Saturday, 26 July 2014

336. Aviation Vacation (1941)

Warner cartoon no. 335.
Release date: August 2, 1941.
Series: Merrie Melodies.
Supervision: Tex Avery.
Producer: Leon Schlesinger.
Starring: William Day (Singer), Mel Blanc (Voices), Robert C. Bruce (Narrator).
Story: Dave Monahan.
Animation: Sid Sutherland.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: During a flight to the Darkest Africa, along the way they experience some barmy encounters along the way.

Though the short is a mockumentary of air travel, and vacation documentaries; the short itself feels like it has been split into two halves. The first half of the short centers primarily on the airplane travelling towards its intended destination, although it stops at certain places along the way. The first part feels like much like in the style of  Ceiling Hero.

It contains very little character animation, and only technical animation such as shots of the plane as well as a reliant on effects animation for gag purposes. Tex uses a lot of effects animation for the first part, as thats what the gag requires: particularly in the train gag sequence.

The plane is seem from an extreme down-shot as a silhouette, and a locomotive steam-train speeds through the railway tracks, and the plane dodges on the incoming train, which is a bizarre gag blended in with Tex's humour.

The second part of the short feels like a completely different short in terms of scenery, story direction as well as subject change. Once the plane arrives in "Darkest Africa", the rest of the short feels as though these were leftover gags from Tex's previous effort The Isle of Pingo Pongo, a short which primarily satirised civilisation as well as the scenic nature of African provinces. The sequences which cut to animals such as the ostriches, as well as the native tribes certainly suggest as though the short had turned to a new subject.

Starting off with the first part of the whole sequence; Tex mostly focuses on satirising geographical locations which are familiar in the United States like California, Mount Rushmore, as well as gags involving the planes. Most of his gags relying on geographical locations are as corny as he would have interpreted them, such as the "Sunny California" sequence.


The sun looks blazing warm form the beams and the brightness of the sky, but the camera trucks back towards the rest of California looking glum and grey. Of course, the gag is suggesting otherwise, contrasting California's reputation of warm weather.

Other uses of geographical visual puns would be evident in the "Darkest Africa" scene, just before the cartoon switches over to a different subject.

The gag itself was mostly well-known for being in Porky in Wackyland, though in this short it is a more visually ambitious shot. Whether this was inspired by the Clampett classic, I don't know, but likely. Most of the shots featuring the airplane is shown as a held cel that travels through overlays. Reasonable to have it held as the held cel was all that the animation required. For gags, the technical animation has elements of Tex's charms. One methodical scene, of the plane travelling is straight towards the moonlight. The moon zips rapidly upwards for the plane to travel past, before the moon lies back down. This is a fine example of how the technical animation coming form Warners had already been accomplished by this point. Whether this was done by one of his animators in his unit, or an effects animator, I'm not sure.

One of the more dated gags would appear in the Mount Rushmore sequence. Upon the time of the short's production, as well as the release date for the short: Mount Rushmore was very much near completion, as the presidents' faces were constructed throughout the mid-to-late 1930s. Funding for the construction ended in October of that year, when they hadn't enough in funding to construct the remainder of the original designs' depiction: carving each president form head to waist. The camera fades into a close-up of the famous American presidents, as the narrator identifies their faces one-by-one, through a camera pan. 

After the appearances of Washington, Jefferson, Lincoln and Teddy Roosevelt, the camera then pans towards a satirised constructed piece of the 1940 U.S. presidential election. For the Republicans, the face carved is Wendell Wilkie, and for the Democrats: Franklin Roosevelt, who of course, had already won the election by the time the short was released, and possibly during the short's production. This makes the gag somewhat dated, even upon the short's release, as Roosevelt was already re-elected.

As the plane stops at the Emerald Isle (Ireland), the next sequence is revolutionary in terms of humour. Tex takes satire to a whole new level, and thus making the delivery an un-prediction for its audience.

It really doesn't belong to the short at all, though it only works to a small extent as planes would used to stop at various places, considering how they couldn't travel as far as today's standards.

The sequence, in which the passengers visit Ireland temporarily, watch an Irish folk singer sing: When Irish Eyes Are Smiling. The animation, probably done by Bob McKimson, is animated very realistically in order to make the gag appear more unpredictable, as well as making the approach more amusing.

