Friday, April 10, 2009

Topolino 25 July 1940

Golden Age, Italian Style
I want to give you a tour one of my favorite "orphan" magazines. For all I know Europe is crawling with these things, but this is the only copy I've found of the famous, super-influential Italian weekly paper Topolino. A gift from my amico Antonio, it dates from 25 July 1940. It's a great issue, too. One can easily see why Italian kids loved its combination of Mickey Mouse, disguised American adventure strips, and high-quality Italian content.

The paper is tabloid sized, 16 pages long. It shows its age with a prominent fold and tattered edges (not to mention patches). It leads off with five colorized Mickey Mouse dailies under the title "Topolino e il selvaggio giovedi'" (Mickey and the Savage, Thursday). Floyd Gottfredson looks good in color.

The second page (not pictured) offers the part 14 of a text serial, "La casina in riva al mare" (The Cottage on the River to the Sea) illustrated by Bernardo Leporini. Leporini, an illustrator since the late 1920s, went on to a long a distinguished career in Italian comics. He retired in 1970 and spent his remaining 22 years painting.

There's also a column with short patriotic stories and a box identifying editor Federico Pedrocchi, also a prolific comics writer, as we're about to see.

Page 3 is in black-and-white. It presents the first American import, Brick Bradford. But these were the days when Mussolini frowned on invaders from overseas (except for Mickey Mouse!). Thus Brick has become Giorgio Ventura. William Ritt and Clarence Gray have metamorphosed into "Amadeo Martini." The story is "The Fortress of Alamut."

Page 4, also b&w, offers chapter 11 of one of my favorites, Il polo V (The V-Pole). This was the second story to feature the mad scientist Virus.Virus' inventions include a device which captures the essence of people on a phonograph record so they can be resurrected when the record is played back. In his first adventure Virus used the device to bring Egyptian mummies back to life. This time around he's invented "the V-Pole," a third pole between positive and negative, which generates a force that repels all matter. Though the story wanders, it's a lot of fun. The artwork, the best in this paper, is by Walter Molino, a classically-trained artist who later painted many fine illustrations. His characterizations really bring the strip to life. The writer is the aforementioned signor Pedrocchi.

On page 5, a color page, we meet Gino and Gianni, popular heroes of a series of jungle adventures. Pedrocchi scripted again. The art is a solid job by Rino Albertarelli, yet another big name in Italian comics. Among his famous features was the fascinating Faust, which I'll have to sample sometime. In chapter 4 of "Le grandi caccie di Gino e Gianni" (Gino and Johnny's Great Hunts) our homegrown Tim Tyler and Spud are on the trail of a giant white lion.

Page 6 (not pictured) prints readers' letters and artwork. Some of the drawings are pretty good. I looked for famous names but I didn't recognize any.

Page 7 wraps up the story "Saturnino Farandola contro (vs) Fileas Fogg." This half-realistic half-cartoony strip doesn't look like much, though Saturnino Farandola was a popular character. Pedrocchi does the script once again. From the ho-hum artwork you'd never guess that Pier Lorenzo de Vita was an extremely versatile illustrator who handled both realistic and funny-animal styles with brio. In the latter part of his career he became a top-notch artist for Italy's Disney comics.

The left side of the center spread offers chapter 14 of a color adaptation of Emilio Salgari's "La caduta di un impero" (Fall of an Empire). Salgari's novels featuring Sandokan, a heroic Malaysian pirate, remain extremely popular in Europe, though they never caught on in the U.S. The script is by Guido Mellini. Illustrator Guido Moroni-Celsi was famous for his work on these Salgari adaptations. I find his work pleasant, but a bit stiff.

The right hand side of the spread brings back Bernardo Leporini, this time in color. "La capitana del sette fraris" is a sequel to "Un Gentiluomo di sedici anni" (A Gentleman of Sixteen Years), one of Rino Albertarelli's noted features. Pedrocchi scripts again. The story is a political intrigue set in 1718. I don't know much about it. Leporini's panels are well-composed and combine with the coloring to create a nice atmospheric feeling.

Page 10 (not pictured) prints recaps of earlier chapters of the various serials. There's an ad pushing a magazine of war stories, including "Il mozzo del sommergibile" (Cabin Boy on a Submarine), one of Kurt Caesar's early serials.

Page 11 presents chapter 11 of a Segar Popeye story. Here it's titled "Il Monarca di Roccaverza" (Monarch of Roccaverza). At least they didn't give Segar a fake name...they simply eliminated his credit altogether.









