The feature film "FYRTØJET"

and THE PRESS:

 

 

This private photo, taken on October 5, 2001, shows the four windows to the street - one narrower and three wider - behind which the work on the feature-length film "Fyrtøjet" took place from June 1943 until the year 1945. The studio was located at 2 floor to the right in the property Frederiksberggade 28 in Copenhagen. It was here that most of the key cartoonists sat and worked, and here Peter Toubro walked around the room with the screenplay under his arm, and where Finn Rosenberg drew layouts and painted backgrounds, and here trick photographer Marius Holdt had his trick film camera and trick table installed. - Photo: © 2001 Harry Rasmussen.

 

Press preview of "Fyrtøjet"

During most of the production process, Dansk Farve- og Tegnefilm A/S had kept a low profile in relation to the press, which at the time would mainly mean the newspapers and magazines. However, relatively early in the production process, the press had received some brief notices that the production of the feature film "Fyrtøjet" had begun. For example, as early as 1943 you could read the following in the country's newspapers:

 

The H.C. Andersen film must be colored.

50 young ladies can now come to the film, albeit in a slightly different way than most dream of. It is Dansk Farve- og Tegnefilm A/S, which advertises for female youth, who will color the large H.C. Andersen film.

 

Probably later that year the following note followed:

 

FYRTØJET as a color film.

A large-scale Danish film project is under construction. It is about producing a Color Cartoon, built on H.C. Andersen's Fairy Tale "Fyrtøjet", and it is a small Copenhagen film company that has taken on the task.

     At present, the management does not wish to comment further on the plan, but it is a fact that they are so far advanced with the project that this week 100 young girls have been sought for coloring the pictures.

 

     However, it was not until the autumn of 1944, when the management, i.e. on the part of Allan Johnsen and Peter Toubro optimistically believed that the work had gradually progressed so far that "Fyrtøjet" would soon be able to premiere, probably in February 1945, that the daily and weekly press was contacted again. The intention was, of course, to provide the film with a pre-publicity that could hopefully raise the expectations of the cinema audience in particular.

 

    At the end of 1944, a unfortunately unnamed Danish weekly magazine in a two-page article, illustrated partly with black-and-white and partly color pictures from the film, could inform its readers the following:

 

    February 1945 will be included in the Film's Annals - the first Danish feature  color cartoon has been completed and will perhaps be the introduction to a completely new and brilliant era for Danish film. H. C. Andersen has fingers and pen in the game - it is his fairy tale "Fyrtøjet" that has been recorded and a colossal work of precision and patience has preceded it. 200 young people have for 1,120,000 hours been employed with half a million drawings on celluloids - the draft of only 10 young artists. They have worn out 10,000 pencils, and so much color has been used for coloring that it must have been possible to paint most of the globe, both red and green and brown and blue.

     Mogens Wieth has played the role of the soldier, and as the princess he has got the film's youngest lover so far, a little 10-year-old girl from the Radio's Girls' Choir. John Price casts Voice to the King and Charlotte Wiehe Bereny is the Witch. The music is composed by Erik Christiansen and Vilfred Kjær - the latter has also been in charge of the recording with a 70-man orchestra. (Note 1)

 

     As is well known, the press - with all due respect - is largely or with a few exceptions particularly interested in the unusual and sensational, which is supposed to be suitable for attracting and impressing readers. Therefore, one prefers to mention events, happenings and topics that have these ingredients in them. At the same time, the average reader has generally seen the uncritical attitude to the media that when something has been in the newspapers, it is true, even if the little "feather" along the way from source to reader has grown to become "five chickens". Both are the case in this article.

     The figures mentioned in the article are more or less grabbed freely from the air, whether they are due to the journalist or his source. The same applies to the "information" about which actors, according to the magazine, had already at that time (spring 1945) cast the votes for the film's characters. The dialogue as well as the music was only recorded during the autumn of 1945, after the drawing work had largely been completed.

    Asked directly about this, Henning Ørnbak, who worked closely with the director Svend Methling, and who was involved in the recording of both dialogue and music, answers that it is not known to him that the actors mentioned in the article were at any time involved in connection with "Fyrtøjet". But, he adds, one can of course not completely rule out that the journalist's source, whoever he has been, may have felt pressured and caused to name some names of then popular actors as possible subjects.

 

     Regarding "a little 10-year-old girl from the Radio's Girls' Choir", as mentioned, it can probably only be Kirsten Hermansen, who was born in 1930 and who was therefore 14 years old in 1944. But when she is not mentioned by name in the article, it is probably because she was quite unknown to the general public at the time. However, that was soon to change.

 

     But already on October 6, 1944, Berlingske Tidende? bring a preview of the "Fyrtøjet" film in the form of an illustrated article with the headline "H.C. Andersen's Fairy Tale "Fyrtøjet" will be the first Danish Feature Cartoon":

 

     Between fifty and 300 people have now for some time been busy producing the first Danish Full Evening Cartoon in Colors, namely H.C. Andersen's Fairy Tale "Fyrtøjet". Wholesaler Allan Johnsen, who for lack of better employment during the war period has set out to make a cartoon that can take up the competition with Disney's "Snow White" etc., and in a short time the film will be finished. A staff of cartoonists spread over workplaces in several places in the city has drawn over a million drawings to enable the film, which of course is subject to both speech and music.

 

 

The photo above accompanied the article and with the following caption: "Here is one of the Main Drawers, Architect Mogens Mogensen, performing a "Close-up" of the Soldier in " Fyrtøjet". The Soldier's Physiognomy and Figure was created by the artist Børge Hamberg. Photo: Ulf Nilsen. - © 1944 Berlingske Tidende.

 

      However, it was not only the capital newspapers that brought previews of "Fyrtøjet". On October 9, 1944, readers of Ebeltoft Avis under the headline "" Fyrtøjet" som Tegnefilm" could see a photo depicting four unnamed people sitting around a table. The image had the following caption:

 

 

For 2½ years, now between 200 and 300 people have been busy with the production of the first Danish all-night cartoon in colors, namely a film adaptation of H. C. Andersen's fairy tale "Fyrtøjet". Over a million drawings have been made, and in order to know how long a situation lasts, i.e. how many pictures it takes, one must, as the picture shows, try the movements in practice while taking time with the stopwatch. - Newspaper photo: © 1946 Dansk Farve- og Tegnefilm A/S - Palladium A/S.

     The four people in the photo were Allan Johnsen with the stopwatch and Otto Jacobsen on one side of the table, and Børge Hamberg and Preben Dorst on the other side of this. Børge Hamberg imitates the soldier's shielding movement with his arm raised in horror that the largest of the three dogs is about to jump down from the coffin and land on him. The photo is arranged solely as a press photo, as the said scene with the soldier was long overdue at the time the photo was taken.

 

     The first major preview in the press of "Fyrtøjet" was found in the daily newspaper Politiken’s Tillæg, Magasinet, which could impress its readers with a large 3-page article about the imminent completion of "Fyrtøjet", illustrated with pictures from the film in four-color print. Such color pictures were a rarity in the newspapers and magazines of the time, and we at the design studio were of course happy and proud of the great publicity, which even by and large adhered to the facts. The article essentially gives a truthful depiction of the cartoon "Fyrtøjet"'s prehistory and creation. Since the article brings a lot of interesting and relevant information about the production of the feature film "Fyrtøjet", part of the text deserves to be quoted and reproduced with its original spelling, it should be noted that aa is equal to å. The article was written under the pseudonym Samivel and it reads as follows:

 

The first Danish All-Night Cartoon

which is also the first cartoon of its kind made on this side of the Atlantic - H.C. Andersen's Adventure "Fyrtøjet" recorded as a Color Cartoon with Music by Weyse.

 

The scene is a quiet, peaceful upstairs in a commercial property in Frederiksberggade. A postman comes slowly up the stairs and stops outside a door on the second floor, from which wild howls and screams can be heard.

     At the same time the postman opens the door, a wild-looking man descends from a staircase and throws himself with a Tarzan jump over a sweet and unsuspecting office lady, while a third person calmly watches with a clock in his hand without so much as touching a finger. to help the Lady.

     The postman pales and thinks he has been sent to a madhouse. At the same time, the Lord shouts clockwise: "Bravo - three seconds!" -

     What had happened? - Simply a small Intermezzo during the filming of the first Danish All-Night Cartoon, built on H. C. Andersen's Fairy Tale "Fyrtøjet". The gentleman who ran imagined the dog with eyes as big as the round tower, and the "unsuspecting" office lady was the "soldier", while the gentleman with the stopwatch turned out to be Magister Peter Toubro, who was in the process of checking out a scene of three seconds to Cartoon Screenplay.

 

The result of too much Leisure

     This story is just one of many that Director Allan Johnsen can tell from the turbulent years when he suddenly set about making cartoons.

     That it became Cartoons is a completely different story. Allan Johnsen was originally a textile wholesaler, and when the import stopped, the wholesaler used his first free time to write the book "Fra Dyreskind til Celluld". It was funny and imaginatively illustrated by a young, unknown illustrator Finn Rosenberg Ammitsted, and when the work had gone to press and both author and illustrator again had too much free time, Finn Rosenberg once asked Allan Johnsen if he would not like to finance a Cartoon.

     Allan Johnsen had both wit and imagination and therefore decided - without hesitation - to not only be a financier, but also to take an active part in the preparation. He allied himself with his friend Peter Toubro, who had just become a Master of Literature, and in October 1942 then formed Master, Director and Illustrator - plus a financially strong fourth man, the company Dansk Farve- og Tegnefilm, whose first task was to be the recording of the Color Cartoon "Fyrtøjet" ”, Not - as originally intended - only a small 10 Minute Preview, but an All Evening Movie with a Playing Time of 84 Minutes. (Note 2)

 

     The article then goes on to describe the workflow at Dansk Farve- og Tegnefilm, and lists, among other things, how many drawings and how many trick film photographic recordings (exposures) have been included in the film "Fyrtøjet"'s production. Several of the main responsible persons in the production, such as the head of the drawing and coloring department, Else Emmertsen, is mentioned and their function is sometimes described in detail, which, however, is not in all cases completely in accordance with the technique and procedure used during the production of "Fyrtøjet".

     Of particular interest is the fact that the article discusses the difficulties that preceded the creation and animation of the film's two main characters, the soldier and the princess. About these it is stated thus:

 

     The main cartoonists for the film have, in addition to the cartoonist Finn Rosenberg, been Børge Hamberg, who has taken special care of the Soldier; it took him reportedly over 4½ months to find the right figure. That it is not an easy job either, one understands when one hears that it lasted 1½ years before the artist Preben Dorst, as in collaboration with the artist, Ms. Bodil Rønnow, Responsible for the Princess, came up with a fairy tale character that both cartoonists and producers agreed to describe as the real Fairytale Princess. Finally, the main cartoonist Bjørn Frank Jensen excels in the humorous characters, of which there are not so few in the film. […]

 

Then the article continues with the following sections:

 

Not Promises, but Realities

The cartoonist Storm P. was - as far as is known - one of the first to try to make cartoons here at home, but the hassle and costs turned out to be too great at the time, and this first attempt to create a Danish cartoon production had to be made relatively quickly. let fall. Later, over the years, there have been many who wanted to make cartoons, but so far no one has gone further than commercials. The three-leaf clover Johnsen, Rosenberg and Toubro chose to go another way. They worked and produced in all silence, and only now that the film is a reality do they venture forward into the arena.

    Is it that hard to make a cartoon?

     "You become an idiot," says Allan Johnsen, "by keeping track of approx. one million drawings, while at the same time making sure that the various departments of production, which are interdependent, are still kept going, and one must keep in mind that throughout the production period there has been a constant struggle against material shortages. One day it is raw Film that is missing, the next Paper, Cellophane, Colors, Hole Amplifiers and so on. That one has reached the end of the road seems today a miracle. The recording of "Fyrtøjet" has now been going on for 2½ years, but the company hopes to be able to produce the next film in 1½ years; the whole production is now put in such a good system that one will not think of starting a new film any time soon.

 

     But neither could the Magazine tell which actors were intended for the roles as voices for "Fyrtøjet". The article ends as follows:

 

     […] At the same time, the Company has begun negotiations with some of our best Artists to record the various Roles as the Soldier, Princess, King and Queen, Astrologer, etc.

