Likely Looney, Mostly Merrie

Warner cartoon no. 408.
Release date: July 17, 1943.
Series: Merrie Melodies.
Supervision: Bob Clampett.
Producer: Leon Schlesinger.
Starring: Harland C. Evans (Fats Waller cat), Leo Watson (Scat singing), Clifford Holland (preacher), Eddie Beal, Carl Jones, Audrey Flowers, Eddie Lynn (singers), Mel Blanc (Rubber band). (Thanks to Keith Scott).
Story: Warren Foster.
Animation: Rod Scribner.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: A Fats Waller-caricatured cat is led to temptation in a jazz nightclub, followed by a surreal
experience.

Animation by Bob McKimson

While the cartoon is suppressed underneath the Censored Eleven package and is today remembered for its racial stereotypes; I feel a disclaimer is always necessary. The short indeed contains racist imagery, although as a reviewer I understand the context, and always intend on writing an unbiased review. As to why the characters are portrayed as cats, I don't know. Now, onto the review!

While Bob Clampett's Coal Black and de Sebben Dwarfs primarily celebrated the African-American jazz culture; Tin Pan Alley Cats appears to demoralise it. The short is depicted as a moralising tale on clean living, with the protagonist being a Fats Waller caricatured cat - and Waller, in reality, is infamous for his upbeat lifestyle.

The moral is enforced in the short's opening sequence where the Waller caricature is being warned by a street preacher from entering the jazz nightclub. The preacher warns him he'll be tempted with "wine, women, and song" should he enter the nightclub. As far as historical context goes, today it would be considered a lifestyle; especially since the rule-of-three phrase has been modernised today as "sex, drugs, and rock n'roll".

Bob Clampett was notorious for sometimes missing deadlines and going over-budget; and the cartoon appears to be a prime example of that (which shall be discussed further shortly). Nevertheless, the short utilises some of Clampett's quality in an economic factor.

For example, the opening overlay shot depicting the docks at night is alluring in atmosphere, whilst cutting corners as far as animation footage goes. An off-screen chorus singing By the Light of the Silvery Moon enhances the mood elegantly.

Then, the scene cuts to the Waller cat's introduction in a cocky walk cycle beautifully animated by Bob McKimson. McKimson uses the keeps the action entertaining in an economical way. He uses clever cycles such as the cat's eye on an attractive womanly-figure feline (perhaps a design counterpart of So White), only to be discouraged by an intimidating, broad boyfriend.

The establishing shot of a street featuring the nightclub and the mission not only contrast each other in atmosphere, but in colour, too. Michael Sasanoff, who was likely painting backgrounds for Clampett at this point, paints the scenario inventively to create a juxtaposition in mood. The emphasis of fiery colours for the nightclub brings spirit and excitement; whilst the mission uses moody colours to create a more macabre look.

Whether the cartoon was a casualty of Clampett falling behind schedule or going over-budget; we'll likely never know. Animation re-use was a common practice amongst many directors from several animation studios; especially if it saved dollars during the Great Depression. Sometimes, re-use worked if it was subtle, or otherwise, practical (like crowd scenes). Clampett, however, uses re-use animation here in a sloppy fashion.

Once the Fats Waller cat enters the nightclub - he engages in some razzmatazz as he performs the popular song, Nagasaki, in an almost entire sequence complete with retraced animation and a reused soundtrack from Friz Freleng's, September in the Rain (1937).

The staging and animation is an
almost spot-on match.

Some scenes scattered around the sequence is replaced with new animation; like the shot of a roast chicken frightening the customer by coming alive and doing the jitterbug. A short I'd nominate as the most unsettling stereotype in the cartoon.

True, 1943 audiences wouldn't have had the slightest notion the sequence was lifted from a 1930s Depression-era cartoon, but as far as continuity goes: it's very inconsistent. As both cartoons were produced six years apart; the Schlesinger studio had a very different style to producing cartoons compared to 1943. The policy of featuring popular songs in a Merrie Melodies was still enforced, even if it had toned down; but the animation style and timing were more conservative. And so, the recycled sequence reappearing during Clampett's energy driven era as a director feels very out of place.

Re-use animation is enhanced further in a surrealistic sequence taken from Clampett's earlier masterpiece, Porky in Wackyland. Since then, Bob Clampett has extended his talent as a director further, and whether or not this was Clampett's intention; he has many missed opportunities. The thought of Clampett enhancing surrealism further than what he'd accomplished in Wackyland, would've been a fulfilling experience.

Anyhow, the Fats Waller cat falls into a hallucination where he enters a surrealistic fantasy that has taken him "out of his world", literally. The cat's first exposure to the fantasy is indistinguishable to Porky's experience. The character spends most of the time exclaiming in his animated counterpart's phrase, "Wot's the matter?", which isn't enough to save the sequence entirely.

Many unusual creatures reappear, from the critter's tender flute playing of William Tell Overture to the Al Jolson duck shouting, "Mammy", across the scene. Michael Sasanoff at least attempts to revitalise the sequence with some altered background designs, and the use of colour to utilise the surrealism effectively.

Again, occasional new animation resurfaces around the sequence; like the Waller cat exclaiming, "Wot's da matter wiv 'im?" as he watches a critter chopping car tires with an axe. The gag itself fits in with the short's historical context; considering the World War II tire rations.

Animation by Rod Scribner.

However, the re-used animation of the surrealistic world wasn't a total loss of opportunity. Clampett makes room for innovative gags that is freshly animated to make up ground - and that fits in the style of Clampett's energy. This is evident in the first scene of the surrealistic world.

The Fats Waller cat exclaims, "Where is I at?", in which a giant lip emerges and responds, "You is out of dis world!". As the cat turns and shouts, "Was that you?"; the use of the Kitzel reference: "Hmm, could be" and flipping its lips was certainly not unknown of Clampett in that present era.

For the climax of the Waller cat's surrealistic episode; Clampett also blends in some more original material that's fitting to his style. Whether Clampett had no alternative but to recycle animation from his earlier cartoon due to budget constraints is still unknown; but the finale itself is inventive and, indeed, far more surreal.

The Fats Waller cat watching a parade of rubber bands is a prime example of Clampett's charming use of corny puns. Mel Blanc adds to the delivery hilariously with his infamous 'armpit' sound effects - adding a dimension to the eccentricity of the surreal concept.

The concept gets even stranger as the Fats Waller cat encounters his national enemies, Tojo and Hitler in odd proportions, bumping each other's asses. This is soon followed by Stalin dancing the Cossack, whilst giving Hitler's rear and shouting "'Ay!" the right delivery of the dance. It's a great portrayal of emphasising the Fats Waller cat's desperation of escaping the fantasy with the addition of fearsome dictatorships.

Clampett also has his moments of brilliance as a visionary. In a sequence where the Fats Waller cat scats with another jazz musician, he declares, "Send me out of this world!". The Fats Waller cat floats in mid-air, as the trumpet blows around him - causing the size to increase on impact.

This is beautiful visualisation of the cat's entrancement of the music empowering him - and the result of a metaphor of the cat being, literally, "out of this world".

The innovative concept comes into play again, as the Fats Waller cat returns to reality. And so, the Fats Waller cat rapidly exits the nightclub, completely reformed from his traumatising hallucination. He joins the street preachers as he pounds on the drums to Give Me That Old Time Religion. With his catchphrase being a running joke of the cartoon; the street preachers use the catchphrase "What's the matter wiv 'im?", in unison, as a response to the apparently-reformed cat as the short ends.

Not only has the cartoon not aged well because of the stereotypes and suppressed distribution - but also the heavy re-use of animation. Without going too much in depth about the stereotype, what I find the most baffling is that the characters were all turned into cat form (corrected: see comments below), which feels uncalled for, and doesn't desensitise the caricature. The lacks the vitality of what made Coal Black a Bob Clampett tour-de-force. Although it remains uncertain whether the short was a punishment for Clampett's budget problems; it's a high possibility Clampett hadn't that intention. Whatever opportunity Clampett made use of in the short - he uses it well; especially the new material for the hallucination sequence. With directing issues asides; the short has some fun elements to it, but overall, could've been a lot more superior.

Rating: 2/5.

Warner cartoon no. 409.

Release date: July 17, 1943.

Series: Looney Tunes.

Supervision: Frank Tashlin.

Producer: Leon Schlesinger.

Starring: Mel Blanc (Porky Pig / Daffy Duck / Hotel Manager / Bugs Bunny).

Story: Melvin Millar.

Animation: Phil Monroe.

Musical Direction: Carl W. Stalling.

Sound: Treg Brown (uncredited).

Synopsis: Porky and Daffy attempts to escape from paying a huge hotel bill is thwarted by the hotel manager.

Frank "Tish Tash" Tashlin

In September 1942, not only had the Schlesinger studio finally achieved an identity for their innovative style of humour in their cartoons; but it also marked the return of another influential force at the Schlesinger studio. Arguably one of the greatest and most diverse cartoon directors, Frank Tashlin returns to the studio for the third time, as a story director - after a four year stint at Disney and Columbia's Screen Gems.

Frank Tashlin, as witnessed previously in this blog during his first tenure as director, was best known for his cinematic style to animated cartoons. Not only had he achieved sharper timing within the studio; but gave his cartoons a streamline design. Tashlin, like Chuck Jones, loved to experiment and did so to his full extent. His experiments would pay off, as he still maintained the spirit and energy that the studio's reputation prided with.

Not long afterwards, Frank Tashlin would return to his former directing position by succeeding Norm McCabe's black-and-white unit. Since his last directorial effort at Warners in 1938; the Warner Bros. animation studio had enhanced significantly in style and pace. Since his return, Frank Tashlin shows no struggles of adapting to the change, although felt he lost a lot of seniority by then, as recollected in Michael Barrier's interview: "I had to come up from the cellar again". In the wake of his four-and-a-half year absence, his first released short Porky Pig's Feat provides an excellent comeback for the director.

If there was a layout artist with the ability to meet with the complex demands of Tashlin's directing; Dave Hilberman is the right candidate. Layout is relied upon heavily throughout the cartoon, and Hilberman's pivotal work on the short is sublime. Like Tashlin, Hilberman was an innovator; and his avant-garde approach to layout and designs create a fitting match for the maestro.

Melvin "Tubby" Millar's narrative is kept simple and to the point: Porky and Daffy attempt to avoid payment on a huge bill, and pull off various escape attempts from a tenacious hotel manager, who stops at nothing, to ensure their bill is paid. Millar splits the narrative structure.

The first half of the short is all exposition, as seen in the opening scenes. After Porky observes an unfair hotel bill (for which he and Daffy are charged for every luxury including breathing and goodwill), the following scene dissolves to Daffy Duck gambling away during a game of craps in the elevator.

The sequence is beautiful not only in direction, but in suspense and atmosphere. Tashlin utilises his cinematic techniques in making the craps game ambiguous - only Daffy's silhouetted hand and cry for luck inform the audience of the situation. Once Daffy rolls the dice, an unseen croupier (impersonating Eddie Anderson) shouts, "Uh-oh. Snake eyes. Too bad! You is a dead duck, duck!". The elevator door slides open revealing a dejected Daffy walking away in sombre, after blowing his entire money on gambling; meaning there's no other alternative to paying the bill. Daffy's pose is beautifully staged in capturing the melancholy mood, and Carl Stalling's use of Blues in the Night underplayed fits the locale effectively.

An interrogation so intense, in a
few frames, Daffy's mouth appears
monstrous.

Offended by the manager's sceptical response concerning Daffy Duck, he busts in on his face, glaring and dominating him threateningly. Another marvellous Tashlin trait was his ability to pose characters in exaggerated positions, and enforce the poses far longer than the other directors would anticipate. This is largely showcased in the scene as described. Daffy presses the manager's face the point his face sinks inside; in unparalleled Art Davis animation.

He interrogates him in an unforgettable speech written by Tubby Millar: "Insulting my integrity, eh, fatso? Insinuating I'd flee this flea-bitten dump, eh, fatso?" Intimating I'd abscond with your financial remunerations, eh fatso?". Once he's finished, Daffy slides his head away from the manager's squished face. Amused by the outcome, he remarks: "Hey, look! A Dick Tracy character. Pruneface!". It's a remarkable piece of staging that indicates Tashlin's fearlessness as a director - by attempting what other directors wouldn't try, and all for a marvellous effect. After exchanging some violent outbursts from each other; Porky and Daffy begin their greatest escape plan had they succeeded.

While Frank Tashlin relied heavily on filmmaking techniques in his approach to cartoon directing; a lot of his camera work was used for comedic purposes. After Daffy's little altercation with the hotel manager; he prepares to slap Daffy with his glove. A close-up of Daffy Duck ready to anticipate his slap; and then camera pans over to Porky. As the slap is interpreted by Porky's reaction, the camera pans back to Daffy Duck, revealing a severe sting on his face from the glove. It works effectively in depicting cartoon violence in a satirical way, and to some extent, it pokes fun at the Production Code's restrictions on violence portrayed in film.

Not only does Tashlin pay homage to the use of mise en scene for filmmaking; he also pulls off complex camera techniques only effectively in cartoons. While Schlesinger stalwarts like Friz Freleng and Tex Avery were masters in fulfilling difficult camera actions successfully; Tashlin takes the feat beyond.

A striking example occurs in Daffy and Porky's first attempt in escaping from the elevator. The camera trucks in to the elevator clock sliding, and then damaged on impact. The elevator door arises to find Porky and Daffy backing away from a menacing hotel manager (with flypaper still attached to his face from earlier), and end up back where they originally started. And so, the angry manager protests: "And you don't get out until you pay up!"

It's a remarkably complex piece of work, requiring the effort of Hilberman's layouts and Johnny Burton's department. The staging and planning is incredibly inventive and outlandish in depicting a failed attempt of escaping down an elevator. On a plus note, the grimace expressions on the manager (as well as Porky and Daffy's awkward poses) are priceless and intimidating.

Animation by Cal Dalton.

Tashlin's filmmaking approach is incredibly diverse in the cartoon; not just in camera techniques or timing, but also in composition and scale. For the hotel manager; Tashlin exploits the character's size to make him appear larger than normal. It's utilised effectively in the opening scene; where he daunts Porky about the bill, "You will, of course, pay the bill now before you leave, no?".

The camera pans down to an intimidated Porky who bluffs, "My partner Daffy Duck will be right back. He's out cashing a check!". The size of the manager works effectively to carry out an intimidating appearance.

Frank Tashlin's love for cinematic camera angles doesn't go missed in this cartoon. For the sequence where Porky and Daffy attempt to slide down the hotel building from a rope made from bed sheets; he uses the camera angles for timing purposes.

Tashlin uses low-angle shots of Porky Pig at the ground, stuttering and yelling, "Hurry up, Daffy, don't dilly-dally! Time's a wastin'!". Little does Porky realise as he's standing on top of a drain cover; that the manager is hiding underneath the sewer, and planting matchsticks underneath Porky's feet to give him the ol' hotfoot.

The depiction of only featuring the manager's hands enhances the suspense of the action further; and it's paid off as Porky zips upwards, as he reacts to the hotfoot. Also, Tashlin still remains true to the spirit of the Warners humour; as Daffy lustfully whistles at an open hotel window, implying he's staring at an attractive woman undressing. The next shot reveals, however, an illustration of a female model in a magazine.

Perhaps the most memorable technique Tashlin employed in this short is the elaborate seqeunce of the hotel manager falling down the staircase. In the sequence, Porky and Daffy lock themselves in their hotel room, and the manager tries to break down the door. And so, Porky and Daffy pull down the rug; causing the manager to crash and bump down the spiral staircase.

The camera pans down to reveal the complex layout work; seen as a simulated tilt shot. Hilberman's genius layout technique emphasises the infinite journey the manager has to endure, along with Mel Blanc's delivery on the yells. In the following scenes; extreme close-ups of Porky and Daffy's eyes watch the manager stumbling down the stairs. The manager's bumps are reflections from their pupils. Speaking of reflections, Tashlin uses it in the short sporadically; particularly in the shot of Daffy Duck's reflection seen through the hotel manager's monocle, as he's about to give Daffy "the field of honour."

Frank Tashlin also experiments and makes effective use of his timing skills. For fast-paced scenes like Porky's reaction to the hot-pot; he uses streaks and fast cutting (which he used primarily on earlier efforts like Porky in the North Woods and Porky's Romance) to depict the action. To create impact and weight in animation action; Tashlin's timing works effectively for scenes like Daffy yanking the flypaper off the manager's face - portrayed with a controlled and yet exaggerated use of squash and stretch.

While the pacing is quintessential of Tashlin's work, he also uses elements of subtlety that portrays humorous situations beautifully; particularly evident in the sequence ready for discussion. Once Porky and Daffy's plan of causing the manager to stumble down the stairs has supposedly worked; a recovered manager zips up the stairs in a flash; causing the pair to lock themselves in their rooms once more and pull off the stunt once more.

However, the manager has learnt from his mistakes and deceives Porky and Daffy into thinking he's fallen by imitating the agonising yells outside their door. The pair step outside to listen out for the yells; without realising he's right beside them. His yells turn calmer, causing Porky to double-take and crack Daffy's neck forward. The cracking action is a beautiful, subtle piece of timing - excelled from Phil Monroe's character animation and Treg Brown's virtuoso sound effects.

To create definitive cartoon timing and comedy; Carl Stalling is the reliable candidate in enhancing the effect. Infamous for his usage of Raymond Scott's Powerhouse, Stalling takes advantage of the frantic, episodic music by turning it into an innovative cue for wild cartoony action - like the hotel manager frantically ramming at the door in frustration.

While Scott's piece has been heard previously for the climatic sequence in the Snafu short, Gripes, this is the first usage of the piece in a Warner Bros. cartoon - as well as the start of a great legacy.

As far as gags and humour goes; Tashlin was not much different compared to Bob Clampett or Tex Avery, as the standard Termite Terrace humour remained intact in his shorts. A gag popularised by Tex Avery is borrowed in this short; but used in an unpredictable, spontaneous fashion. The hotel manager crashes into a hotel door; flattening door. Once he's recovered; he opens the door, but finds another door. He continuously opens an endless number of doors, until he finds one with a sign attached, reading: "Monotonous, isn't it?"

After one final attempt of escaping the crutches of the hotel manager; Porky and Daffy swing across the rope to another building; only to be cornered once again by the manager. The manager wins the battle and imprisons the pair in a hotel room for evading their bill.

Months past, Porky and Daffy are still imprisoned and full of despair. Bugs hopelessly stutters, "Gosh, if Bugs Bunny were only here". The following sequence is fitting reference to the character; as Porky and Daffy represent the majority of people who admire his mischievous antics - and the pair reminisce a scene from a non-existent cartoon. Porky's fourth wall crack, "I saw him in a Leon Schlesinger cartoon once" must've been an amusing reaction from Schlesinger's viewing of the short.

Feeling hopeful and optimistic of escaping the macabre hotel room, Daffy advances towards the telephone box to call Bugs Bunny. For the first time in Warner Bros. cartoon filmography; Daffy Duck converses with Bugs Bunny. Not as an enemy as how he's been immortalised and marketed today; but as an ally.

"What's up, duck?" Animation by
Izzy Ellis.

Daffy explains the predicament of his and Porky's situation, and consults Bugs on the phone on some pointers of escaping. Bugs suggested all the stunts they attempted earlier in the cartoon: like the elevator, throwing the manager down the stairs, using the sheets to swing across on the rope.

A sample of the abrupt "jump cut"
technique, popularised in Goddard's
Breathless (1959).

