Likely Looney, Mostly Merrie

Warner cartoon no. 390.
Release date: December 12, 1942.
Series: Merrie Melodies.
Supervision: Chuck Jones.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Bugs Bunny / Ala
Bahma).
Story: Ted Pierce.
Animation: Ken Harris.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown.
Synopsis: Bugs Bunny vows revenge on magician Ala Bahma for invading his property by nailing show posters on his home.

One of the niceties of John McGrew's layout work is that he doesn't restrict himself to a certain style. In each Chuck Jones cartoon he's always experimenting new boundaries; whether certain styles work together or not - like trial and error. In this cartoon, he takes a completely different approach to the point where he has as little background as possible.

Animation by Ben Washam

The opening sequence is the only piece in the short which requires a little detail - like the multiple posters and the background scenery surrounding Bugs' home. Gene Fleury restraints the colour choices to three: yellow for the sky, pink for the soil, and blue for the shrubs and leaves; with different subtle shades for each colour evidently.

The interior shots of the stage however, limits the background work as much as possible - ranging from blank or crossover colours which vary from shot to shot. Only the hat on a prop table gives any indication that the scenery is on stage. Fleury has an excellent taste of color styling for certain shots where he wisely chooses particular colours for particular sequences to match the right atmosphere - without looking ugly and unfitting.

For the majority of Bugs' cartoons - he was typically portrayed as a menace who took pleasure at bullying his vulnerable opponents. Ted Pierce on the other hand, takes the formula to a different dimension.

The opening status quo establishes the first of a handful of Bugs Bunny cartoons where he vows revenge on the antagonist. As seen in the opening scene, magician Ala Bahma (pretty lame pun on the Southern state) is busy nailing show posters of his upcoming theatrical posters - and nails them at every nook and cranny, including Bugs' home.

Although an uncanny choice to feature Bugs' home in a tree; he responds angrily to the magician's vandalism on his own property: "Look doc, do I go round nailing signs over your house? Do I? There's still such a thing as private property, y'know!"

Not listening to Bugs, Ala Bahma entices him to a blackberry pie and tricks him with the commonplace pie-in-the-face act. Only Blanc could make the dialect sound hilarious at the delivery of: "What a dumb boonie!". Reacting to the pie-face, Bugs utters the infamous words: "Of course you realize, this means war!". This wasn't the first time Bugs said the memorable Groucho Marx quote as it traces back to the first proto-Bugs short, Porky's Hare Hunt. However, it has never been uttered to carry out an entire cartoon - giving Bugs a motive to get even with the magician.

The obstacle starts once the scenario changes to Ala Bahma starting his performance inside a theater. Starting with the old rabbit in hat trick , Bugs immediately sabotages the act by replacing his ears with a carrot which he unveils - much to the audience's laughter.

Then, Bugs crawls up the magician's sleeve and slides his head up to his neck collar. So, he glares right at his face, indicating a threat and breathing heavily with anger - while the magician reacts with slight embarrassment to his presence.

The line "Ya didn't expect to see me again, eh svengali?" which itself is a witty insult toward Ala Bahma. 'Svengali' meaning a person who deliberately controls and manipulates a person, like an actor - which itself is a metaphor on Bugs' career.

In what seems like a an act of threat - Bugs manipulates Ala Bahma into believing he will assist him with his acts. His revenge starts when he sabotages the rabbit trick again - diverting the attention from the magician to himself. He does so by performing the trick himself without any assistance whatsoever - creating an applause from the audience.

Bobe Cannon's masterful animation is put into great use when Bugs' bow to the audience and Ala Bahma paces quicker with an emphasis of smear animation. Reacting angrily to his sabotage; the magician attempts to grab Bugs and rid of him, but to no avail. In a hilarious Bugs Bunny characterization - he responds to that he kissing him on the lips and tying his mustache into a knot.

Frustrated at Bugs' upstaging - Ala Bahma is determined to get him out of the hat. Bugs places a sign on top of him, reading "Why not tempt me with a carrot?". In the following scene, the magician becomes completely distracted from his trick act, as he plants a carrot on the hat while hiding a mallet behind - sadistically intending to strike him.

A number of times the gag of Bugs locating the carrot of his fingers has been featured - and this time Chuck attempts to refresh the gag by making it surreal but believable. This feat is left to the animator whose job is to give Bugs' hand the mannerisms of a dog with the middle finger tracking the scent.

Bluffing, Bugs unexpectedly grabs the mallet off Ala Bahma and strikes him with it - creating a remarkable effect. To give the smash more attention and prominence; the background shaped colours (yellow-and-blue) immediately reverse. Chuck couldn't go wrong when making an anticipation look comical and artistic together.

With Bugs Bunny nailed and trapped inside the rabbit hat - Ala Bahma can proceed with his performance without further ado - the basket trick act. Little does he realize that that Bugs Bunny is disguised as a little boy when the magician calls out for volunteers.

The sequence is an excellent showcase in ridiculing Ala Bahma at the expense of damaging his reputation and career - fooling the off screen audience that he enjoys murdering innocent children.

As he starts the basket trick act, he forces the knife inside the basket trick - with an unseen Bugs making gagging, agonizing noises. Chuck Jones' master use of expressions and posing on the magician reacting to the gagging noises is priceless; and yet very human. The poses alone speak for themselves. It's a top-rate piece of personality animation which captures the intensity and anxiety of Ala Bahma perfectly.

In what looks like a suspenseful, doomed moment for Bugs - the camera pans to the rabbit who is standing at the right corner of the stage making the noise. This builds up the rising action as Bugs can't escape inside the sealed magician's hat - calling for further strategies.

The magician has been humiliated to the point of insanity - where he takes his full drive in murdering Bugs Bunny as he advances towards him. At the climax of Bugs' dilemma - he quickly takes advantage of the situation with more trickery. As a direct parody of a popular school-game, he tricks the magician into playing "red-light".

Bugs quickens the pace of the game by counting faster - which adds even more intensity to the speed and energy of the magician's anticipation.

Chuck's direction and Bobe Cannon's animation work wonderfully to create such effect. Once again, Cannon uses smear animation for Bugs to hit the accent as he shouts "red-light". On one occasion Ala Bahma freezes in mid-air - making the scenario even more hilarious.

Manipulating him completely - Bugs disguises himself as a fencer as he attempts to participate in the activity. Ala Bahma frantically swings his sword around in a duel - where Jones creates an elaborate, distortion effect of the magician fighting on different levels - to make the duel panicky.

Bugs shouts on top of the balcony, "What a performance!" and laughing at him to the point where Ala Bahma is fuming red and ready to finish him - by grabbing his shotgun and firing at him.

The final gag is a great pay-off and vengeance on Bugs' behalf. Engaging him with an explosive cigar, Bugs finally has the last laugh as he smacks him with a pie - echoing an earlier action by Ala Bahma. Bug' innocent pose, mimicking the Mean Widdle Kid features some hilarious posing animated masterfully by Ken Harris. At anticipation he says, "If I dood it, I'd get a whippin'. I'll dood it!" - and henceforth striking him.

It's another decent change at giving Bugs more motive and reason to perform his mischievous antics which otherwise would make him brash and cocky. As a "This means war" story, it's an excellent bracer for what lies in store...such as the likes of Bully for Bugs and Hair-Raising Hare. McGrew and Fleury's background work as usual work right down to the frame. Their good judgement in colour styling and innovative ideas of scenery prevent the cartoon from being distracting, allowing the short to flow normally. Chuck keeps his timing and pace to the standard of a hilarious Warner Bros. short while getting away with his use of experimentation.

As this short wraps up 1942; and even though it has taken me almost forever to get there: the progress made throughout the entire from the Warner crew is extroadinary - especially in Chuck's case. From the start all directors turned out hit-and-miss entires - Clampett was filling in loose ends for unfinished Tex Avery shorts, Friz Freleng was still keeping to the standards of everyone else, and of course, Chuck went from green to professional. By the end of the year, they all proved themselves professional cartoon directors by pushing the boundaries further and further. 1943 should be off to an excellent start...

Rating: 4.5/5.

"Well, hallelujah!"

Warner cartoon no. 391.

Release date: January 16, 1943.
Series: Merrie Melodies.
Supervision: Bob Clampett.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Dwarfs, Worm), Leo "Zoot" Watson (Prince Chawmin'), Vivian Dandridge (So White), Danny Webb (Queen), Lillian Randolph (Mammy, Honeychil').
Story: Warren Foster.
Animation: Rod Scribner.
Musical Score: Carl W. Stalling. (Additional scoring by Eddie Beal Trio - uncredited).
Sound: Treg Brown (uncredited).
Synopsis: Charming parody on the Grimm brothers fairy-tale; where So White flees from the
Wicked Queen and enlists in the U.S. army as a squad
cook.

One of the most controversial shorts ever made to the point where Bob Clampett refused to screen the film in recent years, at the cost of his own life - as witnessed by Milt Gray. Despite the current age where "political correctness" had taken its toll; it still remains one of Clampett's true masterpieces.

In no way does Clampett intend to discredit or ridicule the African-American race. By all means, he intends to celebrate their culture after being inspired by Duke Ellington's musical revue, Jump for Joy.

He celebrates their jazz culture and camaraderie spirit to the extent of hiring black performers to contribute to the cartoon to play an integral part. Schlesinger brought them to the studio to consult on story and character development, and not forgetting Eddie Beale and his orchestra to provide additional music for the cartoon's significant climax.

The only trace of the stereotypes that might be considered unsettling are the character designs themselves and some of the dialect; which was itself an animation cliche of the time. It's intelligible as to why it might offend some viewers - distinctly seen on another principal character: the zoot-suited Prince Chawmin', who wears "pair o'dice" on his frontal teeth, and the remainder of his teeth adorned in gold.

Michael Barrier writes it best the 100 Greatest Looney Tunes book, "Clampett uses those stereotypes so inventively, though, that the cartoon almost transcends them." A case of Clampett and Warren Foster inventively portraying the stereotypes is evident in the poisoned apple scene.

In an iconic part of the tale, the Queen pumps the apple with poison; morphing in a fetid effect. A group of stereotyped worms escape from the rotten worm, complaining it "smelt like Limburger cheese." As they escape, one carries a sign reading "refoogies", written in dialect. For a gag behind a creative drive like Clampett or Foster; the stereotypes are surpassed by Clampett's genius timing on the apple effect and Mel Blanc's hysterical delivery on the worms.

What makes Coal Black a delightful cartoon is not just the excitement and celebration of the African-American culture; but the wonderful parody of the Grimm brothers fairy tale; which itself hilariously executed - all in a seven-minute cartoon.

Solid character personalities also play an integral part, including the heroine herself, So White. It's an incredible feat for any professional animator to handle a character with realistic human proportions; and animate her with monument energy and edginess all under one roof.

So White is stereotyped not because of her race, but because of her sexuality; which plays a plot device throughout the short - including how she cheated death, won the heart of the seven dwarfs and how she was revived from her state of unconsciousness.

It's a hilarious parody directed that fairy tale heroine, Snow White. In the original fairy tale, Snow White was admired for her apparent beauty; including a hired assassin who couldn't find it in his heart to kill her. Clampett takes this sequence by pushing the boundaries. In the sequence where the hired "Murder, Inc." capture So White - her freedom is earned by sexual overtones. The establishing shot features the company van parking discreetly in an isolated woodland. Mike Sasanoff nails the layout to a tee - stipulating that So White has been murdered as they prepare to "set the body down easy." Only Clampett's abrupt pacing could make such a gag work.

Fittingly, some shots in the cartoon are a direct ode to the popular Walt Disney feature. In it's original run, Snow White was a smash hit and remarkably influential amongst moviegoers and especially the animation industry. Clampett, who strongly admired the feature, without doubt pays homage to some iconic scenes; but sets the tone and atmosphere very differently.

A striking example occurs in the wishing-well reflection shot, which in both versions symbolise the heroine's dreams of a handsome prince. Like the Disney film, the prince arrives unexpectedly albeit vigilantly. In the Clampett short, the tone and pacing is much more wilder: making Prince Chawmin's presence more boisterous.

Snow White's escape through the spooky forest was remembered for its sharp and scary atmosphere; which reportedly frightened young children in its initial run.

A sequence which indicated Snow White's vulnerable moments; the atmosphere in Coal Black is once again toned down and somewhat rushed. The most revealing reference in the scene are the luminous eyes appearing in the bleak eyes - which momentarily scares So White. The delivery of the owl noises themselves has a hammy effect, that the scene itself succeeds in keeping with the right tone for an animated short.

Without any intent to accuse Clampett for borrowing visuals - his crew create some really innovative arrangements of mise-en-scene and tackling pieces of staging which is seldom explored. So White and the prince's wild jitterbug is lush with its strong silhouette and innovative art direction which sets the chemistry beautifully.

Bob McKimson's animation on the sequence reads beautifully. His posing features a beautiful line of action and read clearly in silhouette. McKimson keeps the arms away from the character's bodies as much as possible to avoid confusion on the posing - showing he has a strong sense of graphic clarity.

Other small shots which are difficult to pull off as far as accents and mechanics goes is the extreme-close up of Prince uttering "Rosebud". A direct reference to the infamous "Rosebud" quote from Orson Welles' then highly controversial Citizen Kane - it's a feat to pull off the lip-syncing accurately as in that camera angle; it's accurate lip sync that is the prime goal to achieve successful animation.

The opening and closing shot of the film of a Aunt Jemina-like woman narrating the story to her child by a nicely lit fireplace is lovely abstract visual. It is a beautiful perception of cinematography which is uncanny for a Warner Bros. cartoon to tackle, let alone Clampett's. To keep within the studio's budget constraints, the animation has a graceful use of follow-through action on the "mammy".

In creating hilarious personalities out of the iconic fairy tale villains; Warren Foster succeeds in making a hilarious and sometimes dangerous personality on the Wicked Queen. Instead of the vanity side of the queen in the Grimm story - Foster adapts a different motive for her. She wished to her magic mirror for a "prince abou' six feet tall!", only to discover the Prince has the hots for So White instead.

As indicated by the narrator; "she was just as rich as she was mean: she had everything!" which is ironically evil from a different point of view. The pan shot of her treasure collection quickly panned on delivery to reveal she literally had everything - like hoarding car tyres, sugar, coffee, which was heavily rationed during the war. Sweets too, were heavily rationed in the war as she Indulges herself with "Chattanooga Chew-Chews", which itself is direct pun on the popular song: Chattanooga Choo Choo.

Upon her discovery of seeing the Prince and So White dancing outside the castle; she reacts angrily: "The gal, and the Prince! What a sickenin' sight!". Immediately she dials the phone to hire an organised crime group Murder Inc. to "Blackout So White!" where the words visually rise out on delivery - creating a comical and potent effect on the Queen's wrath. If the racial stereotypes are considered offensive - take a gander at the advertisement of the company van.

If there was a man who could adapt the spirit and excitement of the African-American jazz culture into Clampett's cartoon believably - it's no surprise that Carl Stalling was fit to the task. Although more comfortable with adapting popular music into animated cartoons - Stalling's versatile talent of giving We're in the Army Now a jazz vibe towards it.

The dwarfs have little personality in the short (excluding the "Dopey" persona dwarf), they recruit her in the army as their squad cook as So White is turned on by their uniform in her swing-style voice ("I'm wacky over khaki now!").

The morning bootcamp sequence perfectly captures the enthusiastic jazz spirit; thanks to Stalling and Clampett's collaborations who really have a ball celebrating and worshipping the jazz culture. The sun rise jiving shot adds a real hip vibe to it. So White's cooking scene while singing Five O'Clock Whistle is altogether fitting - and spoilt in animation riches in an elaborate piece of effects of a bacon strip cooking in rhythm to the song's melody.

Clampett's innovative imagination and inventive timing all appear at the right moments. One early scene in particular is a Clampett mini masterpiece alone. At the arrival of Prince Chawmin's car - the wheel breaks to a halt - with the wheel rapidly circulating and morphing into five different sneakers, tapping the car to a rhythmic beat.

The imagination and rhythmic beat alone is a perfect warmup for what lies in store for the cartoon. As far-out and outlandish Clampett's directorial work is on it; some areas feel somewhat clumsy.

Building up to the short's suspense; So White has eaten the poisoned apple by the barely disguised 'Durante' Queen. The scenes of So White's collapse has a rather abrupt and strange edit which suggests a continuity clip. I'd nominate the "buck-buck-bucket" hen-cackle scene as the funniest piece of dialogue in this short.

The action scenes of the dwarfs pursuing the Queen follows some of the wildest, frantic pieces of animation in any cartoon. Gags within the sequence are superfluous in a remarkable way where everything moves, indicating panic and order. So many gags are fired altogether like the "Jeep, Beep, Peep" gag and the likes of a "rear end" gag just as the cannon is loaded - which results in the "Dopey" dwarf knocking the Queen out-cold with a mallet.

The dwarves walk over to So White's dead body - remarking that only Prince Chawmin's "dynamite kiss" can revive her. At that moment, the prince arrives at the spot and boasts: "I'll give 'er a kiss and it don't be a dud, I'll bring 'er to life with ma special: rosebud!".

The Prince attempts to revive So White with his kiss, but to no avail. He tries with all his drive and force to the point where he rapidly ages. Praise must go to Eddie Beale, who provided the music for the sequence. Beale's trumpet solo provides the right motivation for the character; and yet maintaining it's jazzy, catchy rhythm. [Correction: It was Leo Watson who played the trumpet solo, while Beale leaded the jazz trio, playing piano and contributing to the score with Milt Frankyln. Thanks to Keith Scott for the information.]

For the remainder of the cartoon, Rod Scribner takes control on a real tour-de-force of character animation that has yet to be matched. As exaggerated and over-animated it is, the scene is still believable, breathtaking and astounding. The Prince's determination to bring So White to life has incredible monument weight to it - comparable to the great talents like Bill Tytla.

Once the prince has failed, the "Dopey" dwarf takes his chance and lays a kiss on So White where she wakes up so dynamically and broadly she bursts wildly in mid-air. As wild as Scribner could animate on So White's awakening; it's remarkable at how solid his drawing maintained - by drawing the dwarf's head in a difficult angle so believably.

Perplexed, the aged prince asks the dwarf: "Man, what you got that makes So White think you're so hot!". The dwarf responds in another hinted sexual overtone: "Well, dat is a military secret!" and lays another kiss on So White - causing her pigtails to sail and turn into American flags.

Coal Black has all the elements what every animated cartoon should have: top-notch direction, excellent story, outlandish animation and gags - not forgetting: believable characterisation. This is perhaps the short where Clampett was the most visionary, with an excellent combination of lap lyrics and tropical parody. Now considered taboo for public showing - the short does everything to honour and dedicate the African-American jazz culture. It even strifes for its recognition by hiring African-American performers like Watson and Beale to put their talents to excellent use - making it the masterpiece it always was. As subtle and cheeky Clampett's humour is, his parody on the fairy tale is still in fine taste. Suppressed as it may be, the short remains a beacon for animation scholars and enthusiasts, including Bob Clampett who would move on to many greater shorts.

Rating: 5/5.

Warner cartoon no. 392.
Release date: January 23, 1943.
Series: Looney Tunes.
Supervision: Norm McCabe.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Porky Pig / Missing Lynx).
Story: Don Christensen.
Animation: Izzy Ellis.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Constable Porky and his dog, Eggbert, are on the lookout for a German spy: Missing Lynx, who aims to blow up a railway bridge.

As competent as Norm McCabe might be in presenting stylish backgrounds with some innovative staging - he never seemed to have played an influential role as far as story goes. As often, he was lumbered with cartoons with dated wartime references and heavy propaganda - much like Confusions of a Nutzy Spy (title parodied from the 1939 film - Confessions of a Nazi Spy). Occasionally, he takes the material together and turns them into a near-masterpiece like The Ducktators. As confident and professional McCabe was in giving the right personality for Daffy Duck - Porky seemed an awkward character in the hands of McCabe, much like how Clampett would interpret him in his weakest cartoons.

The opening pan shot of the interior police station ranges from hit to miss. On the hit side, it is a astonishingly complicated piece of layout of the camera panning back, forth and through the hall of assorted things like various criminal practices and exhibits. Only a strong, experienced layout artist like Dave Hilberman could've designed and coordinated such an ambitious exercise; not forgetting the craftiness of Johnny Burton's camera department.

On the miss side, the gags on the elaborate opening shot is saddled with unfunny visual puns that Tex Avery himself, even on his bad days, would mock at.

Gags like the the finger print department lack any creativity or coherence, as they are literally printed all over the wall; with no impact or pay off whatsoever. Lest not forget exhibit A of a model of the letter "A". Ho-hum. Then, there are a few display gags which is more adult oriented. In one gag, the camera pans to a jar displaying a "sure cure for criminal tendencies" with a hangman's noose attached to it. As sadistic as the gag implies, it's worth the chortle. The wanted posters exhibit has a cheeky pay-off towards it. The camera panning on generic posters, one-by-one on criminals who are wanted for arson and fraud. Then, the camera pans to a wanted poster of an attractive woman posing in a bathing suit - with a tongue-in cheek message by the U.S. Army.

Areas where McCabe could be visionary with his timing is evident in Eggbert's establishing scene. He is snoozing on a box, with the radio on. As he snores, he breathes "z's" literally in and out his mouth - a la comic strips. It's a creative, visual gag combined with graceful timing which is hardly practiced in classic Golden Age animation.

Animation by Art Davis.

Awakened by the radio; Eggbert slowly reaches his paw to turn off the radio causing the announcer to break forth-wall within the short: "Don't touch that dial!", a likely reference to the CBS radio programme, Blondie, based on the comic strip. The paw trigger effect has an effective piece of timing. Afterwards, Eggbert grabs a mallet and smashes the radio.

McCabe's visionary timing is put into good practice in a fine scene of the "Nutzy" spy: Missing Lynx - a lame parody on the description 'missing link'. The lynx, who is voiced hilariously in Mel Blanc's Germanic dialect is discreetly watching Porky and Eggbert's moves.

