Goofy

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Goofy_Movie,_A :: Goofy :: Goofy_Gophers

Goofy is a fictional character from the Walt Disney's Mickey Mouse universe. He is an anthropomorphic dog and is one of Mickey Mouse's best friends. In cartoon shorts created during the 1950s, his name was given as both "George Geef" and "G.G. Geef", implying that "Goofy" was a nickname. Contemporary sources, including the Goof Troop television show and A Goofy Movie, now give the character's full name to be Goofy Goof. The Goof Troop pilot also refers to 'G. G. Goof' on a diploma, likely a reference to the original name. Although he is not extremely intelligent Goofy's main flaw is, predictably, clumsiness.

His former wife has never been shown, Goofy is unique in having a son, Max Goof, instead of a nephew like some other Disney characters. Goofy has his alter ego, called Super Goof. He usually flies above the city in a red pyjama and a characteristic hat and helps the people, just like Superman does. He is a clear parody of Superman. His favourite "shout" is Ta-Dah. For the detailed description, see the chapters that follow.

A career in animation

Goofy first appeared in Mickey's Revue, first released on May 25, 1932. Directed by Wilfred Jackson this short features Mickey Mouse, Minnie Mouse, Horace Horsecollar and Clarabelle Cow performing another song and dance show. Mickey and his gang's animated shorts by this point routinely featured song and dance numbers. It begins as a typical Mickey cartoon of the time, but what would set this short apart from all that had come before was the appearance of a new character, whose behavior served as a running gag. Dippy Dawg, as he was named by Disney artists, was a member of the audience. He constantly irritated his fellow spectators by noisily crunching peanuts and laughing loudly, till two of those fellow spectators knocked him out with their mallets. This early version of Goofy had other differences with the later and more developed ones besides the name. He was an old man with a white beard, a puffy tail and no trousers, shorts or undergarments. But the short introduced Goofy's distinct laughter. This laughter was provided by Pinto Colvig. He would serve as Goofy's voice actor until 1965. He was then replaced by (in order) George Johnson, Bob Jackman, Hal Smith, Tony Pope, Will Ryan, and currently, Bill Farmer.

A considerably younger Dippy Dawg then appeared in The Whoopee Party, first released on September 17, 1932, as a party guest and a friend of Mickey and his gang. Dippy Dawg made a total of four appearances in 1932 and two more in 1933, but most of them were mere cameos. But by his seventh appearance, in The Orphan's Benefit first released on August 11, 1934, he gained the new name "Goofy" and became a regular member of the gang along with new additions Donald Duck and Clara Cluck.

Mickey's Service Station directed by Ben Sharpsteen, first released on March 16, 1935, was the first of the classic "Mickey, Donald, and Goofy" comedy shorts. Those films had the trio trying to cooperate in performing a certain assignment given to them. Early on they became separated from each other. Then the short's focus started alternating between each of them facing the problems at hand, each in their own way and distinct style of comedy. The end of the short would reunite the three to share the fruits of their efforts, failure more often than success. Clock Cleaners, first released on October 15, 1937, and Lonesome Ghosts, first released on December 24, 1937, are usually considered the highlights of this series and animated classics. The later short has the trio as members of the agency "Ajax Ghost Exterminators" or as, often described later, precursors of the Ghostbusters. They are hired by phone to evict a number of ghosts from a haunted house. Unknown to them they were hired by the ghosts themselves, four lonesome ghosts who are bored because nobody has visited the house they are haunting for a long time. They wish to play tricks on the mortals. And they do through a series of inventive gags, but by the end the trio has managed to scare the ghosts out of the house. As Donald observes "So you can't take it, you big sissies!". But Goofy offers what is considered the short's most memorable quote while warily looking around him: "I'm brave but I'm careful”."

Progressively during the series Mickey's part diminished in favor of Donald and Goofy. The reason for this was simple. Between the easily frustrated Donald and the always-living-in-a-world-of-his-own Goofy, Mickey—who became progressively gentler and more laid-back—seemed to act as the straight-man of the trio. The Studio's artists found that it had become easier coming up with new gags for Goofy or Donald than Mickey, to a point that Mickey's role had become unnecessary. Polar Trappers, first released on June 17, 1938, was the first film to feature Goofy and Donald as a duo. The short features the duo as partners and owners of "Donald and Goofy Trapping Co." They have settled in the Arctic for an unspecified period of time, to capture live walruses to bring back to civilization. Their food supplies consist of canned beans. The focus shifts between Goofy trying to set traps for walruses and Donald trying to catch penguins to use as food—both with the same lack of success. Mickey would return in The Whalers, first released in August 19, 1938, but this would be the last short of the 1930s to feature all three characters.

Goofy next starred at his first solo cartoon Goofy and Wilbur directed by Dick Huemer, first released in March 17, 1939. The short featured Goofy fishing with the help of Wilbur, his pet grasshopper.