For Daffy's phone call to Bugs; Tashlin establishes a technique that was almost unheard of in Hollywood filmmaking. Tashlin uses jump cuts to bring the camera closer and closer to Daffy's face. It's used ironically to create dynamics and suspense in an otherwise casual phone call.

Animation by Phil Monroe.

The" jump cut" technique wasn't used extensively until Jean-Luc Goddard's French New Wave film Breathless (1959) (a sample of the technique can be viewed here). From a film history perspective; it's fascinating to see how ahead of his time Frank Tashlin was, and the liberties he took during Hollywood's studio system era.

And so, Daffy comes to the point in the phone call: "We've tried all those ways". Then, a door to the next room opens up to reveal Bugs Bunny (in his only black-and-white appearance in a Warner cartoon), also in the same situation as Porky and Daffy, with shackles attached to his legs. He munches on a carrot and remarks, "Ehh, don't work, do they?". It's a hilarious piece of tragedy that exemplifies the hopelessness of escaping a hotel bill, and from the hotel manager.

Although Frank Tashlin would go on to produce a handful more funny, memorable cartoons at the studio, Porky Pig's Feat is perhaps, his cartoon masterpiece and one of my all-time favourite Warner Bros. shorts. Tashlin adjusts to the changes of the studio's style of filmmaking from his departure in 1938 effortlessly, and invests a lot of his talent and abilities into one cartoon flawlessly. Tashlin's cinematic, avant-garde approach to cartoon directing gives the cartoon's action more excitement and fulfilment for the viewer. Humour-wise, Tashlin keeps true to the spirit of the Warner style, as well as understanding characterisation. While Frank Tashlin's 1930s cartoons were mostly hit-and-miss, perhaps due to the material he was given, there's no denying he's returned an improved director. Although one might argue the techniques might've been overused in the cartoon, most importantly - Tashlin never loses sight of the narrative and the importance of keeping the audience motivated; a huge "feat" indeed!

Rating: 5/5.

Director: Chuck Jones.
Release date: August 1943.
Starring: Mel Blanc (Snafu / Various voices).
Music: Carl Stalling.
Sound: Treg Brown (uncredited).

Synopsis: Private Snafu has a secret, and is determined to secure it. However, his loose tongue become an advantage for spies hiding at every corner.

Whilst Private Snafu is the epitome of little common sense within the army - Spies is the definitive representation of "loose lips sink ships".

The potency of spies was an integral lesson during the Second World War, especially through propaganda. British cartoonist Cyril Bird (known as "Fougasse" by pen name), satirised the concept in a series of propaganda posters called, Careless Talk Cost Lives. Many posters featured Nazi henchman or spies eavesdropping at highly improbable places of each locale.

Whether or not Theodore Geisel or the Warner Bros. staff were familiar of the posters is unclear, but through sheer creativity; their concepts of improbable hiding places are excelled.

The short's premise is centred on Snafu receiving a military secret. We never see him being informed of the secret, as the exposition indicates he's already being informed; in order to keep the continuity and pacing at a brisker pace. Snafu is firm about keeping the information privately, but his incompetence and ignorance always gets in the way.

Geisel visualises the spying concepts hilariously and inventively that sets the comedy up wonderfully. Snafu impulsively talks about his military secret, underestimating the various objects surrounding him - like an unattended pram or a horse dummy.

In unison, several spies arise from their hiding locations, declaring: "The soldier's got a secret, and I bet we find it out!". Unaware a spy is hiding inside a phone box, he informs his "mother": "Hello Ma, I've got a secret, I can only drop a tip / Don't breathe a word to no-one, but I'm going on a trip."

So, as Snafu reaches a newspaper stand, he informs the owner he's travelling by ship - much to the interest of eavesdroppers caricatured as Benito Mussolini, Herman Goring, and Emperor Hirohito. Chuck Jones applies a very subtle effect of showing the trio's faces as front covers of the magazine. Once they lower the papers, they're facial features vanish from the print.

Ted Geisel's use of rhyming scheme, and Chuck's visualised gags are utilised together well. In Snafu's opening dialogue: "I just learnt a secret. It's a honey. It's a pip! / But the enemy is listening, so I'll never let it slip / 'Cos when I learn a secret, boy, I zipper up my lip", Snafu literally zips his mouth shut; making the gag visually appealing towards army recruiters.

Other innovative forms of visualisation appears in a diagram of Snafu's brain locked with "a padlock and chain". It creates a stunning visual metaphor that blends with Snafu's determination.

The gag comes to greater effect in a latter sequence of Snafu getting intoxicated at a bar. The spirits pouring inside Snafu's body begins to evaporate, causing the vapour to steam towards Snafu's brain. The vapour circulates the padlock and chain to dismantle. Not only is the scene inventive for visual storytelling, but it's an accurate portrayal on how manipulative alcohol can be to one's mind. The suspense is built appropriately towards Raymond Scott's infamous Powerhouse, with Chuck's timing coordinated with great care.

Once Snafu's consumption of alcohol has taken its toll; he drunkenly approaches an attractive woman, full of lust. As noted before, the sexual qualities of women is a key theme to the Snafu series. Although the blonde's portrayal as a sex tool to distract Snafu might be considered derogatory today - it still builds up the suspense fittingly.

Snafu accidentally reveals the location of his trip as he lusts, "I hope I meet some babes in Africa, s'cute as you are!". Typing on a miniature typewriter underneath the table; the blonde spy hands the note to a messenger dove once disguised as a glamorous feature on her hat.

After some time, Snafu drunkenly enjoys an erotic night with the blonde spy, but once again reveals new crucial information: "But I've gotta get a move on, I sail at half past four!" The camera trucks in on the spy's breasts; with a dissolve that reveals hidden radio speakers.

As derogatory and yet creative the gag is; the short emphasises the dangers of strangers resourcefully - especially with babes. Bobe Cannon's work in the latter sequence requires a great deal of analysis - and yet he pulls it off effortlessly. He wonderfully captures the subtleties of an undercover spy with limited movement - whereas Snafu is animated more loose in his drunken, staggering position.

Once the word reaches Hitler - the order is carried out to sink Snafu's liner. Composition and scope is used to its great advantage in the sequence of Snafu discovering the German submarines. The use of long shots of the submarines cornering the ship, or forming into a swastika creates excellent dynamics.

Alerted of the enemy, Snafu bellows: "Full speed ahead!" - but the ship whisks away with extreme force, to the point of Snafu falling into the middle of the ocean. Surrounded, the submarines fire torpedoes at Snafu.

This results in an elaborate layout of the ocean forming into a sinkhole; which is where Snafu falls. Johnny Burton's camera department apply a remarkably complex effect as the sinkhole vertically pans down to the fires of hell. Annoyed, Snafu wonders: "Now who in hell do you suppose it was that let my secret out." Then, the devil personified as Hitler appears, saying "What was that I heard you say my little sauerkraut?" The scene presents a good case of how the Snafu cartoons were beyond the control of the Production Code. Geisel takes liberties of this, like the use of "hell" as a pun; which compared to a Warner Bros. cartoon like Draftee Daffy, it could only be almost uttered.

Spies is represented as an excellent hyperbole and morale to the dangers of spying and eavesdroppers. Whilst it's all played up for comical effect with the spies' discreetness being improbable - the premise never fails to portray the consequences. The eavesdropping gags are used so inventively and believably to the point the viewer is persuaded by danger lurking at every corner. Geisel's writing on the short is sublime; from Snafu's antics right down to the memorable rhyming dialogue. The short makes it clear Snafu intends to be discreet on his secret, where his mistakes only make him human.

Warner cartoon no. 410.
Release date: August 21, 1943.
Series: Looney Tunes.
Supervision: Frank Tashlin.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Daffy Duck / Hitler / Lincoln), Dorothy Lloyd (Whistle). Thanks to Keith Scott.
Story: Don Christensen.
Animation: Art Davis.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Daffy Duck confronts a billy goat, whom was sent by the Nazis to demolish his scrap pile.

Although the cartoon is showered with propaganda tendencies - the premise operates like a standard Warner Bros. cartoon. Daffy Duck is devoting his time collecting scraps for the war effort; but Hitler attempts to thwart his plans by sending a billy goat to destroy his scrap pile.

For a concept relatively straightforward, Frank Tashlin never shies away from his innovative direction and artistic abilities. Like Porky Pig's Feat, he attempts to give the cartoon a cinematic scope, without losing the entertainment value - a feat he excels at.

The opening sequence is a prime example of Tashlin's attempt to combine entertainment and patriotism fluidly. Daffy's purpose is to encourage audiences in cooperating with the war effort. By doing so, he sings the popular wartime song We're in to Win, and lists out numerous items to be used as scraps.

The sequence is largely informative; and Tashlin compensates this by adding visualised gags - like having Daffy climb the scrap pile, like a mountain. Frank ic bathing suit; acknowledged by Daffy's wolf-whistle.

To enlighten wartime audiences, the Warner staff don't hesitate to ridicule their enemies. Tashlin inserts a visual pun of Daffy's mirror reflections morphing into the Axis leaders: Hitler, Mussolini, and Tojo; as they each yell "Freedom's foe" with their stereotyped accents--causing the mirror to shatter.

Tashlin also applies a hilarious cross dissolve effect to mock Hitler; that is perfectly clarified visually. Once, Daffy finishes his song, he remarks bitterly: "Well, how d'you like that? Schicklgruber?"--the name being a reference to Hitler's father's original surname. The camera pans to the rear end of a mule facing sideways. The scenes changes through a match dissolves to Adolf Hitler reading a newspaper.

Frank Tashlin's cinematic style is perhaps best highlighted during the montage sequence of Hitler and his comrades ordering the destruction of Daffy Duck's scrap pile. The scene begins with Hitler reacting offensively to Daffy's witty headline on the scrap pile, reading: "Mussolini in scrap heap - now let's junk Hitler!".

Hitler rants in the German tongue, which is comically translated as "Non aryan duck". Hitler's anger goes so far, he ends up shredding his carpet like an animal! And so, he orders for the scrap pile to be destroyed.

"Destroy that scrap pile!"

This follows into an elaborate montage sequence, of Hitler's officers forwarding the orders: "Destroy that scrap pile!". Tashlin's innovative use of dynamics fits wonderfully. He applies silhouette and closeups of officer's hands; which enhances the suspense. The choices of composition are almost on par with master filmmakers, like Alfred Hitchcock or Leni Riefenstahl.

A standout example of Tashlin's use of dynamics is evident in a shot of the submarine captain. He commands the same order, "Destroy that scrap pile", but the camera pans right across the officer as he points with his finger, to indicate a command. It's a remarkably complex layout; but the animator's use of mechanics produce great results.

Asides from his cinematic techniques; Tashlin's cartoons had strong art direction a lot of the time. The layouts of the cartoon, possibly by Dave Hilberman, follow a graphic, avant-garde approach which the animation industry wouldn't fully endorse until the formation of UPA. Tashlin, and Chuck Jones are notable exceptions in this era. The scrap pile is an innovative design that suggests a constructed look to it.

The background work is very experimental and somewhat underestimated in this cartoon. A lot of the backgrounds are painted in rough form without the use of normal linework, but was applied afterwards. A similar technique wouldn't become popularised until the 1961 Disney feature, One Hundred and One Dalmatians - under the art direction of Ken Anderson and colour stylist Walt Peregoy.

Other creative uses of colour is evident in the sequence of Daffy Duck unknowingly staring at his own reflection in the dark. He mistakes his own eyes for the billy goat, and he holds up a bayonet as defence. He orders: "Put your hands up. You criminals are all alike. I can see it in your eyes. Just a stupid ignoramus. A numbskull. A nitwit. A nincom--"; Daffy strikes a match to realise he's talking to his own mirror reflection, resulting in a late delivery of "--poop".

Once the submarine fires a torpedo directed towards the scrap pile; the weapon opens to reveal a billy goat contained inside. The sequence showcases Tashlin's comic timing wonderfully; such as the action of the goat goose-stepping.

Treg Brown's sound effects are put to great use; like when the goat eats up the scrap pile, in the action of a typewriter. Once the goat swallows a handful of junk, his stomach struggles to fully digest, and he begins to hiccup; which Brown utilises with an effective rumble sound.

Other indications of Tashlin's timing skills is seen during the mallet scene. Daffy has hidden himself inside a pair of glasses, that is portrayed so subtly in animation. The glasses were formed in the shape of Daffy, which the goat ruins by tossing them away.

Daffy's hands arise as he strikes the goat's horns with his mallet. Sheepishly grinning, the goat retaliates by shaking his head vigorously; whilst Daffy is still attached to the mallet. An interesting cross-dissolve effect fits in, where multiple uses of Daffy Duck are used to emphasise his struggle with the goat.

A trait of Frank Tashlin that's most revealing during his 1940s stint at Schlesinger's, was his ability to push poses to the extreme. The effect is applied during the fast-cutting scenes of the billy goat charging towards Daffy Duck. The timing and animation (by Art Davis?) adds a lot of character personality. The speed of the billy goat suggests a disciplined, intimidating mammal; whilst the goat's comical and clumsy skid suggests otherwise.

This is soon followed with a sequence of Daffy Duck, disguising himself as Tojo by wearing glasses and wearing the stereotyped grin: "You wouldn't hit a guy with glasses, would ya?"

Another creative piece of animation that works as a visual gag, is the scene of Daffy's neck peeking out from by the fence. His head pokes out from underneath his combat helmet, as he remarks: "Saboteurs, I betcha!". Only a gag like that could read in animated form.

While the cartoons were plagued with wartime references naturally, elements of cultural references are still blended in. Perhaps this was used to balance out the propaganda. In one sequence, Daffy Duck encounters the hiccuping goat, and attempts to help him.

In an attempt to help, Daffy produces a remedy by placing a sodium pull in a glass of water; quoting "Listen to it fizz" - a direct reference to the Alka-Seltzer advertisement popular of the time. After the goat consumes the drink, his hiccups get more violent each time - leading to Daffy's discovery that the goat serves the Nazis - as indicated from his swastika ornament.

At a moment of defeat from the billy goat; Daffy has an epiphany. He encounters the spirits of his former descendants; who are dressed as American pioneers and historical figures like Daniel Boone and Abraham Lincoln.

Admittedly, it's one of the weakest elements of the cartoon. The cartoon changes in tone and style, from the short's usual brisk pace, to an ending that's over-patriotic.

The descendants encourage Daffy by singing in the style of Yankee Doodle, about determination. Then they all sing in unison, "Americans don't give up!". The line work on the descendants are creative in style, but the sequence itself is rather forced and cliched in patriotism. The majority of the short set a brisk pace style of Daffy Duck's antics with a Nazi goat, with entertaining sequences - but the patriotic scenes of Daffy's descendants feels out of place.

The heavy of patriotism escalates only further once Daffy has an epiphany. He leaps up in the sky, and forms a superhero guise parodying Superman - "Super American". By today's standards, the sequence can be open to interpretation.

One viewer might believe the persona displays a sense of arrogance of the nation - as the scenes emphasise America's power and strength. This is especially evident in the scene of Daffy fighting off the naval officers onboard a Nazi ship; by punching the firing bullets away.

However, it could be seen as a satire on American propaganda; by overcompensating the nation's pride. Preferably, I'd like to see it as satirical. The satire is even more revealing as the scene of Super American cross-dissolves back into reality; with Daffy Duck wrestling with a pipe. Daffy Duck recovers himself after being wrenched by water, gasping: "It was all a dream". But, a camera pans up towards the scrap pile; where a Nazi submarine sits atop. The Nazis yell in unison, "Next time you dream, include us out!". It's a wonderful piece of witty writing that is either open to interpretation or plain wacky.

Scrap Happy Daffy feels more like a patriotic, propaganda cartoon and not so focused in mocking the Axis powers, as evident in cartoons like Daffy - the Commando or Herr Meets Hare. Frank Tashlin at times, uses propaganda cleverly in the short. The opening sequence of Daffy's propaganda song balances comical humour neatly, and the 'Super American' climax is a clever piece of satire on America over-compensating their power through propaganda. The sequence with Daffy Duck communicating with his spirited ancestors, however, is a bit forceful. It feels out of place compared to the satirical propaganda scenes. One could argue it was deliberately written in that patriotic style to build up the hilariously flamboyant Super-American scenes. Tashlin's expert use of applying cinematic techniques, innovative layouts and the distinctive Warner Bros. humour more than makes up for the little flaws here.

Rating: 3/5.

Warner cartoon no. 411.
Release date: September 11, 1943.
Series: Merrie Melodies.
Supervision: Friz Freleng.
Producer: Leon Schlesinger.
Starring: Bea Benaderat (Granny), Mel Blanc (Roscoe / Wellington).
Story: Michael Maltese.
Animation: Gerry Chiniquy.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: A cat and a dog are forced to become friends, in favour of being kicked out during snowstorm for the night.

I apologise for becoming neglectful to this blog lately. This year has been my busiest so far regarding university work, which has led to months of hard-work and distractions. As a treat for Easter Sunday, here is a new review, for an underrated Freleng short: Hiss and Make Up. I've noticed how my output in this blog has been declining, which I intend to improve on - at least a little.

Cat vs. dog/mice/birds routines are a popular genre in classic cartoons. Bill Hanna and Joe Barbera excelled at the formula for the Tom & Jerry series. Michael Maltese was clearly attracted to the formula - as he used it sporadically during his animation career. Maltese always tried to explore innovation within the cliche - by making the stories more character-driven rather than formulaic.

Hiss and Make Up is no exception. The premise is kept straightforward and to the point. The elderly owner of a feuding cat and dog (named Wellington and Roscoe) is fed up of their fighting habits, and threatens to throw one of them outside a snowstorm if they don't "kiss and make up". Intimidated by her warning, the pets attempt to snake each other out - by building traps to frame one another.

Maltese makes it clear that neither Wellington or Roscoe should be sympathised or rooted for by the audience. Both characters have the same motive, and they're equally bad as each other in terms of low cunning and selfishness.

The elderly woman is a sort of precursor to Granny - a regular character of the Sylvester & Tweety shorts. It's the same voice provided by Bea Benaderet in her first released WB cartoon (based on Keith Scott's research, her first recorded voice going by production order is Little Red Riding Rabbit).

Animation by Gerry Chiniquy.

Maltese's develops the characters with realistic personalities to the point where the cartoon already establishes that Wellington and Roscoe will never get along as friends, which is natural. The pair never attempt to patch up their relationship - but instead try to frame each other. Maltese is a master in understanding character psychology, which is left open to a lot of gag opportunities - with Friz Freleng's masterful direction skills to enhance them.

Wellington and Roscoe's relationship could easily be summed up in one scene of the elderly lady forcing the pets to "kiss and make up". The pair are immediately hesitant, but begrudgingly kiss by their owner's orders. Immediately after kissing each other, they spit out in disgust. Gerry Chiniquy's posing and facial expressions perfectly captures the essence of hatred and spite the pets have for each other.

Character animation provides great clarity in an earlier sequence of the pets slowly restoring their conflict. As the elderly woman is sewing and singing Carolina in the Morning, Roscoe the dog makes his first move by carefully sliding Wellington's tail towards the leg of the rocking chair. Wellington yells in pain on impact, which startles the owner. She immediately suspects Roscoe, attempting to look innocent.

In the following scene - Wellington is craving for retribution. Every angst in his expression is wonderfully portrayed through the animator's hands. And so, Wellington produces fly noises through his mouth, without making it obvious. He looks at imaginary fly supposedly landing on Roscoe - and then smacks him with a flyswatter.

