Melody Time

Without a doubt, this is the weakest film in the package years. There is no high that’s very high, or low that is very low, no great sequence that dashes away from the rest of the pack. It’s a mediocre ensemble of seven different shorts. The problem with the film is spelled out clearly in the opening, in which a group of dramatic masks detail that what we’re about to watch has something for everybody. Melody Time tries to please every audience imaginable, and, in the end, it only mildly accomplishes this goal.

Only the “Johnny Appleseed” and “Pecos Bill” segments have proven their legs. I don’t find either of them to be incredible, but they’re serviceable. “Johnny Appleseed” has gorgeous background designs from Mary Blair, truly one of the treasures of this decade who would go on to influence numerous films in the Silver Era. Yet that story’s hard reliance upon pro-settler views, mixed in with a heavy dose of Christianity, kept me at arm’s length from it. 

While “Pecos Bill” highlights the biggest asshole cowboy imaginable, but presents him as a noble hero. “Pecos Bill” is most enjoyable for the wraparound segment featuring Roy Rogers, his horse Trigger, and child actors Luana Patten and Bobby Driscoll sitting around a campfire regaling the story.

Other shorts are slight, filled with technical expertise, but enjoyable. “Little Toot,” featuring outstanding vocal work from the Andrews Sisters, tells the story of a naughty little tugboat that learns a valuable lesson in patience and hard-work. “Bumble Boogie” is an explosion of color, experimental imagery, and a jazz interpretation of “Flight of the Bumblebee” by Rimsky-Korsakov. The only problem with it is the short length, as it ends just as it’s beginning to gain its footing and explode with energy.

“Blame It on the Samba” plays like a leftover from The Three Caballeros or Saludos Amigos. It’s always nice to see José Carioca and the Aracuan Bird, even if the latter plays like a hybrid of Woody Woodpecker and the Dodo from the Looney Tunes. Like the earlier films, this segment combines live-action footage, this time with Ethel Smith playing the organ, with animation. While it doesn’t reach the dizzying heights of various segments of those prior films, it does play like some of the solid, lesser moments.

“Trees” and “Once Upon a Wintertime” are beautiful to look at, but dull. Once again, Mary Blair’s scenery is a thing of beauty to get lost in, all strong curves and geometric cutouts in bold colors. Shame better stories couldn’t have been drafted to go along with the lovely colors and fluid animation. 

Like the rest of the films during the 40s, Melody Time is not without its charms or moments. But these moments are missing the heart and grace of the prior Golden Era, or the memorable anarchy of the Silver Era. You can clearly see the studio burning off the old ideas, strengthening its muscles, and trying to reawaken from its long slumber. It doesn’t make for entirely compelling viewing, but it’s diverting.