Joop Geesink is the third son from a family of five children.
Father Willem Jacobus Geesink came from the countryside to The Hague, where he got a job as a trumpeter with the Royal Military Band. Joop's mother's name was Neeltje Geesink-Stekelenburg. In 1908, the couple married. Father Willem Geesink earned some extra money as a cellist at the Princes Theatre.
Joop Geesink, brother of Evert Cornelis Jan Geesink (1912-1919);
Willem Albertus (Wim) Geesink (1909 - ? );
‘Bep’ Geesink (1916 - ?) and
Anneke (Anna) Hillegonda Geesink (1925 - ?)
At school, the teacher had complaints about pupil Joop's behaviour. He was dreamy, did not pay attention and was constantly drawing instead of doing his homework. Joop's parents were advised to take him out of school and put him to work.
The parents followed the advice and Joop's first job was as a piccolo (lift boy).
New problem
This creates other problems, as Joop is friendly and engaging as a young man, but has a great headstrong personality. Working for a boss does not go down well. Certainly not because his first job is a piccolo at a big hotel (Hotel des Indes). As a piccolo, you have nothing to say. The appointment didn't last long. A series of diverse jobs followed, all ending in nothing. He also sails as a cook's mate on the ocean liner. His biggest stumbling block remains that he is more interested in drawing than working. ‘Let's face it, drawing is not work and if you don't work, you don't make money,’ according to the prevailing working-class morality.
Youth photo of Joop Geesink (Circa. 1930)
Princes Theatre, The Hague (1943)
Geesink family with five children. Standing in the background left: Joop Geesink, right: brother Wim. Brother Wim Geesink would later play an important business role within the studio. (Source - Geesink family archive)
Talent after all
In the early 1930s, Joop takes drawing lessons at the National School of Art. Apparently, he has talent after all. He acquires a job as a decorative painter in a department store. But soon success in decoration painting prompts him to take other steps. Joop starts an advertising studio in The Hague. He is now 19 years old. Soon he has an employee, who is so keen to learn the advertising profession that he even pays to work for Joop. Joop also has a representative. Assignments are coming in. Every assignment has to be celebrated by lighting a cigar. An archetypal Dutch status symbol. The cigar has always remained and becomes a trademark of Joop Geesink.
That makes you feel good again
There, he meets Rita Hessler. A graceful dancer who works for Bob Peters' National Revue. In the last years before the 2nd World War, the Dutch Revue performs the premiere of 'That makes you feel good again’ with Lou Brandy, among others. At the last minute, an important set piece needs to be completed. Joop's wife-to-be Rita is involved in this production as a dancer. She brings in Joop, who completes the job.
His work impresses revue owner Bob Peters. Bob and Joop become good friends and years of collaboration follow. This would almost be lost when it turns out that Joop is infected with open TB. Together with brother Wim, he has to undergo several months of treatment. In the sanatorium, however, Joop continues to draw on revue sets.
Rita and Joop marry in 1938. In 1939, however, she exchanges Joop for a German soldier. An emotional blow for straggler Joop. A small positive bright spot was that Joop was able to meet Revue owner Bob Peters and experience the glamorous world of theatre life more closely.
Crisis years
Rather, the economic crisis of the 1930s wiped out Joop's advertising business. Brother Wim is not doing well in business either. He has a tough time at a record company in The Hague. At Joop's request, they start a new outdoor advertising agency together.
Joop is commissioned to produce a large advertising work for a cinema on the Spui in The Hague.
Joop and Wim receive increasingly large commissions. On the occasion of the wedding of Princess Juliana to Prince Bernhard (1937), he received a lot of work. Large decorations were erected in the city. The duo of Joop and Wim Geesink now employed eight people. In 1938, he was also asked to decorate the Nöggerath Theatre for the Dutch premiere of Disney's Snow White. He took on this decoration on a grand scale and generated a lot of publicity. The then Polygoon (cinema) newsreel made a report of it. The commissions for decorations of cinema facades return several times for other film premieres.
Every assignment should be celebrated by lighting a cigar. An archetypal Dutch status symbol. The cigar has always remained and become a trademark of Joop Geesink.
Street decoration during wedding Princess Juliana and Prince Bernhard (1937)
Joop Geesink was a great admirer of Walt Disney. When Joop's advertising agency was asked to decorate a cinema on the occasion of the premiere of Snow White, the world's first full-length animated film, he pulled out all the stops. (1938)
All Disney characters were built as large masks. In the bottom left corner of the picture, Joop Geesink sits drawing at a table. (1938)
New happiness
In 1941, Joop remarried Rita and had a daughter, Nelleke, in 1942 and a son, Rob, in 1943.
The partnership with revue owner Bob Peters goes on and on. At his request, Joop goes to Paris for further training. There he is able to collaborate on revue decors of the Moulin Rouge.
Seeing all the glitz and glamour captures Joop's imagination. The international allure of the iconic theatre in Paris sets the tone for Geesink's further developments. He learns how to steer audiences towards certain reactions and emotions. He loves that. Moreover, he also loves the revue ladies..
