Dutchy Supreme power

Story

In “Dutchy - Supreme power”  ("Dutchy is de Baas")  the tireless little farmer solves numerous problems thanks to the power of milk, butter and cheese.

Unstoppable

Since the introduction of this animated logo of the Dutch Dairy Agency as an animated mascot with the movie A Dream Comes True (1955), its success has been unstoppable.
Joop Geesink has found a good client in this promotional agency and is making several puppet films with Dutchy. This page shows the first of a diptych. The second part Dutchy Supreme power (2) appeared around 1958. This film can also be found on the website. Again, Dutchy helps people using Dutchy's dairy products such as butter, milk and cheese. For example, he helps a traffic cop, a tired secretary, a sick little boy who cannot play outside and a cyclist riding the Tour de France.
The creative minds of both the studio and the Dairy Bureau went on and on. They also created two variations on the (in the Netherlands) legendary newsreels.

Music

All Dutchy films feature their own musical accompaniment. Those who listen carefully will recognize the theme introduced in “A Dream Comes True.” This composition came from Dolf van der Linde, who played a lot with the Metropole Orchestra at the time.

Trivia(1)

All Dutchy films were produced in a time frame of about 6 years. Sometimes the studio produced several Dutchy films in 1 year. Perhaps this explains that the creative direction of the films was with different art directors and that almost all the important puppet animators have one or more Dutchy films to their name. The total lead time from “sketch to film” on a 3-minute film like this one must have been about half a year.

Trivia (2)

In other Dollywood animated films, (Geertruida) Geert Knoef and Joop Bekker worked together (Piccolo, Saxo and Co, and Dutchy Victory and others). The collaboration itself was so well liked that this (only) female puppet animator Geert Knoef married the original cinematographer/cameraman Joop Bekker. This is one of the Dollywood marriages. Therefore, this film lists “Geert and Joop Bekker.” By the way, Joop Bekker turned out to be an excellent puppet animator. Geert Bekker-Knoef was a unique person within the Dollywood studios because she was the only woman who could have filled the crucial position of puppet animator. In addition, she also enjoyed creating intricate camera movements with the large 35 mm cameras. In both situations, these tasks were then seen as “typical male work.” In addition, it was common in the Netherlands in the 1950s and 1960s for a woman to quit paid work as soon as she was married. After all, the thinking was that she had a husband who could now support her. Geert Bekker-Knoef continued to work as an excellent animator and camerawoman.