During his song sequence, Tex's gag appears where he mocks the technical problems that make film reels faced in the time period: pieces of hair on film prints. In this case, the piece of hair is animated so the audience are under the impression the piece of hair is stuck on the film projector. The hair is largely noticable when animated, and the emphasis of the silhouette is evident. The animation itself has to be done meticulously and technically so the realism of the gag can meet great results. The folk singer, during his song, interrupts due to his distraction as he bellows: "Hey you up there, get that hair out of here!". From William Day's singing vocals, to Mel Blanc's yells are contrasted brilliantly when it comes to delivery. Once the projector's hand pulls out the piece of hair, the Irish folk singer finishes off his song, and ends the brilliantly, inventive sequence.

The following sequence, the short enters of how I will interpret it as "Cartoon #2". Set in the Darkest Africa, the short now focuses more on civilisation for the native tribes, as well as the animals that reside there. The narrator narrates a sequence of a form of communication that tribes use when sending out messages: through the beat of tom-toms.

The scene starts with a long-shot of a realistic-looking tribe sending a message through the tom-toms, in which the camera pans towards another tribe member in the far distance messaging out the same rhythm. The camera pan as well as the layout of the scenery looks rather complex in terms of how the gag ought to be interpreted.

The following shot, animated by Rod Scribner, features the tribe leader asks his squire: "Err, what do he say?". The squire therefore responds back be scatting out the rhythm of the tom-toms, without any sort of translation that the audience may be expecting. This is one of the sequences which Tex was attempting to invent more original gag deliveries, and this one is an exception.

The other gag sequences in the other shorts, are not much spectacular and are rather cliched from how Tex constructs his gag. The sequence involving a tribal hunter slowly approaching himself with a dart shooter is treated with suspense. We suspect he is capturing a target, once he blows out his shooter, it turns out he's playing a game of darts. His "target" responds, "Terrible shot, Joe".

Another sequence that stands out with repeated gags, as well as a very cliched delivery, would be the scene involving butterflies. The narrator narrates a brief analysis of the tropical butterflies in Africa. We find a cocoon wrapped inside, as the narrator describes with enthusiasm of the cocoon's transformation into a butterfly.

This follows into a pan where each cocoon spits out beautifully transformed butterflies with individual wing patterns. The last  cocoon, however, only spits out the butterfly, who in close-up looks rather frail. The narrator asks, "Say, what in the world happened to you?", as the butterfly responds, "Well, I've been sick". From watching a lot of Tex's spot-gag shorts, this is Tex using the delivery as a recurring gag, though it doesn't exactly hold up well in the sequence, compared to the sick alligator in Wacky Wildlife.


 And so, the short comes towards an end as the plane departs Africa heading back towards USA. The shot itself is also as cliched as how Tex would end journey spot-gag shorts. The dazzling sunset background by Johnny Johnson, as well as the "reluctant farewell" narration are all parallel to the previous shorts, for the sake of consistency. As the plane dances in rhythm towards Aloha Oe. That's funny, I thought this was set in "Darkest Africa". Perhaps not the best choice Carl Stalling has chosen for a departure scene set in a different geographical location.

Just as the plane is approaching towards New York City, the plane is distorted by the heavy fog which "makes visibility poor and landing difficult". As the plane appears only translucent during the heavy fog, the pilot makes an announcement of the "circle of field coming in". As the fog clears away, the plane turns out to be caught in a carousel in a theme park somewhere in New York. For the right gag delivery, the Merry-Go-Round Broke Down is heard from the carousel, as the cartoon ends.

And so, we bid a reluctant farewell on this cartoon review. This is a typical mess that Tex has made from his many spot-gags he made at Warners. Time to time, he would make some exceptionally good spot-gags like Cross Country Detours as well as a handful of MGM shorts, but this short seems a lot more cluttered than a lot of the spot-gags he was making. It doesn't appear to be completely focused, and the concept seems a tad lazy, as well as repeated. The first part of the short is very much in the style of Ceiling Hero, whereas the second part is just another of Tex's nature mockumentaries. It's two already used travelogue elements compiled into one. Though, the Irish folk singer sequence is an exception as it stands out as the funniest sequence in the whole short, and personally, the funniest gag in all of Tex's spot-gag Warner shorts. From the time of the short's production, Tex was already at the brink of leaving the Schlesinger Studio, and this short alone is the last short where Tex Avery is given 'supervision' credit, as his other shorts wiped out his time, having already left the Studio.