     But as I said, the film itself is drawn and photographed, and the copies are stored in a safe place, before the end of the year the first Danish all-night cartoon will be dazzled, which is also the first all-night cartoon made on this page. of the Atlantic. It will be a proud day for the company after almost 2½ years of intense and goal-oriented work.

 

     Unfortunately, the magazine's optimism on behalf of Dansk Farve- og Tegnefilm A/S did not hold up. The film did not premiere until the following year, more precisely on May 16, 1946.

     Approximately at the same time as Berlingske Tidende's article on "Fyrtøjet", AFTENBLADET published a half-page article in December 1944 with the following headline and cuff, illustrated with two black-and-white photos:

 

2½ Years of manufacturing

The cartoon about "Fyrtøjet"

Visit to the studio, where young artists are working on the first Danish cartoon

 

    The journalist Birte begins his article by thinking that it would probably have pleased H. C. Andersen if he had known “that his Fairy Tale was the subject of the first Danish all-night cartoon, but he would probably have shaken his head in doubt if he had guessed that this film consisted of approx. 1 Million Drawings on 2300 Meter Film, that it had taken 2½ years to produce, and that over 200 young people had had a hand in the game before the film was rolled out.”

 

 

This photo accompanied AFTENBLADET's article and with the following caption: The Adventure King out in front of a sharp Criticism of the Cartoon's artistic director, Magister Peter Toubro, and one of the female Illustrators. Photo and caption: © 1944 Aftenbladet

 

     Commentary on photo and text: Peter Toubro, who here with colorist Birthe Grove considers a celluloid with a close-up of the king in "Fyrtøjet", was artistic director in the sense that he, as the author of the film's screenplay, also took on the task as a kind of instructor.

 

      The article continues to express the hope that “the Fyrtøjet will be a resounding success when it premieres in Copenhagen at the beginning of February. It should have been finished in October, but various factors have conspired to delay it, and there is still a lack of 3-4 minutes of film, which will therefore take a couple of months to produce."

 

 

Caption: Danish cartoon coming man? It is the 16-year-old Harry Rasmussen who has the credit for some of "Fyrtøjet"'s characters. - Copyright © 1944 AFTENBLADET.

(It should be added for the sake of good order that I, Harry Rasmussen, was not 16 years old at this time, but only 15 years old.)

 

     AFTENBLADET's article on "Fyrtøjet" is, by and large, true in its depiction of the actual conditions surrounding the film's prehistory and production process. But once again, it jokes with the names of actors who did not add voices to the finished film:

 

Mogens Wieth as Adventure Soldier

The votes have not yet been cast, and the company is looking for the right voices for the H.C. Andersen film. In all likelihood, it will be Mogens Wieth who will deliver the Voice to the Soldier, John Price will be the King, while the Princess will have to choose between three Favorites.

 

     And the article then continues with the following considerations:

 

     Part of the Accompaniment Music is Weyse's old Danish Songs, and the Fairy Tale Orchestra is conducted by Vilfred Kjær, who himself has made Music for the Film.

     "Fyrtøjet" will be 1945's big film event, whether it be kill or cure for Danish Cartoons and Color Films. If it is cure, Denmark has a chance to create renewed brilliance about H.C.Andersen's name around the world, and the brave film company will continue to make Danish cartoons, which may one day be able to compete with Walt Disney himself, because it probably so much are the cartoonists as the technique it depends on. And if it does fall, the brave debutantes will hopefully continue anyway and take comfort in the fact that they have made the worst mistakes.

 

     Quite apart from the fact that it probably depends as much on the cartoonists as on the technique, fate - or the circumstances - would mean that "Fyrtøjet" would mean both ups and downs for Dansk Farve- og Tegnefilm A/S. Bang, because the film was well received by the audience and largely also by the newspaper film critics. Decrease because the production schedule was exceeded quite considerably in time, which at the same time meant a significant overrun of the budget. There was therefore no money in the coffers to be able to immediately continue a continuous production of either short or long cartoons.

     It also did not help that "Fyrtøjet" provided a lot of income, because these came only after it had started playing in the country's cinemas from mid-May 1946, and then several of the animators had meanwhile switched to other professions. In a later chapter, however, we will hear that some of the key animators kept in touch with Dansk Farve- og Tegnefilm A/S, and temporarily returned to the company when Allan Johnsen 1948-50 made heroic attempts to stack the production of the H.C.Andersen feature film "Klods Hans" on the legs.

 

     But one can probably rightly state that the people of the press at that time generally did not have special preconditions for understanding what a fantastic achievement the production of "Fyrtøjet" in and of itself was an expression of. And when the journalists finally became interested in the production, technical and artistic side of the cartoon production, it was so-so with their understanding and description of these aspects of the enterprise. But seen in the context of Denmark's and the world's situation at the time, it is of course understandable that something as inferior as a film, even a cartoon, had to drown in the serious, eerie, bloody and fateful war events out in the big world, and sabotage, schalburgtage, murder, clearing murder and murder etc. here at home, which the newspapers could report daily.

 

     However, on March 9, 1945, Fyns Stiftstidende was able to bring the following notice:

 

     The first Danish all-night cartoon "Fyrtøjet" has now been drawn. The manufacturer has subsequently agreed with Palladium that this Company will take over the final Completion. Svend Methling will cut and synchronize the film.

 

     However, it was not correct that all animation etc. had been drawn by the time the newspaper brought the notice. There were still a few months of drawing work to go before the film's image page was completely finished. But it is true that Palladium and Svend Methling had come into the picture, which in practice happened in the beginning of 1945.

 

     Probably shortly after the above-mentioned notice, a Copenhagen newspaper published this notice:

 

     The first large, Danish cartoon, built over H. C. Andersen's "Fyrtøjet", is now approaching completion. The last Process is the Recounting of Voices, and in these Days Poul Reichhardt has been engaged in reciting the Soldier's Remarks.

 

    Even before Svend Methling had started as organizer of "Fyrtøjet" in the beginning of 1945, and they also had to start synchronizing the film, the country's newspapers brought a number of more or less identical notes, which could now largely inform the reading audience. , which actors voiced the film's characters. And especially, of course, the newspapers could not help but mention the young girl who was to add singing voice to the film's princess.

 

    According to a unfortunately undated excerpt from Nationaltidende, but probably from late in the year 1944, it went according to the following article:

 

14-year-old singing star in the cartoon "Fyrtøjet"

The Danish Color Cartoon will cost approx. 600,000 Kr.

 

The first Danish All-Night Cartoon "Fyrtøjet", which is built on H.C. Andersen's Fairy Tales, is nearing completion. There have been a total of 150 Illustrators at Work, and they are now drawing the last lines.

     It will be a color film, produced by the newly founded Company "Danish Color and Cartoon", behind which some young enterprising wholesalers and manufacturers hide. The film's costs are thought to amount to around DKK 600,000.

     The "Fyrtøjet" will be accompanied by both song, music and speech. It has begun to engage actors for the various roles, and it is believed that Poul Reichhardt will play the Soldier, John Price the King, while the Princess will be played by a still quite unknown name within the world of singing, the 14-year-old Kirsten Hermansen, Daughter by Municipal Teacher Einar Hermansen.

     It was very difficult to fill this role, because it was difficult to find an actress who both had a singing voice and could say remarks with the naivety that the role requires. After a long search, Kirsten Hermansen was found, who since 1940 has been a member of the State Radio Girls' Choir, and who, according to what the choir's leader, Mrs. Lis Jacobsen, tells us, is both a singing and dramatic talent that one can surely expect a Part of.

 

 

Unfortunately, the text for this technically not very good newspaper photo reads: "The young singing star Kirsten Hermansen". © 1945 National Journal.

 

     Kirsten Hermansen has already sung the film's melodies on gramophone records. The music is written by Vilfred Kjær and Eric Christiansen (The father of the terrible "I sing a Sing"), and the lyrics are written by Victor Skaarup. The two melodies are called "Like the Bird in a Cage" and "On my journey through the world". The last is a Duet between the Soldier and the Princess.

     Kirsten Hermansen is still in school. She is currently up for high school exams, so the little aspiring singing star has fully occupied her time. Whether she will live up to the high expectations that the Film Company has for her will probably become clear very soon. "Fyrtøjet" will be synchronized during the next month and will probably premiere during March. (signed kipo.)

 

     As mentioned before, however, the premiere did not work out. Nor did it with the fact that John Price was intended for the role of King. Instead, it was Knud Heglund who voiced the fairytale king's voice. On the other hand, it must be said that the expectations that had been set for the young singer Kirsten Hermansen, born in 1930, were fully met, both in connection with "Fyrtøjet" and to a much greater extent later in life. Kirsten Hermansen made her debut as a soprano in 1954 and was then permanently employed by the Royal Theater, where since 1955 she has participated in several operas and also at concerts in Denmark and abroad. Kirsten Hermansen is regarded by the experts as both a singing and dramatically significant artist.

 

     Berlingske Aftenavis could, in a concise and in a typical journalistic way, also report on the young singing star:

 

The Princess in the Fyrtøjet sang Christmas carols as a 1-year-old

"But I also like Swing - and I dance it", says Kirsten Hermansen

 

 

Kirsten Hermansen

 

The photo above accompanied the article in Berlingske Aftenavis. The printing technique, especially of auto-clichés as in this case, was not at a high level at that time. The reason for the oblong format of the image was that it had to be reproduced within a column width. - Photo: © 1945 Berlingske Aftenavis.

 

      An unknown 14-year-old Copenhagen girl will speak and sing The Princess's Party in the first Danish All-Night Cartoon, made over H.C. Andersen's "Fyrtøjet", which is now almost finished. Her name is Kirsten Hermansen, she is the daughter of municipal teacher Einar Hermansen in H.C.Lumbyesgade.

      "Berlingske Aftenavis" has spoken to her today, where she has a monthly leave from Bryggervangen School. She would have preferred to have been out playing in the snow, but when you can get your picture in the newspaper

     She is small and slender in appearance, but with a fresh and cheerful face and gait-on-mood shining out of her eyes. Her jacket is enormously long by fashion, and she is wearing long trousers.

     - But it is now only when it is snowing. Otherwise I am dressed as a girl.

     - How did you get to sing the Princess' Party in "Fyrtøjet"?

     (Are you not said to be a future singing star - when she is currently only 14 years old?)

   - It came as a complete surprise to me. I had not applied for it, but one day the film company called me and asked if I wanted to. And you may think I had. Then I took the singing and speech test, and it went well.

   The song has always interested me, and my Mom says I sang Christmas carols already as a one-year-old. Since 1940, I have sung in the Radio's Girls' Choir, under Mrs. Lis Jacobsen. It is probably through her that the Film Company has come in contact with me.

   - Are your parents musical?

   - Yes, Dad is. He sings a lot in his spare time, but he does not teach Singing.

     - What kind of Music do you like the most?

The classic, I will appreciate it more and more.

She looks down at her long jacket and trousers:

     - But now I also like Swing - and I can dance it !!

     - Have you seen any of the cartoons?

     Only Some Pictures Of The Main Characters. The princess is cute and light-haired.

     - How about the Soldier? Can you fall in love with him - because you have to be!

     - Yes, you know that, he is very handsome. And then it is Poul Reichhardt who will say his lines and sing his songs

     - How's it going at school?

     - I am going to the middle school exam in February.

     - What Number Are You In The Class?

     - Nr. 2.

     - Do you know anything about what you get for appearing in the cartoon?

     - It is not certain, but I probably get a little more than in the Girls’ Choir, where we only get 10 kr. per month. And the money I will be earning now - it is going to the Savings Bank. (Signed awi).

 

     The fact that Kirsten Hermansen was actually engaged to record and sing the princess' role in "Fyrtøjet", even before Svend Methling had joined the picture, was, as previously explained, related to the fact that the management thought it would be a help for the cartoonist and animator of the princess character, Preben Dorst, if some film and sound recordings were made in advance with the actress or singer who was to cast the voice for the princess. The leader of the Radio's Girls' Choir, Lis Jacobsen, was then contacted, who suggested Kirsten Hermansen for the role.

