Likely Looney, Mostly Merrie

Warner cartoon no. 353.

Release date: January 17, 1942.

Series: Looney Tunes.

Supervision: Friz Freleng.

Producer: Leon Schlesinger.

Starring: Mel Blanc (Porky Pig), Kent Rogers (Jimmy Cagney bee).

Story: Dave Monahan.

Animation: Gerry Chiniquy.

Musical Direction: Carl W. Stalling.

Sound: Treg Brown (uncredited).

Synopsis: A Jimmy Cagney-like bee demonstrates towards the fly how to avoid Porky's flyswatter whilst invading on eating the food inside his bakery store.

From watching the synopsis of the short, it's the sort of plot device you'd wish to see from previous shorts like Porky's Midnight Matinee, but no matter for it's used as a fresh idea in the cartoon. A hungry fly is having troubles of invading the food inside Porky's bakery shop, due to his fear for file.

This is an establishing dilemma to sum up most of the cartoon: Porky battling against flies. Might sound mundane, but Monahan has some pleasant surprises along the way.

A passing-by bee, whose persona is impersonating Jimmy Cagney, demonstrates towards the fly how it works. The opening scene is a great way to start up the cartoon, for the Cagney-bee has a brash type of personality, who says "it's a cinch" when it comes to raiding bakers.

The subtle scene of him winking at the audience is a decent piece of character for the cocky bee, suggesting that his specie (being a bee) is far superior than the fly itself. Kent Rogers does a decent impersonation of the Cagney character, with the voice being a duplicate to the Cagney caricature in Hollywood Steps Out.

Porky's role in the cartoon shows him as a passive, vulnerable character...perhaps a little more vulnerable than the other cartoons beforehand. Not to mention, he's always been a victim of vulnerability in his prime, but here..the characterisation is still being experimented in the short, as Porky's too massive a character to be hilarious.

Sure, he expresses his hatred towards flies, and uses his flyswatter as a weapon: but the tricks and gags pulled towards him would be of better use if it were a Elmer Fudd characterisation, not for Porky.

Despite the minor flaw, the contrast of size between the two characters are polar opposites in pompous personalities. Porky discovers that a bee has invaded his bakery shop, and has a fear of bees. This leads him to command and instinctively obeys the bee, such as in the cream puff scene.

Other instances where his vulnerability becomes amusing in execution would be the scene of Porky pulling a sheepish, timid grin as he attempts to grab the flyswatter, but is prevented from the presence and disturbance of the bee. Porky then attempts to settle the bee with a cherry topping from a piece of cupcake, which he refuses sternly. He storms off, but only to storm back to eat the piece of cherry in his mouth.

From Monahan's writing and gags; he indulges into gags that rely on visual puns, and at least creates puns that are comical and entertaining to that effect. The visual puns consist of several different kinds of cakes, which you'd expect to see on display in a bakery shop.

One of the cakes that the bee invades is the "Marble cake", and as you'd expect: the visual pun is that the cake itself is made out of marble. The animation timing of the bee using his bee sting is ingenious and meticulous, but the gag succeeds.

Other great scenes that create puns themselves would be another shot of the bee who is seen raiding other cakes in display. To begin with, he starts off with a "cheese cake", and as you'd expect there's no visual pun there, but then he gets to the "limburger cheesecake", which turns itself into a pun and a humorous gag itself. From eating the piece of limburger, he spits out the taste from his mouth. Though, its deliberately created for gag purposes, limburger is notorious for its smell and taste which doesn't appeal to a lot of people.

As for Freleng's ingenious comic timing, you'll find that circulating over the cartoon. The scenes that stick to my mind with Friz's timing would be the use of the bee's sting; which has some monument force towards it. He appears to give the bee's sting to appear rather symbolic in terms of what power it can outcome. Note how in the scene where the bee breaks the doorknob to Porky's front door down, and you feel the immensity and power that created the spark.

Not to mention, Treg Brown adds the right elements to the bee with the sound effect which would later become a more well-known associate to the Tasmanian Devil. Other instances where Freleng's timing comes to great use would the spark effect he gives to Porky's flyswatter.

Porky, regaining his confidence is in search for the bee; who had squirted cream puff at his face. The Cagney bee, flies towards his flyswatter, and gives the swatter a powerful sting that creates a socket/spark effect that it generates voltage towards Porky. It's a great, powerful piece of timing that's also comedic fun.

Looking more into Friz's timing; you notice that the short shares its great energy and pacing that can be comparable towards Frank Tashlin's use of quick pacing. Once Porky discovers that his shop is being invaded by a bee, he shouts: "Yipe! A bee", and frantically rushes through the back of store in such speed. The use of its staging and effect can be comparable to what Tashlin had some in the 30s, working for Schlesinger; though both directors had their own flair when it came to energy and speed.

Areas of the cartoon where Dave Monahan contributes gags that can surprise you, you'll find that in scenes such as the Gingerbread man. The bee walks past a box of gingerbread men in display, with a gingerbread man standing. He pulls the lower button of his body, which leads to them dropping down like a pair of pants. The Gingerbread man pops to life and pulls up his shirt with an embarrassed take. It's a great, charming scene which you'd expect from the wacky mindset of Bob Clampett, but Freleng shows how he doesn't mind a cheesy gag to surprise the audience.

After a series of misadventures, the Cagney bee is next seen outside the shop's window sill where he showed all the business to the fly, which he did throughout the short. "See how easy it is, kid?" asks the Cagney bee, and then becomes to plot with the fly to help make the plan work.

And so, he disguises the fly to resemble the look of a bee. Then he wishes him luck, "You do your stuff and I'll see ya later".

Walking inside the bakery store, the fly walks quietly through the table and finds to his delight a nice piece of cake on display. He jumps on top of the cake and begins to swim around on top of the icing. Some great effects animation to make the icing symbolise like its runny water: and plus emphasising the fly's moment being paradise. And so, he continues to roll around the icing in a blessing moment, until his disguise and plan goes all wrong. He is seen watched by Porky, with a flyswatter in his hand, and the fly ends up cornered. The plan goes all wrong.

This then leads to a chase sequence where the fly runs for his life as Porky shows no mercy by hitting him mercilessly with the flyswatter. Note how Freleng times the sequence in rhythm to the popular song: You Hit My Heart with a Bang, which is a great piece of timing to make the fly swatting scenes appear less cruel and more comical to that effect.

This leads to the following exterior shot of Porky seen from a window view chasing his flyswatter all over his shop, which once again is a more subtle approach to humour, for he is chasing the fly all over the place from that view, making him look a little like a hick.

But then, Porky opens the door and kicks the fly out, ordering: "Get out and stay out you unsanitary old fly!". Later on, the Cagney bee flies towards the shop wondering, "I wonder how that jerk fly made out". Flying inside the bakery store again, the suspense becomes intense as the flyswatter appears to scene but identified as a silhouette. This leads to him getting beaten up mercilessly in a close-up shot, but the following shot reveals the injured fly beating him up as payback. It's a great sendoff to the short, and thus a good use of justice for the Cagney bee crook.

Overall: it's a pretty decent effort once more in the hands of Friz Freleng. He takes the notion on two bugs attempting to invade a bakery store into account, and does a good job with timing as well as execution in certain scenes. The Cagney bee character is a great one-shot character whose arrogant personality and flamboyant attitude is a great dilemma for Porky, whose intimidated by bees, though justice is done for the bee. Porky acts a bit too vulnerable as a character, though it works well; for his fear of bees explains so, and the set-up of the Cagney bee taking advantage of Porky works well in certain sequences: making it a funny contrast when you compare both character in terms of their size. It is, as I've already explained: an all-round entertaining short, which isn't anything too special or groundbreaking in terms of approach to humour, and its a passable short along the way.

Rating: 3/5.

Warner cartoon no. 354.
Release date: January 17, 1942.
Series: Merrie Melodies.
Supervision: Chuck Jones.
Producer: Leon Schlesinger.
No cast.
No story credit.
Animation: Ken Harris.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Conrad Cat attempts to deliver a plant towards an empty stage theatre, which only leads towards chaos and confusion.

During Jones' early years as a director, his own created characters proved to not work as regular characters: Sniffles was a hit-and-miss character, the Two Curious Dogs didn't differ much--Conrad Cat just killed that lineup. This character is perhaps one of Chuck Jones' most confusing and blandest of the short-lived characters that he created.

You don't know if you can interpret him as just a silent goof-ball, or a Goofy rip-off in Conrad the Sailor, but in terms of how he was characterised, it really does backfire--even in this cartoon.

Whether or not this short was written by Chuck Jones himself, it's another prime example of how Chuck appeared to really not be capable of writing his own cartoons. It may not make much difference when he had writers like Rich Hogan writing shorts in that same manner, but even in Chuck's later career he proved to be a lackluster writer, especially in the 1960s.

The short (title parody of the film The Bride Came C.O.D.) consists of Conrad Cat, an employe of Arctic Palm Co. is delivering a piece of a plant towards the backlot of a studio, and consistently sidetracked from recurring accidents, and somehow wounds up towards an empty magic stage show: now that is a very clumsy piece of pacing in a cartoon story, showing no purpose too.

It's the sort of story pacing which just can't be done in animated shorts. It not only flaws validly, but it loses the audience's concentration, which is a serious problem concerning animation, as to create good animation and good gags, it needs to be registered well to the audience; in other words 'readable'.

Not to mention the "gags" that Jones creates for the short also show no inspiration or believability towards it at all, many of them feel forced, and the anticipation just makes the gags look very amateurish and dead. His somewhat goofy personality is also being forced with unfunny gags, and therefore making him unfunny himself.

Gags which lack execution and creativity that come to mind would be the sequence where Conrad attempts to deliver the plant pot through the back of the stage door. He steps out of his van, waters the plant, and then strolls towards the stage door where he finds he can't make his way through the door because of the width of the plants which blocks the entrance to the door.

The fact the gag itself fails is just because of how phoney the gag is, by making the plant feel somewhat human and block the entrance like its a pair of arms holdings its force from entering inside the stage door; its just delivered poorly to be even considered a gag, but the conception of the gag alone is abysmal.

To make matters even worse, the scene itself is riddled with terrible pacing for Conrad's attempts to make his way through the door is repetitive and dry.

Chuck would flirt with gag ideas of having inanimate objects appear alive and human in his earlier cartoons, such as having the door close itself; but for this short it just backfires validly.

And so, Conrad finally finds his way to move the prop tree into the stage door successfully by walking alone towards the stage door and quickly grabbing the plant inside the door as it closes on time. One of the most repetitive and perhaps poorly paced of many of Chuck's earlier shorts, as Chuck appears to struggle to tell a straightforward narrative.

If I were to nominate any signs where Chuck at least achieves a scene in his approach to humour as well as his timing, it would be the scene of Conrad unknowingly walking up a step ladder but drops rapidly to a lower level of the building, with off-screen violent crashes, and thus leading the camera to pan towards an elevator opening for Conrad to exit.

That is the one scene in the short which I'd consider to be the only funny scene. The stupidity of Conrad is nailed to a tee in the scene, especially in his characteristic walk which adds depth to his ignorance, and Chuck's timing for Conrad's drop is solid and well executed. Treg Brown also adds to the touch with his comical and appealing crash effects.

Conrad's walk animation is all animated on ones, and as soon as he doors, Conrad only appears for 3 frames in the drop; and leaving for his hat to float for another few frames before it falls with him. This is the sort of gag and timing which Chuck should have used more and more in the whole short, to make it passable. But just one small funny scene can't be enough to save an entire lackluster short, unfortunately.

Moving further on in the sound stage, Chuck moves the cartoon's plot to a completely different turn: where instead of Conrad delivering a prop tree to a stage show, he now has him spontaneously walking to an empty stage where Conrad attempts to entertain himself by performing magic towards an imaginary audience.

Conrad picks up the top hat where he is setting up for the trick, and in a close-up shot he manages to pull out a rabbit from the magician's hat, which as alone is cliched and dated a trick.

The scene itself is just a useless showcase, and having Conrad just sidetrack to a different scenario and there is just no purpose in terms of entertainment values which are overlooked in much of the cartoon. It doesn't add an identity towards the dim-witted Conrad, it's just a useless idea of changing the cartoon to a different setting, and its a transition that isn't handled well at all.

Despite its flaws, Conrad in the demonstration scene is very solidly animated, and its likely Ken Harris animated the scene for he's not afraid to change the axis of the character when moving in perspective. It's great to study when you watch the animator attempt to find an angle or attitude to the head to make the acting work better.

To make matters even worse not just for Conrad but the cartoon too, he ends up being confronted by a threatening, postured bird who lives inside the magician's hat. He marches sternly towards Conrad with a threatening glare before walking back to his hat. Note that its the same gag which was used originally in Stage Fright, and not to mention the same music cue.

It's rather unfitting to use an old gag which wasn't even funny to begin with, and yet use that again for a cartoon, and also to make it carry out for the remainder of the cartoon. By saying so, the rest of the cartoon pretty much centers on a battle of wits between Conrad and the bird.

It's a painful sequence to sit through not just in terms of repetition and pacing but because of the lack of sensibilities and charm featured in the sequence. It's unwatchable watching Conrad battling with the bird inside the magician's hat when its already predictable that the bird himself can easily intimidate and beat Conrad every time. The gag itself gets worse when Conrad, who grows sick of the bird tosses away the magician's hat but finds it anonymously returns and jams his face inside it, leading him to struggle to pull the hat off his face. It's just adding insult to injury for the poor quality and gags that Chuck keeps bringing into the short.

To show the sequence itself may not be truly terrible, Chuck at least brings in some emotion and creative expressions for Conrad, a quality that Chuck could use to at least make a lackluster sequence look charming in its own ways. It's pretty brave for Chuck to experiment with crude expressions that could go wrong in drawing, such as in the left screenshot of a perplexed Conrad whose eyes express it all. There he draws one eye contrastingly taller than the other, which itself is pretty gutsy for Chuck to create when creating new poses. Conrad's fuming face itself is a nice touch and is exaggerated to the point where you feel the anger of the character; and its a rare combination which Chuck was excellent at doing, and not to mention his animators who could put Chuck's posing into animation.

Leading towards the cartoon's closure, we sit through a very long pan and not to mention a very long, tiring piece of comic timing. Conrad's fall off the stage is passable enough, but it leads to such a confusing gag delivery to regard as. Conrad's fall leads him to pan horizontally to the left as the orchestra's instruments are left flying upwards, with Conrad unseen but the damage he is making is evident.

It's another poorly conceived gag which can't be perceived as even being entertaining or passable, as for a gag its just total incoherence. Not to mention the camera pan is moving as a slow pace, and henceforth making the speed or anticipation of the gag even unfunnier.

Conrad rises his head from the other edge of the stage, dizzy with flying birds. Conrad, picking up the plant then rushes towards the door to supposedly escapes but crashes towards a door blocked by bricks. After causing such chaos, he finally crashes towards a case with a group of top hats seen on display.

The final gag conclusion ends with each copy of the threatening birds walking out from their own top hats pacing towards Conrad. They pull the top of the hat down towards Conrad's face, before proceeding to walking back to their own hats.

After spending one month away from blogging due to work as well as a brief illness, this hasn't been a welcoming back short to review. As explained throughout the entire review, this is without doubt one of Chuck Jones' all-time worst Warner Bros. cartoons he ever made, as well as one of the worst Warner Bros. shorts in general. It's gag delivery is so poorly conceived and constructed, its confusing to follow through meaning the cartoon is easy to lose your attention span, but on top of all of that: the cartoon is merely just a bore. That's the worst of it, it's just a very boring short with lacks the magic or quality that you associate with Chuck Jones as well as Warner Bros. I'm convinced this might've been the cartoon which caused Leon Schlesinger to provoke Chuck into producing funnier cartoons, and from this point on: you start to see much more broader cartoons which end up living up to the name of 'Looney Tunes'.

Rating: 0.5/5.

Warner cartoon no. 355.
Release date: January 31, 1942.
Series: Merrie Melodies.
Supervision: Tex Avery/Bob Clampett (uncredited).
Producer: Leon Schlesinger.
Starring: Mel Blanc (Sammy Seagull), Pinto Colvig (Cecil Crow), Sara Berner (Hawaiian bird).
Story: Michael Maltese.
Animation: Virgil Ross.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Sammy Seagull shows a shipmate, Cecil Crow, in how to attract a dame, as they take an eye on a Hawaiian bird dancer.

By the time the cartoon had reached theatres, it was already established by the Studio that Clampett had took over Tex Avery's unit after his departure, but its surely plausible that during the short's production; this was indeed one of the shorts that was started by Tex, but finished by Clampett. In fact, it's a little harder to distinguish whose style is dominant in the cartoon, but as the short's credits don't give any answers--I'd like to say that this feels more like a Tex Avery cartoon, to be on the safe side.

Why I say so? Not only does the cartoon feature gags very much in Tex's style, but from an animation point (backgrounds, character designs and all); it looks like a Tex Avery short. Reflecting on other aspects such as timing: its hard to identify or finger point whose scene is which. At that point, both Tex Avery and Bob Clampett were already pressing their feet hard on the accelerator, as Tex's last few shorts had slicker pacing and more out-of-the-norm gags, whereas Clampett was just starting to break out from his bad working habits from producing mundane Porky Pig shorts. To say whose the dominant director of the short, in my opinion, is inconclusive.

The opening shot is a prime example of how two characters should be introduced to one another, especially when written for an animated short. Michael Maltese demonstrates the character's personalities from not only their own genus, but from their geography.

Cecil Crow is already established as a Mid-Western dim-witted crow "from Iowa", whereas Sammy Seagull was created as a sailor, and it seems fitting to fit both personalities from different cultural aspects; creating good exposition.

Admittedly, I'm not a fan of the alliterated names Maltese or whoever conceived, as it's just generic names anybody could create for a character: it lacks juice or appeal. In fact, in the dialogue for the introduction scene, Maltese writes in alliteration a few times, mainly heard in Sammy's intro: "the sailor the sailor from Singapore to the South Seas". The short, too, marks the return of voice actor Pinto Colvig, who for a few years left Hollywood to work for Fleischer over at Florida, and his distinctive voice is put to good use as he voices the Crow.

The whole opening is written simply to not only introduce the characters, but to also set the cartoon's ambition to carry the plot.
Both have arrived from distant places but to a tropical island. Cecil's excuse was he was "tired of farmin'", and opted to seek after some "Hula-hula dancers" looking like Dorothy Lamour, who at the time was a popular actress for her Hula figure, most notable for starring in the original Road to... comedies. And so, the Seagull agrees to help out with Seagull in finding a dame for him. Out with his telescope from under the sheet of a lifeboat, they spot just the right bird: which is the Hawaiian bird dancer, who is designed to resemble Lamour.

Following that, the two birds depart the ship to the tropical island where they are greeted by the Lamour bird. The rest of the cartoon, however, is mainly the seagull and the crow motivating themselves in an attempt to win the girl's affection. The scenes with Sammy Seagull, though, aren't fulfilling at all, and the scenes lack much creativity as well as gags that Tex or even Clampett didn't offer.

Sammy is pulling tricks towards the Hawaiian dancer in a way to impress her, such as Sammy flying in the sky like an airplane. I suppose, the gag is that he is flying in the style of the plane, and creates a love heart in the shape of a cloud form.

I suppose, to a minority it might be amusing, but from the reviewer's perspective, I expected a bigger send-off, it just seems too tame a gag for Tex or Clampett's taste. The other gag which Sammy uses to impress the dancer is a gag in the same category, for the seagull does another gag acting as a dive-bomber; and that's literally all the gag is to it.

Comparing the gags of the Crow's attempt to woo the Lamour bird, the gags are better anticipated and show a fresh comparison between the crow and the seagull's personalities. The Crow character is already portrayed as a dim-wit, whereas the seagull is already the ideal everyman. A problem with that personality is its difficult to execute broad, vaudeville gags to a wonder-boy character, especially when doing it right.

Characters like Cecil Crow, on the other hand are much easier to conceive broader gags. In his attempt to charm the Lamour bird, he attempts to copy the actions of Sammy Seagull, but finds that he loses his speed limit and falls directly under the sea.

The underwater sequence is a great showcase for character animation by Rod Scribner, who captures the dimwitted persona very well into the character. The crow is still puffing his cigar underwater, and not having any sudden realisation that he's underwater.

What's a gag without the crow striking a flame through his matchstick whilst underwater? Only Tex (or Clampett) could have made such a gag look so subtle. Until, the crow remarks: "Gosh, I didn't know you could light this underwater..UNDERWATER?". Cecil's double-take was also greatly caricatured with Rod, who hits the accents right. The second gag in his third attempt to impress the dancer, is another great showcase of comedic timing, hitting it right on the beam. In a attempt to copy the Seagull's actions as a dive-bomber; he starts off with an average lift-off, but just then he ends up jerking consistently, and spazzes up like an engine going out of hand. These are both great scenes which blends in well to the character's instincts.

After a series of gags from a competition between the Seagull and the Crow, the competition breaks off into a dilemma for Cecil Crow. After an avoidance from the shark, Cecil quietly inhabits himself inside a turtle shell, hiding out of fear. Discovering quickly that another turtle resides in that shell, they both start fighting inside the shell, causing a racket. The part where supposedly the crow is raising his fist inside the shell to slam the turtle really shows power and monument weight in animation, that you feel the pain. Note how the turtle greatly resembles, Cecil Turtle, who had appeared earlier in the Bugs Bunny short, Tortoise Beas Hare. To make this even more coincidental, both the characters in the scenes were supposedly called "Cecil" (even though the turtle is unnamed in the short).

