The success of Mickey Mouse is so great that it overshadows not only the competitors of Walt Disney in the field of animated comics, but Disney’s own more interesting work, the “Silly Symphonies.” Mickey Mouse is a movie comic of the first order, but I do not think its popularity depends entirely on its artistic merit; it has some of the element of a fad, where it joins the kewpie and the Teddy Bear, and I think because Mickey Mouse is a character, Disney finds himself forced occasionally to endow him with a verbal wit and to give him too much to say, which is against the spirit of the animat
IN the September issue of the American Mercury, George Jean Nathan has written six pages of "Notes on the Movies"; they are important, but not exactly in the way Mr. Nathan may think they are.
Political satire in America is for the moment the monopoly of Will Rogers. Others may practice it for tiny audiences; his is as near to the sum total of the "picture reading public" as anyone can come. The paraphernalia of gum and lariat which helped him in the Follies is now partly laid away; he is on a vastly popular lecture tour; he broadcasts; he writes for the Saturday Evening Post; he publishes books. He has only to write a play and create a comic strip to become universal.
Marseilles presents itself to you without preparation and without comment. It is there that the traveler first sees the Mediterranean; usually the tram goes on, and the traveler with it, to the Riviera or to Italy. Neither Marseilles nor the guide book invites you to stop. It wants a full day. Although each of its two movements is complete, each one intends the other as its complement, like the systole and diastole of the heart; rather like night and day, making a complete cycle of life.