Frank Tashlin was born Francis Fredrick von Taschlein in Weehawken, New Jersey, on February 19, 1913 into a French-German family – the Taschleins.

Death: He passed away in Hollywood, California on May 5, 1972 at the age of 59 at Mt. Sinai Hospital after been stricken with a coronary. He is buried at Forest Lawn Memorial in Glendale. His Zodiac Sign was Pisces. (3, p99) (4, p768) (6, p428) (8) (9) (12) (13) (14) (15)

Occupation / Title
Tashlin started as a cartoon animator, moved on to being a screenwriter and an author, and finally achieved his ultimate ambition and became a film director. (6, p428) (8) (12) (14)

Biographic Summary
Early in his career Tashlin worked as a cartoonist on a comic strip for a New York newspaper. He also wrote gags. He worked as an errand boy and cel washer at the Fleischer Animation Studios in New York at age fifteen and later for the Van Beuren Studio as animator. He moved to Hollywood in the late 1930’s where he developed into a leading animator. He was also very good at script writing and directing. He had his own comic strip in 1933, a cartoon of his ex-boss Van Beuren called Van Boring, (because apparently he did not say much) which he signed “Tish-Tash”. He wrote and illustrated four comic books: The Bear That Wasn’t (1946),The ‘Possum That Didn’t (1950),The World That Isn’t (1951), and How to Create Cartoons (1952).He also has unpublished books – Little Chic’s Wonderful Mother and The Turtle That Couldn’t. (3, p99) (4, p777) (6, p428) (7) (8) (9) (11) (12) (14) (15) Tashlin worked at Warner Bros. Studio as a member of the studio’s top animation team in the late 1930’s. In late 1940’s he stopped animating and began writing live-action comedy scripts, notably for Bob Hope and Red Skelton. (6, p428) (8) (9) (12) (14) (15) He became a writer-director at a time when Hollywood had begun its move into wide-screen movies. Tashlin combined successfully his gags that were almost like cartoons with his parodies of society with strong visual images that fit very well into the wide screen (CinemaScope) technology. (6, p428) (8) (9) (15) Starting in the 1950’s Tashlin made a lot of comedies with Jerry Lewis for Paramount Pictures and for productions at 20th Century Fox, such as The Girl Can’t Help It andWill Success Spoil Rock Hunter?, both starring Jayne Mansfield. His career seems to have come to an end in the late 1960’s coinciding with the tapering off of the careers of stars that he used to write for and direct – such as Bob Hope, Jerry Lewis, and Doris Day (The Glass Bottom Boat - 1966). His final film was in 1968 – The Private Navy of Sgt. O’Farrell starring Bob Hope and Phyllis Diller. (6, p428) (8) (9) (12) (14) (15)

Early Life / Family
Tashlin was married several times: his first wife was Jean Deinse (January 1967 – 1969); they had a son, Christopher. He was then married to Mary Costa (June 30, 1953 – April 1966) and then to Dorothy Marguerite Hill (October 24, 1936 – June 1952) with whom he had a daughter, Patricia Anne. (4, p778) (8) (10)

Education / Training
Tashlin’s education began at Public School (P.S.) 5, in Astoria, Queens, New York. He then moved on to Junior High School 126, then attended Queens Continuation School and later took correspondence classes from Federal Schools of Minneapolis. He was the cartoonist for his junior high school’s newspaper in Astoria, Queens in 1927. He dropped out of school at age thirteen. (4, p777) (8) (11) (12) (14) His career training began in 1929 - he worked as errand boy and cel washer in New York. During 1930 to 1933 he was draftsman at Van Beuren/RKO for cartoons such as Hook & Ladder Hokum andBuddy’s Beer Garden, and a cartoonist at age seventeen on Paul Terry’s animated shorts Aesop’s Film Fables. Between 1934 and 1935 he worked on the cartoon series Comicolor and Willie Whopper. (4, p777) (8) (11) (12) (14) (15)