Areas which appear to show some of Tex Avery's humour is evident in some of the scenes, as well as scenes that I've already covered. In the first attempt of attracting the girl's attention, the first goal was to retrieve a clamshell successfully.

The seagull did the task effortlessly. For Cecil Crow on the other hand, the goal backfired. As soon as the crow opens the clamshell, we find a protesting clam inside the shell yelling incoherently before squirting water into the crow's face.

The sort of juvenile humour feels like it was executed the way Tex would have done it, though in some respects Clampett was certainly more juvenile than Tex. Another gag, appearing in the short's climax, is almost certainly Tex's own where we get an introductions scene of the cartoon's villain: a vicious gorilla. His jersey clearly labels him as "The Villain", but just to get cocky, the back of his jersey reads: "As if you didn't know" which is a decent tongue-in cheek gag which Tex adored.

Not to mention; you get the idea that the pacing is still building up; much like how Tex Avery and Clampett were building up their pace both in that same period; that its once again hard to distinguish whose timing is which. I'm going to suggest this might have been Tex Avery's work, for he did experiment a lot with rapid pacing, especially extensive use of dry-brushing effects.

The scene of the crow narrowly escaping the shark's jaws just features a beautifully rapidly paced scene, as well as a beautifully executed gag that it works on its own. Just as fires out the scene like a missile, all of his feathers fall out of the scene, making the gag feel more believable and convincing.

The second scene which features some beautiful timing and staging would be the starfish scene. Once again, the scene requires some beautiful and appealing dry brush work which makes the animation look very inventive, but also convincing in force. In a close-up shot, Cecil Crow struggles to pull the starfish from the top of his head, and then leading to a fight between the Cecil and the starfish, but as you'd expect: the starfish defeats him validly.

This leads to a mini fight scene, where the violence occurs behind a shrub, but the violence can still be visualised through the crashing motion that it gives. After a series of failures of impressing the girl, Cecil Crow finally defeats the villain of the short and wins the girl's affections. I guess the irony of the scene was that the crow failed to complete such simpler tasks, but had the knack to fight the vicious gorilla. And so, the new couple embrace one another and kiss. The final scene, though, ends in a very wimpy sense. Sammy Seagull bids them farewell as the sun sets. In the final scene, Cecil Crow and his new mate both wave back goodbye as they fly away from the tropical island, and followed by new offspring. It's a pretty weak way to end the short, for it lacks satire and taste: especially from a director like Tex, who would always satirise an ending to make it a suitable payoff. Here, it ends at a Disney-ish
sendoff.

Over who the dominant director of the cartoon was, its still debatable, but like I said, I'm more willing to say its a Tex Avery short. In all, this short was pretty weak in terms of satire. Though alliterated names are fun, here it just seems to lack creativity, but that's not all: some of the gags created themselves lack creativity. In all fairness, the character development in the short was paid off well, and believable enough in that sense. Cecil Crow at least saved the short from its uninspiring moments. I suppose the fact that the short was supposedly worked on by different directors, and yet the outcome didn't really meet to good results? Who knows. It wasn't a terrible short, but it felt so uninspiring, and especially reviewing the short was very uninspiring; as apart from the faster pacing delivered in the cartoon's action scenes; the rest of the cartoon is overall, mundane.

Rating: 2.5/5.

Warner cartoon no. 356.

Release date: February 14, 1942.

Series: Looney Tunes.

Supervision: Norm McCabe.

Producer: Leon Schlesinger.

Starring: Mel Blanc (Porky Pig / Animals), Robert C. Bruce (Narrator).

Story: Melvin Millar.

Animation: John Carey.

Musical Direction: Carl W. Stalling.

Sound: Treg Brown (uncredited).

Synopsis: A wacky spot-gag short centered at a city zoo. Porky Pig is portrayed as the zookeeper.

Although Norm McCabe had already received his first sole animation credit for Robinson Crusoe, Jr., it's safe to assume that this is quite possibly the first McCabe cartoon that he directed from start to finish. Though there is little evidence to suggest that, 'Crusoe' does feature elements that suggest Clampett had originally started the short, and not to mention his drawing style was still fragmented.

Moving forward to this cartoon, it's a different artistic style compared to Clampett; a style which you can associate with a lot of McCabe's cartoons. Here, it appears that McCabe hasn't quite comfortably stepped out to reveal what his true directorial talents can require: he is approached with a spot-gag short, but not based on a new subject.

Set as a zoo-themed short, this concept had already been explored previously in Tex Avery's A Day at the Zoo, which had the mediocre gags you'd expect. Although the gags range differently in this short, its still written in the same style that you've explored Tex do for the past four years at Warner Bros. Not to mention, it's another cartoon where Tubby Millar is attempting to throw Porky Pig in whatever scenes are opportune for him, and once more, giving him another limited role: as a zookeeper.

Millar creates an appropriate scenic location for the zoo, in order to create a well-delivered comedic error which is well satirised from Bob Bruce's narration. Set in Azusa, California; The narrator begins by reading out the short's title; and then reads the name of the zoo as seen from the screen.

Combining the title and the zoo's name together in a speech, it is a real tongue twister, and Bruce's narration is well acted, capturing the tongue twister difficulty to a tee.

The opening scene, although its riddled with poor puns, and the whole sort: it does make up with an impressive pan shot of some of the animals displayed in their cages. Then it dissolves into another camera pan as the camera takes you to another line of animals (with puns) featured on display.

You get some corny puns labelled to the animals in their cages; offhand you get the corny "tortoise and the hair" gag, as its revealed the tortoise only has one piece of hair on his forehead. The other would be the 'bum steer' gag where you see a cow dressed as a tramp, which you see in the second camera pan shot. The pan shots aren't exactly as complicating or as inventive as Tashlin's pans, but they're great shots in establishing some of the animals you'd expect to see from cage to cage.

More and more corny puns are tossed into the mix, abundant enough to carry the whole cartoon. To look a little more further at where these puns just lack creativity or integrity would be gags such as the "march hare" gag, where a group of marching hares are walking in a single line walking a la army marching. Other really corny puns which is amateurishly developed, but the output meets a funny result otherwise.

This centers in the middle of the short, where we view the different types of elephants displayed at the zoo. First off, we see the 'African elephant' who is seen very plainly eating, being its only anticipation. Then, we meet an 'Indian elephant'. With the outcome not being an ethnic Lascar stereotype, we get the straight-forward pun resulting in a Native-American elephant who is seen whooping and producing a rain dance, which is a more forgiving stereotype, even though I never see it as not being PC. It's a silly gag, but of all the madness combined into the gag: it works to that degree.

One of the funniest gags in the short with a great unpredictable outcome is centered in the sanctuary scene where the narrator identifies a vulture. Looking very stern from its appearance, the narrator informs the audience of the vulture's instincts: "A sneaky bird of prey", "a lonesome scavenger", etc.

After blurting out a couple of cutting remarks to the vulture; the bird responds by breaking out in a snobbish, calm attitude as he simply speaks back by reciting the Sticks and Stones nursery rhyme.

The rhyme is also a moral, to help encourage children to ignore taunts or name-calling from various people. The outcome of the scene is not only surprising, but you enjoy the characteristic, camp voice Mel Blanc performs, who could devout a great performance, even out of a one-shot, minor character. Another great sequence, a pun intended, but also with a great outcome is seen earlier in the show: in another sanctuary scene. The narrator identifies the bird as a bald eagle. The eagle is disturbed when he is being called a 'bald eagle' by the narrator several times more loudly, until the eagle removes his hairpiece and yells: "Okay blabbermouth, so I am BALD!". It's another good diction voiced well by Blanc, who himself saves an average gag to being passable.

Porky Pig's role in the cartoon is still limited, but his scenes are scattered randomly through the short, perhaps to try and make his role look dominant. Porky's role in the short is as a zookeeper with gags and other businesses, that are unrelated to a travelogue parody. His role and the scenes he's in are really pointless combinations to be placed in a spot-gag short.

The gags would have worked better as a passable short if it were a cartoon focused primarily on Porky as a zookeeper. Anyhow, the first scene we find Porky walking merrily holding a mallet with him. When questioned by the narrator, he responds that he uses it to feed the giraffe.

It's explained further on, that his method on feeding giraffes is by striking the mallet in the style of a strength tester display that you'd see in a funfair. The first few times, the giraffe narrowly misses the bucket as Porky attempts to strike harder each time. After a series of tries, it reaches to the giraffe except the food splatters over his face, ruining his meal.

The next sequence Porky is seen feeding the seals fishes, except one seal refuses a piece (slamming it back, striking Porky's face). Then, in his scene; he is seen as a demonstrator on the narrator's commentary about the toughness of the hippo's skin. Porky demonstrates he consistently prodding a stick to the hippo's skin during his commentary. Then, out of nowhere, both commentaries contradict otherwise as the hippo breaks down laughing, ticklish at the stick poking him. It's another amusing, contradiction gag which are beneficial for entertainment.

At the same time the short was in production, the U.S. government played a part in propaganda by encouraging the public to help save scraps in preparation for World War II. It seemed rather fitting for the time the short was made to feature gags related to the war effort. One gag features a black panther who is sloppily drinking from his bowl.

After filling up the entire bowl, he finds to his astonishment a symbol which he tosses over a "save aluminium" scrap. I suppose this was the ideal symbol produced by the government used at the time so the public would be alerted to saving aluminium tin cans, pots, etc. to help the cause.

Another government-related joke also has some subtle humour blended in to it. The scene begins with a father rabbit, who already in the scene is the father of a multiple bunny rabbits. Reading the letter: he shows concern, anxiety and is almost at the brink of being panic-strikened. He gasps, "I can't do it! I can't do it! It's impossible. My gosh, there's no limit!". The curious narrator asks of the rabbit's concerns, and he turns to reveal the letter, as you can see in the screenshot. It's a nice subtle gag, which you'd expect out of Clampett; but instead Norm McCabe adds the right touch to the gag.

Like many spot-gag cartoons produced in Warner shorts, you get a satirical scene of a scene building up to suspense. The scene begins with the narrator explaining the intimidating instincts of a black bear. He is seen approaching towards a helpless lamb who is eating from a trough, as the narrator explains about his deadly claws which he uses "to hug his prey of death". And so, the bear approaches the lamb: and this is the height of the suspense that the scene carries.

Unlike many Warner fans, one might expect the bear to break down exclaiming, "I can't do it"; or the bear would romantically embrace the creature. The bear does the latter. Not to mention, it's another play-on word scene, as Tubby Millar uses emphasis on the word "hug" to suggest otherwise. Just as the bear hugs the lamb with affection--the narrator, misinterpreting that as danger, demands the bear to place the lamb down, but the lamb responds by sharing the same affection, "Oh for goodness sakes, mind your own business!". Love the Blanc falsetto voice.

And so, last but not least is the typical recurring gag which has been a popular formula when creating a spot-gag short. The star of this recurring gag is a lion who is seen pacing inside his cage with an ambiguous expression. A few times in the short, we see him still pace in his cage.

It isn't revealed until the ending sequence where, the lion finally stops pacing and looks from outside his cage with sheer delight. It turns out he's been waiting for the ice-cream man to arrive with his ice cream cart. He barks out ice-cream around the zoo, and notices the lion's eager attention for ice-cream.

The audience would be under the impression that the punchline was just a childish gag of a lion who was peckish for ice cream, but that isn't the case. As the ice cream man walks off screen to deliver the ice cream, we hear an off-screen munch. As it turns out, the lion as after the ice-cream man all this time, and not the ice cream itself. Cruel irony is awesome.

As this review comes to a close, my overall thoughts on the cartoon was rather tepid. As I wrote, Porky is very much unrelated to the cartoon, other than that he's a zookeeper, and some of the gags just don't seem to fit into the short. Not to mention, he appears to be written in the short as an attempt to save the short from being an uninspiring spot-gag cartoon. Like most spot-gags, you'll find it has some goodness as well as some blandness in taste. Mel Blanc and Bob Bruce both play their roles expressively as well as enthusiastically, despite having worked on such material so many times previously. You'd need to be this devoted an actor to carry on with such roles. Norm McCabe's sense of direction is also passable. He's not afraid to explore several aspects of subtle humour, as well as to make his shorts look visually pleasing, like the long camera pan shot. A vastly under-appreciated director, indeed.

Rating: 2.5/5.

Warner cartoon no. 357.
Release date: February 21, 1942.
Series: Looney Tunes.
Supervision: Chuck Jones.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Porky Pig).
Animation: Rudy Larriva.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Porky runs a cafe, which is operated with mechanical gadgets that help prepare a meal. Meanwhile, Conrad Cat finds he is in a pickle in various circumstances: such as an ant and a pancake mixer.

Still trying to create new characters who could successfully act through pantomime, Chuck Jones still attempts to make Conrad Cat work, but still hasn't make the character adaptable for a Warner Bros. short, except you could say Conrad has a little more character and emotion form the previous failure, The Bird Came C.O.D. Now, Chuck has regular characters like Porky Pig or Daffy Duck team up with Conrad, to perhaps make him appear more along the lines of a Warner Bros. character, though it doesn't meet such results.

Perhaps the most pivotal aspect of this cartoon would be Chuck Jones' timing. This isn't a criticism on his "slow pacing" which I've criticised over the past four years of Chuck's career; his timing has actually improved validly, starting from this cartoon.

Chuck appears to have at last capture the sense of speed and pace in his characters, that make his pacing sharper to the point it meets the other director's standards. From the first scene in the cartoon, Chuck appears to show security and confidence in his pacing and even gag development.

The opening scene which is set in Porky's Cafe, Conrad is seen working as a chef in his diner, and he flips the pancakes from the grill precisely in synchronisation of the popular Gavotte. A known popular melody for its time, it works itself as a gag; and Chuck's improved capability of slicker pacing has made a complete difference compared to what he attempted to accomplish previously.

Though Chuck's pacing is seen improved in many scenes of the short, I'll give another shout-out to his great timing delivery would be the sandwich scene during a communication scene between Porky and the customer, who we'll meet in further detail. He is given layers and layers of sandwich slices combined together, and he eats the whole lot. Moments later, his neck spontaneously reacts as the sandwiches are caught stuck in his throat, representing the shape of an accordion and reacting like a pair, too.

Though Porky's role in the cartoon is more predominant than normal; he is still represented as a weak character. Yes, he is presented as a loyal, hardworking employee who wants to meet the customer's expectations, but that's about it. His lack of temperament as well as a cynical attitude really lacks the spark with Porky here.

The scenes where he is first seen communicating with a customer who wears a feathered hat and a long moustache. Close enough to be considered a prototype Yosemite Sam, which I'm sure wasn't the case.

The customer himself shows more personality than what Porky presents, even though the customer's only motifs in the film is yelling for food to Porky. Despite the dictions on the character is what makes the character broader than Porky in that retrospect. Keith Scott suspects the voice of the customer is Bob Bruce, though the evidence is inconclusive. Most of the sequences with the customer is mainly a string of gags of Porky's poor service to the customer, whose services tend to lead to a circumstance, and yet this all leads up to a potential climax. This isn't a bad concept for a short, but Chuck hadn't used the right gag material to make this fulfilling as a cartoon.

With Porky issues asides, the cartoon itself still appears to function like its a pantomime short. The only real dialogue occurring in the cartoon is in scenes featuring the customer and Porky, but its not the sort of dialogue you'd be inspired by. Conrad Cat still is presented as a silent character, except for the occasional grunt, scream or even a rare speaking part in the scene. The two characters with different characteristics don't blend very well together in his cartoon, personally.

You get scenes that Chuck could have used in previous cartoons like The Bird Came C.O.D. where Conrad is looking suspicious on the missing pieces of pancakes, but takes some time to realise they're sitting on top of his chef hat. Having moments of dialogue as well as sequences where there is silence for long periods of time, especially on a particular character really makes the cartoon look inconsistent altogether. It's not that its terrible, but having Conrad and Porky together just isn't the right casting for the cartoon.

Most of the scenes featuring the customer and Porky aren't all interesting, though one that comes to mind shows some great visualisation that makes up for such a scene. The customer has requested to have soup served to him as a meal, which Porky serves to him immediately.

Forgot to mention, Porky's quick pacing from the entrance and exit doors of the kitchen really do look effective, adding depth to the sense of speed to emphasise his dedication to the job. The meal that the customer is served is alphabet soup, except Porky adds the final ingredients by typing random letters which spring to life, and then land on the customer's soup. For a wacky concept, Chuck sure made this visualisation look very appealing to watch.

From the start of the customer's dilemma gag, it seems a little aggravating to watch. The gag centers on the customer attempting to blow the steam off his soup, but only for the steam to return directly to the bowl, preventing himself from eating in fear of burning his tongue. Its a gag parallel enough to Elmer attempting to extinguish a candle in Good Night, Elmer. As that gag itself was incoherent and poorly conceived, the steam gag in the short is more exaggerated visually, on how it would be interpreted in real life.

In reality, the steam returns from the bowl in an attempt to blow the evaporation away from a hot meal, and a lot of folks would get the general feeling. Chuck Jones not only beautifully visualises it into a gag, but gives the evaporating steam a little bit of personality too. After the customer supposedly blows the steam away, the steam is seen hiding around jars in the table; it then returns unnoticed to the bowl. This leads to a great take from the customer who sips with the steam surrounding him. He quickly places his hat under the bowl with great disturbance.

A sequence that will probably stick to the minds of others who have viewed the cartoon before would the mechanical gadgets who are seen baking a fried egg and preparing toast. The assembly line begins with a rooster who is seen nesting, but gets grabbed by the neck from a robotic hand and the outcome leads to an egg being hatched.

And so, this leads to some more assembly line business involving conveyer belts as well as mechanical hands doing the work, such as putting the toaster on or scraping the crusts off a piece of toast with a knife. Would've have been a more effective sequence had Stalling used Raymond Scott's infamous Powerhouse, even though it didn't become a cue by Stalling until late 1943.

It's a little straightforward in terms of gag approach. You've seen it in other motion pictures before, and in terms of an idea its cliched. But animation wise it was very complex to stage, and Chuck Jones as well as Warner's camera department knew how to handle such complicated staging without going too costly.

Conrad, in the short's subplot is mainly seen dealing with an invading ant who has entered the kitchen area, and becoming a clear distraction to Conrad's work. The ant at first hides inside a bowl full of cream, and as Conrad pours the cream in the grill to form a pancake; the ant is seen alive, and thus making the pancake walk.

It's a great little sequence when viewing character animation, as well as Chuck's sharp posing and the volume of his glorious facial expressions. Conrad fails at stopping the pancake from moving, at first placing the hand on top of the grill (causing his hand to burn), and continues to stop at nothing.

Watch Conrad in close-up as he is seen counting furiously to ten. The inner feelings of the character are greatly expressed and can be sympathised with. Bobe Cannon animation? Chuck Jones' timing is also pretty slick too, once more, especially in the fast-paced action of Conrad attempting to splatter the pancake with his spatula. The scene with Conrad swinging his spatula intensely that it causes his body to swirl like fireworks is very surreal itself in gag approach and timing. Beautifully crafted.

After a series of struggles from the kitchen, Conrad chases after the 'pancake-ant', leading into a chase sequence. Reading to the cartoon's climax, Porky is seen carrying a huge cake with several layers standing; and the climax only reaches its peak when Porky finds he is slippery around the cafe, crashing through tables, breaking china, etc. And at that point, Porky crashes towards the customer's table leading to an ultimate crash amongst Claude Cat and the ant.

The final scene, Porky is presented as a gag; for he's laid out in the style of a suckling pig; the customer and Claude are both trapped inside the cake. As for the ant, the ant has proved victorious towards Claude; for he ironically stands next to the bride figurine on top of the cake, kicking the husband away. From my point of view, the ant has a striking resemblance to the pygmy ant Porky faced in two truly terrible shorts: Porky's Ant and Porky's Midnight Matinee. Mmm, this doesn't sound like a good sign..

In all fairness, this short is no worse than Bird Came C.O.D., which is the truth. Chuck Jones' comic timing has a much more slicker and more appealing approach compared to previous cartoons where he is trying to be as successful with timing compared to the competence from Friz Freleng or Bob Clampett. Chuck's nailed it here, but from creating an all-round entertaining cartoon: he's not there yet. Chuck still isn't yet comfortable from breaking out from poor habits such as sequences that tend to drag, or incoherent gags; and also a heavy reliant on pantomime when it isn't really connecting. It's a starter for Chuck, but with a touch of comedy, a competent writer, and good characters: Chuck would be the great director we all would worship.

Rating: 2/5.

Warner cartoon no. 358.
Release date: February 28, 1942.
Series: Merrie Melodies.
Supervision: Chuck Jones.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Daffy Duck), Pinto Colvig (Conrad Cat).
Story: Dave Monahan.
Animation: Ben Washam.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Conrad Cat is busy cleaning the deck, but gets distracted by his duties when he becomes a target of bullying from Daffy Duck.

