In this one, Max has run low on ink, so Ko-Ko finishes drawing himself and then heads over to the camera room, where he creates his own characters, a mechanical dancing Dresden doll with whom he falls in love and a couple of automaton musicians. He gets rid of the musicians, but, alas, the projectionist gets oil onto Ko-Ko's soon-to-be bride, melting her.
Max has a toothache, and it's up to The Clown and a bespectacled rabbit to pull out the aching tooth.
“Tramp, Tramp, Tramp the Boys Are Marching” features a song that dates back to the Civil War, one which was still familiar to audiences of the 1920s. The cartoon begins as Koko the Clown emerges from an inkwell-- an iconic image for animation buffs --and then steps over to a chalkboard to draw an orchestra. The band, “Koko's Glee Club,” marches to a nearby cinema (accompanied by a dog who beats cymbals with his tail) where they lead the audience in the title song.
Max and Dave Fliescher are eating hot dogs in their animation studio and begin drawing. The hot dog becomes a "real" dog, and it and Ko-Ko the Clown alarmingly end up inside a Gas Chamber.
Ko-Ko the Inkwell Clown and a baby get caught in a hurricane.
In 'Trapped', we see the cartoonist's hands as still photograph cut-outs, manipulated in front of the camera to look like live-action movie footage. The hands sketch a small black dot and ink it in. Then the dot proceeds to bounce across the cartoonist's easel, until the hands finally catch it and unfold it into Ko-Ko the Clown. There's a mouse in Max's studio, and Ko-Ko wants to catch him.
Ko-Ko Song Car-Tunes, Song Car-Tunes, or (some sources erroneously say) Sound Car-Tunes, is a series of short three-minute animated films produced by Max Fleischer and Dave Fleischer between May 1924 and September 1927, pioneering the use of the "Follow the Bouncing Ball" device used to lead audiences in theater sing-alongs. The Song Car-Tunes also pioneered the application of sound film to animation.
A man with a huge hooked nose enters the Fleischer studios to have his bust sculpted. Meanwhile, across the studio, Max is animating Koko. When he's called over to consult on the too-accurate bust, Koko gets mischievous and creates his own drawings. He then escapes and crawls inside the clay bust, eventually wriggling off like an inchworm. He gets into a fight with the man being modelled, both of them flinging wads of clay.
Max helps the Inkwell Clown prepare for a family reunion.
Koko the clown is sent to the nut house by Max.
Koko The Clown continually interrupts an animator, who turns his attention to trapping the clown.
Max and Koko The Clown bet who can blow the biggest soap bubble.
Max tricks Koko with a jumping bean. Koko finds a way to duplicate himself to get his revenge.
Ko-Ko the Inkwell Clown spends a vacation at a rubbery amusement park.
Follow the bouncing ball sing-along
Lighting Sketches of US Presidents and world locations.
Max is too rushed to do a thorough job of drawing Koko this morning. Max is going fishing. However, to amuse the clown, he draws a fishing pole and a pond before he goes.
This fascinating series features Max himself, filmed in live action, sitting at a drawing board and concocting adventures for his star performer Ko-Ko the Clown. Max is supposedly the guy in charge, and he takes sadistic glee in putting Ko-Ko through various forms of hell, but the clown usually fights back and sometimes gets the best of his Uncle Max. FADEAWAY elevates this charged relationship to new heights (or depths?) of nightmarish surrealism; it's also one of the most enjoyable Inkwell cartoons I've seen to date, packing lots of imaginative, unpredictable twists and turns into an eight minute running time.
Dave Fleischer sends Koko to Mars.