In film
Back in the Netherlands, he builds many sets for theatre revues. His reputation grows and he is asked by film producer Rudolf Meyer to design sets for the Dutch feature film "The Ghost train' / ‘De Spooktrein’. It is directed by Karel Lamac, with Fien de la Mar, Louis Borel and Jan Musch. The shooting location is at the Cinetone studios on Duivendrechtskade in Amsterdam. This production is a true turning point in Joop's life. Even the film location will later play an important role in his own film career.
Crisis and mobilisation
It has become 1939.
Working in film is a boyhood dream of many. In Joop's case, the dream came true thanks to ‘The Ghost Train’. Unfortunately, he cannot develop further in the film industry due to the outbreak of war in 1940. Joop is mobilised at the age of 26. While in the army, he draws murals in a number of canteens. This also generates publicity again.
Postcards
Joop Geesink draws and sells a series of picture postcards as part of the mobilisation in 1939. With these, he tried to earn some extra money and expand his name recognition.
Promotional poster by Joop Geesink for the ‘Snip and Snap Revue’ (1941), Set design: Joop Geesink. The poster was probably also designed by Joop Geesink.
Promotional photo from The Ghost Train (1939)
While in the army, Geesink draws wall paintings in some canteens. (1939)
While in the army, Geesink draws wall paintings in some canteens. (1939)
Illustrations "Snip & Snap Revue" - programme booklet (1942)
One of the 1939 ‘moblisation postcards’. Text on the card: ‘To father’
One of the 1939 ‘moblisation postcards’. Text on the card: ‘Good morning wifelove’
Dutch Railway
A fine commission from the Railways follows in 1941. Joop Geesink draws some advertisements, such as a poster and a flip booklet. This campaign struck a chord with the public. The Railways asked Joop to produce a cinema cartoon in the same atmosphere and style. Joop accepts this assignment. There is only one practical problem: Joop lacks both the knowledge for making cartoons and the equipment for serious production work.
Staff wanted
Joop advertises for cartoon staff.
Jan C. Bouman, business manager of cartoonist/artist Marten Toonder, sees this ad and suggests an introductory appointment with Toonder. In no time, a collaboration is decided upon. The NS film will be called ‘Pierus in the Contramine’. Draughtsman Henk Kabos is hired in 1942 and with that, the start of Geesink Toonder Teekenfilm production is made. (Geesink Toonder Cartoon Productions). Because Joop Geesink supplies the first and, for the time being, only commission, his name is allowed to be up front.
Deze komt tot stand door tekenwerk van Paul Keizer en Lou den Hartog. Wegens succes van Pierus in de contramine volgt een nieuwe opdracht. Op deze wijze maakt Geesink Toonder Teekenfilm-productie naam als reclametekenfilmers. Dit is onder de omstandigheden van de bezettingstijd een bijzondere prestatie.
Pierus in the contramine
Pierus in the contramine (1942) will be the title of the cartoon ordered by the Railways. Made by the group of people below. Several would later build their careers at Joop Geesink's Dollywood.
Direction: Lou den Hartogh; Design: Joop Geesink; Music: Klaas van Beeck.
Co-workers: Marten Toonder, Henk Kabos, Geertje Knoef, Carol Voges, Ton van Beek, Flaks Middendorp, Vonny Wijnschenk, Frans van Lamsweerde, John van der Meulen, Nico van Baarle and Joop Bekker. Joop Geesink, who is not an animator himself, designs various backgrounds.
Noteworthy are the names of the employees; most will join Joop Geesink's Dollywood after World War II.
Pierus in de contramine (1942) The first cartoon by Joop Geesink and Marten Toonder for Dutch Railways.
Left to right: Joop Geesink, Marten Toonder, Wim Geesink, Jan Bouwman.
Joop Geesink, working on a background painting at Geesink Toonder Teekenfilm-Production. (1942)
Marten Toonder at Geesink Toonder Teekenfilm-Productions. (1942)
Railway leaflet (unfolded) (ca. 1943)
Railway leaflet (unfolded) (ca. 1943)
Anti nazi German
An important role will be played by German company Degeto. This is an independent producer of (narrow) film for rental. The German management is idealistic and anti-Nazi. Based in Berlin, the company commissions a number of ‘short’ Tom Puss films. The brief was to make four short films of 20 minutes each. The combined running time will add up to 80 minutes. This length equals Marten Toonder's ambition to make his own full-length cartoon. So this assignment is a dream assignment!
In the Netherlands, the occupying forces have decreed that all ‘free’ film productions must be made at Netherlands Film. This is run by the NSB. The NSB (National Socialist Movement) functioned as the Nazi collaboration party at the time of the German occupation of the Netherlands in World War II. Under their rule, only propaganda and anti-Semitic films were produced. Because Geesink-Toonder now works directly for ‘Berlin’, this duo avoids the ban and can take good cartoonists away from Nederland Film. The studio also acts as a kind of legal hiding place for young men, who would normally be deported to German war industries.