McCabe takes advantage on a cliched gag of a cartoon villain peeking in and out of a tree at different direction. As the spy's peeking becomes quicker - he unknowingly splits into another pair - with one and the other at a different position of the tree. The lynx double-takes at the surreal gag and both of them collide; morphing back into one figure. It's a clever piece of reverse animation that coincides with the original - which makes an oddball of a gag work effectively. The double-take and the spontaneity of the second figure makes the gag all the more merrier.

If there are weak spots as far as characterization goes - look no further than the sequences where the Missing Lynx attempts to fool Porky. While Porky and Eggbert snoop around the woodlands; Eggbert stops at a dead end of a foot blocking way - the Lynx disguised as an elderly dog.

The sequence itself would've been more passable had the lynx been under disguise the entire time - making Porky's gullibility seem more believable. As Porky inquires, "Have you seen a spy around here?". Afterwards, the spy removes his disguises and bluffs, "Does he look like this", maintaining a strikingly similar pose as seen in the poster.

Once Porky nods, in the hope of gaining information - the lynx responds: "Nope, I have not seen him" and zips out of the scene - confusing Porky. Just in time we feature a "Hitler is a stinker" gag as Eggbert pulls a Hitler mask out the spy's suitcase during investigation - until he discreetly retrieves it.

As a sequence, it's very clumsy in its own execution and handling on Porky's personality. Being gullible is one thing, but it's incredibly out of character of Porky to fall for a trick when the spy isn't making any effort to disguise himself. For a Bugs Bunny cartoon, the scenario is different in a significant way; but since the personalities in this short are undeveloped: it flaws.

Proven the previous sequence was weak in execution - the bridge sequence is hardly better. The spy reaches his destination to plot his terrorist act: a railway bridge. Just as he's about to adjust and plant the bomb; Porky has him cornered at gunpoint.

Immediately, the apparent master of disguises slips into a Porky Pig disguise. He interrogates: "Vell, I'm-a not so sure that you're Porky Pig either!" and furthermore mocks his stutter. He moves Porky away from the railway, causing him to ponder: "I'm really gettin' suspicious of that guy!"

This is most likely the weakest spot of the entire cartoon. Porky's personality is incredibly underplayed as he has nothing more to do than feel suspicious and getting interrogated by the spy. It's a completely ridiculous concept at attempting to bluff Porky Pig by disguising as his own self! So many missed opportunities run together.

On a positive note, the bridge scene has some very choice, dynamic staging as well as some rich point-of-view shots which adds to McCabe's reputation as a stylish director. In Missing Lynx's POV shot, he holds out the bomb from his suitcase; and sets the time on it accordingly. For a description of action so simple; the work on the hands is incredibly rich in detail; with an amazing use of perspective.

As far as Eggbert's role plays in this short; his role is mainly used for recurring gags and little of personality. The recurring gag is focused on Eggbert's violent sneezing habits which appear frequently. Some of the gags pay off wonderfully. During their investigation in the park, the dog almost experiences an episode - but spontaneously the spy's arm holds his nose whilst hiding in a tree. The unpredictability of the gag alone, is hilarious.

Other areas the sneezing gags build up tension and suspense; such as when Porky and Eggbert find themselves barely dangling from a root attached to the edge of a cliff. It appears story man Don Christensen intended to use the gag as a plot device; which supposedly becomes key to the flaw in Missing Lynx's terrorist plan.

The recurring gag itself hardly has much pay off at all; as his sneeze only plays a main role when his sneezes forces the spy out from the cave. Not a complete waste of a concept; it could've worked so better as well as a much better payoff which is somewhat lacking for a potential cartoon finale. Once again, another missed opportunity.

Although the action sequences might be the usual standards for a Warner Bros. short; some shots have some outlandish. The lynx's double take upon discovering the bomb-in-a-briefcase has been retrieved by Eggbert has some effective use of smear animation which captures the panic episode he is facing.

The cave sequence is in the style of McCabe's innovative sense of mise-en-scene. Capturing the complete darkness of the cave; only the eyes are seen luminously. A typical style for animated cartoons, McCabe takes the opportunity to plan the action with the panic depicted by their eyes.

Both characters believing they are safe from the bomb-in-a-briefcase; they take at the sound of a ticking noise. Porky lights the match which reveals Eggbert has followed them, retrieving the briefcase again - Porky shouts "Yipe!" creating another panic situation as the characters run frantically around the cave in complete darkness.

Despite moments of weaknesses evident in the short - Christensen finishes the cartoon with a sense of cruel irony. At the cartoon's climax, the cornered Nutzy is quivering scaredly as he awaits the moment for the bomb to detonate. As depicted in a close-up shot, the bomb distinguishes; creating no effect whatsoever.

Enraged, the spy complains: "I knew it! I knew it! Oh, this goldarn imitation ersatz ding. It never vorks!". He bangs the bomb to the ground with frustration, when at the wrong moment: it explodes.

A lot about the final shot is depicted with cruel irony. The Nutzy is dancing happily around the clouds of heaven, under the impression his plan had worked after all - and without realizing he is dead. And another thing, it seems very ironic for a terrorist spy to spend eternally in heaven. The cartoon draws to a fade as the spy salutes, "Sieg Hiel" and faints onto the clouds.

For a director who proved capable of turning out some occasionally very good cartoons; this short ranges in the 'hit-and-miss' category. McCabe seemed uncomfortable in giving further character personality on Porky Pig; which Chuck Jones achieved brilliantly in My Favourite Duck. Instead, he is given the persona of a clueless idiot who is gullible and vulnerable, which seems a no brainer to that effect. While this short is war-themed; it surprisingly holds very little wartime references; excluding the Nazi parody and the Hitler mask reference - and instead functions like a generic Porky short. Had McCabe continued to direct after the end of the war, it's almost impossible to determine whether he could've really established himself as "one of the greats".

Rating: 2.5/5.

Warner cartoon no. 393.
Release date: February 6, 1943.
Series: Merrie Melodies.
Supervision: Friz Freleng.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Wolf narrator, 3rd pig), Sara Berner (1st and 2nd pig).
Story credit unknown.
Animation credit unknown.
Musical Direction: Carl W. Stalling.
(based on the Brahms Hungarian Dances).
Sound: Treg Brown (uncredited).
Synopsis: Hilarious parody of the infamous "Three Little Pigs" tale told by the "Hungarian Dances" piece.

Original cartoon titles.

A quote repeated several times before, but worth another mention to fit with the theme of today's review. Friz Freleng explains his love for music in animated cartoons, and why he uses it regularly in Leonard Maltin's Of Mice and Magic:

"I love music. I can't read it, but I can feel it. When I hear it, I see things in my mind. Music inspires my visual thinking. I time my cartoons to music, and I find it helps me. Everything is done rhythmically." After a successful feat in Rhapsody in Rivets (which earned the Studio an Oscar nomination); Friz leaps at another chance in tackling classical Eastern European music: Joannes Brahm's Hungarian Dances - telling it in a form of a well-known fairy tale (and in the public domain). One challenge after the other; Friz's incredible vision takes the opportunity to parody Disney; primarily The Three Little Pigs and not forgetting the then fairly recent Fantasia.

Animation by Dick Bickenbach.

The opening sequence is a direct parody of Fantasia itself - with the staging and art direction similar to the Deems Taylor footage. Replacing Taylor, is a wolf narrator - depicted with a Brooklynese accent. Mel Blanc gives the wolf some added character as he has struggles pronouncing "interpretation" during his narration. It's a clever parody indicating how establishes critics can make mistakes.

Some scenes during the musical show direct references to the popular Silly Symphony short. Released only a decade earlier, Disney's Three Little Pigs was very popular in cinema during the Great Depression as it helped raise spirits during dark times while it revolutionised the standards of character animation.

Friz Freleng takes some iconic moments from the short and pays homage to it as featured the two procrastinating pigs dancing merrily, whilst the smart pig takes no chances by continuing work on his bricked home. It's a funny little parody where it perfectly harmonises with Brahm's musical piece. It recurs a second time later in the cartoon; becoming a motif for the two pigs who ignore the potential peril they're in.

The Hungarian Dance No. 5 perfectly indicates each pig's personality during their introductory scenes. For the first two pigs they have the same theme. Their actions are a cutting match to the music; as their construction of their homes is rushed and inadequate, as depicted within the music. The rushed quality of the house results in the second pig having to reconstruct his collapsed matchstick home.

Friz Freleng nails the timing right down to every frame; as the timing of the rushed construction is conveyed beautifully in animation - such as the first pig frantically raking the hay. It's the only sequence where the rules are violated within the musical classic standards. Each pig has a simple line of dialogue only intended as exposition.

For the practical pig - the pig is given a different theme compared to the first two. The music is much slower and steady; compared to the previous energetic theme, thanks to Friz's remarkable vision. This conveys the pig's meticulous nature wonderfully; as carefully he spreads the cement on layer and stacks the bricks in an assembly line, one-by-one.

It's a fitting motif for the third pig, as it distinguishes his own personality from the previous two pigs. To close the sequence with a gag - a nested crane oversees the construction of the house roof. Seeking an opportunity of a new residence, unexpectedly he plants his nest on top of it and resides there; much to the annoyance of the smart pig.

The wolf's introduction is a bizarre yet still suitable dance as the dance number goes into a different theme. To capture the dance believably while synchronised accurately to the music; Freleng has the wolf perform a Cossack dance as he travels through the woodlands.

The wolf, who is caricatured and illustrated as a villain; appears to be law-abiding enough to signal a left-turn in traffic - which is a decent, spontaneous touch. To keep with budget constraints; Freleng cuts down on animation footage while maintaining the accurate synchronisation to the piece.

Phil Monroe, the animator on the sequence animates only two poses of the wolf discreetly sneaking up on the tree; and using those poses for consistency. A difficult feat to meet with Freleng's high standards. The gag itself pays off as the wolf unknowingly falls into a pond; but crosses his way through underwater and back onto soil.

Friz never loses focus on the narrative as he builds further on zanier ideas to have the pigs in peril. Spontaneously, the wolf leaps from the rock disguised as a gypsy dancer playing a tambourine, whilst dancing in rhythm to Brahm's dance number. The wolf entices the two pigs to the point where they rotate their bodies; turning their legs in a knot - a very subtle gag thanks to the convincing charade of the wolf.

Enticing the pigs once more with his tambourine, they walk into a trap - creating an obstacle in the story whilst still perfectly blended with the music. Freleng's delivery and timing couldn't be topped any further when he pigs unexpectedly beat up the wolf off-screen and leap out the rock in gypsy costumes and dancing to the music; the faster it becomes.

A very unpredictable move by the pigs, making the sequence itself more entertaining - indicating they were bluffing the entire time. Gerry Chiniquy's animation of the pig dancers features great staging skills and hilarious caricature on their faces. Their fun is almost over when the wolf reveals his true, sinister nature - making the pigs more vulnerable. Cornered, they run from the wolf to hide in the straw home.

Animation by Gerry Chiniquy.

After encountering with the pigs with a plan flawed - the wolf sticks to a different strategy; to mercilessly trap and kill the pigs without further ado. The suspense blends well to the music as the action of the wolf advancing further helps build up the pace to the score.

Freleng takes an alternate approach by finding different ways for the wolf to destroy their homes. Instead of "blowing the house down" as typically told in the story; the gags are much wittier and broad.

For the house full of straw; the wolf lights a match and has the home destroyed in seconds. For the house of matchsticks, the wolf observes the delicate balance it stands and adds another matchstick on top to make it collapse. The gags work greatly even for economical reasons; as the wolf's intensive blow wouldn't have fitted with the music synchronisation; so different strategies make the scenes funnier that way. During the chase; the pigs safely make it into the bricked house.

Friz's extroadinary vision of music and storytelling combine a great result where a string of recurring gags fit appropriately during the No. 6 dance; which features the wolf constantly slamming onto a door, with his head triggering as he faints.

The following scene is a great tour-de-force of Friz's timing and Chiniquy's animation. The wolf attempts to strike the house down with his puffing, but to no avail. Milt Franklyn's orchestration fits the right atmosphere of the wolf's action.

The heavy, suspenseful music adds to the determination and struggles of the wolf. There is even enough time for a hilarious mouthwash gag (in a lame pun known as Lusterine), a subtle insult on the wolf's bad breath. Following that, the wolf stands back quite a distance in hopes of breaking down the door - it couldn't have been timed and synchronised any better, As he makes a run for it; the pigs cunningly open the door to let him in - so he can fall for the old gag routine. The practical pig shuts the back door in time so the wolf smacks right into it; and then gets dumped at the backyard,

Safe inside the bricked house, the two pigs dance and celebrate to Hungarian Dance No. 7 (repeated animation from earlier). The practical pig is annoyed at their own presence as he watches them frustratingly.

The following sequence is a great showcase at where Freleng wisely selects the nature of the music to create a suspenseful sequence. Outside, the pigs hear sad violin music (Hungarian Dance No. 17) and look out the window to find the wolf disguised as a poor, old babushka.

The wolf's disguise is evidently revealing as he is supposedly covered in a storm of fake snow (seen from the pig's POV); when really he has talcum powder dispensed from a contraption attached to his back. Animator on the sequence Phil Monroe gives some added character to the wolf as he shakes the powder to make his disguise more convincing; whilst still successfully timed to the music.

It's a clever scenario choice as the music helps emphasise the pigs' sympathy for the disguised wolf. Ignoring the protest warning of the practical pig; the two pigs push him aside from the door and let the disguised wolf inside for some shelter. The following shot is very ironic for its gag pay-off. The wise brother is suspicious of the disguise; and discreetly lifts the cloak up from back to discover a record player - implying that Brahm's music is being played within the actual dance number. The pig turns the record to the other side to the wolf's motif. The wolf can't help himself but perform the Cossack; which unveils his disguise.

For the final climax; Friz Freleng wisely selects the Hungarian Dance No. 6 to sync with the action scenes, which he uses as a motif for the short. The classical music is played so inventively in the final sequence to the point where the music overlaps the contradiction of the house's architecture.

Seen from the exterior as a one-story house. The action shots of the pigs upstairs indicate the house is somehow larger than it looks. The music and action are synchronised so brilliantly and innovative that one would completely overlook the idea that the house has an elevator; causing the wolf to fall down several floors; leading him supposedly down to the basement.

Once again, Friz Freleng exceeds in mastering in synchronising classical music into gag animation which he achieved in Rhapsody in Rivets - and earning the Schlesinger studio another Oscar nomination. Whereas Rhapsody focused on a construction site followed by a string of gags to blend in with Franz List's Hungarian Rhapsody; this is the first where Friz blends classical music while telling a story altogether. The character personalities are wonderfully depicted with the various choices of music in the dance number. It's a pity the story credit today is now a mystery; due to the cartoon being "Blue Ribboned" and no credits recorded in the copyright category. It's a safe bet that either Ted Pierce or Mike Maltese wrote the short; leaning more towards Maltese. Whoever wrote it deserves praise for an incredible vision in conceiving the appropriate gags and material to the Brahms piece. All in all, a Freleng masterpiece.

Rating: 5/5.

Warner cartoon no. 394.
Release date: February 20, 1943.
Series: Merrie Melodies.
Supervision: Bob Clampett.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Bugs Bunny / Cecil Turtle / Mrs. Cecil Turtle / Narrators / Rabbit Bookee / Dumb Rabbit at Finish Line), Kent Rogers (Dumb Rabbit with Telescope).
Story: Warren Foster.
Animation: Bob McKimson.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Refusing to admit defeat; Bugs Bunny challenges his racing opponent Cecil Turtle for another race - this time with more conniving tricks.

How often is Bugs Bunny portrayed as a loser? Rarely. As mentioned in the original Tortoise Beats Harereview; Tex Avery had already begun experimenting with Bugs' personality from his standard streetwise persona. Once Tex left the studio and Bob Clampett inherited his Merrie Melodies unit, Clampett takes the opportunity to reuse Bugs'"sore loser" personality and take it to different heights - thus, creating a sequel from Tex's fable parody.

The opening sequence has a combination of fresh and reused material. Much of the opening is stock footage from the previous Cecil Turtle short, which observes the race between the two opponents as well as the petty tricks the rabbit performed. Not only does it cut corners and keeps within budget constraints - but it also creates good exposition for what is yet to come - and the frustration Bugs Bunny feels.

Additional narration masterfully voiced by Mel Blanc is kept to the style and energy of Clampett's direction as he excitedly commentates on the race which makes up for the more conservative pacing from the original Tex short.

Up until the closing of the commentary - it's interesting to see how the footage had been deliberately manipulated by removing Cecil's cunning tricks as indicated in the original ending - therefore replacing it with new animation of Cecil boasting about his triumph.

Following that - Rod Scribner delights the viewer with a tour-de-force piece of character animation that helps convey Bugs' frustration and confusion perfectly. It's no easy ride for any animation professional to animate a character whose goes through a wide range of emotions and mood swings. Bugs finishes watching the reel outraged and astonished: "How does he do it?" as he spits out bites from his carrot and vigorously kicks the projector away.

Bugs paces around his home, bewildered: "I can't understand it! It's against the laws of nature. We just ain't in the cards! A toitle beatin' me, a rabbit?!". Then his emotions switches to arrogance and pride: "Yeah, I'm an athlete. I've got an athelete's physique. Sure! I got an athlete's legs. Coitenly, I even got an athlete's foot!" and shows off his foot - with the proportions of a human foot.

The opening sequence is an excellent piece of exposition that reveals Bugs' motives and a rare observation of his true colours - or at least how Bob Clampett interprets him. His soliloquy indicates that he feels threatened and disgraced of being outwitted, and is determined to restore his pride: "How does that moron do it? I'll find out his secret, if it's the last thing I ever do!"

The subtle animation switch from Scribner to Bob McKimson in the dialogue ("And I will, too") creates the perfect mood change, as McKimson could capture that appeal into Bugs' sudden relaxed attitude - while Scribner could push the poses and hit the accents abruptly to express his temper in an over-animated way.

For a character whom the audience have grown to love for his streetwise, mischievous nature - Clampett's meddling of his standard personality gives him a dark side that movie-goers hadn't likely experienced, and perhaps feel empathy for. Since Cecil Turtle is portrayed with low cunning that drives Bugs to insanity - the audience would root for Bugs' second chance to win that race.

To get what he wants - Bugs takes every chance possible by disguising himself to get information out of Cecil Turtle - which eventually created identity confusion from the rabbit population. Determination for Bugs to win is not only centred on the rabbit himself - but the majority of rabbit spectators who are willing to cheat, putting their arrogance above everything.

Bugs' optimism and motivation to win has poisoned his mind, to the point he overlooks the subtle tricks Cecil planted on him. This is evident when he designs the "modern design and streamline" shell. Once he dresses behind a curtain, complete with a swim cap on his head - Bugs could become a victim of his own disguise. This indicates that Bugs thinks he's becoming craftier than before by learning from his mistakes; but is oblivious to the potential traps Cecil has lied in store for him.

Cecil's superior craftiness is essential in the sequence featuring Bugs' disguise as Bill Thompson's Old Timer character from Fibber McGee and Molly. Bugs disguises himself as an elderly critter in an attempt to seek information out of Cecil's secret method for beating Bugs Bunny, as asked: ("Tell me, Johnny! How come you always beat dat rabbit!").

Animation by Bob McKimson.

Cecil, who can see through his disguise, deliberately gives him a false answer - hinting he has another cunning trap set for Bugs Bunny. Cecil claims: "The secret is modern design, y'know, streamlinin'". He reveals a blueprint of his "air-flow chassis" - which is very clearly a design of a turtle shell, which Bugs dimly sees past.

A masterwork of character animation and story arcing - Clampett's bad habits of abrupt cuts are revealing in the part where Cecil explains his comparison to how "rabbits are built all wrong for racing" compared to turtles. Whether it was an intended cut or a deleted piece in-between - it's a mystery.

Taking advantage of Bugs' unintelligence, he carries on further by criticising the "ridiculous ears" as just "wind resistors". Clampett's timing has a funny touch to it as Bugs attempts to discreetly write the information in a typewriter hidden under his heard - indicating that Bugs' disguise and role play has no subtlety at all. Before leaving, Cecil makes one cutting remark which foreshadows the rest of the short: "Rabbits aren't very bright, either."

"Rabbits aren't very bright". Warren Foster takes advantage of the quote and builds it as a running gag and a recurring problem for Bugs. While Bugs is winning at the start of the race, the rabbit spectators mistake Bugs'"modern design" costume as the turtle. In an attempt to sabotage the race - the rabbits paint the road lines to a corner facing a brick wall; giving Bugs an accident.

Assaulting Bugs, he protests: "Toitle Shmoitle! I'm the rabbit!" - but the close-minded rabbits are too ignorant to see past the disguise and continue attacking him. So, Cecil reinforces the misconception by disguising himself in a rabbit costume and munching a carrot, staying in character: "Yup, that's the turtle alright!". So, the rabbits allow the disguised turtle to continue the race freely while Bugs fights his way to finish the race.

The problem worsens as when Bugs speeds past the rabbits to outrun the turtle. The muddle between both identities thus turn Bugs' race into a nightmare as the mobster rabbit shoots at his shell - where the ricocheted bullets spare him, followed by underground explosives that delay his speed.

Foster's genius at conceiving misunderstood situations results in Cecil winning the race and once again - outsmarting the rabbit.

The misunderstanding between the identities plays a key role in a mini sub-plot that centres on a group of rabbit gangsters. Prior to the race, an exposition sequence reveals that Bugs isn't alone in his motivation to win the race. The rabbit bookie comments, "We bettin' everything we got on that rabbit to win. In fact, we don't even think that the toitle will finish, do we boys?" - hinting a devious plot that would foreshadow Bugs' foiled disguise.

Building up to the cartoon's climax - Bugs overtakes the turtle in the race and wins again. By a twist of fate, the gangsters hide behind the finish sign - mistaking Bugs as the turtle. At his near moment of triumph; it's crushed as he is pounded by the mobsters; while the other rabbits give the race to Cecil.

