleeping upstairs. As he sits at the kitchen table, he looks out the window and sees a unicorn in the garden eating a rose. He wanders out to see if it is real, and touches its horn. He rushes back into the house and upstairs where his wife is sleeping. He shakes her awake and tells her "there is a unicorn in the garden, eating roses". With a cross look on her face, she tells him "the unicorn is a mythical beast". With a dismayed look on his face, he goes back out to the garden and offers the unicorn a lily to eat. He once again runs back into the house and upstairs where he informs his wife "the unicorn ate a lily". She responds "you are a booby and I'm going to have your put into the booby hatch". He angrily walks out of the bedroom replying to her "we'll see about that".
He goes back out into the garden, but the unicorn is gone, meanwhile his wife has snuck downstairs and is calling the police and a psychiatrist, telling them she is "absolutely sure they are going to need a straitjacket". When they arrive, she tells the doctor "my husband saw a unicorn this morning". The doctor then motions for the police officers, standing nearby, to put her in the straitjacket. The husband walks back into the house, and the doctor asks him if he told his wife he saw a unicorn, he replies "of course not, the unicorn is a mythical beast". The doctor then instructs the officers to take her away. The doctor tells the husband, "I'm sorry, but your wife is crazy as a jay bird". As the doctor leaves, the husband slyly smiles. The story ends with moral: "Don't count your boobies until they are hatched".
Uncredited voices: [4]
Director William Hurtz joined UPA after leaving the US Army Signal Corps. He worked with former Disney animators John Hubley and Stephen Bosustow as a layout artist on the 1950 Oscar winning animated cartoon, Gerald McBoing Boing . [5]
In 1951, Time reported that UPA was going to produce an "eight-reel, 80-minute color film", that was based on James Thurber's writings and drawings. The project was going to combine animation and live action, and was provisionally titled Men, Women and Dogs, but funding for the feature proved to be elusive, and it was scrapped. Stephen Bosustow, the man behind the idea, then asked Hurtz to adapt one of Thuber's short stories instead. Hurtz chose The Unicorn in the Garden "because it featured human characters", and UPA was trying to "avoid the animal subjects" that were prevalent in Hollywood cartoons at the time. In order to be faithful to Thurber's "crude line-drawing style", Hurtz studied Thurber's work, remarking that "using color bothered me at first, but I thought if he ever got around to it, he probably would do it this way, as long as it was strongly linear". [6] [3] Hurtz assigned some work on the cartoon to the studio's least competent draftsmen, because he was after a "nice, lumpy look". [7]
After completion, Bosustow was reportedly disappointed with the cartoon, and refused to enter it for Academy Award consideration. [3] According to his daughter, Hurtz considered The Unicorn in the Garden his finest work. [7]
The musical score, composed by David Raksin, was written before animation on the film began. Raskin described his score for the film as "rondoesque", and used, what he says is "the luxury of a six-piece orchestra". [8] The small orchestra consisted of three string players, two wind soloists, accompanied by André Previn on the harpsichord. [9] Raksin was originally going to play the alto recorder for the film's score, but quickly realized he couldn't both play and conduct. His appointed replacement had two days to familiarize himself with the instrument. [8]
Mark Evans wrote in his book, Soundtrack: The Music of the Movies, that Raskin's score has a "decidedly neoclassic quality"; that he likes "canons, fugatos, and all types of polyphonic development". He described Raskin's musical score as "gentle, with a whimsical touch". [9] He argues that Raskin's music makes a "subtle commentary" on the characters. For example, he says that the wife's "motifs tend to be brittle and unsympathetic", like she is portrayed in the cartoon, and in the scenes with the unicorn, a solo alto recorder is heard "in high register, playing a whimsical tune with a mock-martial air". [9] Raksin said that "unicorns make you think of tapestries, where you saw the beast for the first time, and that leads to the Renaissance and to the sound of the alto recorder". [8]
