boblipton
feb 2002 se unió
Te damos la bienvenida a nuevo perfil
Nuestras actualizaciones aún están en desarrollo. Si bien la versión anterior de el perfil ya no está disponible, estamos trabajando activamente en mejoras, ¡y algunas de las funciones que faltan regresarán pronto! Mantente al tanto para su regreso. Mientras tanto, el análisis de calificaciones sigue disponible en nuestras aplicaciones para iOS y Android, en la página de perfil. Para ver la distribución de tus calificaciones por año y género, consulta nuestra nueva Guía de ayuda.
Distintivos11
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Calificaciones41.8 k
Clasificación de boblipton
Reseñas17.4 k
Clasificación de boblipton
Donald Duck is baking pies at the hunting cabin. This interests his nephews, who are playing with a mountain lion costume. They use it to get their hands on a pie.... almost. Donald discovers the deception. But when a real mountain lion comes along, Donald thinks it's his nephews again.
Filled with absurd gags, like Donald hiding among a collection of duck decoys -- does he go duck hunting himself? --and a very pert stride for the mountain lion, we get to witness Donald is his Angry mode, only to discover what is actually going on.
Filled with absurd gags, like Donald hiding among a collection of duck decoys -- does he go duck hunting himself? --and a very pert stride for the mountain lion, we get to witness Donald is his Angry mode, only to discover what is actually going on.
Newly minted nurse Barbara Stanwyck gives a job tending two sick children. She gradually comes to believe they are being starved to death under doctor's orders.
Like many of director William Wellman's Warner Brothers pre-codes, there's a rawness to the characters that is shocking to anyone who's used to the often dull politeness of the Code era. It's made even more extreme by Wellman's insistence on a gracefully moving camera under the supervision of Barney McGill. Stanwyck seems wasted until she tears loose on the dying child's drunkard mother. Before then, I wanted to see more of Joan Blondell. But then, I always do. With Clark Gable, Ben Lyon, and Charles Winninger.
Like many of director William Wellman's Warner Brothers pre-codes, there's a rawness to the characters that is shocking to anyone who's used to the often dull politeness of the Code era. It's made even more extreme by Wellman's insistence on a gracefully moving camera under the supervision of Barney McGill. Stanwyck seems wasted until she tears loose on the dying child's drunkard mother. Before then, I wanted to see more of Joan Blondell. But then, I always do. With Clark Gable, Ben Lyon, and Charles Winninger.
It's getting hotter and drier on the reservation, and the tribal medicine man can drum up any rain at all. The chief puts out a sign asking for a rain maker, and along comes Tommy Hawk and His Five Scalpers, who swing up a storm.
Walter Lantz's Swing Symphonies may be, as another reviewer has remarked, inconsistent. However, I consider them the erratic peak of Walter Lantz's cartoon making, offered at a moment when budgets were lush, production was down because of war material, and so he could lavish resources on them, while Woody Woodpecker paid the bills. The gags here may be corny and by modern standards a bit racist, but it's done with all the enthusiasm that a group of artists who loved what they did could lavish on their work.
Walter Lantz's Swing Symphonies may be, as another reviewer has remarked, inconsistent. However, I consider them the erratic peak of Walter Lantz's cartoon making, offered at a moment when budgets were lush, production was down because of war material, and so he could lavish resources on them, while Woody Woodpecker paid the bills. The gags here may be corny and by modern standards a bit racist, but it's done with all the enthusiasm that a group of artists who loved what they did could lavish on their work.
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