 

     Shortly before the film's premiere, the daily newspaper Information was able to bring an extremely positive and welcoming preview of "Fyrtøjet". The article, which unfortunately has no date, is signed Guy, and reads as follows:

 

How "Fyrtøjet" came to be

In a short time, the first Danish all-night cartoon "Fyrtøjet" will have its premiere in Denmark. Work has been going on since December 1942, and almost 2 million drawings have been drawn. It is not only the first major Danish cartoon, but the first all-night cartoon made on this side of the Atlantic.

 

  - How do you come up with such a big task, we ask the soul of the company, Director Allan Johnsen from "Danish Color and Cartoon", who has produced "The Lighthouse".

      It all started when I wrote a book called "Fra Dyreskind til Celluld", which was illustrated by the artist Finn Rosenberg Ammitsted. Both he and I were interested in film, and we came to discuss whether it would not be possible to make a really good cartoon about one of H.C. Andersen's Adventures here at home. We were aware that a short film could be of no use. With a film like this, you have no chance of getting your money back. No, it had to be one that lasted as long as a regular feature film. We chatted back and forth about the idea, and when Ammitsted wanted to undertake to draw the backgrounds in the film, I got in touch with the two literature students Peter Toubro and Henning Pade. And it ended up that, under Toubro's leadership, we started preparing a script for "Fyrtøjet". It was completed in January 1942.

 

[It must be added here that the date "January 1942" may not be correct, as Allan Johnsen's book "Fra Dyreskind til Celluld" was not published until the end of September 1942. It therefore does not sound very likely that the book should have been so long along the way that Allan Johnsen and Co. has already had a screenplay for the "Fyrtøjet" cartoon finished in January 1942. According to Henning Pade, who read the proofreading of the manuscript, Johnsen wrote his book during the summer of 1942, and it was during the collaboration with the book's illustrator, Finn Rosenberg, that the idea about a feature-length film about "Fyrtøjet" came up. There can therefore be no doubt that Allan Johnsen remembered incorrectly when he was interviewed by Information's journalist, which probably happened sometime in 1945 or in the beginning of 1946. See also under the section "The cartoon "Fyrtøjet": Prehistory"].

 

     But now it was a matter of getting hold of some skilled cartoonists who were in the special technique of cartooning. We were so lucky to get in touch with Bjørn Frank Jensen and Børge Hamberg, who had both previously made cartoons abroad and were only at home due to the war. In addition to them, we engaged a very young cartoonist, Preben Dorst, who we actually taught ourselves. And he gradually became skilled. It is he who has drawn the adorable Princess in the Movie.

 

[Inserted comment: It is not true that both Bjørn Frank and Børge Hamberg had been abroad, more precisely in Germany, and made cartoons. Only Børge Hamberg had been in Berlin and worked for Hans Held. See evt. Biography for Børge Hamberg].

 

 

This drawing, which must probably have been drawn by Bjørn Frank Jensen, accompanied the article in Information. It depicts the King in "Fyrtøjet", which shows the naughty cook boy the kitchen path. - Drawing by Bjørn Frank Jensen: © 1946 Dansk Farve- og Tegnefilm A/S.

 

     And then we started making the first 300 meters. The production of a cartoon is, as most people know, a very demanding job that requires great accuracy on the part of the artist and his helpers. When the film is finished, it must be displayed at 24 frames per second, so it is important that the film is time-controlled during production. I had the job of hovering over the waters and making sure everything went as it should. And when the second had passed and the 24 pictures were to be finished, I simply hit the cartoonist on the head. It was the best way to act as a timer.

     And then the real work began. No less than 200 people were engaged, and premises were rented around the city, where the various departments were furnished. In one place 40 people were exclusively engaged in the drawings themselves, another department had the task of drawing them up on celluloid, and a third department colored them. The actual recording took place in a fourth place.

     The shooting of a cartoon takes place on a so-called "trick-table", which can be moved in every conceivable direction. Each Image is recorded separately. On the solid background are placed small celluloid plates with colored figures, which are changed for each image. This gives rise to the Movement. During the work it is necessary to study the many forms of movement on a living model. We had many whimsical experiences in that connection:

     One day, up in my office on the fourth floor, I was to act as the big dog jumping off the coffin with the money in it. Around me the cartoonists were ready to follow my movements closely in order to reproduce them on paper.

     Then Toubro commanded: Jump !, and I jumped - right down into the arms of the postman, who had just entered the room. The pile of letters which the poor man took in his hand smoked from him out the window and ended up in the yard - -

     In the spring of 1945 we succeeded in getting Svend Methling to undertake to "instruct" the film and organize it for the Danish audience. After going through all the work in the drawing room, he went out on the palladium with the synchronization. Poul Reichhardt spoke and sang The King's Role [this is a clear mistake: Poul Reichhardt voiced the soldier], Kirsten Hermansen was the Princess, Karen Poulsen the Witch, and Knud Heglund the King. A total of 20 cast members gave the film a voice. Among other things, Director Fritz Kramer from Bakken participates in a Market Scene and the Sound Impersonator Dentist Ulf Kaarsberg delivered Animal Roar in all keys.

     The film has cost approx. 4 times as much to produce as an ordinary feature film, says director Johnsen in the end. Hopefully, it will be seen by a lot of people here at home. But it is not enough that it succeeds in Denmark. It must also be exported abroad if it is to pay off. (Signed Guy.).

 

     Although the above-cited description of the workflow and technique in connection with the production of the feature film "Fyrtøjet" cannot be said to be completely correct in all details, which can either be due to Allan Johnsen and the journalist or both, it is by and large truthful and acceptable. The fact that Johnsen was supposed to act as the dog that jumps down from the treasure chest, and which thereby overthrew the postman, probably has a spruce of truth in it, but is probably mostly meant as a funny anecdote in honor of the journalist. As previously mentioned during the mention of the daily work on "Fyrtøjet", the staff occasionally amused themselves by 'performing' and mimicking situations from the film, but it was usually only in honor of the 'house photographer' Arne "Jømme" Jørgensen, who almost always stood ready with his classy Leica camera.

 

"FYRTØJET": The world premiere

It was one of all employees with excitement to look forward to today, when Dansk Farve- og Tegnefilm A/S and Palladium A/S could finally hold the official premiere of the feature film "Fyrtøjet". It happened on May 16, 1946 and took place in the cinema Palladium in Copenhagen. However, the vast majority of the employees had long ago been dismissed as a result of Dansk Farve- og Tegnefilm A/S 'unfortunately not immediately being able to maintain continuous production. But already the day before, Wednesday, May 15, 1946 at. 12, the actual world premiere took place, which was reserved for the film's staff with companions and the press.

 

 

Above is the invitation card that is sent by post a week before the premiere on Wednesday May 15, 1946 at 12, was circulated to all former employees and to the press. The invitation was enclosed with 4 cinema tickets, which you understandably wanted to get back if these for some reason would not be used. - Invitation: © 1946 Dansk Farve- og Tegnefilm A/S and Palladium A/S.

 

 

Here is the large cinema Palladium's entrance in May 1946, probably shortly after "Fyrtøjet" had premiered. As can be seen from the picture, in this case there are quite a few adults and only a few children, two girls, waiting to enter. The photo also shows that the film was played at. 4, 6, 8 and 10 (ie at 16, 18, 20 and 22), and that it is currently sold out for the first three performances of the day. - Photo: Source unknown, but in 2003 the photo was made available to © Dansk Tegnefilms Historie by the now deceased Helge Hau.

 

My personal impression of the premiere of "Fyrtøjet"

After the time with "Fyrtøjet", the days, weeks and months went for me in general as usual, which also applied to the teaching at the Academy of Free and Mercantile Art. Here I had been admitted as a student in the autumn of 1945. At the end of April 1946, however, something happened that meant a small change in the daily routine. One day the head of the school, Jean Jallit, whom we otherwise rarely saw, suddenly came in the door of our classroom and asked for me. It turned out that, for some unknown reason to me, his office had received a letter addressed to me. The envelope was from Dansk Farve- og Tegnefilm A/S and Palladium A/S, and it was with almost restrained breathing that I opened it and could see that it contained 4 free tickets to "Fyrtøjet"'s preview in the Palladium cinema on May 15, 1946 at 12.

     But it was a bit of a dilemma for me that I only got four free tickets at my disposal, for whom besides myself should I invite to the premiere? However, it was immediately clear that mother should of course join, and it was equally clear that father unfortunately could not come because he could not afford to take time off from his work. Of course, I could have invited my two brothers, aged 9 and 12, respectively, but that did not come up, because I had actually promised my dear old grandparents a long time ago that they would attend the premiere of the cartoon as their second eldest grandson had worked on for a full two years and told them so much about. There was also the special reason that my grandfather had once said to me when we talked about the "Fyrtøjet" movie: "Yes, Ry, you probably know that I never put my feet in a cinema, but when" The Fyrtøjet" will be finished and will be shown in the cinema, I would like to go in and see it! "

    To understand the significance of grandfather's statement on the occasion mentioned, one must know that he was certainly not a fan of either literature, theater or film, which he all regarded as the cultural means of the upper class to indoctrinate and "seduce" the working class to believe and accept that the power and thus the right lay in the hands of the possessors. It was therefore with particular joy and great pride that I learned that he stood by his words, when I paid my grandparents a visit a few days later, to invite them to the premiere of "Fyrtøjet".

 

The premiere of "Fyrtøjet"

  It was with a somewhat strange feeling that I, together with my mother and grandparents on May 15 shortly before noon. 12 showed up in the large foyer of the Palladium cinema, where a number of people had already arrived, who had also been invited to the premiere of "Fyrtøjet". The cinema hall itself was huge and had 1200 seats, and these premiere guests obviously could not fill, so as far as I remember, tickets were also sold to the general public. However, not many of the latter were present at this relatively early time of the day, which was a Wednesday. But it was undeniably a special experience to see the cinema facade covered by a large sign announcing that the cinema was now playing the first Danish feature cartoon film "Fyrtøjet", just as it made an impression to see the many scene pictures in the cupboards in the foyer. It reminded me of the time at Christmas 1938, when I was 9 years old watching "Snow White and the Seven Dwarfs" in Kino in Nakskov. But otherwise without comparison, of course.

 

     But strangely, I did not see a single one of my former colleagues come and greet me and my family, who were also difficult to spot as the foyer filled with premiere guests and the general public. Even more bizarre, it seemed to me that I and my colleagues and our relatives were placed in vastly different places around the great hall among the general cinema audience. The hall was not fully occupied either, but there were enough people to make the premiere fairly festive, and in addition there was the advantage that there were also ordinary spectators present, that you could watch their reactions to the film. But it undeniably amazed me that we former employees were not invited to any after-show treats, as is customary.

     But I was obviously excited to see the result of more than two years of work and effort, and especially to see the last half of the film, which I had not yet had the opportunity to see. Besides, I had only seen the first half without sound, so therefore I was also excited about what one had gotten out of the sound side.

 

     The performance began with the light being dimmed in the huge cinema hall, and including the first tones and melodies from the film, played by Mogens Kilde on the cinema organ, which slowly came spinning from the stage floor. It was the first time I had had the opportunity to hear the music for the film, as its soundtrack had largely only been recorded and recorded after I had left Dansk Farve- og Tegnefilm A/S. An exception, however, was the princess' song "I feel like the bird in the cage". I and several other of the studio's staff had heard it at the time, a member of the Radio's Girls' Choir, later an opera singer at the Royal Danish Opera Theater, Kirsten Hermansen, rehearsed in the autumn of 1943, as previously mentioned.

     But right from the beginning and even before the carpet was gone, I could see with a nervous but at the same time pleasant shudder that the music made an impression, both on me and the rest of the audience, by its very professional character and its cheerful as well as lyrical and dramatic insert. But it was clear that the two composers, Eric Christiansen and Vilfred Kjær, must have had the music for Disney's "Snow White" in mind when they wrote the music.

 

     When finally Mogens Kilde finished the overture and the cinema organ was again lowered into its "grave", and the light was dimmed in the great hall and the curtain slid aside, while the first images and tones from the film itself sounded up from the big, white canvas, well, then I did not really know where to make of myself. After all, this was the day and hour when reviewers and the audience had to pronounce their "judgment" over my colleagues and my great joint work. But to my delight, I was fortunately able to state that the sound side of the film was fairly acceptable, despite its shortcomings, including that it especially struggled with the synchronicity between image and sound, especially as far as dialogue was concerned, which was neither the music nor the dialogue, but due on the other hand, primarily that the sound had only been recorded and recorded after the image page was made. But neither the reviewers nor the general public knew, and the so-called synchronicity between image and sound could not, of course, serve as an excuse for the film's technically not quite perfect quality. In terms of style as well as animation, "Fyrtøjet" was and is unequal, but the reasons or the reasons for this, as it were, neither the audience nor the reviewers know. Of course, they must and should only take the result at face value and should not necessarily take into account in their assessment the conditions and conditions under which a film has been produced.