Career Outline
In the early 1930’s Leon Schlesinger, producer of animated cartoons had opened his own animated cartoon studio at a corner of the Warner Bros. Studio on Sunset Boulevard. He had pulled together a group of accomplished artists by recruiting animators from other studios such as Disney. He had also hired artists from various studios in New York, such as Tashlin, a newcomer to cartoons and animation, who was at the time working as an animator for Van Beuren. Tashlin stayed on with Schlesinger for a few months but was fired when he did not want to share with Schlesinger his earnings from selling his Van Boring comic strips to the Los Angeles Times. Tashlin then worked as a cartoonist for newspapers, as an animator for Ub Iwerks, and as a gag writer for comedian Charley Chase at Hal Roach Studios. By 1936 he had returned to Schlesinger’s group at the Warner Bros. Studio; Schlesinger hired him back as director – Tashlin was just twenty three years old. (1, p324, p335) (8) (9) (11) (12) (14) (15)

In 1936 the Schlesinger studio had a staff of over one hundred animators. He had divided his animation staff into small groups of about four artists, each group working with a director assigned to that group. Tashlin was one of those directors. As such, Tashlin directed his first animated cartoon at the Schlesinger Studio, Porky’s Poultry Plant in 1936. He then moved on to the Disney Studio in 1938 as a script writer and story director, but quit in 1941 (Walt apparently did not give him the raise he had asked for) and signed up with Screen Gems (Columbia) as a writer. Tashlin took over daily production at Screen Gems, and directed The Fox and the Grapes, referred to often as being especially innovative, as well as The Tangled Angler. (1, p334, p335, p379, p380) (8) (9) (11) (12) (15)

At Screen Gems Tashlin hired many of the staff leaving Disney due to a long strike at the studio. In 1942, Tashlin was demoted when Dave Fleischer was made executive producer of Screen Gems; Tashlin left a few months later. In September 1942 Tashlin, after having worked at the Disney Studio and Screen Gems for about four years, returned to the Schlesinger Studio at Warner Bros. as a director during the studio’s most successful years. He began directing color cartoons - by April 1943 Warner Bros. had decided that its Looney Tunes cartoons would be in color, bringing these cartoons much closer to the quality of the competing Merrie Melodies. It can be said that Tashlin was quite a wanderer during the course of his career. (1, p380, p435) (2, p28) (3, p99) (8) (11) (12) (15) As executive producer, Schlesinger had managed his group of artists without interfering with their fantasies, allowing Tashlin and other directors what must have felt like limitless freedom to develop their own particular directing styles; as long as the final product was funny and profitable he did not interfere with their work. Schlesinger’s group introduced a variety of new animated characters between 1935 and 1940, such as Porky Pig, Elmer Fudd, Daffy Duck, and Bugs Bunny. Warner Bros. cartoons became the funniest in Hollywood history. Tashlin and his co-directors became known as the greatest talents in cartoon comedy history. Between 1936 and 1938 Warner Bros. produced three dozen films a year, and developed its trademark of fast cartoons. (2, p28, p29) (3, p95) (8) (11) (15)

In his Porky’s Romance (1937), Porky In The North Woods (1936), and The Case Of The Stuttering Pig (1937), Tashlin applied many of the techniques he would later use in his live action feature films – cross-cutting, wipes, dissolves, and montage, processes which were not typically used in cartoon films of the time; his Case Of The Stuttering Pig (1937) demonstrates Tashlin’s ambitions and aspirations as director very well. (2, p30, p111) (8) (15)

At Warner Bros. Studio Tashlin perfected the “book covers come to life” format in cartoons using color. Speaking of the Weather (1937), You’re An Educator (1938), and Have You Got Any Castles (1938) are excellent examples of Tashlin’s work on this theme, which include topical gags and animated action. He directed some very funny cartoons such as The Swooner Crooner, and his own interpretation of Daffy Duck in Plane Duffy, Stupid Cupid, Porky Pig’s Feat, andNasty Quacks. Tashlin’s The Stupid Cupid (1944) portrayed a new Daffy Duck– no longer aggressive, but passionate, whichbecomes Daffy’s undoing every time. He left Warner Bros. Studio for a final time in 1946 and moved on to live-action films. (1, p461) (2, p30, p32) (8) (10) (11) (15)

