The Magnificent Mademoiselles: Difference between revisions
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Maria humorously recalled that the Gylian animators "were ruthlessly focused on making a nice, fluffy, and sweet cartoon that would make anyone feel good", and rejected many suggestions and ideas that they felt clashed with the intended tone. She felt this benefited the series: | Maria humorously recalled that the Gylian animators "were ruthlessly focused on making a nice, fluffy, and sweet cartoon that would make anyone feel good", and rejected many suggestions and ideas that they felt clashed with the intended tone. She felt this benefited the series: | ||
{{blockquote|"The thing you have to understand is, Miss Mystery and Miss Vavoom are | {{blockquote|"The thing you have to understand is, Miss Mystery and Miss Vavoom are pampered by the cartoon — they never lose, they always get the upper hand, they always get handsomely rewarded, ''and the audience loves them for it''. The Gylians set the tone and they basically forced our writers to be more clever, more subtle. They pushed their minds to the limit, all in the service of finding ways to make Miss Mystery and Miss Vavoom loveable. Anything that seemed nasty or unpleasant or jerkish was axed on sight by the Gylians. It forced our writers to be funny without being mean."}} | ||
===Animation=== | ===Animation=== | ||
Revision as of 11:08, 7 October 2022
| The Magnificent Mademoiselles | |
|---|---|
 Logo of the series | |
| Genre | |
| Voices of | |
| Opening theme | "The Magnificent Mademoiselles", by Combustible Edison and The Sweethearts of Rhythm, sung by Valeria Martínez and Teresa Ganzel |
| Ending theme | "The Magnificent Mademoiselles" (instrumental) by Combustible Edison and The Sweethearts of Rhythm |
| Composer(s) | |
| Country of origin | |
| Original language(s) | |
| No. of episodes | 40 (120 segments) |
| Production company(s) |
|
| Release | |
| Original network | Gylias GTV4 Delkora DBS Teletoon |
| Original release | 6 June 1994 – 29 August 1997 |
The Magnificent Mademoiselles is a Gylian–Delkoran animated series which aired on GTV4 and DBS in 1994–1997. It was an international co-production between Studio Fantasia, the Gylian National Film Institute, and Tegneforening.
The show featured three cartoons per episode, with the first featuring Miss Mystery, the second featuring Miss Vavoom, and the third featuring them both together.
Segments
Miss Mystery
The first segment follows the adventures of Miss Mystery (voiced by Valeria Martínez), a private investigator.
Miss Mystery's adventures satirically employ mounoir devices, such as the constant foggy nighttime setting and Miss Mystery's tongue-in-cheek detective narration, only to reveal a modern setting with contemporary technology, slang, and fashion.
Miss Mystery is a strong-willed detective who faces down a variety of foes, ranging from the prosaic to the megalomaniacal. In order to defeat them, she mainly uses her wits and awareness that she's a cartoon character, allowing her to turn cartoon physics and slapstick against foes.
In appearance, she has long black hair and green eyes, and wears one constant outfit consisting of a black dress, a blue trenchcoat and fedora, and blue high heels. One recurring joke is for extras to mistake her for Carmen Silva, followed by her sarcastically remarking they can't tell the difference between blue and red.
Her segments always end with her triumphant and her antagonists arrested, and her playfully reminding the audience that "crime doesn't pay".
Miss Vavoom
The second segment follows the adventures of Miss Vavoom (voiced by Teresa Ganzel).
As implied by her name, Miss Vavoom is a cartoon bombshell who is fully aware of her attractiveness and its effect on others. Her first name and occupation depend on the segment. Among her various appearances, she has portrayed Alscian ace reporter Scoops Vavoom, race queen Jambalaya Vavoom, Holmesian character Beryl Vavoom (in a parody of The Hound of the Baskervilles), conservationist "Alligator" Kate Vavoom, film star Stardust Vavoom, chanteuse Melody Vavoom, showgirl Lolly Vavoom, and science fiction adventurer Tarna Vavoom.
Miss Vavoom leads a charmed life, which has helped make her an unflappable optimist. She knows she's a cartoon character and jokingly reminds the audience that things work out for her because she's the heroine. She enjoys attention and has numerous romantic and sexual encounters, but sets clear boundaries and enforces them against those who harass her. When she lacks the skill or knowledge to achieve a goal, she resorts to her sexual allure and seductiveness to get what she wants.
She is portrayed as utterly irresistible, with a distinctive strut that draws anyone's attention regardless of their gender, and her kisses cause exaggerated reactions in her love interests.
She is implied to have a superhuman tolerance for pain even by cartoon standards, being capable of enduring cartoon slapstick without appearing hurt or fazed in any way — a quality not shared by the antagonists.