 

     As directly implied in the making of a film, however, one is partially handicapped in one's experience and assessment of it, and that was of course also the case for me. I was just sitting and waiting for when the first scene I had worked on appeared, and it undeniably went beyond my immediate experience of the film, which I pretty much knew inside and out in almost every detail. But first and foremost, I nodded recognizably to every single background, figure, and animation that I had become familiar and familiar with through the two years I myself had worked on "The Lighthouse." In fact, there was not that scene in the film that I did not know in advance, for everything had imprinted itself indelibly in my mind.

     It must be added here and as previously told that my colleagues and I in the summer of 1944, ie almost two years earlier, had had the opportunity to see about half of "Fyrtøjet" at a special performance in the Grand Theater in Mikkel Bryggersgade. But on that occasion, the film had been shown as a silent film, as the soundtrack had not yet been made at that time.

 

     It was therefore for several reasons a familiar scene to me, apart from the sound, as the singing guard appeared around the street corner and walked towards the foreground, where he stopped and hauled his pocket lark out from the inside pocket and took a sip from the bottle. It was celluloids with the guard from this particular scene, I as the first job at all in my time at Dansk Farve- og Tegnefilm A / S was set to practice painting. The guard was animated by Bjørn Frank Jensen, and despite certain weaknesses belonged to some of the better form of animation in "Fyrtøjet". But I thought then and also later that the guard went a bit too "mechanical" and that he was animated too soft in the movements at all. Moreover, the figure did not appear present, even in the close-up, where he drinks from the pocket lark, and when he sang, it was not actually experienced as if it were the voice of the drawn figure, which was partly due to the guard's mouth movements being asynchronous with that voice. who was to imagine his.

     Then came some scenes that were animated by Kjeld Simonsen (Simon), who was a skilled artist and actually also a good animator, but his animation had the great weakness that the characters' movements were generally too slow and too soft. In one scene, some rats hide in hiding through a hole in the house wall, and in another scene, a black cat is seen lying asleep on the ridge of a house. In both cases, it is the guard and his song that make its impact, and the cat wakes up, yawns and jumps down from the roof and disappears. But I curled my toes in my shoes, because both the rats' and the cat's movements took place almost in slow motion.

     But I held my breath, because now there was a scene that I had intermediate drawing, but not as the first intermediate drawing I had made on "Fyrtøjet", because this and the following scene were only made a month after I had started at Danish Color and Cartoon. The former scene depicted an interior of a church tower, and here one sees an owl sitting and sleeping on top of one of the beams of the tower. The owl wakes up, looks out at the spectators, blinks its eyes, takes off and flies out of one of the open windows in the background of the tower. The stage was animated by my teacher Børge Hamberg and, as mentioned, drawn by me.

     The following scene is a total vue over the city with the Round Tower jutting out into the background. The owl comes in from the foreground and flies towards the tower. For this scene, Børge Hamberg had only made quite a few key poses, and he left it to me to animate and draw the rest of the scene. It was my debut as a so-called assistant animator, and in this capacity I also worked in the immediately following scene, which is a semi-total of the top of the Round Tower with the observatory. In the dim glow from here, an astronomical binoculars can be seen, eagerly searching the starry sky above. The owl is seen here landing on the lattice railing around the observatory. For this scene, Hamberg had actually only made two sketches: one where the owl comes in at the top of the picture, and one where it sits on the railing. It had been my task to animate the owl between these two positions, and it succeeded to the satisfaction of my kind teacher.

 

     After several scenes with the astrologer, the king, the queen, the princess and three lackeys that I had had nothing directly to do with, finally came a scene that I was especially proud to have the middle sign. It is a scene with a rooster standing on the edge of a wooden tub and galloping as a sign that it's morning now. The rooster is animated by my teacher, Børge Hamberg, and in my opinion represents some of the very best animation in "Fyrtøjet". The animation is simply masterful and can be compared to the best animation in Disney's older short as well as long cartoons.

     The soldier is then introduced to a scene that I had nothing to do with, but which I had partly seen become and partly had seen during the performance in Grand. However, this was not the first scene with the soldier that was animated during the production process, as Børge Hamberg had already animated a few other scenes with the film's actual protagonist. But as I have discussed this scene in more detail during the discussion of "Fyrtøjet"'s production process, I will not repeat it here. But from this scene is cut to a scene where the pervasive figure, the crow, is seen sitting on a branch protruding through the image. The crow looks down curiously as the soldier (not seen in the picture) passes by under the tree. It is so intensely preoccupied with looking for the soldier that it turns vertically around the branch and ends up hanging upside down. Then it uses the wings as a kind of hands, grabbing the branch and straightening up in a sitting position again. I had been an animation assistant and in-betweening artist on this stage, but that the result was as successful as it is, was of course only Børge Hamberg's merit.

    Then followed a scene where the soldier marches whistling away along the country road, but this and a few subsequent scenes with the marching soldier, I have also mentioned earlier and should therefore not repeat this either.

     But after the above-mentioned previous scene, one again sees the crow in the same situation as before, but now it takes off from the branch and flies out to the left of the picture. I was also an assistant animator and in-betweener on this scene, and one must unfortunately say that there are too many intervening drawings when the crow flies, because the movement takes place almost in slow motion, which was not intended. Therefore, I curled my toes in my shoes again when I saw the scene here for the very first time, because unfortunately no line test had been done of the animation, and therefore this was not corrected. In the following scenes with the flying crow, the animation is top notch. It was also made by Børge Hamberg with me as 'only' in-between artist.

 

     After various scenes with the marching soldier, the crow is seen again, this time flying to the witch's tree and sitting near the large hole seen at the top of the trunk. Børge Hamberg had only suggested the animation of the crow in this scene, but let me finish drawing and intermediate drawing it, and the result was fairly satisfactory. So that scene I tolerated well to revisit.

     Now followed some scenes with the witch, of which I had intermediate drawn several and animated a few. And it is in this sequence that for the first time in the film one hears the soldier's voice during his initial but concise conversation with the witch, and it was at least with great joy that I recognized the voice as belonging to the popular and talented actor Poul Reichhardt. His voice had exactly the manly, witty and subtle character that suits the main character of "Fyrtøjet".

     But I had single-handedly animated a close up of the witch's hand with the knot stick, which she uses as a stick, and also a scene in which she ties the soldier a knit around her waist, and finally a scene in which she twists an "N-o-o-o-o!" to the soldier's call to her to tell him what she is going to use the lighter for.

    In the same sequence there were a couple of scenes with the crow, which I had also drawn and animated with my own hands, namely the one in which the crow sits up in the tree and watches the soldier, as he is in the process of climbing up the tree, and a scene where he lower himself down in the hollow tree using the witch's rope. However, the animation of the crow in the former scene showed that I had a fair amount of time to draw and animate the crow, even though the animation in these two cases was relatively simple.

 

     After various scenes with the soldier down in the hollow tree, then come the scenes where the soldier gradually meets the three dogs, and on these scenes I acted as assistant animator and interlocutor for Børge Hamberg, but only as regards the smallest and the largest of the three dogs. The middle dog is seen only as a motionless drawing. Particularly dramatic is the sequence and the scenes with the big dog, of which I was in all modesty an in-betweener. The dog's character and the animation of this, as well as of the soldier in these scenes, were and are Børge Hamberg's merit alone.

     Deposits are found i.a. a few scenes with the crow: one where the frightened one flies up from the hole and disappears behind a branch, and one where the crow enters the picture from above and flies out of the picture and away. The witch is also seen in this scene and she is looking for the crow.

 

     But finally there came a scene that I had designed, animated and in-betweened drawn on my own, namely a close up of the leather bag in which the lighter is located. The soldier's hand is seen coming into the picture and taking the bag and lifting it out of the picture. I was glad to see this scene again, because here I was satisfied for once, both with the design and with the animation, which can hardly be done much better than is objectively the case.

    One scene that I was especially looking forward to revisiting was the one in which the three lackeys help the king put on the royal garb, because he has to "go down and rule", because it had taken me a whole month to draw. The scene, which was animated by my teacher Børge Hamberg, I had already had the opportunity to see when the first half of "Fyrtøjet" was shown in the Grand Theater in May 1944. The scene was largely successful, even though the characters did not quite resemble the same figures in Bjørn Frank Jensen's line. In addition, the stage was marred by the so-called "sewing threads", which in fact should not have been involved and which were not necessary either, as the figures' movements did not take place at a pace that required speed bumps.

 

     But I was especially excited to see the youngest of the three dogs in the scenes with this one later in the movie I had drawn and animated. The reunion reassured me because I still thought the animation was reasonably successful, even though I thought and believe that the character as a character could probably have been better drawn on my part. But after all, I was only 15 years old when the work was on and of course far from fully qualified as an artist and animator.

     The scenes with the crow towards the end of the film, which I had drawn and animated, i.a. the scene in which it sits on top of the gallows and watches what is going on on the scaffold, and the scene in which it has hung itself, I saw again with some pride and joy. The same was true of the scene where in close up you see the soldier's hands estimate the lighter. Along with the scenes with the smallest dog stopping in front of a door and pointing to the cross the court lady has struck on it to be able to recognize and rediscover the place, and the scene where the same dog stops on the way to the gallows hill and scratches behind the ear, the mentioned scenes are probably among the best I have personally contributed in "Fyrtøjet".

 

     The scenes that my both older and more experienced and older colleagues had drawn and animated, I have already described in detail in previous sections, where I have also allowed myself to give an assessment of the animation, and it should therefore not be repeated here. Except that the animation that made the biggest impression and impressed me the most were some of Børge Hamberg's scenes with the soldier. Especially the scenes that take place down in the witch's hollow tree inside with the big dog, I still thought belonged to some of the best non-rotoscoped animation of a serious character that has ever been made during the history of the cartoon.

 

     But just as interesting and decisive, of course, were the audience's reactions to "Fyrtøjet". The impression was that these were rather restrained, a quiet laugh was occasionally heard here and there in the hall, but as far as I could judge, the audience did not feel captivated or gripped by the action of the film. Nor when the soldier was apprehended, imprisoned, sentenced to death by hanging and led out to the gallows outside the city. Maybe the slightly cool reaction was partly due to the fact that most of the audience probably knew the end of the adventure in advance, and it was probably just sitting and waiting. But the reason for the audience's indifference was, in my opinion, to a large extent the lack of vitality in the soldier and the other characters in the film, not least in the princess, and it presumably caused the audience not to be able to identify with first and foremost the film's two romantic main characters, the soldier and the princess.

     The best thing that can be said about the film in my opinion, as far as the action is concerned, is that it pretty much hits the witty and fresh-faced tone in which Andersen has told his story. But the critics as well as the general public had probably expected say something else and more. With its large, epic cartoons, of which the Copenhagen cinema audience at the time had only had the opportunity to see "Snow White" and "Bambi", had accustomed the audience to having fun, shedding a tear or two and finally cheering. , that despite various battles between the evil and the good, everything ended well and happily in the end. In addition, Disney's cartoons had accustomed people to the fact that cartoons, both technically and in terms of animation, should be top class, and none of the parts could be said to be the case for "Fyrtøjet". I have previously given a description of why this was not the case, nor could it be, and should therefore not repeat the explanation here.

     The short of the long, however, is that most reviewers in 1946 agreed that "Fyrtøjet" was not a successful cartoon, which was largely daring to emerge from the reviews below. But despite the less good reviews of the film, it became a very nice audience success, which was probably so significant and important.