Defeated and confused, he finally cracks as he shreds his disguise away and cries out: "You fools! Whatt'ya doin'? I'm the rabbit! The rabbit! Look, I'm the rabbit!". The finale is another beautiful showcase of Rod Scribner's over-animating that nails Bugs' devastation perfectly - expressing a lot of imagination in Bugs' shape to get a performance out of it. Upon realisation, the gangster rabbits say: "Meh, now he tells us!".

Knowing they've lost their entire fortune on gambling; they take a pistol to their temples simultaneously and commit suicide right at the finish line as the short abruptly cross-dissolves. Their suicide at the finishing line itself is a visual metaphor - marking where their lives will "finish". A cynical, dark ending itself - Cecil's comments on rabbits being unintelligent and his trickery had lost to several lives.

(For those interested in the hidden gags; the newspaper scene is full of it - though WWII-related. Perhaps the most alarming in the shot of the front paper is the mini-headline reading "Adolph Hitler Commits Suicide"- a fact which was foreseen two years later. Ironic, how the petty race tournament makes bigger headlines than the suicide headline. In the close-up of Cecil and Bugs, he shows off his "A" and "C" ration cards - hinting it's his "secret weapon").

Animation by Virgil Ross.

What also makes the short so rich asides from characterisation and storytelling - is Clampett's take on speed and energy compared to Avery's fable. Whilst Avery had Tortoise Beats Hare built towards a gradual climax rather than speed; Clampett takes complete advantage of that. The energy helps convey Bugs' arrogance and pride perfectly throughout the race sequence.

Just prior to the race, there is a great piece which captures the arrogance persona. This is evident when Bugs slaps Cecil's face into a tangle - to emphasise he is the dominant bully, and brawny - compared to the brainy Cecil.

Bugs'"modern design" costume also helps capture the energy and speed of the race - as Bugs runs a big streak by easily outrunning the turtle. He bursts with excitement as he shows off his costume and goes into funny poses, which displays too much confidence in his part. Clampett even manipulates the speed to the point where Bugs' speed goes completely out of frame. This example occurs as Bugs speeds close to the finishing line as he races rapidly past to the point where the camera loses track of him.

Comparing the sequel to it's original predecessor - it's remarkable to see the major difference in the Warner short's sharp-timing and broader energy in a span of just two years. The sequel is completely focused on frustration and motivation; which is blended perfectly altogether in every department. Clampett's energy and timing is spiced up wonderfully. The time period couldn't have been more perfect; as it was made during the Second World War - when animation from the major studios became more cynical and vibrant due to that effect. Warren Foster couldn't have depicted a more compelling and hilarious scenario to indicate another of Bugs Bunny's failure. The characterisation and circumstances scattered in the cartoon is incredibly well founded, it's easily up a couple of notches from Tex's animated short. For an animated short, Cecil has so much character written around him: a conniving trickster who takes Bugs Bunny to a level or degree that audiences hadn't considered or experienced before.

Rating: 5/5.

Original title card.

Warner cartoon no. 395.
Release date: March 6, 1943.
Series: Merrie Melodies.
Supervision: Friz Freleng.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Dumb Mouse / Cat / Other mice), Michael Maltese (Strategy Mouse) \ Sportsman Quartet & Sherry Allen Group (Vocal singers).
Story credit unknown.
Animation credit unknown.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: The mice of a house prepare for war as their appeasement policy fail to end the menace of a cat.

The cat wipes the condensation from
the window and peeks through - an
allegorical representation of Hitler.

As World War II had hit hard at the United States - it gave the opportunity for many animation studios to make satirical anti-Nazi cartoons to mock the enemy. At Warner's, Norm McCabe made an allegorical short depicting Hitler, Mussolini and Tojo as ducks in The Ducktators. Friz Freleng pulls it off similarly in this cartoon; but told from a cat-and-mouse perspective.

The short itself is a satire depicting the cat's low cunning; which parallels Hitler's double-crossing schemes against the Allies; the most infamous being the non-aggressive pact made between Nazi Germany and the Soviet Union in the summer of 1939.

Another notable example occurred with British Prime Minister's Neville Chamberlain's "peace in our time" speech, concerning the Munich Agreement. Remembered for it's ironic value, Adolf Hitler's continued dictatorship and the invasion of Poland followed with declarations of war from France and the United Kingdom. Whoever wrote the short (Mike Maltese or Ted Pierce?), it's an innovative portrayal of two feuding sides, like the mice and the cat, attempting make an appeasement without decreasing the enemies' power. After being double-crossed, the Allies are forced to declare war.

Originally, a line was sang by the mice:
"Down with the Axis / We're glad to pay
taxes" as part of the chorus - but was later
omitted in its re-release; as it was
considered dated. The original audio used
to exist online years ago.

The opening sequence establishes a fitting exposition of the mice's peaceful times. Raiding the kitchen; they celebrate their carefree liberties by singing Ain't We Got Fun? as they engage in several activities around the room - like skiing down window blinds.

Animation by Dick Bickenbach.

Their fun is at the brink of danger when a snooping cat observes them through the window. One timid mouse notices the cat's presence and panics as he takes caution to the grey mouse.

The grey mouse responds with an imprudent attitude: "Aww, there's nuthin' to be afraid of. He can't hurt us. He can't get in here!". A moment later; the grey mouse's words are eaten as the cat effortlessly makes it into the kitchen - creating a panic across the kitchen. The attitude itself reflects the behaviour of other Allied countries who overlooked Hitler's wicked policies. This resulted in the majority of Europe invaded by Germany at the start of the war. To some extent; it can be linked to the Japanese attack at Pearl Harbour - which immediately followed on the nation's declaration of war.

Upon the invasion of the kitchen, the mouse watchman cries: "The cat! Lights out!"; creating a blackout across the kitchen - another key element of the Second World War. The mice run across the rooms in an attempt to save themselves from the cat and back to their mouse-hole.

The grey mouse, however, walks into a trap as he finds him approaching into a set-up mouse hole, masqueraded as the cat's mouth. Whoever painted Friz Freleng's backgrounds on this short (most likely Paul Julian - 13/04 edit: I stand corrected; it was Lenard Kester - see comments) - the blackout scenes create a very subtle tone to make it not completely dark on screen - but by adding value blends to interpret the actions happening. The silhouetted mice in the background helps fit the mood and effect required for the scene.

The conference between the cat and the grey mouse is very compelling in developing characterisations. The personalities read very clearly: the cat is conniving; while the grey mouse is cowardly and greedy. Once the mouse is cornered by the cat; he entices the grey mouse by acting friendly ("What's the rush? I'm not going to hurt you") and offers him a slice of cheese.

Animation by Gerry Chiniquy.

Immediately, the mouse is enchanted by the appetising piece of cheese as he attempts to take a bite. Graciously refusing him a piece; the cat manipulates him by making an appeasement: by offering him an endless supply of cheese in exchange for the mice to serve for him. The grey mouse, initially reluctant, is once again distracted by the scent of cheese which the cat uses as bait to manipulate and control him.

It's a great satire on dictatorship as the cat plays all the elements of a dictator: full of low cunning and manipulation. Henceforth, the mouse lives up to the title: becoming a 'fifth-column' as he cowardly agrees to side with the enemy for his own desires.

In a bid to portray a seminar as riveting and innovative - and yet advancing the story: the solution is answered. Instead of a hearted argument which is typically portrayed in conference sequences for war films; the mice's two leading arguments are dealt in a song battle. The feud sung in the melody of Blues in the Night is itself a bizarre, uncanny concept - but it's hilariously executed that it's accepted easily.

The grey mouse sings to the mice committee in an attempt to convince them to fulfil an appeasement policy with the cat. The alternate lyrics are written with little references to the song like: "Dat catty done told me / out there in the kitchen" or "that cat is a two-face / A treacherous thing who will leave us to sing 'the blues in the night'". The parody is so inventively written that the sequence itself surpasses without being too corny or in bad-taste.

Animation by Phil Monroe.

The right touches are blended well in the sequence as Friz Freleng's right frame of mind of dynamic staging comes together neatly that would otherwise be difficult to pull off in animation. An example appears like the rear shot of the grey mouse appealing to the mice committee. It's a great piece of composition that captures the rally-like appearance as well as its charismatic nature.

The shots also cut to the cat who eavesdrops the song battle - nodding with approval over his crooked plan working accordingly. The cat's take at the defending mice rebelling against him ("That cat's a rat just the same!") has a nice touch to it.

And reluctantly, the mice agree to the appeasement. Falling under the power of the cat; he has their rights breeched as he enslaves them so he can live luxuriously and pampered. Some reluctant mice attempt to revolt, with one deliberately filing his nail hastily - but this results with a flick on his head.

Like Hitler, the cat's two-faced backstabbing persona is revealed as he starts to take complete advantage of the mice's fear and oppression. Whilst ordering from the menu, he slyly remarks: "Did you ever have a feeling that you a--wanted something, and...but you didn't know what it was?".

Making up his mind, he asks for a "nice, fat, tender mouse". Alarmed, the majority of the mice make a run and retreat back to their holes. The grey mouse, attempting to remain the cat's good graces, finds himself a victim of circumstances. The cat hungrily glares: "You're a nice, fat, tender mouse. You'll do". The grey mouse makes a lucky escape and returns to his hole - resulting in the rest of the group to declare war on the cat.

The grey mouse's fifth-column personality appears to play a key identity; as he's the only grey-coloured mouse compared to the other brown mice - hinting he's the outcast and likely traitor of the group.

As the mice prepare for war; the allegorical satire turns to a more patriotic and hopeful note. As the war wouldn't end for another two years - it's ideal that Friz would have the Allied mice win for the sake of sticking to its principals and patriotism.

An amusing blueprint depicting the cat
on the attack.

Friz Freleng's montage sequence of the mice troops is heavy with war propaganda. Not only is it evident in the off-screen chorus singers singing We Did It Before (And We Can Do It Again); but the "Buy Bond" posters, too - a common propaganda poster for animated cartoons.

Gags that are standard to the style of Warner Bros. coincide with the nationalistic sequence; as evident in the shot of an assembly line of mice troops having their troop hats installed. The machine appears to be out of action, as one mouse unexpectedly gets a boater placed on top of his head.

For the battle sequence; it's a fitting combination of great gagwork and what Friz Freleng's masterful direction of comic timing and staging has in store. The cat is being chased by a mechanical-like bulldog; controlled by the mice. To keep it inventive and entertaining; Freleng includes a great POV scope shot of the cat's ambush - while the mice off-screen are trying to coordinate the target at the right position.

To make the mechanical-bulldog come across as great effort; the mice pull an extended pair of false teeth to bite the cat's tail. Stalling's frame of mind for action fits accordingly as he uses Johann Strauss'Perpetual Motion for the battle sequence.

Freleng's staging ideas makes the chase all the more exciting to watch - as the cat and the mechanical-bulldog run at different perspectives animation-wise. The cat finally surrenders when a mouse finishes him by turning on an electric razor to trim almost all of his fur.

Victorious - the mice troops finish into a finale of We Did It Before. Their victory is almost marred when the uncooperative grey mouse cuts in, attempting to claim partial credit: "We dood it!" (quoting Red Skelton). In response to his starting of a war; the mice throw a piece of cheese at him.

Although it might be a tad dated with its patriotic overtones and it's allegorical message - its satire depicting the cat-and-mouse routine shows it remains an all-round creative, prescient effort. The characterisations of the cat and the grey mouse are convincingly portrayed that the dictatorship satire can go almost unnoticed by a modern or younger viewer. To some extent, the short is a throwback to the earlier Warner Bros. shorts of the 1930s; like Bingo Crosbyana or A Sunbonnet Blue where a group of allied small animals work together to defeat a bigger foe. Except in the case of Fifth-Column Mouse, the short has tempo and magnetism that the source material can be reworked to fit with a new audience compared to a decade earlier.

Rating: 4/5.

Warner cartoon no. 396.
Release date: March 6, 1943.
Series: Looney Tunes.
Supervision: Chuck Jones.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Daffy Duck / Larimore / Duck Referee), Arthur Q Bryan (Elmer Fudd).
Story: Ted Pierce.
Animation: Bobe Cannon.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Daffy Duck challenges Elmer to a boxing match; to prove he's more vulnerable without a weapon.

Animation by Bobe Cannon.

By this point at the Schlesinger studios; Daffy Duck or Elmer Fudd had become so established it gave the writers an opportunity to expand their roles in the Looney Tunes universe. In this case, Ted Pierce takes the chance of penning the first Daffy/Elmer collaboration. It makes a fitting combination to expand Elmer's activities as a hunter, asides from hunting "wascally wabbits".

As far as colour styling goes; it's an unusual blend. The sky colour has a sepia wash look to it; which is seen all through the short with Technicolor-painted characters like Daffy or Elmer applied to the backgrounds. Another example of experimenting with layouts and colour styling; this short's takes on a dangerous task to pull it off accordingly; that only Gene Fleury could tackle.

Chuck Jones was still heavy with smear animation in light of The Dover Boys. The opening sequence of Daffy flying up the sky is an example alone. Humming to himself casually; he narrowly misses the gunshots fired by an unseen hunter. He uses the clouds to protect himself.

As he carries on, he makes a snide comment on the shooting: "Confidentially, those hunters couldn't hit the broad side of a duck." As he eats those words; a bullet strikes Daffy's tail-feathers - he them hams it up reacting melodramatically and falls.

Bobe Cannon does a stellar job on a complex animation assignment as the scene shows how involved Daffy is, as well as the various actions he pulls across the scene (like his "invisible bicycle" trick). Daffy falls to the ground; but lands safely by the softness of a pillow and is retrieved by Larimore, Elmer's hunting dog. Daffy's brief "resurrection" on lecturing Larimore on how to retrieve a duck adds to the touch and charm of Daffy's persona.

And so, Elmer apologises to a motionless Daffy Duck, but proudly acknowledges he's a "gweat sportsman". Daffy retorts to Elmer's comment and slowly awakens, offended by his biased comment ("Listen, sport! You don't know the meaning of fair play!"). Daffy bullies and dominates Elmer further on, by removing his hunting equipment and stripping him to his boxer shorts. He proves Elmer's weak without his weapons, and so challenges him to a "fair" fight.

The sequence proves that the Elmer/Daffy alliance in the short has merit. It sheds more light on Daffy, and Ted Pierce's writing works so well around his character it would seem slightly out of character in 1943 for Bugs Bunny to perform.

Daffy's domineering is elegant and spontaneous, especially as he strips most of Elmer and cornering him. It's a funny foreplay of a smaller, defenseless character bullying a bigger, equipped man so effortlessly and entrancing.

Another tough but effortless piece of animation by Ken Harris; who nails Daffy's domineering personality. Both characters express a lot of personality on screen; and their actions read very clearly - especially the vulnerability on Elmer. Harris navigates through Chuck Jones' and John McGrew's layouts beautifully - particularly in the scene of Daffy cornering Elmer to a wrestling ring, which for some reason is located in the middle of a swamp - and already surrounded by duck spectators.

Daffy's unconstrained personality is nailed milestones ahead in the sequence showing the start of the fight. Both the duck referee and Daffy are in league together in making it a very unfair fight for Elmer.

Before the match begins, the referee exhorts the two opponents to "fight clean". His forth-wall "wink" is a fitting touch to indicate his conniving trick. The referee carries out the rules of the game; and asks for "no rough stuff".

So, the referee uses Elmer as an example by punching and assaulting Elmer each time he demands: "None of THIS! Or THAT! Or like so!". Ted Pierce takes advantage of his interest for violent, physical gags; and uses them comically and appropriately to make the fight unfair on Elmer's behalf.

To be reassured; Daffy recites the off-limit rules of the fight by repeating the referee's actions and regulations and injures Elmer even further. It's a hilarious piece of action by Daffy; as Mel Blanc's delivery on the character makes him appear law-abiding and innocent, which is of course contradictory. It's a hilariously conceived gag implies the ducks are hypocritical and unfair, much like Elmer.

More of Ted Pierce's physical ideas kick into gear that fit into Daffy's spontaneity. An example occurs once Elmer is knocked out at the corner of the ring; encouraging him to fight back: "Give it to him, champ! Let him have it, champ!". Spontaneously, Daffy feels the bald texture on Elmer's head. He suggests, "How about a little somethin' to stimulate the scalp?". He produces a hair tonic bottle, and knocks him out-cold again.

A cross-dissolve manipulates time as a weary Elmer walks over to shake Daffy's hand before another fighting round. With the mannerisms of a screwball; Daffy plays on Elmer's mind asking "Which hand do you take?"...resulting in a little game of guessing the right hand.

Once Elmer picks the hand; Daffy reassures him before he smashes him with a mallet. Although the gag is a tad predictable; Daffy breaks the forth wall prior to the outcome, commenting: "Ain't he a dope?" which obviously implies Elmer's falling into a trap; but it's his gullible nature what makes the delivery of the gag work. It's a funny little sequence that conveys Elmer's naiveness wonderfully, and Ted Pierce's good gag sense forth-wall lines blend together.

Despite funny characterisations and gag sense in the cartoon; Chuck Jones' direction still has flaws that adorn the short. His pacing is a little sloppy in the sequence where the referee introduces the two opponents. First, the transition from a threatening Daffy to the announcement of the fight is too fast-paced and abrupt; as it doesn't manipulate time with a cross-dissolve. The sloppy timing is evident from Daffy taking Elmer to the ring; that cuts right to an establishing shot of the duck spectators surrounding the arena.

As the duck referee is about to introduce Elmer; he laughs mockingly at his appearance: "He's a dog! You can have him! What a trap!" and breaks into hysterical laughter, and hangs onto the rope to control himself. Mel Blanc's delivery on the laughs is irresistible and entertaining; although it slows down the sequence slightly.

The following scene where the duck referee introduces Daffy Duck, paces slower than the laughing sequence. The duck referee looks at Daffy with absolute admiration. He admirably caresses and snuggles onto a pampered Daffy as he announces him as: "Daffy 'Good to His Mother' Duck".

It's a funny sequence alone to express an obvious comparison: the referee shows strong favouritism towards his own specie, being Daffy. But as part of the story, the sequence is slightly over-written with a little too much filler that doesn't quite fit the tone with the rest of the short.

The gags in the short that are probably the most innovative and better accomplished are the gags focused on Elmer's dog, Larimore. Between the introductions from the referee; the duck spectators boo in unison at Elmer; while Larimore cheers on Elmer - which results in brickbats getting thrown at him by the duck spectators. The reactions reverse after Daffy's introduction; with the ducks cheering on him, while Larimore boos at him - getting the same reaction from the spectators.

Chuck's layouts and Ted Pierce's writing create a hilarious visual juxtaposition that fits the cynical humour in the Warner Bros. shorts. The duck spectators are a large crowd adorning the arena; indicating the number of support Daffy has. Meanwhile, Larimore is the only supporter of Elmer - and sits in a completely isolated stand. Chuck's timing on the objects flying at Larimore couldn't have been executed better or funnier.

Another great little line occurs when Larimore spectates the wrong-doings in the fight. Breaking the forth wall, he observes: "Y'know there's somethin' awfully screwy about this fight...or my name isn't Larimore. And it isn't". Of course, he's been called that all through the picture.

After being knocked out again from Daffy's mallet; the referee unfairly declares him knocked-out by rapidly counting to ten. He declares Daffy Duck the winner, where he receives a standing ovation from the duck spectators.

Elmer, regaining consciousness, steps in and complains about the violations of the rules. Finally getting even with the two ducks; he recites the rules of the game and performs similar violent actions towards them, as he makes his point.

A decent closure gag for the short; the abrupt ending and sloppy pacing around the short has marred the cartoon slightly. The fight sequences aren't paced or executed very well as it shows little or no build up to a climax; as it's merely a string of gags of Daffy tricking Elmer Fudd. While Elmer gets even with the ducks - the ending gag feels somewhat rushed and out of place - given that the short has a slightly smaller running time compared to the average animated short.

To Duck or Not to Duck contains some funny elements of characterisation with the occasional perfectly-executed gag; but putting it altogether it's a slapdash effort for Chuck Jones. With a decent introduction and a great build-up that leads Elmer and Daffy to the wrestling ring; most of the short's problems are laid on the fighting scenes. The pacing is very inconsistent and unorganised that was sometimes sluggish or too abrupt. It appears Ted Pierce was more interested in conceiving physical gags rather than fixing the structure of the plot. Pacing problems asides - it points out the potential and opens the possibilities the Elmer/Daffy Duck pairings that resulted in far superior cartoons which later followed. Audiences might've taken it for granted upon its first release; but today - Jones' short doesn't hold up too greatly as a first effort of a Daffy/Elmer pairing. In all, the cartoon is passable and an innovative effort of pairing the two iconic characters.

Rating: 2.5/5.

Warner cartoon no. 397.
Release date: March 20, 1943.
Series: Merrie Melodies.
Supervision: Chuck Jones.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Baby Chick / Weasel), Ruby Dandridge (Mother Hen).
Story credit unknown.
Animation credit unknown.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: A weasel steals a newly-hatched egg; where the chick mistakes the weasel as his mother. Desperate to eat him, the weasel plays along.

For the sake of "politically correct" readers; let's brush this out of the way. The short is perhaps known today for its racial imagery and stereotypes: especially on the mother hen and her newly-hatched chicken. The mother adorns the stereotype, as she wears a kerchief and speaks in a Southern accent.

However, as a reviewer: it's important to understand the cultural context of the era it was produced - as it's otherwise ignorant to write off the past as if it's never happened. The stereotypes themselves aren't the central focus of the short: which more importantly deals with the antics of a baby chicken and a weasel.

The stereotypes themselves are so subtle, especially on the baby chicken that it goes inconspicuously throughout the short - as the funny portrayals of a baby chick outwitting a foxy weasel makes it stand out. Enough of the malarkey and on with the cartoon:

The opening status quo reveals a mother hen awaiting for her child to hatch as she knits and hums tenderly to Mammy's Little Coal Black Rose. The mother feels a rhythmic tapping from the egg; and leaps happily of a seemingly merry moment. She temporarily leaves her coop for the lookout of a "southern fried worm". As she leaves; a foxy weasel takes his chance to steal the egg himself to eat.