In the 1940s Goofy did a series of solo How to... cartoons in which he would demonstrate, clumsily but always determined and never frustrated, how to do everything from snow ski, to sleeping, to football, to riding a horse. Goofy had little dialogue in these cartoons, and a narrator was used. The Goofy How to... cartoons worked so well they that they became a staple format, and are still used in current Goofy shorts.

Later, starting with How to Play Baseball (1942), Goofy starred in a series of cartoons where every single character in the cartoon was a different version of Goofy. This took Goofy out of the role of just being a clumsy cartoon dog, and into a more complex role of symbolizing the struggles of the common man. The epitome of this staid everyman role for Goofy was in the cartoon No Smoking (November 23, 1951) where Goofy, in a world of Goofies, struggles desperately with nicotine addiction. The cartoon, a divergence into an edgier subject (something Disney has always tried to avoid), is now rarely if ever seen due to popular culture's aversion to cigarettes.

Interestingly, in his cartoon shorts produced during the 1950's (popularly categorized as the "Goofy the Everyman" period), he was never called "Goofy" in the cartoons. While every cartoon continued with the opening, "Walt Disney presents Goofy", before each cartoon's title, he was given the name "George Geef" or "G.G. Geef" in the stories, implying "Goofy" to be a nickname, even though it is never spoken in any of those shorts.

After the 1961 short Aquamania, Goofy was all but retired except from cameos and a brief appearance in Who Framed Roger Rabbit. In the 1990s Goofy got his own TV series called Goof Troop. In the show Goofy lives with his son Max and his cat Waffles, and they live next door to Pete and his family. Goof Troop eventually led to Goofy starring in his own movies: A Goofy Movie in (1995) and An Extremely Goofy Movie in (2000).

Goofy reverted back to his traditional personality on Mickey Mouse Works and appeared as head waiter on House of Mouse.

Goofy also appears in the children's television series Disney's Mickey Mouse Clubhouse.

Art Babbitt's analysis of Goofy

During the mid to late 1930s, classes were held at the Disney studios for aspiring animators. Led by more experienced artists, these classes taught the methods, techniques and lowdowns of each character and how they should be approached once and for all. Although many of such lectures were dry and technical, the lecture on the analysis of Goofy as taught by Art Babbitt, who is most regarded at the studio for the creation of the character, was so fairly remarkable that it deserves to be reprinted here in this article in its entirety. Here's exactly what Babbitt said in his own words:

It is difficult to classify the characteristics of the Goof into columns of the physical and mental because they interweave, reflect and enhance one another. Therefore, it will probably be best to mention everything all at once. Think of the Goof as a composite of an everlasting optimist, a gullible Good Samaritan, a halfwit and a shiftless, good-natured hick. He is loose-jointed and gangly, but not rubbery.

He can move fast if he has to, but would rather avoid any overexertion, so he takes what seems to be the easiest way. He is a philosopher of the barber shop variety. No matter what happens, he accepts it finally as being for the best or at least amusing. He is willing to help anyone and offers his assistance even when it is not needed and just creates confusion. He very seldom, if ever, reaches an objective or completes what he has started. His brain being rather vapory, it is difficult for him to concentrate on any one subject. Any little distraction can throw him off his train of thought and it is extremely difficult for the Goof to keep to his purpose. Yet the Goof is not the type of halfwit that is to be pitied. He doesn't dribble, drool or shriek.

He has music in his heart, even though it is the same tune forever and I see him humming to himself while working or thinking. He talks to himself because it is easier for him to know what he is thinking if he hears it first.

His posture is nil. His back arches the wrong way and his little stomach protrudes. His head, stomach and knees lead his body. His neck is quite long and scrawny. His knees sag and his feet are large and flat. He walks on his heels and his toes turn up. His shoulders are narrow and slope rapidly, giving the upper part of his body a thinness and making his arms seem long and heavy, though actually not drawn that way. His hands are very sensitive and expressive and though his gestures are broad, they should reflect the gentleman.

Never think of the Goof as a sausage with rubber hose attachments. Though he is very flexible and floppy, his body still has a solidity and weight. The looseness of his arms and legs should be achieved through a succession of breaks in the joints rather than what seems like the waving of so much rope. He is not muscular, yet has the strength and stamina of a very wiry person.

His clothes are misfits: his trousers are baggy at the knees and the pants legs strive vainly to touch his shoe tops but never do. His pants droop at the seat and stretch tightly across some distance below the crotch. His sweater fits him snugly except for the neck and his vest is much too small. His hat is of a soft material and animates a little bit.

The Goof's head can be thought of in terms of a caricature of a person with a pointed dome; large, dreamy eyes, buck teeth and a weak chin, a large mouth, a thick lower lip, a fat tongue and a bulbous nose that grows larger on its way out and turns up. His eyes should remain partly closed to help give him a stupid sleepy appearance, as though he were constantly straining to remain awake. But, of course, they can open wide for expressions or accents. He blinks quite a bit.