Between 1934 and 1968 animation came under intense censorship in the United States. Speaking of the Weather (1937), on which Tashlin had worked, was subjected to censoring - a scene that would have shown a dog discharging at a pole was cut; apparently the censors did not want animals performing bodily functions to be shown in movies. However, in Porky’s Railroad (1937) Frank put in a questionable Morse code message that went past the censors. In Porky Pig’s Feat (1943) words and images which were somewhat risqué were included but went by too fast to be understood by the censors or the audience. Censorship included Disney cartoons as well as cartoons of other studios, such as Betty Boop and Tweety the bird. (5, p5, p29, p43)

Between 1943 and 1945 Private Snafu cartoons, created by Frank Capra and Theodor Geisel “Dr. Seuss”, were made for the Army Signal Corps and shown in military bases around the world. These cartoons were made with a basic message - essentially to remind soldiers that they needed to keep their guns clean, that they should not spread rumors, etc. These cartoons included uncensored adult humor. Even though these cartoons were not subject to the Production Code Administration (PCA) approvals because they were made for the military, they were not entirely free from censorship. (5, p41) (9) (11) (12)

In Tashlin’s Censored, (1944) a topless image of Private Snafu’s girlfriend Sally-Lou was cut from the film. In his 1943 The Home Front, another Private Snafu cartoon, the line “So cold it’ll freeze the nuts off a jeep” was cut by censors. (5, p42) (9) (15)

Tashlin brought his artistic talents to Columbia Studios in the 1940’s for a few months when the studio was experiencing a steady change-over of its artistic directors – seven directors in eight years. As it turned out these few months with Tashlin were quite profitable for Columbia; during his tenure Tashlin imposed his own artistic preferences and brought top artists from Disney. (3, p89) (8) (9) (15)

In July 1944 Schlesinger sold his studio to Warner Bros. Tashlin left in September 1944 and went over to the John Sutherland Studio where he directed stop-motion puppet films. To Tashlin, this change was another step on his way to directing live action movies even though he spent a lot of his early directing career making cartoons. In 1944 he prepared Plane Daffy, mocking the Nazis, but soon after he apparently finally lost interest in animated cartoons. He quit animation in 1945, basically switching from doing cartoons to writing scripts for live-action comedies; for a while he was a gag writer for the many stars in the business, such the Marx Brothers and Lucille Ball. When he watched The Paleface (1948) that he had written the script for he was apparently very upset as to how poorly it had been directed. So he decided to move up to a new career - film director - in 1951, and began directing his own scripts. (1, p467) (3, p95, p99) (4, p772, p773) (8) (14) (15)

Some of the films he directed include Son of Paleface (1951) with Bob Hope, Artists and Models (1955) with Jerry Lewis, and The Man From The Diners Club (1963) with Danny Kaye. Bob Hope asked Tashlin to rewrite some of his scenes in The Lemon Drop Kid (1951) and agreed for Tashlin to direct those scenes without credit – it turned out that Tashlin actually had to rewrite and direct about two thirds of the script. (4, p773) (14) (15)

Tashlin had a strong interest in movie making techniques, which set him apart from his colleagues. His approach to animated cartoons differed cinematically quite a lot from the styles of other directors. Typically cartoons of the 1930s were made with processes where film cutting, camera angles, and camera movement were basically just functional – they were another way of putting gags and characters on film. Tashlin put in a lot of close-ups, deep focus, and oblique camera angles. He had said that while directing animated cartoons he was always thinking about directing live action motion pictures, and he was directing his cartoon characters as if they were in a feature movie. (1, p335) (9) (10) (11) (15)

Tashlin borrowed ideas from films and extended the gags in his cartoons such that not even an experienced actor like Buster Keaton could duplicate them in live action. In many cartoons of that time the character was typically shown as a bystander, the gags did not have much to do with what kind of character it was. Tashlin’s way of directing was to use cartoon characters as a means for comedic action, rather than using them as bystanders. Tashlin in the 1940’s paid more attention to film aspects of his animated cartoons such as camera angles, and less attention to the actual animation. He was focused on feature film terms in his cartoons. (1, p336, p465) (10) (15)

Tashlin’s works are strongly representative of the 1950’s. He was honest in how he projected his stories, he exaggerated only and very slightly when he wanted to make a point. Tashlin preferred moving shots to static shots. (4, p771, p777) (10) Tashlin consideredWill Success Spoil Rock Hunter? (1957) to be his best film. He had intended the story to reflect the vulgarity of Madison Avenue of the 1950’s; the film was understood by the viewers, however, as exploiting Madison Avenue, instead of being a satire of Madison Avenue. He apparently included the word “Success” in the title of the film to convey his thoughts that living and earning a living quite differed from each other; his message in this movie was to say how much of a nonsense was the concept of success. (4, p771, p774) (9) (14) (15)