Rating: 2/5.

Wednesday, 25 June 2014

335. Inki and the Lion (1941)

Warner cartoon no. 334.
Release date: July 19, 1941.
Series: Merrie Melodies.
Supervision: Chuck Jones.
Producer: Leon Schlesinger.
No cast.
Story: Rich Hogan.
Animation: Philip Monroe.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Inki, while on the hunt for the Mynah bird, he becomes endangered by a ferocious lion for attempting to spear its cub.

The Inki cartoons tend to show a patterned formula which is almost identical in every short. The shorts would begins with Inki hunting more vulnerable animals with his spears, but the Mynah bird catches his attention. The Mynah bird, whose leitmotif is Fingal's Cave, hops and walks in sync to the score.

The bird is symbolic in the Inki shorts, having a supernatural ability of being undefeatable. Inki would turn his attention towards the bird, but at some point in the short, he would face a more terrifying animal, which is usually a lion (an exception would be Inki at the Circus).

Despite having the exact same formulas, Chuck would attempt to make short slightly different whether it would mean using different scenarios or different deliveries in terms of gag approach.

This short, is mostly a repeat of Inki's first appearance, The Little Lion Hunter, in terms of story but Chuck invents some new situations and approaches along on the way. According to Mike Barrier's Hollywood Cartoons, the first Inki short happened to be successful amongst audiences, that Leon Schlesigner requested Chuck to produce another short. You could say this formula is almost prototype compared to the Chuck's Road Runner shorts, where the scenario and situations were no different each short, but just varying gags and ideas. This short is very much a repeat from its predecessor.

Watching the opening of the short, Inki is seen chasing after a monkey who hides on top of the canopy of a tree. Inki rushes to search for the monkey, relating to a gag where both heads are out but don't meet one another. Besides the opening formula being repeated, notice how Chuck Jones' timing and the animation being produced in his unit is becoming more liberal.

Jones shows a more comical approach for Inki such as the spear gag, where he vibrates rather jerkily.Chuck's timing is evident when Inki hears out for the rustling, crashing noises resulting in an appealing airbrush effect to emphasise his speed, when he rushes behind a tree.

When the rustling and violent effects from the shrubs continue, notice how the animation is much more broad and comical, which shows how Chuck is attempting to make his animation more humorous than Disney-fied. And so, the rustling from the bushes only lead up to a gag that actually pays off for Chuck. The Mynah bird approaches and does his hitch step, which only emphasises on the power he has, for such a tiny bird in comparison.

Chuck Jones also appears to try and find a comical approach in terms of power as well as force, which only pays off in some aspects. In the first part of the gag, Inki is seen hunting out for a baby cub who is licking its paws beside a tree.

Inki prepares to aim his spear towards the cub, but finds a larger lion's hands hold onto the spear, and knocking Inki over to the ground.

The gag itself is a little clumsy in terms of timing, as the approach isn't delivered well, as Inki didn't use enough force in order to achieve that effect, making the gag not realistically effective. The other gag, however appears much later on in the short's ending shot. Inki and the Minah bird shake hands, but the Minah bird's hand show a very firm grip which takes complete control over Inki's body, and leaving him to the ground. This was a more better approach as this once again emphasised on the Mynah bird's power, and the whirling effect made the gag more believable in devilry, whilst the spear gag didn't.

Following from the spear gag, Jones uses a great opportunity which would make up from the poor gag delivery. Inki's encounter with the lion is artistically rich in terms of Inki's point of view shots. The lion faces him upside down, but as Inki turns his head, the lion turns 180 degrees to its normal angle, thanks to the geniuses behind Smokey Garner's department.

Both Inki and the lion then respond to one another with a sheepish expression which only Chuck could master. Inki responds first with a sheepish grin towards the lion, but the lion's grim shows a much more intimidating grin, due to the largeness of his teeth, and gums. Whoever animated the scene, certainly captured the fear of this perilous encounter, the lion's teeth are very intimidating in terms of proportions and realism, and there is a great contrast in terms of size between those two characters. Inki, standing up sweating with fear, then makes a little twirl his foot before he skids out of screen. Another trait from the Warner directors, especially Chuck, where a character would attempt to act innocent by curling their foot before leaving, it makes great character animation.

