Karry Best movie of this year hands down!

Spidersecu Don't Believe the Hype

Jonah Abbott There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

Darin One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

Jounk I'd sing 'I wanna singa' to my infant when he was fussy and he'd stop crying! No lie.... He's 22 now...it no longer works-lol.

Edgar Allan Pooh . . . to subliminally suggest peace to an increasingly threatening German Nation, thereby averting all the potential heartache likely to occur during another "World War." When Warner's courageous animators put together their I LOVE TO SINGA plea, no one had ever heard of a "World War One." That's because the conflict that killed millions from 1914 through 1918 was known to Pessimists as "The Great War," and to Optimists as "The War to End War" or "The Final War." Most Americans found it hard to imagine that the daffy German men, with their shorty-shorts, foul-tasting beer, and cute Munchkin accents, would prove capable of starting ANOTHER "Great War" for a Century, if ever (and certainly not in a mere 20 years). But by 1936 Hitler was ranting on the War Path, and Warner was trying to do something about it. That's why I LOVE TO SINGA is peppered with random German terms, such as "mein" and "und" and "mit." It's as if Pops Owl has a target audience of One, and he's trying to say to Hitler, "Just calm down--if Germany depresses you so much, why not come over and entertain us with your Terrible Twos Tantrums in America? If that gets old, you can always play yourself in SPRINGTIME FOR H!TLER."

Tad Pole . . . but whooooooever thought that owls were humorous in the first place? I suppose it IS refreshing to find a cartoon from the 1930s in which Mel Blanc is not supplying nearly ALL the voices. According to this page, you have Billy Bletcher, Tommy Bond, Johnnie Davis, Joe Dougherty, Bernice Hansen, and Martha Wentworth supplying the voices of the primary members of the I LOVE TO SINGA cast. Though I must admit none of these names rings much of a bell in my head, I assume that they denote a half dozen DIFFERENT people and not just six degrees of Mel. An essential aspect of this parody's target, the feature film THE JAZZ SINGER starring Al Jolson from nine years earlier, is pretty much glossed over in this spoof, which is too bad in a way. A cartoon owl in Blackface could have been a hoot. Jolson himself would have been in big trouble if Hitler successfully added America to the Third Reich, and in Michigan alone he had Henry Ford, Charles Lindbergh, and Father Charles Edward Coughlin (a.k.a., "Hitler's priest") on his side. Possibly when I LOVE TO SINGA was made in 1936, with Hitler so much more powerful than in 1927, the cartoon's producers were afraid to risk being on the Gestapo's hit list in the near future by making light of the double whammy of combining Jewishness and Blackness into one character as the more courageous Jolson did in the source material.

Lee Eisenberg More than simply a cute cartoon, I interpret "I Love to Singa" as a slight allusion to the generation gap that seemed to be taking hold in the '30s (which was itself nothing compared to what happened in the '60s). What I mean is, Depression-era teenagers and young adults would go to nightclubs and hear music by African-Americans, which the older generation didn't like. In this case, Father is the stuffy older generation, and he forbids jazz in his household. Think of him as a precursor to Archie Bunker.So that's my interpretation. But even ignoring that, the cartoon is still quite clever (as were all the cartoons released through Warner Bros. back then). I have to admit that when I was younger, I didn't get the spoofs: Owl Jolson and Jack Bunny.