Superman (1941-1943) – Animated Short Films Produced by Fleischer Studios (Films 1-8) and Famous Studies (Films 9-17)
Superman has been around so long (as a published entity since 1938) that it’s sometimes hard to think of him as NOT being around for so long, and this is one of the many attributes that make the original Superman cartoons – the early 1940s Fleischer (later Famous) Studio animated shorts such a treasure. The Fleischer Studios shorts were produced and released (to movie theaters) when Supes was only a few years old, well before the days of the DCnU or the “Death of Superman” or long hair or Lois and Clark or “Crisis on Infinite Earths” or Christopher Reeve.
If the Fleischer films had nothing to offer by this purer, less-filtered version of Superman, they would be a treasure, but they’re so much more than that. Even though these films are now seven decades old, they offer stunningly beautiful animation, tightly-packed stories, a variety of threats, and some really nice characterization.
Superman has evolved over the years into this nigh-indestructible man god, capable of doing anything and everything, living an almost untouchable existence. The very idea that Superman could be beaten by anyone sends fanboys screaming in rage, so it’s nice to see a less godlike Superman running and jumping and not flying through the Fleischer films. (I’m generally going to refer to them as the “Fleischer films” in this review because that’s how they’ve come to be know, but be aware that Fleischer Studios produced the first eight films only, and then when the studio was reorganized as Famous Studios in 1942, that company finished the remaining nine films.) Instead of discovering problems because of his super hearing, for instance, Superman (as Clark Kent) gets his information off a news ticker. Instead of flying everywhere, the films make a point to tell you he “can leap tall buildings in a single bound” and show yous, yes, Superman leaping over a tall building in a single bound.
The opening titles give us the “Look! Up in the Sky! It’s a Bird! It’s a Plane! It’s Superman!” and then a narrator refers to him as “this amazing stranger from the planet Krypton … the Man of Steel … Superman!” He fights for “truth and justice” but there’s no mention of the American way.
The Fleischer produced films tend to favor sci-fi stories, but when the production switches over to Famous, the films start offering up some WW II propaganda and racist stereotypes. As a guy looking to be entertained, I much prefer the former; as an academic, there’s certainly more to dig into with the propaganda films. A little bit of period racism and jingoism is to be expected, but the shift to darker, less interesting stories caught me by surprise and after a handful of really fun, imaginative sci-fi, the SUPERMAN animated shorts devolve into various set-ups that exist solely to have Superman punch people – especially if they’re darn, dirty foreigners.
If you’re a fan of Superman (which I’m not, really), a fan of superheroes (which I am), or a fan of animation (likewise), the Fleischer films are a must watch. Here’s the breakdown:
“Superman” aka “The Mad Scientist” – Released September 26, 1941 – Superman fights a mad scientist with a death ray. A death ray! Oh, how I love thee, 1940s, for your lack of irony when it comes to death rays. There’s a funny bit here where Clark jumps into a storage closet to change out of his human clothes and into his Superman tights. Even though he jumps into the closet for privacy, he leaves the light on so everyone can see him changing clothes in silhouette. He only shuts the light off when it’s time to exit the closet, and then instead of using his X-ray vision (which we know he has because we see him using it in the next film), he pokes his head out of the closet and looks around to make sure the coast is clear before opening a window in the hallway and jumping out.
“The Mechanical Monster” – November 28, 1941 – It’s Superman vs. Giant Robots! And the giant robots have large numbers on them so they’re maker can tell them apart. This is just an extraordinary cartoon to watch. The robots are, well, giant freaking robots but they’re being used to do things like rob jewelry stores. Lois gets captured, Supes goes after it, and then fights (I don’t know if I’ve mentioned this) giant robots. Great, great stuff.
“Billion Dollar Limited” – January 9, 1942 – Criminals rob some gold and there’s a runaway train with Lois trapped inside. These aren’t super-powered criminals, either. They look like vintage era gangsters. Supes’ diminished flying abilities are on display here as instead of flying around the train, he climbs up the back, then runs along the top, then jumps over an oncoming mountain as the train passes through a tunnel. There’s a really exciting sequence where the train goes flying off its tracks and down into a gorge and Superman jumps down and carries the train back up to the other side of the destroyed tracks.
