#from least to most: horton hears a who/the lorax/how the grinch stole christmas/the cat in the hat

[falllpoutboy]

love that all the modern dr seuss movies all range from a little unhinged to VERY unhinged

[gugf]

How would you ranked the dr Seuss movies?

OH oh thanks for that question!!!

You mean all or just the feature length ones?

Ah, my top tiers are not feature length, anyway.

Maybe I'm just really into old cartoons...

I'll do top 5 on both.

1) Lorax (1972). I can't help it, when I'm sucker for dark things I'm sucker.

I adore the aesthetic all throughout the movie. Animation, color choices, songs, steampunk architecture cheffs kiss. They find so many ways not to show not only Onceler's face but his whole body. This man just feels like an eldritch capitalistic creature.... And this suits the whole thing so well.... Not to mention the changes they made for his character overall.

What can i say, it's the darkest and saddest out of them all. Story vise and visually. No wonder it got such strong emotional response. Poor Lorax, poor Onceler (I mean, of course, he deserved all this, but also on top of that family just leaves after he became useless, seriously, PRICKS), poor animals, poor everything.

The message just enhances from the whole animated potrayal, and these segments just ooze misery and despair from the screen. Wow, i sure am relieved that climate just whipes us all, and we wouldn't be stuck for long in this horrible mud and fumes.

2) Horton Hears A Who (1970)

It's eldritch. It's magnificent. I can't how after all these years it's still right on spot. I guess that's how you make a timeless story.

Ah, yes, adaptation. The animation is some places is outstanding and SONGS SLAP SOOO HARD. They slap in every movie, but here I just adore every one of them. I prefer this version to movie, because of more consistent tone. It remains this seriousness and sence of dread, poor Horton can't even rest most of the time. For me it just makes it more inspiring. Fighting is hard, and may be even exhausting, but in the end, all more worth it when people finally standing by your side. Always make sure you are heard.

I mean, at least that's how i read it.

3) How The Grinch Stole Christmas! (1966)

Out of all three adaptations, of course, it's still my favorite. This version just hits that core for me. It's really cute. It worms my heart. Tony was totally his ex.

Grinch is just right amount of mean. He's malicious, but in a believable and calculated way. Not in obnoxious manner. A grumpy old person, who also constantly abuses his dog for some reason level. He steals the breadcrumbs, guys, what a man! They added a lot of fun and cute details like these. And the whole mountain slide scene is so iconic, why is he so needlessly cruel omg? I guess the failed business and relationships really messed him up...

This movie is really full of imagination and cute stuff. It easily lighters my mood, and also didn't screw up commentary on a holiday itself, what's not to love?

4) Cat In A Hat (1971)

Oh look, all classics in a row. I guess, I'm really that predictable. I really really like how it looks, the colors, and how characters move. It's so adorable...

But I still feel bad for the fish, I mean, not like concerns weren't valid?

Characters are just really fun, i'll say. This movie is just comfy.

(It's unrelated information, but they really butchered russian in that language song. What they said is basically "Hat in a hat". The right way would be pronounced like "Kot v shlape" or "Koshak v shlape" if it needs to rhyme, but that's just a pet peeve).

5) Halloween Is Grinch Night (1977).

I really like the aesthetic. Mc with round glasses might be one of my favorite genders. Easily the Halloween classic.

A lot of really cool surrealism (Gives me particular Yume Nikki vibes).

But I kinda question Grinch's motives. If his concern is really the sound, than what's with the time limit? Looks like he just needs a justification, huh.

And for feature length:

1) Horton (2008). I mean, it's kinda cute. Even enjoyable as an adaptation.

2) Lorax (2012). Purely for memes, the biggering and tumblr sexy man (original was hotter though). So bad it's good, but as an adaptation strongly won't recommend.

4) Grinch (2019). Snow looked pretty and they added that scene at the end, but oh boy how they massacred my boy. Had an untapped potential.

3) Grinch (2000). I liked costuming (but still feel bad for the actors) and set design but not really a color palette. My mom likes it, but not for me. Too noisy.... And i just can't stand some scenes.