It's worth to mention before we review the cartoon that what really stands out greatly about the cartoon; is not just Chuck Jones' drastic change in direction, or that Conrad Cat represents Goofy; but it's the art direction of the cartoon. Chuck's layout artist from this era, was John McGrew who designed a lot of unique and ambitious backgrounds for classic animated shorts. It was unusual for McGrew's work to appear in such cartoons, as many audiences were used to seeing watercolored, oiled backgrounds seen from Disney as well as other studios. McGrew and Jones both helped revolutionise the look of classic animation, as well as making the cartoons a lot of fun at the same time.

Compare his work to some of the cartoons he worked on like: The Dover Boys, Case of the Missing Hare, etc. All of his work in those shorts show how very versatile he was in terms of designing as well as providing the right atmosphere for cartoons. In this cartoon, not only does his layout work in all scenic locations of a navy ship look modern in art direction, but pleasantly realistic too. These screen grabs were borrowed from the late Michael Sporn's ever-so-inpsiring Splog; for more of McGrew's artwork on the short. Mike writes a great analysis here, complete with breathtaking frame grabs.

You can tell how risky and complex, both Jones and McGrew wanted to be artistically; they were willing to use their artistic abilities to the point where it could sometimes sidetrack from story purposes, as well as the animation itself; which to itself is a disadvantage in animation. A real shame he never received screen credit for his great work at Warners, much like the many other background and layout artists working in that era.

Conrad Cat, in his final appearance, is once again interpreted differently by Chuck. Perhaps judging by the lacklustre of The Bird Came C.O.D., Chuck switched to turn to comedy; giving him a Goofy persona. To add to that, have Pinto Colvig provide the voice.

Chuck's approach to humour has also drastically changed in the course of this cartoon, compared to what we're used to his approach. His pacing and timing has lived up to the Warner Bros. standards, as well as the gags.

The gags work coherently, and have that looney sensibility that lives up to the series' name. Perhaps this can be attributed to Dave Monahan, who had written shorts mostly for Tex Avery and Friz Freleng, who were the funniest directors Warner's had in 1940-1941.

From the start of the cartoon, it's clearly established that Conrad is working as a sailor for a navy ship, cleaning the decks. While the navy crew sing Anchors Aweigh together, Conrad sings the song alone; and it's clear he's established as an outcast.

Conrad's introduction scene is 45 feet of animation (30 seconds), and the action mostly consists of Conrad singing and cleaning. This was a real challenge approached to animator Ken Harris, who animated the scene. He had to create some inventive animation as well as gags to not lose the audience's attention, especially as the scene shows little descriptive action. So, he adds some decent touches like Conrad swinging the mop, and positioning his hand for the mop to hand neatly.

Another great addition to the cartoon is none other than Daffy Duck. Daffy had been appearing sporadically such as in a few black and white Looney Tunes, though this is his first colour cartoon since Daffy Duck and the Dinosaur, directed by none other than Chuck himself. This cartoon; Daffy's characteristics well interpreted by Chuck and Monahan. Daffy is not only mischievous and looney, but he's cynical, he can dominate people; and Chuck nails that kind of persona in this short.

He becomes an instant menace to Conrad once he discovers Daffy's footprints on the floor, and finds Daffy loitering on top of a mast. There, Daffy mocks Conrad's singing by singing in a mockery voice: "We're shoving right off, again", before leaving a forth-wall remark to Conrad, "Phew, is that guy awful? Gee, it makes me sick."

The sequence with Daffy pestering Conrad's duties is a brilliant showcase of how Chuck Jones has nailed the comic standards which you'd expect from a Warner Bros. short. Not to mention, it's also very inventive in giving Daffy more of a wacky personality.

As Conrad is scrubbing firmly of the deck singing angrily: "We're shoving right off for home!", Daffy replaces the water bucket with a bucket of paint; to make Conrad's navy life a living hell. Conrad sweeps the deck, not realising at first he is using red paint.

Daffy responds to this by disapproving Conrad sarcastically, "Very sloppy, Roscoe. You're a slovenly housekeeper". Conrad reacts to the criticism harshly and aims the mop directly to Daffy's face. Daffy grabs the mop, leading to a brilliant scene with Daffy grabs the mop and improvises by performing a short act in the style of vaudeville. The dry-brush effect on that scene is just delightful.

Daffy tosses the mop up in the air, and shouts to Conrad: "Catch! Catch!". The 3/4 up shots from Conrad's POV of the mop falling is another brilliant angle, as well as another great reason to admire how gutsy McGrew and Jones were in laying out the angle.

The mop falling in perspective is very complex to animate, and it would require only the ambitions of Jones' unit to accomplish it well. The next shot of Conrad's mini eye-take is just a brilliant showcase of timing. Chuck was never afraid to exaggerate poses, especially with eye-takes; and he used some of the most subtle kinds such as in shorts like Daffy Duck and the Dinosaur or Prest-O Change-O. After the mop smacks Conrad's face, the camera pans to Daffy sitting on top of the mop once again taunting Conrad; "Very petite, Betsy. Very, very petite". Once again, its a brilliant showcase in representing the potential of what the rest of the cartoon.

Despite the potential of having really good characters in creating an all-round funny cartoon; Chuck Jones is just not quite there yet. Sure, he has Daffy; and an improvement on the Conrad character (even if it means a rip-off to Goofy), as well as a really good sequence; but the only part that's really lacking in the short is the hyperactivity and energy from the characters.

Daffy acts looney like he'd usually behave in any other Warners cartoon, but its his looney energy that makes him somewhat tamer in this cartoon. Not to mention, in the latter half of the cartoon; both Conrad and Daffy remain silent a lot of the time, occasionally speaking a line of dialogue, and since the mop gag; the energy and characterisation just faded.

An example can appear in the crow's nest scene, where Conrad holds out his telescope on the lookout for Daffy. After placing the telescope back and supposedly grabbing hold of it again, he grabs Daffy's neck mistaking him as a scope. This leads to Daffy's sarcastic remark at Conrad, "Swell view, eh doc?".

Much of that sequence is performed in pantomime, and by doing that; you feel you are losing the personality already established from the characters. It just doesn't work in a cartoon which has a lot of fast-paced action. Note another scene which shows characteristics but lacks energy and motivation. Daffy has slider down a very long chute, but lands from the threatening hands of Conrad. Just as his hands get cleansed, Daffy licks Conrad's lips; unintentionally freeing him. It would've been more motivating a gag if Daffy's hyperactivity was there, such as his 'hoo-hoos'.

Despite some problems with characterisation and energy, you've got to appreciate the big change in Chuck's own pacing. Every scene is evenly paced, with no scene dragging too long whatsoever. This was a big step for Chuck, and this is what he's done right.

You'll notice Chuck certainly expressed a keen eye on dry-brush effect to help gain weight and anticipation into the action, and a lot of the time it's beautiful to look at frame-by-frame.

A clear example of that is seen in the cannon cleaning sequence. Conrad believes he is rid from Daffy, but finds Daffy is only standing right by the cannon. This leads to a childish game where Conrad's and Daffy's hands both overlap one another, and Daffy swirls Conrad's arms to get them into a sticky tangle.

Conrad manages to unfree himself easily by swirling into a frantic motion, which is seen in the screen shot. Another scene with some great, loose animation is the scene where Daffy plays the nursery rhyme clapping game Pease Porridge Hot with a perplexed Conrad. Note how Chuck's animators at that point were already very liberal in animation, and had this sense of freedom that you'd be under the impression that Chuck's allowing them to go loose. Daffy's little hitch dance in that scene is wonderfully loose and expressive.

Chuck always liked the idea of having a random, passing-by character interrupting the action, and passinby throughout the short before getting a sendoff. He's used that in cartoons such as the sailor in The Dover Boys, Humphrey Bogart in 8 Ball Bunny, and not to mention: the Mynah bird. Here, the recurring passing-by character is the sea captain. The captain is represented small in size, but big in power; hence the irony in size. During the action and chase scenes, the characters freeze when they are seen by the captain and both salute him in his presence. The timing of the captains' walk as well as Stalling's cue is entertaining comically, but it doesn't really have an edge, or a purpose; other than distracting the action.

It doesn't have much of a sendoff in the cartoon's ending, either. A scene with the captain passing by that does really stand out is the scene of Daffy and Conrad both sliding into the scene to salute. Watch how layers of Daffy and Conrad slide into the scene, with the characters starting out as transparent to opaque. It's difficult to create in terms of ink and painting, as the lighting has to be slightly different each layer. This is also another prime example of just how inventive Chuck's pacing is, and to pull it off takes a lot of ambition.

During the cartoon's climax, the short appears to built back the pace again: with Daffy's energy restored into the cartoon. Hiding inside a cannon, he hums to himself inside, but unaware of his knowledge Conrad has placed a giant bullet inside. Daffy points out obviously as a forth-wall gag, "Big bullet". Conrad lights the cannon, and the cannon fires, leading to Daffy riding the bullet.

He shouts, "Look at me, hoo-hoo-hoo, I'm a dive-bomber!". Once again, it's another great sequence which has the right pacing for an action-filled sequence. Daffy's attempts to dodge the bullet are very fluid in movement as well as impossible in action.

Believing that he has disposed of Daffy for good, Conrad walks among the deck with his mop to resume to his duties. To his surprise, he finds that the bullet has backfired leading to the bullet chasing Daffy. Realising the bullet and Daffy is leading directly to him, he expresses a "Here we go again" pose. Such a rich expression, too. This leads to the final gag where the trio (inc. the bullet) both stop at the presence of the sea captain as they salute before the bullet continues to chase them.

After almost four years of Chuck Jones directing almost consistent, tepid cartoons; this is the cartoon where he has finally broken out of the habit and started to pick up the pace much like what Friz Freleng or Bob Clampett were doing. It's got some great pacing, and not to mention even some coherent gags which in Chuck's earlier cartoons were not. Daffy Duck and Conrad in the opening scenes were great characters who created some good comedic situations, mainly in the mopping sequence; but then for a while the energy goes for a while. Though many do consider Chuck's real breakthrough in creating good comedy to be The Draft Horse, they to some extent correct. If there was a cartoon which Chuck Jones finally started to make his pacing slicker, and that none of his scenes dragged: it's definitely this short. However, in making an all-round fast-paced and great all-round entertainment: he's only so close. Like I said, the only lacklustre in the short is centred in the middle of the short, where you get long scenes of time of little to no dialogue, which doesn't quite combine well into the earlier sequences. I would personally attribute the problem to Conrad, who as a character just isn't adaptable as a character to match Daffy Duck, especially if Chuck prefers to have him silent much of the time. All in all, this was certainly an entertaining short, and from then on in his long career at Warners, Chuck could do no wrong.

Rating: 3/5.

Warner cartoon no. 359.
Release date: March 14, 1942.
Series: Merrie Melodies.
Supervision: Bob Clampett, Tex Avery (uncredited).
Producer: Leon Schlesinger.
Starring: Robert C. Bruce (Narrator), Mel Blanc (Various voices / Bugs Bunny).
Story: Michael Maltese.
Animation: Rod Scribner.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: This travelogue parody takes us to a crazy journey from a cruise liner.

This is another cartoon which is missing a supervision credit, even though it's another short that Tex started, and supposedly finished by Clampett. Though both director's style clash in the short, this marks the end of Tex Avery's official tenure at Warners. The man who helped revolutionise the wit and humour into these cartoons, a very venturesome director.

Since his departure from the studio; this proved to not be a heavy loss for the Schlesinger Studio. Everyone else learnt from Tex, and managed to produce some brilliant input that is on par with Tex's work, and it only gets better from then on. Tex's last official Warners cartoon ends with another typical spot-gag cartoon, set in a cruise liner; complete with recycled formulas, and the liner takes the viewer to random scenic locations of the world; which sounds in perspective unfocused even as a travelogue parody. At first, you see the cruise liner in the Caribbean, then you see the liner across the Alps, the Sahara Desert, etc. This parody sure lives up to the cartoon's title.

I suppose the unfocused of where the cruise liner heads to sequence to sequence is satirised brilliantly in the navigational map sequence occurring around the beginning of the cartoon. Mike Maltese writes and plans a great sequence which not only creates great satire, but a great challenge to animate timing-wise. The ship, seen docked from the coast of Florida, sets sail to Havanna, Cuba.

The ship stops to the "world's famous Sloppy Joe's" bar which is based on the Florida bar, famous for regular customers like Ernest Hemingway. As portrayed on the map, its clear everyone (inc. the captain) went to the bar before embarking back on the ship.

The next part features the uncoordinated paths the cruise liner follows emphasising that the sea crew are drunk, such as sailing in swirls (before stopping with the cruise liner hiccuping). This is a beautifully executed and exaggerated gag that shows great dynamics in the crazy route they are travelling. Not to mention this would have required a lot of careful attention for an effects animator in handling the scene, as not only does it need to be laid out and planned precisely; but not to mention comical timing-wise. Stalling adds to the comedic touch as he plays How Dry I Am while the cruise drunkenly sails.

For aspects that feature a lot of Tex Avery's humour; it's scattered throughout the cartoon. Not to mention, it also looks like a Avery production, judging by the rich backgrounds created by Johnny Johnsen, as well as the use of tight, realistic drawing in some scenes that Tex strictly required from his unit.

The sequence in the Egyptian desert is a striking example of continuous humour elements that you'd expect in Tex Avery's cartoons. After a camera pan of the outback in the desert, the scene takes the viewer to the Sphinx. The stone rendition of the Trylon and Perisphere, (displayed in the 1939 New York World's Fair) is wonderfully referenced and parodied in that shot.

As the narrator describes it, the Sphinx has been standing for many centuries: "Year in, year out", as well as standing there "motionless, silent, quiet". The Sphinx kills the narrator's commentary by speaking: "Monotonous, isn't it?". This is a regular gag punchline which works well in that sequence, contradicting the narrator's commentary to a tee.

Other aspects of Tex's own humour appears in the camouflage sequence. As reported by the narrator, due to "unconditioned world conditions" (supposedly referencing World War II), all ships were to be camouflaged. The ship sailing past is S.S. Yehoodi, a direct reference to Jerry Colonna. The gag itself showing the camouflage, though corny in perspective, but as a layout it looks painstaking to make the gag as realistic as it could go.

As for scenes that show some Clampett influence in humour and timing; it's possible some of the sequences could've been his own work. Scenes which come to mind is the opening sequence in the short. The short begins at a Southern plantation in Louisiana, and the narrator reports on the financial difficulties that tobacco farms earn because of the tobacco bug. In a close up scene, the tobacco bug is revealed; eating a tobacco leaf.

Whether it was Tex or Clampett who worked on both the scene, its uncertain; though the cutout hand holding the microphone has a unique and blessing touch to it. The microphone is described to be "super-sensitive" that viewers would be able to listen to the bugs for the first time.

Of course, the gag is that the bug responds by satirising the fast-speech patter of the tobacco auctioneer from the Lucky Strike cigarette commercials heard in Your Hit Parade.) Another great scene which appears to share some of the wackiness and spirit in animation is evident in the insect-eating plant sequence.

The 'victim', being a bumblebee, flies at the scene, and ends up caught in the trap from the plant. The bee flies over the plant causing it to spit out shouting "OUCH!" in agony. Such sharp delivery on voice as well as timing.

Other scenes which show some great aspects of delivery and gag punchline are also evident in some scenes. A scene that sticks to my mind fondly, with an unpredictable punchline would be during the oil field scene. In this scene, the narrator looks at the ground rumbling, and remarks with amazement: "Oh, here comes a gusher for them now".

Just as the ground rumbles, one would expect the oil to strike immensely, but the irony of the gag is that it doesn't. Instead only a small drop of oil falls out from the field, landing on a spittoon. This was a great gag which can pleasantly surprise you.

Another scene with a pleasant sendoff would occur during the Alps sequence, featuring the mountain goat. The narrator explains of how the goat enjoy the dangers of leaping peak-to-peak in the alps. During the leap scene, Stalling adds to the right touches: matching the timing precisely by playing London Bridge is Falling Down in the underscore. And then, the goat falls to the ground after leaping all the peaks. Nevertheless, the goat continues to leap in rhythm to the rhyme until at the last note, the goat falls off the cliff by continuous leaping. Another great scene which is entertaining gag-wise, as well as becoming a n advantage for Stalling to make the sequence work.

As for gags that I think don't hold up too well, it would be the some scenes centring on animals. Another scene featured in the Alps, is the group of St. Bernard dog who carry spirit drinks in aid of those who are lying unconscious in the snow. The leader of the pack is seen carrying a keg of scotch, next in line is another St. Bernard carrying a keg of soda. As for the puppy St. Bernard, he carries a small keg of 'Bromo'. Bromo, of course, is medicine which is mostly used for indigestion and heartburn. I don't personally understand the perspective or purpose of that gag? Was the gag supposedly that each St Bernard in line are seen carrying small pieces of aid, going from strongest (spirits) to weakest (indigestion pills).

In the Africa sequence, another corny gag features a line of animals; which at first are seen lining up with alertness and patience. As it turns out, the camera pans to the right revealing a mother zebra aiding its child by a 'water hole'. As you know, its a rancid pun on 'water holes' which are popular for animals to bathe in the wild lands of Africa.

The next to last sequence in the film, is another satirical scene in creating suspense killers. The narrator gives some commentary to add depth and tension to the scene; a territory which is dominated by "ferocious giant cannibals". The territory is known as the "Brawla-Brawla Soo-it Region". For those who don't know, this is a parody name taken from the lyrics of then popular song: The Hut-Sut Song.

The next scene features a pair of famous, experienced hunters who are caricatures of Friz Freleng and Ted Perice, follow the pgymy into the deep canopy of the dangerous territory. As the narrator says, "They plan to capture a couple of these giants alive!".

After a clattering off-screen sound, the pygmy rushes out gibbering in his native language. In a close-up scene animated by Bob McKimson, he continues to speak in that gibberish tone; until he converts to English, "Look, they got them! They got them!". "They" is revealed in the next shot that the two giants have indeed caught hold of the hunters, but they are compressed between the giant's fingers, resembling rollup cigarettes, leading to the humorous "King Size" lineup from one of the giants.

The final sequence is almost certainly Clampett's own sequence. Note how the gag is the same conception seen from a previous Clampett spot-gag cartoon: Africa Squeaks. Instead of deers looking cute and helpless, we get a group of cute bunnies scampering around looking harmless and lacking self-defence.

At the height of World War II, it seemed the right way to stereotype the Japanese by caricaturing them as a vulture, a metaphor on the enemy. Just as the vulture dive-bombs towards the bunnies, they immediately respond by hiding behind some weeds, and reveal some aircraft artily they use to fire at the vulture.

Note however that during the gag, you will find one rabbit facing its back away from the camera, whilst the other two are facing front as they play. It's a difficult challenge to animate, in not revealing the rabbit's face before the gag can be revealed. Much of that sequence was given to Rod Scribner, who met the challenge greatly. And so, the bunny who was hiding behind this time was Bugs Bunny, seen wearing his Civil Defence helmet. He has the last line, "Eh, thumbs up, doc! Thumbs up!". Just at the iris-out, Bugs' ears form to a "V for Victory" sign, whilst the underscore heard is We Did It Before (And We Can Do It Again). Thus, this ends the cartoon on a patriotic note.

While it's a shame that the blog will no longer be reviewing shorts directed by Tex Avery, it is without doubt for the greater good. As a cartoon, this wasn't much of a great sendoff to a brilliant legacy Tex brought to Warner Bros., though this was unintentionally the last Warner short he worked on. Not to mention, Tex gets a fresh start, a better start once he hops over to MGM Studios, making himself an even bigger name. As a spot-gag cartoon, this was average at best. It had some charming, innovative moments like the navigation map sequence, which to say the least was original. Bugs Bunny's little cameo at the end was also a pleasant surprise to end the cartoon, for his popularity was only growing rapidly in the beginning of his career. In all, it was an average short; which doesn't have too many exciting moments but for the sequences I've given good comments about, I'd suggest you'd take a look.

Rating: 2.5/5.

Warner cartoon no. 360.
Release date: March 28, 1942.
Series: Merrie Melodies.
Supervision: Friz Freleng.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Bugs Bunny / Various voices), Arthur Q. Bryan (Elmer Fudd).
Story: Michael Maltese.
Animation: Richard Bickenbach.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Bugs Bunny begins to take advantage of Elmer Fudd, once he learns about Elmer's $3 million inheritance, which he must agree on condition he harms no animals--especially rabbits.

It seemed clear in Bugs Bunny's earliest cartoons, that much of them were being produced by Tex Avery, and in those cartoons: that was the standard Bugs Bunny in wit and design that was established. While other directors like Friz or Chuck were beginning to direct some Bugs Bunny cartoons of their own, their interpretation on Chuck's designs was still a mass of contradictions of the Bob McKimson model.

In this cartoon, Bugs is evidently off-model compared to other cartoons. His quick wits are interpreted correctly thanks to writer Mike Maltese, but design-wise he is pretty far off. In scenes by animators Gil Turner or Cal Dalton, Bugs looks grotesque in design. Since it's a Freleng short, it's inevitable.

This shows how McKimson's model hadn't yet fully evolved around the other directors directing Bugs Bunny cartoons; and for a few years Bugs' design would be inconsistent in each cartoon. Bugs' design didn't fully evolve until around 1944 when Bob McKimson oversaw the entire animation department, in keeping the work on-model. Not to mention, notice how Elmer's fat design became standard temporarily, as not only does he keep the fat design for a few cartoons, but other directors like Friz adapted to the change.