It's a wonderfully rich piece of character animation which is reliant on pantomime. Every expression reads and shows clarity in Wellington's motive and hunger for vengeance. The pantomime is extended further, when the elderly lady watches Wellington beating Roscoe. In a desperate attempt to look innocent; Wellington picks up the imaginary fly from Roscoe's head and acts disgusted by its 'remains'.

Friz Freleng's masterful timing comes into play since the opening scene of the cartoon, featuring Wellington and Roscoe fighting in the lounge. Freleng applies an elaborate drybrush effect featuring only the cat and dog's face very briefly throughout the cartoon action. The scurry effect works well to add emphasis of the pets' fighting nature.

Freleng's ability to time cartoon action into music is used to its finest advantage in a sequence of Wellington stamping paw prints around the house. He uses a flowerpot to stamp the soil, which he prints around the room - all timed towards Raymond Scott's Powerhouse.

The Scott piece had exploded into a popular music cue around the cartoon's production time, and Friz knew how to execute it well. The effect is given the extra touch through Treg Brown's timing with sound. It's a beautifully timed piece accomplished through the work of several departments around the Schlesinger studio. It's far from economical.

Michael Maltese's expert use of gag buildups is embellished in the sequence of Roscoe planting mechanical mice toys around the kitchen as bait to set up Wellington. Upon Wellington's arrival, Roscoe bangs loudly on a frying pan - leaving the cat on a chasing spree of the mechanical mice; as the owner is disturbed from her slumber.

Wellington rapidly places the mechanical mice into a bundle, and sits on top of them prior to the elderly woman's arrival. Maltese only builds the gag after the impact, making the payoff more unpredictable and hilarious in execution. As the owner pets Wellington, the mechanical mice zip through the kitchen, with the cat sitting on them - leading him down to the basement.

Another sequence with a great gag setup is the "mad dog" sequence. Mad dog, at the time, being a colloquial term for rabies. In order to find an excuse to kick Roscoe out of the house, Wellington sets up Roscoe by rapidly planting shaving foam all over his face; which is masqueraded as rabies.

The elderly owner shrieks "Mad dog" in panic, and starts beating him with a broomstick all over the house - until he exits through the door. The disease was a common fear by the public during the time period - and the delivery captures the panic convincingly.

Friz Freleng was always capable of embellishing rich visuals whenever it was called for, like in the blackout gag. In a sequence of Roscoe attempting to clean up the paw prints; he hears the sound of his owner coming down the stairs. In a desperate attempt to hide the evidence - he turns out the lights and runs outside to look through the window.

The shot of the elderly owner opening the door in darkness is beautiful in colour and atmosphere. The light highlights around her is rather meticulous in creating effective lighting from the hallway in the background. As she turns on the lights, Roscoe shouts "Hey, put out that light!" - disguised as an air warden.

The gag might be wartime related; but it's an excellent showcase of Friz's unsung abilities as a director - asides from his comic timing.

Freleng's strong point of view as a cartoon director can never lose the audience's attention to the story. In a scene of Roscoe about to pounce on Wellington, Freleng uses intercutting of the sleeping Wellington and the approaching Roscoe.

The suspense builds each time Roscoe moves at a brisker pace. Carl Stalling's expert ability to apply music into animated action helps achieve such result. And so, the scene cuts to Wellington awakened by Roscoe's intrusion with the fight beginning. Not only does the effect work great in suspense; but it's a great showcase on Friz's attempt to continue innovating his craft, by keeping up with the trends of other Warner Bros. cartoons, like Frank Tashlin.

Mike Maltese goes his way of not writing a conventional cat-and-dog feud short. One result is the presence of a canary; who would later play an important role in the cartoon. The canary is first seen as an observant of Wellington and Roscoe's recklessness, and is given the burden of dodging incoming pieces of china passing by its cage.

At one point, the canary is used as bait by Roscoe to set up Wellington. He places a couple of the bird's feathers in Wellington's mouth; to deceive the elderly owner - and trapping the canary inside a jar; only to foil Roscoe's plan by whistling its presence to the owner.

Once the feud continues to escalate; the canary becomes a nervous wreck. The expressions of the canary undergoing its own breakdown is priceless; and only to be topped as he swallows an aspirin pill.

The canary's role becomes prominent as he begins framing Roscoe and Wellington, by deliberately destroying furniture items and wrecking the room. At this point in Warner history, it's unusual to have animated cartoons seen through the perspective of background characters. It adds more depth and dimension into a typical cartoon formula, which is excelled here. Michael Maltese would use the plot device several times later (like Roughly Squeaking).

Once Wellington and Roscoe realise they're being set up by a destructive canary; they ally together to attack the canary. Caught by their house owner, the pets are tossed outside in the snow. Roscoe observes Wellington smiling, which not only confuses him, but the viewer, too. This motivates Roscoe to speak his only line in the cartoon: "How can you sit there and smile when we're out here in the cold, and that double-crossing canary's in there!".

The cat nods in disagreement to the latter part of Roscoe's dialogue, and reveals the canary trapped inside the cat's sharp teeth - in the style of prison bars. Whoever animated the close-up shows a great understanding of staging and visual clarity for the payoff gag.

Maltese's ending presents a good case on how justice is brought to every character. Roscoe and Wellington, both as bad as each other, are punished equally as they're left to freeze in the night. The canary, who snaked the pets, is brought to justice when Wellington has the last laugh.

For an overlooked cartoon of Friz Freleng, it's an innovative take on the cat and dog formula. Michael Maltese creates an interesting perspective that makes the cartoon less conventional and more compelling - such as the canary plot device. His characters are established well enough to devise gags that will keep the audience focused throughout the cartoon. Friz never fails to fall behind on keeping up with the growing standards of the Schlesinger plant. Not only does he excel in executing comic timing, but he keeps the short visually appealing - such as the use of fast-cutting and beautiful staging. Overall, it's a solid one-shot cartoon that holds as a beacon for Freleng and Maltese's growing reputation within the studio.

Rating: 4/5.

Director: Frank Tashlin.
Release date: September 1943.
Starring: Mel Blanc (Snafu / Goldie the Goldbrick).
Music: Carl Stalling.
Sound: Treg Brown.

Synopsis: Fed up of his daily routine - a fairy appears and encourages Snafu to goldbrick from his duties.

Animation by Cal Dalton.

Like Gripes, this short is based primarily on the importance on army duties. While Snafu previously griped about army training by wishing to change the system - here, his desires are to simply avoid his duties lazily. Snafu is a solid representation of army soldiers who don't fully understand the purpose of war duties - making him homesick of comfort and luxury.

The short's opening scene briskly but clearly represents his loathing for duties. The scene opens with a peaceful Snafu snoring away in his bed - complete with a visual gag of Snafu's snores blowing up a pinup poster of a woman's dress, revealing her blouse. An unseen cadet blows his bugle into Snafu's ear - awakening him with force and disturbance.

Awake, Snafu complains "Another day, nuts! If I could only get out of drill." At this moment, a drill fairy puffs into appearance, but bears a chunkier resemblance of the Technical Fairy. The fairy introduces himself as Goldie the Goldbrick, with visual puns to show he has a "heart of gold" (made of 14 karats), and a "backside of lead". Could you trust a fairy whose body is made up of chemical elements?

Goldie then entices Snafu to goldbrick, in a song sequence that parodies the song, Tit Willow, from the Gilbert and Sullivan opera The Mikado. It's fascinating to see how Carl Stalling could apply different ranges of musical songs into the Snafu cartoons, that was otherwise not featured in his Warner Bros. cartoon scores.

The parody lyrics, possibly written by Theodore Geisel, are witty with a lazy-like quality that could easily get Snafu in the mood.

The song follows into a montage sequence that supposedly benefits the possibility of goldbricking - such as laying in a sick bay, or finding a stooge to carry out Snafu's duties for him.

Frank Tashlin uses the montage effectively with his great use of mise en scene and composition, as seen at the sick bay scene. The scene features a silhouette of army recruits marching in a rainstorm, underneath a macabre atmosphere. The camera trucks back to reveal a comfortable Snafu lying in bed, as he's cared for by an attractive nurse. It's a great use o pathetic fallacy set outside in comparison to a more homely, warm hospital bay - achieved by innovative layout work and Tashlin's great judgement in directing.

Once Snafu is ready for combat - time passes by where he is fighting in a Southern Pacific island. Frank Tashlin's cinematic touches fit appropriately with this sequence. For cartoon animation, he's very daring by experimenting lighting and composition. It's also clear that Tashlin takes inspiration from film-noir movies that took the Hollywood industry by storm in the early 1940s, utilising such styles of the genre like low-key lighting.

In several long-shots, soldiers are seen running up a hill, whilst exploding gun shots and explosives in their way - all achieved in silhouette. It's fascinating to see how Frank Tashlin (as well as the other directors at Schlesinger) were still at the top of their game - even when they had to work extra on Snafu cartoons to fit into the studio's curriculum and schedule.

Tashlin's unit also apply the stark contrasts of black-and-white very intelligently and subtly. In a scene of a tired Snafu climbing the hill, Goldie reappears in silhouetted form but within a luminous glow.

He further reminds Snafu to goldbrick, while in combat - which is the start of Snafu's undoing. Not only is the use of black-and-white applied appropriately, but a silhouetted appearance of Goldie also calls for visual appeal. And so, Snafu decides to goldbrick inside an unsuspecting hospital trap; set up by the "honourable" Japanese army. As he bunks on the bed - a hand device marks a cross on Snafu's helmet, which is followed by a mallet that strikes Snafu's helmet down to his waddling feet.

And so, Snafu is ambushed by an incoming Japanese tank, adorned by the Rising Sun symbol. In an attempt to save himself by digging up a trench; Goldie reappears and corrupts his mind by goldbricking on the digging, to only "dig a few inches and crawl in and sleep." Goldie's ideas of slack grows hilariously absurd throughout the cartoon, to the point where digging a trench for defence doesn't require effort whatsoever.

After only a digging a few inches and falling asleep, Snafu's rear end is still sticking about; noticeable enough for a Japanese tank to ruthlessly crush it to his death. Tashlin's timing and visual presentation of Snafu's death is innovative, by portraying a cloud of dust that unveils to reveal Snafu's grave.

Goldie appears atop of Snafu's tombstone. He removes his mask, revealing himself to be a caricatured Tojo in disguise. In his finishing words, he sings: "Here lies the goldbrick / I now go find more. If find enough goldbrick / Japan could win war!".

For a cartoon ending that's built on morales - it's entirely built around dark comedy. Snafu's mistakes is so severe, that he doesn't get the chance to learn from it; making the overall ending morale rather biting in context. It's a nice little use of irony from an American perspective to present a Japanese victory in a derogatory fashion. I'm sure the army recruits had second thoughts on goldbricking upon seeing this Snafu short.

In comparison to Snafu's Gripes, the short is an articulately funny portrayal on an army soldier's desire for comfort. Desire is crucial for an individual aiming for something, but Snafu is after the wrong desires. The Snafu cartoons are not only brilliant in providing sharp lessons to recruits via comic timing and adult humour, but they also excellently (and exaggeratedly) portray the worst consequences possible. This cartoon is a prime example of that. The cartoon's ending represents the utmost liberties the Schlesinger studio had from studio censors. Not only is the dark comedy used so savagely, but I'm sure Production Code censors would've heavily frowned upon on a Japanese victory - that's only applied as a potential threat if army recruits try to go the same way as Snafu.

I've completely revised the first Looney Tune cartoon, Sinkin' in the Bathtub, which you can now view here. I'm hoping to improve the quality of my very old posts, to keep it up to standards - alongside my current reviews, of course. I've been wanting to do this for quite some time. Further reasons are explained in the post.

Director: Chuck Jones.

Release date: September 1943.

Voices: Mel Blanc (Private Snafu / Technical Fairy).

Music:Carl Stalling.

Sound: Treg Brown.

Synopsis:As Private Snafu complains about being assigned to infantry. With help from the Technical Fairy, Snafu's new duties such as fleet or tank duty turn out to have different kinds of challenges.

Grumbling and complaining about his war duties - wasn't it a one time formula on Gripes or The Goldbrick? Quite the contrary. One of Private Snafu's characteristic traits involves dissatisfaction and little understanding of the importance of duty - especially in a time of war. As mentioned beforehand, Snafu is a key example of not only showing incompetence whenever training or in combat; but also his lack of understanding on the army.

The Infantry Blues is another Snafu cartoon that's part of the assembly line on griping Snafu shorts. Snafu expresses desire for change - with the Technical Fairy to respond to his wishes. Snafu experiences his impractical fantasy that eventually leads to disaster.

This short, on the other hand takes a slightly different turn on Snafu's mistakes that becomes a nice change for the Snafu series. Chuck Jones has the highest output for Snafu cartoon than any other Warners director and yet he provides his versatility in this Snafu short alongside his regular Warner Bros. work.

In my previous review on The Goldbrick, I spoke very highly of Frank Tashlin's understanding of shot composition and colour. Chuck Jones' dynamic ideas on Snafu's opening exposition are on par with Tashlin's creativity. For example, the opening shot of an assembly line of soldiers marching features strong silhouette. The silhouette of Snafu struggling behind, reads clearly by contrasting fit soldiers against sleazy Snafu.

The camera trucks in on Snafu's slumpy walk - followed by a double-exposed shadow of Snafu's enlarged face, expressing resent towards his physical duties. Not only is the layout compelling in visual style; but it's an unorthodox portrayal of expressing emotion and melancholy in Snafu.

Theodore Geisel's use of wit and rhyme works alongside his frustrations as said: "Oh, the air force gets the glory an' the Navy gets the cheers. / But all the dogface ever gets is mud behind ears."

Snafu's complaints are dragged out in an entertaining montage of the private's journey travelling through walls of snow, and treacherous jungles. In one gag, Snafu walks past a steep river, but comes out inside a crocodile's belly. While the gag itself has been used several times in animated shorts (Major Lied Till Dawn comes to mind); it's a funny portrayal on the burden Snafu has to suffer from being "dogface" - a military slang for a U.S. foot soldier during World War II. Although Snafu has griped previously on duty - he complaining about the disdain he feels about infantry; in contrast to the navy or the air force; which he sees as more honourable positions.

Once Snafu discovers that the nearest rest room happens to be a 18,000 mile trek - Snafu immediately expresses desire to change his army duties to the tank corp. Why would Snafu wait another 18,000 mile while he has an opportunity to use an empty pathway as a toilet? Perhaps Snafu's too stupid to think that way.

So, the Technical Fairy appears and answers to Snafu's wish to switch corps. The Fairy's incantation is a pretty amusing parody of the Sold American jingle, which finishes with: "Sold to the tank corp." The fairy shouts out the spell each time Snafu wishes to change corps throughout the short. It also works as a nice little personal touch from the Schlesinger studio.

Snafu's first exposure with the tank corps allows Chuck the opportunity to go broad with his comic timing and posing. To start off, Snafu expresses satisfaction of his tank riding through a smooth trail. Unbeknownst to Snafu, the tank jumps across treachery rocks causing him to bump vigorously inside the tank.

A close-up of Snafu reveals his eyes jumping all over the upper half of face - which is surprisingly very broad of Chuck Jones. The gag is then topped with more hilariously executed bumping action on Snafu.

It's an example on how Chuck had improved so much in achieving better comedy, and showing the ability to explore broader gags. I can't imagine him allowing a shot like that pass in a lavish Sniffles cartoon, only a few years earlier.

The military tank shots are wonderfully executed too, not just in timing but in animated form. Animating vehicles is a challenge; but to see squash and stretch applies to the tank skidding to the edge of a cliff, and balancing perilously at the edge creates a beautiful result. The layout work of Snafu climbing out of the cannon, and hopelessly holding onto the edge is great in capturing perspective. Unimpressed by the dangerous duties of the tank corp, the Technical Fairy arrives to reassign Snafu to the navy.

Once again - Snafu expresses further satisfaction towards the navy, as said: "Heave ho, me hearties - you're home for the open sea / This is twice as easy as the poor old infantry." And so, Snafu underestimates the burden of being a navy sailor. War-time threats for the navy like Kamikaze pilots or torpedo submarines are deliberately left out - while the perilous aspects are focused on nature.

Snafu experiences another bumpy ride as his vessel skimps across choppy waves. This leads to Snafu being washed out of the ship, and water-skiing by standing on a pair of fish. The sequence largely consists of effects animation, which is more ambitious than character animation. The effects work such as water, are effective enough to enhance the dangers of naval services.

Dr. Seuss cleverly inserts a pun of Snafu shouting, "Give me air!", after coughing up sea water - once again dismissing the notion of working in the navy. At the arrival of the Technical Fairy - Snafu is once again reassigned to the air corp.

Based on his previous discomfort with the tank corp and the navy; Snafu establishes his own comfort flying an airplane - which he considers "the softest job of all." However, Snafu's incompetence makes the air corp a very difficult for him. He drives the plane with great speed - to the point where he travels above Earth, beyond his control.

The sequence calls for some daring layout work, such as the use of vertical pans as well as a close-up of Snafu's plane turning upside down. Jones' use of fast-cutting also works effectively in creating the atmosphere of fear from Snafu's perspective.

Like the tank gag; Chuck's unit effortlessly pull of animated gags such as the plane twisting into knots, and unwinding itself. Snafu's plane leads him to fall back to Earth, and crashing onto the summit of a pointy mountain. Snafu falls off his damaged aircraft, and lands right back to where he was originally: a 18'000 mile restroom sign.

With the return of the Technical Fairy; Snafu has a change of opinion, and he reforms back into his infantry duty. Snafu's morale has proven that all wartime services have their own difficulties - however different they may be. And so, Snafu happily marches on; marching with pride to the service he feels fit for.

While we're used to watching Snafu end up in tragedy from his mistakes; this is a rare occurrence of Snafu learning from his errors without proving fatal. The short ends on a more light-hearted approach compared to the dark comedy that's set around the Snafu series - which is a nice change. It's one of a few occurrences where a light-hearted ending in a Snafu cartoon is actually called for.

The Infantry Blues is not only built on a solid morale; but it's also a clear presentation on how each military service having their own individual hardships. Snafu experiences each perils; and is given the chance to change his mind before it's too late. Not only does Chuck Jones pull it off comedically; but also ambitiously. The perils and hazards are done justice through inventive layouts, and Jones' timing. It's still astounding to see how Chuck could still produce high quality material, despite the Snafu shorts being extra credit to their schedule.

Warner cartoon no. 412.
Release date: September 25, 1943.
Series: Merrie Melodies.
Supervision: Bob Clampett.
Producer: Leon Schlesinger.
Starring: Arthur Q. Bryan (Elmer Fudd), Bob Clampett (Vocal effects). (Thanks Keith Scott).
Story: Frank Tashlin.
Animation: Bob McKimson.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Parodying Fantasia, Bugs Bunny and Porky Pig perform ballet; followed by a musical story about an ugly duckling.

Disney's Fantasia became controversial since it first opened at New York in November 1940. Critics were polarised by the film. Some praised Walt Disney for making "motion picture history", while others critics associated with classical musical roots, openly criticised it. Soon enough, Fantasia proved a disappointment at the box office. It was without a doubt, Disney's most ambitious feature at the time, while some argue it was Walt at his most pretentious. Ambitious or pretentious (I personally love it), it held quite an impact amongst the Schlesinger staff - so much so that they went on to parody the film - using two infamous pieces of music by Johann Strauss - Tales from the Vienna Woods and Blue Danube.

It so happens that Frank Tashlin is credited for story work in this cartoon. Tashlin spent some years at the Disney Studios during the late 30s, but left in 1941 after a quarrel with Walt. He returned to the Schlesinger Studio in September 1942 in the story department, before taking over Norm McCabe's unit. A part of myself suspects whether or not Tashlin wrote the cartoon as a snide towards Disney?