5) I needed to fill the gap so Cat (2003) goes here. Set design was neat.

[dweemeister]

The 5,000 Fingers of Dr. T (1953)

Theodore Geisel, better known as Dr. Seuss, remains best-known for his children’s books. The Cat in the Hat; Green Eggs and Ham; and Oh, the Places You’ll Go! are household names in English-language literature. Seuss’ bibliography overshadows his work in films, beginning with the adapted screenplay of his own book, The 500 Hats of Bartholomew Cubbins (1943) – directed by George Pal as part of the Puppetoons series. During WWII, Seuss was heavily involved in propaganda films and the Private Snafu (1943-1946) military training films. After the war’s end, Seuss returned to writing children’s books, but also continued to write for movies. The Academy Award-winning animated short film Gerald McBoing-Boing (1950) benefitted from Seuss’ story work, and Seuss’ success there inspired him to write a screenplay for a live-action fantasy film. That screenplay – the unwieldy rough draft coming in at over 1,200 pages – was The 5,000 Fingers of Dr. T. The eventual movie, produced by Stanley Kramer (1960’s Inherit the Wind, 1961’s Judgment at Nuremberg) and directed by Roy Rowland (1945’s Our Vines Have Tender Grapes, 1956’s Meet Me in Las Vegas) for Columbia Pictures, would be Seuss’ only involvement in a non-documentary feature film.

Like many who speak English as their first language, Dr. Seuss’ books graced my early childhood. So integral to numerous children’s youth is Seuss that his whimsy, wordplay, and authorial stamps are easily recognizable. In that spirit, the cinematic record of live-action Seuss adaptations consists of the scatological Jim Carrey in How the Grinch Stole Christmas (2000) and the visual nightmare that is Mike Myers as The Cat in the Hat (2003). Compared to the original works, both films are ungainly, casually cruel, and overcomplicated. Not promising company for Dr. T. But even taking into account the three animated feature adaptations of Seuss – Horton Hears a Who! (2008), The Lorax (2012), and The Grinch (2018) – and the fact that Columbia forced wholesale deletions from the rough draft script of Dr. T to achieve a feasible runtime, The 5,000 Fingers of Dr. T is arguably the most faithful feature adaptation to Dr. Seuss’ authorial intent and signature aesthetic.

In other words, this is one of the strangest films you may ever encounter. No synopsis I could write in one paragraph will ever capture the film’s bizarreries.

Little Bart Collins (Tommy Rettig) is asleep during piano practice and his teacher, Dr. Terwilliker (Hans Conried), is furious. His overworked, widowed mother Heloise (Mary Healey) intuits Terwilliker’s unrealistic expectations (Terwilliker wants to teach the next Paderewski) towards Bart’s piano skills and inability to concentrate. Heloise also appears to be quietly eyeing the plumber August Zabladowski (Peter Lind Hayes) and his wrench. With the lesson done for the day, Bart falls asleep again. This time, he dreams that Terwilliker is now the leader of the Terwilliker Institute, a pianist supremacy mini-state which is built upon five hundred young pianist slave boys (hence, 5,000 fingers) forcibly playing Terwilliker’s latest compositions. His mother is Terwilliker’s unwilling, hypnotized assistant and plumber August Zabladowski (Hayes is essentially playing the same character, but in a different world) is Bart’s only ally around. Together, Bart and Mr. Zabladowski must evade the Institute’s guards as they attempt to undermine Terwilliker’s plans for his next concert.

In its final form, The 5,000 Fingers of Dr. T is a muddled mess of a story. The analogues between Bart’s reality and his dreams are inconsistent, several would-be subplots never resolve (or at the very least develop beyond a basic idea), and the film’s initial lightness is subject to rapid mood swings that make this picture feel disjointed. Indeed, Seuss’ sprawling social commentary in his first draft – including allegories and themes of post-WWII totalitarianism, anti-communism, and atomic annihilation – is in tatters in this final product. The viewer will witness brief fragments of those ideas, remaining in this movie as the barest of hints of the contents of the original screenplay’s rough draft. Even now, Dr. T inspires psychiatric analyses and accusations that Bart’s relationship with his mother reveals signs of an Oedipal complex (to yours truly, the latter is too much of a reach). The grim nature of Terwilliker Institute renders Dr. T unsuitable for the youngest children. For older children and adults, try going into this movie without expectations of narrative logic and embrace the grotesque aspects that only Seuss could imagine.