From a story standpoint, this is a typical cartoon formula which can be expanded into many innovative, fun ideas: especially for a Bugs Bunny cartoon. Mike Maltese is already of the relationship between Bugs and Elmer Fudd, and the idea of money manipulating Elmer to not harm any animals is a solid concept for a cartoon plot.

Setting up the cartoon; it starts with Bugs on the run by a group of hunting hounds. He pants and wheezes, "I'm trapped. Gotta get out of this. I gotta think fast. Trapped". After being spotted by Elmer, and his hounds, he attempts to disguise himself as a hound barking.

Spared from death, Mike Maltese uses a delivery boy travelling in the forest form out of nowhere as a plot device to set the cartoon. It's a fitting gag to just have the delivery boy to know where Elmer is located, especially in pivotal scenes.

Elmer opens up the telegram which reads he has inherited $3 million from his Uncle Louie. Not only is Elmer rich, but he will only inherit his fortune on condition he harms no animals..especially wabbits. In reaction to that, Elmer spares Bugs' life, letting him free: "You're fwee now, little wabbit, go and womb and fwolic awound the fowest". As he continues to repeat: "Oh boy, I'm wich!". This is a great establishment in setting up the whole cartoon: Bugs can now test and manipulate Elmer Fudd without getting himself harmed. A unique turn for the relationship between Bugs and Elmer, for Bugs can still act and wind-up Elmer as he usually does, but Elmer naturally can't provoke, concerned he'll inherit nothing.

And so, Bugs' pestering and dominating manner starts from then on. He enters in Elmer's own home with the sense of entitlement that he lives there. It calls for some great sequences with conflict and character in Elmer's naive persona. Elmer walks into the house, and already listens to Bugs singing in the shower to An Angel in Disguise.

Bugs steps out of the shower covering himself with a towel as he plays some piano notes to catch the pitch in his singing voice. That little scene itself is just hilarious, adding emphasis to Bugs' irritating habits, and thus angering Elmer.

The bathroom scene is also great in controlling Elmer's motivations. Elmer brings out his shotgun, and prepares to fire at Bugs Bunny, threatening: "Come on out, or I'll blow your head off!".

Bugs responds by carrying a sign to Elmer reading: "What would Uncle Louie say?", forcing Elmer to retreat from his actions. The sign gag is also great as its the sort of communication that can intimidate or discourage anyone. Bugs then steps out of the shower, and proceeds over to the mirror. If I get any comments from fanboys saying 'Bugs Bunny's bollocks let slip from the towel' still believing such tosh, please don't bother reading further my review. The shaving scene is also fun to watch in how much of a slob Bugs can be presented. He starts out by shaving under normal areas such as his muzzle, but he becomes even more ill-mannered by shaving under his armpits.

The following sequences proceeding are scenes which now build up to an edge; making Bugs more dominant than previously. Elmer starts off begging Bugs to "go back to the fowest", and encourages him by patting him. Bugs considers the pat as a threat and acts provoked, "Hey, what are you tryin' to do, kill me? Hey, you'll fracture my skull. I'm gonna call Uncle Louie".

Another great dilemma for Elmer as not only is Bugs a blackmailer, but also deliberately obnoxious in these scenes, teasing Elmer's mind. He picks up the phone, demanding for the operator to place a call to Uncle Louie.

Note how Elmer gives Bugs the nickel when Bugs asks for one; its always fun watching poor Elmer being his naive self. Note the dated reference when Bugs breaks from dialogue into, "Oh, is dat you, Myrt?"; which was based on the popular radio show: Fibber McGee and Molly.

And so, after Bugs quits his phone call after Elmer's apology; he manipulates Bugs out of the house. This calls for another drastic measure for Bugs; in which he can entice Elmer into feeling guilt and shame, as well as the chance of losing his fortune. Bugs starts out by banging loudly at the door, demanding to be let in; until he realises his advantage and fakes his own death. Mel Blanc's delivery on Bugs' fake death is well interpreted, especially in Bugs' speech impediment on the line "I'll get pneumonia", which he mispronounces for comedic purposes. It's a scene that's been done several times in Bugs shorts, so its a predictable; knowing that Elmer will react and feel shame; which he does, but its a sequence that needs to be built up from the previous sequence.

With the creative liberties that the staff got at Schlesinger, the background artists didn't mind an occasional cheeky image that could go unnoticed on the screen. Note how unusual Elmer's house is: he has a women's powder room, and not to mention nude female portraits. I suppose its safe to say the nude portraits were painted sneakily so it would go unnoticed, which is my interpretation. According to Graham Webb's Animated Film Encyclopedia, the backgrounds were painted by a Lenard Kester, who appeared to have worked in Freleng's unit before Paul Julian. His use of backgrounds have an appealing dynamic look towards them.

The sequences surrounding from after Bugs' fake death sequence finally has the cartoon building up to a quicker pace. The first half of the cartoon was very much dominated by Mike Maltese's storytelling, whereas Freleng's timing and speed is more evident in the latter half of the cartoon.

After Elmer rocks Bugs' supposedly dead body, Elmer received another special delivery at his door. This is where Mike begins to stir up the cartoon a little. We already explored enough aspects of Bugs' blackmailing, and this time there needs to be a new edge in the plot, by being given bad news.

Instead, Elmer is informed from Uncle Louie's lawyer that he's died. The irony of that bad news is that the letter shows that after taxes and fees, that he hasn't enough money to spend or keep to himself. It declares that he owes $1.98 to Uncle Louie's attorney. This is another dilemma built up, as Elmer realises even if he fulfills the will, he won't receive any spending money anyway. Not only does Elmer fulfil the money, but feels he can restore himself to harming rabbits again.

Scenes which are up to Freleng's standards would be the urn scene seen following on. Elmer now has an excuse to get rid of Bugs for good, and this leads to a chase around the house. Bugs Bunny finds three urns sitting in a corner and hides in one. Elmer proceeds over, and climbs in the urn climbs in. This calls for Friz to exaggerate the scene as much as he could in making it perceptible and comical.

Both of Bugs' ears appear separately in each urn, with one of Bugs' ears communicating to one another, with one ear slapping Elmer inside the urn before he zips out. This is a complex scene to stage and animate, especially when it needs to be presented in a gag approach similar to Tex Avery. Friz was great in making such technically complex gags flow nicely.

The sequence following shows a lot of energy in the characters; especially on Bugs Bunny. His improvisation on the clock chiming midnight during a frantic night is really well executed, not just in animation but story too. The gag and improvisation comes out of nowhere, including the confetti. Mike Maltese creates a cleverly conceived gag where Bugs cons Elmer into believing it's New Years Day. After throwing confetti in the air, chanting "Happy New Year", and enticing Elmer into singing Auld Lang Syne, until he double-takes looking at the calendar realising it's only July. Not to mention it's a beautifully paced scene too, it lasts long enough for Elmer to realise he's been tricked and then the short proceeds to more fun action.

Perhaps one of the most bizarre gags to be ever created amongst Bugs Bunny would be Bugs Bunny dressed in drags. This sort of attitude and behaviour was unheard of with cartoon characters, and this shows how Warners were venturesome in making their characters feel almost human, like they don't always act like cartoons.

Not only is it a hilarious scene, but one would question why Elmer has a woman's powder room in his house. As the chase continues, Bugs finally exits the house where Elmer slams the door, wiping his hands with dignity: "Good widdance to bad wubbish!". Then the door buzzes which Elmer anticipates to open.

Another postman walks by and greets Elmer, "Easter Greetings" by handing him a giant Easter Egg. Ending as the final gag in the short, the Easter Egg opens and reveals a bunch of multiple, baby Bugs Bunnies who all cry in unison, "Eh, what's up doc?". Not only is it a funny scene on Elmer's burden, but it's quite possibly one of the most cutest, sentimental scenes in a Warner Bros. cartoon. The bunnies scrambling out of the Easter Egg, with one scrambling over Elmer's face, is every definition of the word 'cute'.

With design issues on Bugs Bunny aside, this is alone an entertaining Bugs Bunny to watch. Mike Maltese writes up a clever formula where Bugs and Elmer's relationship meet at a unlikely situation. This is one of the story formulas, which itself is cliched and overused, but this uses the formula well, as Mike is create in pacing his scenes smoothly; and knows when to add another edge to the plot in making the short more innovative along the way. Though it has some great scenes, some of Freleng's input feels its missing in the first half of the cartoon. I suppose because that with the story sequences constructed by Maltese, there wasn't much left for Freleng to create anything special timing-wise, and the first-half was paced like a Tex Avery short. The latter half on the other hand is a lot more appealing in pace and energy.

Rating: 3.5/5.

I know this post has virtually nothing to do with Warner Bros. or even a cartoon review; but I feel the need to share to you readers, on a recent piece of work I'm most proud of.

Some of you may be aware of the most recent release of Didier Ghez's fantastic book series, Walt's People, which is a compilation book filled with interviews and other aspects of Disney history. Earlier this week his latest volume (Volume 15) has been released. Some folks may raise their eyebrows.."another book about Disney history?". True, there have been a huge number of books containing about Disney history, and less from other studios; but the more the merrier I'd say, as Disney had saved a lot of its great history.

This is a book meaning a lot for me, as I have made my first contribution towards a book about not just Disney history, but animation history too. It's a good feeling to have a piece of work published and contributing a small piece of animation history. I spent a good three years of sporadic research on pioneering Disney effects animator: Cy Young; whose work is best known on the earliest Disney classics like Snow White, Fantasia and Dumbo. It was a real learning experience on writing my 12-page essay on the animator, with a lot of information which I don't believe has ever been revealed to any historian before. I'll let you guys find out when you buy the book.

I felt that I had to share it in this blog (as I have no intentions of updating my old blog anymore); but I hope you will read my work and feel enlightened by it. There is also a lot of really good material in the volume, to which I will list in order:

Foreword: Mindy Johnson

Dave Smith: Bob Cook
John Culhane: Grim Natwick
Michael Barrier: Clair Weeks
Bob Casino: Willis Pyle
Didier Ghez: Charlene Sundblad about Helen and Hugh Hennesy
Göran Broling: Preston Blair
Cartoonist PROfiles: Preston Blair
Steven Hartley: The Life and Times of Cy Young
Michael Barrier: Lynn Karp
Autobiography of Basil Reynolds
Alberto Becattini: The Life and Times of Riley Thomson
John Culhane: Ward Kimball
John Culhane: Wilfred Jackson
Jim Korkis: Ham Luske’s children
Michael Broggie: Stormy Palmer
EMC West: Guy Williams Jr.
EMC West: Buddy Van Horn
EMC West: Suzanne Lloyd
George Sherman: Roger Broggie
Jim Korkis: Karl Bacon & Ed Morgan
Dave Smith: Bill Martin
Jay Horan: Bill Evans
John Culhane: Card Walker
Didier Ghez: Mike Peraza

The latest volume is currently available through Amazon, and if you are keen to buy a copy; then go right ahead and enjoy!

Warner cartoon no. 361.
Release date: April 11, 1942.
Series: Looney Tunes.
Supervision: Friz Freleng.
Producer: Leon Schlesinger.
Starring: Reid Kilpatrick (Narrator), Mel Blanc (Various Voices).
Story: Sgt. Dave Monahan.
Animation: Manny Perez.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: A spotgag parody on how the Wild West was first inhabited by civilisation.

Despite the departure of Tex Avery from the Studio, Warners still had some of his writers who were still writing out spot-gag cartoons, in the style the audience were used to seeing in the past four years. Spot gag cartoons at Warners didn't seem to die down until at least around 1944, when by that point they became less frequent, and everybody realised how unfunny they were. In this case, Freleng takes another shot at a spot-gag carton centring on the Wild West back in the pioneer days, with Dave Monahan being the writer, who is credited as "Sgt. Dave Monahan", for he became a sergeant during World War II.

The short begins with a long background displaying the journey of the pioneers going West, which is seen from the American map. An animated line coordinates the pioneer's journey. Although this shows two individual shots of each map, its a very complex job to stage and lay out, especially since the sequence will have to require visual gags.

The pioneers are travelling far, already through the Black Hills of South Dakota, in which the narrator describes: "In the ways when the west was young.."..the camera then pans to a visual gag in South Dakota of Mount Rushmore with the four presidents presented very youthful looking. The young Roosevelt caricature is very attractive.

Moving forward, the pioneers are seen travelling further (though this time wounding all the way down in Texas, crossing through Oklahoma) as they make their way through the Great Plains, then through the American Desert. More visual gags are presented along the way, such as the Rocky Mountains ('the backbone of the nation'), and so the Rockies are illustrated to look like backbones.

Some clever animation staging on the coordinate avoiding to cross the Painted Desert, Arizona as it's presented with Wet Paint signs, and the line dodges that territory. Despite a few inconsistencies with the map, it's still a well-planned sequence with some enlightening visual gags making it satisfying enough.

As for most of the cartoon, it doesn't give you much gags or wonderful sequences to offer. The rest of the short relies on a lot of uninspiring gags, which usually leads to the result of corniness and bad delivery.

One sequence focuses on a gag of a man who is seen struggling to survive in the desert as he is crawling on the ground, dehydrated and trying in vain to find water.

He even becomes a potential victim by a flying pair of vultures, with one vulture shouting out: "Hey Joe, come 'ere. I've got a bone to pick with you!". The dehydrated man then finds himself arriving at a water stand, where the water man arrives to give him a bucket of water.

He encourages him to drink steadily in order for him to survive his journey in the desert. After a guzzle from the bucket, assuming he has restored his energy, he continues his journey. Just as he continues, he immediately returns to his dehydrated state by crawling through the sand, pleading for water. This is an unfunny gag, leading to unfunny delivery, especially after all that build up it led to.

More corny sequences are released throughout the cartoon. Sequences that come in mind would be the roll-up cigarette scene. A cowboy is seen leaning beside the wagon, and is preparing to roll himself a piggy.

He takes out some rolling paper, then some tobacco; and attempts to create a rollup action by whirling his fingers. This, however, leads to no effect: except by leading his fingers in a "twisted" situation.

The hand whirl effect had a decent touch, though it's a gag that still works on its own. Then you encounter another sequence which is also trite. The scene takes us to a saloon, where a group of men are seen engaging a game of poker, and enjoying their beverages, until...A stereotypical 19th century villain walks in the saloon with two pistols pointing.

Everybody is intimidated by his appearance, except for a he-man seen leaning by the saloon. The villain fires pistols at him, only leading for the cowboy ticklish with laughter from the firing pistols. It's a incoherent gag, it's silly, but its the gist of the whole scene; to make the mucho man seem tougher than everyone's expectations. I suppose it passes as a gag.

There is some decent animated sequences which show Freleng taking his abilities to an advantage. The townsfolk scenes of the men walking down the streets in their chaps with an appealing pose as well as a decent piece of timing of their walk. The scene follows with a mouse also copying the walk, but finds however he is confronted by a cat who chases the mouse with a lasso.

Other fun sequences take place during the rodeo sequence, although in the scene I'm referring to, Friz could've exaggerated this further, to make the gag more fitting. One of the gags centers on a rodeo attempting to jump on top of his bull. His hands are holding its grip to the bull's horns, but he finds himself skidding on the ground continuous. After letting go of the bull, he finds his body has stretched out long, and his legs compressed. As a gag, the pose and exaggeration appears to be lacking, and to have him appear even more stretched would've worked better.

Dave Monahan's puns also come to great use in some sequences. Just as the pioneers have begun to settle in the Wild West, the narrator speaks metaphorically: "The towns sprang up like mushrooms". This is also another advantage to Freleng's timing as the towns plop up, indeed, like mushrooms. Treg Brown's effects also add to the appeal and wit behind the gag, adding emphasis on the growing effect. Great touch on the small gas service growing slightly.

Other great sequence in that matter, would be in the sequence featuring another rodeo performance. The cowboy is seen gripping tightly and wildly on the horse, as the narrator commentates: "He'll never throw this boy!".

Upon hearing the phrase, the horse questions his commentary by staring at the unseen narrator with doubt, and then tosses his rider from his back to the ground, before he sticks his tongue with cheekiness and walking away from the scene. The attitude the horse has is great as it gives a funnier setup to the gag as well as making the narrator appear foolish from saying those words.

More gags in the sequence that also tend to bare a lot of corny delivery and action would appear in the sequence of an Indian baby who is seen riding on top of his squaw pretending his Papoose is a saddle. The gag was thrown in the sequence showing little execution other than just plain corniness. I guess it fits in the sequence, as Injuns were still had civilisation in the Wild West.

Not to mention the scenes also show 'suspense-killers', too. In one scene a couple of cowboys are seen attempting to hold onto the gate of what appears to be a rough and intimidating horse attempting to break out and into the arena.

The narrator even uses superlatives to add to the horse's malice, as well as a word of caution: "You've got to be tough to ride this baby". As the horse jumps out of the arena with a tough attitude, he turns to the audience cheering, and feeling somewhat disturbed and intimidated himself. The horse reacts to this timidly, "Ooooh, people" and the horse shyly walks back into the stable, cancelling his performance at the arena. This is an amusing piece in satirising suspense, as the horse doesn't live to its superlatives.

Like many of the travelogue parodies in cartoons, you are always bound to find a recurring gag to carry on the entire cartoon. While this cartoon does feature a recurring gag, it doesn't really take much advantage of it, other than much a gag passing-by intended for possible laughs. The recurring gag features a cowboy who is attempting to hop on top of his horse and saddle, but his horse keeps on galloping, leaving for the cowboy to fail every time. The horse cycle as well as the cowboy's jump is nicely done and executed as a gag, but that's generally all you see as a recurring gag. It's mainly intended to interrupt opening and closing sequences. The ending gag is very much like that, though Friz adds a charming touch, with the cowboy and horse changing positions on galloping action, as the cartoon draws to a finish.

This short is evident that the spot-gag cartoons from Schlesinger were already growing very tiresome and uncreative. Not just because the gags were getting weaker, but because the cartoons lacked any inspiration for gag material as well as execution. Tex Avery's first few travelogue parodies were inventive at first because of some gags and satire which hadn't been explored before, but as more cartoons poured out, the gags grew tiring very fast. Despite this, Tex still maintained in creating an original gag every now and then. This cartoon features gags which are obviously outdated for Schlesinger humour, and that the Warner directors need to break out of the habit. Not to mention, the studio had already advanced with character personalities to the point where they could make more and more funny cartoons, whereas the spot-gag cartoons just get more dated in more wilder approach to humour that Warners was experimenting with.

Rating: 2/5.

adapted from the book by Dr. Seuss
Warner cartoon no. 362.
Release date: April 11, 1942.
Series: Merrie Melodies.
Supervision: Bob Clampett.
Producer: Leon Schlesinger.
Starring: Frank Graham (Narrator/Hunter), Kent Rogers (Horton/Lorre Fish/Giraffe), Sara Berner (Maisy Bird, elephant bird), Mel Blanc (Various Voices - sneeze + small hunter), Bob Clampett (3rd hunter). (Thanks Keith Scott).
Story: Michael Maltese, Rich Hogan (uncredited). (Layouts: Nic Gibson).
Animation: ?
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: In this charming Seuss adaptation of the book, Maisy bird is restless of nesting her egg, and asks for Horton the elephant to nest the egg, "of all silly things" while she is away. Little does Horton realise is how long will Maisy will arrive, as well as what will determine Horton.

Being the first proper Bob Clampett cartoon with the previous Avery unit, he is already bringing in his esteemed talent which was lacking in the last years he made black and white Porky cartoons. Clampett was evidently hungry to switch to directing colour cartoons, and to celebrate his new position: he takes on the job to adapt the infamous Dr. Seuss story to the screen.

Horrible.

Despite having a brilliant legacy in his classic children's stories, it's unfortunate that Dr. Seuss also has had a legacy of his stories being adapted horribly into family movies. I'm talking about Hollywood's interpretation of the Seuss books made from the past 15 years: Watch The Cat in the Hat starring Mike Myers, or Jim Carrey in The Grinch; if you happen to make it out alive: Try the recent animated adaptation of The Lorax, starring Danny DeVito.

They're movies that horribly interpret the books by modernising them in such a sluggish way by bringing in popular actors of a certain generation, as well as pop-culture references in it make the movies dated; and losing the spirit and charm from Dr. Seuss's writing. Only a fool or an amateur would think they can do justice to Dr. Seuss by modernising it into terrible tastes.

Of all adaptations, the Warner staff appeared to be the only crew who understood the spirit of the books by making it look alive from an animation perspective. Prime example are this cartoon, more obvious choices would be Chuck Jones'How the Grinch Stole Christmas, or Hawley Pratt's The Cat in the Hat. They're all very fine adaptations, but I find that this cartoon alone is the best Dr. Seuss adaptation ever done. Not only is it faithful to the source material, but Bob Clampett blends in the contemporary Warner Bros. humour beautifully too, as well as making the movie artistically fulfilling.

Watching the cartoon from an artistic standpoint, you can't deny that the cartoon has allowed the background artists to explore with whatever colours they can use to make the surreal Dr. Seuss fantasy world believable. The opening scene is set up similar to an Tex Avery cartoon, with an opening narrative spoken during a long pan of the scenery. Not to mention, the opening shot is filmed on two camera panes to create a realistic illusion.