While Tashlin may have blueprinted the cartoon, the feat had to be met by a director with a great understanding of classical music, and how to combine it within animation. One would suspect Friz Freleng would be equal to the task, which I don't doubt, but instead the short fell into the hands of Bob Clampett.

"Fantasia" - except in Clampett style.

Clampett has directed several cartoons beforehand which were heavily themed on music - like his success with Coal Black. According to Bob Clampett in Michael Barrier's 1973 interview with Wilfred Jackson, Bob attended the Carthay Circle Theatre premiere of Fantasia, and vividly recalled the audience's reactions to the use of Fantasound: "the whole audience [at the Carthay Circle] kind of gasped, or oohed and ahhed."

While other Schlesinger employees may have attended the Fantasia roadshows - it appears Bob Clampett was the right candidate to take on the parody.

For the most part; Clampett's parody of the Disney masterpiece is well executed right down to the frame. Clampett's excellent use of parody couldn't have been more perfectly fulfilled by casting Elmer Fudd as Deems Taylor. Not only is Elmer the perfect option as far as speech-impediment exploitation goes, but both he and Taylor have similar looks - with a five o'clock shadow and glasses for the right touches. Fudd could easily pass as Deems Taylor's animated counterpart.

The scene begins with an establishing shot of a sound stage orchestra - with colour styling and staging almost comparable to Fantasia. Clampett applies a great gag of a large shadow walking up to the podium - suggesting a well-built person is about to make an appearance. Then, the shadow reveals to be meek Elmer Fudd. It's a great gag that contrasts size and personality comedically.

Clampett applies some charming touches to Elmer's awkward personality. Elmer announces to the audience of an orchestration of Johann Strauss'Tales from the Vienna Woods - but at the same time, Elmer has difficulty of keeping control of his tuxedo shirt, which constantly springs out from his tucked in suit.

Elmer's tuxedo shirt becomes a great annoyance of Elmer; that he tears it apart. Later on, when Elmer introduces the Blue Danube - Elmer finds new difficulty with his pants - which drops at its own accord. Both Bob McKimson and Rod Scribner were assigned the animation of Elmer's scenes - and both excel in capturing the timing and humanistic approach of Elmer's embarrassment.

Arthur Q. Bryan's vocal delivery is sublime, especially his use of awkward laughter, and the classic line, (quoting the popular song The Music Goes Round and Round): "Wisten to the wippwing whythm of the woodwinds, as it wolls awound and awound, and it comes out here...". Personally, I wish the cartoon ended, after the Blue Danube segment with another payoff of Elmer struggling with his starched tuxedo. So much potential for so little time.

Clampett's unit also come close to matching the beautiful artwork and colour styling that embellished Fantasia. A lot of it appears throughout the cartoon; but its most revealing for the introduction shots of each musical score. The opening pan shot of Vienna Woods, featuring a stylised woodlands background holds as a reflection to the elaborate Multiplane camera shots in the feature.

Despite budget constraints from a studio that couldn't afford to build a camera as elaborate as Multiplane, or let alone, shoot entire pencil tests; Johnny Burton's camera department achieved the effect by using an overlay which was moved by the cameraman differently from the background.

One of the more subtle references to Fantasia appears during the title card of the Blue Danube. The titles are followed by a falling flower landing in water - creating a beautiful ripple effect. The scene itself is lifted from The Nutcracker Suite segment in Fantasia; so it's nice to see Clampett subtly insert a reference without a forced gag in sight. It's a rare privilege to see how artistic and lavish how the Schlesinger studio could be - evident of the meticulous ink and paint work on the flower. The colour styling, probably by Mike Sasanoff, is also comparable to the Disney feature - as Sasanoff's work expresses a carefree quality, too.

Excluding Elmer Fudd's scenes; the remainder of the cartoon is dialogue-free - save from the occasional vocal effects provided by Bob Clampett. This is already established in the opening scenes of Porky Pig as a hunter in the Vienna Woods segment. The premise is a throwback to the early Bugs Bunny cartoons, that followed a hunter pursuing rabbits. While Elmer Fudd might've been more suitable for the role; Porky Pig is cast instead.

Visual pantomime plays a key role within the cartoon; but sometimes Clampett would cleverly insert sign gags, like Porky Pig holding a sign, reading: "I'm hunting that (explicit) rabbit."

Not only does pantomime allow other forms of communications, but it works as a funny parody; mocking the sophisticated Fantasia, by being unsophisticated - such as suggested blasphemy on the sign.

Deliberately, Clampett creates a clash between fantasy and reality; as he doesn't hesitate to include cultural references, such as an Emily Post etiquette book. Porky's hunting dog points towards Bugs Bunny's rabbit hole; but Bugs opens the book to a certain page which bears the pun: "It ain't polite to point!".

For the most part, Clampett articulately takes advantage of animated action to the classical music - tenderly and comedically. Clampett's skill is evident at the opening segment of the Blue Danube. The waltz has been parodied several times in animated cartoons, and it certainly never lost its popularity overtime. In popular culture it's widely recognisable today for its usage in Stanley Kubrick's 2001: A Space Odyssey.

The staging might seem a little jarring in
this frame grab, but thankfully, the scene
flows without being too noticeable for
the average viewer.

Like the previous segment, the premise is also kept facile: an ugly duckling tale - featuring a black duck, who closely resembles a baby Daffy Duck. The opening scene features a mother swan and her baby cygnets; swimming in a lagoon, as well as quacking in synchronisation to the music's most memorable motif.

The layout staging of this scene is a tad sloppy and not well coordinated (at several points, the swans appear to swim through a tree or a piece of grass). However, the beautiful timing of the swans moving in tempo to the music as well as the charming use of quack sound effects makes up for it.

Clampett's sense of creativity and timing is used to its fullest advantage of baby Daffy, following the flock underwater. Bubbles arise at the surface, popping in synchronisation to Strauss' elaborate piece. It's also ambitious to pull off the timing by relying on effects animation, and Treg Brown's sound effects. The gag is topped in some hysterically loose animation by Rod Scribner of the mother reacting to the bubbles arising underneath her.

Animation by Bob McKimson.

Despite the challenges of finding an appropriate story that could be taken advantage of by classical music; extra elements are added to the Blue Danube segment like developed characters, to make the action more compelling. Daffy Duck as an ugly duckling is established enough as an outcast; making it more beneficial for gags.

In a scene of the vulture kidnapping the cygnets one by one; Daffy arrives last from the flock - only to be thrown away by the vulture. Clampett provides added character to the scenario as a 4F rating is plunged on Daffy's rear end.

Daffy's relationship with the mother swan expresses some humanistic qualities; such as the mother's disapproval of an outcast joining the family. Early on in several closeups; the mother glares at Daffy disapprovingly until she strikes the duckling out of her sight.

The mother's neglect of the Daffy duckling is briefly but hilariously executed in one energetic sequence. Leading to the segment's crisis; the mother swan has discovered her cygnets are missing. She reacts in a panic-stricken state; with unparalleled energy made justice through smear animation.

At one point, she picks up a big rock, and finds the Daffy duckling sitting underneath it - only to slam the rock on top of him again until she faints. Not only is the delivery nailed right down to the timing and vast energy, but also based on how subtle it is. Their share of eye contact is very brief, adding extra personality to the judgemental mother.

Applying sound effects would've be an obvious violation to Fantasia - with only two exceptions heard in the Dance of the Hours segment. Nevertheless, it never went as broad as Treg Brown's marvellous effects.

Brown sporadically is given the feat of applying sound effects in synchronisation of both of Strauss' pieces. For one scene in the Vienna Woods segment, Bugs Bunny is heard munching carrots until he places his foot on the pedal of a rubbish bin, and disposing the finished carrot.

Other places, applying cartoon sound effects is almost logical. In one scene, the vulture's hand lurks behind a rock; kidnapping the cygnets - with a "whish" anticipation effect applied in rhythm to the Blue Danube. One of them is even propelled an outboard motor, indicating slack.

While sound effects are applied to deliberately parody the artistically demanding Fantasia, Clampett and Tashlin are faithful enough to its source material that dialogue isn't exchanged at all during the segments.

Instead, Clampett cheats a little by applying his own voice effects (based on Keith Scott's research) on some comedic scenes. In a scene of Bugs Bunny supposedly dead; Porky's dog is heard bawling as he brings out his first aid bag. In one scene of the Blue Danube segment; the vulture shakes pepper on each individual cygnet. One cygnet is about to anticipate a large sneeze fit, but the vulture's finger holds her nose momentarily. Afterwards, the cygnet sneezes very lightly. Rod Scribner's tour-de-force character animation blends well of a seemingly huge build-up of a sneeze, that's ends deliberately anti-climatic.

To pull off a Fantasia parody convincingly; one must observe the film and divert what goes with it. So, applying cartoon sounds into classical music creates a funny juxtaposition - whilst still maintaining an artistic quality.

Although Bob Clampett pulls off music timing, for the most part, at times he doesn't take advantage of it completely. Had Friz Freleng directed the cartoon, he'd meticulously find methods to incorporate animated action to fit with classical music, without any minor exceptions that may feel less tangible.

Only Clampett could pull off a dangerously
flexible gun gag; and yet the anticipation
feels real!

At times, Clampett appears to struggle to fulfil that completely - especially in elements of the Vienna Woods segment. In one scene, (animated by Virgil Ross) Bugs Bunny has some fun with Porky's dog, by tying its tail to a tree as he runs off. The music is played in a fast-paced fashion, but the movement doesn't blend as solidly as other parts of the piece.

Later on in the segment, an angry squirrel fires his gun towards Bugs, Porky and the hound. This is followed by a melodramatic, hammy performance of Porky, Bugs and dog supposedly reacting to a gunshot wound.

Porky and his hound discover they're wound free - whilst Bugs Bunny supposedly discovers his own wound and collapses - with his "corpse" looking like squeezed toothpaste.

Although Rod Scribner never fails to pull off a funny acting performance; again, the music feels out of place compared to the cartoon action - with an exception being Bugs pirouetting next to the dog. The atmosphere feels wrong, unless Clampett deliberately depicted it that way - but either way his intentions aren't fully realised. Conceiving gags to fit with piece music is difficult enough so direction-wise, you've got to give Clampett credit for trying.

To some extent, at times Clampett gets a little carried away, not only in consistency, but also in taste. At the end of the Vienna Woods segment, Porky attempts to undo the fingers around a mortally wounded Bugs' chest. He pulls them apart, to reveal an exposed bra - riddled with Clampett's risque humour of Bugs shrieking horrifically as sexual harassment is implied.

Bugs finds himself in ballerina forms, slaps Porky and ties his bra on Porky and his hound's head, before he pirouettes away into the distance - and collapses as the finale draws to a finish.

A favourite amongst Clampett fans for its shock value, the gag is too crude and juvenile for my liking. Bob was much funnier when he was subtle in his approach - at least for me, anyway.

For the climax during the Blue Danube segment; Clampett goes a tad too far in a sequence of the Daffy Duck duckling pursuing the vulture kidnapper. While wartime references such as Daffy momentarily morphing into a P-40 Warhawk fighter work; the chase scenes feels too much like a farce that feels like its sidetracking from the musical piece.

In Clampett fashion, the vulture falls from a cloud after Daffy provides him a barrel of TNT; which results in his demise and ascendent to heaven. The overall cartoon finishes with the baby Daffy Duck finally accepted into the mother's family - as they quack away happily to Blue Danube.

For what it's worth, A Corny Concerto is a milestone in Warner's history. For the first time, several star characters appear within the same cartoon - Bugs, Porky, Elmer and arguably Daffy. The studio, by that point, had established their stars to popularity and recognition. A parody of a feature as grand as Fantasia welcomed the opportunity to use their main stars altogether. This trend would appear several more times in later shorts like The Scarlet Pumpernickel or Beanstalk Bunny. Bob Clampett showcases his versatility not only for his energetic timing, but also his ability to time musical classic into animation - which he executes well. While Clampett uses the opportunity to recreate the artistic spirit of the Disney film; he never overlooks entertainment values which are all put to great use. Clampett might not be as skilled at timing music compared to Friz Freleng, but he approaches the challenge well, making it a fine effort for what it is.

Rating: 3.5/5.

Director: Bob Clampett.
Release date: October 1943.
Starring: Mel Blanc (Snafu / various voices).
Music: Carl Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Private Snafu brags about the U.S. having the greatest artillery, if properly cared. Once he approaches a Nazi - Snafu's incompetence and poor handling of fighting tools becomes unpromising.

To some extent, the cartoon is both propaganda and satirical. It has propaganda elements incorporated into it - such as: a U.S. front headline bragging about their soldiers having the best artillery in the world. However, there is a hint of honesty in the article - perhaps, to prevent unwanted arrogance from army recruits. It's reported that the U.S.'s fighting tools are superior - but only if they're handled properly. Bob Clampett has Private Snafu as a guide on how to screw up.

The propaganda tendencies are fairly deliberate - in order for satirical sequences of Snafu's arrogance and incompetence. Watch out for the small Hitler suicide headline on the front page, a hidden gag which Clampett appeared to take pride with - by using it previously on Tortoise Wins By a Hare and again in What's Cookin, Doc?

Bob Clampett applies an attractive montage of the different fighting tools the U.S. army have - with images of the artillery split between illustrations and photographs. Although the effect was used for propaganda purposes, it's a intentional setup on how Private Snafu would react to the news - with arrogance.

Indeed he does, the scene cuts to animated form of Snafu bunking in his tent reading the same newspaper. The ultimate comedy of errors sings with pride and arrogance, "I'll be the world's greatest hero - with these guns, I've have nuthin' to fear-o!". Throughout the short, Dr. Seuss' rhyming scheme is sung in the style of The Gay Caballero. A part of me ponders on whether the choice of melody was Clampett's or Theodore Geisel's vision.

The following scene cuts to a shot of Snafu's tent - surrounded by various fighting tools - like his gun and cannon, indicating his assurance of safety and invincibility. The scene features beautiful posing and animation acting by Schlesinger's master animator Bob McKimson.

Meanwhile, a mean looking Nazi soldier is crawling across the field, with a hand grenade attached to his hand. His offended reaction to Snafu's line: "My wonderful guns, will moider dem bums! / an' I'll bury them in their latrin-o!" is priceless in both caricature and exaggeration.

Once Snafu finishes his little song, he senses presence in the wilderness and pulls his shotgun digged in soil - the first sign of inadequate care on weaponry. Similar to Chuck Jones'The Infantry Blues, a comedy rule of three is utilised throughout this cartoon to showcase Snafu's incompetence and his struggle to maintain his confidence.

As "cheeky" as Clampett goes, Snafu prods his gun right at the Nazi's rear end, yelling: "Stick 'em out, or I'll blow ya brains out!". Got to love the irony of Snafu's dialogue, as Snafu's gun is pointed elsewhere besides his brains.

The Nazi soldier reacts wildly to the weapon as he raises his arms, staggering. Watching the soil dripping from Snafu's gun, the Nazi regains his courage, commenting/singing: "That rifle looks just a bit goo-ey / If you 'tink I'm scared you're plum-screwy!".

A close-up diagram of Snafu's bullet desperately trying to shoot away from the bloated soil, shows controlled, solid timing - followed by an amusing squirt effect justified by Treg Brown's sound work. Intimidated, Snafu gives the soldier a Warner-esque sheepish grin (animated by Rod Scribner), until he bashes him with his gun, without second thoughts.

The following sequence of Snafu's attempt to frighten the Nazi soldier with a machine gun; is structured similarly to the previous sequence. Snafu will at first, intimidate the Nazi. At a moment of arrogance, he'll fire the machine gun at him. He'll keep doing so at the cost of overheating the gun into deteriorated condition.

So, the German soldier would return and sing: "That gun was neglected - no water connected!". Snafu's characterisation is established well by enhancing a morale that arrogance can be a factor of inadequate care.

The Nazi points out how their weaponry also work fine and are given the proper treatment and care. From what appears to be a rare insight on Nazis' strengths by American propaganda - it ends up poking at them, by revealing a close-up of a Nazi revealing a rusty pocket knife.

While the propaganda is still fairly biased, the timing of the Nazi revealing the pocket knife is effective and daring - with Treg's "boing" effect to enhance some comedy. Snafu timidly comments, "Yipe" - until he runs away from the Nazi - and onto Snafu's last chance of treating artillery with proper care.

Animation: Virgil Ross.

Like the previous two sequences; the following follows a similar structure. This time, the Nazi encounters a much more threatening weapon, the cannon. Notice how in each sequence; the weapons become more threatening.

Clampett's sense of comedy saves the German soldier from doom, as we encounter a hysterically camp-ish mouse - with sublime work by Virgil Ross and Mel Blanc's delivery. Ross adds some wonderful touches of the mouse swiping the dust from the cannon with its finger.

The Nazi learns further about the cannon's unstable condition as a group of ducks (resembling Daffy Duck), fly away from it - complaining about its stench. Clampett's charm is also enhanced as a baby duck, impersonating Katherine Hepburn, comments "Rally they are!" on the cannon's rusty state.

In response, the Nazi blows inside the cannon - causing the dust and debris to fly inside Snafu. Realising, all his tarnished weaponry is hopeless against the Nazi - he attempts to make an escape on his Jeep, but struggles to start the engine due to low car battery.

Clampett applies some nice dynamics of close-ups with the angry Nazi, that inter-cuts with a frantic Snafu struggling to start his Jeep. At that moment, he tosses the hand grenade - which meets Snafu's doom - but not by death.

The closing scene features a full-frontal naked Snafu held captive at a Nazi concentration camp. Clampett exploits the freedom he has from Production Code censors, by applying his juvenile tastes into nudity. The Nazi soldier has the last laugh, singing: "Like all careless gents / He vinds up behind fence / Snafu is the vorld's greatest zero!".

Ending with an Axis victory - Snafu looks at his buttocks, which morphs into a mule's rear end. The lesson learnt, to treat your fighting tools with the right care. While Private Snafu meets a tragic consequence as per usual - at least it's more light-hearted and humorous a la Bob Clampett.

This Snafu cartoon represents one of only two that were directed by Bob Clampett. I'm curious whether it's attributed by Clampett's habits of falling behind schedule - indicating his minimal output on Snafu shorts. Even so, he remains faithful to the series' premise, by offering his directorial talent to create more innovative disasters for Snafu. Although the Snafu shorts are built largely on dark comedy and morale - Clampett appears more interested in entertainment value and toilet humour. At the same time, he creates a fair balance of cartoon action and morale. Despite his low output on the Snafu shorts, it remains a fine effort.

Warner cartoon no. 413.
Release date: October 23, 1943.
Series: Merrie Melodies.
Supervision: Chuck Jones.
Producer: Leon Schlesinger.
Starring: Robert C. Bruce (Narrator).
Story: Michael Maltese.
Animation: Ben Washam.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: A goldfish loves his water. But, a cat who wants to eat the fish hates water and exhausts several attempts to retrieve it.

Michael Maltese was very fond of exploring cartoon stories based on animal nature and their instincts. His shorts range from the Coyote and Road Runner, or one-shot masterpieces like Much Ado About Nutting. For the most part, Maltese took advantage of the mannerisms of domestic animals for endless story and gag opportunities. Easier to access and observe in comparison to a zoo visit.

For Fin 'n Catty, Maltese plays around with animal nature and logic - by portraying the natural enemies surrounding a domestic cat and a pet goldfish. As indicated by Bob Bruce's narration, "goldfish must have water in order to exist", but "cats hate water, but must have goldfish in order to exist." Maltese's use of exposition sets up an entire cartoon effortlessly.