If my attempts to describe this movie’s preposterousness through its narrative and screenwriting approach have failed, perhaps I can capture that for you by writing on its technical features.

For its sheer narrative inventiveness – inconsistencies, abrupt tonal shifts, nonsense, and Rowland’s uninspired direction aside – The 5,000 Fingers of Dr. T is nevertheless an ambitious film, and Columbia bequeathed a hefty budget to match that ambition. Much of that budget went to the film’s visuals. This is an extravagantly-staged motion picture, as nothing could do Dr. Seuss’ illustrations justice without fully committing to his geometric impossibilities: skyward ladders and improbable connections between rooms, an eschewal of right angles and straight lines, and architecture bound to raise the ire of physics teachers. One could compare this to German Expressionism, but Dr. T’s sets tend not to dictate the film’s mood nor are they subject to high-contrast lighting. Seuss went uncredited as the concept artist on Dr. T, and it was up to Clem Beauchamp (1935’s The Lives of a Bengal Lancer, 1952’s High Noon) and the uncredited matte artists to commit those visuals to the real world. Outside of animated film, Beauchamp and the matte artists succeed in creating twisted sets that seem to leap off the pages of Seuss’ most artistically interesting books. Some of the sets appear too stagebound, but the production design accomplishes its need to resemble a world borne from a fever dream (or, at least, a young pianist’s nightmare).

This movie’s outrageous costume design (other than Jean Louis’ gowns for Mary Healey, the costume designer/s for this film are uncredited) comprises absurd uniforms and two of the most ludicrous hats – the “happy fingers” cap (see photo at the top of this write-up) and whatever the hell Terwilliker dons in the film’s climax – one might ever see in a film. Most of the costumes are laughably impractical and ridiculous to even those without fashion sense. In what might be the tamest example, while working under Terwilliker, Bart’s mother wears a suit that is all business formal on the left-hand side and bare-shouldered, sleeveless, and nightclub-y on the right. The delineation of real life – which barely features in the film’s eighty-nine minutes – and this world of Bart’s dreams could not be any more unambiguous thanks to the combination of the production and costume design work.

The disappointing musical score by Fredrich Hollaender (1930’s The Blue Angel, 1948’s A Foreign Affair) and song lyrics by Seuss rarely connects to the larger narrative unfolding. Seven songs make the final print, with nine (yikes!) Hollaender-Seuss songs ending up on the cutting room floor. Seuss’ wordplay is evident, as are Hollaender’s melodic flourishes. Columbia, a studio not known for its musicals, assembled a 98-piece orchestra – the largest musical ensemble to work on a Columbia film at the time – for The 5,000 Fingers of Dr. T alone. That lush sound is apparent throughout for the numerous nonsense songs that color the score in addition to the incidental score. It is unusual to listen to a collection of novelty songs orchestrated so fully. Listen to “Dressing Song: Do-Mi-Do Duds” and its complicated, seeming unsingable lines:

Come on and dress me, dress me, dress me In my peek-a-boo blouse With the lovely inner lining made of Chesapeake mouse! I want my polka-dotted dickie with the crinoline fringe For I'm going doe-me-doe-ing on a doe-me-doe binge!

The rich orchestration seems to hail from a more lavish film. But too many of these songs are scene-specific, and rarely does Hollaender utilize musical quotations from these songs into his score. “Get Together Weather” is delightful, but it seems so isolated from the rest of the film; elsewhere, “The Dungeon Song” exemplifies a macabre side to Seuss seldom appearing in his books. Nevertheless, Hollaender is able to demonstrate his playfulness across the entire film, none moreso during any scene with the bearded, roller-skating twins and the “Dungeon Ballet”, in which the music complements stunning choreography and fascinating props that recall the jingtinglers, floofloovers, tartookas, whohoopers, slooslunkas, and whowonkas from the Christmas television special How the Grinch Stole Christmas! (1966). Yet, Hollaender’s film score and the soundtrack with Seuss seems to demand something – anything – to tie the entire compositional effort together. Perhaps a song or some cue like that was cut from the film, which is ultimately to its detriment.

