In 1927 the story was made into a French silent film, with puppet animation by the director Wladyslaw Starewicz , under the title Le Rat de Ville et le Rat des Champs . In this updated version, the urban rat drives out of Paris in his car to visit his cousin on the farm. They return to the city and visit a nightclub but their revels end in pandemonium with the arrival of a cat. Recognizing that city life is too hectic for him, the country rat prefers to dream of his urban adventure from the safety of his home.  The American equivalent was the Silly Symphonies cartoon The Country Cousin (1936), in which the country mouse hikes along the railroad track to visit his cousin in the city. The main action takes place on the supper table and is governed by the unexplained need for silence. When the reason for this is revealed as the cat, the cousin escapes into the street, only to face the worse hazards of the traffic. 
A rich man suspects, with justification, that his poor brother is stealing food from him. To gain evidence, he puts his old mother into a chest, which he asks the poor man to safeguard for a few days. From her hiding place the old woman does indeed hear her poor son boasting about stealing a cow from his rich brother. Startled, she breaks her silence, and the poor man opens up the chest. Upon discovering the spy, the poor man jams a great chunk of hot meat and a piece of bread into her mouth, and she chokes to death. The rich brother reclaims his chest and finds his dead mother inside. Not knowing how she died and obviously fearing any official investigation, he takes the body to his brother and pays him a substantial sum to bury it. The poor man takes the money, but only pretends to bury the corpse, using it instead to extort more and more money from his miserly brother.
The option terms between ABC and Disney for the Mickey Mouse Club aren't as well known as those for Disneyland . Whether
they agreed on a fixed dollar amount for producing each episode, whether there was a sliding scale of increasing amounts for
subsequent seasons, and if Disney received compensations for reruns as it did for Disneyland isn't clear.
Though individual episodes of the Mickey Mouse Club cost less to make on average than those of Disneyland , there were four times as many of them to produce. There was also little variation in cost for individual episodes unlike the anthology series, which could range from as little as $6,000 to as much as $100,000 per weekly show.
The seed money to make the first season episodes came from the network, not Disney. According to author Lorraine Santoli, ABC established a million dollar revolving fund for Disney to draw upon for production expenses. The fund was replenished with revenue derived from network sales of advertising time to sponsors. Along with this came a $ million dollar loan to help complete park construction. This loan was the only reason Walt Disney agreed to do the show, the deal being negotiated when it was by no means certain there would be enough money to finish the theme park.
Roy Disney later said the Disney brothers didn't know much about television financing when they first got into that business. Harvard Law School graduate Leonard Goldenson had signed them to a deal which, while it gave them what they sought in the short-term, later became increasingly distasteful as they realized what had been given away (which is how the Mouseketeers would come to feel about the contracts given them by those same two brothers).
From the benefit of many years distance though, this deal would prove to be of immense value to Disney, giving it the money to make over two hundred fifty hours of original programming that would reap profits for it over and over for decades to come.
On ABC's part, there would be an understandable resentment at Walt Disney's seeming lack of concern about containing production expenses for the Mickey Mouse Club . Though parsimonious by nature, Disney recognized that a quality product required a quality budget. However, his philosophy for television, which ignored the profit factor in favor of promoting the theme park and other projects, would soon become an irritant to ABC. Not until the start of third season production, and then only in order to divert studio resources to a new project, would Walt Disney really get serious about the show's cost.