Jon Newsom, Chief of Music Division at the Library of Congress, also agrees that Raskin's score makes a commentary on the characters. He says that the use of the high soprano saxophone in the scenes with the wife, are "whining sounds and chromatic lines, that are not pretty", which "corresponds to the pathetic and sinister side of the wife's nature". [8] He agrees with Raskin that the alto recorder is the "unicorn motif", and is "lyrical and diatonic". [8] Newsom also noted that as the wife is taken away in a straitjacket by the police in the ending of the film, the "triumphant strains of Mendelssohn's Wedding March proclaim the husband's liberation". [8]
After viewing the film, Thurber wrote a letter to Raskin, stating:
I am not a music maker, but I enjoyed your score, and remember with affection the recorder that spoke up when the unicorn appeared. It sounded exactly right for unicorns. A composer who can write music for unicorns has certainly done an ideal job! [10]
— James Thruber
Film critic Bosley Crowther was blunt is his assessment of the cartoon, saying "it is artful, witty and deftly droll". [11] American art critic Aline B. Louchheim opined that the cartoon showed "unswerving respect for the potentials and limitations of the medium [animated cartoons]". She went on to say that UPA cartoons "never try to imitate a photographic or artistically realistic, three-dimensional setting". [12]
American writer Gilbert Seldes said that "the best way to identify the quality of the product is to say that every time you see one of their animated cartoons, you are likely to recapture the sensation you had when you first saw Steamboat Willie ". [13]
In 1955, it was nominated for Best Animated Film at the British Academy Film Awards. [2] In 1994, it was voted number 48 on the list of the 50 Greatest Cartoons of all time, which were determined by a group of 1000 cartoon historians, animation professionals and film critics. [3]
In 2012, it was released on a three disc DVD set as part of The Jolly Frolics Collection , which featured 38 UPA cartoons in total. The cartoons were digitally remastered, and the box set included audio commentary by Leonard Maltin and Jerry Beck. [14]
James Grover Thurber was an American cartoonist, writer, humorist, journalist, and playwright. He was best known for his cartoons and short stories, published mainly in The New Yorker and collected in his numerous books.
Gerald McBoing-Boing is an animated short film about a little boy who speaks through sound effects instead of spoken words. Produced by United Productions of America (UPA), it was given a wide release by Columbia Pictures on November 2, 1950. The story was adapted by Phil Eastman and Bill Scott from a story by Dr. Seuss. Robert Cannon directed the short film, with John Hubley as the supervising director; Stephen Bosustow served as an executive producer. Marvin Miller was the narrator.
My World ... and Welcome to It is an American half-hour television sitcom based on the humor and cartoons of James Thurber.
United Productions of America, better known as UPA, was an American animation studio and later distribution company founded in 1941 as Industrial Film and Poster Service by former Walt Disney Productions employees. Beginning with industrial and World War II training films, UPA eventually produced theatrical shorts for Columbia Pictures such as the Mr. Magoo series. In 1956, UPA produced a television series for CBS, The Boing-Boing Show, hosted by Gerald McBoing Boing. In the 1960s, UPA produced syndicated Mr. Magoo and Dick Tracy television series and other series and specials, including Mister Magoo's Christmas Carol. UPA also produced two animated features, 1001 Arabian Nights and Gay Purr-ee, and distributed Japanese films from Toho Studios in the 1970s and 1980s.
The golden age of American animation was a period in the history of U.S. animation that began with the popularization of sound synchronized cartoons in 1928 and gradually ended in the 1960s when theatrical animated shorts started to lose popularity to the newer medium of television. Animated media from after the golden age, especially on television, were produced on cheaper budgets and with more limited techniques between the late 1950s and 1980s.
David Raksin was an American composer who was noted for his work in film and television. Raksin had more than 100 film scores and 300 television scores to his credit. Some sources called him the "Grandfather of Film Music".