He is very bashful. Yet when something stupid has befallen him, he mugs the camera like an amateur actor with relatives in the audience, trying to cover up his embarrassment by making faces and signaling to them. He is in close contact with sprites, goblins, fairies and other such fantasia. Each object or piece of mechanism, which to us is lifeless, has a soul and personality in the mind of the Goof.

The improbable becomes real where the Goof is concerned. He has marvelous muscular control of his fanny. He can do numerous little flourishes with it and his fanny should be used whenever there is an opportunity to emphasize a funny position.

Well, this little analysis has covered the Goof from top to toes, and having come to his end, I end.

Comics

Comic strips first called the character Dippy Dawg but eventually his name changed to Goofy by 1939.

The comic strips drawn by Floyd Gottfredson for Disney were generally based on what was going on in the Mickey Mouse shorts at the time. But when Donald Duck's popularity led to Donald Duck gaining his own newspaper strip, Disney decided that he was no longer allowed to appear in Gottfredson's strips. Accordingly Goofy remained alone as Mickey's sidekick. Similarly in comics the Mickey Mouse world with Goofy as Mickey's sidekick was usually very separate from the Donald Duck world and crossovers were rare.

In the comics Goofy also had a secret identity known as Super Goof, who appeared again later in an episode of Disney's House of Mouse.

In 1990, when Disney was publishing their own comics, Goofy starred in Goofy Adventures, which featured him starring in various parodies. Unfortunately, perhaps because of poor sales, Goofy Adventures was the first of the company's titles to be cancelled by the Disney Comics Implosion, ending at its 17th issue. Oddly enough, Goofy Adventures was the only one of the cancelled titles to declare its cancellation right there; the other unfortunate titles ended abruptly with no immediate announcement of their cancellation.

Theatrical cartoons

Goofy and Wilbur (1939)
Goofy's Glider (1940)
Baggage Buster (1941)
The Art of Skiing (1941)
The Art of Self Defense (1941)
How to Play Baseball (1942)
The Olympic Champ (1942)
How to Swim (1942)
How to Fish (1942)
Victory Vehicles (1943)
How to Be a Sailor (1944)
How to Play Golf (1944)
How to Play Football (1944)
Tiger Trouble (1945)
African Diary (1945)
Californy'er Bust (1945)
Hockey Homicide (1945)
A Knight For a Day (1946)
Double Dribble (1946)
Foul Hunting (1947)
They're Off (1948)
The Big Wash (1948)
Tennis Racquet (1949)
Goofy Gymnastics (1949)
Motor Mania (1950)
Hold That Pose (1950)
Lion Down (1951)
Home Made Home (1951)
Cold War (1951)
Tomorrow We Diet (1951)
Get Rich Quick (1951)
Fathers Are People (1951)
No Smoking (1951)
Father's Lion (1952)
Hello, Aloha (1952)
Man's Best Friend (1952)
Two-Gun Goofy (1952)
Teachers Are People (1952)
Two Weeks Vacation (1952)
How to Be a Detective (1952)
Father's Day Off (1953)
For Whom the Bulls Toil (1953)
Father's Week End (1953)
How to Dance (1953)
How to Sleep (1953)
Aquamania (1961)

Voices of Goofy

Disney has gone through seven voices for Goofy, compared to three for Mickey and only two for Donald.

Pinto Colvig 1932 - 1938; 1944 - 1965 (his death in 1967)
George Johnson 1939 - 1943
Bob Jackman - 1951
Hal Smith - 1983
Tony Pope - 1988 (Who Framed Roger Rabbit)
Will Ryan
Bill Farmer (current) 1986 - present

Also, Goofy's trademark scream -- known as the "Goof yell" -- was provided by Hannès Schrolle ^*, who did all the yodeling in The Art of Skiing (where the yell originated). In the Japanese version of the Kingdom Hearts series, Goofy was voiced by Yutaka Shimaka.

Video games

Goofy is captain of the royal guard at Disney Castle in the Kingdom Hearts video game series. Averse to using actual weapons, Goofy fights with a shield. This job doesn't involve much, since the castle is usually a peaceful place, until King Mickey Mouse, husband of Queen Minnie Mouse, disappears. Following a letter the King left, he and Donald (the court magician) meet Sora and embark on a quest with him.

In the game series, Goofy still functions as comic relief, but is also a constant voice of optimism and (surprisingly) perception.

He (along with Donald Duck) travels with Sora (the main character of the Kingdom Hearts series) to various worlds to find King Mickey and Sora's friends, Riku and Kairi (two other main characters of the series.) In Kingdom Hearts II Goofy can disappear from the party and make Sora much more powerful by fusing with him into the Valor Form.

Goofy also starred in Super Nintendo`s puzzle game Goof Troop alongside his son Max.

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