 

     For my own part, I was so disappointed by the reviewers' verdict on "Fyrtøjet" - and so were most of my former colleagues - that I would not hear a word more about it. I decided that it would be best to forget the film and not give it more thought, but instead concentrate on the present, which for me would say about the drawing lessons I was currently attending as a student. At that time, I thought that my future as a draftsman should preferably be within the field of illustration drawing, or at least I would rather draw "serious" drawings. Our class teacher, Jens Andreasen, had succeeded in arousing my and several other students' interest in some of the great cartoonists and graphic artists of the time. Among these were especially Danish names such as Aksel Jørgensen, Sikker Hansen, Arne Ungermann, Ib Andersen, Marlie Brande and Jane Muus, and of foreign names it was i.a. Käte Kollwich, Vincent van Gogh, Toulouse-Lautrec and many more. However, there were two graphic artists and painters that Jens Andreasen put at the top of all, and that was the English mystic William Blake and the Danish religious painter Niels Larsen Stevns, and in this I at least completely agreed, especially with regard to the latter.

 

      It should be added here that when I saw "Fyrtøjet" again many years later, partly by reruns and partly on video, my perception of it changed in a more positive direction. The intervening time had cast a beneficent veil over the first impression and reviews of the film, so that I was now able to see and evaluate it with fresh eyes. First of all, I could see that the film was better than its reputation, which several other of my colleagues from that time agreed with. Even Børge Ring, who admittedly had not been an employee of "Fyrtøjet", but who was originally an angry critic of the film, later rated it both positive and indulgent when he commented on it in an interview in 1982:

 

     After the war, "Fyrtøjet" came out, and it was terribly prepared by the press. It was right in the period when Disney had grown to a climax and "Fyrtøjet" was mocked.

     But - the movie actually drew a lot of people and made a lot of money. At the time, Walt Disney's cartoon "Snow White" was the film that had grossed the most money of all films at all. But the clothing wholesaler's "Fyrtøjet" surpassed "Snow White" in this respect.

     "Fyrtøjet” has since been shown on TV a couple of times. It is a film that does not shy away from the years because animation all over the world has taken a qualitative plunge after television has come. So even a movie like "Fyrtøjet" is something of a - what should you call it? - You give a little of a sigh of relief when you see it. You are led through the story, even though its animation is what Mike Barrier sarcastically calls "fully in-betweened". (Note 3)

 

Press reviews of "Fyrtøjet"

Before we move on to look at how "Fyrtøjet" was received and reported by the press, one must probably add a remark that the reviewers at the time generally did not have special prerequisites for assessing special cartoons. The film and theater critics at that time were most often writers, who basically thought the film medium was inferior. In addition, at least several of the reviewers, especially in the Copenhagen press, generally made it clear that they did not care much about the cartoon medium in particular, which they regarded as inferior entertainment for children. This can be done i.a. also see of the time reviews of Disney's short as well as long cartoons.

     The same can be seen of the SOCIAL DEMOCRATEN, whose reviewer, GW, certainly did not care much about Dansk Farve- og Tegnefilm A/S ' version of the fairy tale "Fyrtøjet", which on May 17, 1946, the day after the premiere, was reviewed under the following heading and cuff:

 

"Fyrtøjet"

First Danish Full Evening Cartoon

 

Neither H. C. Andersen nor Disney in the film strikes - but all beginnings are difficult

 

    The reviewer begins his article by stating that the enormous work put into the task may record the film some money in Denmark, but that does not change the fact that the film seen from his eyes is artistically insignificant:

 

     […] In the occasional Scene here and there, the [movie] has sought to emulate Disney with a bit of a good result. But by and large, "Fyrtøjet"'s film feels like a strained "funny", but in reality deep down whimsical - yes, purely schematically dry and boring - Rewriting of the famous H. C. Andersen fairy tale. Not as a work of art by a retelling that Walt Disney got out of his Grimm Adventure ["Snow White"].

    H. C. Andersen probably also has some of the ineffectiveness on his cloak. "Fyrtøjet" is an old folk tale. It is not due to any particular fertilization of the poet's imagination, and it is without the moral meaning that makes the best of his self-invented fairy tales so humanly emotional or so humanly wise. There is no heart in his soldier who comes out to the witch and the three troll dogs, only sawdust. The soldier does not win the princess and half the kingdom because of any virtue or trait, rather the opposite, since he abuses the witch, chops off her head and ungratefully steals her miraculous fireworks. He is, more by seducing the Princess than by bringing her any sacrifice. His Love, like hers, flows nowhere convincingly. He just sells his gold pieces in bad company and is on the whole a rather boring gentleman.

    The cartoon only emphasizes the boredom of making the Soldier completely without Character, quite fresh of Exterior. A conscious pursuit of naivety, especially intended for children, has probably played a trick on the Danish cartoonists here. In any case, the soldier (narrated by Poul Reichhardt) is the only figure of mere streaks among the others of the fairy tale. The Princess (narrated by a Miss Hermansen in the Radio Choir) does not become more than the American Betty Boop again, and during her Imprisonment of the completely traditionally perceived, very little funny Fairy-King, she sings a Princess-Song entirely a la Disney's Snow White: "I feel like the Bird in the Cage". As a variation of the dwarf motif, there is also a healthy soldier's march, in addition to a statutory witch and the three dogs with eyes, which strangely are not characterized by a noticeable difference in size and seem more elongated than just round ones like teacups, mill wheels, etc.

 

     One can think what one wants about the reviewer's personal perception of the fairy tale "Fyrtøjet", but he seems to overlook that the real role model and source of inspiration for Andersen's portrayal is Oehlenschläger's play Aladdin. This is precisely about the immediate, intuitive genius, the child of nature, who smiles happily, but who in overconfidence abuses the rich gifts and therefore ends up in prison. But thanks to his self-determination, Aladdin recovers the magic lamp, which he then uses wisely, to win the princess and half the kingdom.

     The action in "Fyrtøjet" is parallel to the action in the play "Aladdin". In the fairy tale, Aladdin has become the soldier, Noureddin the witch and the magic lamp the torch, while the spirit of the lamp and the ministering spirits appear in the form of the three dogs.

     When Andersen wrote his fairy tale, he mostly had the children in mind to whom he orally told this and other of his decidedly children's fairy tales. It should be told quickly and quickly, in step with the soldier's march along the country road: “One, two! One two!". Therefore, narratively, there was neither time nor opportunity to come up with moral index fingers or psychological explanations that the children would not be able to understand anyway. And by the way, it was not Andersen's errand or intention to preach good civic morality, which he in other contexts most often ironized about.

 

 

Above is the scene from "Fyrtøjet", which accompanied the SOCIAL DEMOCRAT's review of the film. It happens to be the scene where the smallest of the three dogs has stopped in front of the door that the court lady has crossed. The scene is designed and animated by Harry Rasmussen and with a background by Finn Rosenberg. - Newspaper photo from the film: © 1946 Palladium A/S.

 

     But presumably to document the reviewer's statement that the dogs' eyes were not round in the film "Fyrtøjet", the article is illustrated with a scene from the film. This is where the smallest of the three dogs has stopped and laughingly points to the cross that the cunning court lady has knocked on the door to the inn, where the soldier is staying. The dog here has really big, elongated eyes, but the designer of the three dogs, Børge Hamberg, has for several reasons allowed himself to make the dogs' eyes elongated, in fact a bit like the Round Tower. But it must have run around for the reviewer because the term "round eyes" does not appear at all in Andersen's fairy tale "Fyrtøjet". In it, the three dogs' eyes are described as "big as teacups", "big as Mill Wheels" and "big as Rundetårn", respectively.

     In immediate continuation of his dissatisfaction with the appearance of the dogs, the reviewer of the SOCIAL DEMOCRATEN continues and concludes his article with both praise and rice:

 

     The most successful in the film can be considered a number of small incidents outside H.C. Andersen. A ride with the soldier along Strandvejen to Dyrehavsbakken, an episode with playful children, a little fun, drunk dog and a little Cupid with his quiver. The ingenuity is otherwise not overwhelming.

     But look at this first pre-planned Danish attempt at Disney imitation. It could have turned out better, but also worse. As in all, Danish Film Art imitates foreign with greater or lesser Luck. Most with less, unfortunately, because our film production in no area has yet given birth to just a single hint of a poet.

 

    The reviews of the film "Fyrtøjet" in other Copenhagen newspapers were largely in line with the SOCIAL DEMOCRATEN, although some reviewers were more positive in their view of the film than reviewer G.W. That is the case with reviewer W.T. in an unidentified and probably Copenhagen newspaper, but possibly it is Land og Folk, whose review deserves to be reproduced in its entirety, especially as it is relatively brief:

 

The first major Danish cartoon

     First of all, one must give the film's authors the warmest recognition. To want to produce something as rare as a "full-length" cartoon is a unique boldness, that carrying out the plan is admirable.

     Svend Methling, who has worked as an Instructor, emphasizes, "Fyrtøjet" is an experiment and must be judged accordingly. It must also be said at once that any fully developed work of art on a par with Walt Disney's American cartoon is not Danish film. There are tangible shortcomings in the technical, the characters generally do not have the natural movement that we know from Disney or "Skipper Horror", and the synchronization of image and speech is far from perfect. Moreover, the main character, the Soldier, is completely unsuccessful; there is nothing left of H.C. Andersen's "real Soldier" in this girly Mannequin.

     But luckily there is more to the film than that. As a background for the whole plot, there is a graceful and cozy fantasy Copenhagen, a mixture of Holberg's and Frederik the Sixth's town with moonlight and owls, ramparts and spiers, with merry cellar restaurants, full guards and a real fairytale court at the castle. Some of the street scenes are excellent, the little glimpse of the singing children at the foot of the church wall is downright poetic. The firm humor is not lacking either, especially the famous Dogs are extraordinarily funny and no more eerie than that they will surely win the hearts of many children. On the whole, the film will undoubtedly arouse cheers as a colorful retelling of the famous fairy tale.

     A positive effort has been made in Danish Film with "Fyrtøjet", and we will with interest await future Danish Cartoons that can benefit from the Experiences made here - it does not have to be Film in an hour and a half.

 

 

The above newspaper review was accompanied by this picture, which depicts the king of the film sitting at the breakfast table. - Newspaper photo from the film: © 1946 Palladium A/S

 

    Nationaltidende's reviewer, N. Sch., was also largely positive in his review of "Fyrtøjet", but still had a lot to object to the film:

 

H. C. Andersen on Color Film

Despite beginner difficulties, "Fyrtøjet" has succeeded nicely

 

For many years there has been work on this great Danish cartoon, so many years that one was beginning to believe that it all did not turn into anything anyway. But now the result is available in drawing, tone and color, and the "lighter" deserves happiness on the road. It is not perfect, but there's a lot of fun in it, and it's done with Culture and - somewhat less - Artistic Talent.

 

     The reviewer then comes to the conclusion that the model for the cartoon "Fyrtøjet" is unmistakably Disney's elaborate and technically advanced cartoons, in which they are usually rarely something to expose on the character characteristics and animation. The reviewer then continues:

 

    The Danish cartoonists have praiseworthily chosen not to imitate Disney slavishly, but they still lack the technique to create their own distinctive character. There is a great difference in the appearance of the persons in the different sections, and the color technique often fails. And then there are the movements. Fearing not to get enough life over the pictures, there has soon been too much fuss. The smoothly flowing stream has not yet been captured by Danish Cartoon. But it can come.

 

    The reviewer then agrees that the fairy tale "Fyrtøjet" is tight and concisely told by Andersen, and therefore it does not contain enough material to be able to fill a long cartoon. However, the film's creators have sought to remedy this by adding new elements and moments:

 

     But it must be said unreservedly that it is done with tact and expertise, and the solid wallpapers show a very nice little look into old Copenhagen - admittedly architecturally encumbered with certain anachronisms.

     But the H. C. Andersen figures who populate the old capital do not have too much of H. C. Andersen with them. Could one not have gotten a little better records for the soldier and the princess. Vilh. Pedersen does not have to be a yardstick for H. C. Andersen illustrations forever, but purely artistically the main character and some of the others could have been of a slightly better quality. There is more imagination about the witch and about the royal family, while the three dogs, who - it must be admitted - react so funny, are again not really funny to look at. Then there is far more laughter over the side characters, especially over a bellows tread that must have been inspired by Dubout's drastic illustrations for Balzac's "Contes drolatiques", and over a doggie that fills itself with a wine anchor.

