Of Mice and Magic: A History of American Animated Cartoons

[WoodpeckerWoody]

Has anyone read that book by Leonard Maltin and Jerry Beck and how good is she?

[FleischerFan]

The book's authorship is credited soley to Leonard Maltin. I believe Jerry served as his primary research associate on the book. I guess only Jerry could tell us if he actually did any of the writing.

The book is pretty solid. In my opinion, it remains the foundational work for anyone's library of books about cartoons. There are many other books that go into greater detail about certain studios, directors, or characters, but this is the one that gives you the best overview of all the studios that were cranking out cartoons in the Golden Age of Hollywood cartoons.

[Ray Pointer]

Has anyone read that book by Leonard Maltin and Jerry Beck and how good is she?

Considering it's been around for 25 years and is in reprint should tell yo if it is worth reading. If in doubt, look for it in the library. If it's not in your local library, trying buying it from Amazon.com or Barnes and Noble.

[WoodpeckerWoody]

Considering it's been around for 25 years and is in reprint should tell yo if it is worth reading. If in doubt, look for it in the library. If it's not in your local library, trying buying it from Amazon.com or Barnes and Noble.

Icelandic library no cange so I will do the later buy it form Amazon

[Fibber Fox]

Has anyone read that book by Leonard Maltin and Jerry Beck and how good is she?

My first edition fell apart because of overuse (I made marginal notes of the credits of the Lantz cartoons, like knowing something called a web site would come along years later to do the same thing). I bought a second edition.

It gives a very good summary of each of the studios, and I would guess it is the starting reference point upon which future books were written.

F. Fox.

[Mike]

The book is pretty solid. In my opinion, it remains the foundational work for anyone's library of books about cartoons. There are many other books that go into greater detail about certain studios, directors, or characters, but this is the one that gives you the best overview of all the studios that were cranking out cartoons in the Golden Age of Hollywood cartoons.

My thoughts exactly. I remember checking that book out of the library, I think when I was in middle school, and just poring over it. Like you said, other books may have done more with individual studios, but in terms of an overview, this was top-notch. And Maltin never, ever wrote about the cartoons as if they were strictly kids' stuff. Just real solid, thoughtful, respectful writing. I highly recommend this book.

Mike

[Ray Pointer]

I'm fortunate to have a signed hardcover First Edition.

[AnthroCoon]

I had it years ago (the 1987 edition) and later traded it in but it was enjoyable and informative. Several reviews on amazon.com point out
the most recent edition ('87) obviously won't shed any light on
the "revival" of interest in cartoons led by everything from Roger Rabbit
(summer of '88) to Simpsons to the many TV and movie cartoons since then.
Oh, and don't really expect to read stuff about made for TV cartoons
as it focuses on theatrical.
Jerry Beck was interviewed on Time Travel (WRNJ in NJ) and mentioned
doing the research, etc. Not too many books out there before it and
it wasn't like the Net (as we know it) was around to help...

http://www.timetravelispossible.com/ourradioprograms.html
and scroll down for Beck interview

[cpdavison]

I'm fortunate to have a signed hardcover First Edition.
Hey, that makes two of us! :D

Craig D.

[Dell Comics Fan]

My first edition fell apart because of overuse (I made marginal notes of the credits of the Lantz cartoons, like knowing something called a web site would come along years later to do the same thing). I bought a second edition.

It gives a very good summary of each of the studios, and I would guess it is the starting reference point upon which future books were written.

F. Fox.

My copy also fell apart (it was bought back in the 1980s). But it is a great
reference book for fans of theatrical animated shorts. Excellently written,
well-illustrated (including some color pages). Possibly the definitive book on
the subject.

[FleischerFan]

My copy also fell apart (it was bought back in the 1980s). But it is a great
reference book for fans of theatrical animated shorts. Excellently written,
well-illustrated (including some color pages). Possibly the definitive book on
the subject. Count me as also having a "fallen-apart" copy. I also snagged a hardcover copy of the initial edition (it was on a remainder table at a bookstore many years ago) and I own a paperback copy of the revised edition as well.

I still have the fallen apart copy, which sits next to my computer as I still use the filmography in the back quite frequently - and referencing the one out of the beat up copy saves wear and tear on the nicer editions sitting on my shelves.

Ironic that this topic should come up because I was planning on doing a long-overdure re-read of the book this month.

[lonesome-lenny]

It's a seminal book, and one that I still use as a reference tool (for the filmographies). Back in 1980, it helped 17 year-old me get a handle on the history of American animation. It whetted my appetite for cartoons that would take decades to be able to see.

That said, as with Michael Barrier's epic tome HOLLYWOOD CARTOONS, the text suffers somewhat from its author's biases. Maltin does not offer harsh and controversial opinions, as does Barrier. IMHO, Maltin overlooks cartoons that I feel are worthy of inclusion and assessment, while over-praising "classics" that I consider over-rated.

Therein lies the dilemma in writing such a broad, sweeping book as OF MICE AND MAGIC. The author must tell the history of several different animation studios, in enough detail to give their reader some solid understanding of each studio's output, and then offer enough colorful details--and, inevitably, critical opinions--to round out the picture.

Not easy to do. And, in some cases (Famous Studios), I feel Maltin misses the point altogether. In the book's best chapter (Fleischer Studios), Maltin combines historical research with a fan's zeal and some critical perception. If only he'd cited SWING YOU SINNERS as a crucial film in the Fleischer canon, that chapter would be just about perfect.