The following sequence is another equivalence involving a vulnerable character standing on top of danger, a formula that Chuck loved in his early years. This time, Inki is standing on top of the lion's head, unaware of the danger he is standing on top of.


Believing that he has escaped from the lion, he proceeds to climb down the lion's head, but finds that his foot is touching the lion's tooth from his mouth. The rich character animation and gloss is evident in the scenes, to add tension.

This is a challenging scene to animate, as Inki has to act through his foot. Inki grabs hold of the lion's skin where he places it over the lion's tooth, in hope that he would be able to escape easily, despite being in a perilous situation. Inki then turns towards the right and then exits on top of the lion's head. This time he is hiding on top of a log, with the Mynah bird standing on top of his head. Inki now turns his attention towards the Mynah bird, in hopes of capturing it with his spear.

The cave sequence, without doubt is one of Jones' longest-paced sequences, where the action occurs for "long periods of time". To start off with, Inki was following the Minah bird who ends up walking inside the cave. Trying to trap the Minah bird, Inki uses the huge stones to block the entrance of the cave.

After a series of crumpling up stones to block the entrance, Inki weirdly mistakens the lion's behind as a stone in which he attempts to  push his behind to the last gap from the cave. The gag itself is flawed because of the terrible contrast with colour between the rocks as well as the lion.

Had the cave and stones been painted like soil, then the gag would have probably worked better. Unaware of his danger, the lion looks Inki smugly, in which Inki's double-take leads him inside the cave.

Inside the cave, Jones only uses the eyes and teeth putting a lot of emphasis of black-and-white to emphasise darkness inside the cave. The animation itself is communicated well, when most of their body is in silhouette, and the sheepish expressions they make really work well. Inki then rushes outside the cave again, scrambling all the stones frantically, but finds he's been outwitted by the cunning lion. The scene then follows through a very confusing and somewhat incoherent sequence where the lion is attempting to entice Inki to walk inside the lion's mouth. The incoherent part follows when Inki ends up somewhat in a trance, and walks straight towards the lion's mouth. The gag itself doesn't pay off, having no indication or a source that casued Inki to almost go in a trance.

Only the Minah bird can stop Inki's trance from the lion's enticement. The Minah Bird breaks open the rocks from the cave, hopping to Fingal's Cave, and the lion stares at Inki out of curiosity. After the Minah Birds hops out of the scene, the lion turns towards Inki, cornering him by the wall. The lion, attempting to charge at Inki without mercy, finds however he has the inability. The supernaturalness and the power of the Minah Bird has prevented the lion, as his tail is revealed to be tied to a tree stump, therefore making Inki safe. Inki, realising the Minah Bird had saved his life, walks over to thank the Minah Bird who, as mentioned earlier, responds with a firm handshake to leave Inki whirling, emphasising his powerfulness. Though the Minah Bird doesn't have much other action other than his hopping routine, the handshake feels somewhat acceptable, and in character.

The short is very much parallel towards the first shot, so it is nothing much different in terms of story, except just new gags along the way. It feels somewhat typical to name the short Inki and the Lion, as it's no different to the previous short's title. Artistically, Chuck Jones does manage to keep it rather fulfilling, not only the animation, but the use of camera angles like the POV shots, as well as the use of colour contrast, even though it worked well in some areas, and others it didn't. The opening sequence I felt showed a lot of promise of a much, improved Chuck Jones when looking at his comic timing and liberal movement in animation. After the opening, however, it felt too slow and much like Chuck's usual cartoons he was making around that era. Overall, the short is nothing new from Chuck in terms of gags and story, and it feels as though I've already seen this short only two years previously.

Rating: 2/5.

Thursday, 29 May 2014

334. The Heckling Hare (1941)

Warner cartoon no. 333.
Release date: July 5, 1941.
Series: Merrie Melodies.
Supervision: Tex Avery.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Bugs Bunny), Kent Rogers (Willoughby) (?).
Story: Michael Maltese.
Animation: Bob McKimson.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: A dim-witted dog is on the look out for a rabbit. Being a threat to Bugs, he takes advantage of the dog's lack of intelligence with his smart tactics.