His comic books The Bear That Wasn’t and The ‘Possum That Didn’t reflect his thoughts about individuality and about going against the established order, and the pressures brought on by society on those who shared those beliefs with him. InThe World That Isn’t Tashlin discusses the many evils that humans have brought on to the society, in his opinion. (7) (9) He directed the most liked Dean Martin and Jerry Lewis film – Hollywood or Bust, where he took a sardonic look at movie mania. (4, p771) (9) (15) Tashlin was excellent, able, and inventive in constructing visual gags for the sound-era movies – he took the impossible to believe humor of cartoons of the time and somewhat connected that humor to humans in live action movies. He, and most comedy writers of the time apparently shared a strong unhappiness with society - they were prone to thinking “sad first”. (4, p771)

He did not spend much time over gags; he was devoted to speed – not the speed of the cartoon characters, but rather the speed of directors. He made his film cutting and editing rapidly, and used rapid action scenes from his earlier films. He added many wild sight gags, fast pace and unexpected plot changes. He skillfully used devices such as color and framing when he was creating his comedies. (1, p335) (4, p4, p768, p769) (8) (10) (11) (12) (15)

Influences Tashlin was considered as one of the most influential and top rated cartoon and live action comedy directors of all time. He gained fame for his Dean Martin and Jerry Lewis comedies. He made significant contributions at Warner Bros. Studio in the 1930’s for the development of Porky Pig – his Porky Pig’s Feat (1943) starring Porky and Daffy is considered one of the looniest of the black-and-white Looney Tunes cartoons. (2, p78)

Tashlin was an artist for hire throughout his career. He was at the top of his profession, and had a great deal of experience and excelled as a cartoon director. His friends called him Tish. Even though an impressive six feet four inches tall and weighing 250 - 300 pounds, he was soft spoken, and directed actors and movie crew in a very economical manner, but apparently he could also be cold and standoffish. (1, p335) (4, p4, p768, p769) (8) (10) (11)

Tashlin’s films appeared to project a happy, smiling civilization, and on the surface would appear to be sending a message of smiles, but in reality they reflected his intent to show the misery, foolishness, and the unhappiness that he saw surrounding him. His movies projected his perspective as a man of satire, and showed how sad a man he actually was – very disappointed with life in the modern society. (4, p772) (8)

Tashlin moved around quite often, which apparently resulted in a fragmented career style. His artistic styles, however, have common characteristics that can be traced throughout his work. He preferred fast editing, slap-stick type comedy such as those of Buster Keaton, liked showing his perspective of how daily lives were quite superficial, and had a habit of involving the audiences directly. (3, p99) (8) Regardless of a fragmented career history, Tashlin apparently left his mark in the entertainment domains in which he worked. He quite excelled as a filmmaker; his ambitions to be a movie director were apparent in his animated films, and his training as animator visibly influenced favorably his live action films. (3, p100) (8) (10)

Jerry Lewis has commented that Tashlin was the person who most influenced him during his career as director. (4, p769)

Frank kept lots of irons in the fire. Often working 2 or 3 jobs at the same time. When Leon Schlesinger found out that Frank was also working on a newspaper comic stripe he wanted to be cut in on the profits because Frank was working for him. Frank did not feel pressure because he had other jobs so he left Schlesinger's and worked in live action which improved his cartoons when he came back after Jack King left to go over to Disneys during Snow White. -Loc Tashlin was heading up Screen Gems at the time of the Disney strike but he hated Disney from his short time working there and would picket each day before he went to work. He also hired a lot of the best Disney animators off the picket line which made Walt more than mad. -Loc

Animation, having started in New York similarly to live action movies, followed in the steps of live action movies and eventually also moved to Hollywood. In Hollywood cartoons gradually became films, and created their own style of character stars, best music, and best animation. Processes such as moving of the cameras, framing, and film cutting began to imitate those of live action film making. Stories were based on actual accidents or situations more and more, and less on animating inanimate objects. (3, p83)