The concept of how cats "must eat goldfish in order to exist" is quite perplexing, especially when taking into account that fish isn't a natural diet for cats. An alternate line, "cats must eat in order to exist", would've been more justified, if more obvious. A minor flaw, but either way the cartoon premise is firmly established - with Maltese's creativity and character driven gags to benefit the short.

Chuck Jones' vision and attention to detail would also carry out the cartoon. An example of that is featured on interior scenes of the fish bowl, of a distortion effect achieved by Johnny Burton's camera department to create the illusion of underwater.

Although Michael Maltese used cliched formulas; they were always character driven and unconventional. Maltese creates a funny personality of the cat, based on his extreme dislike of water. In an early scene, the feline dips his claw on top of the fishbowl but turns horrified at the slightest touch of water.

This results in a recurring gag of the cat frantically running towards a toilet paper holder to dry himself. This is accompanied by Chuck's fast-cutting and wonderful facial expressions that gives the cat some added character.

Although the cat's extreme phobia of water is comedically executed for the most part, sometimes it's flawed. In a later sequence of the goldfish outside his fishbowl looking for water, he finds a sink tap dripping with water.

The goldfish leaps over to rinse himself, but finds the faucet completely plugged by the cat's finger. Despite having a dislike of his claw touching water - the cat still would've gotten wet from the tip of his finger. A minor flaw, but earlier scenes highlighting the cat's fear of water, work broadly through Maltese's knack for creating humorous characters and Chuck's posing combined.

Animation by Ben Washam.

Besides a brief bit of narration, the rest of the cartoon is presented through pantomime - which I'm sure Chuck greatly enjoyed. Chuck Jones' use of strong character animation and comedy blend together wonderfully during a sequence of the cat attempting to siphon the fish's water with a hose. On the cat's first attempt, he watches the water siphon through another bowl - but finds the goldfish missing from his original bowl.

Frustrated, the cat attempts to siphon the water back the other way; without realising that the goldfish has plugged its finger on the hose. The fish responds back by blowing the water through hose, drenching the cat's face.

Ben Washam's animation throughout the sequence is wonderfully executed in portraying determination of a tenacious cat. Washam enhances Chuck's posing hilariously during the cat's reaction to water splashed on his face.

Jones' timing is put to great use in the following scenes, of the cat sucking in and blowing through the hose. The air ascends through the hose to the fish's end, causing the goldfish to blow up to the shape of the fishbowl, all puffed up. It's beautifully subtle in execution, that's not overdone whatsoever. The gag is topped once the fish blows back - causing the cat to blow up like helium, and then exhale like a balloon.

Character animation is further showcased in visual gags - as seen earlier when the cat attempts to trick the goldfish with a rubber glove. The cat uses his hands to create an unconvincing human figure representing a Fuller brush man. Some clever posing is conceived in order for the animator to animate a challenging hand walk.

Some of Chuck's most hilarious comic timing appears in a frustration gag sequence involving flypaper. The conniving goldfish has replaced towel paper with flypaper; resulting in an episode of the cat's struggle to remove it.

Flypaper gags in cartoons are perhaps best remembered in the Disney short, Playful Pluto, featuring a sequence with Pluto battling with one. Although it's celebrated for taking character animation to a new level; the sequence lasted over a minute and the gags were fairly conservative for Warners' standards.

By the early 40s, many animations studios had developed a fast-paced style for gags. In the case of flypaper, Chuck times it so broadly and rapidly; it creates an opportunity for more outlandish gags - like a Turban hat, and even more bizarrely, a piece of luggage. Bobe Cannon's animation in the sequence demonstrates great weight on the character's struggle, as well as an inventiveness in broad animation to interpret such far-out gags.

As per usual, one of the key highlights of Chuck's wartime cartoons is the 'avant-garde' layout styling of John McGrew, which varied from short to short. Sometimes they're either colourful, like in The Aristo-Cat or graphical like in Dover Boys. For this short, the stylistic approach is almost entirely abstract.

The background work for the house, like as the floor or ceiling, are entirely interpreted through shapes. In many shots, the backgrounds lack constructed lines to graphically clarify the locations. It's a very similar background style used previously in Jones'The Case of the Missing Hare.

McGrew and background artist Gene Fleury (was he still employed at Schlesinger by this point?), compose very daring angles in an attempt to create clarity of that style. The colour styling of the backgrounds are deliberately kept inconsistent in order to convey mood, which is more forgiving.

The simplistic, abstract approach works well enough to the point where background interference isn't an issue. Chuck Jones was blessed with having solid animators like Ken Harris and Bobe Cannon, whose animated performances kept the audience's attention.

Parts of the abstract layout styling are best highlighted in a series of fast-cutting shots of the cat exhaling from the siphon gag.

After a string of gags focusing on the cat's failure to catch the goldfish - the plot then takes a different spin. At one point after the fish's antics; he hops back into his fishbowl - only to discover the hole is blocked by a dinner plate. The fish realises he's finally being outwitted. This soon follows through several attempts to find water - only to be blocked by the cat's presence.

Some intriguing dynamics and staging are explored; showcasing the fish's struggle to survive without water. A scene dissolves to the fish supposedly stranded in the middle of a canyon; but the poster trucks back to reveal a poster of the Ace Insurance Co.

It's then revealed that the cat is manipulating the scenario, by holding a lamp on top of the fish and moving the beams as the fish crawls. Soon afterwards, the fish starts to experience hallucinations.

The fish spots a swimming pool outdoor location. Once he climbs the ladder and jumps off the diving board - the board match dissolves to the cat's claw, whilst the swimming pool dissolves to the cat's mouth. After a close call - the fish zips out of the cat's body. It's a creative portrayal of hallucination that serves as a compelling piece of suspense as well as a sinister portrayal of the cat.

Animation by Ken Harris

Following the cartoon's climax - the goldfish hides inside a shower, and desperately turning on the taps - which soon overfills with water. The cat, unknowingly aware he is under water - watches the goldfish smugly as he swallows the key. After the cat watches the bubbles arise from his fingers - he double-takes and realises the predicament he's in. The bubble effects spelling "Water?" from his mouth is a beautiful touch, and yet it doesn't violate the pantomime effect.

Desperately, the cat attempts to break away from the overfilled shower - kicking and screaming. Soon, he completely overcomes his dislike for water, as he starts to swim like a fish inside the shower room.

This is soon followed by the closing shot - revealing a twist to end the cartoon. The narrator concludes, "As we were saying, cats hate -- er, (clears throat) cats love water!", as the shot reveals the cat happily snoozing inside a fishbowl - whilst the fishbowl scowls inside a claustrophobic glass cup.

It's an amusing twist to the entire concept of "cats hating people", but admittedly, I feel the overall cartoon ending is a little unjustified. Call me sadistic, but personally I feel the payoff would've worked better with a darker ending - with explanation to WHY cats hate water. After all, the cat was certainly the antagonist of this cartoon.

An ending like that might've been too dark for Chuck Jones; but it's certainly not unheard of (i.e. Angel Puss) - and there could always a light-hearted approach to it. A morbid ending might've been too predictable for Michael Maltese; but either way, the twist works fine for how it is - making it less upsetting.

Fin 'n Catty remains a fine effort from both Michael Maltese and Chuck Jones; despite the fact I feel some elements could've been more justified. Maltese takes on what could be a formulaic plot, which eventually leads to an unpredictable yet humorous twist ending. Jones takes full advantage of Maltese's character personalities through his believable facial expressions that read clearly. Occasionally, characterisation is sometimes flawed within the cat; as analysed earlier. Asides from that, the short features enough gag material and strong visualisation which makes up for some of the cartoon's faults.

Rating: 3/5.

Warner cartoon no. 414.
Release date: October 30, 1943.
Series: Merrie Melodies.
Supervision: Bob Clampett.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Bugs Bunny / Gremlin), Bob Clampett (Vocal effects) (Thanks Keith Scott).
Story: Warren Foster.
Animation: Rod Scribner.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Bugs Bunny becomes tormented by a war-time gremlin who attempts to sabotage an aircraft.

How do a lot of people perceive Bugs Bunny generally? A carefree rabbit with a trickster personality. A cartoon involving Bugs Bunny becoming a victim would be entirely out of the question. In the hands of Bob Clampett, it is so the case - and how he approaches it.

Making Bugs Bunny a victim of another foil is an extremely dangerous feat; as it depends entirely on who Bugs' opponent is - based on potency and wit. Bob Clampett's choice of candidate is much more amusing and in context of his cartoon style - by having Bugs run afoul of an unseen power - a fictitious gremlin.

The origin of gremlins go back to the myths of airmen from the Royal Air Force (RAF) in the United Kingdom - the myth that gremlins are impish creatures who have the ability to sabotage aircrafts. In 1943, Welsh author Roald Dahl (best known today for a highlighted career writing children's books) was perhaps first attributed for making the myth known worldwide, by writing his first children's book for the Walt Disney Studios simply titled The Gremlins.

Roald Dahl had served in the RAF during World War II, explaining his awareness of the myth amongst airmen. For what it's worth, Dahl himself was involved in a plane crash during his post at Libya in September 1940.

Reportedly, the concept created a lot of superstition amongst many airmen. And so, it enhanced further possibilities for wartime animated cartoons. By placing Bugs Bunny in that environment, Clampett and Warren Foster don't shy away from limiting the possible consequences Bugs would face once he encounters a gremlin.

Bob Clampett must've taken a liking to the Dahl story, as well as the gremlins concept - enough so, it warranted another directed-cartoon, Russian Rhapsody which was released shortly after this cartoon.

The opening sequence has a very satisfying yet unpredictable tone. From any first-viewing experience, it's difficult to determine what Clampett has lied in store. For much of the short's first minute of running time; it's animation free - which is possibly attributed by Clampett's careless management skills.

A Clampett-esque sign gag is featured as the cartoon's establishing shot which is followed by a slow pan shot of an air base, whilst Carl Stalling plays We're in to Win in the background.

The lack of new animation is soon compensated in the following scene - which features some of the most beautiful character animation ever conceived by the studio. Bob McKimson's work of Bugs' introduction is usually hailed as a tour de force piece of animation - and rightfully so. Not only is Bugs drawn very appealingly in proportions; but he feels very human. It also serves as a welcoming opening for what's yet to appear.

Bugs is seen as his standard self - sitting on top of a blockbuster bomb, eating his carrot and reading a book which title plays on Alexander P. Seversky's book, Victory Through Air Power. Bugs chuckles over a page he's reading on gremlins - followed by a point of view shot, featuring an illustration of the creatures, along with their descriptions.

Mel Blanc adds some wonderful touches to Bugs' delivery as he reads the text, such as Bugs' misreading on "dia-boo-lickal saa-boh-tay-jee". Bugs laughs mockingly over the notions about gremlins - utilised beautifully by McKimson's acting. Bugs' mocking gesture from his line, "Oh, murder" reads beautifully.

Bugs continues to laugh skeptically about gremlins ("Gremlin! What a fairy tale! Little man. Oh brother!") - until one passes by him. And so, Bugs feels an unusual strike coming from the nose of the blockbuster bomb, causing his body to vibrate broadly. He timidly laughs until he feels another strike.

After a surprisingly calm opening sequence for Bob Clampett - the cartoon effortlessly moves forward.

So, Bugs watches the gremlin attempting to strike the nose of the bomb with his large mallet - in synchronisation to I've Been Working on the Railroad. Bugs is completely unaware of who he's conversing with. The gremlin reveals to Bugs, "The blockbuster bombs don't go off 'til you hit 'em just right!" - broadening Bugs' entranced amazement.

And so, Bugs Bunny is deceived by the gremlin into testing the blockbuster bomb, by borrowing the mallet: "Hey, Mac. Let me take a whack at it". McKimson animates Bugs with an extreme anticipation - causing Bugs to twist his body several times; until he violently halts, hollering "What am I DOING?!".

Clampett's sheer energy begins to kick in a close-up of Bugs Bunny animated by Rod Scribner. Bugs stutters and speculates, "Hey, I bet that was a -- Say, do you think that--? Hey, could that have been a...gremlin?". The gremlin, standing on top of Bugs' whiskers yells in Bugs' ears: "It ain't Wendell Willkie!".

Scribner's timing of Bugs reacting to the holler is excellent in its frantic delivery. The use of layouts and colour styling in Clampett cartoons is always intriguing. Note how in the close-up; Mike Sasanoff only uses one colour to signify suspense. It's quite a risk in changing backgrounds very drastically; but it works well effectively.

Bob Clampett conceives some of the most surrealistic gags surrounding Bugs Bunny ever turned out by the studio. Clampett's energetic gags are typically far too broad for Bugs Bunny - and yet, he experiments with it with surprisingly great results.

Once Bugs Bunny chases after the gremlin, he strikes Bugs on the head with a monkey wrench. After an assembly line of inventive smear animation by Virgil Ross, Bugs momentarily alters his persona to dim-witted Lennie from John Steinbeck's novella, Of Mice and Men.

He dimly asks the Gremlin, "Which way did we go, George?" before collapsing frontwards. Mel Blanc provides a dim-witted voice for Bugs Bunny, to enhance the absurdity of the scene. In the following close-up animated by Rod Scribner, Bugs' posing and expressions are outrageously broad and hysterical as drawings.

The Gremlin pulls open Bugs' eyelids, checking to see if he's fine. Bugs responds, quoting Lou Costello "I'm only three-and-a-half years old" (Correction: See Yowp's comment below), and then flaps his lips in a screwball fashion. Typically, such a scene like this would be completely out of character for Bugs Bunny. Bugs' typically suave disposition would normally deprive from such boundaries. Only Clampett's boyish charm and Scribner's wild animation could bring make a feat pass. The sequence still has shock value today, taking into consideration that Clampett's perilous take on Bugs Bunny hasn't been paralleled.

Clampett's broadness and dangerous experimentation don't end there. Extensive exaggeration is highlighted in a scene of a vertigo Bugs Bunny, whose heart pumps out a 4F rating. Following that, the cartoonish energy is topped as Bugs slams into the wall of the plane. His body compresses into a flat penny - and gracefully shimmers.

Animation by Phil Monroe.

Once the gremlin boards an aircraft to sabotage it; Bugs ambushes him - in a desperate plea for retribution. Bugs, unaware that the gremlin has already started the plane, looks out for the creature by deceivingly calling after him whilst holding onto a monkey wrench. The gremlin appears but kicks Bugs' rear end; whilst hiding behind the aircraft door - laughing the the first few notes of Yankee Doodle. Typical piece of added character from Clampett.

Angered, Bugs attempts to strike the gremlin with the monkey wrench - only breaking the window. This follows in a wonderfully timed, suspenseful piece of action featuring Bugs attempting to run into the aircraft doors - taking a step back farther each time, hoping for greater impact.

The action gets broader to the point where Bugs begins to violate the laws of physics. His feet start up with great anticipation, to the point were the weight of his feet causes the aircraft walls to tilt back. Phil Monroe's animation shows a great use of weight that makes a seemingly preposterous gag look believable from impact.

Carl Stalling's use of the Russian folk song, Dark Eyes fits effectively to build suspense whilst timed accordingly to Monroe's animation - which is now considered a dead art. At the right moment, the gremlin opens the aircraft door - but Bugs' impact is too great as he zips out to an open sky.

One of the short's highlights, asides from observing Bugs Bunny getting tortured, is the animation itself. Arguably some of the most inventive, outlandish pieces of animation ever cranked out by the studio. A scene worthy for analysis is seen in Virgil Ross' animation of Bugs' visual concussion from the monkey wrench that struck his head.

Smear animation dominates a large chunk of the cartoon. Some of them are more conventional, like the smear frame of Bugs, as indicated from the frame grab. Others are more far-out and brave. It's astounding how animators and assistants were able to creatively invent new kinds of smear animation - by still keeping the cartoon action maintained. At times, the stars truly have aligned when it comes to an artistic venture. From a casual viewing experience, the smear work doesn't scream for attention - but it evidently shows the enjoyment and endless possibilities of animation.

From a cartoon standpoint, a lot of the gags conceived are fairly standard - but Clampett's animators enforce so much energy to make results more effective than what would be typically acquired. In a repeated gag of the gremlin striking Bugs with the monkey wrench on his foot - another inventive smear is thrown into the action.

The cartoon even features one of the oldest, and most cliched of slapstick gags - the banana peel. It's one of the rarest of occasions when a banana skin gag is actually inventive and hilariously executed.

Bugs Bunny zips back inside the plane after his exposure towards an open skylight. As he reenters the aircraft, he slips on several banana skins planted by the gremlin as sabotage. The action is very quick and energetic. The staging shows some strong dynamics that blends with Clampett's brisk timing. Notice how very daring the animator is on moving perspective within a a couple of frames. Both scenes provide an excellent showcase on how broad animation can improve generic gags.

For the cartoon's climax - Clampett builds up the suspense as Bugs and the gremlin race towards the earth in a diving bomber. Not only is the sequence a masterpiece in dynamics and ambitious staging - but also in comic delivery.

A speed meter that channels
Tex Avery.

The climax is kept exciting and nail-biting. Bugs Bunny has been terrorised by a gremlin throughout this short. It gets to the point where Bugs' fate becomes unpredictable based on Clampett's uncanny handling of the character.

The layout staging and fast cutting are potent in execution. The shots cut back from a diving aircraft, that's animated beautifully as its body begins to strip apart from impact. Hilarious shots cut back to a nauseating Bugs - burdened by fate and sickness.

The pacing and suspense feels like a throwback to Tex Avery's cartoon The Heckling Hare; except in Clampett's cartoon, the pacing and camera staging has far advanced.

Once the moment of impact is present - the aircraft engine sputters; causing the plane to completely halt in mid-air, barely just above the earth. The unpredictable delivery and absurdness of the punchline makes its payoff the more hysterical. In the closing shot, the gremlin reveals that the plane has run out of gas. Bugs confidently eats his carrot whilst confiding to the audience, "You know how it is with these 'A' (gasoline ration) cards" - revealing an 'A' card next to him. Although the gag itself has aged over time, there's no denying that Clampett's hilarious punchline couldn't have been outmatched.

Perhaps my favourite Clampett-directed Bugs Bunny cartoon - Falling Hare is a home run! It's wonderfully thrilling and inspiring, and yet downright hilarious. Admittedly, I'm not a fan of the savage-like persona Bob Clampett later gave Bugs in Hare Ribbin'or Buckaroo Bugs; but his experimenting on characterisation remains unparalleled. Admiration for Clampett continues to escalate by astonishingly observing the risks he took and his fearlessness. Other cartoon directors would shy away from such an ambitious experiment, but Clampett's confidence shines. As a director, he took great pride by the creative freedom he was blessed with. It remains a wonderful insight in seeing somebody outwit Bugs Bunny to terrorising levels. At the same time, Clampett remains faithful to its source material - by restoring Bugs' charisma at the cartoon's end. Overall, an excellent cartoon that holds a testament to why Warner Bros. cartoons are exciting to watch. They're original and spontaneous.

Rating: 5/5.

You can find rewritten reviews of Buddy's Day Out and I've Got to Sing a Torch Song, directed by the short-lived Tom Palmer, here.

Warner cartoon no. 415.
Release date: November 13, 1943.
Series: Merrie Melodies.
Supervision: Chuck Jones.
Producer: Leon Schlesinger.
Story: ?
Animation: ?
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Inki runs into a hungry lion whilst hunting with a spear. However, the lion has difficulty when he encounters the mynah bird who challenges him.

Courtesy of Heritage Auctions.

