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1933 short animated film directed by Burt Gillett From Wikipedia, the free encyclopedia
Three Little Pigs is a 1933 animated short film released by United Artists, produced by Walt Disney and directed by Burt Gillett.[2] Based on the fable of the same name, the Silly Symphony won the 1934 Academy Award for Best Animated Short Film. The short cost $22,000 and grossed $250,000.[3]
| Three Little Pigs | |
|---|---|
Promotional poster | |
| Directed by | Burt Gillett |
| Based on | The Three Little Pigs |
| Produced by | Walt Disney |
| Starring | |
| Music by | |
| Animation by | Fred Moore Jack King Dick Lundy Norm Ferguson Art Babbitt[1] |
| Color process | Technicolor |
Production company | |
| Distributed by | United Artists |
Release date |
|
Running time | 8 min |
| Country | United States |
| Language | English |
| Budget | $22,000 |
| Box office | $250,000 |
In 1994, it was voted #11 of the 50 Greatest Cartoons of all time by members of the animation field.[4] In 2007, Three Little Pigs was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".
Three Little Pigs premiered at the Radio City Music Hall as a short subject to Radio City's release of the First National Pictures film Elmer, the Great on May 25, 1933, in New York City.
Fifer Pig, Fiddler Pig and Practical Pig are three brothers who build their own houses. All three of them play a different kind of musical instrument – Fifer the flute, Fiddler the violin and Practical is initially seen as working without rest. Fifer and Fiddler build their straw and stick houses with much ease and have fun all day. Practical, on the other hand, "has no chance to sing and dance 'cause work and play don't mix", focusing on building his strong brick house. Fifer and Fiddler poke fun at him, but Practical warns them when the Wolf comes, they won't be able to escape. Fifer and Fiddler ignore him and continue to play, singing the now famous song "Who's Afraid of the Big Bad Wolf?"
As they are singing, the Big Bad Wolf really comes by, at which point Fifer and Fiddler reveal that they are in fact very afraid of the wolf, so the two pigs each retreat to their respective houses. The Wolf first blows Fifer's house down (except for the roof) with little resistance and Fifer manages to escape and hides at Fiddler's house. The wolf pretends to give up and go home, but returns disguised as an innocent sheep. The pigs see through the disguise, whereupon the Wolf blows Fiddler's house down (except for the door). The two pigs manage to escape and hide at Practical's house, who willingly gives his brothers refuge; in Practical's house, it is revealed that his musical instrument is the piano. The Wolf arrives disguised as a door-to-door Fuller Brush salesman to trick the pigs into letting him in, but fails. The Wolf then tries to blow down the strong brick house (losing his clothing in the process), but is unable, all while a confident Practical plays melodramatic piano music. Finally, he attempts to enter the house through the chimney, but smart Practical Pig takes off the lid of a boiling pot filled with water (to which he adds turpentine) under the chimney, and the Wolf falls right into it. Shrieking in pain, the Wolf runs away frantically, while the pigs sing "Who's Afraid of the Big Bad Wolf?" again. Practical then plays a trick by knocking on his piano, causing his brothers to think the Wolf has returned and hide under Practical's bed.