“The Arctic Giant” – February 27, 1942 – There’s a giant. From the Arctic. And Superman fights him. The giant is vaguely Godzilla-esque. (Honestly, he looks like a cross between Godzilla and Pete’s dragon.) It’s the first of two films that are merely okay without being extraordinary.
“The Bulleteers – March 27, 1942 – The bad guys here have a bullet-shaped rocket. Lots of good action but not much in the way of story.
“The Magnetic Telescope – April 24, 1942 – A crazy scientist uses a giant U-shaped magnet to attract a comet to Earth. Superman (and this might come as a shock to the Superman Fundamentalists who think he’s the most powerful being in the entire history of history) can’t stop the comet. Think on that. This is a comet, and Superman can’t stop it. Instead, he has to use his brains, get the scientist’s malfunctioning machine up and running again, and then use himself as a conduit for the massive amounts of electricity to pass so Lois can throw the machine’s switch and send the comet back into space. Also, when he needs to get to the laboratory to save Lois, Clark takes a cab instead of flying or leaping.
“Electric Earthquake” – May 15, 1942 – It’s time to get political. The short opens with an American Indian at the Daily Planet, telling Clark, Lois, and Perry (though I don’t think they ever call him anything but Chief – Perry, that is, not the American Indian – that would be racist and there was no racism in the 1940s … *cough cough*) that Manhattan still belongs to his people and they should print the truth and get the island evacuated. Perry thinks this is ludicrous, Clark thinks the man is serious, and Lois sneaks away to follow him back to his secret laboratory. Good for Lois, who’s generally awesome in these films. She’s always going out and getting the story and while they do force her into the damsel in distress mode far too often, she’s not some stupid, hapless little girl playing grown-up. She has plenty of agency and uses it to her (and the story’s) advantage.
“Volcano” – July 10, 1942 – Superman vs. a volcano. Yeah, step right up and get your front row seats as Mt. Monokoa is getting ready to blow. Perry sends Lois and Clark out to get the story by sending them on a steamship. Yeah, a steamship. When Lois and Clark get to the security gate, Clark can’t find his press pass. He asks Lois if she has it, and she’s all, “Why would I have it?” Now, if you’re like me, you’re thinking this is a ruse by Clark to get away from Lois so he can strip down to his tights and go investigate as Superman.
You’d be wrong. Lois has stolen Clark’s press pass so she can get the exclusive story. How freaking awesome is Lois?
As Clark sits and waits for someone to come back and give him a new press pass, the volcano erupts and the main event is on. It’s gorgeous to watch. A giant fire boulder comes hurtling down the mountain and Superman redirects it out into the ocean on the other side of the city and then lays down, exhausted and hurt and unable to get up. I know, right? One volcanic boulder and Supes needs a nap! I understand that we can’t really go back to this earlier, less-powered Superman (especially to this level) but I totally appreciate how this version of Superman might have great physical abilities, but he’s also got to think things through and come up with plans because he’s not anywhere close to invulnerable.
“Terror on the Midway” – July 24, 1942 – I really hate the circus, and so this story of zoo animals gone wild doesn’t do much for me since I’m rooting for the animals the whole time. Also, Superman doesn’t show up until the 6-minute mark of an 8-minute cartoon. There’s some good action here, but after all the giant robots and bullet rockets and volcanoes, this is a rather pedestrian finish to the Fleischer era.
“Japoteurs” – September 18, 1942 – Bring on the racism! A Japanese agent (drawn like a caricature) hijacks a new American bomber with Lois stolen away inside. The action is still rather good – it ends with Superman stopping the massive bomber from crashing into the city – but it’s slightly uncomfortable to watch. Even though Superman is still fighting for “truth and justice,” with no mention of the American way, “Japoteurs” is clearly a piece of American propaganda.
