All the stops are pulled out for this Technicolor version of Jack the Giant Killer -- from the Giants point of view.
Paul Terry's staff had only recently begun to use three-strip Technicolor and, like most of the competition, would not give up at least the occasional black-and-white cartoon for a few years. Production costs were not the only reason. Much of the character and foreground animation used flat expanses of color, suggesting a paint-by-numbers approach, while the background artists seem to be trying for a watercolor effect, which winds up looking blotchy on the print I saw.
Still, the story is given a nice twist by using the giant's perspective. John Foster, who had succeeded terry as producer for van Beuren's cartoons, was now Terry's story editor. He clearly wanted to tell the stories in a new and interesting way, not simply pad out the same old story with a few new gags. Although he would not manage uniform success, he did have at least occasional triumphs.
Paul Terry's staff had only recently begun to use three-strip Technicolor and, like most of the competition, would not give up at least the occasional black-and-white cartoon for a few years. Production costs were not the only reason. Much of the character and foreground animation used flat expanses of color, suggesting a paint-by-numbers approach, while the background artists seem to be trying for a watercolor effect, which winds up looking blotchy on the print I saw.
Still, the story is given a nice twist by using the giant's perspective. John Foster, who had succeeded terry as producer for van Beuren's cartoons, was now Terry's story editor. He clearly wanted to tell the stories in a new and interesting way, not simply pad out the same old story with a few new gags. Although he would not manage uniform success, he did have at least occasional triumphs.