The backgrounds in these shorts were done by Mike Sasanoff who considered the colours in his backgrounds splendidly. Considering that many of Seuss' illustrations contain only a very limited use of colours, this was an ambition which had to be met in order for it to look visually appealing for an audience.

Not only is the use of colours explored wonderfully in the backgrounds, but also on the characters too: such as the pink colour tone on Horton, and blue for Maisy bird. These are all odd but elaborate tastes of colour which fits in the right place.

From a character design standpoint, the designs have a great blend of Seuss' style as well as Warners. Bob Clampett recalled this in an interview with Mike Barrier and Milt Gray: "As of a Friday Night, I told my animators, who were all struggling to draw Bugs Bunny alike, 'Guess what, boys? First thing Monday morning I want you to all draw like Dr. Seuss." Recreating Seuss's designs and illustrations to the screen isn't an easy challenge, and it's been flawed a lot in live-action movies. This goes to slow how they met the goal wonderfully and comically.

The way the characters are established in the opening scenes is also very faithful. They are already given very clear, distinctive personalities just by a single scene, which is a great way to set them up for the entire cartoon. The short begins with Mayzie bird, who is known to be "mean as can be".

She is seen sitting on her nest, laying her egg complaining about having to sit on her egg with no activity whatsoever to keep her motivated. She complains in Seuss' classic rhyme trait, "I'd much rather play. If I could find someone, I'd fly away, free."

As for Horton's introduction, he comes across as a carefree elephant who is a little dimwitted but loveable. He first appears from behind a bush singing merrily to The Hut Hut Song. Midpoint during his singing, he interrupts by breaking the forth wall, "I still can't get the words of that song".

This was a nod to the popular tune of its time, and it's brilliantly satirised in this sequence for its nonsensical lyrics matches Horton's personality greatly. Horton's little dance is animated very strangely, he doesn't move so fluidly nor does he look connected: but it goes to show that the Warner crew were able to animate personality, without making the elephant's walk looking too noticeable. Rod Scribner's scene on Mayzie attempting to entice Horton with her lustful appearance is brilliant in establishing how manipulative and indeed "mean" Mayzie could be. The use of squash and stretch on Maisy's belly is brilliant to add emphasis on her not-so good figure. Horton watches her appearance and immediately turns his attention to her.

The interaction between Horton and Mayzie is great in setting the story into gear. Whilst Horton pays attention to Mayzie's appearance, she starts off her dialogue: "You've nothing to do and I do need a rest. Would you like to sit on the egg in my nest?". Horton's line following implies that Horton is no fool, he has attitude but still kindhearted. He starts off bulking at Mayzie's request: "Why, of all silly things. I haven't feathers, and I haven't wings. Me on your egg? Why, it doesn't make sense. Your egg is so small ma'am, and I'm so immense.

Since the scene is dialogue-heavy, animator Bob McKimson had to invent some animation for the characters to still make the scene engaging for the audience. An example is shown when Horton turns his backside to Mayzie in the "I'm so immense" line, so emphasise his size. Visual puns is also added to that effect to keep the cartoon fresh with ideas.

This is evident in the following dialogue by Mayzie: "I've gotta get off for a rest, otherwise I'll never get rid of these bags neath my eyes". The metaphorical phrase is added splendidly as a visual puns, displaying that Mayzie indeed has bags under her eyes. Treg Brown adds to the gag by adding the train whistle sound.

Mayzie assures Horton that she won't be away for long; leaving Horton to surrender to her request: "Very well. Since you insist. I'll stay and be faithful. I mean what I say". Maisy flies away for her vacation, leaving Horton to climb on top of the small tree to hatch her egg. Horton's repeated piece of dialogue: "I meant what I said, and I said what I meant. An elephant's faithful 100 per cent." as faithfulness is the theme and moral of the story.

This is a very strong moral of the story as it shows being faithful can require a lot of effort and dedication, especially if you go through hardship. This makes Horton a very strong character to identify with because not only does his ass get grilled in situations like being persecuted by his friends, or being deported from his own lands; he still remains true to his word to the lazy Mayzie. You can experience the amount of distress he feels while he repeats his phrase throughout the cartoon. Each time he says it, the more intense he feels: such as in great character animated scenes of Horton attempting to disguise the huge ears pouring down his eyes. Much like the ending of the story, Horton's faithfulness to an unfair favour has rewarded him, whereas Mayzie is punished for her laziness by not receiving anything.

Like a lot of Seuss's adaptations which feature a lot of modernised humour in bad tastes, this short is one of the rarest adaptations where the contemporary Warners humour actually fits in the right places. Mainly because the cartoon understands the source material and focuses primarily on Horton's faithfulness, but adding in their own humour in scenes here and there. In scenes of Mayzie relaxing in an exotic beach, she is having too much of a good time that she insists, "I think I'll never go back to my nest", at that moment she impersonates Katherine Hepburn, "Really I won't." That is a great, funny reference which fits in perfectly from Mayzie's statement about her not returning. This is a gag in the right place.

Another example is the seen in the famous scene featuring the Peter Lorre fish. Horton has been captured by the hunters and is seen sailing through some choppy scenes. From a reality standpoint, Horton looks extremely ridiculous, sitting on top of an egg, on top of a ship sailing past. A fish swims up to the surface, and to his astonishments he spots Horton in that silly position. The Lorre fish then states, "Well, now I've seen everything" and immediately commits suicide. Of course, it's a controversial scene because it doesn't set the harmless tone in the Dr. Seuss books, but as a gag it's hilariously executed that it works very well as an addition.

Storymen like Mike Maltese as well as Clampett himself have an advantage to create some fresh sequences to help add to how uncomfortable Horton is feeling, but yet still retaining his faithfulness. The first sequence centers on a flood in the spot where Horton is hatching the egg. Horton, looking depressed, speaks: "I wish she'd come back, cos I'm cold and I'm wet. I hope that the Mayzie bird doesn't forget."

As the rain floods up Horton's entire body, Horton speaks with hhis trunk peaking at the surface. The added gag of Horton speaking with his trunk is so subtle and bizarre in a gag approach, by adding a tongue at the end of his tuba, but then again, only Clampett could make such a wild gag appear subtle.

The atmosphere of Horton's tired expression adds to the effect, making the gag work. Clampett adds to the faithfulness of Horton as well as the hardship he is facing through the passage of time. In one sequence, Horton is still seen sitting on top of the nest during a snowy night--not moving once from his position.

The season's have changed suggesting Horton has sat on the spot for an extensive amount of time. He is shivering from the snow, wearing earmuffs to hopelessly keep him warm: but the faithfulness remains. Gags are added along the way where Horton anticipates a giant sneeze (sneeze done comically by Blanc) resulting in a disgruntled Horton to tie his trunk into a knot to prevent any more.

The scenes surrounding on Horton being humiliated by society is also great in adding depth to the hardship of Horton's situation. Being an absurd sight - naturally all of his friends begin to laugh at him. This is evident in the scene with the animals who all laugh at Horton sitting on top of a nest. A big-eared mouse (almost parallel to the mouse in Farm Frolics), calls out "Hey look, Horton the elephant's up in a tree". A giraffe calls out, "Blimey, Horton the elephant thinks he's a bird!". This is probably my favourite line in the short. The addition to the giraffe having a Cockney accent is so bizarre in delivery and concept, that the voice matches perfectly with the giraffe's design--making the line hilarious.

The scene with Horton being displayed as a freak at the circus is another great addition to the humiliation that Horton suffers. What makes the story and character so powerful in its subtle ways is how Horton remains faithful despite suffering ultimate humiliation which starts to make him feel grieved.

To shake up the story a little, Horton faces a foe which he must defend without abandoning his nest: hunters. The three hunters (all different in size), are seen sneaking through the foliage, all holding onto a very long elephant gun. The walk cycle by Bob McKimson (who animates a majority of the hunters sequence), is very comedic and successful in animating their different sizes and mannerisms.

Realising he is at risk, Horton stays firm to his faithfulness by defending himself to the hunters: "Shoot if you must, but I won't run away." At this point, the hunters lower the gun with the little hunter suggesting: "We'll take 'im away. Why, he's terribly funny!", and they settle on taking him to the circus.

Still faithful to Mayzie's request, Horton defends himself to the hunters as he responds: "You can't make me go", in which the hunters respond excitedly: "Oh yes we can!"

Horton is assertive enough to refuse the hunters' request, and he continued to argue their case until the hunters had the last laugh by taking Horton with them the hard way. They place the tree into a plant pot, on top of a cart as the hunters carry him off. Clampett shows some great timing in changing the staging from the previous scene to the next scene: starting from Horton's defence of "Oh no you can't", to a dejected Horton replying, "Oh yes they can". He builds up the shots of their argument really well, by making the close-up shots closer in each shot.

Then we reach the cartoon's climax: the sudden encounter between Mayzie and Horton. Horton has reached the peak of humiliation, and there is no signs of Mayzie ever intending to return to her nest. High in the sky, Mayzie is seen flying with her ice-cream and flies down to the circus for some entertainment. At that point, she encounters Horton.

Just at the point, the egg which he "sat on for fifty-one weeks" begins to wriggle vigorously on top of the nest. Horton looks at the egg with astonishment: "My egg, why it's hatching!".

The selfish Mayzie screams: "But it's my egg!". Her inner cruelty is evident in her forth-wall crack as she whispers to the audience behind Horton's back, "The work is all done now I want it back. Ha hah!".

The sequence of Mayzie arguing with Horton shows how Rod Scribner is also breaking loose with his true animated talent. At that point, the egg hatches, and the baby is revealed.

Much to the circus audience's surprise ("My goodness", "My gracious", "It's somethin' brand new!"); the baby revealed happens to be an "elephant-boid": with a strong resemblance to an elephant like Horton, and the wings of a bird like Mayzie. The elephant-bird identifies the mother as Horton, as it snuggles up to Horton's cheek. This leaves the angry Mayzie with nothing. Horton's hardship has finally paid off, and is rewarded by being sent back to his home along with his baby elephant-bird. Back at home, and with a happy ending, the father and child they sing The Hut-Hut Song, with the baby singing back-up.

This is quite possibly the longest Warner Bros. cartoon made (it clocks in at almost ten minutes), and the cartoon uses up its 10 minutes sufficiently and brilliantly. There is not a dull moment in the cartoon, and every scene is a treat. Bob Clampett understands the source material to the charming Seuss story, and shows his ability to add him his esteemed talent as well as staying true to the spirit of the book. Clampett's crew like Mike Sasanoff or Bob McKimson help add to surrealistic designs of Dr. Seuss in making the imaginary world and characters look believable and bizarre. It's also a funny Clampett cartoon which shows that Clampett is starting to build up at a better pace he should've done back in 1938. The cartoon doesn't show much edginess in terms of timing, as this is a Dr. Seuss adaptation, but elements of Bob Clampett's use of exaggeration is blended in many subtle ways, to show that Clampett is revolutionising his style. The use of cultural references is executed not just hilariously but beautifully too, because unlike many latter Seuss adaptations; this cartoon isn't reliant on references. In all, it's a delightful cartoon with great characters, great gags, and it's definitely an immortal addition to the Warner Bros. cartoon legacy.

Rating: 4.5/5.

Warner cartoon no. 363.
Release date: April 25, 1942.
Series: Merrie Melodies.
Supervision: Chuck Jones.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Love Birds).
Animation: Phil Monroe.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: The curious pups, once again fighting over a bone, where they end up chasing each other into a city zoo. Once again, they experience more dangerous encounters.

A cartoon which marks the end of Chuck's period of making Disney-like cartoons, it all comes to an end with the two curious dogs appearing one last. They've already appeared in a couple of cartoons, none of them turned out good: but is six times the charm?

The short begins much like any other cartoon with the dogs: seeking for a bone or running away from trouble. This time they're digging for a bone; and they've dug quite a hole. They listen out for a motorcyclist who rides into the scene, with the dogs narrowly avoiding the vehicle.

This is some pretty edgy, sharp work coming from Chuck Jones--who has the motorcyclist ride in perspective, and the timing of the big dog dodging the vehicle is very slick. A very surprising turn for Chuck, which goes to show that he has already achieved his abilities but he uses it with boring characters. The big dog leaps high up across a wall which leads him trapped inside the city zoo.

Once inside the city zoo; the dogs spend the rest of the cartoon searching for the bone, but become delayed by strange animals which they are oblivious of. What you don' see often in a cartoon with the curious dogs is a sequence that contains satire similar to Tex Avery.

The small puppy is seen observing the features of the zoo, and watches the lovebird sanctuary. Up there is a pair of lovebirds, with the male bird embracing the female in the cliched romance style from movies of that generation.

The male lovebird expresses his lust for her by stroking her head, with cheesy dialogue along the lines of: "I love your eyes, your wings, your feathers and your beautiful little claws. I'm madly, deliriously, insanely in love with you." Once the male lovebird notices he's being watched he turns towards the pup irritated: "Ok bub, break it up".

The pup still watches with interest, leading to the lovebird to scream: "Scram, stupid!". As a sequence individually, it's an amusing piece of satire and Mel Blanc's take on the screaming lovebird is the icing on the cake. It most likely got laughs from the audience, and it sure stands out compared to the rest of the cartoon. In the cartoon however, I'm afraid it doesn't fit into the cartoon's setting. Of course, it already has a weak concept: the two curious dogs encounter strange animals in a city zoo. This scene would've worked better in a satirical cartoon, like in one of Tex Avery's travelogue parodies. You've got to give Chuck at least credit for trying to explore the exploring Warner Bros. humour, except it doesn't blend in the cartoon too well.

Most of the sequences in the short is the same as the previous cartoons. The big dog will have a dilemma, and the small one will have a different: before it clashes together.

Ken Harris certainly played a performance in animating a very complex and mechanical scene of the kangaroo hopping around the zoo with the dog stuck inside his pouch. The path of the zoo is laid out at different angles, and this requires the kangaroo to hop in different perspectives and size, judging from distance. Ken Harris was always given the most challenging scenes to animate, and he always did it well.

Not only is he animating a kangaroo hopping from different sizes, but he's also animating the dog dangling inside the pouch. The kangaroo skids to a halt as he pursues to smell some flowers. The big dog quietly escapes from the patch as he uses his tiptoes to avoid the kangaroo.

The big dog then copies the kangaroo's bounces as he begins to hop like one (also animated by Harris). The hopping is fun to watch, although the sequence feels more like an animation experimental scene rather than a sequence itself. There are some gags along the way that goes with it such as the dog hopping his way inside the tunnel, and the tunnel gets narrower until he bumps his head several times. Overall, it feels a little less of a gag sequence, why does the big dog hop like a kangaroo? Anyhow, at least it benefits with some inventive animation by Ken Harris.

As I had mentioned previously in my review of Conrad the Sailor, Chuck Jones' timing and pacing had already been achieved successfully in the cartoon, but he still suffered with a reliant of unnecessary pantomime. This cartoon is another prime example of that, but since Chuck was the master of pantomime in animation; some scenes still suffer from being slow here and there. On the bright side, there is a lot of scenes which actually show sharper pacing. Areas of Chuck's fun pieces of timing is evident in the porcupine scene when the big dog is jabbed from climbing down a pine tree. Another great scene is when the puppy scuffles with the turtle to return his home. Dust covers up the violence and it unveils with the turtle bare but spared by his briefs, and the puppy is caught inside his shell.

Chuck doesn't tend to focus on one sequence and let it drag for a minute or two. Instead he adds more sequences for the characters. Instead of having the puppy chase the turtle to carry on half the cartoon, the puppy encounters several different animals on the way, and surprisingly well-paced. Though, this will be observed later on in the review.

Sequences which did did tend to drag a little, which I reviewed earlier, was the lovebird sequence. In a Tex Avery spot-gag; Tex would've paced the scene evenly so the audience get the gist of what's happening, and have the lovebird shout out once. The palm tree gag also is a little slow in some places.

The big dog almost had an encounter with grizzly lions caught in their cages, after an attempt to get his bone back. Their ferocious roars were intimidating enough to scare the dog up the pine tree. He hopelessly barks at the lions until they become quieter and meeker. I suppose Chuck tries to add to the charm by adding a curiosu monkey into the scene, even though the monkey and the dog barely communicate.

The sequence drags a bit when the dog slides down the pine tree and gets jabbed by the porcupine. More barking continues. It's not a minor complaint, though it would've worked better if Chuck finished the sequence with the dog zooming up the pine tree.

The puppy faces another dilemma by trying to retrieve his bone which passed onto several animals. First an ostrich, then a turtle; and then a sleeping hippopotamus. The dog rushes inside the hippo's gut before being cautioned. We are displayed with an unseen gag which is reliant on Treg Brown to provide sound, in making the gag work. Treg meets the challenge well, in which the dog takes by rushing outside the hippo's mouth quickly before the hippo closes his jaws.

The cartoon also features some recurring gags to help carry the cartoon. One gag involves a laughing hyena who laughs at the dog's misfortune whether they experience humiliation or danger. The hyena doesn't play too much of a role other than making the dogs a laughing stock. He does however pay off at the end of the cartoon, which will be revealed at the end of the review.

Another recurring gag which doesn't have a conclusion is a stork who always meets collision whenever the dogs run past the standing stork. The stork has trouble keeping his legs adjust, and it doesn't help when he is knocked over by one of the dogs.

In one of the scenes of the big dog hopping like a kangaroo, he encounters the stork and the stork reacts to the dog's hopping. This leads to ruining the stork's image, and once more adjusting himself to the right position. It doesn't have a conclusion, and it's only used to help carry laughs in the short. Sometimes the scenes of the stork is amusing, but other than that; it doesn't have much purpose.

And so, the final scene leads to a climax. The dog walks back, and immediately turns back towards the hippo's cage to return his bone. The dog retrieves it successfully, and he rushes into mid-air due to the hippo opening his jaws on time. The puppy slides down the pine tree, past the lion's cage and then the stork with the big dog trapped inside. This leads to the final shot where both of the pups escape from the stork's bill, and right inside the kangaroo's pouch. Caught once more, they are reunited with the hyena who claims the bone. He laughs at the pair of them, placing his arms around them just as the cartoon draws to a finish.

This cartoon is a lot more evenly-paced than any of the other cartoons starring the dogs. Most of the scenes don't tend to drag on for too long, and some of the gags created for the cartoon are more coherent than what Chuck attempted to do before. For some the highlight of the cartoon might be the lovebird scene, but for me it's the kangaroo hopping. This is partly because Chuck was always so daring to experiment with animation, and to pull a scene which is difficult shows what Chuck Jones and his crew were able to pull off, and how he could get the best out of his artists. As the cartoon marks the last time he produces a cartoon in a Disney style, he would move on to greater things; and by making the household of Warner Bros. animation a great name.

Rating: 2/5.

Warner cartoon no. 364.
Release date: May 2, 1942.
Series: Looney Tunes.
Supervision: Norm McCabe.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Daffy Duck / Wolf).
Story: Don Christensen.
Animation: Vive Risto.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Daffy Duck refuses to fly south for the winter, which leads him to refuge into a winter shack, trapped by a wolf and a weasel.

This is perfects the first Warner Bros. cartoon where Daffy's personality has been perfectly finalised. He is goofy, but he's also quick-witted and cynical. This was the standard persona for Daffy, until Chuck Jones tinkered with the character in the 1950s, refining his personality once more.

McCabe's interpretation of the character is wonderful. It's perfectly interpreted from the cartoon's opening, and he successfully carries that throughout the cartoon.In this cartoon, he establishes the fact that Daffy's a duck and not just an actor in a duck suit. His established scenario is in a lake, living like a duck. Daffy doesn't see the reason to travel south for the winter:

"Confidentially folks, I ain't going south for this winter. I'm gonna stick around and check up on this winter business!". The charm to Daffy's taste of lust is icing on the cake, as he reveals the front headline of the newspaper labelled "Snow Carnival" with one of the prime features being the 'Snow Queen'. He sees the advantages of remaining south by inheriting the lake on his own, while the other ducks have migrated south for the winter. This leads to Daffy doing a comedic dance around the lake.

As America had entered into World War II, propaganda was being portrayed everywhere in the medium, even animated cartoons. The Warners crew would have to throw in a propaganda scene to fit into the short, such as the scene of the birds flying south. The birds carry out a banner reading: "Buy a bond!". You can also see it in the shack scene where a fatigued Daffy knocks on the door, but it's more subtle than that. McCabe appears to be finger pointed for using the most obscure references in his cartoons, like the bond reference; even though he wasn't the only one plodding them into cartoons.

McCabe's sense of humour is another a great example of what made the humour Warner Bros. cartoons great. Each director had their own different approach to gags: whether its subtle or broad. McCabe seems to have his own different approach, too.

He does maintain gags which would be used from any director, partly in the scene where the group of ducks contradict Daffy's remark about saying south as they quote, "You'll be sorr-ee!"; referencing the game show: Take It or Leave It.

His own style of humour is evident during a blizzard sequence, where he satirises narrative titles which used to be displayed in old live-action movies, mainly in scenic shots. In this short, the title card begins with what audiences would expect: "Thru wind and snow / at thirty below / we find our hero" with each verse written in rhyme. The camera pans back and forth several times, until a narrative appears: "Gosh, we can't find our hero!". This is a greatly executed gag that shows McCabe can create timeless humour in his cartoons.