Miss Vavoom's appearance changes constantly based on segment, with not even her eye colour remaining constant. She is usually depicted with either blonde or red hair, sports a variety of hairstyles, and wears clothes appropriate to the setting and occupation of the episode.
Her segments always end with her triumphant and basking in her victory with the audience. One example from an Alscian-set segment:
Scoops Vavoom: So, I got the scoop (quickly pulls out a paper from her outfit and shows the audience before putting it back), I got the reward (quickly pulls out a wad of banknotes and shows the audience before putting it back), and I got the love! (pulls into view her love interest and kisses him, causing him to be dazed and hop around) Ahh, it's wonderful to be me. All in a day's work for Scoops Vavoom! (adjusts her tie and blows a kiss at the audience before fade out)
Miss Mystery and Miss Vavoom
The third segment follows the adventures of Miss Mystery and Miss Vavoom together.
In these segments, Miss Mystery and Miss Vavoom are depicted as best friends since childhood, and address each other by their respective nicknames "Missy" and "Vav". Miss Vavoom's luck and implied invincibility are shown to complement Miss Mystery's street smarts.
The segments took different approaches to the team-up, with an equal split between Miss Vavoom joining Miss Mystery in her mounoir setting and Miss Mystery joining Miss Vavoom in her setting for a vacation from her work.
During these segments, Miss Vavoom's appearance is somewhat more consistent, with blonde hair and a peek-a-boo hairstyle.
Every episode would end the same way. In the final scene, Miss Mystery and Miss Vavoom are shown together, with their faces full of kiss marks. A smirking Miss Mystery asks, "Well, Vav, are you satisfied?", and an overjoyed Miss Vavoom replies, "Oh, Missy, I'm more than satisfied!", followed by an iris out.
Production
The series originated as a collective Studio Fantasia project, initially based only around Miss Mystery. The studio contacted Delkoran developer Brøderbund to acknowledge the character's similarity to Carmen Silva and ask for their permission to continue the project. Around the same time, Brøderbund was working with Tegneforening on pre-production of Where on Earth Is Carmen Silva?. Brøderbund not only approved Studio Fantasia's idea, they also put the team in contact with Tegneforening, and the project became a Gylian–Delkoran co-production.
The series was produced by Studio Fantasia, the Gylian National Film Institute, and Tegneforening between 1994 and 1997. Production greatly benefited from the recruitment of Maria Bille, the grande dame of Delkoran animation. Maria was the one who suggested the "three shorts" format, and helped develop Miss Vavoom, envisioned as "a tribute to all the cartoon sirens throughout the ages", ranging from Betty Boop and Tex Avery's Red Hot Riding Hood to some of Gylias' own representatives like Agent Jane, Suzie, and Aurelia Nyşel.
Valeria Martínez and Teresa Ganzel were cast as the main characters. Teresa later said Miss Vavoom was her favourite role of her career, praising the character's range:
"I remember one episode in particular where just in the beginning, Miss Vavoom starts as a sweetheart 'good femme fatale', completely seduces the guy in question, starts crying uncontrollably when she's having trouble convincing him to help her, and then once he agrees, she kisses him and then we see her proudly fixing her hair and make-up in a pocket mirror. And that's just one sequence! I loved that she could just change so easily from sweet to seductive to strong-willed and was still recognisably the same character."
Maria humorously recalled that the Gylian animators "were ruthlessly focused on making a nice, fluffy, and sweet cartoon that would make anyone feel good", and rejected many suggestions and ideas that they felt clashed with the intended tone. She felt this benefited the series:
"The thing you have to understand is, Miss Mystery and Miss Vavoom are pampered by the cartoon — they never lose, they always get the upper hand, they always get handsomely rewarded, and the audience loves them for it. The Gylians set the tone and they basically forced our writers to be more clever, more subtle. They pushed their minds to the limit, all in the service of finding ways to make Miss Mystery and Miss Vavoom loveable. Anything that seemed nasty or unpleasant or jerkish was axed on sight by the Gylians. It forced our writers to be funny without being mean."
Animation
The series used digital ink and paint, and Delkoran-style character designs rather than the typical anime influence of Gylias.
As a supervisor of animation on the show, Maria Bille told Animonthly that her ambition was to steer it towards "the most fluid and detailed character animation you could see on television." The animators thus largely cut corners on backgrounds, which were limited and static, in order to focus on character movement and inbetweening.
Style
The Magnificent Mademoiselles deliberately employed a "retro" style of animation and setting. Much of the humour came from creative anachronisms and breaking the fourth wall: Miss Mystery and Miss Vavoom are both aware they are cartoon characters, regularly deliver asides and soliloquies directly to the audience, and occasionally escape from danger by rewriting the script on the spot, reaching out of the frame to grab an eraser from the animator's desk, and similar methods.