The advancement of animation in this manner found many animators moving on to becoming script writers and gagmen whereby new comers to the industry were handed down the task of drawing. The style of animation also changed during that time – now it was action, which meant inanimate objects such as tall towers or buildings were no longer moving, jumping, etc., but rather there was comedy where cartoon characters such as Donald Duck and Bugs Bunny were imitating real life actors such as Charlie Chaplin and Buster Keaton. In The House of Seven Gables Tashlin has seven Clark Gable caricatures with their large ears and heads sticking out of seven windows, with each Clark Gable singing a part of a song. (3, p84) (15)

This animation/cartoon style made Hollywood its target and delivered satirical views of famous Hollywood films and caricatures of stars of the period and events taking place in the movie industry worldwide. For example, a Tashlin cartoon character, while eating spinach comments that if spinach was good for Popeye, it ought to be good for him also. (3, p84)

(4, p778) (13) (15)
1996 The Bugs n' Daffy Show (TV series) (original material)
1995 That's Warner Bros.! (TV series) (original material)
1988 Bugs vs. Daffy: Battle of the Music Video Stars (TV movie) (classic cartoon clips / Tashlin)
1968 The Private Navy of Sgt. O'Farrell
1967 Caprice
1966 The Glass Bottom Boat
1965 The Alphabet Murders
1964 The Disorderly Orderly
1963 Who's Minding the Store?
1963 The Man from the Diners' Club
1962 It'$ Only Money
1962 Bachelor Flat
1961 Snow White and the Three Stooges (uncredited)
1960 Cinderfella
1959 Say One for Me
1958 The Geisha Boy
1958 Rock-a-Bye Baby
1957 Will Success Spoil Rock Hunter?
1956 Hollywood or Bust
1956 The Girl Can't Help It
1954-1956 G.E. True Theater (TV series)
– The Honest Man (1956)
– The Face Is Familiar (1954)
1956 The Lieutenant Wore Skirts
1955 Artists and Models
1954 Susan Slept Here
1953 Marry Me Again
1952 Son of Paleface
1952 The First Time
1951 The Lemon Drop Kid (uncredited)
1947 The Way of Peace (short)
1946 Daffy Ditties: Pepito's Serenade (short)
1946 Choo Choo Amigo (short)
1946 The Lady Said No (short)
1946 Hare Remover (short) (uncredited)
1945 Nasty Quacks (short) (uncredited)
1945 Tale of Two Mice (short) (uncredited)
1945 Behind the Meat-Ball (short) (uncredited)
1945 The Unruly Hare (short)
1944 The Stupid Cupid (short)
1944 Booby Hatched (short)
1944 Plane Daffy (short)
1944 Censored (short) (uncredited)
1944 Brother Brat (short)
1944 The Chow Hound (short) (uncredited)
1944 Swooner Crooner (short)
1944 I Got Plenty of Mutton (short)
1943 Puss n' Booty (short)
1943 The Home Front (short) (uncredited)
1943 The Goldbrick (short) (uncredited)
1943 Scrap Happy Daffy (short)
1943 Porky Pig's Feat (short)
1942 A Hollywood Detour (short)
1941 The Tangled Angler (short)
1941 The Fox and the Grapes (short)
1938 You're an Education (short)
1938 Little Pancho Vanilla (short)
1938 Cracked Ice (short)
1938 Wholly Smoke (short)
1938 The Major Lied 'Til Dawn (short)
1938 Porky's Spring Planting (short)
1938 Have You Got Any Castles? (short)
1938 Porky the Fireman (short)
1938 Now That Summer Is Gone (short)
1938 Porky at the Crocadero (short)
1937 The Woods Are Full of Cuckoos (short)
1937 Porky's Double Trouble (short)
1937 The Case of the Stuttering Pig (short)
1937 Speaking of the Weather (short)
1937 Porky's Railroad (short)
1937 Porky's Building (short) (as Frank Tash)
1937 Porky's Romance (short) (as Frank Tash)
1937 Porky's Road Race (short) (as Frank Tash)
1936 Porky in the North Woods (short) (as Frank Tash)
1936 Little Beau Porky (short) (as Frank Tash)
1936 Porky's Poultry Plant (short) (as Frank Tash)
1933 Hook & Ladder Hokum (short)
2013 Cinderfella (1960 screenplay) (announced)
1968 The Shakiest Gun in the West (screenplay)
1968 The Private Navy of Sgt. O’Farrell (writer)
1967 The Bear That Wasn't (short) (story "The Bear That Wasn't")
1967 Caprice (screenplay)
1964 The Disorderly Orderly (screenplay)
1963 Who's Minding the Store? (screenplay)