The weasel's introduction is a broad, exaggerated portrayal of his characterisation and discreet nature. He hides at various spots surrounding the coop to reassure himself he is unseen; and the gag overplays that nicely. As seen in his opening scene - the weasel hides behind the coop and peeks his head back and forth at different positions. Then he quietly hides at different spots like a fencepost, dustbin, and a tarnished stove.

Finally he returns to the coop he had already started and steals the hatching egg. It's a funny, colourful scene that gives his personality too much paranoia and suspicion.

Chuck Jones' timing and John McGrew's layout mechanics are a perfect blend altogether; as Jones has to time the weasel's peaking here and there briskly in accordance to McGrew's complex staging.

It would seem unethical for the reviewer to completely overlook the forward-looking art direction of McGrew's layouts underneath Jones' vision. A common analysis for a Jones-McGrew cartoon of the era; each short they worked on is always unique from the other - by not following the standard "classic" formula often associated with other studios.

For Flop, McGrew gives the backgrounds a non-traditional, slanted view which is used creatively in animation rather than just a decorative function. Perhaps the most striking of McGrew and Fleury's work in the short is the scene of the weasel attempting to trap the chicken in the basement.

There is a strong emphasis of low-key lighting and silhouette which works effectively and perhaps an attribute to the lighting style of live-action features of the era. As the baby chick is hiding inside a lightbulb, the weasel attempts to reach after him by foolishly placing his hand inside the socket - creating an effective, bold electric shock which is prosperous in colour and outcome.

Chuck's explorative ways of advancing comic timing is put to good use for throwback gags. A golden oldie, the baby chick gives the weasel a hot-foot when the weasel attempts to sabotage a hide and seek game - which results in him to reacting hysterically. Chuck makes the reaction more advanced - as the weasel shoots up like a rocket and runs around the house in a very complex layout setup.

A very courageous move from Johnny Burton's camera department who nail the camera mechanics - up to the finishing close-up of the weasel's foot. Alas, Chuck nails the expressions of the weasel's easing face as his foot is resting in a bucket used "in case of hot foot only".

Other times in the short, Chuck's experimenting doesn't quite meet great results. A striking example occurs in the sequence of the weasel hiding behind a wall, waiting for an unsuspecting chick to be smashed by a cleaver. Unbeknownst to the weasel, the chick is standing on the shelf and strikes him with a mallet.

For the gag; Jones channels a little of Frank Tashlin as the anticipation and the weasel's collapse occurs in five separate shots lasting a total of five seconds. It's an imaginative effort but Chuck's timing is a tad sloppy as the rapid-pacing feels sluggish and forced.

As far as writing and story goes; it's a great showcase of the struggle for identity - a regular formula from the Schlesinger staff. As the baby chick is newly hatched, he immediately mistakes the weasel as his mother - delaying his chance to eat the chick.

The weasel responds: "Ain't that touchin'? The kid thinks I'm his mother. It kinda gets you here", and then reveals his true colours: "Too bad I'm so fond of, um, chickens." The role-play is extended as the weasel disguises himself as a "mammy" by wearing a kerchief. Here, the embracement of the stereotype is used cleverly.

Mel Blanc exceeds in both performances; as he nails the inquisitive chick who asks: "What is we mammy?" and impersonates several animal noises; while also giving the weasel some added character with the Southern falsetto. Blanc's range and ability at cartoon acting gives the weasel two different voices (his own - and the falsetto) which really gives it a personality of its own.

His quick wits are put to great use when he swiftly tricks the baby into thinking he's a weasel. He manipulates him into believing he's seeing a reflection of himself from a infant photo of the weasel; and places the sailor hat to add the right touches. As a result of being "Blue Ribboned" in recent years; it's a pity there is no available information on the short's writer...who develops the characterisations and role-play of the weasel so creatively. To hazard a guess, it's most likely Ted Pierce (Chuck's regular writer then), or perhaps Michael Maltese - who would sporadically write a short for Chuck before becoming his principal story man in the late 40s.

Without doubt - the most fulfilling and executed sequence in the short is centered on the weasel's violent sneezing. The weasel foolishly tosses pepper across the room to distract the chick, who as a result accidentally turns on a fan - causing the pepper to ricochet and land on the weasel's face. This results with an abundance of violent sneezing completed with a string of visual gags.

The visual gags are very innovative and hysterical in delivery - it's a sample of how capable Chuck Jones could be in pulling off far-out gags which is otherwise out of his usual tastes. He takes complete advantage of his comic timing gift to make particular gags have great effect.

Jones pulls this off beautifully in the teapot scene. The weasel has his head caught inside a teapot; and builds up to another violent sneeze. as a result: the teapot reacts violently from the sneeze and spikes upwards, in the shape of a crown.

The gag is built up further as the weasel's sneeze causes him to crash several objects like a stove and a rug - and rolls out dressed like a king sitting on a throne. As inventive and outrageous the gags are - the sneezing fits get carried away as it clocks in for almost two minutes. It builds up from gag to gag making the action feel anti-climatic and choppy in pacing. The chick's mistake for the pepper as smelling salts however, has a hilarious delivery to it gag-wise.

A couple of wartime references in the short which are worth the mention. A gag which can go completely oblivious to a contemporary viewer is centred at the weasel's kitchen. The weasel sings the recipes as seen in a close-up of the list. One of the recipe lists "an ounce of sugar" which the weasel hesitates at the indication of sugar on the paper.

The weasel abruptly pauses, and then sighs "Oh well" as he carries on with the recipe. A very dated gag by today's standards; sugar was rationed during World War II, which is what's hinted in the subtle delivery of the off-screen weasel.

At the climax of the short - the weasel is defeated while suffocating in a wringer washer. To admit defeat, he holds a white flag to show his surrender - as evidently written. It's possibly a subtle indication of the audience's desires for peace from their enemies during the war.

Animation by Bobe Cannon.

Back home safe to his mother, he recounts the story on how he outsmarted the weasel. "But ah fooled him mammy, ah fooled him good!", the chick boasts. The mother cuts in, responding skeptically of his story: "Tellin' such big lies!". The chick insists he's telling the truth, with an injured weasel stepping in to back him up, in the hilarious closing lines: "He ain't just whistlin' Dixie, mammy!". Animator Bobe Cannon adds to the right touches with some exaggerated animation poses of the weasel's anticipated sneeze fit; which wouldn't likely appear under Chuck Jones' direction and character layouts.

Flop Goes the Weasel is a great representation of some of Chuck Jones' underrated works. The stereotypes are a possible factor to why the short hasn't been released to home media as well as being rarely seen in general. Despite the stereotypes outdating the short; there are still great elements altogether. The weasel shows a lot of entertainment and personality under one roof; and the newly-born chick's innocent nature creates a great foreshadowing of the weasel's fate. Chuck Jones completely went to town as far as experimenting with layouts and comedic timing goes: which is altogether a mixed blessing. The sneezing fits itself is a great example. Whilst the gags are very creative and full of energy; it is slightly padded to add up its running time.

Rating: 3/5.

Warner cartoon no. 398.
Release date: March 27, 1943.
Series: Looney Tunes.
Supervision: Norm McCabe.
Producer: Leon Schlesinger.
Starring: Pinto Colvig (Claude Hopper), Mel Blanc (Scottish Rabbits).
Story: Melvin Millar, Don Christensen (unc.)
Animation: Cal Dalton.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Two Scottish rabbits attempt to challenge Claude Hopper's statement as the greatest hopper in the world - even going so far as to cheat.

Norm McCabe rarely had the opportunity to develop a personal style like Chuck Jones or Bob Clampett; as he was typically lumbered with war-themed shorts. However, McCabe's take on a one-shot cartoon with a plot not heavily reliant on wartime references states his potential.

Millar and Don Christenen's story is in the same vein of a standard Warner Bros. short: a dim-witted kangaroo named Claude Hopper boasts about being "the best darn hopper in the whole world"; and two eavesdropping Scottish rabbits decide to use him for their own amusement.

The opening sequence indicates no sign of McCabe's lowering standards. For example an impressive camera shot features the camera hopping in rhythm to Claude's hopping action - an effect used similarly in Friz Freleng's Hop, Skip and a Chump.

Carl Stalling composes a little hopping rhythm which gives some added personality on Claude, and of course, Pinto Colvig's singing voice in the persona of Goofy is always entertaining to hear. The layouts on the opening shot and Claude Hopper hopping in perspective indicate Dave Hilberman's enjoyment of problem solving on complex layout work.

Characterisations and personas are also typical in the spirit of Warner Bros. in this short. Claude Hopper is portrayed as ignorant based on his heavy size and Pinto Colvig's Goofy persona. There's also a subtle reference of Colvig, too.

Claude brags to the rabbits about his hopping by declaring, "I've got a certificate to prove it", with the certificate reading "This guy is a goof" - a possible reference to Colvig known as the original voice actor for Disney's Goofy.

The Scottish rabbits, on the other hand are depicted as much smaller and slender in size - adding some craftiness to their low cunning. Mel Blanc is always reliable for giving some added personality (like the Scottish dialect on the rabbits) to characters who are portrayed as conniving, if nothing else.

Their contrasting size and personalities are put to good use in a sequence involving Claude Hopper's attempts of accomplishing the longest jump. As Claude leaps; the rabbits are hanging onto the end of his tail. Once Hopper lands, they leap from his tail and land on the ground in front of him. So, the rabbits take advantage of his gullibility by measuring the other rabbit in front - deceiving Claude into thinking he's been narrowly beaten.

Astonished, Claude attempts the jump once more but finds he's landed in the exact position as before. In an attempt to break the record one last time; Claude empties various heavy objects from his pouch to reduce the weight. The scottish rabbit takes his chance by placing a piece of bubble gum underneath Claude's tail.

McCabe's comic timing plays along nicely by giving impact and weight to the strength of the gum. Treg Brown's resourceful sound effects add to the right touch, also. Falling back from the stretchiness of the gum; Claude falls backwards and crashes onto a pile of junk that had fallen from his pouch - once again, outsmarted by the rabbits.

At the same time, Norm McCabe continues to fulfil his potential as a director - by using dynamics and uncommon styles of pacing and shot angles for sequences requiring it. Dave Hilberman's layouts are better appreciated in scenes involving Claude hopping on the branch of the tree, and landing backwards on a birds nest - resulting in the birth of a baby bird screeching "Mammy!" to Claude.

McCabe's use of dynamics are most revealing in the sequence where the rabbits attempt to loosen a giant boulder. The boulder is intended to land at one end of a log - in hope for Claude to have a grand leap.

Not only are the great compositional shots effective but also appropriate in its visual storytelling. For the scenes of the boulder falling - McCabe channels a little of Chuck Jones from this era (see My Favourite Duck and Flop Goes the Weasel).

The falling boulder is witnessed by each character with the aid of rapid pacing and several quick shots to make the anticipation gag more effective and dynamic. A daring feat to accomplish, McCabe's timing proves competent as he navigates through Hilberman's layouts wisely and effectively.

The boxing match sequence is another example of depicting both character personalities and use of creative pacing, as analysed earlier. Although the payoff itself is a little weak in creativity and execution.

The rabbits speed past Claude, creating him dizzy spells. Out of nowhere, one of the rabbits pulls out a fighting canvas effortlessly. This is also an occurrence with Claude's "goof" certificate.

Claude's bragging and boasting continues to do no favours as he considers himself an athlete. A taste of cartoon logic is taken for granted as one of the rabbits unexpectedly pulls out a switch from the fighting pole - causing one of the ropes to arise; causing Claude to spin around the rope in the style of an acrobat. The execution feels a little weak as the sudden appearance of a switch seems to not depict the rabbit's slyness as seen in the long jump sequence which follows after.

Some gags use some cliches typical of the Warner Bros. style of humour. This is evident in the sequence of Claude Hopper after being rescued from his collision with a tunnel.

He is brought back from the river, where one rabbit uses his tail like a hand pump; while the other rabbit rinses himself (with the dripping water coming from Claude's soaked hair) whilst singing Singin' in the Bathtub - a popular song choice whenever a character showers or bathes. The scene of the principal rabbit washing his hands on the water's pouch like a sink is a decent visual gag itself; and the unexpected delivery of the rabbit pulling the plug out for the water to fade is hilarious itself.

Like many McCabe shorts; the finale sequence is heavy on war-related references. Although some of the gags have aged overtime; some of the visual effects work still hold up well. Claude has begun his long continuous leap and on the way he encounters several war planes, as well as references to food rations - like the bizarre "price ceiling" pun.

McCabe completely manipulates time and length of his leap as the sequence cross-dissolves into nighttime. The colour styling and tone of a silhouetted Claude beneath a night sky is incredibly stunning and rich in style. As Claude strikes a match - the light reflections on Claude enhances the quality.

Claude encounters a calamity as beam lights flash right at him; as an unseen enemy targets and attempts to fire ammunition at him. A silly, funny little gag in the style of Avery or Clampett occurs in between as Claude attempts to shout, but to no avail due to the loudness of the firing. Then, he bellows: "Sorta noisy, ain't it?" as the firing halts momentarily.

Unaware that he is carrying a box of dynamite the rabbits planted underneath his pouch - he panics as he begins to lower at the ground. And so, Claude successfully hops out of sight as the box of dynamite detonates - creating mass destruction of the site.

As the smoke unveils - a smug Claude remarks, "Well folks, I guess we know who's champeen now!". In the following long shot; it's revealed that Claude placed the dynamite in the city of Tokyo - making him a hero for unintentionally causing destruction for the enemy. Without doubt, a hysterical ending for war-time audiences and film enthusiasts although the gag would date very quickly once the Japanese surrendered only two years - making the ending seem out of plate for contemporary standards.

A good change from Norm McCabe's usual war-related plots - although Hop and Go only contains some good elements in vein of the definitive Warner Bros. humour. Although the characters are stock personalities - they work well enough to create elaborate, dynamic sequences like the boulder and Claude's enormous leap finale. McCabe continues to expand and search for his personal style. It's a real pity this became McCabe's second to last short for Warners; diminishing his chance of being in the spotlight of other Warner stalwarts like Freleng or Jones. Despite such elements, McCabe's use of war-time references have dated the short and making the short underrated.

Rating: 3/5.

with BUGS BUNNY
Warner cartoon no. 399.
Release date: April 3, 1943.
Series: Merrie Melodies.
Supervision: Chuck Jones.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Bugs Bunny / Cottontail Smith / Various voices), Kent Rogers (Professor Canafrazz), Ted Pierce (2nd observer).
Story: Ted Pierce.
Animation: Ken Harris.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Bugs Bunny develops superpowers and goes on a mission to challenge Cottontail Smith - a cowboy who despises rabbits.

Animation by Ben Washam

In the early 1940s, the Superman franchise (who debuted in Action Comics #1, 1938) had become incredibly popular - even so, that the Schlesinger Studio leapt at the chance of producing a parody of their own. Due to Chuck Jones' success of his Rover Boys parody a year earlier - he becomes an obvious candidate to conceive a Superman take-off.

The franchise had also been very popular on radio, as well as a series of animated shorts produced by the Fleischer Studios - which is arguably their most elaborate work. The shorts were popular enough that their opening montage sequence for each short were directly spoofed shot-by-shot in Jones' parody.

A still from the Superman series -
seen at the opening of each short
from 1941 and 1942.

Its infamous opening narration which establishes Superman goes: "Faster than a speeding bullet! More powerful than a locomotive! Able to leap tall buildings in a single bound!" were presented in a montage form in the Fleischer shorts.

However, Jones and Ted Pierce visually lampoon the opening with their Warner Bros. style - to some extent they channel the same level of humour Tex Avery used for his late 1930s shorts.

Instead of a dry-brushed bullet zipping past the screen; a cork gun is replaced. A streamlined locomotive in the Fleischer short is replaced with a fatigued steam train - a visual contradiction the "faster than a locomotive" statement. Finally, the leap to the highest building gag is topped - with Bugs accidentally trips his foot on the pointy top of the skyscraper, causing him to fall.

To make the parody more conspicuous; John McGrew sticks to a similar style to the Fleischer shorts in order to take advantage of Jones' direct parody on the montage. Alas, Bugs Bunny channeling the iconic Clark Kent/Superman image has a nice touch to it - as Bugs retains his own personality while still posing as a superhero. He is partly animated in the scene as his legs are held while he munches his carrot.

Ted Pierce also conceives certain gags directly spoofing recurring elements in Superman. Once Bugs Bunny reads a cut-out newspaper article of Texan cowboy Cottontail Smith's plan to eradicate all rabbits in the laboratory; he declares: "This looks like the job, for Super-Rabbit!".

He hops into a booth to change into his costume but finds himself dressed as the wrong alter-ego - as Bo Peep. Bugs quickly returns to the booth and comes back with the correct superhero costume. A nicely executed gag by Pierce full of spontaneity while maintaining Bugs' characteristics of being in drag.

Animation by Ken Harris

The sequence of Bugs flying to Texas is a fine example of Chuck Jones taking pride with his flair for comedy and lack of logic.

As Bugs casually flies he greets a horse walking on air - a gag which feels very Clampett-esque. The horse greets Bugs back, and goes into a double take: "A rabbit? Up here?!". A hysterical gag which boasts about it's nonsensical environment in contrast to more realistic Fleischer shorts.

Pierce conceives another great gag where Bugs' ability to fly begins to trigger, as he munches another carrot to "recharge his batteries" - indicating that Bugs' superpowers aren't reliable or perfect compared to Superman.

John McGrew brings a slightly less ostentatious look as far as layouts go. The designs aren't as experimental or avant-garde as seen in the Texas sequence. The laboratory sequence at the beginning shows more of his simplistic, dynamic approach to style.

The pan shot of Professor Canafrazz preparing his experiment shows McGrew going to town in a complex camera pan arrangement. The effects animation (probably by Ace Gamer) are incredibly elaborate and appealing to watch, too.

The camera pans from Canafrazz's many flasks and viles; and along the way an "Eat at Joe's" gag is inserted. The pan stops momentarily at a radiated carrot - and ends with Bugs Bunny sitting in an "experimental rabbit" box. Note the box is labelled in apparent Latin "rabbitus idiotus Americanus"; a descendant gag of Chuck Jones which would be more popularised in his Road Runner shorts.

Animation by Bobe Cannon

In response to Bugs'"What's cookin', doc" phrase - Canafrazz reveals his experiment as he examines the carrot: "I'm cooking, as you so kindly put it, my great--my great--my greatest experiment! A super-vitamized, locked-in flavourized, ariumized, modern-designized super carrot".

Canafrazz's voice actor, Kent Roger, does an unbelievable impression of English actor Richard Haydn (today best known as Uncle Max in The Sound of Music), by nailing his own characteristics and distinctive dialect. Bugs' comes up with some witty lines conceived by Ted Pierce, like "Aw, you shouldn't have ought to have done that, Edison" when Canafrazz reveals he intends to give him superpowers. Also, any idea on the meaning behind Bugs' line; "Yeah, what are you gonna do with it, Burbank?".

For the introduction of rabbit hater Cottontail Smith - Ted Pierce's knack for creating exceptionally witty, unpretentious dialogue and gag development presents wonderful exposition for Bugs' first encounter of him. Bugs discovers the trail for Cottontail Smith as he watches a group of rabbits fleeing the area - leading him to go undercover in order to infiltrate and trick him.

As Cottontail Smith and his horse hop across the Texan desert - Bugs hops along with them, and states his business. This leads to a complex yet fun piece of layout work where the characters hop in and out of the scene - and in each hop, there is a different action.

First, Smith is riding on the horse and Bugs hops - and several hops later, the action is reserved as Bugs rides the horse. As each hop goes, the nuttier the gag gets - leading to Bugs riding on top of Cottontail Smith.

It's a hilariously executed sequence that's been perfected from every department - from McGrew's layouts to Chuck's timing - as well as Ted Pierce's creative abilities. Cottontail's dialogue is extremely amusing while establishing his personality, as heard in the line: "I hate rabbits! If thar's anythin' I hate more than a rabbit - it's two rabbits!". A perfectly written line which is kept simple and to the point - and a perfect emphasis for his hatred of rabbits. It's famously known that Cottontail Smith is a precursor to Freleng's Yosemite Sam as Mel Blanc uses the same persona and voice for the character.

Chuck Jones has already excelled in the pace of the Warners style - and takes pride with it in an energetic sequence involving Bugs' improvised basketball game. Cottontail Smith has attempted to exterminate Bugs by firing a cannon - although Bugs takes advantages of his powers by quickly grabbing the cannonball and turns this into a game of basketball. Bugs uses his quick wits to trick Cottontail Smith and the horse in participating.

The sheer energy and timing couldn't have been handled superiorly by Bobe Cannon. His great use of drybrush and speed captures the tone and pace of not only the sequence, but the action of the sport.

Bugs hasn't finished his fun as he continues to exploit Cottontail and his horse's gullibility by having them chant with him in a cheerleading rally. Mel Blanc nails the charisma and vocal clarity of the performance as he chants, "Bricka-bracka, firecracker...Bugs Bunny, Bugs Bunny rah, rah, rah!".

Ken Harris also carries out the scene with his outlandish animation. It's very daring for Harris to use that level of exaggeration in a scene like this; who takes complete complete advantage of the fast action with smear animation. It's a very loose, but solid looking piece of animation at the same time.

Successive timing asides, Chuck's great use of continuity and bold expressions also carry out the cartoon. In an attempt to make each facial expression inventive and new in each cartoon - Chuck pulls off a unique 'burn take' for Cottontail Smith. Once Bugs has tricked Cottontail into thinking he's a horse - he double-takes and burns in effigy, realising Bugs is a rabbit - while still wearing a grazing muzzle.

The anger in Chuck's expressions read very clearly - especially when much of his face is covered from the muzzle. Chuck also pulls off a red glow effect surrounding his head; to help emphasise his anger. An effect rarely used by Chuck.