Then there is a kind where McCabe has his own different tastes of timing. It isn't like Freleng's or Clampett's, but its unique on so many levels. This is noticeable earlier in the film where Daffy takes a big leap and prepares for a big dive in the lake.

Just as Daffy is about to take a dive, the scenery of the mountains and lake flicks quickly with the sky turning to darkness, and everything turning into ice; leaving Daffy to crash on top of the lake.

This isn't easy to achieve, and McCabe could be very daring at pulling off aspects of timing like this, and he meets the goal well. During the blizzard sequence, we find that Daffy Duck is stranded in the blizzard unable to be seen.

McCabe relies on a lot of snow effects animation for the shot; so the gag is that Daffy can be unseen, but only heard, facing starvation. He cries out in the blizzard: "I'm starving. Nourishment!", "Oh sustenance! Oh sustenance!". At that point, Daffy breaks the forth wall by having his head break through the storm directing the audience: "What'ya laughing at? I'm really hungry!". This is a funny crack from Daffy, considering that Daffy's sudden appearance and remark is unpredictable. The opaque snow effects adds to the gag to a tee.

During the blizzard sequence, this leads to Daffy hallucinating as he imagines a winter tree being a T-bone steak, leading him to lick the tree. This leads him to almost eating himself as he pulls the some barks of the tree and uses his hand to make a sandwich ("Yum, yum! Hand sandwich!").

The scent then leads him towards a shack where the villains of the short are introduced: a weasel and a fox. Storyman Don Christensen relies on exposition for the two characters, who are fed up of being consumed of only baked beans.

The pan shot of the interior shack is great for creating domestic problems the characters are facing: the house is stored almost entirely of beans. The wolf complains about the consistency of beans being eaten every breakfast, lunch and supper. His alley, the weasel is portrayed as a silent character. Then he begins to crave for a "roast duck". The wolf begins to reminisce with desire: "Oh, for that fowl taste that my mouth wants". At that moment, they hear Daffy's knock on the door and lead him inside the mouth to create a diversion.

The sequence of the wolf and weasel is disguising themselves as maids is great satire on the villain's supposedly cunningness. The wolf's cutting remark, "Dear dear, who have we here? As if I didn't know"is greatly executed by Blanc, whose falsetto voice is always the charm. The double take where the wolf remarks, "What is your poison? (clears throat) What would you like to eat?" is also great in establishing the villain being a amateurish one.

The sequence only gets better during the spoof of The Latin Quarter number. The wolf masquerades himself as a maid and pretends to provide some food for Daffy. Unlike many cartoons of that era which featured pointless song numbers for commercialisation, this sequence is all parody, and it's brilliantly executed by McCabe's timing and wit.

This was where the Warner directors actually got it right, by parodying the lyrics of a popular song so it can blend in with the cartoon's activity. McCabe also establishes that he shows skills in creating musical number sequences, and the scene is almost on par with Friz Freleng's great musical sequences.

The wolf's singing and picking up the cans is perfectly synchronised in humour, that it becomes a gag itself. It's also wonderfully executed during the scene where he is cutting the cans into slices, but he does it in sync to the melody. The weasel and the wolf also have to maintain their plan to boil Daffy while singing their song; which isn't easy to achieve in musical sequences: as there's a lot of activity going on.

Upon realising that Daffy is targeted to be slaughtered and eaten, he leaps to his own hopeless defence. To add to the suspense and drama, the use of silhouettes helps convey how menacing the wolf is. To make the scene humorous and suspenseful, Daffy attempts to convince them not to cook him. He pleads: "You don't want to eat me. I'm not a duck, I'm a pigeon", and he attempts to pull off these disguises, by impersonating the figure of a pigeon and a hummingbird. This is greatly conceived to express at how useless Daffy's alibis are in such a perilous situation. Mel Blanc adds a lot of character to the panic-stricken Daffy, especially when he is hopelessly impersonating a mockingbird, which Mel captures in keeping character.

Resulting in a typical chase scene, McCabe makes the chase a lot of fun too. To start, Daffy hides to a nearby tree. Just as Daffy reaches the top of the tree trunk, he encounters the wolf. The gag of the wolf frantically chopping the tree trunk into a totem pole is corny but it works on its own. Daffy's pose on impersonating a totem figure adds to the charm.

Midway a chase scene, Daffy breaks the action as he addresses to the wolf: "Just a minute, bub, just a minute!". At that point Daffy socks the wolf's chin and zips out whooping. This is He disposes of the wolf as he pulls the lead from a log, which leads the wolf to slip off the other side, and to fall a long height.

From the perilous situation he has faced, he immediately flees south from all signs which point down to south. Each different shot of the signs pointing south emphasises on the journey Daffy is travelling. The first shot is still set in north, the following in an American desert, and the last being a tropical place; where the sign emphasises the direction is south: "and we do mean SOUTH". We then fade to a shot of a Carmen Miranda caricature doing a dance, and we find Daffy living on top of her fruit hat. He has the last laugh and line, "Geez, I like the South American way. And I do mean South".

For a director who has a reputation of producing dated, wartime material: this cartoon clearly contradicts his reputation for he was perfectly capable of producing original cartoons in a cartoon world. McCabe is not afraid to explore anything ambitious for animated cartoons, such as a style of comedic timing which is hard to pull off. For a director who is very underrated, he definitely had style. Norm McCabe nailed Daffy Duck's personality to a tee. As a character he is a lot more refined than his previous appearances. This short was made at just the right time, as the writers were producing much more funnier cartoons with energy and character, and this cartoon happens to be an example of what started the trend.

Rating: 4/5.

featuring Bugs Bunny
Warner cartoon no. 1942.
Release date: May 3, 1942.
Series: Merrie Melodies.
Supervision: Bob Clampett.
Producer: Leon Schlesinger.
Starring: Arthur Q. Bryan (Elmer Fudd), Mel Blanc (Bugs Bunny).
Story: Warren Foster.
Animation: Sid Sutherland.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Elmer Fudd goes in the American desert, in search for gold. He doesn't find much luck when he meets Bugs Bunny.

Although Bob Clampett had already started making cartoons of his own with Tex Avery's old unit, you get the impression that Bob's first colour cartoons have sequences which is almost parallel to Tex Avery, gag-wise or even timing-wise. Bob's 1942 cartoons were rather silly before he completely took a different route later in the year; with edgier-paced cartoons like The Hep Cat or A Tale of Two Kitties. The shorts still contain a lot of Clampett's style of humour, except that each short gradually builds up from the previous short.

The concept for the cartoon is well pulled-off. As this cartoon was produced during World War II, it was encouraged by all animation or film studios to produce patriotic cartoons to gain sympathy and hope from the general public. This cartoon relates to the war effort, except it's only referenced in many subtle ways that today's modern audience will overlook that.

Many today would be under the impression that Elmer is out hunting for gold. Reading between the lines, he is out digging gold for the war effort. You can catch a glimpse of a propaganda bond poster seen in the first shot of a pan shot exploring the American desert.

Warren Foster cleverly conceived that plot, so it can play like a typical animated short rather than making the patriotic aspects more obvious; which is why the American desert scenery adds to that effect. The close-up of Elmer doing the Winston Churchill "V for victory" symbol is more obvious giveaway. Elmer Fudd is singing alternate lyrics to the traditional folk song 'Oh Susanna', which cleverly links to the effort. Note the shot of Elmer carrying the enormous baggage is animated on different levels. His head and the luggage cycle are done on separate levels, which adds depth and weight towards the baggage.

When Bugs steps into the frame, his introduction is a great way in establishing his character. Most of the time, I don't like how Clampett interprets Bugs Bunny, especially in his later cartoons; but the opening scene is more faithful to the character's persona.

Whereas many Bugs Bunny shorts start off with him being a target from hunters or bullies; Bugs plays the bully role, with Elmer being a tamer personality; which works as well. Elmer has played the non-hunter role many times, so this wouldn't be anything new in the short.

Bugs hears Elmer's singing, and he pops out his head out from the skull which guards his rabbit hole. Note the design of the skull on Bugs' head has a very goofy feel towards it, but otherwise it's very appealing too, animated by the masterful Bob McKimson.

Bugs steps out from his hole, wearing the skull head as he joins in with Elmer's singing, with Bugs singing harmony and Elmer does melody. This makes a great showcase for Mel Blanc and Arthur Q. Bryan, who were both had brilliant vocals, without coercion. Bugs randomly finishing the act by impersonating Al Jolson is a pleasant touch, and Clampett's timing on Elmer looking eye-to-eye at Bugs before he collapses to the ground.

Bugs' characterisation in the cartoon is not much different compared to the other cartoons. He features his usual wits and motives, although compared to his previous appearances: you can see Clampett attempting to bring more energy to the character, which I will reflect a little while later.

A great Bugs Bunny scene which Clampett interprets wonderfully is the scene where Bugs stages a discovery of gold, in order to annoy Elmer: "Gold, gold! They found it! Eureka!" he cries to Elmer, who grabs his shotgun frantically searching for it. At this point, Bugs stops Elmer and reveals the gold: which is a gold tooth he possesses in his teeth.

Following that, Elmer sees that as worthless, comparing his own gold tooth to Bugs. Elmer jiggling his jaws at Bugs has a comedic touch to it, and not to mention Bugs' insult to Elmer following that: "You chubby little rascal". He dashes away, but only to return to kiss him on the lips.

Bugs' little dance number later on is a great showpiece by animator Bob McKimson, who had to animate Bugs' singing appealingly in his satire on the traditional song: The Dying Cowboy. Elmer had fallen underneath Bugs' hole, and Bugs digs up the soil to bury him--therefore making the satire of the song work. Bugs' belly sticks out, as he does a little lazy walk which is odd in proportions, but appealing to a tee.

For the few sequences where Clampett appears to explore Bugs a little differently from the rest, you can see it in the dynamite sequence. Warren Foster sets up the gag like any Bugs Bunny cartoon would be set up, but it's Clampett's take on the character which seems to stand out. To start off, Bugs Bunny casually shows a cowering Elmer the firecracker which causes him to climb on top of a cactus, cornered. The irony of Elmer clinging on top of the cactus without feeling pain, and yet so subtle. In a great close-up shot, Bugs Bunny slowly pressures the firecracker with his fingers, causing the firecracker to build up, and to burst with little to no effect.

At this point, Clampett gives Bugs a boisterous scene where he fakes the explosion by roaring: "BANG!", and he places Elmer's head under a tureen, striking it with a spoon vigorously, giving Elmer a vibrating effect. Clampett loved to give Bugs that vibrant persona, and although in later cartoons he overdoes it; it works in the right place in this cartoon.

The sequence involving Elmer Fudd digging the ground with his pickaxe has some Tex Avery influence over it; such as the gag itself. The timing of Elmer digging the earth while singing I've Been Working on the Railroad, has the dynamic feel of a Avery sequence as Elmer is digging in rhythm to the song, though bare in mind it's a trademark for any cartoon director. It goes to show Clampett is taking his time to explore further opportunities, timing-wise.

The dynamite gag doesn't look too much like Clampett's work, as it's the sort of gag that has elements of Elmer and Bugs having a tug of war battle with Elmer's shotgun in A Wild Hare.

This scene, Elmer has dug up a hole on the ground, where he places the dynamite under the ground to locate gold. However, Bugs' offscreen antics lead to trouble when he consistently tosses the dynamite back to Elmer everything he attempts to throw it back in the hole. Although it's a gag that's nothing new, the beautiful dry brush effects make the gag worthwhile and fresh, giving Elmer a lot of energy. The zip which Elmer closes on the rabbit hole is also a charming addition to the gag.

On the other hand, Clampett experiments with takes and timing to another level..even on par with some of Tex Avery's inventive takes. It's notable in the scene where Elmer is peeping down the rabbit-hole, Bugs turns up at the scene, casually leaning against Elmer. Just as Elmer begins to double-take, Bugs lets out a calm 'Boo'.

Elmer's reaction is wild and phenomenal in a lot of ways. The colour tones on Elmer exit before his body lines do. This isn't easy to pull off, as not only does this have to be worked out with Clampett's direction, and Scribner's animation; but the gag relies largely on Ink & Paint department to pull it off successfully, and they do! Bugs' reaction on Elmer pointing his shotgun at him is also nicely executed too.

Another marvellous scene which relies on a lot of dry-brushing is seen in the second to last shot of the cartoon. At this point, Elmer had discovered about Bugs' golden tooth, and is determined to get himself gold by force. This leads into a fight between Bugs and Elmer which is distorted with some superb drybrush effects done not only one of Clampett's animators, but pulled off brilliantly by the the Ink & Paint team, too. Because it was a top-notch job, you can watch the action smoothly, as both characters are still identifiable in the action happening.

Only Clampett could get away with the funniest and most inappropriate gag in the cartoon: Elmer's corset. The sheer unpredictability of the gag is what makes the scene gold. Elmer is chasing after Bugs, but he struggles to remove his pickaxe from the cavern. At this opportune moment for Bugs, he cuts the braces off Elmer's pants, where it is revealed that Elmer is wearing a corset. Bugs' perverted whistle at Elmer really adds to the humour.

Elmer, looking embarrassed, breaks the forth wall commenting: "Don't waugh. I bet pwenty of you men wear one these!". The forth wall remark also adds to the contemporary Warner humour, making the characters feel human.

As the cartoon begins to draw to a close, Elmer returns from having been dug up from the earth: staring threateningly at Bugs. They look at one another face-to-face, with Elmer threatening Bugs: "Wabbit, I came here for gold, and I'm gonna get it!". At this point, Bugs goes into a little dramatic pose where he cries: "No, not that; anything but that!". The last shots that feature Bugs' golden tooth which was seen earlier, was an important feature to not only add to the dangerous situation Bugs placed himself to be in, but to also fit a funny closure on the short.

After Elmer and Bugs fight over the golden tooth, Elmer finds he's in possession of the golden tooth. In the final scene, Elmer cries: "Eureka! Gold at wast!", and his grin reveals his golden tooth as missing. Bugs steps into the scene, mimicking Elmer's words; before revealing smugly that he still maintains his golden tooth.

In all, The Wacky Wabbit is without doubt, wacky. The idea of the cartoon being war-related and yet a typical Bugs Bunny short is cleverly executed by Warren Foster, who doesn't waste an opportunity for gags in the cartoon. Bugs Bunny is becoming more developed and vibrant as his stardom increases, and Clampett works well with the character here. This isn't anything as outrageous or energetic of Clampett's cartoons in the mid-1940s, but you can still see elements of it in gags here and there: like the corset gag, as well as aspects of timing which require careful work from inking and painting. In all, it's an enjoyable cartoon, and I can't wait to review more Clampett shorts in the near future.

Rating: 3.5/5.

Warner cartoon no. 366.
Release date: May 9, 1942.
Series: Merrie Melodies.
Supervision: Chuck Jones.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Draft Horse / Army officer).
Story: Ted Pierce.
Animation: Robert Cannon.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: A draft horse is determined to enlist in the army, and undergoes a series of tests which he is incompetent at passing.

While there are a lot of folks who believe that The Dover Boys was the first short that Chuck Jones made his career, I think that The Draft Horse was the first all-round funny cartoon he has directed. Although he made a couple of attempts in previous cartoons, this is the short where he has successfully blended in the Warner Bros. humour to his own cartoons, and cuts down from his bad habits at mimicking Disney.

Chuck has also successfully managed to create successful pacing, all round; but also great characterisation too, which he previously flawed at. Not to mention, I also believe the factor to the success of this short is attributed to the return of Ted Pierce, whom we hadn't seen since 1938, as he left for the new Fleischer studio in Florida. Pierce was an underrated talent, was also crucial in playing a role by adding the unforgettable humour and energy of the Warner Bros. shorts in the 40s and 50s.

The promises that Chuck has for a great career ahead of him is evident from the start to end of the short. At the opening, the draft horse is seen skipping merrily about how he enjoys being a plow horse. At that moment, he spots a billboard advertisement U.S. army sign for a wanted horse--much to the horse's delight. He rushes out to seek his ambition, but beforehand, he kisses his old master.

The frantic scenes of the horse starting his journey to the U.S. army headquarters shows the possibilities Chuck has in timing, as well as experimenting and pushing the boundaries of timing further. The pan shot of the horse leaving his master is wonderfully achieved in the sense of speed, as the background reveals the tracks from the plow. The montage shots of the plow tracks that follow are also effective.

However, the scene of the draft horse crossing a wooden bridge has great weight towards it, but the timing of the planks arising is a little sluggish and slow, as it forms into a wooden hut--becoming F.H.A. property. When it is revealed that the draft horse has made his journey to the draft office headquarters, we get a great pan shot of an off-screen crash the horse has made--Treg Brown adds to the charm, making the calamity believable. The shots fades to the scene of the damage caused by the plow horse, where he is seen sitting on the officer's lap.

Perhaps one of the most highlighted sequences in this cartoon would be the scene of the draft horse's interview with the army officer. His characteristics are greatly conceived by Ted Pierce's writing and Chuck's energy. He is brash, boisterous, and too confident. He mimics gun impersonations and boasts: "Oh, boy. I'm gonna be a soldier. I'm gonna fight the enemy! I'll annihilate him, that's what I'll do!" The mimicking of the dome dropping and explosions are realistically portrayed, and the energy of the character is incredible.

After several mimics of airplanes, marching, etc. he finally reaches the finale of his performance: a death performance. He covers his chest, and speaks with a weakened voice: "They got me!". Just as he is about to drop, he drops and says "Mother" before dropping dead--until he gets up and mimics the death piece Taps. This wouldn't have been successful, thanks to the marvellous character animation by Ken Harris, who animated this sequence.

To find elements of Ted Pierce's humour, you'll find it in particular sequences which you wouldn't expect from Chuck Jones, typically. One that comes to find is the sequence following right after the horse's energetic performance. The officer orders with rage: "Now, get in there and strip!"

At this moment, the draft horse misinterprets the order by stripping (à la) a stripper. It's a cliched Warners gag that's been used countable times, with the same music cue for stripping played (It Had to Be You). Nevertheless, it still adds to the charm--testing the patience of the angered officer who shouts ("Strip, you lug!").

Another striking example of a sequence with subtle dirty humour by Ted Pierce is evident in the great eye testing sequence. The officer orders the draft horse to read what's read on the sheet. It reads the lyrics of a popular army song: You're in the Army Now.

The sheet reads following, line-by-line: ("You're in the Army Now---You're not behind the plow--you'll never get rich--), at this point, the following letters are written in a tiny font ("By digging a ditch--"), before it finishes it with the final words ("You're in the army now"). The gag behind it is that the line is often sung as: "You'll never get rich, you son of a bitch". As it doesn't read it, Ted Pierce and Chuck want the audience to be under the illusion it's written in the chart. Again, it's not a gag that Jones would be most comfortable with.

For sequences where Chuck appears to have taken his energy and pacing to its toll, watch the surgery scene, where the draft horse is being tested for medication. The officer inspects his mouth (which is found to be contained with oats and hay), and then asks him to say "ahh" for examination.

At this moment, the horse shouts "AHH!" at the top of his lungs, creating a wind force which the officer struggles to fight through. For this sort of humour, you'd expect it to appear in a Clampett short, but it's clear that Chuck is having a lot of fun at being a successful director.

This follows with some funny dialogue exchanged between the horse and officer. The horse questions, "I thought you said to say 'ahh'", this follows with the officer's reply: "That I did, but I didn't tell you to say: AHHHH!".

Some great comedic touches appears in the sequence where another officer is seen grooming the horse. To make the sequence wackier, Pierce has the draft horse feel ticklish from the brush, and goes into a fit of giggles. The officer is still doing his best to groom the horse as he rolls on the floor laughing. At this point, the horse switches position of the officer, and begins to tickle the officer with the brush, grooming him. Animation wise, it's loose and it has some decent fluidity to it (was this Bobe Cannon anyone?).

Chuck is also a master at making the "impossible things" seen believable in an animated cartoon. You can see for yourself in the sequence where the army officer is testing the horse for posture. As he begins to call out orders, the horse misinterprets them, and it gets so that he has all four legs leaning sideways, sitting in midair. The officer walks over, and corrects him: "Don't you know you can't do that?" causing him to floor and hit the floor.

Other great cases of where Chuck explores this is seen towards the cartoon's climax. The horse had been rejected by the draft officer, and goes into a dramatic, depressed state ("Other horses get to join the army, and I never get to do anything"). Unknown to him: a giant cannon is aimed towards his head. In this close-up, the horse is breaking down, sobbing, "I'm not good enough for Uncle Sam."

At this moment, the cannon blasts--with the horse questioning: "Say, did I hear something?" He looks directly at the cannon, it blasts again. The smoke unveils to reveal the horse supposedly decapitated, when in reality he's hiding his head underneath his collar. Not an easy scene to achieve in staging, and Chuck makes the dynamics and staging appealing, to make the gag and sharp timing work.

The cannon sequence leads to some fulfilling action scenes of the horse avoiding the battlefield area and the cannons surrounding him. Chuck isn't afraid to use complex staging for scenes of the draft horse running into a cannon and finding himself rising. The horse's encounter with the bombs underneath a field, and the posing of the horse dodging the bombs is entertaining.

At this moment, the horse frantically rushes away from the battle area, and zips wildly back towards the drafting headquarters. We repeat a scene of a quick pan of the horse crashing inside the hall, until we find he has crashed through the hall and zips towards a station nearby, where they are looking for recruits. At this point, we get a satisfying ending where the draft horse is content enough to be knitting Bundles for Bluejackets, as he reveals a 'V' for Victory sweatshirt, with the short ending on a patriotic note.