1962 Gigot (uncredited)
1962 Bachelor Flat
1961 Snow White and the Three Stooges (uncredited)
1960 Cinderfella (written by)
1958 The Geisha Boy (writer)
1958 Rock-a-Bye Baby (screen story and screenplay)
1957 Will Success Spoil Rock Hunter? (screen story and screenplay)
1956-1957G.E. True Theater (TV series)
– The Big Shooter (1957) (story / teleplay)
– The Honest Man (1956) (writer)
1956 The Girl Can't Help It
1956 The Best Things in Life Are Free (uncredited)
1956 The Scarlet Hour (story "The Kiss Off and screenplay")
1956 The Lieutenant Wore Skirts
1955 Artists and Models
1955 5 Against the House (uncredited)
1954 Red Garters (uncredited)
1953 Marry Me Again (writer)
1952 Son of Paleface (written by)
1952 The First Time
1951 The Lemon Drop Kid
1950 The Fuller Brush Girl (written by)
1950 Kill the Umpire (story and screenplay)
1950 The Good Humor Man (screenplay)
1950 A Woman of Distinction (additional dialogue)
1949 Love Happy (screenplay)
1949 Miss Grant Takes Richmond (screenplay)
1948 The Paleface (original screenplay)
1948 One Touch of Venus (screenplay)
1948 The Fuller Brush Man (screenplay)
1947 Mickey and the Beanstalk (short) (story - uncredited)
1947 Variety Girl
1947 The Way of Peace (short)
1946 Monsieur Beaucaire (uncredited)
1946 Double Rhythm (short) (screenplay)
1946 A Night in Casablanca (uncredited)
1946 The Lady Said No (short) (story)
1945 Delightfully Dangerous (story)
1943 A Corny Concerto (short) (story)
1942 A Hollywood Detour (short) (story)
1941 The Tangled Angler (short) (story)
1941 The Fox and the Grapes (short) (story)
1941 The Great Cheese Mystery (short) (story / as Tish Tash)
1940 Mr. Duck Steps Out (short) (story - uncredited)
1938 Brave Little Tailor (short)
1935 Thicker Than Water (short) (uncredited)
1935 The Fixer Uppers (short) (uncredited)
1935 Tit for Tat (short) (uncredited)
1942 Song of Victory (short) (supervisor)
1942 Old Blackout Joe (short) (supervisor)
1942 Bulldog and the Baby (short) (supervisor)
1942 Cinderella Goes to a Party (short) (supervisor)
1942 A Battle for a Bottle (short) (supervisor)
1942 Wolf Chases Pigs (short) (supervisor)
1942 Dog Meets Dog (short) (supervisor)
1942 Concerto in B Flat Minor (short) (supervisor)
1942 Wacky Wigwams (short) (supervisor)
1942 Under the Shedding Chestnut Tree (short) (supervisor)
1967 The Bear That Wasn't (short) (producer)
1959 Say One for Me (producer)
1957 Will Success Spoil Rock Hunter? (producer)
1956 The Girl Can't Help It (producer)
1956 G.E. True Theater (TV series) (producer - 1 episode)
– The Honest Man (1956) (producer)
1942 Woodsman, Spare That Tree (short) (producer)
1942 A Hollywood Detour (short) (producer)
1941 Red Riding Hood Rides Again (short) (producer)
1941 The Fox and the Grapes (short) (producer)
1986 Looney Tunes 50th Anniversary (TV movie) (director: classic animation)
1936 Porky's Poultry Plant (short) (character designer - uncredited)
1934 Honeymoon Hotel (short) (animator - uncredited)
1933 Buddy's Beer Garden (short) (animator - as Tish Tash)
1933 I've Got to Sing a Torch Song (short) (animator - uncredited)
1932 Redskin Blues (short) (animator - uncredited)
1946 Peter and the Wolf (short) (storyboard artist)
2011 Acid Head: The Buzzard Nuts County Slaughter (special thanks)
2003 The Dreamers (acknowledgment: director of "The Girl Can't Help It" (1956 -)
1995 Four Rooms (special thanks)
2004 Jerry Lewis at Work(video documentary short) as Himself>p> Honors
Tashlin directed and wrote more than twenty comedies in Hollywood and directed over sixty animated cartoons; many of his films became vehicles for artists such as Jerry Lewis, Bob Hope, Jayne Mansfield, and Doris Day. Tashlin made eight films with Jerry Lewis and won recognition and fame for his work with him. But he was practically unknown then and is perhaps mostly forgotten today. The reason could be that his sexual humor is now outdated – or perhaps his close working relationship with Jerry Lewis connected him to the unfavorable comments and references made towards Lewis, whether justifiably or not (3, p99) (4, p769) (15)