Some innovative pieces of dynamics and staging are taken advantage of in the following scene of Bugs supposedly making his sacrifice to Cottontail. The POV shot of Cottontail navigating his scope shaped in the form of the rabbit shows great coordination as far as layouts go.

While standing in position; Smith fires multiple bullets at "Bugs" - but finds the real Bugs is standing behind a model of himself. By this time; audiences have become familiar of Bugs' conniving ways of avoiding his own peril - making the suspense build-up deliberate.

The sequence of Bugs being patrolled by Cottontail Smith and his horse on a piece of aircraft is comparable to the action scenes depicted in the Fleischer shorts - except it's played up for laughs. McGrew and Jones tackle some ambitious layout navigations and dynamic angles to make the action as compelling and intricate as the Superman shorts. A POV scope shot targeting Bugs is very ambitious as far as a Warner short goes.

Bugs once again defeats Cottontail as he effortlessly holds onto plane; causing it to detach - leaving the pair floating in mid-air. Animation acting couldn't have been topped in the shot of the horse tapping Cottontail to hint the perilous situation they're in. Cottontail looks down; then turns back and immediately they fall from the remains of their plane. It's a hilarious piece of animation delivery - the anticipation of Cottontail turning back and supposedly expecting the giant fall from the sky is an icing on the cake.

While Bugs Bunny has enjoyed his victorious running time in the short; Ted Pierce constructs an exceedingly exciting climax to meet new challenges for Bugs. While flying, Bugs finds he has lost his energy to fly and opens his carrot case; but clumsily lets all the carrots fall to the ground.

After hitting the ground in a great piece of squash and stretch motion; he finds that all of the carrots have been eaten by Cottontail Smith and his horse who morph as superheroes - making Bugs Bunny feel threatened.

A quick thinker, he declares: "This looks like the job for a real superman!". He quickly rushes inside a booth while Cottontail Smith and his horse anticipate an attack action. As the door opens, they very quickly salute as Bugs marches out wearing a Marine uniform, while singing The Marines Hymm.

He briefly pauses and turns back to the pair, "Sorry fellas, I can't play with ya any more. I've got some impoitant woik to do!". He continues his march and walks past a sign where he is heading for Berlin or Tokyo. A now slightly-dated gag - it works well in Bugs Bunny having the last laugh - escaping the dangers of Cottontail Smith from then on.

A short that Chuck Jones felt he finally achieved the comedy standards he was looking for - Super-Rabbit is an excellent parody of the Superman franchise as well as a riotous adventure for the wascually wabbit. As parody is a difficult theme to write successfully - Ted Pierce doesn't let it get in the way of the story - creating a healthy balance for the Superman references and gags for a typical Bugs Bunny short. Jones' confidence is all over the cartoon - and perhaps creating one of the funniest parodies from the Warner Bros. cartoon library. Not only does the short scream with energy and excitement - but it takes complete pride of the studio's style of animated shorts; and it shows that when lampoon Fleischer, as the gags are done so creatively and incisively. Ted Pierce conceives Cottontail Smith wonderfully; by establishing a perfect rival for Bugs - due to his extreme hatred for rabbits; which is hilarious itself. The ending sequence might have aged overtime; although it doesn't let the whole cartoon itself suffer at all.

Rating: 5/5.

Warner cartoon no. 400.
Release date: April 17, 1943.
Series: Merrie Melodies.
Supervision: Chuck Jones.
Producer: Leon Schlesinger.
Starring: Marjorie Tarlton (Sniffles), Mel Blanc (Fox Burglar / Husband Bear), June Foray (Wife Bear) (Kudos to Keith Scott).
Story: Michael Maltese.
Animation: Bobe Cannon.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Sniffles' loud, fast-talking causes mayhem amongst a fox burglar and a drunken bear who attempts to discreetly sneak past his sleepwalking wife.

Once Chuck Jones had reformed into a talented, comedic animation director - it seems he attempted to take his own characters into that comedy angle...especially on Sniffles who was known previously for having mawkish, Disney-ish qualities and facing vulnerable situations.

"Little Blabbermouse (1940)"

Instead, he is given a different persona which is a throwback to the late 30s shorts of cute, inquisitive characters who are compulsive talkers that are a nuisance to those around him.

The persona is a throwback to the late 30s characters Tex Avery had conceived in shorts like I Wanna Be a Sailor, and of course: Friz Freleng's short-lived Little Blabbermouse character. It wasn't a funny or engaging personality back in 1940; but by the time the Warner directors were hitting their stride in 1943 - the characterisation was put into better use depending on what narrative was told. In the opening sequence of this short where a Cockney fox burglar attempts to steal money - the compulsive talking personality works.

To some extent Sniffles' fast-talking becomes an important dilemma as far as story goes. In the opening sequences; a fox burglar's attempts at raiding a house unnoticed goes foiled when he encounters Sniffles as he attempts to open a safe lock.

Caught, the fox burglar spontaneously tricks Sniffles into thinking he's Robin Hood, providing an cover-up motive: "As robs rich blokes for the benefit of the poor, I am." For what it's worth, Cockey accents are very rarely performed by Mel Blanc - who as usual excels in the dialect and stereotype. Sniffles agrees to watch out for the fox and protect him: "I'll stand guard. If anybody comes I'll warn you, like this!". He grabs out a spoon and bowl and produces unwanted noises out of it. His naiveness would prove an essential role as far as story arcing goes - distracting the fox from his principal goal.

And so - Mike Maltese's story becomes even more episodic when the drunken husband bear returns home. Once he changes into his nightwear - he opens the box to bid an intoxicated "good night" to the fox hiding inside. Had the fox not been inside the box - it's a hilarious notion of the bear's drunken behaviour by bidding farewell to a box.

In a double-take; the bear zips back and points his pistol at the fox's mouth. As though the story doesn't get more episodic - the suspenseful scene is interrupted by a sleepwalking wife bear.

The police bear warns the fox: "Hold still, ya little runt! If we wake the missus now, we're a couple of dead ducks!". This is backed up in an earlier sequence that is complete exposition - explaining the husband's fear of his henpecking wife.

The wife bear was fast asleep in her bed with a rolling pin on her bedside, murmuring in her sleep: "Wait till I get my hands on that brood, I'll teach him to stay out all night - gallivanting around."

Meanwhile Sniffles misinterprets the sleepwalking wife as an enemy of the fox (who still believes he's as Robin Hood) and attempts to finish her with his small bow and arrow. The fox and the bear grab Sniffles and silence him while the sleepwalking mother is in their presence.

For an animated short, it's a rather complex storyline: a fox burglar has to avoid getting caught by tricking a suspecting Sniffles into thinking he's Robin Hood; while attempting to avoid himself from the hands of the police bear, whose avoiding his sleepwalking wife out of fear of waking her up. For a talented writer like Michael Maltese - he takes advantage at such a feat by conceiving potentially funny gags out of it.

As usual; the innovative "avant-garde" styling of the cartoon is expert work amongst John McGrew and Gene Fleury. McGrew's layouts for the opening sequence feel like cardboard props on a theatre stage; such as the trees outside - and the advantages of the interior scenes is it doesn't have too much background interference. It's Fleury's colour styling which makes a marvellous addition to McGrew's layout styling.

An ambitious animated close-up
of the key about to unlock the doorknob.
Just the right suspenseful effect anywhere.

Scenes like the fox casually smoking his cigarette outside while waiting for the household lights to switch off - is beautifully and intricately staged in order to give the fox a more sinister appearance. The animation effects of the cigarette reflection is the perfect finishing touch. It shows two artistic masterminds laid bare.

The sequence of the drunken police bear staggering back to his home is another example of excellence graphic clarity. The action is entirely in silhouette; and the poses read well. Not only is the staging exceptional; but the lighting and tone blends in wonderfully - capturing that dark, vague feeling of being intoxicated in a dark room. It's another homage paid to the low-key lighting of motion picture filmmaking - as evident in the darkness of the windows. The darkness of the sky is kept to a blue shade so the colour contrasts of the silhouette action is kept subtle.

Chuck, who excelled in the pace of Warners, was never afraid to challenge himself as far as timing goes - as evident in the radio switching sequence. After his encounter with Sniffles; he attempts to carry out his plan by working out the code for the safe lock. Sniffles attempts to cooperate by switching on the radio - which he mistakes for another safe lock.

Alarmed by the infamous Frat Stalling cliche - the fox streaks into the scene by wrapping the radio with a pillow, and tying up Sniffles with bandages - to prevent such further disturbance. It's an appealing, intricate piece of drybrush work with a rapid appearance of 20 frames, and all on 'ones'.

Chuck Jones' experimentation for outlandish expressions are always key to not only giving his characters some extra personality - but also for striking effects. The double-take of the drunken bear ascending the stairs is an example; but the most valiant would be the fox's take to Sniffles' banging noises on the bowl. The fox reacts with a triggering effect that nails the essence of unwanted disturbance and the fear of getting caught beautifully.

For the sleepwalking scenes - Mike Maltese and Chuck Jones work together in formulating some gags to reflect the wife's daily chores routine. In one scene, the wife unknowingly carries the fox hiding from the box and takes him outside to get scrubbed - mistook as a piece of laundry. The hysterical facial expression on the fox as he's being carried away speaks for itself.

The posing on the fox has some nice subtleties as he squirms while being hanged on a washing line.

Another great gag is centred on the wife bear carrying her husband after his long fall from the basement. She sleepwalks towards the fireplace and dumps him there on the floor. The husband raises his mouth to appear in the form of the bear rug - resulting in a funny visual gag from Mike Maltese's taste for irony.

For a climatic sequence; the sleepwalking starts to take its toll and threat towards the husband. Once the bear sobers up and makes direct eye contact with the fox - this builds up to a chase sequence around the house. In an attempt to rid him; the bear grabs an axe hanging on the wall - and hides behind the wall to inconspicuously finish him.

Maltese conceives some great delivery for some suspense-build up as the sleepwalking wife walks into the fray - causing the husband to almost strike his wife with an axe.

Meanwhile, Sniffles enters into the scene again - as he once again: mistakes the bear's actions as an enemy of "Robin Hood". He fires his arrow which targets the bear's rear end - causing him to hit his head on the wall-mounted shelf and leaving pieces of china floating in mid-air, awaiting its destruction. Incoherency and cartoon physics takes its toll when the bear and the objects abruptly halt in mid-air - as the sleepwalking wife walks past the scene. The bear motions again to collect the shelve pieces still standing in air.

After a series of chases with the fox - the husband bear is about to meet his fate as he accidentally strikes his sleepwalking wife with an umbrella (which the fox is clinging onto). At the summit of the wife's wrath - she observes the fox around her shoulders, which she mistakes as a sincere present from her husband.

The scene of the wife building up her wrath which only sinks down into happiness and affection is a brilliant team effort, from not only the animation but Stalling's musical score, too.

At first perplexed, the husband bear decides to play along as he turns back coyly while his wife admires the "fox fur" present. He goes so far along with it to the point he knocks on the fox's head, leaving him out-cold, for the sake of his wife's satisfaction.

The ending scene however, are another throwback to the Little Blabbermouse shorts where the compulsive talker will get justice from irritated characters who'd put up with him throughout the short. In this instance, the husband bear places his police hat on top of Sniffles. Despite an inventive approach of the compulsive talker in keeping up with the brisker pace of Warners - the ending itself feels somewhat uninspired and limp.

For a narrative which is very episodic - Mike Maltese masterfully paces and blends the story together whilst still making room for funny gags. Chuck continues to do an ambitious albeit successful job at directing and yet it appears he isn't yet ready to let go of his own characters like Sniffles or Inki - who slowed him down and gave him limitations artistically. While the compulsive talking personality works fine in this cartoon, the short also take much advantage of Sniffles' screen time - and appropriately limits his role in the cartoon...as the comedic values centred on the bear couple and the fox were too valuable. Admittedly, had Sniffles not appeared in this short - it's doubtful the short would suffer much at all.

Rating: 3.5/5.

Warner cartoon no. 401.
Release date: May 1, 1943.
Series: Looney Tunes.
Supervision: Bob Clampett.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Daffy Duck), Darrall Payne (Mr. Meek). (Thanks to Keith Scott)
Story: Warren Foster.
Animation: Phil Monroe.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Daffy Duck finds a new target to harass: a henpecked husband who's forced to butcher Daffy for dinner.

Daffy Duck lived up to his name since his first appearance; but the zaniness in the late 30s was tamer compared to a couple of years later. Tex Avery had interpreted Daffy with a more impish personality compared to Bob Clampett. Once Clampett found his own style - he took the "looney" in Daffy to a whole new level.

By 1943, the pace and style of the Warner Bros. cartoons had changed a great deal compared to 1938. Not only had WW2 partly helped enhance comic timing and humour standards but also by character personalities.

In the case of Wise Quacking Duck, Clampett magnifies Daffy's wacky personality to the point where no other directors would dare approach that standard. While directors like Chuck Jones and Friz Freleng gave more depth and insight into Daffy's personality; Clampett stays faithful to the character's origins and exploits the persona so broadly and potently.

As a result of Daffy's refined 'daffy' personality - Mr. Meek becomes the perfect candidate to Daffy's torment and heckling. Warren Foster's narrative is kept simple and to the point: a meek farmer attempts to slaughter Daffy Duck for dinner. Mr. Meek's introduction is only brief but it uses exposition wisely. A visual gag in Mr. Meek's mailbox with his house number read as "1313" sums up the character almost completely.

Mr. Meek is seen carrying a large axe as he tiptoes through his farm. Warren Foster, whose many talents includes bringing subtlety into hysterical dialogue: reveals a remorseful Mr. Meek who cries, "Oh, I hate to do this, folks. But my wife, Sweetiepuss, says if I don't roast a duck for dinner, she'll cook my goose!", a pun Foster uses so subtly and in excellent taste.
It's worth noting the voice work for Meek is top-notch delivery from the unfortunately anonymous Darrall Payne.

From information provided by Keith Scott in Facebook: It's worthy to mention that Mr. Meek was based on a character of the same name from a 1940s radio character from New York centered on a henpecked man. However, the dialogue spoken by Mr. Meek the cartoon is based on the henpecked Wallace Wimple, of the then-popular radio hit: Fibber McGee and Molly - whom Darrall Payne is impersonating.

Animation by Virgil Ross

Clampett also takes recurring themes from Daffy Duck cartoons into new heights. For example, an early common gag would feature the victim breaking the forth wall, remarking "What a crazy duck" or "That duck's screwy" with Daffy butting in at the statement, sometimes declaring: "That is correct. 100% correct"

In this case, Mr. Meek says, "Say, that's that Daffy Duck". Daffy slides in the scene spinning a pie on the tip of his finger. He boisterously yells in a vibrant tone: "You ain't just whistlin' Dixie!" and slams the pie across Mr. Meek's face. Clampett enhances the gag with unprecedented energy and broad animation - that his wackiness feels somewhat human.

Daffy's sheer insanity is also better showcased in the hysterical Jerry Colonna caricature. Mr. Meek responds to a vibrant knocking on the door, with Daffy Duck disguised as a fortune teller. As far as gags go, Warren Foster appears to be reliant on slapstick violence...a common trait of his. Daffy's behaviour gets ruthless when Daffy attempts to "read the bumps" on Meek's head, and creates some by hitting his head with a hammer. A slightly sadistic gag, although it's still in fine taste and spirit of Daffy's "looney-tooney" persona. Foster goes to town on some corny yet harmless puns, like Daffy literally painting Mr. Meeks' arm red as he says: "Perhaps you'd like your calm 'red'. Very well."

Clampett enhances his direction and pacing further in this cartoon; and is never afraid to go edgy on his material. Daffy's introduction scene showcases Clampett's professionalism as a director wonderfully. The peaceful atmosphere of Daffy singing and eating seeds is captured appropriately in music and timing.

Clampett also builds some great suspense as Meek in silhouette is about to anticipate a striking action. The pacing from a slow, quiet mood changes within the blink of an eye as Daffy yells, "Watch it, bub!" in a threatening pose - masterfully animated by Bob McKimson.

Daffy warns Meek, "Listen, you're liable to hurt somebody with that thing!", and so heckles Mr. Meek as he flicks his bill at Mr. Meek's face - resulting in a vibrating gag, topped with a Sold American jingle effect. The mood and energy builds up fiercely once the heckling begins. From Clampett's timing and Milt Franklyn's arrangements - the transition in pace and mood is masterfully effective.

Clampett as an instigator is primarily shown in the haystack sequence which follows. Daffy jumps into a haystack and plays along with a fierce Meek. Clampett's timing is fun as Mr. Meek franctically chops the stack violently multiple times, before ending it with one big strike. The animation shows very strong accents to make the violence tense, and yet comical.

Animation by Art Babbitt.

Then, Daffy screams in agony behind the haystack - masquerading that he's been murdered. He rips off some of his feathers and tosses some ketchup to create a bloody effect in deceiving Meek. He also channels a little of the "Mean Wittle Kid" from the Red Skelton Show as he yells: "You've crushed my wittle head!".

Mel Blanc's passion for delivery and energy into his performance is unbelievable. Blanc's voice contrasts each other for Daffy's boisterous and calmer dialogue - and yet never loses the character's focus.

"Gruesome, isn't it?"

The edginess kicks in as Daffy presses his head underneath his neck to create a decapitated look, as seen in a close-up surrealistically animated by Art Babbitt. He jumps out of the haystack and runs around frantically in agony. Despite the blood effect being ketchup, it's no doubt a gutsy move from Clampett as far as censorship goes.

Rod Scribner's animation superbly captures a supposedly traumatic, disturbing scene with very strong poses and excellent graphic clarity. Daffy goes as far to ham it up in a dramatic, dying pose as he clutches onto his hold. He staggers and crashes onto a piece of fence. He stands behind it as he anticipates a dying pose. Daffy's pranks has succeeded in deceiving a now remorseful Meek in killing him.

The breakfast sequence is one of the few tamer, soothing scenes in the cartoon. It's a perfect casting choice for Bob McKimson to specialise in cartoon acting. A saddened Mr. Meek walks into his kitchen where the camera pans to a relaxed, unharmed Daffy Duck sitting on the kitchen table pouring himself "a swig of swamp water".

A casual Daffy continues to deceive Meek into thinking Daffy is still dead, as Meek cries: "I killed a poor, defenceless little duck." The Schlesinger staff's admiration for the Dick Tracy comic strip is evident when Daffy calls Meek "B.B. Eyes".

Warren Foster's use of forced puns works well as Daffy asks: "How many lumps does your wife usually give ya?". Meek responds, "Well, this morning, Sweetpiepuss only gave me one lump." He takes off his hat to reveal the "lump" on his head. Not only is the pun amusing, but it also gives us information on Meek's married life. Daffy responds by giving him "another lump" as he smashes his head with a sugar bowl and pours cream on his head in the process. Although the sequence is heavy on character animation acting; it's a good bracer for the more rowdy energy Clampett has in offer.

After a string of gags pulled on Mr. Meek - Daffy reaches his peak in an energetic sequence involving war-related references. Daffy jumps upwards and dives in the style of an aircraft. The use of colour in the shots of Daffy diving is very cleverly used - it deceives the audiences from thinking he's flying from the clouds - whereas the next shot reveals a similar colour from the wallpaper.

Daffy drops an egg on Mr. Meek which he regards as a "secret bomb site". Clampett's interpretation of "wackiness" in Daffy Duck goes unsurpassed as he goes into a frenzy of loud crashing noises while smashing household items to interpret a crash effect.

It gets so broad that Daffy Duck himself, almost loses energy and triggers as he pants: "Say, I'm pooped!"...until he starts again. Clampett and Foster take pleasure in making Daffy an incredibly obnoxious foe for Mr. Meek that his rowdyism and heckling gets to the point where he gets too big for his britches. Mr. Meek's anger is beautifully executed in a gag where his head literally burns to the point where the egg fries. This leads to Daffy very meekly and timidly surrender his fun as his life's at stake again.

Warren Foster's ability in gag development and plot structure work brilliantly in a supposedly dead-end climax. Daffy is cornered by Mr. Meek at gun point, and is vulnerable at this moment. In what appears to be an act of surrender, he remarks: "Well, it looks like Sweetiepuss gets duck for dinner, after all! Don't it?".

A dynamic point-of-view shot
of Mr. Meek's pinnacle moment.

With chance - he gracefully pushes the gun away and performs his striptease as he seductively unveils his skin - once again, fooling Meek. The sequence itself is a throwback to the striptease gags Tex Avery had conceived for some of his spot-gag cartoons...with Carl Stalling playing the same song: It Had to Be You. Another funny moment for Daffy Duck, the sequence feels very sophisticated and poised compared to anything Clampett's done in the short--which can be attributed by its animation.

It's famously known amongst historians and animation enthusiasts the sequence was animated by Art Babbitt during his very brief tenure at the Schlesinger studio (which I wrote four years ago).

Babbitt is perhaps best known for his work (and later, union activities) at Disney and during its pinnacle era of the 1930s and early 40s; animating on Pinocchio, Fantasia, and of course: his contributions to Goofy. While Babbitt denied using live-action reference on this sequence in Michael Barrier's 1986 interview; his animation on Daffy Duck still had a sincere Disney-like quality look to it - in contrast to the broader, looser animation from Bob McKimson or Rod Scribner.

As far as Clampett endings go: this short is no exception. Daffy has found himself at gunpoint, again, which he complains: "No, no, not twice in the same picture!". Mr. Meek shoots his feathers off - revealing a naked Daffy. He throws Daffy in the oven and prepares to roast him at the short's nail-biting moment.

Disturbed by Daffy's agonising screams; Mr. Meek frantically opens the oven to let Daffy live. Daffy remarks, "Say, now you're cooking with gas" which leads to perhaps the most disturbing scene in the entire cartoon: Daffy pouring himself in gravy while laughing hysterically.

As nutty as the ending is, it's slightly discomforting in watching a naked Daffy Duck bathing himself in gravy and clearly enjoying it too much. But, what do you expect from Clampett?