In conclusion, I still stick to my opinion that this is Chuck Jones' first successful cartoon at achieving comedy and comic timing. After watching and reviewing three and a half years of mundane, repetitive cartoons by Chuck, it's fitting to see him converting to the Warner Bros. humour, as the energy and humour was advancing greatly around this time; so his change to directing funny cartoons couldn't have been better. Chuck manages to create some great characteristics with the horse character, as well as create funny and outrageous sequences which he wouldn't have attempted before (or even rarely use in general). Chuck's expertise at characterising his stars is paid off greatly in the short, as well as his use of experimenting in taking comedy to another level. It's astonishing to believe that just a few months back, one of Chuck's all-time worst cartoons: The Bird Came C.O.D. For a director who had a unbreakable record 15-year streak of turning out wonderful material, this is only the beginning of the best which is yet to come.

Rating: 4/5.

Warner cartoon no. 367.
Release date: May 23, 1942.
Series: Looney Tunes.
Supervision: Bob Clampett.
Producer: Leon Schlesinger.
Starring: Arthur Q. Bryan (Narrator), Mel Blanc (Various Voices).
Story: Warren Foster.
Animation: Virgil Ross.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Spot-gag cartoon centring on the news which explores the latest inventions or anything unusual.

Judging by the original titles of the cartoon; one would expect this short to be a home run of Clampett's with many wacky and surprising gags along the way. The opening titles are very appealing and "nutty", as they're presented upside down--before they're switched to its right position. Not to mention, there's also wacky Treg Brown effects to add to the gag. What else could go wrong?

However, I proved to be very wrong when I judged a cartoon's titles by it's cover. This is one of Clampett's more uninspiring cartoons, and the titles really lack your expectations. It's a wonder if Clampett even devoted to this entire cartoon, due to a lot of inconsistencies in animation and design.

Not only does it lack Clampett's energy, but in several sequences, you'll find scenes which look like they were done by Freleng animators; from observing the drawing style, which looks nothing like Clampett. If anyone refers the unseen narrator as Elmer Fudd, then please do if you insist. However, I'm more willing to go along with the idea that it's just a narrator, voiced by Arthur Q. Bryan.

The cartoon itself does still contain elements of Clampett's juvenile humour. The start of the cartoon, with the moose gag is a striking example. The Arthur Q. Bryan narrator gives a report about hunting season occurring at the "Wocky Mountains". Like any spotgag, there will be a device to make a gag backfire: the device being the moose caller.

As the hunter blows into the horn, we pan to the horse who blows "Yoo-hoo" into another horn---catching the hunter's attention. The moose strikes the hunter, and stands on top of him, in a victorious posture; and impersonating the Tarzan yell.

Another sequence which features some of Clampett's charm and subtlety is featured in the painting sequence. The scene occurs in the middle of the short, where the artist is Frank Putty. In the scene, the painter is seen supposedly painting a real-life supermodel. He sticks his thumb out, as he paints, supposedly painting a supermodel who is seen in silhouette.

Though it contains some subtle humour by Clampett, the drawing and animation of the artist clearly reflects the style of a Freleng animator (unless it is purely coincidental). After completing the painting, the artist reveals the finished work on his canvas. He pulls it out, showing a painting of his own thumb. Some amusing irony in this sequence, where the suspense is paid off with a gag as innocent as Warren Foster conceived it.

Clampett also likes of the idea of cutting corners, particularly in sequences which require no animation. One sequence evident is in the science lab sequence. The narrator gives an appoint on recent scientific reports analysing the secrets of life, and we are privileged to get a sneak peek of how rabbits "multiply". As predictable and as corny gags get: the scene reveals a pair of rabbits quickly multiplying mathematical sums (two times tables). The cutting corners is evident in the animation, as only the mouths are animated. This technique is somewhat similar to Tex Avery's Speaking of the Animals series, with live-action animals and animated mouths, but instead we get the rabbits drawn in the layout.

Another sequence of Clampett limiting animation follows right after the rabbits sequence. The narrator reports about how in the East Coast, fireflies have lights. The narrator remarks: "Here we see them with their wights all wit up." The narrator repeats this again, but his statement is contradicted by unseen fireflies who shout: "QUIET! We're having a blackout!", hence why they're unseen or animated.

Like in a lot of Warner Bros. cartoons, the occasional staff caricature would go unnoticed by anyone who isn't a fan of animation. Caricatures on staff members were always used for fun, particularly on incidental characters. Henry Binder, Leon Schlesinger, and animator Ken Harris have probably been caricatured more times than anyone at Termite Terrace. Schlesinger and Harris appear in a caricature later on, portrayed as builders. Harris, has especially been caricatured more than anybody: even immortalised as the Coyote.

Henry Binder is caricatured in an entire sequence that centers on modern inventions. The narrator explains about how people get paranoid of having their coats or hats stolen while in a restaurant. A test invention happens, when a Binder caricature sits at a table, and places his hat and coat up on a rack.

At this moment, he reveals his latest invention: a rear-view mirror, so he can eat and watch potential thefts at the same time. The scene fades out to the following scene, where it is set a little later from earlier.

The man has finished his meal, and his hat and coat has remained at the rack. He remarks, "I'm too smart for 'em". As he leaves the restaurant, his shoes and trousers have been stolen, unknown to him. Perhaps one of the only few funny gags in the short, albeit a little corny.

In terms of sequences that has a good gag purpose: the baseball gag is another example. The narrator reflects on an old tale of how George Washington tossed a silver dollar across the Potomac River. The narrator reports on baseball player Carl Bubble (a take-off on player Carl Hubbell).

He is seen standing at the exact spot at Potomac River, where Washington once stood. The purpose is so he can prove anybody could throw a dollar across the river. At this moment, the player anticipates striking pose; and then he releases the silver, only to discover that the coin barely made it halfway through the river.

At this moment, a Scotty dog comments on the event, remarking a funny statement: "Well, a dollar just doesn't go as far these days, does it folks?". This is amusing satire, satirising the U.S. economy. Although the appearance of the Scotty dog is out of nowhere, Blanc's Scottish accent adds the charm.

Other backfire gags which appear is the duckling sequence. The narrator comments on how newly-hatched ducklings love to swim in the water once they're born. These leads to an assembly line of ducklings marching to the lake, with a baby chick following them. Each duckling lands on top of the lake safely, except for the chicken who falls underneath. The mother duck swims into scene, correcting: "You shouldn't have jumped in that water. You're a chicken. Chickens can't swim." Underneath, an annoyed chicken drums his fingers, replying: "Meh, now he tells me!" (Reference anyone?). A bit of a predictable gag, lacking effort and thought.

The fox-hunting scene feels a lot more Clampett-esque than the rest of the cartoon. His timing, his cartoonic style as well as humour is all compiled in that scene. Clampett has a taste for timing in scenes of the dogs barking in rhythm to the horn calling. The use of silhouette from the hounds moving is also dynamic and appealing.

As the hunt begins, the lead hound ascends first; followed by the rest of the hounds. We watch the hounds hunting foxes in silhouette--with a cute little puppy last in the chase. Cuteness and youth is also another common trait for Clampett.

As the hounds continue to run back and forth, the narrator comments: "Those dogs seem confused! I wonder where that wead dog went to?" The scene pans towards a bush where the head hound and vixen are seen having a romantic moment together. The dog giggles, "Give me a kiss, or I'll tell the other dogs where you are." This is a great little sequence, which is typical in Clampett's pacing as well as killing the suspense and build ups for the scene.

Wartime references were also guaranteed to appear in spot-gag shorts. An example appears in the barber shop sequence, although the reference is hardly vague. The scene begins with a barbershop attempting to cut a reluctant boy's air; who constantly squirms and moves (animation-wise, it has a Freleng look to it).

The narrator points out that latest inventions have solved the problem. A jack-in-the-box appears at the sight of the barbershop. The scene continues onwards, the barber attempts to cut the boy's hair, with the boy behaving contrary and reluctant. At this moment, the jack-in-the-box opens with a scary Hitler face growling.

The boy screams, raising his hair upwards. The barber cuts the boy's hair easily, as the boy remains scared stiff. Politically incorrect, yes - but it's a lot more entertaining than anything else in the short. Reaching towards the final gag in, the short, the final gag feels such a rush of an ending. The gag features a list of navy liners at sea. We get an order of navy ships lined up, underneath the pouring rain. First we meet the U.S.S. Conneticut, U.S.S. Mississippi, lastly we meet the U.S.S. California, which is seen shining underneath a lovely sky. It's a piss-poor way of ending, as it lacks closure as well as a climax.

To conclude this review, it is overall a pretty weak effort from Bob Clampett. Some of the jokes fall very flat, whereas there are some which are witty and humorous, like the silver dollar gag as well as the Hitler jack-in-the-box scene. Then there's others like the multiplying gags or the navy liners which don't serve much of a purpose. From watching the short, the promises of great comedy and wacky humour fades from the moment the opening titles fade to the short. To say the opening titles were the highlight of the short must be pretty bad..

However, one would question whether Clampett directed the overall majority of the cartoon? A very inconclusive theory, but I've questioned whether or not this was originally directed by Friz Freleng, and Clampett took it over? For the reasons I've explained, there are sequences which bear animation styles that strongly resemble Freleng's animation style from his animators, and some sequences don't seem to match Clampett's trademarks: as it lacks in energy. Also, notice that there appears to be an absence of top-notch animators like Bob McKimson and Rod Scribner, though McKimson's work is seen the fox hunting sequence. It's possible that perhaps the cartoon was produced before Horton Hatches the Egg, and Clampett took it over for Friz. OR, that Clampett was borrowing animators off his unit (after all, he had Gerry Chiniquy animate Bugs' introduction to the animated wartime song sequence Any Bonds Today?). Or, it could be merely coincidental, which had nothing to do with Friz and Clampett did a lazy job working on the short. I'll leave it to the historians and experts to suggest other theories. No disrespect towards Freleng at all, but both directors don't match in terms of style.

Ratings: 2/5.

Warner cartoon no. 368.
Release date: May 23, 1942.
Series: Merrie Melodies.
Supervision: Friz Freleng.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Various voices).
Story: Sgt. Dave Monahan.
Animation: Gil Turner.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: A take-off on billboard advertising products, satirising billboards with commercial characters singing and dancing.

Although this may not be a Warner cartoon up to anybody's taste; it is without doubt one of the most strange and unique shorts in their entire stock library. Instead of creating a spot-gag cartoon based on billboards, Freleng turns the concept into a musical concept, as well as a short where he can practice and improve on his timing.

The opening scene features an elaborate color stock footage of New York Times Square at night. However, by the time World War II hit America, the Times Square lights went out, so the stock footage would've been filmed some years ago.

If you look really closely, you'll find a cinema with bright neon lights reading: May Way for Tomorrow, which was first released in 1937. One can assume this was when the footage was shot. However, the film could've been a possible re-release or it ran in theatres longer than '37 - can you clarify Yowp? The stock footage has also been used in several shorts, Rebel Rabbit being a striking example.

Friz experiments and has fun with exploring unique types of timing, as well as achieving a different type of comedy. The typewriter-billboard gag is a good example of that. Friz's timing combined with Stalling's original cue is the icing on the cake.

The billboard is advertising an Understood Typewriters product. The gag itself is is the billboard is typewriting positive statements: "It's Sensational! It's Colossal!", which at the time were key adjective words used in advertising to describe a product or motion picture.

It becomes even more of a gag, as the typewriter on the billboard fails to spell the word "Stupendous". Freleng has the writer pause for a while, deliberately ruining the jingle and timing of music. As soon as the typewriter incorrectly types a letter, it crosses out the verse, and starts a new one: again, making another make. After a pause, the typewriter quickly spells out: "It's Swell!". It's great satire that contradicts what the advertisements make it out to me, and Stalling's improvised cue really adds to the charm.

Freleng's timing is also put to excellent use in the effects animated billboard sequence which animates a beautiful scenic image in synchronisation to the Johann Strauss's Voice of Spring. Freleng has re-used the sequence later in Holiday for Shoestrings, but both are excellent showcases of Friz's abilities. To achieve such a scene, it would require a lot of careful, meticulous planning on not only timing the pieces in the animated billboard, but also how the layout will look.

Freleng's knowledge of music is put to excellent use, as he finds an elaborate piece that would fit perfectly to a sequence like this. It's a wonder how Freleng managed to accomplish this incredible, ambitious task: twice! Not only is it a gag that has an animated billboard move in the rhythm of the classical piece, but it becomes even more of a gag as it's revealed in the typical Warners gag Eat at Joe's.

As dated as some of the cartoon is today, racial stereotypes are guaranteed, but only for entertainment purposes. The gags involving Chinese billboard signs set in Chinatown. One gag involves a bus conductor seeking a crowd to go for a bus excursion. After the last remaining passengers enter the bus, the scene trucks back to reveal two Chinese men picking up the bus like a rickshaw, and leave.

The sequence with a group of Chinese men reading the sign notices is much more humorous. As Chinese handwriting tends to be written written as one word, and the neon sign is very thin. This causes them to stretch their legs to read the rest of the advertisement written in Chinese.

They do this every time Chinese handwriting slides upwards up at the sign. Mel does a great accent on Chinese men muttering as they read, adds to the comedy and realism. Another Chinese-related gag appears in a billboard sign advertising a free eye test, courtesy of Dr. I.C. Spots (heh - where's Ben Hardaway when you need him?).

As each word pops up, it gets smaller and smaller. Finally the smallest writing is written in Chinese, and the doctor announces: "If you can read this: you are Chinese!". This is probably the most politically incorrect gag of the whole short, even though you can't help but snigger at it.

Other great sequences which show excellent satire is seen in some of the musical number sequences. One for example, would be the Laugh, Clown, Laugh sequence. In the billboard poster, a clown representing a comedic advert begins to sing the infamous song. As soon as he sings the word 'laugh', he slowly begins to chuckle, and later breaks down, cracking with laughter. Gil Turner, who animated the scene, really added the energy to the gag, making it enjoyable.

Other enjoyable sequences that occur would be the can-can sequence. This wasn't the first time we saw "can-can" performers in a Warner short (see Goofy Groceries), but instead they are dancing to the song number. In this sequence, the can-can dancers, disguised as coffee bean cans, perform their dance as well as reveal their rear ends (the ends of a tin can), to the popular song: The Latin Quarter. The result of the gag, is that the billboard adds another neon sign, reading: it's dated. The back of the tin cans reveal dated can as "Jan 5, 1942", four months after it was released. It's another great satire on false advertising.

Perhaps the highlight of the cartoon would be the satire on the Four Roses whiskey, spoofed as Four Noses. This features animated stick figurines with big, red noses sticking out. They go into a jingle, singing My High-Polished Nose, which is a take-off to the popular song My Wild Irish Rose. Not only is a great sequence, but it's a great little jingle that sets the mood and atmosphere into a positive one. The stick figurines were designed appealingly, giving the sequence a rather unique look towards it, artistically. The little nose character, who sings back-up: "It sparkles and gleams at night" adds to the charm. A top-notch sequence.

As the cartoon reaches its finale: it's finale ends on a high note: a musical, rhymic sequence. This showed great cooperation between Freleng Stalling as they plan their timing and music, to coincide with the billboard characters as they dance to Annabella, in rhythm to the Congo.

The sequence starts out uniquely, with a cup of coffee dripping, and the dripping noise starts the beat of the finale. This follows by a group of peanuts shaking, adding more rhythm; a cow chewing at another billboard ad (ringing its bell).

Then the rhythmic beat really begins. We get amusing gags which add to the charm. The liver oil billboard scene is a scene which amuses me most. We get a pair (a man and fish) dancing together during the conga. The man has the fish attached to a rope, as they dance; they switch positions (see screenshot). Perhaps the funniest scene in the finale is the Egyptian cigarettes billboard scene. The billboard is created with several picture slides, we get a a couple of Egyptians performing their cultural dance, then we get a hotfoot gag, with an Egyptian stomping the hand of the culprit. It's a gag incredibly decent, it was used once more in A Hare Grows in Manhattan. Some decent editing in the final shot of Times Square as the footage pauses to match the rhythmic beat, as the cartoon closes.

Although an unusual Warner Bros. short, it's still worth a pass for its creativity and unique concept. Even though it's mainly an update of the old "sing-and-dance" routine from the 30s shorts, Friz's update shows how advanced and experienced he became a director, after directing those mundane 30s Merrie Melodies himself. His timing is to a tee in this short, and his knowledge of music is evident. It really hasn't got a narrative or story, but merely a mood piece--to enchant audiences with melodies and comical sequences. It's no wonder why several later cartoons have repeated several gags in the cartoon because of its clever, conceived gags and sequences. Overall, I think it's an enjoyable, unique effort from Freleng, and it's certainly worth the watch.

Ratings: 3.5/5.

Warner cartoon no. 369.
Release date: June 6, 1942.
Series: Looney Tunes.
Supervision: Norm McCabe.
Producer: Leon Schlesinger.
Starring: Robert C. Bruce (Narrator), Mel Blanc (Various voices), Kent Rogers (Strongfort, Giggleswick, Potts). (Thanks Keith Scott!)
Story: Melvin Millar.
Animation: Cal Dalton.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: A take-off on an old radio program, Hobby Lobby, as it satirises different hobbies from different individuals.

For those who don't know, the satire on the cartoon is based on a more obscure radio programme of its time, Hobby Lobby, where guests on the show would talk in detail about their hobbies - (sounds fun). This short is loosely based on the programme except it's presented in the style of a documentary, much like a Warner Bros. travelogue parody.

Satire is used well in particular scenes that exaggerate a hobbyist's enthusiasm or collection. The opening scene of the hobbyist's huge boat collection is a fine example. It opens like a typical spotgag cartoon, with a layout shot of his vast collection of different ship designs such as a Viking ship, a yacht, etc.

The scene pans forward to reveal more of the collection of boats, and the narrator comments that the hobbyist is "crazy about boats." The pan moves forward to the hobbyist, dressed as an admiral, sailing a small boat, and rowing the oars.

This is great satire on hobbyists who still aren't satisfied with an already large collection. To make his passion for boats seem more bizarre, he'll quote Captain Blime: "It's mutiny, Mr. Christian!" and make childish noises as he plays with his lips. Other good pieces of satire is the scene of the man who enjoys creating "biggest boons to mankind." This leads to some nutty ideas of the man dunking doughnuts into a cup of tea, and how there is always a flaw in a boon. He soaks the tea inside by opening a small device which sucks the tea inside, soaking the entire doughnut. As soon as he bites the doughnut, all the tea squirts out from different areas of the doughnut, squirting and soaking him.

Other sequences with satire that pays off is in the magician sequence, the magician being named, Giggleswick. The narrator mentions him as a performer of "amateur magic". So, Melvin Millar exaggerates the term, by making the magician seem very amateurish. It's worth to mention this, according to Joe Torcivia, who knew Don Christensen, Don said he was Melvin Millar's uncredited writing partner, and worked with him on shorts that bear only Millar's name, from '42 onwards. As this cartoon is credited to Millar, it's very likely Christensen would've contributed to the sequence, too.

Kent Rogers, who voices the character, does a pretty spot-on impersonation of Richard Haydn, who was known for his work on the Burns and Allen Show, but nowadays is more well-known as the Caterpillar in Disney's Alice in Wonderland, or Uncle Max in The Sound of Music.

The magician explains about his magic trick, by placing the cloth over the fishbowl, and with his incantations, he will make the goldfish disappear. As he shouts his incantation: "Alakazam! Alakazam! Presto!", the magic trick backfires--he vanishes himself. The invisible magician unveils the cloth from the bowl, with the magician's head caught underneath the bowl, criticising his inanimate moving clothes: "A fine magician you are!". It's a fun little sequence as it is itself surprising, and Roger's performance on the character is delightful.

McCabe shows a good understanding of timing in the scene of a "Prof. Blooper" supposedly imitating musical instruments. The performer, who imitates the violin, slap bass, piccolo, etc. provides a good opportunity for Stalling to create a musical gag into it, as well as for McCabe to achieve fun timing.

After imitating several different instruments individually, his next step is to play all of them "altogether". With this, we need to a frantic shot of the performer imitating different instruments with double-exposed shadow effects to create the comedic timing.

McCabe's competent timing and energy leads to the performer, fatigued as he collapses; revealing a recorder hiding underneath his tuxedo. He finally admits: "I was cheating", which satirises hoaxes on talent shows. Another great sequence with funny, unpredictable timing is seen in the short scene of the hobbyist who is said to have "the largest collection of hotel towels and silverware in the entire world." At this moment, the prison bars shut; revealing the hobbyist to be in a prison cell. It's a great scene with excellent scene merely because of how deadpan and unpredictable it is, as it's suggesting he is a thief.

The spotgag also features a handful of gags that center on plants and nature. One that comes to mind is the cactus gag. This is a sequence which requires very little animation, so this is McCabe cutting corners, and yet still attempting to make a gag work. The scene is set at a home, where its private garden features nothing but cactuses.

The hobbyist, is seen in the next shot, strolling around the cactus garden. At this moment, the hobbyist, unseen, yells in pain as he gets jabbed by the cactuses, with the cactuses vibrating.