By the time Chuck Jones was achieving better comedy for his animated cartoons; he still hadn't quite withdrawn from his Disney-esque characters which held back his true talents during his first few years as a director. He previously attempted to broaden Sniffles in The Unbearable Bear, which worked fine by underplaying his position and altering his cutesy persona.

Chuck Jones' Inki cartoons remained firmly consistent during his reform - with the exception of his broader timing. Jones would continue to sporadically make Inki cartoons until 1950 - at a time when he was reaching the pinnacle of his powers. Inki is probably the least diverse character from Chuck Jones regarding formula. While the Coyote & Road Runner cartoons feature a great variety of hysterical gags within the same premise - the Inki shorts are restraint from that. The premise is almost entirely centred on Inki hunting a mynah bird whilst endangered by a hungry lion. Only occasionally does the locale change, especially in later cartoons like Inki at the Circus and Caveman Inki. For such differences is for the review to uncover.

The animation is far broader in Inki than Chuck Jones wouldn't dare to do in his earlier cartoons centered on the character. In the opening scene Inki attempts to stab a worm with his spear, but narrowly misses. The spear vibrates vigorously that once Inki grips his hands onto the handle - he begins to shake violently.

In a following close-up; Inki's shaking action is matched by some wild smear animation. By the time the spear relaxes; Inki's hair bun is unloosened with wild long hair falling over his face. For a character we're used to seeing in slower paced cartoons - it's a pretty farfetched gag.

Shortly after, Chuck Jones appears to channel the likes of Tex Avery in a scene of Inki attempting to hunt the mynah bird. Inki's hair bun appears above the water, signalling the bird's location. Upon finding it Inki's hair bun travels its way through soil and digs up the surface. Inki grabs out his spear lying by the ground and proceeds to follow the bird.

The gag itself has been used several times in Avery's cartoons like The Crackpot Quail and The Heckling Hare. It was also used similarly in the Donald Duck cartoon, The Hockey Champ.

The gag standalone might be a throwback to earlier animated shorts, but the action of Inki digging through soil goes up a notch. Inki's hair bun creating wild subtle twists enhances some charm to Jones' timing.

Carl Stalling's music typically requires a lot of direction from Chuck Jones for his Inki shorts. Most evident is the infamous motif for the mynah bird's hopping action synchronised to Mendelssohn's Fingal's Cave. Although Stalling took credit for the accompanying motif in an interview; he added, "it went over so well that we had to use it every time." While it's one of the few remaining identities surrounding the character - it magnifies the bird's vague nature.

Other uses of music timing blended into animation is utilised well in the cartoon's opening scene. A green worm hops rhythmically to Stalling's beats - including the worm's wriggling action. The hopping action continues until the worm has a close call to Inki's spear slammed to the ground.

It's a great showcase of how Stalling and Jones were both creative when it came to timing animated action through tempo. The scene itself has great staging and layout work - most likely by Art Heinemann. Keeping the worm the main focus until a spear shoots ahead of him is a nice case of unexpected delivery. The absence of Inki in the shot makes the spear all the more threatening. While the opening operates as a formula to previous Inki shorts - Chuck's pacing and use of dynamics had advanced to that point.

The sequence of Inki and the lion fighting inside a barrel showcases some of Chuck's experimentation with timing. Inki frantically hides inside a barrel after a close encounter with a hungry lion who antagonises Inki throughout the cartoon. The lion lifts the barrel upwards licking his chops, indicating he ate Inki - without realising he's now hiding on top.

This follows by a frenzy attack inside the barrel. The action is interpreted as frantic and wild as indicated by the barrel exaggeratedly twisting and changing volume, pulled off by Chuck's fun timing and the clarity of the cartoony animation.

A very intriguing piece of timing follows immediately afterwards. The mynah bird suddenly hops out of the barrel and zips out of scene - leaving a cloud of dust. Then, Inki and the lion leave their clouds of dust as they zip out of shot.

But, the dust unveils to reveal the trio standing in their same positions - except this time the lion is ready to eat up Inki. The timing is wonderfully innovative in its presentation of speed. Very few directors like Chuck Jones could time a gag that requires so much subtlety surrounding the mystery of the mynah bird.

In previous Inki shorts, a hungry lion played an antagonist role. As a personality the lion was always intended to be fearsome and dangerous - likely a past attempt to make audiences take the lion seriously. For this cartoon, the lion is portrayed with a foolish characterisation; much in vein to the rest of the Warner Bros. product.

In one scene, the lion skids broadly to a halt upon seeing a juicy steak Inki holds. However, the mynah bird swallows the steak whilst hiding inside the jaws of the lion's mouth. Upon realisation that his steak is gone; the lion ends up bawling his eyes out, banging on the ground like a child.

Chuck Jones adds a hilarious touch by having the lion eyeing towards the audience - and quickly returns to his fearsome image - which is already tarnished. The gag works fine in creating an obvious contrast between size and behaviour.

Such characterisation remembered fondly by animator Shamus Culhane - a veteran animator who briefly worked at Schlesinger during this time. He recalls in his autobiography: "I especially working on the lion because he was a dumb, raggedy coot who didn't remember that he was supposed to be the king of beasts." Culhane's descriptions perfectly matches with the scene. Culhane also wrote that the majority of the animation was split between himself and Bobe Cannon. Cannon's animation adorns this cartoon but whatever animated scenes Culhane worked on, I'm not certain.

In several sequences; Chuck Jones' character layouts come to advantage - notably when Inki first encounters the lion. Animating pantomime is challenging enough in terms of capturing clarity, but in the hands of Chuck Jones it's put to good use. Chuck's posing works effectively during Inki's double-take when he glares directly into the lion's eyes.

Beautiful touches are added when the lion drums his fingers which delays Inki's take comedically. Inki's hair bun forming a question mark wonderfully communicates through pantomime. As the lion roars menacingly at Inki; he zips out of the shot - causing the lion to bump his head on the ground - adding character to his clumsy persona.

In a later sequence, the lion pounds furiously at a palm tree with child-like behaviour after failing to eat both Inki and the mynah bird. Coconuts drop from the tree but one drops in the lion's hands which morphs back to Inki's proportions.

Inki looks at the lion bashfully by which the lion responds with an even goofier grin. Inki leaves the scene - leaving the lion's hands empty. Chuck's expressions are fitting towards the lion's inept personality.

The mystery of the mynah bird typically becomes repetitive when the character sporadically hops into scene with the same Mendelssohn music and bringing curiosity towards Inki and the lion. In some cases; the mystery of the mynah bird actually becomes intriguing and ambiguous.

In one scene; the mynah bird hops inside a clump of hay whilst the lion anticipates a pouncing action towards it. As the lion follows the bird - the straw gradually reduces in size until it completely vanishes into thin air.

Later on, the lion encounters a single piece of straw hopping into scene, but gradually grows larger and larger until the mynah bird reemerges. It's an intriguing piece of ambiguity surrounding the character - indicating a supernatural force in a cartoon environment. Jones' cartoons never reveals the mynah bird's true nature - perhaps a deliberate suggestion that the mynah bird is an unknown power towards mankind that can't be understood. The greater the mystery the more illuminating.

The mynah bird soon plays a more active part at the cartoon's climax when the bird challenges the lion. Earlier cartoons never featured the mynah bird's actions when defeating a lion; as it took place entirely off-screen. In this occasion, we are blessed to see the mynah bird engage in an effortless fight with the lion.

He picks up the jungle giant by the tail and whirls him around until the lion falls inside a lump of hay - which dwindles until it vanishes out of sight. Soon afterwards; the lion reappears when the mynah bird gives Inki a few pieces of straws.

The cartoon's ending commences once the mynah bird takes down the lion again - but this only, interpreted by some elaborate drybrush work and Treg Brown's use of comical sound effects. Inki quietly exits the scene during the brawl.

Once the drybrush whirlpool wears off; the lion discovers his jaws are missing from his mouth. He turns his eyes towards the mynah bird furiously - who then reveals to be wearing the lion's teeth inside its mouth.

I don't consider myself a fan of the Inki cartoons, primarily based on its stale, repetitive formula. The cartoon's title itself doesn't strike me as anything different in comparison to The Little Lion Hunter or Inki and the Lion as those cartoons have a primarily similar structure. Although this cartoon might be another replica, it's much more engaging than the previous instalments. Chuck Jones' pacing and innovative use of timing makes the short a more intriguing viewing. It's evident that Chuck was attempting to utilise comedy for the Inki shorts; and to some extent it worked well for the lion characterisation. The minah bird's role in this cartoon adds some depth to the mysterious nature, and he's a lot more active than beforehand. This short doesn't represent the very best of Chuck Jones by all means, but it's certainly a step up from Jones' painfully slower cartoons.

Rating: 2.5/5.

Director: Frank Tashlin.
Release date: November 1943.
Starring: Mel Blanc (Snafu).
Music: Carl Stalling.
Sound: Treg Brown.
Synopsis: A homesick Private Snafu complains about the easy life of civilians like his family. However, he discovers they're also contributing to the war effort as he does.

Wars have the tendency of highlighting soldiers fighting combat as well as bearing the burden of military life. It's a pivotal example of war duty - but so is the home front. For civilians who are uninvolved in combat (whether it concerns the elderly or folks with 4-F ratings), society can contribute to the war effort through various kinds of factors. It ranges from various resources such as industrial or human, so the home front is still significant to a cause. The Snafu cartoons themselves were a contribution to the war effort. Every bit helps!

In this entry, Private Snafu underestimates how other forces contribute to the war effort besides armed forces. With magical guidance from the Technical Fairy, Snafu observes the various home front duties that's all beneficial for the war effort.

An intriguing element in this short that's set apart from a lot of Snafu cartoons is the character's relatively passive role. A chunk of the cartoon focuses on Snafu's family, based on what he thinks they're doing in contrast to what they're really up to. Instead of calamities that characterises Snafu; he is portrayed as an observer in this cartoon instead.

Nevertheless, Snafu's presence is felt during the cutaway sequences surrounding his family. Each of his family members are stereotyped based on Snafu's observations. He assumes his father is casually playing pool at Kelly's. His mother is portrayed as gossiping away with her lady friends whilst playing bridge.

Frank Tashlin uses sight gags as little touches to personify their apparent nature. His father uses his cigar smoke to push a cue ball that's standing at the edge of the pocket. His mother and her friends visually dissolve into a flock of hens. Such gags are amusing in Snafu's unfair interpretations of their family.

Perhaps the most hilarious observation from Snafu is seen from his interpretation of his grandfather - who he claims, "never did a day's work in his life". He is stereotyped as a perverted old coot who pleasures himself of using his binoculars to watch stripteases at a burlesque show. Some great lustful exaggeration is prominent in a shot of his eyes erecting through the binoculars.

A more personal perspective from Snafu is his girlfriend, Sally-Lou. His paranoia kicks in at the thought of her already having an affair with a sophisticated philanderer. All those stereotypes are funny interpretations based on Snafu's homesickness - which makes him relatable as a character.

By the time the Technical Fairy arrives - he gives Snafu a special insight of his family's current activity through a telelvisor - which today, is a dated noun for a regular television set. Since television was a relatively new invention in 1943 - it's exaggeratedly portrayed as a magical device to watch people's current lives. As Snafu discovers; his father and grandfather are both contributing to industrial resources, his mother is planting a victory garden and Sally-Lou is working as a WAC. By the end of the short, Snafu comes to his senses when he realises his family are all "working in the old home town" - sung in the style of Tenting On the Old Camp Ground.

Frank Tashlin utilises some his knowledge of camera panning during the opening scene of Snafu inside a shelter during a blizzard. His only source of comfort is a phonograph ironically playing Home Sweet Home. The camera pans to the record player, then pans towards a miserable Snafu attempting to keep warm by sitting on a stove. The camera pans back to the record player, which violently malfunctions and breaks apart.

The camera pans back to Snafu when he expresses his homesickness by complaining about a possible luxury his family are having back home: "They don't even know there's a war goin' on!".

It's a complex use of camera pan that's consistently kept busy throughout the sequence. If you're aware of how cels, backgrounds and camera stands compile together, it's a great deal of effort. Frank Tashlin is fearless when it comes to taking the liberty of moving the camera much more freely. This allows the scenario to have more space instead of a claustrophobic atmosphere.

Frank Tashlin appears to approach some economic tactics in his direction - likely attributed by the smaller budgets the Snafu shorts provided. Economical or experimental, Tashlin utilises both in scenes that contain little or no animation.

Tashlin explores his timing abilities in sequences that contains no animation. This is especially evident during the victory garden sequence dug up by Snafu's mother and her pets. After ploughing the garden and planting the seeds; the crops grow rapidly to great effect.

This is achieved with no animation and the crops are likely drawn on separate levels. The effect would've been heavily reliant from the skills of Johnny Burton's camera department - who "animated" the crops growing. Not only did the department have to carefully time the effect; but also in rhythm to Beethoven's 5th symphony.

Snafu's girlfriend in a figment of the nightclub scene is drawn as part of the background. Only the seductive gentleman is completely animated in the shot. One could say it's merciful in sparing the animator from painstaking drawing skills. However, she is very passive and aloof to the gentleman during the scenario; so full animation would've been unnecessary. It showcases Tashlin's judgement of using economical factors to good use.

Elements of risqué humour are no secret in Snafu cartoons. Some of the more edgier gags surface in this short. For example, in the opening shot of a blizzard, the narrator says: "It's so cold, it would freeze the nuts of a Jeep!". The context needs no explanation, but effects animation is applied to feature two nut bolts from a Jeep actually drop and fall to the ground. Keeping the context subtle makes the delivery all the more hilarious.

The burlesque sequence probably has the biggest shock value in this cartoon. Snafu's grandfather is watching a trio of young ladies performing a saucy strip tease on stage. Stripteases have proven a fun source for gags in several Warner Bros. cartoons; but never as indecent or obvious in this Snafu cartoon.

The trio strippers are seen completely bare; save their breasts and genitalia which are covered. Sometimes Frank Tashlin underplays the racy scenario as the camera trucks in on a girl's leg whilst undoing a bra. The assistant and drawing work in those scenes are a tad sloppy, but otherwise the clarity's all there. The series of shots featuring full-frontal nudity indicates the freedom the Schlesinger studio enjoyed from the Snafu shorts.

The Home Front is an intriguing approach for a Snafu short that doesn't follow a story arc. The first half of the cartoon features Snafu's interpretation of how he sees his family back home; whilst the second half features them contributing to the war effort. Frank Tashlin would be an appropriate candidate for a cartoon that doesn't rely heavily on formula or structure. Not only is this cartoon one of the rarest occasions where Snafu doesn't meet disaster, but also the downplaying of his role. It's takes a different spin on the premise's usual formula, but it manages to clarify its message just the same.

Warner cartoon no. 416.
Release date: November 20, 1943.
Series: Looney Tunes.
Supervision: Friz Freleng.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Daffy Duck / General Von Vulture / Hitler).
Story: Michael Maltese.
Animation: Ken Champin.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Commando Daffy Duck raids enemy lines - creating trouble along the way.

By the time of the cartoon's release; Germany were already starting to lose the Second World War. Western Allied countries were still a far cry from conquering the D-Day operation, but the short's premise suggests a speckle of optimism. The premise is centred on American commandos successfully breaking into German soil. Daffy Duck is portrayed as an American commando whose mission is to infiltrate a Nazi bunker, headed by colonel Von Vulture.

Daffy Duck is a fine candidate of an animated character challenging the Axis of WW2, comedically. Already he's dealt with a Nazi billy goat in Scrap Happy Daffy - and would go on to become a messenger in the showpiece, Plane Daffy.

Friz Freleng, perhaps the funniest of the Warner Bros. directors and Michael Maltese; the wittiest of the studio's writers, produce their take on Daffy's infiltration of a Nazi zone.

Friz Freleng might not have been as visually innovative as the likes of Bob Clampett or Chuck Jones; dynamic staging and striking composition was never unheard of from Friz. Daffy - the Commando is certainly no exception. The opening establishing shot of a Nazi trench is a beautiful piece of mise en scene, with a Nazi flag waving.

The colour styling is kept intentionally dark to indicate a macabre atmosphere. It's interesting to see the locale looking more like a World War I trench - perhaps to make the identity of a trench more familiar with audiences.

A dissolve in reveals Colonel Von Vulture pacing restlessly across his bunker, muttering in German. The indistinct German language might be ambiguous a general American audience, but the character's uneasiness is well clarified. The introduction is a solid example of exposition done right.

Other beautiful uses of colour styling is evident during the blackout sequence. The layout work, likely done by Owen Fitzgerald, features objects drawn with basic outlines that has great graphic clarity. The shot of Schultz operating the searchlight is an example of that. The characters are shown entirely in silhouette - except momentarily when Schultz clumsily shines the beam across the vulture's face. An example of how the inking and painting department would have to follow timing to remove Von Vulture's silhouette form.

Animation by Gerry Chiniquy.

Friz Freleng's timing is put to entertaining uses in several elements of the cartoon. The introduction of Von Vulture's henchman, Schultz, displays some marvellous characterisation blended with Freleng's timing when he goose-steps inside the bunker. Gerry Chiniquy applies a hysterical characteristic walk of Schultz that indicates an inept personality.

Carl Stalling's cartoon touches are greatly applied through music. For Schultz's hasty walk; rapid drum beats enhances the characterisation. Schultz's stupidity is further showcased as he unintentionally kicks Von Vulture behind his rear during his uninterrupted goose-step inside the bunker.

The vulture calls him a "dumkompf", and strikes his helmet with a mallet. Despite Schultz's helmet compressed down to his feet; he still marches outside of the bunker, at one point momentarily crashing into a wall - as his busy legs does most of the action. Freleng's understanding of comic timing and personality blended together makes this little sequence a gem of its own. Not only is Schultz presented as a buffoon - but also the Nazi realm.

The blackout sequence showcases some gags that only work in animated form - with Freleng's unit pulling it off profoundly. In Daffy's opening shot, he is floating by a parachute whilst shun by a searchlight. He casually sings the British song She Was Poor but She Was Honest in a Cockney accent, before yelling "Put out that light!".

In the following shot; Schultz foolishly turns off the searchlight, until he is further abused by Von Vulture. Once again, the use of mise en scene can play a crucial role in achieving better comedy. Both characters don't appear in the shot; but Mel Blanc's delivery of "Schultz", the interpretation of sounds and imagery proves a very striking effect.

Once the searchlight reappears - Daffy Duck has some fun with the searchlight's lens to create shadow finger puppets. At first, the shadowy puppets looks like an amateurish effect - but it immediately morphs into an elaborate form of can-can dancers.

The transition from simple puppetry to the form of dancers is beautifully subtle in timing - and it reads well in animated form. After Daffy's fun; he pulls an asbestos curtain out of nowhere. Von Vulture unwinds the curtain - revealing Daffy pulling a stereotypical Japanese face and scaring the vulture off.

Animation by Gil Turner.

As far as Daffy's zany antics are concerned - it's surprisingly underwhelming in some parts. In one sequence, Daffy tricks Von Vulture in giving him a "going away present", of a clock - despite being an obvious time bomb in disguise. After Daffy's exit; Von Vulture double takes and passes the bomb over to Schultz - who flies upwards after the impact.

Although the delivery highlights the colonel's naivety; the gag itself is predictable and somewhat unambitious as a concept. The execution feels more in the style of Ted Pierce instead of Michael Maltese.

The beginning showed some comedy potential - such as Von Vulture informing Daffy Duck the time, in the style of a talking clock device. The vulture calls for Schultz who marches over to strike his helmet, for the "tone". Once Daffy Duck turns away to adjust the clock bomb - the sequence loses some of its potential and spontaneity.