Throughout most of the early Bugs Bunny shorts, (with the exceptions of Tortoise Beats Hare or Elmer's Pet Rabbit), the Warner directors were still writing the same story formula for Bugs Bunny, involving Bugs outwitting several different characters each short.

With that said, being a very common trait of Bugs Bunny throughout his career, later shorts on the other hand had more focus towards story and each short had different dilemmas. In this short, this is really the basic, A Wild Hare-type story.

Instead of a hunter: Bugs is being pursued by a dim-witted dog (if you wish to call him Willoughby, fine). Since this is a short where the story formula was still largely the same, Tex still had a new set of gags to invent, and this short he is certainly experimenting with new gag ideas, that would still seem beyond what animated cartoons, then, offered.

The short starts off like how an earlier Bugs Bunny short might begin, the antagonist of the short appears first, as the purpose is the audience would be wanting to know the antagonist better.

Willoughby is seen sniffing out for the scent of a rabbit in the forest. He introduces himself, and explains to the audience of his intended target.

Note the walk-cycle that Tex gives to Willoughby, which shows how Tex's walk cycles only get even more bizarre in each short he is making. With the walk animated by Bob McKimson, Tex shows an urge of attempting to create funnier animation, which is becoming more noticeable in this short.

This then follows with a glimpse of Bugs Bunny's ears once Willoughby discovers a rabbit hole. Bugs' ears then appear out of scene. This requires stronger character animation, as well as a heavier set-up from a scene used several times previously.

Instead of Elmer's gun, Willoughby's mouth is held wide open, and the detail on the teeth emphasise on the viciousness the dog could be. And so, Bugs outwits Willoughby with his presence, where Willoughby is too late for his double-take delivery, a gag formula that Tex loved to use between two parallel characters. Once Willoughby realises his error, this follows through a sophisticated, walk-cycle of Bugs Bunny who walks in rhythm to Carl Stalling and Milt Franklyn's synchronisation to I Was Strolling Through the Park One Day. The walk-cycle, likely animated by McKimson or Virgil Ross, shows how the animators at Warners were becoming more confident in exploring their animation, and that cycle alone expresses not only how much better the animators got, but also the freedom to explore several aspects when animating.

A great example of how Tex Avery was definitely allowing his animators to explore further in what they could do with animation happens in the following sequence. This classic sequence in the short centres on Bugs mimicking Willoughby's facial expressions in a psychological effect to have the dog's mind focused on making consistent facial expressions.


The sequence, animated by Rod Scribner, is great for what Tex was wanting his animators to do, as well as what he was attempting to explore. The wacky Tex Avery everybody would come to associate with is only at the tip of the iceberg in this short, and Scribner nails on how Tex probably visioned the scene.

Bugs and the dog go through some far-out expressions, such as the details of their mouths and Scribner was exploring the broadness of his animation in a lot of bizarre ways which no animator in Tex's unit did, he tries to top each pose with a more exaggerated feel towards it. Tex's comic timing is also a striking example of how he is attempting to achieve funnier timing.

The dog, making consistent face-making is already been fooled, to the point where Bugs is no longer a threat to the dog. It builds up with a typical Tex Avery delivery, as he holds a sign reading "Silly, isn't he?", but only returns from his hole with a giant baseball bat. Tex's use of colour to follow the effects is only seen at a brief glimpse, to find that the scene quickly follows with Bugs holding onto a damaged baseball bat. Tex's time couldn't get better for the build up that it got to. He is already succeeding in achieving funnier timing, and his talent of it is already glowing in this sequence. Stalling's choice for Mendelssohn's Spring Song heard briefly in the underscore is an excellent little cliche to emphasise of Bugs's innocent posture.

The following sequence, a gag which is largely borrowed from Tex's The Crackpot Quail, is once again another challenge in terms of animation in order to make the gag easier to follow as well as visualised in a comical way. Bugs, deciding to dive underwater, and placing his bathing cap, dives underwater, but only to end up being pursued by Willoughby on the way.


The effects animation (did they have other effects animators at that time, other than Ace Gamer?), is well achieved in order for the two characters to be communicated under water. One of the highlights would be through the communication of bubbles rising from the surface.

We can identify Bugs from underwater due to the frantic speed he is travelling through underwater, but once he's stopped by Willoughby, the silence then deepens. Their identities are somewhat more obvious as Bugs' ears and Willoughby's tail rise from the surface.