Hans Conried (who starred as Captain Hook in Disney’s Peter Pan several months prior to Dr. T’s release) stands out from a decidedly average Peter Lind Hayes and Mary Healey – Hayes and Healey, in a sort of in-joke, were married. Conried’s performance as the sadistic, torture- and imprisonment-happy music teacher can be considered camp, but this is anything but “bad” camp. He throws himself completely into this cartoonish role, sans shame, complete with mid-Atlantic accent, and topped off with exaggerated facial and physical acting that fits this fantasy. As Bart, child actor Tommy Rettig (best known as Jeff Miller on the CBS television series Lassie) seems more assured in his performance than most child performers his age during the 1950s. His fourth wall-breaking asides seem more appropriate in a Bugs Bunny cartoon, but Rettig makes it work, and inhabits Bart’s flaws wonderfully.

Columbia demanded numerous reworkings of Seuss’ script, leading to several reshoots – most notably the opening scene (Seuss opposed the conceit of Bart’s dream framing the film) – and a ballooning budget. Upon its release in the summer of 1953, The 5,000 Fingers of Dr. T bombed at the box office and was assailed by critics. A crestfallen Seuss, who could not stand the production difficulties that beset the film from the start of shooting, would never work in feature films again. He would dedicate himself almost entirely to writing and illustrating children’s books, with many of his most popular titles (including The Cat in the Hat, One Fish Two Fish Red Fish Blue Fish, and Green Eggs and Ham) published within a decade of Dr. T’s critical and commercial failure. His hesitance to participate in filmmaking informed his reluctance to allow Chuck Jones to adapt How the Grinch Stole Christmas! thirteen years later. Animation suited his books, Seuss thought, and he would never again pay any consideration to live-action filmmaking.

The reevaluation of The 5,000 Fingers of Dr. T has seen a rehabilitation of the film’s image in recent decades. Home media releases and television showings have introduced the film to viewers not influenced by the hyperbolic negativity of the film critics working in 1953. This is not a sterling example of Old Hollywood fantasy filmmaking, due to a heavily gutted screenplay, scattershot thematic development, and incongruent musical score. Yet, the movie’s surrealistic charms and Seussian chaos know no peers, even in the present day.

My rating: 7/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

[theresabookforthat]

READ ACROSS AMERICA CELEBRATES DR. SEUSS’ BIRTHDAY!

Happy Birthday Dr. Seuss! In honor of the occasion, The National Education Association established Read Across America twenty years ago. The annual reading motivation and awareness program calls for every child in every community to celebrate reading on March 2nd, the birthday of the beloved children's author who was born Theodor Seuss Geisel on this day in Springfield, Massachusetts in 1904. Special reading parties are taking place in libraries, schools and bookstores across the country.

Penguin Random House and Read Across America offer parents, children, librarians and teachers resources and activities they need to keep reading on the calendar 365 days a year - check them out here.  We recommend the following titles to learn about the man and enjoy his timeless, ageless classics:

HAPPY BIRTHDAY TO YOU

Bigger than New Year’s, the Fourth of July, and Halloween all rolled into one, birthdays are for celebrating with Dr. Seuss in his first all-color picture book, Happy Birthday to You! Fly with the Great Birthday Bird in this fantastical commemoration of YOU! And make the most of your special day, which only comes once a year!

“Today you are you! That is truer than true!

There is no one alive who is you-er than you!”

The ultimate birthday gift for ages one to 101—from the one and only Dr. Seuss!

 THE CAT IN THE HAT

Cat fanciers rejoice! Available for the first time is a picture book-size, jacketed edition of The Cat in the Hat by Dr. Seuss—the classic, deliciously anarchic story of a giant cat in a hat whose unexpected arrival turns a dull, rainy day into a madcap adventure. Although written for beginning readers, The Cat in the Hat makes an ideal read-aloud for children of all ages. Highly collectible, it’s a purr-fect gift for Seuss fans of all ages!