This was a unique way of making a gag work, as the cactuses moving are convincing enough to feel pain, plus Blanc's delivery on yelling sounds. Another plant gag, with also some funny punchlines is seen from the scene of the florist. He is reported to have developed a "marvellous plant food" which is said to have the ability to make plants grow. At this moment, the seed rapidly grows in the pot, transforming into a beanstalk, and driving the hobbyist from the site. He yells out in a fading cry, "It's a possibility!". Blanc adds to the great charm in that yell.

The sequence of the dwarf Scottish hobbyist taming a vicious dog is a great way of adding tension and suspense to a sequence, where one would wonder if he succeeded in his task. Since Mel Blanc provides a comical Scottish accent, it's hard to take the sequence seriously. The name of the dog, Lochinvar, is a literary reference to the Walter Scott poem, Marmion, where the main character was named Lochinvar himself.

As the tamer walks inside Lochinvar's kennel, the action occurs off-screen, and as he exits the kennel, the tamer remarks: "I guess you realises who's master around here. Aye!". The following scene, in a rear shot, it's evident he's been attacked by the rock, as a piece of his trousers are missing.

The scene of the mailman is a fun sequence, albeit cynical. It starts with an old-timer postman driving, and explains about how Mr. Hutsut has a dangerous hobby of experimenting with explosives. Mr. Hutsut, of course being a reference to the Hut-Sut Song. As the mailman arrives at his letterbox, an unseen explosion occurs at the Hutsut household. At this point, it is hinted he had died in the collision as the mailman writes at the back of the postcard, "forwarding address UNKNOWN", with the Taps military piece heard in the underscore.

Nevertheless, the cartoon itself does suffer from lame gags that have either lame concepts or puns. One sequence centers on hobbyists who have a passion for flying. The scene features an instruction giving an unheard lecture on flying, and one-by-one they leave the scene, to learn to fly. As the narrator puts it: "In man's closest challenge: to the art of the birds." As the camera pans, it's revealed that the hobbyists are flying like birds, ending in a rather corny pun.

Another sequence with a corny concept is featured in another sequence that focuses on boons, the anti-hotfoot shoe. The invention is demonstrated with a hotfoot being placed on a man's shoe. At this moment, little gadgets appear from a shoe, such as a bell ringing the alert, and a water can extends from the end of the shoe, extinguishing the flame. It hardly seems like a gag, and more of a crazy concept.

For gags which are unpredictable in delivery, a striking example occurs in the carrot eating sequence. The scene centers on a character, Herbert Strongfold, who has an unusual hobby of having healthy diet, eating raw carrots. He presents himself with his strong physique. At this point, the narrator asks: "Is there any drawback deluding exclusively on raw carrots?. At this point, he raises his hat, revealing his rabbit ears. He is shown to be particularly unaware of his major drawback as he comments in Kent Roger's dumb voice, "Uh, no, not that I know of", and wriggles his nose as a result.

Moving forward to the final sequence in the short, we cut to a scene involving passengers on a train. One man is seen reading a newspaper, and a man behind him hogging the paper, wanting to turn over to individual pages. At this point, the bearded him announces, "My name is Potts, I got a hobby, too. I make all kinds of handy gadgets." At this point, he produces a gadget with an extended hand poking the other passenger in the eyes.

The voice of Potts, by Kent Rogers, according to Keith Scott, he is impersonating John Qualen, a movie character actor. At this moment, the narrator comments: "I'm sure everyone will be glad you've given this device to the world." At this moment, the entire passengers on the train contradict that comment, where they all have black eyes: "Everybody will be so glad, he says."

In conclusion, Hobby Horse-Laffs may be one of the more forgettable shorts in the Warner Bros. cartoon library, but in all, I'd say parts of it hold up pretty well. It's certainly a more passible cartoon than Nutty News. Several sequences show that Norm McCabe is a competent director, particularly in timing as well as his approach to humour. Some great voice acting effort by Kent Rogers and Blanc did save the short, however, particularly Rogers who as a teenager was remarkable at impersonating celebrities professionally, especially his take on Richard Haydn. Although some of the gags fall flat, and it is a little dated in humour, it does only pass as adequate.

Rating: 2.5/5.

featuring Bugs Bunny
Warner cartoon no. 370.
Release date: June 6, 1942.
Series: Merrie Melodeies.
Supervision: Chuck Jones.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Bugs Bunny, Various voices), Ted Pierce (Leo the Lion), Bob C. Bruce (Hippo) (?)
Story: Ted Pierce.
Animation: Ken Harris.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: A worthless lion king, mocked by his kingdom, attempts to prove he can kill a rabbit, but has no luck when he targets Bugs Bunny.

As Chuck has decided to turn more comedic in his approach to directing, he would wound up directing cartoons of the main stars from the Warner studio, like Bugs Bunny, Daffy Duck. Being his 2nd Bugs Bunny cartoon, you can see that not only does Freleng interpret Bugs' design differently, but Jones, too. Chuck's early take on Bugs Bunny is off model (smaller cheeks and circular eyes), compared to Bob McKimson's design. Of course, the McKimson design has a lot more appeal, but Jones' design still has life and personality.

Not to mention, the background work by John McGrew and background paintings by Gene Fleury really do stand out compared to the other fine layout artists at Schlesinger's. McGrew's designs of a jungle look has a very surreal and yet provincial look to it, that you can identify with a jungle look towards it.

Fleury has the creative freedom to choose unusual colours to match the scenery, particularly painting the ground with a pinkish colour, and giving a jungle atmosphere a different world of its own.

Ted Pierce does a great job in creating the perfect vulnerable personality to be Bugs Bunny's opponent. It's a well-known cliche that lions are often dubbed as the "king of the jungle". Of course, lions don't live in jungles, its supposed to emphasise they're the king of beasts. Pierce creates a great character, who is far from beastly or kingly.

The opening sequence of the animal kingdom mocking their king is a great way to establish the cartoon. The opening is all exposition of the lion's reign. The hippo criticises the lion as being "all washed up", whereas the giraffe mocks his appearance: "A has-been. Nothing but a has-been." The giraffe's dial, suggests he had once been the King of Beasts.

Chuck's design on Leo (as Bugs calls him) is very appealing and accurate in giving him a meek personality. His poses on the lion's sheepish smile is solid, and Chuck gives the lion a pathetic mane to emphasise his weakness as a king. In the close-up of the lion, he nods and misinterprets the animals' sarcastic comments: "The mighty hunter...the killer of the Congo, boy that palooka couldn't kill a rabbit." Not only does he double-takes at the comment, but the cartoon plot has been set up.

Ted Pierce writes some great comedy of Leo's pathetic attempts to impress his kingdom. He anticipates a boxing pose, and mimicking a famous quote by heavyweight boxer Tony Galento, "I'll moider da bum!". He proceeds to make a few manoeuvres, and unintentionally punches his own face from his other arm. Chuck's timing on the punching is solid, proving he lacks a good sense of coordination. As he appears dazed, he yells: "Hey, he fouled me. You seen him."

Ken Harris animated most of the Leo shots, who has a lot of energy in his animation, and understands Chuck's masterful timing. He gives the character some great personality, as the king is tenacious, but fails every time.

Leo attempting to roar and intimidate his kingdom is greatly executed in drawing. Not only is Ken Harris confident in changing the character's axis at complex angles, but his animation pays off from following Chuck's layouts. Leo's teeth are wonderfully designed as they're hardly threatening.

As he attempts to roar, he immediately coughs, as he is also proven to be fragile. The animals stepping back pretending to be scared, is very funny. At this point, Leo attempts to prove he is worthy as he leaves to go on a quest to find and kill a rabbit, evident in the line: "Just let me find a bunny. I'll show ya!" The scene of the animals laughing cross-dissolving to different foliage shapes is rather effective, as the "overlapping graphics" was an early trait of Chuck. Would've been nice if it were experimented a little more.

After a frantic search for a rabbit, Leo discovers Bugs Bunny, after stealing his carrot which he used as bait. Pierce's setup of Bugs' encounter with Leo is interesting. Unlike many cartoons where Bugs encountering his enemies is dialogue heavy, most of this sequence is done through pantomime, with occasional dialogue by Bugs. This is where Chuck's influence kicks in, and it's done very well.

Bobe Cannon animates much of the sequence (minus the claw scene, I'd expect), and does a solid job at it. Bugs wriggling his ears is masterfully timed, as well as the great posing of Leo attempting to mimic Bugs' ear action by clenching his face too hard.

The close-up of the lion pressing his hands to produce a claw features some effective sound effects by Treg Brown, and the faulty claw at the end has a nice touch. Chuck's expressions of the lion's embarrassed grin adds to the touch.

The pantomime breaks as Leo confronts Bugs, revealing his motives: "I'm a lion, see? King of this here jungle, and I'm huntin' a rabbit to show who's king of this here jungle, see?". (Pierce creates some nice touches to Leo's dial, as the lion has grammar issues). As Bugs double-takes during his conversation with Leo, he begins to build the tensity of his "fear" of Leo. He breaks down: "I am scared. I'm terrified. I'm panic-stricken!", before screaming around like a maniac. Mid-way he breaks into sarcasm as he speaks mockingly, "Shriek, shriek. Scream, scream!" until he pretends to act scared. I've written a post about that scene on a different blog some years ago, and I'll say it again. It's a brilliant showcase for character animation: done wonderfully by Bobe Cannon. It has energy, his poses are solid, and his timing is spot-on.

There are certain cases where Chuck's experimentation with comedy doesn't hold up too well. One example is seen during the sequence of Bugs picking in the garden, singing When the Swallows Come Back to Capistrano. Leo watches his moves and begins to slowly approach him but Bugs notices his presence, leaving Leo to pause whenever he has an opportunity.

With this, Leo attempts to improvise his movement as he swims in soil, in sync to Strauss'Blue Danube. He swims backstroke on the soil and squirts water out of his mouth to mimic a swimming action. I'm not so keen on the staging, and the gag doesn't have the comedic values which you'd associate with Chuck.

It was a good attempt by Chuck, but the gag itself didn't work out. Leo then makes a run for it, chasing Bugs away from the garden, leaving the hat floating in mid-air. Leo zips through the scene, with the hat following him. A lot of the short's actions are nicely paced, and the energy is right down to the frame. Inventive run cycles take form, particularly in Leo's run where all legs move simultaneously.

The door sequence is a good showcase, as it caters to good taste. The scene starts with Bugs placing a door in front of his hole. The lion knocks on the door, unaware he is wearing a garden hat. Bugs answers the knock and watches Leo, who looks ridiculous in his appearance. He starts to laugh at Leo, and the effective laughter rebound over to Leo, who ends up cackling. It's a fun little scene which is great to show the lion's simple foolishness. The scene of Bugs pulling a blind with a sign pointing towards Leo, "Silly, Isn't He?" is a nod to the previous Bugs Bunny short, The Heckling Hare, which works as well in this sequence. At this moment, Bugs slams the door - leaving Leo to bang the door, demanding to be let in. Bugs then refuses to give the key to Leo, leading to a big climax.

Chuck's energetic timing comes to great advantage in the climax, when Leo starts to build up the pace by zipping towards the door: anticipating a crash action. Bugs casually loiters by the door, humming to himself. As the scenes pace back and forth, the gag is paid off as Bugs opens the door: leading Leo to crash off-site.

At this moment, Leo has reached the height of his dominance and powers: cornering Bugs. Chuck's timing is solid where Leo strikes Bugs, ready to break him. As he anticipates a strike pose, the telephone rings; interrupting the perfect moment.

The telephone is a great as well as bizarre plot device that becomes Leo's defeat. Bugs crawls over to the phone, interrupting the scene: "Hold it, doc. Don't go away." He answers the phone, "Hello. Yeah? Oh, just a moment. It's for you, Leo", and he passes the phone towards the lion.

As Leo answers the phone, the caller is revealed to be his wife, Hortense, through Leo's submissive dialogue towards her. His attitude merely changes back into a weaker personality, as he answers: "But listen Hortense! Yeah but, but Hortense, yeah but...alright, I'll be right home. Goodbye, dear". I'm not sure who the animator on the scene is, (probably Cannon), but the poses on the passvelion's face are readable and well executed in draftsman.

It's a great way to end the character's defeat comedically, as his wife is his own weakness. He then begins to part with Bugs as he prepares to leave, "Gee, I gotta go home, see. I'm sorry I can't stay here and kill ya. I'll see ya again, sometime. So long", and dashes away.

Ted Pierce finishes the cartoon on a good note, and the irony is awesome. Bugs Bunny mocks Leo's submissiveness to his wife, "The guy wants to be the king of the jungle, and he ain't even master in his own home. As for me, I wear the pants in my family."

At that moment, we get a special, one-off appearance of Mrs. Bugs Bunny, who stands by him. It's revealed that Bugs is just as submissive, as he quietly and swiftly returns to his hole. Pierce ends the gag with a metaphor, as Mrs. Bugs Bunny asks, "Who wears the pants in this family?". She reveals her blouse, where she "literally" wears pants.

Compared to Chuck's previous attempt of directing Bugs Bunny in Elmer's Pet Rabbit, this short is milestones ahead. He has already given Bugs a tamer and more cunning personality, compared to the wackier personality seen in Wabbit Twouble or The Wacky Wabbit. It's a wonderful cartoon to watch when analysing character personality. Leo is a wonderful showcase for Bugs to bully, and the concept of a weak lion ruling a kingdom is great conception. Fleury and McGrew's surreal backgrounds gives the environment a world of its own, and its overall a great short with funny characterisation. Admittedly, some scenes fall rather flat: particularly in the garden scene but otherwise its a solid entry for Chuck Jones, who now shows confidence in using the Warner Bros. as well as his crisp timing.

Rating: 4/5

Warner cartoon no. 371.
Release date: June 27, 1942.
Series: Looney Tunes.
Supervision: Norm McCabe.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Small gopher, Virgil, Farmer).
Story: Don Christensen.
Animation: Izzy Ellis.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: A pair of Brooklynese gophers invade and ruin a farmer's garden, with a series of gags along the way.

Gophers are a popular choice for an animated formula, and this resulted in a lot of cartoons. A lot of shorts rely on a cliched formula involving gophers invading a garden. which is very thin and mundane in narrative. Occasionally the thin formula can pay off with solid gags, like in Tex Avery's Garden Gopher (1950). This short however, doesn't.

The short itself has a very straightforward narrative: a farmer is proud to have a beautiful garden, and turns into insanity when two Brooklynese gophers ruin iy. A simple straightforward narrative could allow a chance for some great material.

You could say this is also the first short where they pair up two gophers in a Warner Bros. cartoon, or even a prototype to the Goofy Gopher shorts. Although this short was intended as a one-off, there is little to no comparison between the later Gopher characters, which as characters are much more appealing than how gophers have been portrayed in cartoons.

The short sets up the two gophers, with one being streetwise, and the other dim-witted. Only the dimwitted gopher is named, Virgil, which is likely an in-house reference to animator Virgil Ross. As characters, they hold out rather thin personalities. Their dialect and accent indicates they're from Brooklyn ("Ya don't find eatin' like this in the Bronx"), and that's about it.

Virgil's comment on the garden, "Yeah, but, I like Central Park better" is a recurring quote throughout the short, which is a little amusing: suggesting this garden is only second-best.

The following scene is rather intriguing layout (designed by Dave Hilberman?), featuring the gophers underground, as its presented like a diagram. The farmer, suspicious of the gopher's appearance, places his ear underneath the hole to listen out for gopher. The streetwise gopher walks to the top of the hole. He yells at the farmer's ear, quoting Red Skelton: "Let's not get nosy, bub!". Not a great gag itself but Mel Blanc's delivery adds to the charm.

Despite the fact that the short doesn't hold up well in carrying a thin narrative to produce a fulfilling short, Norm McCabe's direction is definitely competent in the short. McCabe has a sense of timing which at times is comparable to Freleng, except McCabe times his animation a different style of his own.

A great showcase for timing is shown in the scene of the streetwise gopher dodging the weed cutter narrowly. McCabe's timing and Stalling's musical arrangements work well together in achieving good comedy. The gopher interrupts the action, as he remarks to the audience: "Keep your shoits on, folks. I go through dis all the time!", and then returns to the action.

Another great scene to celebrate McCabe's timing is seen during a small chase scene as the gophers journey through the soil, with the farmer following their traces. McCabe relies on good effects animation for good timing, seen in the shot of the gophers rushing through a flowerbed, taking all the flowers with them one by one. The timing of both McCabe and Stalling is juicy and comical, and the hop hers taking the last flower with them adds to the touch.

McCabe's skills as a director show he is not afraid of tackling out daring angles, giving his cartoon some extra spice. In one sequence, the streetwise gopher arises from his hole, and looks around checking the coast is clear: "Okay, the joik's gone." At that moment, he is at gunpoint. Realising his danger, the next shot transitions to a POV shot at a low-eye level angle of the farmer aiming at the gopher. It's scene is solidly staged, considering the careful amount of detail required for the scene. The farmer clenching his teeth is rather menacing as well as nicely executed. As the farmer fires, the gopher finds two giant holes between him, from the result of the shotgun. This is also a daring layout, as the shot displays the contrast of size of the gopher and the holes which could easily have went wrong. The gopher remarks, "Can you imagine that?", and dashes away from the spot.

Some scenes of the gas sequence is a lot of fun, too. The scene starts with the farmer cackling madly as he sets his trap towards the gophers. The posing of the farmer's insanity is hilarious and solid, especially his comment: "I'm not really a bad man, folks. Honest".
As the gas flows through their underground shelter, instead of passing out, they end up inflating and floating in mid-air like balloons.

McCabe's timing comes in handy when Virgil sniffs the gas, leading him to zip up in air, trapping his head inside his hat as he shouts: "Hey, who turned off the lights?".

They end up rising from their holes ad into mid-air. The scene then abruptly cuts to a drunken crow who watches the two gophers floating like balloons. Believing that he is hallucinating, he attributes this to his liquor, and breaks the glass. The take of the drunken crow is an old gag that dates back to the silent era, but it's still a timeless gag.

They remain floating in mid-air, when the farmer's giant nose enters the scene, creating a visual gag. The streetwise gopher comments on the nose, weary: "Is this one of your eggs, I dare say?". They both double-take when they come face-to-face with the angered farmer. They attempt to change his anger into a smile, into a funny little pose.

The gophers find themselves landing at a tomato patch, but find themselves trapped by the farmer's hat. John Carey creates some really appealing poses of the farmer breathing with madess, and the poses are very daring for a Warner cartoon. The following gag is a nod to a previous Tex Avery effort, The Heckling Hare, where the farmer grabs a tomato, where it squishes, masquerading it as blood. The farmer is under the impression he has killed the gophers. The pose of the farmer's shocked expression is priceless. The spontaneity of the sign gag, "Out to Lunch" is also fitting. Much like Willoughby, the farmer breaks down sobbing, feeling remorseful as well as wailing like a baby.

So, as we reach the final sequence: the gophers create their climax. The farmer decides to set his hose pipe underneath the gopher's hole, where it extends towards the backyard. It's revealed, however, that Virgil is holding onto the pipe, causing it to slowly overflow. The streetwise gopher creates a clever strategy where the hose would backfire towards the farmer.

The pipe overflowing is nicely exaggerated and energetic, although it doesn't exactly pay off too well in timing. Judging by the immensity of the overflowing pipe, it seems mild that the farmer rise from the water, which lacks immensity.

The farmer unintentionally ends up performing cute gags like trick acts performed at the circus. At this point, the farmer loses his senses and wounds up acting goofily, mimicking a gopher's actions and ruining his own garden. The farmer crashes towards a birdbath, where his head reaches the fountain, squirting water. Virgil has the final line, where he quotes Jerry Colonna: "Well what'ya know? Somethin' new has been added!"

It's another cartoon which overshadows Norm McCabe's sense of direction. His timing at times can be edgy, and he isn't afraid to challenge himself with daring angles. There is also a lot of energy in the animation, particularly in John Carey's scenes of the farmer who animates him wildly, and yet convincingly. Despite having some nice direction there, the overall short is still serviceable. McCabe had the chops to be an excellent director, had he got stronger material compered to the likes of Michael Maltese or Warren Foster. He still managed to achieve with what he had, especially in his Daffy Duckc cartoons. The cartoon's plot is rather weak, and there aren't strong enough gags to save the cartoon. The gophers aren't really characters relatable, and the accents don't give them much character. Some decent gags which pay off would be the gas sequence, the drunken crow, and not to mention the weed cutter sequence, which was timed masterfully by McCabe.

Rating: 2.5/5.

354. Porky's Pastry Pirates (1942)

355. The Bird Came C.O.D. (1942)

356. Aloha Hooey (1942)

357. Who's Who in the Zoo (1942)

358. Porky's Cafe (1942)

359. Conrad the Sailor (1942)

360. Crazy Cruise (1942)

361. The Wabbit Who Came to Supper (1942)

My first published work...

362. Saps in Chaps (1942)

363. Horton Hatches the Egg (1942)

364. Dog Tired (1942)

365. Daffy's Southern Exposure (1942)

366. The Wacky Wabbit (1942)

367. The Draft Horse (1942)

368. Nutty News (1942)

369. Lights Fantastic (1942)

370. Hobby Horse-Laffs (1942)

371. Hold the Lion, Please (1942)

372. Gopher Goofy (1942)