The cartoon premiered on May 25, 1933 at Radio City Music Hall in New York City.[5]
The cartoon was phenomenally successful with audiences of the day, so much that theaters ran the cartoon for months after its debut, to great financial response.[6] The cartoon is still considered to be the most successful animated short ever made,[7] and remained on top of animation until Disney was able to boost Mickey's popularity further by making him a top merchandise icon by the end of 1934.[8] Animator Chuck Jones observed: "That was the first time that anybody ever brought characters to life [in an animated cartoon]. They were three characters who looked alike and acted differently." Other animation historians, particularly admirers of Winsor McCay, would dispute the word "first", but Jones was not referring to personality as such but to characterization through posture and movement. Fifer and Fiddler Pig are frivolous and care-free; Practical Pig is cautious and earnest. The reason for why the film's story and characters were so well developed was that Disney had already realized the success of animated films depended upon telling emotionally gripping stories that would grab the audience and not let go.[9][10] This realization led to an important innovation around the time Pigs was in development: a "story department", separate from the animators, with storyboard artists who would be dedicated to working on a "story development" phase of the production pipeline.[11]
The moderate (but not blockbuster) success of the further "Three Pigs" cartoons was seen as a factor in Walt Disney's decision not to rest on his laurels, but instead to continue to move forward with risk-taking projects, such as the multiplane camera and the first feature-length animated film. Disney's slogan, often repeated over the years, was "You can't top pigs with pigs."[12]
The cartoon features a scene in which the Big Bad Wolf disguises himself as a peddler for Fuller brushes in an attempt to trick Practical Pig into allowing him to enter his brick house. In the original 1933 release, the peddler disguise is that of a stereotypical Jewish man, complete with a hat, a coat, a fake Jewish nose, glasses, and a fake beard; also, Yiddish music plays as the wolf disguises his voice with a strong Yiddish accent whilst saying "I'm the Fuller Brush man. I'm giving a free sample."[13]
Shortly after the film's release, Rabbi J.X. Cohen (the director of the American Jewish Congress) wrote angrily to Walt Disney, calling the scene "vile, revolting and unnecessary as to constitute as direct affront on Jews" and demanded the scene to be removed.[14] Roy O. Disney, speaking on Walt's behalf, responded to Cohen by saying: "We have a great many Jewish business associates and friends, and certainly would avoid purposely demeaning the Jews or any other race or nationality. … It seems to us that this character is no more [offensive] than [how] many well-known Jewish comedians portray themselves in vaudeville, stage, and screen characterizations."[15][16][14]
When the short was reissued in September 1948, the scene was re-animated with the Wolf's disguise now only including a different pair of glasses, along with the same aforementioned hat and coat. His disguised voice no longer has a thick Yiddish accent and the line is changed to "I'm the Fuller Brush man. I'm working my way through college." Jack Hannah and his unit handled these changes; he told historian Jim Korkis that Walt Disney requested him to make these changes (despite there being no outside pressure for him to do so) simply because he felt the scene wasn't funny anymore and potentially hurtful after World War II.[17]
The original song composed by Frank Churchill for the cartoon, "Who's Afraid of the Big Bad Wolf?", was a best-selling single, mirroring the people's resolve against the "big bad wolf" of The Great Depression; the song actually became something of an anthem of the Great Depression.[18] When the Nazis began expanding the boundaries of Germany in the years preceding World War II, the song was used to represent the complacency of the Western world in allowing Fuehrer Adolf Hitler to make considerable acquisitions of territory without going to war; it was also notably used in Disney animations for the Canadian war effort.[19]
The song was further used as the inspiration for the title of the 1963 play Who's Afraid of Virginia Woolf? and its 1966 film adaptation; however, both the play and the film adaptation have no relation to the song or the cartoon that it came from.
The song was parodied in September 1989 during the stunt of WFLZ in Tampa, Florida, competing against its nearby competitor WRBQ after WRBQ failed to fill a ransom to be the only Top 40/CHR radio station in the Tampa Bay area. WFLZ then started to mock and belittle its competitor, including a "Who's Afraid of the Big Bad Wolf?" parody entitled "Who's Afraid of the Big Bad Q?"
In the United States, the short was first released on VHS, Betamax and Laserdisc in 1984 as part of its Cartoon Classics home video series. It came out on VHS again in the US as part of the Favorite Stories collection in 1995 and in the UK in the spring of 1996 as part of the Disney Storybook Favourites series, the latter with (possibly in error) the Jewish peddler animation restored, albeit with the reworked dialogue. It was released on December 4, 2001 (along with its sequels) as part of the Walt Disney Treasures: Silly Symphonies DVD,[20] with the PAL release again retaining the Jewish peddler animation along with the reworked dialogue.[2] The Disney+ release of the short, however, uses the altered animation in all regions.
It was later included in Walt Disney's Timeless Tales, Vol. 1, released on August 16, 2005 (featuring the edited version in the US Silly Symphonies set), which also featured The Pied Piper (1933), The Grasshopper and the Ants (1934), The Tortoise and the Hare (1935) and The Prince and the Pauper (1990).
The Silly Symphony Sunday comic strip ran a seven-month-long continuation of Three Little Pigs called "The Further Adventures of the Three Little Pigs" from January 18 to August 23, 1936. This was followed by another storyline called "The Practical Pig" from May 1 to August 7, 1938.[28]
The anthology comic book Walt Disney's Comics and Stories introduced a new character, Lil Bad Wolf (the son of the Big Bad Wolf), in issue #52 (January 1945).[29] He was a constant vexation to his father (the Big Bad Wolf) because the little son was not actually bad. His favorite playmates, in fact, were the Three Pigs. New stories about Lil Bad Wolf appeared regularly in WDC&S for seven years, with the last one appearing in issue #259 (April 1962).[30]
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