The Jazz Fool

This is a stunning little cartoon. I know that the levels of animation had not been met, but we can already see the genius that is Disney. First of all, there are a series of performances by farm animals as they use their various physical attributes to create percussion, strings, and brass. But the highlight here is when Mickey takes the stage to become the "Jazz Fool." His battle with his piano to produce a really catchy number is priceless. We can see his character develop and shine.

Prior to the creation of the Hays Office (named for Will Hays, the first official censor, who left Washington just ahead of the posse, having been part of the Harding administration, the most corrupt administration pre-1968) and the installation of the Code in the early 1930s by these paragons of virtue, films were more free-wheeling and cartoons were no exception. The Mickey of this timeframe was closer to Dennis the Menace than the Mouse he came to be just a few years hence. In some ways, this Mickey was more interesting and more fun. Music was almost always large part of cartoons in general and in the early days of sound, was hugely important just as something of a novelty. Excellent score here and hilarious almost from first frame to last. Well worth tracking down. Most recommended.

This is not a bad little cartoon featuring Mickey and a host of other Disney characters, playing instruments, including a feisty piano, to some really catchy tunes. Not much of a story here, but a nice musical number that is sure to enchant the younger audience.

Grade B

If you'd like to know what made the Disney studio's output so special, and stand out so strongly from the rest of the pack, take a look at some of the early Mickey Mouse cartoons from around 1929-30. The Jazz Fool was produced just as Mickey was catching on as a highly popular character, and like so many of the early efforts it's a plot-free, high-spirited romp consisting of non-stop music and dancing. This particular cartoon isn't one of the select few usually ranked among the "classics" by connoisseurs; it is, in essence, just another release in the ongoing Mickey series, but it's a charmer from start to finish which demonstrates just how good the Disney studio's routine product from this period could be.

The show kicks off with a parade: Mickey rolls along on a horse-drawn wagon, playing a goofy tune on a calliope while dozens of animals dance along behind. He's parading through a rural area, inspiring local cows to stop grazing and waltz to the music. Even pairs of flannel long johns drop off a clothes-line to join in. When the wagon halts Mickey plays for the gathering crowd, while his horse—who looks like an early version of Horace Horsecollar—provides percussion alternately on a drum, on a local cat who happens to be handy, and then on his own dentures. Once the crowd has gathered in the auditorium Mickey takes the stage looking dapper and self-confident: he wears a top hat, spins a cane, and carries a satchel. First he opens the satchel and it becomes a baby grand piano, then he smoothly turns his hat and cane into a stool. (Mickey possesses Felix the Cat-like magical powers in this cartoon.) Seated, he launches into a jaunty melody, and performs some cute musical gags: for instance, when he slams the keyboard several keys fly into the air, and land just in time to complete a melodic phrase.

As the performance continues, however, something interesting happens. Mickey's playing becomes more and more aggressive. He beats time on the side of the piano, then pounds the lid, then starts hammering the keys with his fists, and we gradually become aware that the piano itself is reacting angrily to this treatment. It grimaces, bears its "teeth" at its tormentor, and puts up resistance as the treatment gets rougher. Mickey responds by playing more intensely and actually spitting tobacco juice onto the keys. Finally, striking a masterful lion tamer stance, he beats his adversary into submission for an exhilarating finale. The piano crumples, exhausted—then, in a surprise finish, it comes back to life and bites the seat of Mickey's pants! This is a terrific cartoon, better seen than described. Hardly any words are spoken and none are needed: the progress of Mickey's battle with the baby grand is easily followed, told entirely through witty character animation, music, and sound effects. The Jazz Fool is simplicity itself, yet it somehow strikes a deeper chord, like the most memorable scenes in the best silent comedies.

P.S. The title of this short is a play on two of Al Jolson's then-recent successes for Warner Brothers, The Jazz Singer and The Singing Fool, but there are no Jolson impressions or specific references to either feature. This cartoon stands on its own, with no topical references to date it.

I happen to love Disney and Mickey Mouse, and I did want to like The Jazz Fool more than I did. The Jazz Fool is not terrible, far from it. But at the same time it didn't feel all that special. The animation is mostly fine, there is some ugly character animation of Mickey at angles, but the backgrounds are at least crisp and the barns are less run-down than they have been in other Disney cartoons of this time. It was Mickey's facial expressions that were the most impressive thing in this regard, the anger, frustration and happiness are done so simply with raised eyebrows, turns of the mouth and the direction of his nose and shoulders but at the same time with so much expression. The music is lovely, with some lively tunes and Gershwin-like riffs interestingly arranged. It is at its catchiest when Mickey and Horace arrive at their destination at first. There are some fun bits like Horace playing even his teeth and shoes in perfect synch to the music, Mickey spanking the bum of the piano and the piano even retaliates by biting Mickey on the bottom. Mickey is very likable, as is Horace. Sadly, the story is very thin, two-thirds of it is literally Mickey just playing the piano and giving it a hard time. The gags are not very imaginative either, and not all of them hit the mark. Mickey's piano solo is almost exactly like a repeat of The Opry House. All in all, nothing amazing but worth a look. 6.5/10 Bethany Cox