 

     It must be added here that it is probably not Dubout's illustrations that have inspired the artist and animator Kjeld Simonsen to draw the bellows. This is, as mentioned earlier in this dissertation, a caricature depicting Danish cartoonist's first and foremost, Jørgen Müller, while the organist is a caricature of another of Danish cartoonist's pioneers, the cartoonist and animator Henning Dahl Mikkelsen.

 

   Nationaltidende's reviewer concludes his review as follows:

 

     On the whole, there is probably a lot of domestic and foreign success to be found in the film's gags. They are discreet, not exactly strong in number, but still numerous enough to make you feel comfortable. This tone of humor, which is certainly not very Hans Christian Andersen, in connection with the power that the "lighter" exercises over all minds, and a number of witty, catchy melodies by Vilfred Kjær and Eric Christiansen, should probably together provide this worthy attempt. within Cartoon Progress.

    The five main animators Børge Hamberg, Bjørn Frank Jensen, Preben Dorst, Frede Henning Dixner and Kjeld Simonsen have worn it out, and Svend Methling has finally got something quite rounded out of what probably started a little unplanned. The audience seemed to amuse themselves, and the "lighter" may well, in addition to the soldier, provide cover for the sacrificial producers, so that they dare a new attempt, for there should be conditions for it - also artistic. (Note 4)

 

One of the most positive reviews, "Fyrtøjet" received at its premiere, was by AFTENBLADET, whose journalist Janus wrote the following:

 

We can -

"Screenplay" after the premiere of the first Danish all-night cartoon

However, H.C. Andersen was an excellent cartoonist! Dogs with eyes like teacups, mill wheels and round towers, the witch, the soldier and the princess! Is there any doubt that "The Lighthouse" has been waiting for the invention of the cartoon? Hats off to the pioneers who have escaped the experiment with so few scratches. A "Screenplay" prepared after the Premiere has come to look like this:

     Most Original Figure: The Witch, who is a real genuine Lady of the Type.

     Sweetest Idea: The Ladybugs, which fly up and merge like two stanzas after the Princess' Song.

     Weakest Figures: The King and Queen. A fairytale king must not have a black butcher's beard.

     Most successful: The colors.

     Missing: Slight Stiffness in the Figures. The soldier's mouth is thus too immobile a couple of times, i.a. in the beer cellar.

     Arrogant Audience Comment: Yes, it is only for Kids. (Well, then H.C. Andersen is also only for minors. Ed.)

     The Premier's biggest Disappointment: The audience's scattered Clap. - However, it is an innovation for Danish film that is in question.

     Wrong criticism: No, that film is not so good when you have seen the Americans. (Disney, however, is the closest Teacher.)

     Medal: For the Mood and Culture that has created the Film.

     Gain: 3 years of experience that can be used as a basis for the next All-Night-Draw-Tone and Color film. Janus.

 

     Finally, Politiken's review of "Fyrtøjet", which is probably the most negative of the reviews of the film at the time, must be reproduced in its entirety here. This is so that the reader himself has the opportunity to form an impression of how some high-minded and well-informed reviewers in the name of freedom of expression allowed themselves to totally downplay other people's work:

 

The Danish Cartoon

which cost a Million

The all-night cartoon "Fyrtøjet" premiered yesterday in Palladium

 

Should one feel admiration for the daring that the producers of this first non-Hollywood all-night cartoon have shown by performing such a gigantic effort? Or should one regard it as a Rash of a Kind of Madness and cross oneself afterwards? It has taken three full years of enduring work to produce it, and the first million must have been rolled out before it reached its premiere in Palladium yesterday. Is it Boldness or Madness?

     From the costliness of the film it is quite clear that it was not produced solely for the domestic market; it is Exports that must bring the many pennies laid out again. So you want to compete with the great world of cartoon production, which means first and foremost with Disney. It is certainly not small things that you want to deliver.

     Without having any short film production of appreciable quality behind us, we throw ourselves into the most demanding work that Disney was years to get the courage to do. With modest technical aids and mediocre experience, it is believed that it can deliver a product that can attract attention alongside the wonders that emanate from the experienced group with the unlimited technical aids. Is it too much to call it Madness?

     It is mediocrity and what lies beneath that characterizes the film. Not only technically, but also in terms of drawing. The figures preferably move in the same piece-like manner as the pieces of glass in a kaleidoscope being rotated. It is and will be flat cardboard figures that one tries to breathe local life with movement in the feet and stiffness in the faces or vice versa. The facial expressions are stereotypical, and the characters are in a fateful way devoid of charm. In the supporting roles you occasionally find approaches to mood and characteristics, but the hero of the story is directly intolerable, and the dogs are made with the sad form of ingenuity that is completely devoid of imagination. Delightful Pluto in Blessed Remembrance.

 

     But the most depressing thing is that one does not seem to have realized at all what is required - or what Disney has taught us to demand from Cartoons. It is evidently believed that this was done by tricking the great Master of the Tricks. And you think you cheated on him. One thinks that it has been done with technique alone and with a bit of gags (strange that in the course of three years no one has come up with more), and is not aware that the point lies in a multitude of gags in a pervasive exploitation of the baroque possibilities of drawing technique and first and foremost in an interplay between movement and sound, whereby probably even the helpless movements of the helpless technique could be exploited to create a baroque humor. (Here it mostly lags separately). In short, it has been overlooked that behind the Disney films lies not only money and technique and drawing talent, but also a musical and rhythmic talent of such formidable dimensions that it approaches genius.

     When you have chosen to build the film over H. C. Andersen's "Fyrtøjet", it is probably because you wanted to create something that was not only known all over the world, but was also specifically Danish. That H. C. Andersen's Genius cannot be translated into Film and that it is therefore only the Action that remains is a matter in itself. But characteristic of the whole enterprise is that one looks in vain for the Danish at the Film. All landscapes and cityscapes - even if they reproduce round towers - are so obviously made with an alas, far too distinctive eye to the fantasy - or pancake world we know from the Technicolor films from the other side of the Atlantic.

     In other words, the result was as expected - that is, not so good. But as a patchwork on this finding, it should finally be noted that the film offered glimpses of reconciling moments. A strange invention, like the difference in the wind the three dogs made when they left. A funny physiognomy or a music passage that rose above the instantly forgotten. And then the film is free of platitudes. So not even in this can it be said to be influenced by the specifically Danish form of film humor. (Signed J.R.)

 

     But despite the somewhat mixed reviews of "Fyrtøjet", the film remained on the poster in Palladium for a full 22 weeks, and was described as the cinema's record success. It must be seen as an expression that the general cinema audience in general did not completely agree with the reviewers. In addition, the film was then shown in several of the capital's cinemas and eventually also in most cinemas in the province. (Note 5)

 

     Far more positive in attitude and attitude to cartoons in general and "Fyrtøjet" in particular, one finds an example of this in the author Knud Overs, who delivered articles for several newspapers and magazines. In Aalborg Stiftstidende for April 16, 1946, he writes under the heading The cartoon "Fyrtøjet":

 

     An Artist came marching. And one, two! Under his arm he had a bag full of the most glorious drawings. On his way he met wholesaler Allan Johnsen, who liked the drawings and the illustrator's idea of ​​making a cartoon version of H.C. Andersen's fairy tale "Fyrtøjet".

     Thus begins the fairy tale about the creation of the first Danish all-night cartoon and color film. […]

 

     Then the journalist tells about the work and technique behind a cartoon like "Fyrtøjet", just as he looks back in film history and among other things. mentions Nordisk Film's short feature film “Fyrtøjet” from 1906. Knud Overs was also the man behind a longer article in the magazine BM (?), in which he again goes into more detail on the preconditions and technique behind a feature film such as “Fyrtøjet”:

 

The Fyrtøjet as a Cartoon

H.C. Andersen delivers Synopsis to

the first Danish

All-Night-Color-Cartoon

 

 

The three main cartoonists inspect the stage before going to the Apparatus. From left Børge Hamberg, Preben Dorst and Bjørn Frank Jensen, who by the way have submitted a drawing for this issue of BM (?). - Photo: © 1946 Dansk Farve- og Tegnefilm A/S and Palladium A/S.

 

  - A good Drawing is worth more than 1000 Words, says a Chinese Proverb. Then the value of the first Danish color and cartoon film must be converted into millions. According to the Inventory, 543,200 Line, 433,500 Celluloid and 433,500 Color Drawings have been used.

     When you add 500 kilometers of paper (5 times the road to Korsør), 1 kilometer and 200 meters of pencils and thousands of kilos of dye, you understand why Danish cartoons are not produced in line with feature films. Whether we technically manage to take on the competition with Hollywood, which has spoiled all the world cinema audience, is a different story. Materially, everything is in order, H.C.Andersen as Synopsis man! A Logical Development in the Application of His Adventures, in which he reveals the cartoonist's natural aptitude: to be able to create in pictures. Dramatic as they are in their contradictory Diversity. […]

 

 

Bjørn Frank Jensen's funny Figures that create a party atmosphere in the film. - Drawing: © 1946 Dansk Farve- og Tegnefilm A / S and Palladium A / S.

 

     Here, however, there will be no reason to quote further from Knud Overs' article, which, as stated, must be characterized as highly positive towards the feature film "Fyrtøjet". Knud Overs is to a certain extent right in that H.C.Andersen's fairy tales often contain a text and are so full of 'pictures' that it will be possible to visualize the fairy tales in film and theater, which has been done several times. on through time. However, with different and more or less good result, one must be allowed to add. But for people who think that Andersen's fairy tales should be read, and preferably in the language he himself used, a visualization and especially a film adaptation of the fairy tales will never be able to seem fully satisfactory.

 

Finally, a newspaper note should be quoted here, as on August 9-12 could be read in various Danish provincial magazines:

 

4 Film about H.C. Andersen's Adventures.

The Danish cartoon “Fyrtøjet”, which is now shown at the 13th Week in Palladium, has in the past time been seen by well over 400,000 people.

     The film has become the greatest success that the Theater has ever experienced, despite the fact that it did not receive a very good reception. It can then be taken for granted that the Producers will continue to make Cartoons. It is thus the idea to create 4 films built on the adventures of H.C. Andersen. (Note 6)

 

An objective assessment of the feature film "Fyrtøjet"

Seen and judged both then and now, it is obvious to everyone, but especially to professionals, that the critics 'and others' comparison of "Fyrtøjet" with Disney cartoons must of course in almost all respects fall out in favor of the latter. But, as has been said before, such a comparison was in fact neither fair nor just. The relatively few Danish animators and other cartoonists, who at the time had some experience in making animation and cartoons, were experientially and professionally at a stage corresponding to what Disney and his then relatively few employees were at around 1927- 29, when they made their first cartoon series with Oswald The Lucky Rabbit, Mickey Mouse and Silly Symphonies, respectively. Despite the very positive things that can be said and said about these early American cartoons, they also had their technical and artistic shortcomings, just as the animation was not always top notch, but was still characterized by beginner difficulties.

     But still the comparison lags, because the Danish animators and others who came to work on "Fyrtøjet" did not have the years of experience before, as was the case for Disney and his employees at the time mentioned. Disney started making cartoons as early as 1920, and he and his then few employees developed at that time the beginning of the studio system and the working procedure, which would later prove very effective. But Disney's personal ambitions for how and what kind of cartoons he wanted to create and produce rose during the 1930s and were primarily expressed in the Mickey Mouse series and the Silly Symphony series. The latter in particular deliberately pointed to the creation of the world's first long entertainment cartoon "Snow White and the Seven Dwarfs", 1937.

 

     Significantly, however, early in his career, Disney realized the need and requirement for his employees, old and new, to receive thorough and systematic training in all aspects of cartoon production. It began with Disney from 1931 encouraging its cartoonists and animators to attend evening classes at the Chouinard Art Institute in Los Angeles in their spare time. The following year, the Disney Art School was established, which was housed in the sound studio at Disney and was also an evening school, and teaching began on November 15, 1932.

     The courses mentioned were led by Don Graham and had among its teachers active key animators at Disney, such as Norman Ferguson, Fred Moore, Hamilton Luske and Fred Spencer.

     By 1934-35, Disney had gained so much experience and hold on to his ideas of cartoons and cartoon production that he could record these as written information to Don Graham. It came in the form of an eight-page A4 letter, dated December 23, 1935, in which Disney sets forth the views on cartoons that would then become dominant for Walt Disney Productions right up to the present day.