 OH, THE PLACES YOU’LL GO!

From soaring to high heights and seeing great sights to being left in a Lurch on a prickle-ly perch, Dr. Seuss addresses life’s ups and downs with his trademark humorous verse and illustrations, while encouraging readers to find the success that lies within.

 THE LORAX

Long before “going green” was mainstream, Dr. Seuss’s Lorax spoke for the trees and warned of the dangers of disrespecting the environment. In this cautionary rhyming tale (printed on recycled paper) we learn of the Once-ler, who came across a valley of Truffula Trees and Brown Bar-ba-loots, and how his harvesting of the tufted trees changed the landscape forever.

 YOU'RE ONLY OLD ONCE!: A BOOK FOR OBSOLETE CHILDREN: 30TH ANNIVERSARY EDITION

With his unmistakable rhymes and signature illustration style, Dr. Seuss creates a classic picture-book ode to aging in You’re Only Old Once! On a visit to “the Golden Years Clinic on Century Square for Spleen Readjustment and Muffler Repair,” readers will laugh with familiar horror at the poking and prodding and testing and ogling that go hand in hand with the dreaded appellation of “senior citizen.” Though Dr. Seuss is known for his peerless work in books for children, this comical look at what it’s like to get older is ideal for Seuss fans of advanced years.

 THE SEUSS, THE WHOLE SEUSS AND NOTHING BUT THE SEUSS: A VISUAL BIOGRAPHY OF THEODOR SEUSS GEISEL by Charles Cohen; Ages 8 to 12

Theodor Seuss Geisel, creator of Horton the Elephant, the Grinch, the Cat in the Hat, and a madcap menagerie of the best-loved children’s characters of all time, stands alone as the preeminent figure of children’s literature. But Geisel was a private man who was happier at the drawing table than he was across from any reporter or would-be biographer. Under the thoughtful scrutiny of Charles D. Cohen, Geisel’s lesser known works yield valuable insights into the imaginative and creative processes of one of the 20th century’s most original thinkers.

 WHO WAS DR. SEUSS? By Janet Pascal, Nancy Harrison; Ages 8 to 12

Ted Geisel loved to doodle from the time he was a kid. He had an offbeat, fun-loving personality. He often threw dinner parties where guests wore outrageous hats! And he donned quirky hats when thinking up ideas for books- like his classic The Cat in the Hat. This biography, with black-and-white illustrations throughout, brings an amazingly gifted author/illustrator to life.

 YOUR FAVORITE SEUSS

From his very first book to his very last book, here in one big volume are 13 classic Dr. Seuss stories, everyone’s favorites. All of the words and virtually all of the illustrations are included. Each story is prefaced by a short essay by someone whose life was changed by Dr. Seuss or who is simply an unabashed admirer. Also included are photographs of Dr. Seuss, memorabilia, and original sketches from his books. The stories included are: And to Think That I Saw It on Mulberry Street, Horton Hears a Who!, McElligot’s Pool, If I Ran the Zoo, Happy Birthday to You!, Dr. Seuss’s Sleep Book, Yertle the Turtle, The Cat in the Hat, How the Grinch Stole Christmas!, Green Eggs and Ham, The Lorax, The Sneetches, and Oh, the Places You’ll Go!

SEUSS-ISMS! A GUIDE TO LIFE FOR THOSE JUST STARTING OUT...AND THOSE ALREADY ON THEIR WAY

The one and only Dr. Seuss dispenses invaluable advice about life in this collection of his most memorable quotes. With over sixty pages of cherished Seuss art and quotes from such classics as The Cat in the Hat, Horton Hatches the Egg, Green Eggs and Ham, How the Grinch Stole Christmas!, Oh, the Places You’ll Go!, and many more, this humorous and inspiring collection is, indeed, perfect for those just starting out…or those who are already on their way!

 GERALD MCBOING BOING by Dr. Seuss, illustrated by Mel Crawford

 They say it all started  when Gerald was two— That’s the age kids start talking—least, most of them do.  Well, when he started talking,  you know what he said? He didn’t talk words— he went boing boing instead! So goes the hilarious tale of a boy who was a little bit different—a tale that only Dr. Seuss could create. Based on the Academy Award-winning motion picture!