Tex only gets even more bizarre with the gag when a giant log is seen in the middle of a lake. Bugs travels straight towards the log, but manages to dodge by having both ears separate to each corner. Tex used a slightly, though more subtle gag in The Crackpot Quail which featured Willoughby sniffing the quail's gap, and at one point the tracks then become greatly separated. Here, it is more bizarrely visualised, as the ears separating is somewhat very surreal compared to the previous short.

The following sequence is another animated challenge, though it requires a lot of strong character animation, and methodical skills. The gag, being rather straightforward from Mike Maltese's writing: shows Bugs standing on top of Willoughby who is still hunting for Bugs, though without noticing his presence above him. Bugs, pacing up and down Willoughby, comes up with another strategy, and thus tickles him, causing Willoughby to scratch.

Whilst the gag delivery is somewhat basic in terms of how it looks how, the technical side would be a lot more challenging. For one, Willoughby would have to be animated separately, especially since Willoughby, for a small part of the sequence is animated as a walk cycle. Bugs, however, is animated separately, and thus making staging difficult for the animator, in order to achieve an accurate line position for the dog's back. It's likely that both animators were animated at the same time, once Bugs begins to tickle Willoughby, considering how the action is done.

The following sequence, and despite some great strategies and sequences invented by Mike Maltese: the following sequence is somewhat cliched. Willoughby, suspecting the rabbit is inside the bark of a tree has his hand reaching out on the other end of the tree. Bugs, once again taking advantage of the dim-witted dog, grabs out a tomato to place on Willoughby's hand.


Once Willoughby squeezes the tomato in his hand, Willoughby mistakes the tomato juice as Bugs' blood, crying, "I crushed him". He continues to cry, and expressing pity towards himself for killing the rabbit.

I've never been a personal fan of these sequences, and despite making the characters just appear even more foolish: it never made sense to me of their sudden sadness for killing an animal they intended to kill. Perhaps the impact of killing had reflected poorly on them? Well, a cartoon's a cartoon. Willoughby, mourning the "loss" of Bugs, arrives at his rabbit hole to place flowers besides it. Still sobbing, Bugs approaches on top of his hole and feeling flattered, puckers up to Willoughby: "For me, doc? Oh you darling".

This then leads to the cartoon's climax, and without doubt, the most memorable sequence in the short for several factors. One factor was that the sequence was reportedly considered to be the longest fall in cinematic history.

Tex Avery, who was taking new levels that Leon Schlesinger considered dangerous, had wanted to test the audience's patience by having the characters not fall for a great distance, but a total of three falls, which was cut from the print that everybody knows of today.

For further information on the removed sequence, read Thad K.'s enlightening blog post. Though the sequence was considered to be the reason why Tex Avery quit the studios (which wasn't the factor); it just goes to show how Tex was already becoming far more ambitious with his cartoon directing, but his original ending just happened to flop.

Despite the original ending, the edited version does feel somewhat a lot more better in terms of the short's cliffhanger. The audience feel for Bugs Bunny, their favourite character, and this was Tex's vision of testing the audience's mind on how they could make it alive. The problem is solved with them skidding to the grounds safely, with Bugs remarking to the audience, "Ehh, fooled ya didn't he", in which Willoughby responds, "Uh, yeah". The delivery works well as an ending. Whilst the original ending would have shown Tex exaggerating the significant amount of feet they are falling and landing from, it does feel somewhat very anti-climatic, and shows how Tex's original approach didn't work out.

In all, for a short that did itself have a repeated story formula: this allowed Tex to explore at different heights in terms of approach to gags, as well as timing. Tex's timing is only getting faster and edgier compared to his previous shorts, and his idea for gag build-up has certainly gone to high levels which he hadn't yet achieved before. Of course, there are many sequences in the short where Tex had recycled certain gags, though the mimic sequence as well as the fall stand out as being far more original not only as to how they were timed, but also how they were delivered. Mike Maltese, appears to be under much of Tex's influence in the short as many of the sequences feel very Tex Avery oriented, and little of the charms from Mike Maltese. In all, it was an entertaining short for a  Bugs Bunny cartoon, a character who is only getting funnier and broader in each short. The shorts by this point are only becoming a tad faster and edgier, and thus giving Warners a reputable name.

Rating: 3/5.