Emilio Salgari returns on page 12. "La scotennatrice" (I don't know what it means) is a western adapted by Mellini and illustrated by Albertarelli. It's a strange page. The figures are dwarfed by the landscape. The camera stays so far back we can barely make out their faces. We don't develop any interest in the characters, but those sure are nice backgrounds.

On page 13 is my favorite re-branded import. "Le perle dei mari del sud" (Pearls of the South Seas) is an Ella Cinders continuity. While crossing the Atlantic, artist Charlie Plumb was lost overboard...while writer William Conselman was resurrected as Guglielmo Conselli! On the same page is a Henry strip, with the bald boy renamed Rico...and in this incarnation he speaks. An advertisement urges us to read "The Little Colonials" in the pages of Paperino. But Mario and Furio are none other than Tim Tyler and Spud again. For characters who never climbed out of the basement in the States, those guys did pretty well in Europe.

Along with a Pluto strip (not pictured), page 14 features a chapter of "Avventure di Matteo Garrese" (Adventures of Matteo Garrese) by Aldo Carreni. This western seems to be the only thing Carreni ever did. The InDUCKS database knows nothing about him. Could this be an American strip I don't recognize?

Page 15 (not shown) is divided between a b&w Mickey strip and a half-page of puzzles.

Bringing up the rear is a beautiful episode of "Il solitario dei Sakya" (Hermit of the Sakyas), a complicated adventure seet in China and Tibet. Once more Federico Pedrocchi handles the scripting. The artwork is a lovely job by another of my favorites, Antonio Canale. Instead of the dozen panels on the other story pages, this one has only six. Canale takes full advantage of the extra space.

Antonio Canale is best known today for his work on the Phantom-inspired masked hero Amok, launched in 1946. But Canale already had a long career behind him by then. Despite Amok's charm--and I do like Amok--"Tony Chan's" art on that series paled in comparison to his pre-WWII work on features like "Il solitario dei Sakya" and "Cabiria."

Well, that's my stroll through Topolino. It probably doesn't tell anyone anything they didn't already know, but I wanted to express my appreciation for this famous paper and its stable of noted creators. It was indeed the Golden Age of Italian comics.

6 comments:

Steinar Ådland said...

Antonio Canale made Amok in 1946, but in what comic book did the strip originally appear. Topolino?
In Norway and Sweden he was called Kilroy and appeared in Norway in 1951 in Seriemagasinet.
It seems you have a great knowledge of italian comics. Ever heard of Carabina Jones and where to get scans from that comic book?
Steinar Ådland

Smurfswacker said...

As far as I knowl Amok originally appeared as a "large format" oblong comic 21x33cm (maybe with 16 pages?). This was larger than competing adventure comics, but an issue cost 25 lire, five times the price of "Gim Toro." That probably contributed to the title's poor sales during its first time around.

It's funny to hear of a hero named "Kilroy." In America the name and the phrase "Kilroy was here" is always connected with humorous rather than adventurous situations. Sort of like an American naming a superhero "Pinocchio."

I haven't seen any "Carabina Slim" strips, but I know a little about them. There were 27 issues from Tomasina published in 1953. They were in "strisce" format (13x8cm, 32 pages b&w with color covers). An artist named Pini Segna worked on the series. Segna started in comics in 1947 doing things like "Pantera Bionda" and "Akim." The last credits I find for him were Zagor backfeatures for Bonelli during the early 1980s.

I wish my knowledge of Italian comics were "great." What I do know I've picked up during many years as an admirer of Italian comic artists. I'm always afraid that some REAL Italian comic scholar will expose me for an ignorant fraud...but maybe not, because many of the best Italian scholars seem to be experts in American comics!

Emphyrio said...

Lots of beautiful Raymond-flavored brushwork and composition.

Give me the gentle pastels of newspaper-strip BenDay coloring, rather than the vivid darks of Photoshop!

When I visited Italy in the 90's, Daniele Brolli, as I recall, told me that Topolino was still the best selling comic.

He said it often came plastic-wrapped with toy premiums.

One series of premiums was, each week, a new plastic part for a camera.

When you had them all, you could assemble and load it and take pictures!

Smurfswacker said...

I love the idea of a weekly camera piece! How many pieces would it take...twenty, say? So if they tried this with current American comics you could have a cheap plastic camera for around $100!

I stand in awe of the quality of early Sunday page coloring. The range of colors and rendering effects in "Flash Gordon" and "Prince Valiant" in the 1940s was a shock when I saw my first tear-sheets.

Even more impressive are the strips of the pre-WWI period like "Little Nemo," "Nibsy the Newsboy," etc. Guess it was a matter of being able to afford the extra labor.

lori said...

I have a print of JFK and the pope walking together in a field done by walter molino. Trying to find what it could be worth.

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