Mussolini crossed out of "The Apes
of Wrath" - reflecting his 1943 defeat.

Michael Maltese's witty use of languages is put to great use for gags requiring English translation. A close up shot of a telegram features some funny usage of puns written in German dialect, such as "it's your ka-rear!!" - which can mean two different things: his career or his ass.

A sequence that best utilises some of Maltese's creativity is seen during the German speaking/translation sequence between Daffy Duck and Von Vulture by a phone booth - animated by Ken Champin.

During a chase sequence, Daffy hides from the vulture colonel inside a phone booth. He reappears by confronting Von Vulture in German, and holding out a card of the English translation, reading: "Can't you see this telephone is busy? Wait your turn".

Soon, the gag gets amusingly absurd as Daffy uses American slang speaking in German lingo; as indicated from the title card: "Got a nickel, bud?". Von Vulture hands over the nickel to Daffy. After a few moments, Daffy exits the booth and responding in English: "It's all yours, von Limburger!" - holding out a German translation card. The real translation is, as follows: "I'm done with the telephone, Herr von Limburger". Michael Maltese demonstrates a fun parody of translations - that's both ridiculous and funny in its portrayal.

For the cartoon's climax - both suspense and comic timing pay a key part. Daffy attempts to escape by jumping on board an unoccupied aircraft. Once he skyrockets up in the air; he is immediately trapped by a circle of Messerschmitt planes - as exclaimed by Daffy: "Messerschmitts. A whole mess of Messerschmitts." Quite a tongue twister.

Animation by Phil Monroe.

Daffy manoeuvres his plane to dive downwards - causing the Messerschmitt planes to accidentally fire at each other. After a few seconds of effects animation adorns the entire screen - the pilots find their aircrafts completely tarnished to fragments, leading to their 'downfall' - (a bad pun intended).

Once Daffy travels at full speed on his aircraft - he discovers his craft is being shot to smithereens, by Von Vulture's machine gun. Daffy continues to resist by holding onto the engine, until it sputters and becomes fatigued.

Animator Phil Monroe appears to struggle in capturing the timing of an engine malfunctioning with friction - all timed to sound. The animation isn't as crisp as it could've been. And so, Daffy Duck hides himself inside a large cannon - until he realises he's entered a dark corner; and trapped by Von Vulture.

Much of the animated cartoon serves its purpose to ridicule the Nazis in whatever crude approach. The crudeness might be lacking in contrast to shorts like Russian Rhapsody, but the mockery is still there. Not surprisingly; the Fuhrer himself is ridiculed the harshest.

In a short scene during a chase with Daffy Duck; Von Vulture momentarily halts and shouts, "Heil Hitler!"; by saluting a skunk passing through the trenches. A visual metaphor of the man, who shared such contempt from the general public.

During the cartoon's resolution; Daffy Duck is fired out of a cannon, bearing a 'human cannonball' costume. He reaches his destination at a city rally conducted by Adolf Hitler. Hitler is crudely rotoscoped for the most part during his speech - likely lifted from stock footage in newsreels. The following scene is perhaps one of the most satisfying cartoon gags surrounding the dictator; Daffy Duck striking Hitler on the head with a mallet. For the ending pay-off, Hitler yells "Schultz!" as the cartoon closes.

The locale and theme is largely a product of its time; but it remains a relatively enjoyable cartoon. Fun, but it's a relatively standard Warner Bros. cartoon. The translation sequence features is wonderfully executed in its silliness and wit - done in the fine hands of Michael Maltese. Friz Freleng doesn't have too much opportunity to showcase his abilities; but when he does it's put to memorable use - such as the humorous characterisation of Schultz. More could've been explored creatively with Daffy's infiltration of a Nazi colonel - as the bomb clock sequence is arguably the weakest element of this short, gag-wise. The ending provides a hilarious payoff for an otherwise conventional short.

Ratings: 3/5.

Warner cartoon no. 417.
Release date: December 4, 1943.
Series: Merrie Melodies.
Supervision: Bob Clampett.
Producer: Leon Schlesinger.
Starring: Arthur Q. Bryan (Elmer Fudd), Mel Blanc (Cat / Dog), Sara Berner (A. Flea) (Thanks Keith Scott).
Story: Warren Foster.
Animation: Bob McKimson.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: A dog must resist himself from scratching; despite been tortured by a hillbilly flea.

An admirable quality of Bob Clampett is his ability to turn basic narratives into something innovative and spontaneous; which is conspicuous in An Itch in Time. The short follows a relatively straightforward scenario: a dog must resist himself from scratching, or otherwise, he'll be given a flea bath - much to the dog's heartfelt dislike.

Such a concept might be beneficial for a Disney cartoon featuring Pluto - except it'll likely be hampered by awkwardly slow-paced sequences of Pluto struggling. In the hands of Clampett, not only does he feature the dog's burden but also some insightful perspective of the flea - in wild and unconventional ways!

Of the Looney Tunes cast; Elmer Fudd takes the role of a housemaster - but he's rather underplayed throughout the cartoon. Elmer sporadically appears throughout the cartoon to keep a watchful eye on his dog. Elmer's supporting role still plays a pivotal part in the narrative's angle - as his intimidation is shown from the dog's viewpoint.

The principal character of the short, is A. Flea; whose characterisation fits perfectly with Clampett's outlandish style. The flea is portrayed and dressed like a country bumpkin and consistently sings the irritatingly catchy song, Food Around the Corner. Written by Bob Clampett himself, its intentionally unsophisticated by adding character to the unrefined flea.

Sara Berner, whose voice is sped-up for the character, provides an obnoxious performance that fits with Clampett's vision of the character. Such a personality makes the dog's heavy burden all the more hilarious in scenario.

The flea's main desire is to find food; as seen from his actions and his song. He uses the dog's skin as an opportunity to find some meat - which he discovers through a telescope by yelling "T-Bone!" in Mel Blanc's voice. Not only is Blanc's delivery sublime - but the extra touch of the flea applauding in a juvenile fashion fits with the unsophisticated persona to a tee! The memorable appearance of the flea would eventually merit a second appearance in the Bob McKimson short; A Horsefly Fleas (1947).

Rod Scribner was always a reliable choice to embellish Clampett's zaniness on the screen. His talent is utilised uniquely in several close-ups of the dog, earlier in the cartoon. For example, when the flea leaps on top of the dog's snout - his nose bounces and jiggles vigorously; unparalleled by Clampett's wild timing.

To escape from a vulnerable position; the flea softly sings a lullaby inside the dog's ear. The following close-up is a greater contrast of the wild animation seen in the previous shot. The close-up of the dog drifting off sleepily from the flea's lullaby contains much slower action.

Such subtleties would be a challenge for any skilled animator. Rod Scribner not only pulls off the slow movement convincingly - but even uses the opportunity to draw exaggerated poses of the dog yawning - featuring Scribner-esque teeth. There's also a lolw-key background colour change; as indicated from both frame grabs. The second close-up enhances the sleepy atmosphere fittingly.

Elmer going by the book!

By the time Elmer enhances the bath caution; the dog attempts to put up with the escapades from the flea. Clampett's exploration of dynamics and struggle are priceless right down to the frame. The dog anticipates a scratching action several times, but only to be watched over by Elmer. A striking close-up of Elmer reading a Looney Tunes comic book is lavish not only in detail, but by emphasising his warning.

Animation by Phil Monroe.

In a short sequence; the dog attempts to cheat his way from scratching, by strategically kicking a domestic cat to clawing his back. Animator Phil Monroe displays sharp timing on the clawing action - as well as some very funny poses of the dog at a climax of relief. But, such luxuries aren't possible when Elmer Fudd glares down at the pets.

Bob Clampett experiments with gags of the dog's torment from scratching - that he takes an approach that's outlandish and absurd; but also bizarrely believable from that standpoint. Not only is the dog's burden beautifully captured in painstaking drawing seen in several close-ups; but also in scenes that's dependent on the ink and paint department.

The dog's resistance from scratching becomes increasingly difficult, to the point when the dog starts to change colour. At first, the dog's body turns blue - until the colours get more absurd in the process; including a tartan look.

The more painful it becomes for the canine; the crazier the colour choices get. The animation itself is primarily secondary in comparison to the ink and paint work. It's a very unorthodox method - but Bob Clampett enhances the pain convincingly.

Clampett's cutting style is used to an advantage as the shots of the dog struggling coincides with the flea's antics in the jungle of fur. The gags involving the flea searching for meat are hysterical in its execution. To begin with, the flea harmlessly pours ketchup and mustard on the dog's skin.

Over the course of the cartoon; the gags become more sadistic and silly - that the result is riotous. Whilst searching for more meat inside the dog's fur; the flea uses tools such as a pickaxe and a jackhammer. Whilst intercut with the dog's reactions; his struggles are much more justified.

In preparation for the cartoon's climax; the flea begins to use explosives inside the dog's fur. The gag becomes far-out when the dog scents smoke rising from his rear end. This results in a series of airbrush fireworks rocketing from his bottom - a Clampett approach of a gag indeed.

Clampett's love for edgy albeit juvenile humour goes unnoticed in a lot of his cartoons. One of his more famous dirty gags appears during the dog's frantic scratching frenzy across the living room. At one point, he halts and informs the audience, "Hey, I better cut this out. I may get to like it." Such a kinky confession is a symptom of Clampett's boyish charm.

One of Clampett's more obvious samples of juvenile humour appears early in the cartoon - during the flea's introduction. The flea pulls out a telescope to scout for potential flesh. The following shot is point-of-view from the telescope.

The flea moves across to discover a lavishly drawn rear-end of the dog. The effect of the flea double-taking and vibrantly looking back at the dog and whistling features some nice timing. An intriguing assignment I imagine for a character layout artist drawing out such lavish albeit crude detail.

Some samples of Clampett's timing blending neatly with comical action is evident during the scene of the flea escaping the dog's biting chops. The action itself is timed to Raymond Scott's Powerhouse - which was becoming a trendsetter of Carl Stalling's musical compositions.

Much later, during the dog's scratching spree - Clampett explores some fast intercutting - of an approaching Elmer Fudd. This follows into a hilariously exaggerated skid; that's so intense the dog ends up gripping its nails onto the rug.

The dog backs away as Elmer advances towards him. Once the characters are off-screen; an unseen crash is interpreted through a camera shake. Elmer walks back into the scene; with the reluctant dog attached to a door ripped off its walls.

And so; the cartoon reaches an incoherent ending. Elmer ends up scratching himself, presumably from the flea, which follows up some smear animation of Elmer scratching himself pose-to-pose.

After both characters end up slipping inside a bathtub - they are unexpectedly carried away by the flea onto a dinner plate; labelled as a blue-plate special. This leads to the flea: "They'll be no more Meatless Tuesdays", in the same rhythm of his song - delighted over not having to ration.

Such a spectacle comes as a complete surprise to the domestic cat - seen earlier in the cartoon. Losing the will to live, the cat remarks: "Well, now I've seen everything" - and commits suicide on the spot. This holds my nomination of one of the nuttiest endings in a Clampett cartoon. The gag itself has been used several times, like Horton Hatches the Egg, but ending the short abruptly during that scene - is both dark and hysterical in shock value.

For a relatively basic narrative, Bob Clampett is always full of surprises! His carefree, wild approach to cartoon filmmaking are exceeded here. His exploration of angst on the dog is a personal highlight - from both an artistic and comical perspective. The characterisation of the flea is ingenious albeit deliberately corny. The flea's uncanniness and obnoxiousness still holds up as memorable - even if Clampett's song is the prime reason. The short's ending felt a little contrived, but what Clampett does is what's given - enough to let it slide by!

Ratings: 4/5.

Warner cartoon no. 418.
Release date: December 11, 1943.
Series: Looney Tunes.
Supervision: Frank Tashlin.
Producer: Leon Schlesinger.
Starring: Bea Benaderet (Woman); Mel Blanc (Hiccups).
Story: Warren Foster.
Animation: Cal Dalton.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Rudolph awaits for a new canary to arrive, with the intention of eating it. Little does he realise how resilient his prey is.

By April 1943; Warner Bros. had ordered for all cartoons from the Looney Tunes series to be produced in colour for the 1943-44 season. Not only would all of Leon Schlesinger's cartoons feature colour, but the distinction between the Looney Tunes and Merrie Melodies segment would cease to exist. Prior to the demand, only a handful of cartoons from the series were still being produced in black-and-white under Frank Tashlin.

Tashlin's first few cartoons during his second directorial stint at Schlesinger's that screamed with lavish film techniques and strong uses of cinematic staging. Once Tashlin moved over to colour cartoons - he begun experimenting more with design work and angular movement.

For the final Looney Tunes short produced in black-and-white; Tashlin ends the tradition with a satisfying sendoff. If Porky Pig's Feat was Tashlin's finest cartoon in terms of its successful use of comedy and experimental filmmaking blended together; then Puss 'n Booty is arguably Tashlin's finest cartoon as far as dynamics, pacing and audacious camera angles.

The cartoon's premise is a cliched formula, which consists of a duelling cat and canary. Warren Foster brings innovation to the characterisations - by making a seemingly harmless canary more potent based on its true colours. Foster finally has an opportunity to showcase his talents as a story man. Although he worked on many classic Bob Clampett cartoons - the stories always feel more like Clampett's than Foster's. The concept is largely a forerunner for the Sylvester and Tweety series. The cartoon itself would be remade with the duo in I Taw a Putty Tat (1948). Frank Tashlin turns such a formula-ridden idea into a cinematic experience!

Tashlin's ability to stage animated scenes in the style of a cinematographer never fails to impress. Such planning might've been a burden for the layout artist or the cameraman; but the results were worth it.

In the opening scene of the lady entering her house, the shot is depicted from point of view. The camera pans at various corners and edges of the house; once the woman discovers the disappearance of her missing canary, Dicky - (gettit?).

Johnny Burton's camera department have the delicate assignment of nailing the timing of the panning; to make the simulated P.O.V. convincing. The mistress's point of view ends once her cat Rudolph, is introduced to the audience, supposedly snoozing away.

The mistress asks for the whereabouts of Rudolph, who shakes his head. The evidence is revealed once Rudolph accidentally hiccups bird feathers from his mouth. Tashlin applies some intriguing timing of the cat burying the evidence with him. Much of Rudolph's frantic action of retrieving the feathers consists of approximately twenty frames: one feet and four frames in animation, or just slightly under a second. The following frame immediately cuts to Rudolph pretending to be asleep; which looks very jerky in motion whilst freeze framing. Such jerkiness works to an advantage by adding emphasis of a cat, hiding his crimes.

Although Tashlin's keen usage of cinematography is evident, he doesn't go too farfetched to the point it could potentially interfere with scenes involving character personalities or bits of exposition. Tashlin keeps a fair balance between characterisation and cinematic techniques.

Following the opening; Rudolph's character is devoted some time - by establishing his conniving persona. He tricks his owner by opening a window, mimicking canary whistles, and pretending to cry of despair.

The mistress is tricked into believing the canary had flown away. A fair use of exposition reveals that five canaries have been eaten by Rudolph in a month - but "lost" from the perspective of the owner.

It always strikes me as odd how the mistress never suspects Rudolph of her "missing" canaries, in that short span of time - especially when her cat is home alone regularly. I'd imagine Rudolph pulls the same trick on the lady for each canary. Such naivety would be legit for a Warner Bros. cartoon, that oughtn't to be questioned.

The sequence ends with a simple solution for the mistress: order another canary from the pet shop - to the satisfaction of both the lady and Rudolph. The shot of Rudolph curling around his owner's legs is very striking and insightful of the character - who hides his sinister nature in the presence of the lady. Rudolph's two-faced personality and motive has firmly been established by the end of the sequence.

Suspense and tension begins to build during a sequence of Rudolph impatiently awaiting for the delivery of the canary. The dreaded wait is hilariously illustrated through Art Davis' animation. Rudolph paces back and forth on top of the front wall of 1605 Maple Drive. Once Rudolph turns to pace back; his head turns after his body begins walking!

Carl Stalling's music enhances the tension of the wait - further emphasised in Rudolph's restless walk cycle on the wall. Stalling also briefly uses a part of Powerhouse with a tense musical arrangement that fittingly provides atmosphere to the cat's desperation.

Tashlin experiments with scene transitions when a different truck representing a gas company drive past the house. Rudolph is already standing on the sidewalk; attempting to attract the attention of the driver by literally ripping off the house sign from a brick wall!

In a side shot, the truck drives through the shot - but once the vehicle disappears, Rudolph has returned to pacing anxiously on top of the wall. It's a dangerously ambitious piece of staging, that makes the transition very unique as far as timing's concerned.

Already Frank Tashlin was gradually experimenting with angular, stylised poses for his characters. It would eventually take its course during his last few cartoons for Warner Bros. - but elements of it started to crop up in his black-and-white shorts. A scene of Rudolph whistling desperately for the pet store van is not only broad in animation; but also shape-like in proportions.

Once the delivery man walks to the front door of the house; Rudolph discreetly sneaks behind. Rudolph's tiptoe cycle is economical, but without lesser quality. Rudolph's body is a held drawing, but only his paws and feet are animated. It's an innovative, stylised piece of animation that might cut corners, but still exemplify Rudolph's slyness.

It looks like Tashlin was influenced by the avant-garde layouts Dave Hilberman provided for him. In one shot; Rudolph's body aligns with the shape of the porch steps as he follows the delivery man carrying a cage.

By the time the canary, now named Petey, has settled into its new surroundings and left alone from the mistress - the action begins. Extensive use of fast-cutting and perspective heightens the tensity of the scene. To begin with, the mistress places a saucer of milk on the floor and leaves the scene. Rudolph spits out the milk with heartfelt disgust, and sneakily advances towards the birdcage.

Perspective animation is applied to create the illusion of a continuous shot; as Rudolph's body obstructs the camera, and walks to the birdcage - facing rearwards at the audience. The technique isn't quite perfected, as an obvious cut occurs once Rudolph's body blocks the camera. It's a daring device that deserves credit for effort.

After the elaborate perspective shot; Tashlin's fast-cutting makes up a lot of the action of the cat pouncing coinciding with the canary's reaction. The intercutting builds suspense and danger for the canary; whose seen as helpless from a viewer's perspective.

Spontaneously, the canary lifts the birdcage upwards; causing Rudolph to narrowly miss his prey. The spontaneous delivery of the canary is a nice payoff from Rudolph's pouncing action staged as a nail-biting moment. The cat crashes onto a wall; taking the physical shape of a coin that rattles on the floor after the impact.

The nighttime sequences occurring during the cartoon's climax; exhibits Tashlin's finest use of a cinematic mode. The layout work of Dave Hilberman (who worked with Tashlin around that time), is a masterpiece in dynamics. Each shot is uniquely staged and framed; and it flows effortlessly in continuity action. The build-up and use of dynamics are comparable to auteurs like Alfred Hitchcock or cinematographer Gregg Toland.

The scenario consists of very imposing camera angles, as well as an emphasis of low-key lighting and silhouette. It's largely a homage to the film-noir style of filmmaking - which was all the rage during 1940's Hollywood.

Samples of beautiful staging are too many to analyse. Very impressive ones feature a low-angle shot of the canary looking up at Rudolph sneaking up on the rafters. The scenes manage to use the 180-degree rule effectively from very complex camera angles.

Effects animation is strikingly utilised in a shot of Rudolph's paw seen in silhouette form - attempting to slowly catch the canary. Unexpectedly, the canary quickly responds to the threat by striking Rudolph's paw with a cartoon mallet. Elements of comedy are applied in this sequence; but the complex staging is applied extensively to emphasise suspense and buildup.