“Showdown” – October 16, 1942 – More gangsters. A gangster lackey is masquerading as Superman and committing a series of robberies. Lois and Clark end up confronting the impostor at the opera, and we get a classic shot of Superman getting shot in the chest by the impostor and bullets bouncing harmlessly off him. It’s not a very smart plan for the gangster, is it? Having a lackey impersonate Superman? As far as these serials go, there’s exactly one superhero leaping around and you think it’s wise to impersonate him to commit crimes? Not smart. Not smart at all. This is a blah film. The best part is a blink-and-miss-it moment when the cops tear off after the two Supermen and Lois simply jumps in the car alongside them without asking. There’s also an appearance by Jimmy Olsen (unnamed) who mocks Lois and Clark for having to go to the formal opera.
“Eleventh Hour” – “November 20, 1942″ – Well, there’s no Matt Smith in sight, but we do get a new opening. Forget bullets and building leaping, Superman is now “faster than a streak of lightning, more powerful than the pounding surf, mightier than a roaring hurricane!” This is an interesting short for a variety of reasons. Clark and Lois are in Japan and Clark is donning the tights at night to sabotage the Japanese military. Good for him doing his duty and all, but the Japanese military captures Lois and puts up signs over town that says if he keeps committing acts of sabotage, they’ll kill the “American girl reporter.”
And they’re almost successful as they blindfold Lois and put her in front of the firing squad, and only Superman jumping down in the nick of time saves her. Which leads to a Japanese soldier, who just saw Superman have a barrage of bullets bounce off his chest, charge the Man of Steel with a sword. Chalk one up for dumb courage, I guess.
“Destruction, Inc.” – December 25, 1942 – Hey, it’s Christmas! And what does Superman want to do for Christmas? He wants to … do nothing Christmassy at all! Communist. Lois, on the other hand, goes undercover at the Metropolis Munitions Factory where she manages all kinds of physical stunts before getting caught and stuffed inside a torpedo. On the whole, kind of blah.
“The Mummy Strikes” – February 19, 1943 – Ugh. Ponderous and dull, full of agonizing narration and infodumps.
“Jungle Drums” – March 26, 1943 – African targeted racism. Typical jungle pulp story with drums and fire and white women tied up. There’s a military plot here which isn’t awful, but for whatever reason (whether because of the switch from Fleischer to Famous, or because this was the intended course all along) the stories have lost their sense of fun and wonder.
“The Underground World” – June 18, 1943 – Another pulpish tale about underground caverns, but much improved over the last film. There’s still fire and the tying up of a white woman, but there’s hawkmen here! Hawkmen! Okay, not, you know, actual Hawkmen, but dudes in outfits with wings! I love the ending of this serial, as Lois does her usual end-of-film write up of the events for The Daily Planet, except this itme instead of everyone telling her how awesome she is, Perry (he’s actually named here) burns the story because no one would believe it! Well, sure thing, Perry, but why are you burning the story and the photos of this wild underground world? Don’t you know you can sell it off to The Daily Bugle over in New York? They love this tabloid stuff!
“Secret Agent” – July 30, 1943 – We’ve got Germans! This isn’t a bad spy caper – there’s a good plot, plenty of solid action, some war-time villainy – but it doesn’t really play to Superman’s strengths as a character, or to what the Fleischer/Famous films do best. It’s fitting that the final image in this, the last short, is Superman flying behind a waving American flag, because that’s what the series has become by the end – a celebration/defense of the idea that Americans are the best thing ever and that all other nations and cultures of the world exist for us to mock them.
There’s a right way and a wrong way to show patriotism, and unfortunately instead of offering a real depiction of people and ideas (which you should do if you feel you’re actually in the right), the back-half of these SUPERMAN cartoons too often go for the quick and easy and dirty caricature. That is not to say you should ignore these animated shorts, because they are important culturally and historically. Also, for the first half of the run, they’re pretty darn awesome, too.
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