Puppet film
A number of puppet films are made during the war, Serenata Nocturna (1942) being one example, followed not much later by Phi-Garo in the Forest (1943). Both films were sponsored by Philips and thus became advertising films. This goes against Marten Toonder's wishes. He wanted - following the example of Snow White - to have his own full-length cartoon. Time and technology were not ripe for this. For this reason, the films are rather clumsy in technique. To reach Toonder's goal, there is still a long way to go. It takes until 1985 for Toonder's full-length cartoon ‘If you know what I mean’ to be realised.
The puppet studio is in the basement on Beursstraat in Amsterdam and the office of ‘Toonder-Geesink Teekenfilm-Productie’ on Keizersgracht 530.
Sies W. Numan
Geesink has since made about five advertising films. He already has the support of a certain Sies W. Numan. Numan is ‘Director of International Publicity’ at Philips. He is the initiator in 1934 for George Pal to start a puppet film studio in Eindhoven. Numan hopes to expand the medium of puppet film again after the war for promotion of the Philips brand. Numan is in Berlin to house a number of former Pal employees and thus secure the knowledge and technology until after the war. Geesink gets the inspiration from Sies Numan to specialise in puppet films. This idea stemmed from Geesink's initial impetus with ‘Serenata Noctura’
Names of delegates here include Jószef Misik, Jan Coolen, Frans Hendrix and Jan Bax. Messrs Coolen and Hendrix eventually move to London with Signal Film, which also proves capable of making beautiful stop-motion film.
Described above, Joop Geesink is commissioned by the film rental company Degeto (Berlin) to make four colour (!) cartoons of 20 minutes each featuring Tom Puss. The Tom Puss concept is Toonder's, but the series of cartoons could be produced thanks to Geesink's smooth talk.
The war situation caused severe economic and logistical problems for the four Tom Puss films. Here and there, some preserved fragments of ‘Geheimniss der Grotte’ (‘The Secret of the Cave’) can be seen. The four-part film was never completed.
One year
Due to scarcity of material, film production stops during 1943.
Not much is known about the course of the collaboration between Joop Geesink and Marten Toonder. What is clear is that they are not on the same page. Toonder is the artist, idealist. Geesink the businessman, showman. The two directors get in each other's way, despite mutual respect. Their collaboration has lasted exactly one year.
Marten Toonder wants nothing more to do with puppet films, while Joop Geesink wants to focus on this. Practice, however, is more obstinate than theory.
Still from the Tom Puss film The Secret of the Cave (1942-1944)
Still from the Tom Puss film The Secret of the Cave (1942-1944)
From ‘The Secret of the Cave’ there are also collector's illustrations.
The War through
During the period when collaboration with Marten Toonder was still acual, Joop Geesink put some people to work on a film that would later become known as Serenata Nocturna. A real puppet film. Contributors include: Jan Duyfvetter, John van der Meulen and Bertus Outmayer. These gentlemen will continue their services past to Dollywood for many years to come. Bertus Outmayer in particular. An interview with him will appear in February 2013 because of his involvement with Joop Geesink's Carnival (1984) at the Efteling.
Although Serenata Nocturna has a charming look, the technique used is extremely primitive. The first film tests were enough to convince Sies W. Numan ‘Director of International Publicity’ of Philips to provide a budget for this. After all, Philips had also recently promoted George Pal to make its puppet films.
The George Pal technique may not be used due to patent. For this reason, puppet maker Dopey Scheffer uses faces sculpted from clay to achieve varying expressions.
Employees are looking for a technique that gives a flexible doll while retaining full control. Joop Geesink sees the commercial importance of this and gives the creative staff a free hand to experiment.
The Geesink-Toonder Cartoon studio undergoes a major development in the last years of the war. Marten Toonder and Joop Geesink each decide to go their separate ways. Toonder focuses on cartoons and Geesink on puppet animation. Employees are divided on the basis of performance and talent awarded. There was no participation. Henk Kabos is placed with Toonder as cartoonist, along with Geert Knoef and others.
The number of staff rises from 60 to almost 100. The studio is on the Nieuwezijds Voorburgwal, a location it would be unthinkable in modern times that a low-budget studio could operate here. Brother Wim Geesink becomes business manager, as Joop Geesink travels a lot to acquire clients.
By 1944, business activities are virtually impossible. Because of the war, it is impossible to buy film reels or obtain other essential materials. To keep up the impression with the occupying forces that the people in the studio are badly needed, ‘film shoots’ are made with cameras that do not contain a film roll. However, the German occupation thinks work is being done and leaves the studio alone.
According to tradition, film work stops altogether when an English bomber is shot out of the sky by the Germans and the plane crashes near the studio, causing a major city fire.
Serenata Nocturna (1942)
Serenata Nocturna (1942)
Musician at a Philips Radio set - Serenata Nocturna (1942)
Title card ‘Deep Sea Adventure’ (Diepzee avontuur) (1943)