 For more on these and other Seuss titles visit the collection: Dr. Seuss Read Across America 2017

[mybooks2door-blog]

How to find Dr Seuss Books Set Online?

Books have the power to lift you up from your own world and take you on a trip that has unlimited magical lands for which no passport, visa, the currency is required, your imagination is sufficient to take you on this trip. The various books will bring excitement in your reading and make sure that you experience a different type of stories and not stick to just one genre.

Theodor Seuss Geisel—who was born in Springfield, Massachusetts on March 2, 1904—wasn't actually a doctor (at least not until his alma mater, Dartmouth, gave him an honorary PhD), but his unique poetic writing and leap-off-the-page illustrations made him one of the most successful children's writers in the history. Here's a little background on some of his greatest hits.

THE LORAX: The Lorax is recognized as Dr. Seuss's talk about the environmentalism and how humans are destroying nature. The Groups within the logging industry weren't very happy about it and later sponsored The Truax—a similar book, but from the logging point of view.

THE CAT IN THE HAT: Dr. Seuss wrote The Cat in the Hat because he thought the famous Dick and Jane primers were literally boring. Because kids weren't interested in the material, they weren't exactly compelled to use it repeatedly in their efforts to learn to read.

GREEN EGGS AND HAM: The Cat in the Hat was pretty simple, after all, and it used 225 words. Geisel started writing and came up with Green Eggs and Ham—which uses exactly 50 words.

HORTON HEARS A WHO: the line "A person's a person, no matter how small" has been used as a slogan for pro-life organizations for years. It's often questioned whether that was Seuss's intent in the first place or not.

MARVIN K. MOONEY WILL YOU PLEASE GO NOW: It's often alleged that Marvin K. Mooney Will You Please Go Now was written especially about Richard Nixon, but the book came out only two months after the whole Watergate scandal. Which makes it clear that the book could have been conceived of, written, edited, and mass-produced in such a short time.

HOW THE GRINCH STOLE CHRISTMAS: No Dr. Seuss story would be incomplete without a mention of the television special based on his book How the Grinch Stole Christmas! Seuss was a little wary of casting him because he thought his voice would be too scary for kids.

Enjoy reading the best books in 2019! If these books have given you the inspiration you need to finish writing your own book, then that would be the pleasure of BOOKS2DOOR.

Dr Seuss book set

[deantemjitanimation]

Task 1

Research - Context 1

Dr. Seuss real name is Theodor Seuss Geisel, but was known by his pen name as “Dr. Seuss”. He was a writer and cartoonist who published over 60 books. His famous works include: ‘The Cat in the Hat’ and ��Green Eggs and Ham’.

These include some of his well-known works: How the Grinch Stole Christmas, The Cat in the Hat, Geen Eggs and Ham, Fox in Socks, One Fish Two Fish Red Fish Blue Fish and Oh the Places You’ll Go. Moreover, Dr. Seuss first published book is ‘And to Think That I Saw It on Mulberry Street’. It has been rejected 27 times until it was finally released by Vanguard in 1937.

Furthermore, Dr. Seuss had won numerous awards for his works. This includes the 1984 Pulitzer Prize, an Academy Award, three Emmys and three Grammys.

Dr Seuss’ early life:

Dr. Seuss was born on March 2 in 1904; Springfield, Massachusetts. Theodor Seuss Geisel, at the age of 18, Geisel left home to attend Dartmouth College. He then became the editor in chief of its humour magazine, Jack-O-Lantern. However, he was caught drinking with his friend in his dorm room one night - in violation of prohibition law - he was kicked off the magazine staff.

After graduating from Dartmouth, Geisel later attended Oxford University in England. He plans to eventually become a professor. However, in 1927, he dropped out of Oxford.

Furthermore, while he was studying at Oxford. Geisel met his future wife, Helen Palmer. The couple later married in 1927 - the year he dropped out of Oxford. He then moved back to the United Staes the same year.