Bob Clampett has directed a handful of zany Daffy Duck cartoons like Draftee Daffy and The Great Piggy Bank Robbery, but in this short: Daffy's personality is far more broader. I'd personally consider it the nuttiest Daffy Duck short the director made. Clampett takes complete liberty in pushing the boundaries of the character with unparalleled insanity and innovative comic timing which is carried almost entirely in the cartoon. Warren Foster also had his share in enhancing Daffy's zany persona with outlandish, hysterical gags and spontaneously conceived situations. For a cartoon with a relatively shorter length; the timing couldn't have been more flown nicely. The short contains a lot of material with its accelerated pace that took its toll.

Rating: 5/5.

Warner cartoon no. 402.
Release date: May 15, 1943.
Series: Merrie Melodies.
Supervision: Friz Freleng.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Jerry Colonna worm + Colonna fisherman, Dumb fish, Lusty fish).
Story: Tedd Pierce.
Animation: Manuel Perez.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: A worm caricatured as Jerry Colonna, travels underwater to lure fish with his many guises - until he is confronted by a crab.

Greetings, gate. Let's observate!

Jerry Colonna's popularity as a radio figure and sidekick of Bob Hope soared around the time the Schlesinger studio started to hit their stride. He became an important source of inspiration from that era; with some referenced that maintain a timeless quality. While Colonna has become largely obscure in today's generation, some of his gags and catchphrases were forever immortalised in the classic Warner Bros. cartoons.

Some Colonna caricatures and references surfaced from other studios, but never as frequent as Warners. So much so, that the studio have devoted two cartoons on him. The first was already reviewed two years earlier on Friz Freleng's The Wacky Worm.

The caricature on the worm was portrayed well, but it wasn't enough to carry out an entire cartoon. The short warranted a sequel (which is today's review); by using the same character design. The title of the short, of course, being a parody on Colonna's popular catchphrase: "Greetings Gate!". Unlike Wacky Worm, this cartoon doesn't take advantage of the parody and caricature much at all.

It's a largely cliched cartoon formula (e.g. Disney's Goofy and Wilbur) of a bait worm going through different guises through a string of gags until he meets a threatening opponent. One of the few moments where the caricature is taken advantage of is in a sequence of the Colonna worm disguised as a mermaid. He sings Trade Winds while playing the harp in a bid to entice the fish to lure towards him. At one point, the worm stretches out a syllable to a certain length - a characteristic trait of the radio star. The parody works fine as the gag on the aroused fish pays off.

The first half of the cartoon is mainly just exposition and routine. The worm is lowered under the lake by a fishing rod - and prepares his guises and baits. Three sequences depict how the Colonna worm lures each fish based on their individual personalities. The first sequence is more straightforward as he makes a sandwich to deceive a curious fish as bait.

There's some decent subtleties in animation and timing as the Colonna worm quickly replaces the smaller fish with a larger fish sitting next to the hook. The following sequence deals with the antics of the Colonna worm attempting to lure a dim-witted fish, and creating an obstacle in the process.

The last sequence is most likely an idea conceived by Ted Pierce, as the worm uses a mermaid disguise to seduce a lusty fish. Then, as the worm is about to rise up to the surface with the lusty fish trapped - he is encountered with a more threatening and less vulnerable specie: a crab.

The Colonna worm responds to the presence of the crab in a double-take; taking the cartoon's narrative focus into a different direction. Ted Pierce primarily splits the plot structure into two elements: the first half represents a string of gags, while the second half is all action-packed. The result becomes a pretty bland structure.

The first half is overall tedious viewing, although the sequence of the Colonna worm attempting to lure the dimwitted fish is more resourceful and creative in its approach to humour. To start with, the dimwitted fish fails to respond to the worm's whistle and hint of a chase. The Colonna worm observes the personality and plots, "I shall have to resort to an ingenious ruse."

The ruse, of course, is a circus show for the dim-witted fish. The worm performs an acrobatic act as he grips his teeth onto the hook and spins in motion. Gerry Chiniquy animation on the manoeuvre is very graceful; especially for the purpose of the gag.

He pulls off the stunt divinely and deceives the dim-witted fish into giving it a try - "Don't be so reluctant...Dragon!" encourages the worm in a possible Disney reference to the 1941 film and adaptation: The Reluctant Dragon. And so, the bashful fish meets his own end.

The sequence is a clever piece of written satire in taking advantage of easily impressed dimwits. On another note; the distortion underwater scenes are a delightful effect to carry some extra quality into the cartoon. While it might be an economical effect; it's enough to create the illusion of being underwater.

A piece of character animation
very reminiscent to a Bugs Bunny
scene in The Heckling Hare.

The opening sequence, which although establishes the Jerry Colonna worm - is a little sluggish in pacing...even for a Freleng cartoon. The short opened with a yet-unidentified fisherman lowering his fishing rod into the lake. Standing on top of the hook - is the Jerry Colonna worm.

The character animation of the worm placing the swimming cap on top of his head and warming himself up for ascending underwater feels delayed and unwanted.

With problems asides, Mel Blanc delivers some amusing voice effects for a shivering worm dipping his toe into cold water - and captures the charm of Jerry Colonna's characteristics but it's the sluggish pacing that drags the opening scene down. The Eat at Joe's in-joke which appear as neon signs underwater is a nutty addition.

Nevertheless, Freleng's area of expertise is put too good use in individual scenes and sequences. Exceptions include the chase sequence around the surface of the water. The gag seems to be borrowed from the Avery short The Heckling Hare. The effects of the bubbles travelling around the lake are timed well to Freleng's action and Stalling's music cliches. The timing is paid off with a vibrant effect as the crab strikes a rock.

His genius use of timing is showcased better in the scene of the Colonna worm disguising himself in the proportions as a seahorse and joins the procession by copying their characteristic moves to avoid unwanted attention from the crab.

Freleng and Stalling keep the music rhythm aligned with the procession action which is beautifully timed to the Light Calvary Overture. It's a meticulous piece of animation with strong accents to support the rhythm of the timing.

As far as dynamics and "mise en scene" goes, Friz Freleng conceives some innovative and unprecedented POV shots. A striking example occurs in the treasure chest sequence. The crab stretches both his eyes on both sides of the chest - to corner the Colonna worm. The following shot reaveals a split-screen point-of-view shot of the crab watching the worm run at opposite angles.

And so, the quick-witted Colonna worm devises a quick plan by frantically tying both his long eyes into a single knot gripped around the treasure chest. The following scene features another visionary point-of-view shot of the crab in and the layout in an unclear perspective.

Freleng also uses the point-of-view crab shots for gag purposes - like the staggering effect after he struck a rock; or as a scope set-up when the crab is attempting to target the worm. The POV shots are incredibly effective and yet unexplored as far as filmmaking goes. It's a perfect example that showcases Freleng's overlooked abilities at composition and dynamics, and how he's fearless when it comes to experimenting with such a feat. This shows the true working of a genius laid bare.

For the cartoon's finale - Ted Pierce and Friz Freleng conceive a clever depiction of an unseen final showdown.

The Colonna worm skids to a halt during a chase and protests to the crab, "You wouldn't be so brave, knave if you weren't wearing that shell to protect you." In preparation for the final battle; Ted Pierce pokes fun over Hollywood censorship that the worm announces:

"Ladies and a'gentlemen! The following scenes will be so brutal and a-horrifying, that for the benefit of those with a-faint hearts, weak stomachs and 4-F ratings; we will return you to the surface". The 4-F ratings crack must've been guaranteed a laugh upon its release (or offence).

The camera pans vertically upwards to the surface where the violent is interpreted from the splash effects and the vigorous thrusts from the fishing line. It's an entertaining alternative to make the unseen fight more suspenseful and unpredictable. After the fight, the hook rises to the surface and the fisherman's hands open the tureen to reveal the injured worm.

The worm remarks "I could be wrong, y'know" in response to his promise to defeat the crab. The camera pans vertically upwards to reveal the fisherman is Jerry Colonna, himself who delivers the final punchline: "Ah yes! Embarrassing, isn't it?".

In conclusion, the cartoon still sits in the "hit and miss" category. In some sequences, the timing and gags are enhanced further than compared to The Wacky Worm. Both cartoons are relatively flawed in its own areas, although the Colonna caricature is used much better in the former short. What both shorts have proven is a short devoted entirely to a Jerry Colonna caricature works less effectively and comedically than the occasional reference in a cartoon...otherwise, it'll date the cartoon fast. Overall, it's a pretty stale output from Freleng - except for moments of a genius at work. Freleng's excellent use of experimentation in composition and layout reveals a director who is more than just a "master of comedic timing". The short's narrative is relatively thin and formula-driven, although Ted Pierce has his moments of funny dialogue.

Ratings: 2.5/5.

Warner cartoon no. 403.
Release date: May 15, 1943.
Series: Looney Tunes.
Supervision: CPL. Norman McCabe.
Producer: Leon Schlesinger.
Starring: Mel Blanc (All voices)
Story: Don Christensen.
Animation: Izzy Ellis.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: A U.S. propaganda short featuring a newsreel "captured from the enemy" reveals Japanese propaganda in a string of gags and stereotypes.

NORMAN McCABE

Norm McCabe's last directorial short for Warner Bros. as he went to join the army. As often said, McCabe never got the chance to leave a lasting impression for his contributions to the Warner Bros' animation legacy. While this is attributed by his short tenure as director, but so are the style of cartoons he turned out. It's a pity McCabe is mostly remembered for his war-themed cartoons that are today considered immoral in our "politically correct" generation. Perhaps the most striking example of that would be Tokio Jokio.

Not only is the cartoon incredibly dated in its references as well as extremely offensive and racist in its stereotypes; but it's a testament to how hurt America had been since it's infamous Pearl Harbour attack in 1941. Without a doubt, the short would've been successful and appropriate amongst audiences in its original release.

The short is presented in the form of a typical Warner Bros. sight-gag cartoon. The opening scene features a voice-over explaining that the short is merely a Japanese news reel that was "captured from the enemy". The theme is on "Japan-nazi" propaganda - depicting and criticising the Japanese in the lowest form of humanity as being weak, incompetent and foolish.

The caricatures have stereotypes all-over - as the Japanese are presented as skinny, wearing glasses and having giant teeth. While many cartoons considered immoral and politically incorrect today weren't intended to be harmful or racist towards stereotypes - this is the short's purpose. Since both countries were at war with each other and fighting for survival - the stereotypes themselves were intended to give audiences some sense of superiority and optimism. It is my intention to review the cartoon, not only reflecting on historical/social context - but entertainment values in 1943.

The sight-gag primarily attack the Japanese government for their poor treatment of defending their civilians and industry - which are satirised in several sequences. A striking example occurs early in the cartoon where the Japanese narrator presents the nation's "finest air-raid siren". The siren, of course, is heard from two Japanese citizens who prick each other's rear ends with a needle to create a screeching effect.

As tasteless as the gag has become over time, it symbolises Japan's poor handling of civil defense and how pathetic it's presented in comparison to the U.S.

The cooking sequence is another satire on Japan's home front; which was unorganised as the government concentrated more on their propaganda...creating many factors in the process. The sequence features General Hideki Tojo as a cook, as he demonstrates on how to make a club sandwich by using ration cards.

It's an exaggerated take on Japan's food rationing to bring the notion towards American audiences that their home front is inferior. The sequence is further exaggerated as the Tojo cook hits himself on the head with a club--portraying Tojo and the government as ignorant.

The short interprets Japan's military production as poor as indicated in a few sequences. In a scene which features the Japanese Navy at sea - a submarine enters the shot as the camera pans slowly underwater. The narrator reveals it was released "three weeks ahead of schedule". Indeed, it's still being constructed as it operates underwater. The submarine crashes off-screen with several deaths as depicted from Carl Stalling's Taps cue.

From the perspective of a 1943 audience member; it would've been a great showcase on how incompetent the Japanese were. This is also showcased in the 'victory suit' gag. The "Victory Suit" was a civilian fashion in the U.S. during WW2 as part of the war effort - lacking excess fabric and containing low quality wool...which were seen as bigger priorities for military uniforms.

Here, the fashion is parodied with a "Japanese Victory Suit". Expect this to be another gag mocking the Japanese home front and military production. A vertical camera pan downwards reveals an advertisement for the Japanese victory suit. At first, it reads "no cuffs", "no pleats" and "no lapels" which was the definition of the American suit. Then, the narrator announces: "no suit!", with the camera panning downwards to reveal an almost naked Japanese man freezing in the snow, as he tries to warm himself with a candle.

Other sequences poke fun at satirising Japanese society such as the incendiary bomb scene. The scene is presented as an educational guide on them. The text fades onto the screen on not approaching them within the first five seconds. An unsuspecting Japanese citizen walks into the scene, and counts the seconds with his watch. Then he walks over to the bomb to roast a sausage until it then detonates.

After the explosion his face is seen missing, with his glasses and hat still in the same position. The quote: "Ah! Rosing face, please! Rosing face!" is a direct pun on the Asian sociological concept of "losing face"...indicating the man has dishonoured himself - which is considered shameful in Asian culture.

Asian honour is also satirised in a scene featuring a suicide mission of a Japanese naval solider riding a Kaiten human torpedo. Honour suicide was a common attack during the war; were not only Banzai charges and Kamikaze attacks allowed Japanese soldiers to die with honour, but also used in attacking the enemy. It was also considered an atonement for any misconduct or disgrace from any civilian.

According to the narrator: "But he-a not caring, are you happy gentleman?", and asks the soldier, "Have you anything to say?". The soldier responds. "Uh, no, nothing except - LET ME OUT OF HERE!". It's a gag which was conceived to intentionally offend Japanese people by mocking their honour - and indicating that some soldiers aren't as honourable.

The spot-gag parody on Japanese propaganda wouldn't be complete without its own mockery on Japanese politicians and generals - as seen in the "Headline Poisonalities" section. The most revealing is the sequence on General Isoroku Yamamoto, who is perhaps, today best remembered for being responsible in planning the attacks on Pearl Harbour. His height is caricatured as he walks in stilts, to give him a taller appearance.

Yamamoto reveals his plans to "dictate peace term in the White House". An Editor's note title card reveals a reserved room for Yamamoto - which is revealed to be an active electric chair.

What's most intriguing about the sequence is the timing of Yamamoto's death and the cartoon's release. The general had been assassinated when his plane was shot down by an American fighter squadron in the Solomon Islands - a month before the cartoon's release. The cartoon was made while Yamamoto was still alive; even though the gag might've seemed even out of place by the time it was shown in theatres.

While the Yamamoto sequence was an approach to dark humour - the scene featuring General Masaharu Homma is more or less in the style of Warner Bros. spot-gag - with contradictory dialogue. The narrator observes the "coolness and calmness of Japanese Officer in air raid". The real scenario reveals the exact opposite as a frantic Homma frantically rushes around the forest before ducking underneath a tree log. Once he sticks his head out the log, a skunk does the same. Adding insult to injury, the skunk reappears with a gas mask on his head.

The "Flashes on the Axis" segment takes a brief break from the sustained Japanese stereotype - save for the voiceover narration. The segment focuses primarily on Japan's allies: Germany, Italy, and a caricature of William Joyce, an American-British radio broadcaster and Nazi sympathiser known as "Lord Haw Haw" by nickname - and caricatured with an ass' head named "Lord Hee Haw", hence the visual metaphor. He is the broadcaster on the segment.

Animation by Art Davis.

While the stereotypes might still be frowned upon today - admittedly, they are more forgiving and less offensive as the sequence pokes fun on the actual enemies, like Adolf Hitler and Benito Mussolini. The Hitler scene features an admittedly amusing gag of Hitler twitching his moustache like Charlie Chaplin, as he reacts to a postcard he received from Rudolf Hess, reading "Wish you were here".

The irony of Hess' message is exposed as Hitler turns the postcard over that reveals Hess held captive in a concentration camp - (whereas in reality, he was held in British custody). The kiss marks written on the letter also adds to the touch.

The Rome scene is another addition to the lame puns from the multiple Warner Bros. spot-gag cartoons. The narrator observes the infamous ancient ruins as seen in a horizontal camera pan. The camera quickly pans to reveal "ruin #1" which happens to be Mussolini. Personally, I don't think Mussolini has ever been properly caricatured in animated cartoons. The caricature is primarily focused on the chin and the lips. His forehead is treated generically, which is probably one of his more revealing facial features.

Despite the cartoon being riddled with offensive stereotypes almost everywhere - some scenes showcasing McCabe's coming timing are hard to criticise. The opening titles for the news reel is perhaps one of the more offensive gags. To begin with, the title of the reel is "Nipponews of the Week", which features a rooster (a direct parody of the Pathe news reel opening) who is anticipating a crowing noise.

As he does, he changes into a Japanese caricatured vulture, who is portrayed as scheming and evil as the Rising Sun flag appears. The stereotype is further emphasised as the vulture says: "Oh, cock-a-doodle-do, Prease!". As uncomfortable as the scene might be; McCabe's timing is pretty impressive.

The sports segment is another prime example of that. The gag and caricature of the sports commentator is in such bad taste that it's impossible to not find it in the least bit amusing. In a sudden iris out; his mouth gets stuck in the circle - that it falls off and clutters into the ground. Again, the timing and imagination of the gag doesn't fail to impress.

The following scene is more of a satire of Japanese sport players who are also illustrated as physically weak. The player indicated on the screen in a baseball outfit is considered to be the Japanese equivalent of Babe Ruth. Once a fly flies into the scene; the player attempts to swat it but misses and spins in a circle. While the gag might've been an arrogant in emphasising America's superiority; it turns sadistic and unnecessary when the fly responds by grabbing the swatter and whacking him with it.

With offensive stereotypes asides; the short has its share on lame, corny puns that spot-gag cartoons are heavily reliant on - as seen in the ancient ruins scene. One scene in the "civilian defense" segment reveals a listening post - which is nothing more than a pole with key holes covering it. The pun on the aircraft spotter is even more cringeworthy as the plane is literally being painted with spots.

The final segment featuring literal interpretations of marine boats is also riddled with typical visual puns, especially the "minesweeper" gag - which features two mechanical hands sweeping mines away with a broom).

When the ship accidentally explodes - a buoy is featured in the sea with a sign reading: "Regrettable Incident Please". So, the short ends which pokes fun on another Japanese stereotype where they're portrayed as being over-polite. Nevertheless the gag itself doesn't pay off with the results being lame.

It's almost impossible to give the cartoon a rating without giving consideration on historical/social context. While the humour has become outdated and offensive within today's modern society; it's still a fascinating piece of history reflecting on the attitude America had towards their enemies. Withouy a doubt, the short would've been effective on American audiences in giving the notion of hope and patriotism. It's perfectly understandable that the racism would cause uncomfortable viewing, but it can't be judged out of context - especially as history can't simply be ignored and written off. Therefore, the short would be better off viewed today purely for historical purposes, rather than for entertainment--as the stereotypes were certainly intentional. With racial problems asides, it's otherwise, an insipid cartoon, complete with gags that felt forced and stale. While McCabe shows moments of competence as a director - the short remains remotely unfunny, dated, and uncomfortable to watch.

Rating: 1.5/5.

with BUGS BUNNY
Warner cartoon no. 404.
Release date: June 12, 1943.
Series: Merrie Melodies.
Supervision: Friz Freleng.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Bugs Bunny, Giant).
Story: Michael Maltese.
Animation: Jack Bradbury.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Bugs Bunny is confronted with a dim-witted giant, when he attempts to invade his "victory garden".

A cartoon plot involving Bugs Bunny confronting an opponent who is immensely larger than Bugs would make a great parody on the classic Jack and the Beanstalk fairy tale. Bugs Bunny has to elude himself against a dim-witted giant--by taking complete advantage of his slow intelligence.

Michael Maltese conceives a great opponent for Bugs by having the giant with the persona of Lennie Small - and extending his opportunities for gag values and comedy. Maltese would, again, use the formula twice, in Lumber Jack-Rabbit and Beanstalk Bunny.

Although the fairy-tale parody is apparent, there's no hiding that the cartoon also contains a WW2 theme. The giant claims to be more powerful and potent than Bugs Bunny due to his size and intimidating appearance, while Bugs uses his wits to have the last laugh. The opening scene of Bugs trespassing the giant's "victory garden" is also a subtle giveaway.

The giant is an allegory on Nazi Germany and their Allies, who were also arrogant about their power - and by the time of the short's release: they were already beginning to lose the war. The giant's portrayal as dim-witted and arrogant is also a reflection on the theme, whereas Bugs Bunny lives up to the "Scientia potentia est" aphorism.

In formulating the giant's stupidity - most of it is carried out via dialogue. Michael Maltese leaps at the chance of conceiving unforced, hilarious dialogue that conveys the giant's ignorance so believably, that it's almost transcended. A lot of Maltese's lines are delivered with a subtle approach: as evident in the line "You think you're pretty C-A-T, smart, don't ya?" when the giant traps Bugs inside the glass.

Animation by Phil Monroe

Maltese's flair with dialogue is better exhibited in the scenes during the aftermath of Bugs' glass cutting act. After Bugs leaves the glass; he places a sign reading: Back in 5 minutes.

Then, the giant looks at his watch (in the form of a grandfather clock) where the hands on the clock fade to fifteen minutes later - the fade in manipulates time emphasising time passing on, and Bugs not intending to return in five minutes. The giant responds in perhaps the funniest quote in the entire short, "Wait a minute! He tried to pull a fast one on me, eh? Duhh, well he can't outsmart me, because I'm a moron!". It's a classic example of Maltese's genius in writing dialogue that deliberately contradicts the said statement. On a plus note, Mel Blanc's voice delivery on the giant feels so natural and effortless that the ignorance feels very human.

Maltese's talent in exploiting character personalities with innovative gags is laid bare in the duel sequence between Bugs and the giant - animated by Dick Bickenbach. Bugs states the rules: "You take twenty paces, toin, and fire!". Owen Fitzgerald's layouts take advantage of the gag as the giant takes huge steps as he counts with the camera pan revealing a distant giant on the horizon.