 

     In comparison, the few Danish key animators who came to be responsible for "Fyrtøjet", as previously mentioned, had virtually no or little experience in making cartoons. This applied to the unskilled Børge Hamberg, who had some years of experience as an in-betweening draftsman, the skilled advertising draftsmen Bjørn Frank Jensen and Kjeld Simonsen, of whom the latter was the most experienced, and the skilled carpenter Otto Jacobsen, who had a few years' experience as an in-betweening draftsman, while the skilled decoration painter Preben Dorst and the skilled architect Mogens Mogensen were beginners and me, Harry Rasmussen, who was then 15 years old, only had a year of apprenticeship as an animator behind him when he started animating independently.

     As for the other staff at "Fyrtøjet", there were only a few in-betweening artists and inking and coloring ladies who had some experience in the subject when they became employees of Dansk Farve- og Tegnefilm A/S. The same applied to the two illustrators, the skilled advertising designer Finn Rosenberg and the skilled upholsterer Frede Henning Dixner, who were both layouts and background painters, but of whom especially the former came to characterize "Fyrtøjet". And for the management, which means first and foremost textile wholesaler and manufacturer Allan Johnsen and master Peter Toubro, the two initially had no experience with cartoon production at all. The same was true of the literary consultant Henning Pade.

 

     The obvious shortcomings and weaknesses of the feature film "Fyrtøjet", which the reviewers relentlessly pointed out, must be given a fair go. The criticisms can be broadly divided into three categories: The dramatic, i.e. the narrative: the acting, the sequence and stage rhythm, and the gags, the technical, including in particular the animation and synchronicity between image and sound, and the artistic, which primarily means the drawing style and quality.

 

     About the dramatic part of "Fyrtøjet" it is said that it lacks rhythm and is without an actual climax with subsequent reverberation, and therefore the action seems evenly boring and unengaging. About the gags, it sounds like they are too few, too strained and pretty much very little fun. The humor is not very prominent in the film either. And as for the animation, the movements are without the resilience and vivacity that makes the characters alive and relevant. Artistically and especially in terms of drawing, the main characters in particular are characterless and without appeal. However, it is admitted that some of the film's supporting characters may work, even if you do not think they have much to do with H.C. Andersen's fairytale universe. It is also admitted that the film's backgrounds have quality and style, namely as a cozy mix of Holberg's and Frederik the Sixth's Copenhagen.

 

     But all the negative that can be said about the feature film "Fyrtøjet", is precisely a consequence of the fact that it was an experiment, which was started more by bold enthusiasm, than by school experience and professional knowledge.

     The objectively fair assessment and evaluation of the feature film "Fyrtøjet" will therefore be to regard it as a bold initiative and attempt to, roughly from the ground up, start a Danish cartoon production. The experiences they had gained during the production process, they wanted and hoped to have the opportunity to build on in new cartoon productions. This also formed the starting point and background for the new experiment in the form of the feature film "Klods Hans", in which Dansk Farve- og Tegnefilm A/S 1948-50 became involved. But even then the company was not successful. See about this in the section "The cartoon" Klods-Hans"".

 

     However, it did not go worse with the feature-length film "Fyrtøjet" than that in the following many years it came to experience more premieres, both in cinemas and on TV, until it was broadcast in the 1990s as a VHS purchase video. But before that, it had once, in the late 1960s, been shown in the Carlton cinema on Vesterbrogade in Copenhagen.

     On December 1, 1980, "Københavneren", the former old Nørrebro Cinema Theater on Nørrebrogade in Copenhagen, resumed the screening of "Fyrtøjet". In Copenhagen's film program, the cinema's director, Preben Østerfelt, wrote, among others the following:

 

December's biggest surprise for our audience is the Danish cartoon from 1946: FYRTØJET. It has not been shown for many, many years, and it was thought that the negatives of this film had been lost, so that it had disappeared from the white screen forever. But in collaboration with the film company ASA, we have managed to find the negative and have a completely new copy produced, so that a new generation can enjoy this excellent cartoon built on H. C. Andersen's fairy tales.

     The film is in color and has Danish speech and song - Poul Reichhardt, for example, adds a voice to the soldier - and without exaggerating, we can probably say that this film will be Christmas' most exciting cartoon offer for children and adults. Do you remember the lovely melodies: "I feel like the bird in the cage" and "On my journey through the world"? Take your children and grandchildren by the hand and also let them experience the best Danish cartoon ever made. We play it every single day right up until Christmas three times every afternoon: at. 14 - 15.30 and 17, and the price is the lowest in the city, unit price DKK 10 for both children and adults. If you are coming for a weekend, it is probably wise to book a ticket in advance. Rejoice, we do…. In the first week of the Christmas month, the film will also be shown for the first evening performance at. 19.

 

     On the occasion of the premiere of "Fyrtøjet", Berlingske Tidende published the following anonymous report on December 1, 1980:

 

Fairy tales and old melodies

     The Copenhagener is the right place for such a premiere. Here in these old cinema surroundings, between the high dark panels and under the beautifully tiled ceiling, you forgive the "Fyrtøjet"'s obvious weaknesses and think that you have effortlessly been brought back to a cozy and slightly simple old Danish sensation from long gone days. And Eric Christiansen's and Vilfred Kjær's melodies as well as Poul Reichhardt's slamming soldier's voice and Kirsten Hermansen's sweet sounding princess have lost nothing of the old glow.

 

     Probably in mid-November 1984, Regner Grasten-Film issued a press release stating that "Fyrtøjet" would have a new premiere in Palads, København and Palads, Århus on November 30, 1984, and that a special performance would be held for the press at 10 the day before.

     The press release was accompanied by a letter with the headline "A few words about the creation of "Fyrtøjet", written by Helge Hau, who had been the in-between cartoonist on the film.

 

     On the occasion of the premiere of "Fyrtøjet", the weekly magazine SE & HØR, issue 49, 1984, contained the following very positive mention, written by Ulrik Jensen, of the film:

 

TEA CUP FOR 20 MILLION

The 40-year-old Danish cartoon "Fyrtøjet" is back in cinemas

 

After almost four decades of hibernation on the film storage shelf, the cartoon version of H. C. Andersen's fairy tale "Fyrtøjet" has been brought to the cinemas' Christmas repertoire. It gives the post-war children, who have now long since moved up as parents and even grandparents, the opportunity to inaugurate their pods in what was once a colossal film experience.

 

     "Fyrtøjet" was a gigantic project of a cartoon. It certainly sucked nourishment from the isolation of the war, which had brutally shut off for i.a. Disney's production - and that at a time when the Danes had gotten to know it and learned to appreciate it.

     Still, it was to dare both one eye and the dogs, which are big as respectively. teacups, mill wheels and Round Tower - it was risky to throw yourself into the task. The project started as a raw sketch in 1943. Before you knew it, 200 people were employed in the project. It has been calculated that in 1984 money would have cost 20 million kroner.

     It is the young filmmaker Regnar Grasten who has dusted off "Fyrtøjet". Production notes say that a total of 1,410,200 individual drawings were made for the film. It took three years to complete the film. The final editors were the director Svend Methling, who aimed for an arch-Danish version of H.C. Andersen's story. Eventually, the film music was recorded - by a 60-man orchestra, it is mentioned. Several of the tunes actually became evergreens, as befits songs from a big movie.

     The story of the soldier who obtains the horrible witch's torch and through it the princess and half the kingdom dared to be well known. In the cartoon, it is fixed up with a gallery of funny characters, courtiers, artisans and citizens of the king's city. It is Poul Reichhardt himself who gives a nice voice to the soldier, while the princess is Kirsten Hermansen.

 

     As can be seen from the above mention of "Fyrtøjet", it does not indicate that the journalist was aware that the film had actually premiered in Copenhagen four years earlier, and not at all that it had already been in the late 1960s. shown at the Carlton Cinema. Furthermore, they ignored the fact that "Fyrtøjet" had in fact been shown in Danish cinemas from 1946 until at least 1949.

 

     On November 23, 1984, film critic at Berlingske Tidende, Ebbe Iversen, was able to inform the magazine's readers of the following:

 

Classic Danish long cartoon

Outside the United States, Denmark in the forties actually belonged to the leading nations in the field of cartoons. And a milestone was the power performance "Fyrtøjet", which premiered in 1946 as the first long Danish cartoon, even in color.

     Next Friday, "Fyrtøjet" will premiere in Palads, and you will then be able to experience the result of over 200 artists' efforts in the three years it took to make the film. As early as 1943, Master Peter Toubro went on to graduate. Mag. Art. Henning Pade was in the process of writing its manuscript, and as the project grew, more and more people became involved in it - in the spring of 1945 also The Royal Theater's director Svend Methling, who was given the task of coordinating the many cartoonists' flighty ideas, and who was to stand as the film's director.

     "Fyrtøjet" is freely based on H. C. Andersen's fairy tales, and it consists of a total of 1,410,200 individual drawings. Its lyrics - to music by Eric Christiansen and Vilfred Kjær - are written by Victor Skaarup, and among the voices are Poul Reichhardt as the soldier, Kirsten Hermansen as the princess, Knud Heglund as the king, Karen Poulsen as the witch and Elith Foss as the astrologer.

 

In Palads, Copenhagen, "Fyrtøjet" at the new premiere was played at. 12 - 1.30 - 3 - 4.30 –6, while in Palads, Århus, where it also premiered, was shown at. 15 and 18.45. However, the film got some competition, partly from the annual "Walt Disney's Christmas Show" and Disney's "Peter Pan" (1955), both of which were also shown in Palads, Copenhagen, and partly from "Tom and Jerry's Christmas Show", which was shown in Cinema 1 -8 in Copenhagen, and finally from the then newest and technically and artistically very successful Danish feature film, Jannik Hastrup's "Samson & Sally" (1984).

 

     Berlingske Tidende, B.T., Politiken and Ekstra-Bladet were not published the day after the premiere of "Fyrtøjet". But on December 4, 1984, Berlingske Tidende's film critic, Ebbe Iversen, was able to follow up the premiere of "Fyrtøjet" with the following positive review:

 

     Finally, there is Svend Methling's Danish cartoon "Fyrtøjet" from 1946 (Palads), a classic and a curiosity. The free film adaptation of H. C. Andersen's adventures - spiced with music, song and fictional comedy - is in all its unevenness characterized by being created by many cartoonists without tight coordination. Some scenes are unhelpful, but others have succeeded impressively well, and especially the three dogs are good, dynamic characters.

     The comedy in "Fyrtøjet" is not exactly exuberant, but the film has a sense of effective drama and beautiful tableaux. And with all its weaknesses, it is fun to see as an example of what tenacious enthusiasts with a modest technical background could accomplish in Denmark's first long cartoon.

 

     Under the heading "What can you see right now?" brought the weekly magazine "Børn & Unge" on December 20, 1984 the following mention of, among others "Fyrtøjet":

 

     The month of December and family Christmas shopping trip are often associated with traditions such as Disney Christmas shows; tense expectations of what all the famous Disney characters now offer of entertainment in a more or less randomly composed show.

     This year's Christmas show, however, no longer has such a prominent place, because there has been a larger and wider range of children's films in cinemas, in addition to other cultural activities such as children's theater.

     Within the cartoon genre itself, the competition is fierce. There are several movies to go to in the cinemas at the moment.

     The latest shot at the tribe is Jannik Hastrup's well-deserved, great success "Samson and Sally", after Bent Haller's book "Kaskelotternes sang". The film, which is both beautiful and exciting, combines the elements of the entire Disney tradition of suspense, horror and humor, nonsense and poetry with a further ecological message about taking care of the earth's resources. The film is scary in some places, but can be seen by 4-5 year old children with an adult.

     At the same time, the first Danish cartoon in color (of feature film length) has re-premiered in both Copenhagen and Aarhus. It is a film that shows something about the roots of Danish cartoons. "Fyrtøjet" from 1946 is directed by Svend Methling with a large staff of cartoonists, some of whom have traveled abroad, because the country here has always had a hard time feeding cartoonists.

     The film as such does not add anything new to old H. C.'s adventures, but is a film adaptation of a good story, and it is by no means to be despised.

     The "Fyrtøjet" is not a streamlined product seen through the eyes of today. The sound side, for example, is somewhat crunchy and indistinct at times, but the images are full of life. They range from the slightly cliché-like portrayal of the main characters, the soldier and the princess - I remembered childhood heroes and heroines in the "Classic" comics - to strong atmospheric images from old Copenhagen by night and day.