As said, I still refer to OMAM for its filmographies. The second edition, which corrects some errors and omissions, is worth owning as well.

[Thad]

I read the book well after I had seen most of the Golden Age era cartoons, so I didn't inherit any biases from it. (The same goes for Barrier's book.) They are both great.

I appreciate Maltin going over studios he obviously had no interest in researching, to only make it as complete as possible. (You can't say the same for Barrier, who devotes a whopping 4 pages to Lantz and about 2 to both Famous and Terry.)

I think that a lot of critics and fans have taken the book to heart, copying Maltin's opinions without actually seeking out the cartoons. Bob McKimson was fairly unremarkable as a Warner director, but his dud ratio wasn't as high as Maltin makes it out to be. Maltin did a great disservice to the Famous Studio cartoons in his book as well, as anyone can plainly see that there were artists in that studio trying to do above average work under leaders with no taste.

Frank, I think Swing You Sinners isn't highlighted simply because that was a very hard to find cartoon until recently. Had Maltin had a watchable print, it most likely would have gotten praise.

[Ray Pointer]

I read the book well after I had seen most of the Golden Age era cartoons, so I didn't inherit any biases from it. (The same goes for Barrier's book.) They are both great.

I appreciate Maltin going over studios he obviously had no interest in researching, to only make it as complete as possible. (You can't say the same for Barrier, who devotes a whopping 4 pages to Lantz and about 2 to both Famous and Terry.)

I think that a lot of critics and fans have taken the book to heart, copying Maltin's opinions without actually seeking out the cartoons. Bob McKimson was fairly unremarkable as a Warner director, but his dud ratio wasn't as high as Maltin makes it out to be. Maltin did a great disservice to the Famous Studio cartoons in his book as well, as anyone can plainly see that there were artists in that studio trying to do above average work under leaders with no taste. Frank, I think Swing You Sinners isn't highlighted simply because that was a very hard to find cartoon until recently. Had Maltin had a watchable print, it most likely would have gotten praise.


SWING YOU SINNERS has been in circulation since the retrospective, THE BETTY BOOP SCANDALS OF 1974. That's a good six years before OF MICE AND MAGIC was published. Since the first eidition lists film sources from former rental companies, it is likely that he went to these sources for viewing since these were the days before so much was available on tape. This has been the major limitation in writing about animation history in the past, the
difficulty in seeing the films once they were out of circulation. In my own resrearch in the 1970s, I did the same thing, looking to Film Rental catalogs and collector's circles to find and/or buy prints. The fact that Maltin was able to put together a comprehensive studio history book working under these limitations makes his accomplishment all the more impressive. But at this oint in time, there is little excuse to not see the cartoons since so much more has become available in the past 25 years.

[J. J. Hunsecker]

That said, as with Michael Barrier's epic tome HOLLYWOOD CARTOONS, the text suffers somewhat from its author's biases. Maltin does not offer harsh and controversial opinions, as does Barrier. IMHO, Maltin overlooks cartoons that I feel are worthy of inclusion and assessment, while over-praising "classics" that I consider over-rated.
To be fair, those classic cartoons weren't "over-rated" back then. In fact, most were largely ignored by the majority of the critics of the day. (Maltin also praised Famous Studio's Little Lulu cartoons.)

Count me in as one who also read his paperback version of Of Mice and Men until it fell apart. I bought the revised edition just a few years ago.

[ohmahaaha]

Mine's falling apart too! To the original poster, woodpeckerwoody, I've found it invaluable as both a reference source (contains historical background & filmographies of all of the theatrical animation studios) as well as just pure entertainment. You would not be disappointed with your purchase.

[Jack G.]

Mine's falling apart too. The book has definately been pulled out all lot by me.

I've thought about buying a fresh copy.

[Tom Stathes]

Yes, my copy is a bit beat-up. After the Disney studio story book, it was the first I purchased on my own to find out more about those old cartoons I loved.
Flattery must be an understatement to know that a book you published is perused so much that many copies are actually falling apart; not having sat stationary on dusty shelves.

[J. B. Warner]

I found my copy at a used bookstore last year, and was quite enthused when I did (mine is the second printing from 1987). I still give it a re-read every now and again whenever I want something of substance for a long trip or something like that.

[WoodpeckerWoody]

Does some body know if this book is able as ebook?

[Bugsmer]

Does some body know if this book is able as ebook?

You're better off buying a physical copy. Most books are affected with Digital Rights Management, meaning that you need a password to read it and if you ever reformat your hard drive, or upgrade your computer, the file will no longer open. The file might also fail to open once a specified number of years has passed. A physical book can be read as often as you please.

[William Padron]

Yeah, I still have my copy of "Of Mice And Magic" in my personal library, and it is in amazingly great shape for its age. I must have purchased it at least twenty to twenty-five years ago, and it is indeed a great reference source for anything about vintage animation and its studios.

Leonard Maltin, the author of "OM&M", also previously written a excellent book in a similar style titled "The Great Sound Shorts" back in the 1970's, and my copy of that book is now in average condition. I still use now and then to do a cross reference on the Laurel & Hardy and Three Stooges shorts to see as a comparison if those are the ones to buy and watch it on DVD.