Bugs tricks the giant as he pretends to walk twenty paces - he chuckles ("So long, joiky! Send me a postcard from Alburqoique!" and comments on his own intelligence and success: "Y'know, I'm so smart, sometimes, it almost frightens me!".

Bugs is prepared to eat those words as the giant returns from the other side - indicating he has walked the entire planet in less than twenty steps. The gag is brilliantly executed with strong emphasis of the giant's size - which is proving to become a potential threat to Bugs Bunny. It's a masterful sequence not only from Maltese's genius; but also Fitzgerald's complex layout planning to achieve such a feat.

Animation by Gil Turner

Bugs' ways of exploiting the giant's intelligence or his own survival is evident in sequences like the glass cutter. The giant is momentarily victorious when he traps Bugs Bunny inside a cup glass. While the giant's scheme was more physical; Bugs' is more calculating and spontaneous. Bugs' streetwise, spontaneous scheme is spotlighted in a ruse as he entices the giant by creating a notion he's seeing a special act - an act that promises the demonstration of an astonishing glass cutter.

Bugs adds more believability to his stunt, with the help of advertisement signs complete with attention grabbing headlines that are fetching enough in taking advantage on the giant's naiveness. And so, Bugs cuts out a perfect outline of his body, and then walks freely out of the glass. The "Back in 5 minutes" sign adds the touch.

Bugs' demonstration of palm-reading to the giant also presents a good case in Bugs' quicks wits outmanoeuvring the giant's beefiness. The giant has grabbed Bugs and intends to crush him with his bare hands. Spontaneously, Bugs deceives the giant into thinking he's got an absorbing palm with hidden personality qualities of the giant.

Bugs showers the giant with compliments, like, "I'll bet you're a regular Don Juan with the ladies!" - making the giant bashful and coy. Bugs masquerades his sympathies with a flair as he whisper's into the giant's ears with some tips and advice.

The shot of the giant's ear blushing as Bugs whispers inside it is a subtle innuendo where Bugs' few pointers can be left open to interpretation.

Friz Freleng's comedic timing is put to great use for when certain gags meet. A meticulous director, Friz would add subtle little touches in whatever piece of action was given to him. For instance, the shot of the giant slamming the glass cup on Bugs Bunny is very attractive - as a gag of Bugs jiggling side to side, which is enhanced by Treg Brown's marvellous use of sound.

Animation by Gerry Chiniquy

Moreover, Freleng's comic timing is especially called for in a scene involving the giant's eardrums. Bugs Bunny notices the giant's eardrums inside his ear; and proceeds to have a "jam session" inside. It's a funny gag of Bugs producing some jazz-like rhythm; which is boosted with Freleng's direction of the giant's face aligned with the rhythm.

Gerry Chiniquy, the animator on the scene, captures the crispness of Freleng's timing, as well as the accentuation and emphasis of the beat beautifully.

Some of the dynamics in Owen Fitzgerald's layouts are elaborate in its detail - especially on the shading around the giant's face. In the scenes that follow of Bugs hiding in the giant's scalp - the size and scale give the area a world of its own. Bugs explores and goes through the giant's hair like jungle vines.

As the giant places the hat on top of his head - the atmosphere definitely has a dark vibe towards it. The war-related gags seem like an appropriate touch as Bugs walks around the dark scalp, startled: "Hey! What is this, a blackout? I didn't hear no si-reen!".

So, Bugs strikes a match inside the scalp to observe a way out. A POV shot reveals the hat size to be "107 1/2". An off-screen voice yelling: "Put out that light!" is spontaneous and charming in its delivery. Bugs reacts to the yelling and accidentally releases the match - creating a cloud of smoke underneath the giant's hat.

After a series of gags and comical situations between Bugs and the giant - it all breaks out into a climatic chase. Stalling uses Raymond Scott's Twilight in Turkey inventively along with Friz Freleng's innovative timing. It's perhaps one of the earliest uses of Scott's music (the earliest, I think, is Greetings Bait); whose music was connected and immortalised in the studio's most successful years.

Bugs finds a way out as he approaches a beanstalk complete with an elevator; which he acknowledges as "modern design". He disguises himself as a bellboy and tricks the giant from entering the elevator by ordering to: "take stairway to the left".

The giant's fall is a possible homage to the cinematic experience of the iconic falling sequence in Tex Avery's The Heckling Hare. While it's certainly not as long - there are several dynamic shots used to emphasise the fall.

Bugs reaches to the bottom of the beanstalk where he witnesses the giant's crash. From the outlook of Bugs' take - the crash is interpreted as somewhat horrific. The camera pan reveals the giant has created a large hole in the form of a canyon, based on the impact of his fall. He gets up and warns Bugs, "Look out for that foist step! It's a lu-lu!" - ending the cartoon with a laugh.

Jack-Wabbit and the Beanstalk is primarily an underrated Bugs Bunny entry, which is usually overlooked amongst fans. This needs to change. The short features an excellent representation of strength vs. wits turned into an enjoyable viewing experience. Although the short has war themes - it's kept really subtle, and blending it as a fairy tale parody works effectively to the point where the cartoon hasn't dated much. It also adds some insight into Bugs' character as he occasionally becomes vulnerable against the giant's strength, and his quick wits and spontaneity are portrayed believably. Michael Maltese has a strong flair for character development and gag sense which blend together wonderfully - and his take on the giant is perhaps one of the funniest characters, with a dim-witted persona, ever! Friz Freleng shines at the opportunity by utilising his knowledge of music that are put to effective use on gags like the giant's eardrums.

Rating: 5/5.

Warner cartoon no. 405.
Release date: June 19, 1943.
Series: Merrie Melodies.
Supervision: Chuck Jones.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Cat / Madam / Meadows / Bulldog / Hubie), Ted Pierce (Bertie).
Story: Ted Pierce.
Animation: Rudy Larriva.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Meadows, the butler, quits his job after a series of practical jokes from the pampered, family cat - leaving him helpless and a victim of two trickster mice: Hubie and Bertie.

Animation by Ken Harris

The Aristo-Cat is a prime example of an innovative idea of cartoon storytelling, but happens to lack substance and creativity. Ted Pierce pitches a narrative that would prove to be a landmark in the short-lived Hubie & Bertieseries. The concept focuses on two mice who take advantage of gullible cats by deceiving their minds.

As a formula, it writes itself, as well as a step in the right direction for potential comedy. While Pierce set the standards and characterisations within this cartoon, it's lacking gags and creativity.

Chuck Jones once mentioned in a Greg Ford and Richard Thompson interview that Pierce was, "good at structure, and it was a humorous structure---but it wasn't gags" - which is the gist of this short: a solid story premise, but the result are only moderately funny. Ted Pierce has written many wonderful cartoons that showcase his work better, but the results in this short, show several missed opportunities with the story he conceived. Michael Maltese would use the formula to a greater advantage in later shorts, like the Oscar-nominated Mouse Wreckers.

Pierce's sense of story structure is put to good use in the opening scenes. Pierce's opening is largely exposition, as it follows the perspective of the butlers' daily routines, and the burden he endures from it. One of his principal duties is to take care of a pampered, spoilt cat (an early prototype of Claude Cat) who takes pleasure in creating practical jokes on the butler, Meadows.

Ted Pierce at work: hinted profanity!

As far as Ted Pierce gags go; the practical jokes performed by the cat are more harmless and mischievous in contrast to Bugs Bunny and Daffy Duck. While it might not be savage, it shows a clear portrayal on the cat's pampered life - that sets in motion for what what is come.

These pranks include the cat squirting grapefruit juice that fires directly onto Meadows' face; or sliding a bar of soap across the bathroom hall for the butler to expectedly slip over. The results repeatedly end with the cat laughing at Meadows' misfortune.

This leads to the straw breaking the camel's back, as Meadows resigns from his position as butler and storms out the house. Struck by the recent circumstance, the cat turns vulnerable and frightened as he helplessly calls out to Meadows in a large, secluded mansion. The transition from a spoilt cat into a helpless one is beautifully portrayed with rich character animation; which makes a great satire on the pampered upper-class being unable to look after themselves and deal with independence.

Without doubt, John McGrew's avant-garde layout & colour styling is a visual tour-de-force, and the most perceptible element of the short. Since much has been analysed on the geometry and graphicness of the designs, and rightfully so; I feel the colour styling is utilised better to depict mood and tone.

This is evident in the transition of the cat's mood from indulge to panic-stricken. The scenes of the cat relaxing inside his bathtub depict the use of blue to emphasise the easy life the cat lives, with the light touch of colours to enhance the mood. The design and pattern is kept simple and consistent, like the life the cat lives.

For the fast-paced scenes of the desperate, helpless cat - the colour and layout styling shows a greater contrast in atmosphere and emotion. The heavy emphasis of red enhances the cat's predicament beautifully and effectively.

The use of pattern becomes more complex and abstract, seen as a clever portrayal of the confused cat having to face a reality that's more intricate from the easy life. Notice how the blend of red and blue colours on the shelves of books perfectly conveys the action of the scene. The cat is cornered by the shelves of books, feeling trapped and uncertain ("Good grief. I'm all alone. Who'll take care of me? Oh, I'll starve to death!"): perhaps this could be a visual metaphor that the cat is "marooned"?

Chuck Jones creates his own dynamics as far as experimentation goes. The opening sequence of Meadows entering the cat's bedroom is paced in a very cinematic style - channeling a little from Frank Tashlin. This featured a string of quick cuts of Meadows opening the door, a POV shot, opening the curtain, etc. , all complete with elaborate effects animation - like the door swinging open.

More intriguing effects occur again in the cat's panic-stricken episode. While a lot of the colour styling and layout are evident in the medium-shots, the close-ups have an alternate, compelling effect.

As the cat yells "Meadows!" in close-up; the backgrounds animate in perspective of the camera movement, which captures the mood elegantly and sharply.

While the first half of the short was all about exposition, the second half is primarily when the narrative structure goes into a different path. This leads to the cat and the cartoon's first exposure of Hubie and Bertie. Uncertain of what a mouse looks like, the cat backs away from Bertie, terrified.

Perturbed, Bertie tests the cat's vulnerability as he pathetically says, "Boo"...causing the cat to corner behind a curtain. He then calls Hubie over, where the catchphrase is first heard: ("Hey boid, come 'ere!").

Hubie performs the same actions - leading to both mice exploiting the cat's confused state and raiding the food in the house freely. As they feast in a block of cheese, the cat asks timidly: "Could you, sir--? Uh, I mean, would you--? Would you please give me a little of that cheese? I'm simply famished!". Correcting him that cats eat mice, the pair decide to deceive the cat into "locating one" of the wrong kind.

While the sequence is pivotal in setting the agenda of the remainder of the cartoon; the pacing and structure is pretty sloppy from both Chuck and Ted. Rather than take advantage of more opportune gags the mice could've pulled on the cat; their first encounter comes across as dull and repetitive in action.

The scenes of Bertie conversing with the helpless cat suffers from too much filler - especially as he repeats the same question: "You dunno what I am?" and "You dunno who I am?". Those issues could be said the same way with the opening sequences; as the exposition and build-up took up almost half of the short's plot - giving constraints for more creative gags in a limited cartoon length. An important sequence as pointed out, it's padded longer than what it needs to be. On a side note, it's interesting to see how Chuck Jones would swap coat colours on Hubie and Bertie in their later appearances.

And so, the mice trick the cat into identifying the bulldog as a mouse. Although skeptical, the cat is intimidated by its sheer size and strength; but the mice's manipulation convince him so. Despite timing constraints with the plot; the awkward encounter between the cat and the bulldog lives up to the standards of Chuck's knack for conceiving great pantomime.

The sequence is largely dominated by Chuck Jones' sense of pantomime and personality animation. Bobe Cannon's character animation show beautiful lines of action, in which both characters communicate and read clearly.

The face-to-face encounter of the two foes is a hilarious presentation of Chuck's genius in sincerity, mood and characterisation. Stalling's music creates some appropriate suspense as the cat and dog raise their jaws slowly, a turn at a time.

Intimidated by the bulldog's superior size; the cat sheepishly leaves the slices of bread on his head, and attempts to discreetly tiptoe away. The tip-toe action is a beautiful piece of character acting, as it's sincere right down to the frame. Chuck's knack for innovative, hysterical facial expressions is laid bare in that one pose. Stalling's mastery in rapidly changing music depending on mood and pace is all evident here.

After taking a savage beating from the bulldog; the cat crashes through a window and is faced upon an open book. Opening his eyes, he discovers the true identity of mice based on the book illustrations. Chuck's build on suspense is riveting as well as highly entertaining. While the cat's menacing glare at the mice is beautifully expressive, Hubie and Bertie's troubled and sudden exit is priceless.

Unfortunately, the short goes downhill again, during the chase sequence. The action as depicted makes a dull, viewing experience which doesn't live up to the fast-paced standards Chuck had finally accomplished on action scenes like Super-Rabbit.

While the cat's mistake in biting his own tail in bread slices is slightly amusing; the unseen violence of the dog pounding the cat inside the doghouse, isn't. The violence interpreted by the shakiness of the doghouse looks wooden and sloppy, timing-wise. The action dissolves into a match cut of the cat's bed reacting wildly.

The cat awakens from his bed, relieved and recovered from what was a nightmare all along ("Gosh, what a terrible dream!"). Spontaneously, Hubie & Bertie and the bulldog also arise from the cat's blanket, responding: "Yeah, wasn't it?"--ending the cartoon with a rude awakening.

From an artistic point-of-view; it's a visual masterpiece that's beautifully abstract and representing some of John McGrew's very best work. McGrew was known for producing his layouts in colour sketch; to show the background artists what he envisioned, and his use of colour styling in this short is completely carried out and utilised. It's a pity that a visual experience of a cartoon is hampered with a relatively thin story from Ted Pierce. Although the premise and concept is original, and shows promise of comedic values; it hasn't yet been properly managed - resulting in some sluggish pacing and filler. The short remains only moderately funny with Chuck Jones' true genius appearing sporadically. Despite being the first attempt at handling such a formula, Hubie and Bertie's debut wasn't a wasted opportunity at all--as Michael Maltese would enhance the characters and the formula by the late 40s.

Rating: 2.5/5.

Where's the consistency? Is this some sort of mistake? Have I simply forgotten to post a review on the upcoming Yankee Doodle Daffy? Has this blog become "situation normal all fouled up"?

For the sake of explaining this to anyone who might be confused: it is now my intention to review all of the Private SNAFU cartoons produced by the Warner Bros. studio. Some of you may raise eyebrows! Some may raise noses! Or some may raise some excitement!

I have several reasons why I've decided to review the shorts, despite being training films. To begin with, the aim of the blog is to review every single Warner Bros. cartoon from Bosko to Cool Cat...I'm also counting the shorts that weren't distributed by Warner Bros: so the Snafus, Seaman Hook, etc. Before I eat those words: I won't be reviewing the post-1969 cartoons, as the blogger's aim is finish everything "from Bosko to Cool Cat". On a side note, I've decided to not review Any Bonds Today, as it's merely a short propaganda piece, and nothing else!

Second, the Private SNAFU cartoons are a testament from Leon Schlesinger's crew of how exciting and edgy they humour could get. The purpose of the cartoons were to guide enlisted men during World War II with little education background and poor literacy skills by learning through cartoon animation, with a touch of crude humour and mild profanity that would've motivated them far greater than an informative lecture. Henceforth, it's fascinating to watch the freedom the Schlesinger Studio had by delivering racy features that would've been too far-fetched and controversial in a public Warner Bros. cartoon release.

Also, I will review the SNAFU cartoons concurrently with the Warner Bros. cartoons - count these as bonus reviews!

For the minority of my readers who might be unaware of the series' historical background; I'll pass it forward.

The Private SNAFU series were a part of the weekly Army-Navy Screen Magazines program (first titled as The War), that were distributed and screened to army camps and naval bases. The purpose of the cartoons were to educate soldiers on the potential hazards attributed from carelessness - with the soldier, Snafu, being the prime example of that. It was primarily similar to the WW2 propaganda morals, like "Careless talk cost lives".

The character was created by film director Frank Capra - whom is probably best known today for directing the Columbia hit It Happened One Night, and It's a Wonderful Life, and was a very influential director during the Hollywood studio system era. Capra, in World War II, was the chairman of the U.S. Army Air Force Motion Picture Unit, and conceived the character with Walt Disney in mind of producing them into animated shorts. Capra also had a pool of talented, established writers, like Theodore Geisel (Dr. Seuss), Phil Eastman, Gene Fleury and former Disney storywriter Otto Englander writing the series. Although Disney started development of the first Snafu (the original storyboards can be viewed in Dave Gerstein's Mickey and the Gang: Classic Stories in Verse). However, Leon Schlesinger won the bid by underbidding Walt and winning the contract - producing the shorts within the budget of 10-12K. Mel Blanc gives some added character into his great performances of the goony private.

The late Martha Sigall recalls an interesting anecdote on the secrecy of the short's production, which can be heard on one of the Looney Tunes Golden Collection: Volume 5 special features:

"And [the films] were supposed to be very secret. All of us had to be finger-printed, and we had to wear [identification] badges every day that showed we were able to work on the SNAFUS. They only gave us ten cels at one time, because they did not want us to know what was going on in the picture. If they had given us three hundred [cels], we wouldn't have known. We didn't pay attention to things like that."

Snafu's name is based on the military slang acronym SNAFU ("Situation Normal: All Fucked Up"). However, the Schlesinger crew created a cleaner version, as indicated in the title card above. But, the studio couldn't help but throw in a subtle piece of crude humour as the narrator hesitates on the anticipation of pronouncing the "F".

The first of these shorts, Coming!! Snafu (released 06/1943), was first directed by Chuck Jones, who also co-designed the character along with Art Heinemann. Chuck is given the responsibility of directing the cartoon that establishes the premise and scenario surrounding the series.

The short is primarily an inauguration that explains the overall substance of Snafu, and his characteristics guided by Frank Graham's narration. His own name has connotations of clumsiness and incompetence - emphasising he's the meaning of any wrongdoing from the army's point of view. He's even dubbed as, "the goofiest soldier in the U.S. Army"--so, he can't be as much of a goof compared as those dang Nazis! Ahem.

The majority of Snafu's incompetence is showcased in the sequence of the military soldiers learning how to properly roll a backpack. While other soldiers are seen doing a proper job, Snafu's method is half-assed and sloppy. His lack of common sense requires him to be more physical in adjusting his own backpack.

So, in the next scene: Snafu's justice is met through Chuck's ingenious comic timing. A camera pan indicates the correct form of a backpack seen from the competent soldiers. As the pan ends of Snafu, his effort greatly contrasts the other soldiers.

The backpack gradually begins to unfold as the objects begin to loosen apart from one another until it all collides; ending with a pot landing on Snafu's head - the symbolisation of a dunce.

The montage title cards also demonstrate Snafu's ignorance through simple illustrations that adds illusion to his foolishness greatly. In the artillery title card, Snafu's personality can be summed up in that one pose as he curiously peeks his head inside the cannon. His failures are further seen in the other title cards, like the "para-troops" slide, that features Snafu flying in a torn parachute.

To some extent, Snafu also shares the same thoughts and pleasures as a majority of men in the army. If there's one thing Snafu has in common: it's women. The purpose of the army was to keep their men conscientious and to prevent them from distractions...like seductive women. Snafu represents the failure of that factor, as he heedlessly walks from the docks and falls into the water, upon seeing a poster of an attractive female model.

Snafu's distractions are most revealing in his visual dream of a seductive woman performing a racy striptease. This occurs in the sequence of Snafu carrying out with his duties by driving a pushback in the air corp.

Suddenly, a thought bubble is presented visually as Snafu dreams of a seductive female while singing Strip Polka. The gag could be considered reminiscent of the striptease gags evident in some of Tex Avery's spot-gag cartoons, until a racy additional action is inserted.

The woman in Snafu's dream unveils her robe, as she exposes her completely naked figure as her robe slides down her body. In a quick matter of timing; censorship bars cover her breasts and navel. The delayed timing on the censor bar covering the navel, has a subtle touch to it; as it's exposed in six frames upon freeze-framing. The sequence presents a great case on the liberties the Schlesinger unit had in conceiving gags, that would otherwise be extremely taboo.

And so, Snafu's distraction creates calamity as his plane goes unattached from the pushback and crashes off-screen. The following scene reveals Snafu being interrogated by the military police as he attempts to confront them ("Listen, you guys! Don't gimme none of that stuff. I'm no dummy. I know my rights as a soldier!."

The scene cross dissolves to reveal Snafu trapped inside a prison cell - a prisoner of his own war, to speak hyperbolically. And so, Snafu protests, "I wanna a lawyer! Gimme a lawyer!"

A recurring gag in the series' closure would typically be a match dissolve of a horses' ass - a visual metaphor of Snafu being a jackass. It would typically be complete with Carl Stalling's "jackass" motif, best known in All This and Rabbit Stew or Falling Hare. Here, the horse neighs the rhythm of the cue as the short irises out. So, the short ends with a title card promising upcoming Snafu shorts like (Gripes, Spies, etc) which zoom in slide-by-slide.

Although the cartoon is primarily introductory to the premise and the character, it's a good bracer that sets in store for more of Snafu's antics - and Jones' direction is off at a fine start. Snafu's debut serves as a great taster which demonstrate some of Snafu's buffoonery and what lies in store. There isn't a great deal to speak about the cartoon, as the short doesn't follow a storyline - other than a guidance on not to "foul up". The series itself isn't set on individual story lines; as they're all largely the same: except the locale changes each time. On an additional note, I've decided not to give the Snafu shorts ratings - like I'd normally do for the Warner cartoons. This is largely because the shorts were produced for educational purposes, and not for public distribution and exhibition.

Warner cartoon no. 406.
Release date: July 3, 1943.
Series: Looney Tunes.
Supervision: Friz Freleng.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Porky Pig, Daffy Duck), Ken Bennett (Sleepy Lagoon) (Kudos to Keith Scott).
Story: Ted Pierce.
Animation: Dick Bickenbach.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Daffy Duck is an agent representing Sleepy Lagoon, and attempts to sell his talent to Porky Pig - whom is in a hurry to catch his plane for a vacation.