Unfortunately, in October 1967. Helen was suffering from both cancer and the emotional pain caused by an affair of her husband with his long-time friend - Audrey Stone Diamond. Helen later committed suicide. Geisel later married Audrey the following year. Moreover, Audrey is known for her work on the films, The Lorax (2012), Horton Hears a Who! (2008) and Daisy-Head Mayzie (1995).

Upon returning to the United States from dropping out of Oxford. Geisel decided to pursue cartooning full-time, and his illustrations and articles were published in many magazines - such as LIFE and Vanity Fair.

Dr. Seuss then later worked for Standard Oil in the advertising department for the next 15 years. His ad for Flit, a common insecticide became nationally famous.

It was a chance that Geisel began writing for children. Upon returning home by boat from Europe in 1937, Geisel put together a nonsense poem to the rhythm of the ship’s engine. He then later drew pictures to illustrate the rhymes and in 1937 published the result as ‘And to Think That I Saw It on Mulberry Street’ as his first children’s book.

In the 53-years of Dr. Seuss’ career, he becomes one of the most beloved and best-selling authors of children’s books. His techniques and intelligent use of rhymes, humour and colourful illustrations continue to entertain and educate young readers. His book has sold over 220 million copies and has been translated into 15 languages. 

References: https://www.biography.com/people/dr-seuss-9479638

Research - Context 2

Poems by Dr. Seuss:

Green Eggs and Ham - 1960

Do you like green eggs and ham? I do not like them, Sam-I-am. I do not like green eggs and ham! Would you like them here or there? I would not like them here or there. I would not like them anywhere. I do so like green eggs and ham! Thank you! Thank you, Sam-I-am!

“Follow Sam-I-Am as he adds (and adds) to the list of places to enjoy and ham and the friends to enjoy them with. The book is written for early readers, with simple words, rhymes and lots of illustrations.”

I love this particular poem from Dr. Seuss is because of its diversity and simplicity. As he has mentioned that this is for early readers, I do enjoy the simplicity and minimalist that goes into the poem which is not only suitable for young readers, but it has this sort of silliness into it which make Dr. Seuss’ works unique.

The Lorax - 1971

I am the Lorax. I speak for the trees. I speak for the trees, for the trees have no tongues. I meant no harm. I most truly did not. But I had to grow bigger. So bigger I got.

“In this book, Dr. Seuss warns of the dangers of mistreating the environment before environmentalism was a trend. The cautionary tale teaches little readers about the beauty of the natural world and their duty to protect it.”

I like this poem because it teaches young readers to care for the environment. The simple words and illustrations which turned into something great and teaches many young children to put more care into the environment.

West Beast East Beast

Upon an island hard to reach, the East Beast sits upon his beach. Upon the West beach sits the West Beast. Each beach beast thinks he’s the best beast. Which beast is best? … Well, I thought at first that the East was best and the West was worst. Then I looked again from the West to the East and I liked the beast on the East beach least.

The reason why I like this poem of Dr. Seuss is that of its simplicity. Moreover, it could be one of the poems that are easy to use when it comes to animation. It also makes it easier for young readers to read and understand what was going on as well. 

Idea:

For this project, I’ve decided to go with ‘The Lorax’ because of its appeal to me concerning animation and what I can do with it that would allow me to be creative.

The theme for this ‘The Lorax’ poem is to address economic and environmental issues in such a way that isn’t dull. As it is being addressed in this short poem, I can see a brief story behind the poem despite it being so short. One would have to read more further of Dr. Seuss ‘The Lorax’ works to be able to understand the complete story behind it. However, despite it being so short, it still manages to address the issue explicitly.

Furthermore, its brilliance doesn’t tie to the fact that it’s short, but the cleverly used and well thoughts words that rhyme well together. Moreover, it’s written in a fun and readable way addressing to the more younger audience to become aware of the issue that is going on.                    

The character in this story is, but of course, the Lorax. He appeared in more of a cute plush doll that speaks if to say it constructively. His appearance is of an elderly – given the sense that he is wise. The feels that he gives off is a guardian of the trees as somewhat stated in the poem: “I speak for the trees. I speak for the trees, for the trees have no tongues.”