Saturday, 23 July 2016

SNAFU: Coming!! Snafu (1943)

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

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

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

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

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

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

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

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

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


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

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

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

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

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


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

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

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

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


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

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

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

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

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

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

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

Friday, 22 July 2016

406. The Aristo-Cat (1943)

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

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

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

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

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


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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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



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

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

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

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


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

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

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

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

Rating: 2.5/5.

Wednesday, 13 July 2016

405. Jack-Wabbit and the Beanstalk (1943)

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

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

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

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

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

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

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

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

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


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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

Rating: 5/5.