Friz Freleng's love and creative imagination for music blends well in Ted Pierce's story that consists of a series of gags that takes care of itself throughout the rest of the cartoon - which is utilised here.
Porky Pig, playing a casting director of Smeller Productions is anxious about missing his flight, but is constantly delayed by Daffy Duck, who takes on the role as an agent. He attempts to win Porky over in a procession of musical gags.

While the overall plot structure comes across as thin and stale; Friz Freleng takes the opportunity of turning it into a fresh, compelling concept. Daffy Duck's established personality works well by having Ted Pierce cast him as an agent, since it opens up to many gag opportunities for the character.

Both Porky and Daffy make a successful pairing, and the idea of Daffy attempting to secure an audition for his client has merit. There would be guaranteed broad performances from Daffy who'd go into exhaustive, undisciplined depths in finally getting Porky Pig to allow Daffy's client to audition.

Animation by Phil Monroe.

The opening sequence of Daffy Duck promoting his client to Porky Pig is an exaggerated yet enthralling depiction of Daffy's enthusiasm as an agent. Animator Phil Monroe nails the charismatic performance of Daffy to a tee, to the point where Daffy never loses the audience's attention.

Ted Pierce's knack for quick-witted dialogue springs to mind, as Porky protests: "I've got a very important appointment!" Porky's vague comment leads to Daffy's facetious response, "I'll say you have - my card!", and hands Porky his ostentatious looking agent card.

Daffy Duck introduces himself as a "personal representative of the most sensational discovery since the Sweater Girl" - a reference to then rising popular actress, Lana Turner, infamous for her nickname for wearing tight sweaters. Pierce's funny dialogue is extended as Daffy advertises: "He's colossal! Stupendous!", leading to the outcome being deliberately ironic: "One might go as far as to say--he's mediocre!"

And so, Daffy introduces his client, Sleepy Lagoon (a pun/reference to the 1942 murder, who happens to come across as sluggish, as he sucks on a lollipop.

As though Daffy's enticing presentation wasn't effective enough; he refuses to give up by performing the acts, himself, on Sleepy's behalf. At this point, Daffy has too much determination in his role, to the point where he continues to delay Porky even further - foiling his escape plan in many improbably ways. Ted Pierce portrays Daffy's role so inventively which is evident in Daffy's enforcement of an encore.

Freleng's talent for energetic, hysterical musical sequences is conspicuous. Daffy's first act opens with a performance on the popular song, I'm Just Wild About Harry. Daffy's act is portrayed in the form of vaudeville as he struts around the scenario in his boater hat.

Friz Freleng conveys the excitement and energy of Daffy's number gracefully and captivatingly. Mel Blanc's talent for singing captures the spirit beautifully.

Plus, Daffy's one-time interruption as he busts in on Porky's chair, explaining: "This is a rough idea, you understand?" is hilariously, unpredictably executed in portraying Daffy's desperate manner.

Perhaps the highlight of these musical acts would be Daffy's rendition of a Carmen Miranda dance number. The concept is random and yet it presents Daffy's spontaneity wonderfully. Daffy's number consists of rapid-firing lyrics with background exotic music, that parodies Miranda's talents. It proves to be a feat for Mel Blanc, who meets the challenges of capturing the brogue and speed, effectively like the professional he is. Gerry Chiniquy, the animator on the sequence, nails the crispness of the timing and shows strong accents for Daffy's dancing.

Examples of Freleng's unparalleled timing is spotlighted in the vertical set-up of Daffy galloping Porky down a flight of stairs; floor by floor. Daffy adds improvised lyrics to the infamous William Tell Overture; which makes it another vocal tour-de-force for Blanc. Stalling's musical accompaniment is synced beautifully to Freleng's complex piece of timing. Friz worked out a clever cycle for the gag; which plays effectively just the same.

Like the flight of stairs scene; Daffy's performance as a cowboy is another prime example of an animation cycle that fits with the timing and energy of the action. It's a very involved piece of fast-paced movement that works out cleverly as a cycle.

In the scene, Porky slams the door of Daffy attempting to perform Laugh, Clown, Laugh, and exits a different door - but gets ambushed by Daffy who rides him like a buckaroo. Daffy also sings improvised lyrics by singing "I'm a cowboy, yessir 'am!" in the style of Cheyenne. The gag ends as Porky bucks Daffy away as he lands inside a vault, as Porky's had the final stroke.

After a string of musical acts; Ted Pierce takes the locale into a different direction, to turn away from the short becoming too monotonous. Porky has finally left his office and boarded the plane - presumably away from Daffy Duck. Pierce deliberately conceives a set-up, to receive audiences into believing a resolution's in order. Porky has finally began to relax from ordeal, he discovers that Daffy is flying the plane.

Porky's attempts to escape goes to great measures; as he jumps off the plane with a parachute attached to him. Porky unleashes the parachute open, but double-takes at the realisation that Daffy is the parachute.

Ted Pierce's knack for good structure is evident as he momentarily changes the scenario for the cartoon in keeping the cartoon's pace fresh and exciting. The locale change is paid off with Daffy always on his trail - an exaggeration on his determination.

After a series of outrageous, impetuous performances from Daffy - he declares: "And now the kid goes into a finale, and what a finale!" As he exits to perform the action, Porky is startled from what he perceives. This cuts to a single montage shot of Daffy performing multiple tricks, like juggling, riding a unicycle, etc. Stalling's use of the Can-Can score from Jacques Offenbach's Orphee aux enfers adds to the comic effect.

Animation by Gil Turner.

While the gag is perceived to be showing Daffy performing multiple tricks in a finale; it could be interpreted that Daffy hasn't yet reached his conclusion. So, the use of multiples add to that effect. In that aspect, Porky finally surrenders to Daffy's extreme heckling and persuasion, and allows Sleepy Lagoon to audition.

The shot is remarkable in its complexity of staging, animation and direction; requiring the efforts from many departments. Friz times each action depicted on the screen as a cycle, and his labyrinthine direction is incredibly mind-blowing; considering the number of levels the animator had to do to achieve such a feat. It's also an involved job for the camera department; especially as the multiple actions feature double-exposed shadows that flicker.

Sleepy Lagoon's role in the short serves the purpose of a running gag. In his introduction scene, he comes across as lethargic - as he sits to one corner licking a lollipop, while his agent does all the promotion and performances. Occasionally, he'd silently comment on Daffy's performances and preposterous behaviour with cards that bear rebuses.

A lot of the rebuses were direct insults towards Daffy, like when Sleepy holds a sign of a ham - indicating he's a hammy performer. Another case is the "screwball" or the "corny" signs. It serves as a subtle gesture towards Daffy's absurdity.

For Sleepy's opportune moment; the ambiguity of his hidden talent is finally revealed. He lazily leaves his chair and places the lolly inside a case, then he walks to the centre of the office and begins to sing In the Garden of My Heart in an operatic voice.

He comes across as a naturally gifted opera singer, with skilled vocals supplied by session singer Ken Bennett. He continues to sing divinely until he reaches the high note--but fails to do so. This results in Sleepy coughing vigorously, and croaking "My heart". Even though ending a cartoon with a deadline has become standard of a Warner Bros. cartoon, it's a excellent pay-off, which is hilarious in hindsight considering how Daffy's efforts and annoyance have amounted to nothing.

Not a masterpiece, Yankee Doodle Daffy further emphasises Freleng's love for music; which he uses in an innovative and entertaining way. He exemplifies Pierce's narrative that consist of a series of musical sequences, and turns it into a delightful, fun viewing experience. Ted Pierce explores Daffy's wacky personality into new heights, and his ludicrous job as an agent enhances the character's versatility in cartoons. Porky's role is slightly underplayed in this short, but he still plays a pivotal part in gag set-ups and delivery. The cartoon also cements Blanc's position as a versatile, gifted voice actor who faces the challenges of performing each individual musical piece effortlessly. The short title is a direct reference to the 1942 film, Yankee Doodle Dandy - a fitting pun, as the Jimmie Cagney feature is centred on vaudeville, musical performances, etc.

Rating: 3/5.

Warner cartoon no. 407.
Release date: July 3, 1943.
Series: Merrie Melodies.
Supervision: Chuck Jones.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Bugs Bunny), Michael Maltese, Ted Pierce (Self-caricatured castaways).
Story: Ted Pierce.
Animation: Ken Harris.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Trapped in an uninhabited island, a pair of castaways sees Bugs Bunny as a source for food.

Perhaps the most distinctive element of the cartoon, asides from the background work, are the two castaways. Both characters are self-caricatures of Termite Terrace stalwarts: Michael Maltese and Ted Pierce, who are best remembered for writing Chuck Jones' shorts in his WB career. The premise of the cartoon is centred on two hungry castaways; who discover Bugs as the only source of food in an uninhabited desert island, with a desire to eat him.

Ted Pierce (left), and Mike Maltese (right).

With the self-caricatures portraying the antagonists; one could consider the potential for comedy by adding a unique foe for Bugs Bunny; and using the writers' personalities to blend into their animated counterparts. But, the humour would've been primarily an in-joke; it would've been an innovative concept.

However, I'd doubt Ted Pierce would want to satirise his alcoholism, and this results in the characters having thin personalities which doesn't supplement the caricature. Both caricatures are portrayed with a similar Abbott & Costello persona.

Maltese's caricature comes across as stout and dim-witted; while Pierce's caricature is lanky and a companion of the Maltese castaway. Both characters are granted a running gag, but it has little to show for and no pay off. It merely features the Pierce castaway slapping the Maltese castaway in the face as an acknowledgement of his slow-wits - a very one-dimensional, lame gag.

The opening sequence introducing the two castaways are an example of a wasted opportunity as far as comedy goes. The pair are first seen sitting on a raft, drifting along a choppy ocean. A lot of the action is being overlapped by the elaborate effects of the oceans waving, achieved from Johnny Burton's camera department. An elaborate effect, but very ostentatious, as it overlooks the story elements.

The sequence (animated by Ben Washam) features the two self-caricatured castaways turning delirious, and they go into hallucination spells in wanting to eat one another; while Carl Stalling has Asleep in the Deep playing in the underscore.

It's a pretty stale opening that shows no gag merit and missed opportunities. None of the scenes with the pair tempted to eat one another have comedic values. The quiet, sombre atmosphere feels like a throwback to the awkward pantomime cartoons Chuck Jones was directing only a few years earlier.

The closest the sequence has in getting a gag, is the Ted Pierce castaway's line, "Hold the onions", in a delirious moment of picturing his companion as a hamburger. A popular in-joke in the Warner Bros. cartoons, it's too petty to make the scene worthwhile.

As stated briefly; the beautiful background and layout art are another iconic element in Jones' short. The abstract design almost dominates the short entirely; although it's a stunning portrayal on the castaway's perspective of arriving at a remote island with outlandish scenery. The vertical set-up seen on the right (courtesy of the late Michael Sporn's Splog) is a prime example of abstract, and yet beautifully dynamic.

Whether or not Chuck's layout artist John McGrew had much influence on the layout work is uncertain, as the early Warner cartoons omitted such information. However, the experimental background work in this cartoon is credited to Bernyce Polifka; who replaced McGrew around that same era. So, it's likely McGrew left around the time the short was in early stages of production.

The reception of these background innovations were strong and acknowledged by some artists in the industry. This is evident in a cartoonists' union newsletter, The Animator, dated: December 24, 1943, when Disney layout artist Karl Van Leuven reviewed the background work in this cartoon:

"This opus is notable not for its habit-formed story, but for the imaginative experimentation of its layout and background".

Van Leuven goes as far as to acknowledge: "Schlesinger is pacing the current background breakaway from cute."It's a great document that reveals the small recognition Fleury and Polifka received from outside the Schlesinger studio; and a rare acknowledgement for its time. For more on the quote, see Michael Barrier's Hollywood Cartoons, p. 446-447.

For the most part; the short is hampered with a quiet atmosphere that feels reminiscent to the sluggish pace of Chuck Jones' earlier cartoons. While the gags are there; they are delivered the wrong way. However, the scene in the castaways's foiled attempt in enticing Bugs to jump into the cauldron to collect the coin is nicely executed.

Bugs' bathing in the cauldron is a gag recreated from Hiawatha's Rabbit Hunt...although in the former, it's delivered much better. Bugs sings as he bathes, and tricks the fat castaway into thinking he's giving him a bath, as he requests to have hot water poured down his back.

The timing and character animation of the scene is slow and awkward; that feels unneeded for a cartoon with potentially hysterical moments. The premise feels misplaced and contrasting to the more vibrant tribal dance scene.

Fortunately, the short's poor opening is swept away with the short's funnier sequence that are inventive and entertaining. The sequence of Bugs' semi-disguised as a native, and greeting the castaways is the short's highlight in my book. Not only is Mel Blanc's delivery on Humuhumunukunukuapa'a'a'a hilarious; but Bugs' foreign language translated into English subtitles is sublime.

The gag features Bugs speaking prolongedly in a foreign accent that deceives the listener into believing the message is long, but the English subtitles reveal he's simply saying: "What's up, doc?". And vice versa, his shorter messages are even longer in English. The subtitle translation are a parody to the gag popularised in Bob Hope's radio shows.

The gag is extended to a funnier follow-up, where the Pierce responds: "Well, thanks"; and takes as he reads the foreign subtitle translations underneath him. The Maltese castaway's remark, "Gee, did you say that?" is a clever, subtle usage of breaking the forth wall.

Bugs' rendition of a tribal dance is hilariously executed by the wonderful work of Bobe Cannon. Cannon brings a lot of spontaneity and haste into his work; that's full of life and energy. Impressed by his dancing, the two castaways attempt to mimic his dance - which results in something silly and hysterical.

Acknowledgement must to Carl Stalling for bringing tribal music into excellent form - creating a believable atmosphere to the foliage island. The off-screen tribal chant is also a nutty but appropriate addition. As the castaways dance awkwardly, Bugs sniggers and walks away; making them a victim of Bugs' infamous pranks.

If Chuck Jones ever had an animator who was reliable for animating the most challenging stuff...it was Ken Harris. Harris has the feat of bringing life and believably to a skinned chicken who advances threateningly towards the two castaways; who are oblivious to Bugs' handling of it like a marionette. Ken uses strong poses to add realism to his work, as well as a sharp eye for clarity.

The skinned chicken, controlled by Bugs Bunny on top of a tree house, threatens the two castaways convincingly by setting the notion that the chicken is possessed, causing the pair to cowardly back away. After all, I'd be fooled if I saw a roasted chicken with the ability to snap a fork.

The sequence also serves as a pinnacle moment for Bugs Bunny who is playing with the minds of the castaways' delirious episodes. The castaways see through the trick; as they look up Bugs at the tree house, struggling to adjust the strings of his marionette piece.

At first, the pair successfully retrieve the skinned chicken, that is, until Bugs yanks the strings away; with the skin that follows. Chuck's strong posing goes unmatched as the castaways break down and bawl over their hopeless circumstance.

At this moment of despair, some hope is immediately restored when they see a ship dock by the uninhabited island. In a series of quick shots; they exclaim: "A ship" and celebrate in a delirious state. Bugs, once again, takes advantage of the situation; and decides to have the last laugh.

He interferes with the celebration by tossing leis at them, as they chant: "We're going on a boat!" He supposedly greets them farewell as they advance towards the docks. It's an amusing piece of incoherency that an uninhabited island somehow has its own docks; but, can be taken for granted.

Then, Bugs connives them in a time-honoured switcher-roo trick; as he boards the ship, while the castaways wave goodbye to Bugs. It's a crafty characterisation that only Bugs could pull off spontaneously. With the pair of them going into a double-take upon realising they've been tricked from going on-board; they realise their situation is even more hopeless. To end the short, the pair go into another hallucination episode where they imagine each other as a hot dog and hamburger; and chasing each other in the distance. While the ending comes across as a humorous resolution - it has a dark approach to it; leaving their fates ambiguous.

Like The Aristo-Cat, the cartoon is dominated with beautiful, abstract backgrounds that would intrigue a variety of artists. As a whole, the short is passable at best. One of the major drawbacks of the short is the missed opportunities from the Mike Maltese and Ted Pierce castaways. It's a pity on how two very funny cartoon writers are playing themselves as two unfunny characters. In comparison to shorts like Super-Rabbit where Chuck excelled in the Warners pace and sheer energy - the short is somewhat lacking in that. With story and direction problems aside; the cartoon contains some gems of its own: primarily the tribal dancing scene, which has the true spirit of a funny Warner Bros. cartoon than any scene here. Bugs Bunny's characterisation and admired quick-wits aren't utilised to its greatest advantage; but he has his moments of brilliance, as depicted in the latter part of the cartoon. All-in-all, a so-so cartoon.

Rating: 2/5.

Director: Friz Freleng.
Release date: July 1943.
Starring: Mel Blanc (Snafu / Technical Fairy).
Music: Carl Stalling.
Sound: Treg Brown.

Synopsis: With help from the Technical Fairy, Private Snafu attempts to change the regulations of the army base under his supervision.

While Coming: Snafu!! was presented in the form of a trailer to set the standards of the series; Gripes is the first to make use the formula based around morals. The short represents as a satirical element on soldiers living away from their comfort zones. During their service in the army, the soldiers don't have the luxuries they once had in an easier life, and instead, complain about army life and its conditions.

Private Snafu is a prime example of those soldiers; by refusing to take his service patriotically and moaning about how unfair the army is to his human rights. The opening scenes are primarily exposition in illustrating Snafu's gripes on military life - and a satire on astonished soldiers enlisted in the army realising doesn't entirely consist of combat and action.

An effective layout depicting
the line / griping and moaning is
not a good sign!

This is evident in the opening scene of Snafu peeling potatoes, as part of his KP (abbreviated for 'kitchen patrol'). His multitasking efforts are nicely exaggerated as a gag. Theodore Geisel (known to many as the infamous Dr. Seuss), utilises the dialogue with his rhyming trait that emphasises Snafu's irrational perspective effectively.

Snafu gripes: "Ahh, I joined this here army to join in the fun / of jabbing the Jap and huntin' the Hun! / and look at the job they handed to me / KP! KP! KP! KP! KP!" Dr. Seuss' usage of the rhyme scheme to create informal, distasteful dialogue to an illiterate crowd is somewhat surreal; considering his reputation as a children's author.

In a sequence where Snafu is confined to a sickbay; Snafu expresses idealistic fantasies, as quoted: "If I ran this army, boy I'm telling you / I'd make a few changes, that's what I'd do!". At that moment; marks the first appearance of the side character: Technical Fairy, First Class.

Although stereotyped as a thuggish G.I. look; Technical Fairy plays a pivotal role in the Snafu series; as he grants utopian wishes for Snafu; only to deliberately wound up in disaster - to teach Snafu a lesson in the long run. To some extent, represents the unconscious mind of Snafu.

The grants his wish, "I heard ya say it, that everything stank / that you'd run things different if you had more rank / so as Technical Fairy, I gotta good notion / to give ya a chance, pal. Here's a promotion!". And so, Technical Fairy uses his wand to cast a spell on Snafu by promoting him as master sergeant ("The boss of the woiks!"). To add the right touch, Technical adds a high-ranking military insignia to adorn the sleeve.

The Schlesinger staff continue to take advantage of certain liberties by adding touches of risque humour that goes beyond the Production Code's control. Gripes has elements of scatological humour, as seen in the vaccination sequence, although it is kept in good taste.

The iron determination to entertain military soldiers is evident as the doctors give Snafu a jab directly on his tattoo of a burlesque woman's rear end. In reaction, the inanimate figure springs to motion as she yells in pain. The gag is successful in spontaneity and timing combined.

Psychology is used inventively and hysterically to deceive Snafu in getting his vaccination. A doctor hands Snafu a document to grant him a three-day pass. The doctor's hand deliberately drops it in front of Snafu, and as he bends down to retrieve it: a giant booster pricks his rear end. Freleng's comic timing blends well for the anticipation and reaction to the booster shot.

The use of risque imagery on women is also there; especially in a scene to emphasise Snafu's utopian fantasy. Snafu is seen treated with royalty as he's being comforted by the company of women dressed semi-naked. While the scenario has been depicted in animated cartoons beforehand, the girls' clothing is incredibly racy. Not only is this seen through the feature of the navel; but one girl is wearing a see-through veil around her naked body.

Snafu exploits his power and authority over the army; as he allows his privates to loathe around with women - without consideration on enhancing military training. His fun is other as he is warned by a sudden appearance of Technical Fairy, who warns him of an incoming German raid.

Thanks to Snafu's incompetence, he discovers his troops have become undisciplined for combat - leaving his predicament in turmoil. This builds to a suspenseful climax, as a German plane releases a bomb, targeting the army base.

Snafu turns to cowardice as he digs a hole in the ground and buries himself underneath, leaving his rear end sticking out. This marks the earliest use of Raymond Scott's Powerhouse, which has since been popularised in capturing the energy and spirit during Warners' golden era.

The gag escalates, as the Nazi bomb abruptly halts in anticipation; by pinning a target poster on Snafu's rear end and then, creating destruction all round. The impact cross-dissolves back to reality; where Snafu awakens from the nightmare his sickbed. And so, the morale is enforced on Snafu; who becomes even more motivated in performing his duties. The Technical Fairy appears in the last shot, informing him: "The morale, Snafu, is the harder you woik, the sooner we gonna beat Hitler, that joik!"

Gripes presents an exaggerated, yet believable representation of desires and idealism. Snafu's fantasy is visually well expressed in emphasising the sense of escapism that is otherwise not practical. The moral built around the short is very encouraging and patriotic, as well as a rare moment in Snafu not "fouling up" in reality. Friz Freleng's take on Snafu is sublime, as more depth is given to his personality, instead of a mere typical portrayal of a buffoon. The introduction of the Technical Fairy is a great addition; as the character adds some scope built around the series' environment.

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