The Edinburgh International Film Festival (1973) and the Locarno Film Festival (1994) resulted in the publications of studies of Tashlin’s works. (4, p769) (15)

His comic book The Bear That Wasn’t brought excellent reviews and publicity, including a cover story in the Saturday Review of Literature (February 1946). New York Herald Tribune andLos Angeles Times found the story fun and a classic. (7) (11)

Tashlin’s Porky Pig in Swooner Crooner (1944) was nominated for an Oscar. (10)

Related Links
7. "Tashlin Bibliography." CommuniGate Pro Entrance. Web. 20 Sept.
2011. .
8. Barrier, Michael. " -- Interviews: Frank Tashlin." -- Exploring the World of Animated Films and Comic Art. Web. 9 Sept. 2011.
9. "Frank Tashlin | New York Review Books." Home | The New York Review of Books. Web. 9 Sept. 2011. .
10. "Animation Sensations, Animation Art Gallery, Warner Brothers Artwork, Porky Pig Cels, Drawings, Vintage, Storyboards." Animation Art Gallery | Animation Sensation: Animation Art, Cels, Drawings and Limited Editions. Web. 21 Sept. 2011. .
11."Frank Tashlin - Biography." The Internet Movie Database (IMDb). Web. 19 Sept. 2011. .
12. "Frank Tashlin - Filmbug." Filmbug Movie Stars. Web. 4 Sept. 2011. .
13. "Frank Tashlin - IMDb." The Internet Movie Database (IMDb). Web. 2 Sept. 2011. .
14.Tauber, Fritz. "Find A Grave - Millions of Cemetery Records and Online Memorials." Find A Grave - Millions of Cemetery Records. Web. 11 Sept. 2011. .
15. Seife, Ethan De. "Frank Tashlin." Senses of Cinema. Web. 11 Sept. 2011. .

Bibliographic References
1. Barrier, J. Michael. Hollywood Cartoons: American Animation in Its Golden Age. New York: Oxford UP, 1999. Print.
2. Beck, Jerry, and Will Friedwald. Warner Bros. Animation Art: the Characters, the Creators, the Limited Editions. [New York]: Hugh Lauter Levin Associates, 1997. Print.
3. Bendazzi, Giannalberto. Cartoons: One Hundred Years of Cinema Animation. Bloomington, IN: Indiana UP, 1994. Print.
4. Bogdanovich, Peter. Who the Devil Made It: Conversations with Robert Aldrich, George Cukor, Allan Dwan, Howard Hawks, Alfred Hitchcock, Chuck Jones, Fritz Lang, Joseph H. Lewis, Sidney Lumet, Leo McCarey, Otto Preminger, Don Siegel, Josef Von Sternberg, Frank Tashlin, Edgar G. Ulmer, Raoul Walsh. New York: Alfred A. Knopf, 1997. Print.
5. Cohen, Karl F. Forbidden Animation: Censored Cartoons and Blacklisted Animators in America. Jefferson, NC: McFarland &, 1997. Print.
6. Lloyd, Ann, Graham Fuller, and Arnold Desser, eds. The Illustrated Who's Who of the Cinema. New York: Macmillan Pub., 1983. Print.
Contributors to this Listing
Orkide Kadaster
Larry Loc

Animators Hall of Fame