     The template-like portrayal of the main characters was more my adult problem than the children's. They lived completely into the story, even though difficult film symbols were used, which they clearly did not understand. For the adult, on the other hand, there were many funny caricatures.

     It is not every day you go to the cinema and see a film that sets out with one of our homeland's melancholy: "In Denmark I was born…", but the film stood the distance with the many years behind it. It is worth seeing.

 

On December 21, 1984, Berlingske Tidende could - however with more inaccuracies - in its coverage of the TV program "Film og folk" among others tell the following:

 

    There will be, among others clips from the first Danish all-night cartoon "Fyrtøjet" from 1945. The film then cost almost a million kroner, and 150 cartoonists were working for several years. When the many drawings were finished, the narratives began under the direction of the director Sven Methling. The main role as the brave soldier is played by Poul Reichhardt, while the princess is played and sung by the then 14-year-old Kirsten Hermansen, who later became a well-known opera singer. "Fyrtøjet", which also became an international success, is now being premiered in Danish cinemas.

 

     The "Fyrtøjet" was on the poster at Palads in Copenhagen until January 31, 1985, i.e. for just over a month.

 

     A more recent, in a way more positive and welcoming assessment of the now forty-year-old "Fyrtøjet", helped to create interest in the film. On January 31, 1985, the same day as the screening of "Fyrtøjet" ended in Palads, Regner Grasten-Film sent out the following letter, interestingly enough signed by the later well-known financier Klaus Riskær Pedersen:

 

For your information.

 

BioTrio will start on Friday 01.02. showing the old Danish cartoon "Fyrtøjet", from 1946.

      At the same time as the event that City 2 holds on 15-16-17-18 / 2, (carnival), Biotrio will give an offer to all children who want to participate in the carnival: The children who are dressed as one of the people in "Fyrtøjet" comes in for a performance for only 12 kr.

      I hope you will help us bring this offer out to the children we have not had an opportunity to contact. "Fyrtøjet" will be played at. 1200, 1330, 1500 and at 1630

 

      On February 6, 1985, the local newspaper "Taastrup Avis", which was then edited by the young cartoon enthusiast Thomas Breinstrup, was able to follow up the display of "Fyrtøjet" in BioTrio with this highly positive mention:

 

New movies

The "Fyrtøjet" a milestone

 

World War II. Europe at war, but since 1942, Dansk Farve og Tegnefilm has been on the move with the brush, and 1,410,000 drawings and three years later a train rolls towards Paris. The content is a good hour and a half of cartoons to be developed in the French capital. The filmmakers are lucky: the next train never arrives.

     On the other hand, "Fyrtøjet", the first Danish (and European) cartoon to premiere in 1946. With it, the foundation for a Danish cartoon tradition has been laid, and work is currently intensively on a new project, "Valhalla", on Nordic mythology. .

    "Fyrtøjet" is as Danish as it can get. The screenwriter was named H. C. Andersen, so the plot will be familiar even to the smallest figures in the kingdom. Just like at Disney, the people behind the film understood how to weave in the little extras that make the film come alive. After a beer scene, for example, the moon comes drunk from the chimney to illuminate the city.

     The film is impressive - no doubt about it. One had to start from scratch without experience of any kind, and especially on the basis of this, it is amazing what has come out of the adventure. - A funny feature is the joy of recognition, when suddenly backgrounds with Rosenborg, Børsen and Rundetårn emerge. Even Pierrot on the Hill is involved, which makes the film seem breathtakingly cozy.

     The little ones will have problems with the signs, which are written in "curly" letters, and sometimes it is difficult to understand what the people are saying - also because the language is a bit "old-fashioned".

     You shudder when the executioner steps forward, but have fun when the king looks at his watch with this remark: “Now I must hurry. I have to go down to rule ”.

     These are some lovely doggies the characters have brought out. Loved and round in the line, even if the dog with eyes like mill wheel appears wrong in the proportions. It can be hard to reconcile with the slightly stiff line, but there cannot be a Disney in all of us. Also technically, the film is full of qualities with some elegant transitions from one scene to another, such as when the soldier mirrors himself with his military uniform, after which he is wearing a dress and white a second later.

     In connection with City 2’s carnival on February 15-18, all children who are dressed as a person from "Fyrtøjet" can go to the cinema for at least 12 kroner.

     Parents should now also put on their hats and noses and (re) see this milestone in Danish cartoon history.

 

     Later that month, on February 27, 1985, Taastrup Avis by Thomas Breinstrup reported and interviewed Harry Rasmussen:

 

Local Disney drew

on "Fyrtøjet" as a 14-year-old

 

As a 14-year-old he drew the witch and the dogs in the first long Danish cartoon, "Fyrtøjet", later it became "I would rather 'have' a Star", and now there is a prospect of getting H.C.Andersen's "The Little Mermaid" to look at the celluloid strip.

     The name is Harry Rasmussen, a bit of a local Walt Disney. It is said that he was born with a pencil in his hand, and when looking at drawings and sketches for e.g. "Fyrtøjet", which premiered this year, one is not inclined to agree.

     - I have made cartoons since I joined "Fyrtøjet" in 1943. […]

     The very next day, he started as an in-betweener, i.e. the one who fills in the movement from one drawing to another. After half a year, the opportunity arose: the crow, the dogs and the witch had to be drawn, and Harry Rasmussen was given the task. - This is how it continued until 1945. […]

     In 1946, "Fyrtøjet" premiered, and then it was over with the big Danish cartoons. Harry Rasmussen went to drawing school and worked for a number of years at Nordisk Tegnefilm, where, among other things, it became the widely famous "I would rather 'have' a Star" advertisement. In 1977 he formed with a companion the company Anima Film.

     - It is as if at the end of every ten years there is a recovery in the interest in cartoons, and we still feel it now. Therefore, I also start with plans to resume "The Little Mermaid" as a cartoon after H.C. Andersen's adventures. I had suggested the film as early as 1952, but at that time there were problems and the project did not materialize. It may be the same, because the time was probably not ripe for the mermaid at the time, says Harry Rasmussen. […]

     In between the drawing work, Harry Rasmussen gets time to deal with the collection of material to describe the history of Danish cartoons from the year 1916 to now.

     It all started because of Jakob Stegelmann's book about cartoons, where there was incorrect information about "Fyrtøjet". After writing to him, I felt like collecting information about Danish cartoons through the ages, and I have received enormous support. In the past, people were angry and afraid to provide information in our small industry, but now it all comes to light, says Harry Rasmussen, who has had to go all the way to Holland to find old Danish artists.

     He reckons that someday a book will come out of the collection. […]

 

     For the record, it should be added that editor Thomas Breinstrup is unfortunately guilty of several minor inaccuracies in his article. It was not the case, for example, that Harry Rasmussen, after only six months as an intermediary, was given the task of independently animating the crow, the dogs and the witch. On the other hand, after approx. half a year as an intermediary, especially for Børge Hamberg, assistant animator for this on the mentioned figures. And only after another six months as an assistant animator, did Harry Rasmussen get independent assignments as an animator of scenes with the witch, the crow and the smallest of the three dogs. (Note 7)

 

     The film "Fyrtøjet" also gained some nostalgic relevance in 1985, as the magnificent actor who had voiced the soldier, Poul Reichhardt, passed away on October 31 this year.

 

     In the following years, it occasionally happened that "Fyrtøjet" was played again in a few cinemas, both in the capital and in the province. This was thus the case when, during the Easter holidays in 1986, the film was shown in Luna, which had premises in the House in Rådhusstræde. However, the "Fyrtøjet" was only shown at one daily performance, namely at 15.15, and the ticket price was only DKK 15.

 

     The film "Fyrtøjet" came back into the spotlight in 1992, when Jakob Stegelmann on February 14 showed clips from the film in the TV program Troldspejlet. The mention probably happened in connection with another premiere or because the film at that time was shown on TV or broadcast as a purchase video.

     "Fyrtøjet" was resumed in 1998 in Lyngby Teatret, where it on the weekend of October  10-11 was played at. 12, and from on Monday at. 10 and at 12. (Note 8)

 

     Speaking of the House Cinema, "Fyrtøjet" was again shown there in connection with the International Children's Film Festival BUSTER 2001, which was held from October 2 to 6. However, the film was only shown at a single performance on October 5, where I, Harry Rasmussen, at the invitation of the festival management, began by telling a little about "Fyrtøjet"'s prehistory and origins. In this case and in a sense, the screening of the film gained a special relevance, as Bjørn Frank Jensen was buried in Hilversum, the Netherlands, on the very same morning, which I did not fail to mention to the audience present.

 

     Today, the feature-length film "Fyrtøjet" takes its well-deserved place in the archives of the Danish Film Museum as the first Danish (and European) long cartoon. The film company Palladium A/S still has the production and distribution rights over the film, which, however, is only rarely shown in public. (Note 9)

 

     This section should end with my regret that it has not been possible for me to have time for a more thorough and systematic investigation of the contemporary reviews of the feature film "Fyrtøjet", than the tastings that, among other things. based on Allan Johnsen's scrapbook, is presented here. It is my wish and hope that a younger and committed cartoon enthusiast - or possibly more of them - will find it worth the trouble to research that particular topic.

 

The music for "Fyrtøjet"

The music for the feature film "Fyrtøjet" and the press' mention of it, is almost an entire chapter in itself. Shortly after the film's premiere, the newspaper Land og Folk on June 6, 1946 was able to bring the following note:

 

     Most people have no idea who Kirsten Hermansen who has spoken and sung the Princess' Role in the Fyrtøjet Film. It is not so strange that one has not heard of her before, as she is only 16 years old and has never been on a stage, but there are many who have heard her voice before, as she has sung in the radio's children's choir for several years. . For now, it is not known what Kirsten Hermansen will be. She lives with her family - her father is a municipal teacher - and she still goes to school.

 

    On the same day, June 6, 1946, the Exchange (Børsen) was able to bring this notice:

 

     "Fyrtøjet", the Danish cartoon in Palladium, has already performed 16 recordings on gramophone records of the film's melodies.

     Poul Reichhardt, who gives voice to the film, should also have sung the records, but this could not be achieved before his trip to America, so now Helge Leonard has sung with Sid Merriman's Orchestra for Tono, where Lis Løwert has also sung the Princess' Waltz.

     On Polyphon have Annie Jessen, Victor Cornelius and Vald. David’s sang the main melodies for Teddy Petersen's Orchestra, and for His Masters Voice, the film's Princess, the young Kirsten Hermansen, together with Johannes Wahl, sang the songs for Aage Juhl Thomsen's and Vilfred Kjær's Orchestras. These last records are pressed in England as the first Danish records after the Liberation.

 

 

 

The local newspaper Nørrebro Bladet could also be involved, as it was also possible to bring this note on June 6, 1946:

 

     The songs for the adventure film "Fyrtøjet" with lyrics by Victor Skaarup and music by Eric Christiansen and Vilfred Kjær, have been published by Nyt Dansk Musikforlag. It is a booklet that will arouse enthusiasm in all homes and therefore probably be sold out in a short time. Most of the film's songs are there, we mention: A healthy soldier, On my journey through the world, Like the bird in the cage, The shoemaker boy, Uh-Huh, we drink, we drink, The waltz of hearts, etc. Especially the graceful bridal waltz, the waltz of hearts , we save a mighty Success.

 

     On July 11, 1946, Aftenbladet was able to report that "Fyrtøjet" had now passed the 225 performances in Palladium and therefore had become "a great success, what it deserves". On July 12, a newspaper note said that the Danish color film "Fyrtøjet", which takes place in the 13th week in Palladium, has been seen by over 400,000 people. The film is the greatest success that the Theater has ever experienced. ” On July 15, Nationaltidende was able to announce in two lines: "The color film "Fyrtøjet" is now shown on the 14th week in Palladium." - As mentioned, the film ran for a full 22 weeks on Palladium before it was taken off the poster. But it continued to be shown in other cinemas around both Copenhagen and the province.

 

    After this, we only need to mention the feature film "Fyrtøjet" in connection with its versions and screenings abroad, which happens in the next chapter.

 

Next section:

"FYRTØJET" and abroad