The production, particularly on the Gylian side, adhered to the Good Practices Code, and regularly made good-natured allusions to sexuality without showing it explicitly. The most common methods included scenes where Miss Vavoom's love interest bows out of view and the camera remains tightly focused on her as she reacts in a way that makes it clear she's receiving oral sex, or scenes showing a closed door with Miss Vavoom and her love interest making suggestive and happy moans, before they both exit the room fully dressed and complementing each other on their performance.
The soundtrack was similarly composed of "old-fashioned" jazz, particularly influenced by big band music, composed by Susan Shelley and Combustible Edison. The opening theme was a full-on big band number performed by Combustible Edison and The Sweethearts of Rhythm, with boastful lyrics sung by Valeria and Teresa as Miss Mystery and Miss Vavoom; it was reprised instrumentally for the end credits.
Several episodes featured musical numbers for Miss Vavoom, with lyrics provided by Evelin Tanli. These were among her last completed works before her death in 1995. She was replaced by several other songwriters for subsequent episodes.
The soundtrack was critically acclaimed, and is emblematic of the post-Jenny Ford transformation of older Gylian jazz styles into "the soundtrack to sex appeal", in Liisa Salmela's words.
Several songs from the soundtrack became hits outside of the cartoon. These included "Let's Get You Dolled Up Nicely", the cue that plays when Miss Mystery helps Miss Vavoom pick her wardrobe before going out, and "Hold On To Your Hat", the cue that plays when Miss Vavoom is heavily implied to receive oral sex off-camera. The latter, praised by Sonic Review as "brilliantly sultry and classy", became a beloved jazz standard, and especially popular in Gylian strip clubs. In the documentary Susan Shelley: A Musical Life, Susan expressed pride in this, stating: "A good strip club needs good taste."
Broadcasting
The Magnificent Mademoiselles aired on both GTV4 and DBS. GTV4 aired it daily from Monday to Friday, as was customary, while DBS aired one episode per week, simulcast on Teletoon. Delkoran reruns mainly took place on Teletoon.
The differing broadcast schedules created some confusion regarding the order of episodes, which was only dispelled by its home video release.
While Miss Mystery was initially regarded as a "Carmen Silva ripoff", since even Studio Fantasia acknowledged the similarity in appearance, delays in the production of Where on Earth Is Carmen Silva? ironically caused it to premiere in the same month as The Magnificent Mademoiselles. The two series shared some personnel on both Gylian and Delkoran sides, particularly in the screenwriting and animation department, such as Maria Bille.
Several bumpers and interstitials starring the main characters were also produced for use on GTV4 and Teletoon. These featured crossovers between different cartoons: one had Miss Mystery and Carmen Silva bump into each other, with Miss Mystery remarking "You look familiar…", only for Carmen to laugh and tell the audience, "I get that a lot."
Reception
The Magnificent Mademoiselles was a critical and commercial success upon airing. Reviewers praised its strong characters, clever pop culture references, playful allusions to sexuality, and animation. Animonthly described the show as "one of the most gorgeously-animated series to appear on television in decades".
Delkoran reviewers similarly noted the profusion of "big names" of Gylian and Delkoran animation that worked on the show, and regarded it as something of an "all-star" project.
The series began to be uploaded to Proton TV during its run, and was later released on DVD.
Legacy
The Magnificent Mademoiselles was one of the first "Delkoran-style" cartoons to achieve widespread success in Gylias, which some analysts see as a precursor to several Delkoran cartoons that achieved the Gylian breakthrough, including Where on Earth Is Carmen Silva? and The New Adventures of Lotte Lang.
Surface described it in 2014 as a "beloved gem of the 1990s" and "one of the best cartoons of the decade".
The series proved a star-making role for Teresa Ganzel, who earned recognition as one of Gylias' premier voice actors and expressed a fondness for Miss Vavoom as her favourite role, showing enthusiasm in later years for reprising the role for cameo appearances or comedic sketches. She would later title her memoir More Than Satisfied, after Miss Vavoom's episode-closing catchphrase.
Maria Bille wrote in her memoirs that The Magnificent Mademoiselles was one of her favourite projects, saying that she felt less "pressure" compared to the more ambitious The New Adventures of Lotte Lang, and expressed great satisfaction with the animation, in particular Miss Mystery and Miss Vavoom's voluptuous walks. She also praised the production's camaraderie and close collaboration between Gylians and Delkorans, and stated: "I felt sad the day The Magnificent Mademoiselles ended. I hated to have to part with this dynamic lady duo I've come to love so much."
Dreamwave Productions drew on the influence of The Magnificent Mademoiselles for their anime The Amazing Inflatable Girl, and specifically hired Teresa Ganzel for the lead role due to her performance as Miss Vavoom.
Đổng Mộng Thanh acknowledged The Magnificent Mademoiselles as an influence on the animated adaptation of the Rainbow Mistress series.