As early as 1935, the Fleischers sought backing for a feature-length animated film from their distributor Paramount. Paramount refused to risk money on a feature. In an attempt to persuade the company that longer animated films could be profitable, Max Fleischer initiated the production of three two-reel color "specials" starring Popeye, beginning with Popeye The Sailor Meets Sinbad The Sailor (1936). Although these "specials" were often billed over their accompanying feature, Paramount still refused to back the animated feature.

Conditions changed after the success of Disney's Snow White And The Seven Dwarfs (1937) and the Fleischers received money for the eighty minute Gulliver's Travels. According to some sources, the film was originally to have Popeye in the role of Gulliver, but the idea was scrapped early in the planning stages. Perhaps this was unwise. According to internal Paramount correspondence, the Popeye shorts were far more profitable to Paramount than Disney's films were to his distributor, RKO. The sailor's box-office appeal might have helped the Fleischer features. Gulliver's Travels (1938) and the company's next feature, Mr. Bug Goes To Town (1941), bombed, leading to the failure of Fleischer Studios, Inc.

From The All New Popeye animated series currently in production. Photo courtesy of The Locomotion Channel. © King Features Syndicate Division.

Post-Fleischer Popeye
The successor company, Famous Studios, continued with the production of Popeye cartoons. Many of these were remakes of earlier Fleischer films. Much of the supporting cast of the Fleischer versions were replaced by new characters, such as nephews Pip-Eye, Peep-Eye and Pup-Eye. A redesign of the major characters included white U.S. Navy uniforms for Bluto and Popeye (in keeping with their war-time service in the armed forces), and more comely fashions for Olive. Upgraded technology, including the introduction of color to the series in 1943 with Her Honor The Mareand 3-D in Popeye The Ace Of Space (1953), tried to rejuvenate the series. None of these strategies were able to breathe much life into the films. Spooky Swabs (1957) brought theatrical release of Popeye films to a close.

The success of the black and white Popeye cartoons on television in the 1950s inspired several revivals of the series by such talents as Gene Deitch, John Halas and Joy Batchelor, Jack Kinney, and Hanna-Barbera. Hampered by limited budgets and rushed production schedules, none of these came close to the Fleischer or Famous theatrical versions. The less said about Robert Altman's live-action feature with Robin Williams and Shelley Duvall as Popeye and Olive Oyl, the better. What has endured are the original qualities of the Segar and Fleischer works. In fact, Segar's strips have been reissued by Nostalgia Press and the Smithsonian Press. The earlier Fleischer films, which shared the shabby urban or surreal exotic locations and working-class orientation of the Segar originals, retain a vitality and charm that still appeal to a large group of devoted fans today.

Mark Langer teaches film at Carleton University in Ottawa, Canada. He is a frequent contributor to scholarly journals and a programmer of animation retrospectives