After an artistic tour de force of suspense and staging; the final battle between Rudolph and Petey commences. The cat pounces on top of the bird cage - resulting in some broad action of Rudolph crashing upwards and downwards. The canary almost encounters a close call; as he narrowly escapes the jaws of Rudolph.

The rest of the battle isn't seen, but interpreted through crashing noises - as the scene focuses on the disturbed mistress, who wakes up from her sleep.

The cartoon's ending works as a juxtaposition of the opening scene. In a throwback to much earlier, the camera pans across the room from the P.O.V. of the mistress, concerned of Rudolph's absence. She "awakens" Petey, asking: "Have you seen Rudolph?".

Petey shakes his head; but accidentally hiccups Rudolph's ribbon from his mouth - strongly implying his own demise. The punchline is both wacky in its depiction, if considering the laws of physics. The element of dark humour may be jarring; but serves as fine justice for poor Rudolph!

For the final black-and-white cartoon in the Looney Tunes series - you'd wish to see more shorts paying homage to the film-noir technique. Puss 'n Booty is perhaps Frank Tashlin's greatest cartoon, in terms of impressive staging and suspense. The use of camera angles are not only sublime; but its masterful pacing and structure that's almost equivalent to the works of Alfred Hitchcock. The short also remains funny in its characterisation and timing; with the talents of Warren Foster fulfilled. The canary is illustrated unpredictably - a fine showcase of how there's more than what the eye sees! Although the tradition of black-and-white would fade from the series - it's last cartoon is a testament of how visually appealing it can be.

Rating: 5/5.

Director: Friz Freleng.
Release date: December 1943.
Starring: Mel Blanc (Snafu / Various voices); Frank Graham (Narrator).
Music: Carl W. Stalling.
Sound: Treg Brown.
Synopsis: Snafu spreads a rumour about a recent bombing that grows more exaggerated - eventually leading a panic at the base.

The Snafu series utilise the message of "loose lips sink ships" satirically yet effectively, like in Spies, which exaggerates the potential threat of eavesdroppers. Rumors follows a very similar message; but it also illustrates the potency of rumours and its side effects.

Rumours and gossip might be a part of human nature, but it can be dangerous for a large number of factors. It's an endearing feature of the human psyche; evoking emotion and sparkling attention. The more spread the rumours are, the more exaggerated and ridiculous they become. Rumours that become misleading can potentially start panics amongst soldiers - creating distractions and weakening courage.

The opening sequence showcases Snafu's ignorance as he misinterprets a fellow comrade's remark, "Nice weather for a bombing" during small talk in a latrine. Diagram shots are applied heavily during the opening scenes; such as Snafu's mind visually portrayed as a hot stove, receiving and repeating: "Bombing weather".

This motivates Snafu to begin a rumour next to a man shaving. So, Snafu tells him about a possible bombing occurring at their base. The use of visual metaphors applied in animated form are innovative in its portrayal of how gossip travels - such as the "hot air" shown as steam ascending to the listener's ears.

So, the listener informs the rumour to another person - but more misinterpreted than Snafu's message. Frank Graham's narration supports the diagram shots of the human mind, as he remarks: "That's right, exaggerate it! Stretch it! Multiply it!". The diagram of a listener's head reveals its mind operating like gears; as mechanical hands stretch out a piece of baloney.

Consequences of travelling rumours are largely satirical throughout this cartoon. The rumours are personified through imagery as zany-looking characters who fly through the camp once the gossip spreads like wildfire. To begin with, the rumours are symbolised as "flying baloneys". The visual metaphor/pun literally features flying pieces of bologna with wings.

The layout work is stunning by portraying anxious soldiers speaking of rumours inside their tents. The soldiers are featured in silhouette - an effect used similarly for the celebrating clowns in Disney's Dumbo.

The rumours grow more exaggerated, as soldiers speak such tales like: "They blasted the hell out of Brooklyn Bridge", "What's the matter with our planes? They popped them off like kites!". In one tent, it sounds like Mike Maltese and Ted Pierce provided their voices to some of the conversing soldiers.

Much of the surreal imagery in this cartoon feels heavily influenced by Ted Geisel's (Dr. Seuss) work. Geisel had contributed to the earlier Snafu cartoons and his presence is felt as far as visual storytelling and character designs are concerned. Such analogies like the "flying baloneys" are used to represent false information taken seriously, and the possible consequences following.

Animation by Gerry Chiniquy.

Soon enough, the rumours begin to haunt Snafu in surrealistic fashion. In a sequence of Snafu eating breakfast inside a mess hall; the piece of bologna begins speaking to him - claiming it has "nothing to fight with". Once the piece of meat flies away, Snafu ignores it by cracking a boiled egg - causing a horned bird to arise, shouting: "And furthermore, the Japs are in California!" (line corrected: see comments below).

The following climax is a hilarious and yet surrealistic portrayal of Snafu's panic amidst flying baloneys or horned creatures taunting him of such rumours. The visual imagery represents how rumours can haunt the person who begun them.

So, Snafu runs across the army camp; attempting to seek refuge from the gossip; but he can't escape them. He attempts to escape inside dustbins and on telephone wires, but discovers even inanimate objects are plagued by rumours.

Much of the creepy imagery feels like a throwback to early 1930s cartoons produced by the Fleischer Studios or Van Beuren - the former's Swing You Sinners comes to mind. The use of inanimate objects briefly forming to life is certainly feels reminiscent of that era.

The climax involving Snafu attempting to escape the zany creatures are disturbing enough in execution. Friz Freleng's cutting style and the use of voice effects add to that effect. They haunt Snafu with more outrageous rumours concerning the war: "The Russians have surrendered", "The British are quitting", etc. Soon, Snafu falls to the ground after falling off a flying baloney - as he falls, a cloud of dust speaks melancholily, "It's all over. We've lost the war...", until Snafu crashes.

At the cartoon's resolution; it's been revealed that the army camp has been quarantined for "rumor-itis". The camera pans to a padded cell, which dissolves inside to reveal Snafu as a patient, driven insane by his rumour episode. Snafu wriggles and incoherently blabs "Rumours", whilst laughing hysterically.

Snafu stops wriggling and momentarily regains his conscience, remarking: "Nice weather for a rumour". A baloney arises from a patch of padding with both characters jumping across the cell.

After the cartoon's iris close, an additional gag is inserted of a cameraman rolling a film camera. He forces a piece of bologna inside the camera like a grinder - with slices falling from the lenses. The cameraman turns at an angle facing an audience, with the camera trucking in on the words: "Sees - Hears - Knows - Nothing". The gag is a nice little touch that sums up the unreliability of rumours. The composition of the scene serves as a parody for the closing newsreels featured in Paramount News.

All Snafu cartoons are built around morale and hard lessons, but Rumors remains unique for portraying an important message in surrealistic fashion. The use of "flying baloneys" are absurdist in its conception - but it's an innovative portrayal of how dangerous rumours can be, and the possible consequences that even a nation could suffer from. The themes are dramatised through both wit and nightmarish scenery. Friz Freleng enhances the zany imagery believably; enough to make the creepy imagery have a lasting impact amongst army recruits watching this short. Despite the cartoon's age; its overall message and theme hasn't dated at all. It remains a strong testament of how rumours can travel fast through word of mouth, and before the existence of social media or e-mail!

featuring BUGS BUNNY

Warner cartoon no. 419.
Release date: December 25, 1943 (see below).
Series: Merrie Melodies.
Supervision: Friz Freleng.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Bugs Bunny), Billy Bletcher (Wolf), Bea Benaderet (Red Riding Hood).
Story: Michael Maltese.
Animation: Manuel Perez.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Bugs Bunny and the Wolf battle each other inside Grandma's house; during her absence of contributing to the war effort.

Typically, I'd place Little Red Riding Hood as a 1944 release; as it shows up with a release date of January 4th on that year, in many filmography lists. With special thanks to Yowp's research - a newspaper ad from Hamilton, Ohio on December 23, 1943 reveals that this cartoon was already in theatres by that point.

Although an official release chart indicates its January release date - it appears that posted release dates of classic era shorts aren't entirely accurate. Perhaps the short opened first at smaller towns, before entering general release in January?

What I find a little perplexing in the advertisement, that it supposedly represents a Paramount theatre in Ohio; but it's also advertising an MGM musical, Best Foot Forward, and a Warner Bros. cartoon. Perhaps block booking wasn't practiced at smaller theatres in smaller towns?

This cartoon also marks the first time Mel Blanc gets billing credit in a Warner Bros cartoon. Such practice of granting voice artists screen credit was unheard of in Hollywood films. Even Walt Disney's earliest features omitted credit for vocal talents - likely to maintain the illusion of fantasy for audiences entranced by the magic of animation. For more information on Blanc's screen credit steal; see Keith Scott's article on Cartoon Research. The short also includes performances by Bea Benaderet and Billy Bletcher, who are both uncredited yet very talented.

The cartoon itself is another showcase of how the Schlesinger studio took liberties on parodying fairy tales. That same year, MGM released a very risque parody of the Riding Hood tale; Red Hot Riding Hood, by Schlesinger's former director, Tex Avery. The majority of the cartoon challenged film censorship since it was built around lust. Friz Freleng's parody of the same fairy tale might not be edgy; but it excels for its funny characterisations and smart writing by Michael Maltese.

Michael Maltese's take on Red Riding Hood opens up to a lot of gag opportunities. Many versions of the fairy tale typically depict Red Riding Hood as a sweet young girl with endearing qualities. Maltese portrayal, however, lacks such traits. Many cartoons previously parodied Red with a Katherine Hepburn persona. Instead, Red is stereotyped as a loud, obnoxious bobby-soxer teenager - vocalised irritatingly by Bea Benaderet with great comedy values.

The character was the inspiration of radio comedian Cass Daley - and Michael Maltese's young daughter! Daley was known for her energy and loudness; but some of Red's childlike dialogue ("ta-have!") was adapted from Maltese's daughter.

The opening sequence showcases Red's personality very vividly that realistically portrays the awkwardness of adolescents. Like the story, Red journeys through the woods with a basket -- but sings ear-splittingly in her rendition of Five O'Clock Whistle. An obnoxious piece of delivery makes Maltese's portrayal of Red, all the more hilarious!

Bugs Bunny arises from his basket, asking casually: "Watcha got in the basket, gorgeous?" Red responds loudly: "Ahh've got a little bunny rabbit which I'm taking to my grandma's. Ta-have, see?". Red's purpose of bringing Bugs as a gift is kept vague. A pet gift or a plate of rabbit stew? Depends how you see it.

Animated cartoons had come a long way from wholesome, cutesy interpretations of Red Riding Hood from the 1930s, popularised by Disney. MGM's Red Hot Riding Hood even claimed, "Every cartoon studio in Hollywood's done it this way!". Red is deliberately parodied as an unlikeable loudmouth that even a casual viewer would love to hate!

The traditional storytelling of the fairy tale slowly starts to change direction once the wolf appears. He diverts Red's route; whilst approaching Grandma's house. As discovered, it's revealed she's away from home contributing to the war effort, by working a "swing shift at Lockheed".

The wolf puts on the disguise; and even shoos away other wolves hiding under the covers on the bed, hoarding the spotlight, as he yells: "Come on, come on! Take a powder. This is my racket!". The disgruntled wolves leave the bed, muttering.

By the time Red Riding Hood enters Grandma's house for the traditional lines, Michael Maltese diverts the story from that standpoint - adding a comical twist to make way for Bugs' antics. The wolf overhears Red shouting, "I brought a little bunny rabbit for you, ta-have!".

And so, eating a rabbit appeals to the wolf more than Red. The wolf grows irritated by her presence as she attempts to speak the infamous lines from the tale: "That's an awfully big nose for you; ta-have!". Red is quickly shuffled out of the door by the wolf, who turns his attention towards Bugs Bunny, residing inside the basket. The twist is both spontaneous and build by characterisation - as the characters themselves take the cartoon in a different approach.

Michael Maltese would take advantage of Red's irritating personality; by using her as a recurring gag throughout the cartoon. Maltese is innovative enough by mocking traditional values of a fairy tale story. He understood parody well enough to not rely too much on the source material - if better gags are called for.

Sporadically, Red would re-appear in several scenes - still asking the wolf questions based on the fairy tale: "What sharp teeth ya got, Grandma!". The wolf would always respond by disposing Red out of the house.

At the height of his annoyance, the wolf expresses courtesy towards Red, by speaking French! I don't know what the rough translation is; unless Billy Bletcher improvised it. This is soon followed by an unwelcoming yell from the wolf: "Get out!". The comedy delivery works as an amusing juxtaposition of etiquette and rudeness!

Freleng's comic delivery comes to advantage in a short interruption of Red knocking on the door, and questioning loudly. Inventive smear animation by Gerry Chiniquy, the animator of that scene, comes into effect when the wolf slams the door in front of Red.

The most complicated and highlighted elements of Friz Freleng's comic timing are showcased authentically in this cartoon. Applying musical timing to animated action isn't an unheard trait of Freleng, but the short features some very fine examples.

A remarkably complex piece of timing occurs in a gag involving Bugs Bunny running up the stairs and closing the door, whilst in pursuit of the wolf. Bugs then reappears through different doors during an in-and-out routine. The layout work is relatively simple; but it's an unbelievably complicated piece of action.

Both Bugs and the wolf's stepping movements are arranged by different instruments respectively. To keep the musical timing consistent whilst Bugs is deceiving the Wolf is an incredible tour-de-force on Freleng's part. For a gag executed successfully, it would eventually have its encore in Buccaneer Bunny (1948).

A less difficult but engaging piece of musical timing applied to action is featured in a scene introducing the wolf. As seen, the wolf is hiding behind a tree while spying on Red's trail. The wolf would discreetly tiptoe his foot towards another tree nearby, and slide his body forward without exposing his presence.

Stalling's use of musical pantomime amplifies the wolf as a conniving and sneaky character. The scene, animated by Dick Bickenbach, indicates some strong poses of the wolf's tip-toeing action, whilst keeping on form with Friz Freleng's timing pattern.

Much of Bugs' escapades in this cartoon is matched with a certain kind of energy seldom practiced by Friz Freleng. In a scene of Bugs Bunny striking the wolf with a paddle, and deceiving him of his whereabouts - it shows a standard use of smear animation that enhances animated energy.

For more intriguing dynamics, Friz Freleng practices his own cutting style during a scene of Bugs whistling his whereabouts to the wolf, but zips out of shot when he arrives.

To begin with, the pacing is kept stable. Once a series of consecutive shots of Bugs whistling at various places of the house takes place, the cuts become more rapid.

Friz seldom practiced fast-cutting amongst his directorial abilities. His style of cutting might not be as dynamic as Frank Tashlin's, but it works well enough to assimilate the cartoon action.

The fast-cutting ends with a pay-off once Bugs Bunny points towards a cupboard. He exits upon the wolf's arrival, but he opens to find Bugs hiding inside. Freleng's timing is both subtle and zany in its execution. The action flows very quickly with such subtleties that otherwise could come across as contrived.

Mel Blanc and Billy Bletcher both play off each other with sublime fashion, in a sequence of Bugs mimicking the wolf's actions. Bugs finds himself cornered, but his quick wits enforces him to copy the wolf's speech and posture. They both yell, "Why you... / Hey, now! / Cut that out or... / Say, wise guy! / Oh, yeah?"), and are both perfectly synchronised at the further of delivery of "Yeah!".

The mimicking works so well from many departments - from the duo's voice collaboration right down to its animated form. Intentionally, Bugs is out of sync for much of the mimicking, to create a realistic scenario. Only Friz Freleng's meticulousness could do a scene such justice.

Gerry Chiniquy's animation is met with many challenges. Imaging seeing an exposure sheet for that scene, which would've required complicated charting. It's one of the few times in animation, when twinning the characters' poses are called for.

Then, Bugs takes control through psychology by shouting out nonsense words, and distracting the wolf by muddling up his speech, and breaking into the song: Put On Your Old Gray Bonnet. A Tex Avery-esque gag quietly appears as Bugs holds a "Silly, isn't he?" card.

A part of myself is curious if Blanc and Bletcher might've recorded their lines together for that scene? Not only would the delivery work better, but it could've saved expenses of sound film stock - had they recorded their lines separately. Still, the sequence has strong comedy merit from those talented men, as well as Freleng's direction. Such a gag like that could've easily gone wrong without the importance of team effort and careful planning!

Suspense builds up as the wolf creeps towards a dark room. An elaborate scene of a fireplace reveals Bugs Bunny is hiding underneath the gown - as indicated in a reflection. Much of the suspenseful action contains lavish composition. This is evident when the wolf enters a dark room, with Bugs' hot coal as the only source of vivid light.

The darkness ends in the blink of an eye when the wolf shoots upwards from his gown - screaming in pain from Bugs' hot coal. Bugs places a large shove full of hot coals - causing the wolf to catch his feet on the edges of two benches. The vibrating action has some nice timing to it.

From this moment, Bugs Bunny has finally outwitted the wolf, and is ready to give him the coup de grace. Bugs punishes the wolf further by dumping heavy objects on the wolf's hands. The scene dissolves to a tall structure of house objects. The camera pans upwards as Bugs is ready to apply some finishing touches until...

..."GRANDMA!", Red cries off screen. Bugs has finally had enough of Red's earsplitting voice! Her presence prompts a new motive on Bugs, who remarks: "I'll do it, but I'll probably hate myself in the morning."

Animation by Virgil Ross.

Bugs climbs down the ladder, and the next shot reveals another twist: Bugs had switched the wolf with Red; whose now given the burden of carrying all that weight whilst avoiding her rear end from getting scorched. The camera pans towards Bugs and the wolf, now friends, as they both share a carrot and watch Red's torture with satisfaction.

And a satisfying ending it is! Red's recurring presence is paid off in a hilarious gag, that merits shock value. It probably represents a more sadistic nature for Bugs - but justice feels truly met. Michael Maltese's use of twists are excelled in this cartoon. The overall ending is hilarious by its entire execution - right from the storyboards onto the finished product.

For a director whose sometimes criticised for being "conservative", this cartoon is anything but that! It's arguably one of Freleng's most energetic and spontaneous cartoons he did for Warner Bros - and its entertainment values are sky high! The cartoon highlights Freleng's true talents as a director. Much of the short is built on constant activity and fast pace which creates excitement. Michael Maltese reconstructs the fairy tale for his own parody, with wonderful spontaneity and twists. His characterisations are very funny; especially when the characters themselves drive the story away from its traditional roots. Much of Maltese's structure has a natural, loose feel towards it which is anything but forced. Little Red Riding Rabbit is the least bit pretentious, and it still serves as one of the most entertaining and thrilling cartons produced by Warner Bros.

Rating: 5/5.

409. Tin Pan Alley Cats (1943)

410. Porky Pig's Feat (1943)

SNAFU: Spies (1943)

411. Scrap Happy Daffy (1943)

412. Hiss and Make Up (1943)

SNAFU: The Goldbrick (1943)

Sinkin' in the Bathtub revisited...

SNAFU: The Infantry Blues (1943)

413. A Corny Concerto (1943)

SNAFU: Fighting Tools (1943)

414. Fin 'N Catty (1943)

415. Falling Hare (1943)

Tom Palmer revisited

416. Inki and the Minah Bird (1943)

SNAFU: The Home Front (1943)

417. Daffy - the Commando (1943)

418. An Itch in Time (1943)

419. Puss n' Booty (1943)

SNAFU: Rumors (1943)

420. Little Red Riding Rabbit (1943)