Superman: The Mad Scientist

Sixty one years have elapsed since this first Superman cartoon was shown and it still remains as timeless as ever.

I had first seen this decades back (not in 1941 because it would be a good several years until I was born) and recently I picked up a copy from a car boot sale. I watched it and enjoyed it throughly.

The story is perfectly simple. A mad scientist has some kind of ray aimed at Metropolis and he also kidnaps Lois Lane. Superman of course comes to the rescue. There is no complex plot, just plenty of action.

Lois and Clark are not quite equals in this adventure. Nowadays in the Superman comics I think Lois and Clark are married but Lois sort of looked down on Clark in these adventures-she doesn't even let him come out on assignment with her.

Another thing I liked was the way Clark changed into Superman. He would always say, "This is a job for Superman," before heading into a storeroom and changing. Magic!

For fans of Superman (particularly younger fans), I recommend they check this out if they can get a copy.

I just bought the 2 disc set of the Fleisher cartoons and Lost Episodes. They were perhaps restored but they are not sharp at all. They look about as good as a VHS Tape at EP. The opening menu is very sharp like a DVD should be but the cartoons are very soft in focus. These cartoons were on Nikolodeon some time ago and comparing my EP tapes recorded then and the DVD that I just bought, I have to say my EP tape looks MUCH better. There must have been something wrong with the dubbing process as I was expecting to be dazzled not disappointed.

Several months after Captain Marvel was the first comic book superhero depicted on the silver screen, Superman became the second but the first to be animated as opposed to the live action of the previous one. The voices of the leading character and female co-star Lois Lane were the same from the radio series that had already started beforehand: Bud Collyer and Joan Alexander. Collyer, especially, established how different the personalities of Clark and Supes could be by simply changing his voice when he changed to his costume. The story, about a mad scientist bent on destroying the world, is a bit cliché for today but the Max and Dave Fleischer animation is still impressive even now with the way the thing can build excitement especially when The Man of Steel tries to punch that disintegrating ray back to its source. So on that note, this first epi of the Superman cartoon series was off to a good start. P.S. You know this was an early version of Jerome Siegel & Joe Shuster's creation when Supes' origin tale says he was raised in an orphanage instead of the farm of Jonathan and Martha Kent!

A SUPERMAN Cartoon.

A mad scientist turns his death ray on Metropolis to begin destroying bridges & buildings. Intrepid reporter Lois Lane crashes her plane directly in the madman’s front yard. With Lois a prisoner & the death ray once again in operation, it looks like a job for SUPERMAN!

This was the first in a series of excellent cartoons Max Fleischer produced for Paramount Studio. They feature great animation and taut, fast-moving plots. Meant to be shown in movie theaters, they are miles ahead of their Saturday Morning counterparts.

A few notes on the historical importance of the Fleischer Superman cartoons.

1. The Superman cartoons formed the first action/adventure/sci-fi cartoon series ever, thus setting the stage for all anime, Saturday morning TV action 'toons, video games and such to come.

2. The Superman series quietly helped disseminate art-deco and other modernist design styles into popular culture.

3. "The Arctic Giant" episode predates the 'giant dinosaur' film cycle by some ten years; the design of the Arctic giant itself was clearly an inspiration for Toho's Godzilla design.

4. The drawing style for the Superman comic books was rather rough, as with most action comics of the type of that era. The Superman cartoons, on the other hand, present a smooth-line style, using dark shadows for modeling. This style was to have a great impact on the "illustrated novel" comic book style that developed in the late '70s - roughly about the time the series was rediscovered by comics/cartoon fans.

5. Fleischer studios apparently simply ignored the Superman live-action serials of the time. Thus rather than pursing convoluted plots only resolved by dialog, they chose a compressed narrative style, with hardly any dialog, which emphasizes the plot as realizable only through action.

6. Because of this compressed narrative style, the Fleischer story writers were the first to be confronted with the perennial Superman dilemma - namely, how to actually threaten a character who is all-powerful and invincible at least to the extent of creating a plot-motivating conflict. They are not always successful - the episode about the escaped circus gorilla is especially unconvincing - but the effort is fascinating, especially since the comic book Superman writers would not really confront the problem until the 1970s (having used the kryptonite ploy to evade the issue for 20 years).

7. Interestingly, the Fleischer Superman series, with its stronger violence and deeper themes, and its commitment to a kind of visual realism, is clearly intended for a more mature audience than the comic books or the live-action serials - despite the fact that it appeared just as major studio cartoon workshops began resigning themselves to entertaining younger audiences.

8. "The Eleventh Hour" episode, with Superman acting as saboteur in a personal war against Japan, was released nearly 3 weeks BEFORE Pearl Harbor. The Fleischers thus had Superman join the fight against Fascism world-wide before the US was finally drawn into the battle.

9. It is true that the cartoon series defines its character and history differently than the comic book version; but this was when the Superman mythos was still in development, and the Fleischers pursued possibilities for the character the comic book writers had not yet considered (for instance, his ability to fly, his invulnerability, the curiously playful relationship between Clark and Lois - which in the cartoons has a real edge of adult romantic attraction that was unavailable to the comic book writers).

It is easy to see why the Superman series did not salvage the Fleischer studios from their ultimate dissolution - they are dark, violent snippets of science fiction drama at a time when audiences were coming to expect cartoon animals playing gags on each other. But it is more difficult to figure out why it lasted for as many episodes as it did. My guess is that the Fleischers realized they were breaking new ground, and were willing to give it as much a chance for success as possible. Unfortunately, they were literally decades ahead of their time. As a particular animated cartoon style, we would not see its like again until the Warner Bros. Batman television series of the 1990s - and by then the idiom was simply accepted as one of many available to animators and cartoon artists.