Surprisingly incoherent and boring

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

AND YET WE have another example of the Disney Production crew bringing us an example of creating a cartoon around the caricaturing of popular Hollywood figures. Due to the successes achieved by the Studio with the titles such as MICKEY"S GALA PREMIER (1934), MICKEY"S POLO TEAM (1936)and the Donald Duck vehicle, THE AUTOGRAPH HOUND (1938), the subject had grown into a favourite; being repeated often.IN MANY RESPECTS, this entry belongs at the top of the list. With its multitude of episodic gags, each and every one being tailored to both the Mother Goose Story and to the Star(s) being fitted to the mannerisms and physicality of that subject, it has a unity of purpose and theme. That it is both diverse and concise at once.ONE OF THE main differences that separates this from the other is that there is no Disney character that is cast in the main, starring role. Other than the very brief appearance of Donald Duck, in what can only be described as the quintessence of the Cameo, no other regular cartoon characters appear.THE CARTOON LIKNESSES of the Elite of Film-land, on the other hand, are legion in their numbers. Going chapter by chapter, the all so familiar stories of the Mother Goose are lampooned by the infusion of the stars persona. For example, we have Katherine Hepburn as LITTLE BO PEEP, Charles Laughton (as Captain Bligh from MUTINY ON THE BOUNTY), and both Spencer Tracy & Freddie Bartholomew (from CAPTAINS COURAGEOUS) as the THREE MEN IN A TUB.THE MANY OTHER appearances we find are: Hugh Herbert, Ned Sparks, the Marx Brothers, Eddie Anderson, Laurel & Hardy, Edward G. Robinson, Greta Garbo, Eddie Cantor, Cab Calloway, Fats Waller, Lincoln Perry (Stepin Fetchit), Fred Astair and many others.BEING THAT THIS Cartoon was a part of the SILLY SYMPHONY Series, one could infer and assume that the Musical Score would be both important and elaborate. Well, you'd be right. All the way from the opening Theme to the various musical quotations that appear in the incidental music, it is outstanding and indeed a great listening experience.ANOTHER REMARKABLE ASPECT of this short is its seeming freshness. Although it is now over 75 years old, it couldn't be better if it were made yesterday. This is due to a couple of factors.FIRST OF ALL, the films and actors being lampooned are all classic and well remembered today. Most all of those characters are instantly recognizable due to the near immortal status achieved by those performers in their lifetime.SECONDLY AND PERHAPS the most obvious reason for the almost legendary reputation associated with films such as this is that it is a Walt Disney Production.WE BELIEVE THAT this factor needs no further proof or validation.

I just recently (as of today) discovered a blog devoted to Cab Calloway called The Hi-De-Ho Blog. One section showcases caricatures of the legendary entertainer in various cartoons from Max Fleischer (whose shorts Cab actually was involved in), Warner Bros., M-G-M, and this one from Walt Disney in which Mother Goose characters are depicted as Hollywood celebrities. Mr. Calloway is one of the "four blackbirds in a pie sequence" and while that may have an unfortunate stereotypical connotation (which may be true of some of the white celebrities too), seeing "Cab", "Fats", and "Louis" do their musical stuff was enjoyable. The only real negative portrayal of an African-American here was that of the lazy, shiftless, Stepin Fetchit character. Other depictions of celebrities I liked were that of W.C. Fields with Charlie McCarthy with Fields as Humpty Dumpty, The Marx Brothers sans Zeppo as the Fidlers Three (Harpo appears here as a redhead and not a blonde), and Laurel and Hardy as Simple Simon and the Pieman with welcome use of Marvin Hatley's L & H musical theme "The Cukoo Song (Dance of the Cukoos)". If there's one celebrity that may be obscure even to old movie buffs, it might be that of Joe Penner whose catchphrase "Wanna buy a duck?" anticipates a very familiar Disney character. So despite some negative stereotypical characterizations, I recommend Mother Goose Goes Hollywood for any animation buff especially those of old-time movie star caricatures.

This was a wonderful idea for a Disney (or non-Disney)cartoon. It was very creative to portray the latest Hollywood stars as characters from the classic nursery rhymes. I was reading someone else's comments and they mentioned that understanding this short's humor would take a lot of knowledge of the Hollywood stars of the 30's. I do agree with them. Many of those stars were unknown to me, but I could identify quite a few of them. Let's see! There was Katherine Hepburn portrayed as Little Bo Peep. W.C. Fields is portrayed as Humptey Dumpty with the puppet Charlie McCarthey making clever jokes about him. In the nursery rhyme about the seesaw, there was Edward G. Robinson and Greta Garbo going up and down. Simple Simon was portrayed by Stan Laurel and Oliver Hardy was the pieman. The scene at the beginning is humorous where Mother Goose takes the place of the MGM lion. Then, there is a disclaimer that reads: ANY RESEMBLANCE TO ACTUAL PERSONALITIES PORTRAYED IN THIS PICTURE, LIVING OR DEAD, IS PURELY COINCIDENTAL.

I first got this on videotape because of the Marx Brothers caricatures in a scene with Hugh Herbert. (Just three brothers, Zeppo had left by this point.) I was pleased to see that Fred Astaire was also portrayed. He dances in a manner that suggests the animators studied his films carefully. There aren't many "appearances" of this type by Astaire. In fact this may be the only one. Katharine Hepburn gave an interview where she recalled a cartoon that contained a remarkable imitation of her. This is the cartoon she was talking about. She shows up as a running gag. The only censorship that I could detect in this cartoon was a scene where Eddie Cantor introduces "four and twenty blackbirds baked in a pie." You see the pie bulge as if something is about to emerge and then there is an edit in the film. Today's corporate Disney is not about to allow "darkie" jokes in their cartoons. But the depiction of Fats Waller is mildly racist (if racism can be mild). I counted a total of thirty celebrities. When you've watched this videotape as many times as I have, you start counting celebrities.