John Kirkham Hubley was an American animated film director, art director, producer, and writer known for his work with the United Productions of America (UPA) and his own independent studio, Storyboard, Inc.. A pioneer and innovator in the American animation industry, Hubley pushed for more visually and emotionally complex films than those being produced by contemporaries like the Walt Disney Company and Warner Brothers Animation. He and his second wife, Faith Hubley, who he worked alongside from 1953 onward, were nominated for seven Academy Awards, winning three.
Rudolph Larriva was an American animator and director from the 1940s to the 1980s.
ASIFA-Hollywood, an American non-profit organization in Los Angeles, California, is a branch member of the International Animated Film Association. Its purpose is to promote the art of film animation in a variety of ways, including its own archive and an annual awards presentation, the Annie Awards. It is also known as the International Animated Film Society.
Jules Engel was an American filmmaker, painter, sculptor, graphic artist, set designer, animator, film director, and teacher of Hungarian origin. He was the founding director of the experimental animation program at the California Institute of the Arts, where he taught until his death, serving as mentor to several generations of animators.
Stephen Reginald Bosustow was a Canadian-born American film producer from 1943 until his retirement in 1979. He was one of the founders of United Productions of America (UPA) and produced nearly 600 cartoon and live-action shorts. He is chiefly remembered for producing a string of Mr. Magoo and Gerald McBoing-Boing cartoons in the 1950s, three of which earned Academy Awards. He is the only film producer in history who received all the Oscar nominations in one category (1956), guaranteeing him the winning Oscar. Magoo's Puddle Jumper was the eventual winner.
"The Unicorn in the Garden" is a short story written by James Thurber. One of the most famous of Thurber's humorous modern fables, it first appeared in The New Yorker on October 21, 1939; and was first collected in his book Fables for Our Time and Famous Poems Illustrated. The fable has since been reprinted in The Thurber Carnival, James Thurber: Writings and Drawings, The Oxford Book of Modern Fairy Tales, and other publications. It is taught in literature and rhetoric courses.
When Magoo Flew is a 1955 animated short produced by UPA for Columbia Pictures. Directed by Pete Burness and produced by Stephen Bosustow, When Magoo Flew won the 1955 Oscar for Short Subjects (Cartoons). In addition, it was the first UPA short to be made for the CinemaScope widescreen format. When Magoo Flew is also the title of a 2012 book by Adam Abraham on the history of the UPA studio.
David Hilberman was an American animator and one of the founders of classic 1940s animation. An innovator in the animation industry, he co-founded United Productions of America (UPA). The studio gave its artists great freedom and pioneered the modern style of animation. As Animator and Professor Tom Sito noted: "Arguably, no studio since Walt Disney exerted such a great influence on world animation." He and Zack Schwartz went on to start Tempo Productions which became an early leader in television animated commercial production. In short, he played an important role in the new directions the art form took in the 1940s and '50s.
Man Alive! is a 1952 American animated short documentary film directed by William T. Hurtz.
Henry Gahagen Saperstein was an American film producer and distributor.
Wilson David "Pete" Burness was an American animator and animation director. He was perhaps best known for his work on the Mr. Magoo series. He also contributed to the Tom and Jerry series, Looney Tunes, Merrie Melodies, and Rocky and His Friends.
1001 Arabian Nights is a 1959 American animated comedy film produced by United Productions of America (UPA) and distributed by Columbia Pictures. Released to theaters on December 1, 1959, the film is a loose adaptation of the Arab folktale of "Aladdin" from One Thousand and One Nights, albeit with the addition of UPA's star cartoon character, Mr. Magoo, to the story as Aladdin's uncle, "Abdul Azziz Magoo". It is the first animated feature to be released by Columbia Pictures.
Events in 1911 in animation.
Sterling Sturtevant (1922–1962) was a designer and art director for animated cartoons in an era in which few women were worked in Hollywood animation. Some of her early work was done under her married name Sterling Glasband.