Negra de Carbón y los Siete Enanos

Okay, I get why some mayn't like Coal Black and De Sebben Dwarfs, the characters are rather stereotyped. As for complaints of racism, I can kind of see why people say that, but I do think people need to remember when this cartoon was made, in the 40s, an era where racism was much bigger in a sense than it is now.

This aside, I think Coal Black and De Sebben Dwarfs is terrific, and one of Clampett's funniest and most unique achievements. The animation is really very good, the characters while on the stereotypical side are still well animated, the colours are plentiful, done in a subtle shade without dating the film one bit and the background art is smooth enough.

I also have to say that I love the music here. Merrie Melodies always have great music, but Carl Stalling's score here is very jazzy and extremely catchy. As I've said too, Coal Black and De Sebben Dwarfs is very funny, not just with the timeless fairytale done in a fresh twist but the quotes are quotable and irreverent with a lot of effective exaggerated comedic effect and I love also the subtle cues and nuances.

The voice acting is great, Mel Blanc for one lends his distinctive voice and once again excels. Need I mention as well that Snow White is one sassy babe? Overall, funny, unique, catchy, just a great cartoon really. 9/10 Bethany Cox

There's no way on Earth you'll ever see it on Cartoon Network, even though it's in their vaults. It would cause more controversy than BIRTH OF A NATION these days. But viewed with an open mind, it's one of the most hysterical cartoons ever made, by "Termite Terrace" or any other studio. It's more like a tribute to great black jazz than anything else, with perhaps the most astounding score ever recorded for a cartoon. Granted, "Prince Chawmin'" has dice for teeth, but I wouldn't say he's any more offensive than Martin Lawrence on his Fox TV series. If you can get a copy of it on videocassette (and you can, just not

readily), you'll be very gratified.

In the late 1980's, a documentary titled Amos 'n Andy: Anatomy of a Controversy looked at the infamous comedy show. Despite the doc's own testimonials by famous black performers who found the show funny, the only way to get the show looked at or praised these days was to surround it with politically correct analysis.

That's most likely the only way that cable TV's Cartoon Network, which owns the rights to Bob Clampett's Snow White parody Coal Black an de Sebben Dwarfs (1943), would ever be able to air this cartoon. Most likely, the Cartoon Networkers won't consider even that ploy, as they have seen fit to remove any possible inflammatory material from their huge backlog of cartoons. That's a great pity, because most of those who have been fortunate enough to view Coal Black regard it as one of Bob Clampett's most jaw-droppingly funny creations.

As has been well documented elsewhere, the unfortunate fact is that, at the time of Coal Black's making, African-Americans were rarely treated as equals to whites on the silver screen. (Dooley Wilson's Sam in Casablanca [1942] is a notable exception, depicting a warm friendship with Humphrey Bogart's Rick. Yet even Sam clears out of the room as soon as Bogie and Ingrid Bergman, the movie's iconic white lovers, reunite.)

And unsubtle stereotypes abound. Just to hit the highlights, "Prince Chawmin'" is a jive-spouting hero with dice for teeth (and he literally turns yellow when So White calls for him to rescue her). "De Sebben Dwarfs" are little more than thick-lipped comic relief.

And the movie begins with the tale being told by a loving "mammy" to her child.

Yet the underlying irony is that the racial aspect is merely a smokescreen for what this cartoon is really about: sex. This film's Wicked Queen doesn't even consider whether she's the fairest one of all; her first words in the story are "Magic mirror on the wall, send me a prince about six feet tall." So White, far from Disney's virginal image of Snow White, wears a low-cut blouse and thigh-high shorts, and she sends blazes of erotic ecstasy through every male she meets. If it weren't for the movie's parody approach, it's difficult to believe that the same censors who got all worked up about Tex Avery's Red Hot Riding Hood series would have let Clampett get away with such brazenness.

The irony is that Bob Clampett intended his cartoon as a tribute to black culture. The movie's hot jazz score (by Eddie Beals) surpasses even Carl Stalling's usual high standards, with some incredible scat singing and white-hot trumpet playing. And So White is voiced by Vivian Dandridge, Dorothy Dandridge's sister, and the Evil Queen is voiced by their mother Ruby, which is enough to at least give the movie a legitimate pedigree. Beyond that, this cartoon is to Clampett's oeuvre what What's Opera, Doc? is to Chuck Jones's canon--a look at a Warner Bros. cartoon director at the height of his control. Like Jones's opera parody/tribute, Coal Black goes beyond funny to just plain astounding. Even in fifth-generation bootlegs, the cartoon is rich in the sort of frame-exploding work that has made Clampett's reputation. Even though many of the wartime references (to shortages and the military) date this cartoon far worse that most WB efforts, the jokes still come across quite clearly. (When Mammy tells us how rich the Evil Queen is, the camera pans across her riches: piles of stockpiled sugar and rubber tires.)

There is plenty to be offended about in Coal Black an de Sebben Dwarfs, if offense is all that you seek. But the most memorable cartoons are usually the ones that get somebody's dander up. In an era where Keenan Ivory Wayans makes the most profitable Afro-American movie ever (Scary Movie) by taking R-rated swipes at penises and mental retardation, surely there's room in our culture for a comparatively benign (and far funnier) six-minute cartoon.

Merrie Melodies short, directed by Bob Clampett, notable today for being one of the Censored Eleven. For those who don't know, the Censored Eleven are cartoons that were withheld from syndication because they were considered to be too offensive due to their use of racial stereotypes and imagery. This one, a spin on Snow White with a black cast of characters (mostly voiced by black actors), is arguably the best of all the cartoons on the Censored Eleven list. It's hailed as one of Clampett's masterpieces by many animation historians. Some viewers today might not see what all the fuss is about and will almost certainly be put off by the exaggerated racial stereotypes. But there is value here, particularly with the energetic animation and the incorporation of jazz music. And honestly it's funny in spots, too. Recommending cartoons like this is tricky business because people have strong reactions to anything racial. Many people will likely not enjoy it and may even find themselves uncomfortable watching a minute of it. But those who are able to view it through something other than a "modern lens" I think will see that there's a lot of artistic merit to it and, yes, even some entertainment. It's not for all tastes, though, obviously.

I have only one gripe about this cartoon (which has nothing to do with the racial stereotyping). It seems to run very quickly -- even more so than most Avery/Clampett cartoons of the era -- and tends to become disjoint at points. This is probably due to the fact that Bob Clampett wanted to make this a two-reeler (~13 minutes), but producer Leon Schlesinger was totally against the idea of an animated film going beyond one reel (possibly some anti-Disney sentiment?) Yes, this cartoon should not be shown on regular TV, because it is shocking and too many people are uptight about political correctness -- not to mention that many of the war references would go over the public's head. However, I firmly believe that this cartoon should be made readily available to art historians, war historians, sociologists, musicians, and aspiring animators. It still holds great value to all of those fields to this day.