Post by Doghouse6 on Aug 5, 2019 14:07:46 GMT
Those obviously looped voices were a peculiar aspect of Warner Bros films of the mid-'50s; similarly exaggerated ones can be heard in A Star Is Born, The High and the Mighty and Rebel Without A Cause, for instance.
Warners had a number of regularly-used voice artists who supplied lines for minor characters in the Looney Tunes animated shorts (Mel Blanc couldn't do everything), and they were sometimes pressed into service for looping work on live-action features as well. These recording sessions were not usually supervised by the films' credited directors and, in the case of Mister Roberts, the recording director, or whoever was responsible for casting these voice artists for the given jobs, seems to have gone overboard with the idea that the scenes you reference were basically comedic.
As far as music substitutions are concerned, those most commonly have to do with rights clearances. A particular composition not written by the film's credited composer might be cleared for one form of distribution, but not for others. And so for broadcast or home video distribution, changes would be made. Such issues have kept entire films from the home video market in cases where musical performances comprised significant portions of those films; 1971's Taking Off and 1978's American Hot Wax are two examples.
Warners had a number of regularly-used voice artists who supplied lines for minor characters in the Looney Tunes animated shorts (Mel Blanc couldn't do everything), and they were sometimes pressed into service for looping work on live-action features as well. These recording sessions were not usually supervised by the films' credited directors and, in the case of Mister Roberts, the recording director, or whoever was responsible for casting these voice artists for the given jobs, seems to have gone overboard with the idea that the scenes you reference were basically comedic.
As far as music substitutions are concerned, those most commonly have to do with rights clearances. A particular composition not written by the film's credited composer might be cleared for one form of distribution, but not for others. And so for broadcast or home video distribution, changes would be made. Such issues have kept entire films from the home video market in cases where musical performances comprised significant portions of those films; 1971's Taking Off and 1978's American Hot Wax are two examples.