Category: Looney Tunes

Cartoons that were labeled as “Looney Tunes.”

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Señorella and the Glass Hurache

“Size 4 and 5/8.

All the pretty girls in love with Jose.

Directed by Hawley Pratt; Story by John Dunn; Animation by Gerry Chiniquy, Bob Matz, Virgil Ross, and Lee Halpern; Layouts by Hawley Pratt; Backgrounds by Tom O’Loughlin; Effects Animation by Harry Love; Film Editor: Treg Brown; Voice Characterization by Mel Blanc and Tom Holland; Musical Direction by Milt Franklyn. Released in 1964.

This is the last short that was produced by the old studio before Depatie and Freleng made their own. It features the new opening titles that started with “Now Hear This” and have since become associated with the later shorts.

At Casa de Tacos (IHOT) two guys see an advertisement for this very story. The one on the left has never heard of it, so his compadre fills him in on the sad story. The girl of said story has a pretty crappy life. Not only is she bossed around by her “strap-mother and strap-seesters” but she has to sleep in the fireplace to actually get warm. At least her Disney counterpart got an actual bed!

Her only friends are what the narrator calls bugs, but I don’t because not all insects are bugs. They’re are good “bugs” (Cockroaches who help her with her cleaning. That’s nice of them to go against their nature.) and bad bugs. We’re not told what those are, but they must be parasites as she scratches herself when they are brought up. This could lead them to be fleas (also not bugs) or bedbugs. (Actually bugs!) I’m not too sure which they are though. She doesn’t sleep in a bed, but bedbugs are real bugs and you get a bit of fun wordplay with them. (The bedbugs are badbugs.) Fish aren’t the only animals I know about. But I digress…

A man named Don Miguel (Did Mexico ever have kings at any point? I’ll just say he’s a mayor.) wishes for his son, Jose, to marry. But his son would rather fight bulls all day. So Don flat out states that a fiesta will be held and every eligible senorita will be attending. Well, one won’t be. As all the ladies get prettied up, our titular character looks forward to a night with the cucarachas. But her fairy godmother shows up and turns a cart into a car and the insects into burros. Because she didn’t have anything to turn into fossil fuels, I guess. And not only does she give ‘Ella a smokin’ new outfit, complete with glass huaraches, but plastic surgery too! Why else would her nose change like that? Jose has standards, you know. And she is sent off with the usual midnight curfew.

Jose meanwhile, is not impressed by the army of identical clones and two uggs that dance by. (The rose is this scene really should have been a black outline or something. The petals disappear into the background.) But when our main character comes out he is smitten! They dance until the clock strikes twelve and she dashes off leaving behind one of her shoes. Jose vows to marry whoever fits it! And he’s not shy about letting you know if you aren’t the girl he was looking for. As he has you leave out of the exit labeled “rejects.”

At Casa de titular character, the “strap mother” does not wish for her “strap daughter” to have a chance at wedded bliss, so she dumps her into the pig pen. Jose is saddened to find his mystery mate isn’t here either, but what’s that he see’s out the window? A leg! And it fits the shoe! But could his mystery woman really be a pig? Of course not. That’s something I would put into a cartoon. She is the very same girl he fell in love with. Though her clothes disappeared, her plastic surgery was permanent. (Jose has standards!) They are married and the narrator concludes his story.

But wait! Why was it sad? (Other than cockroaches continuing to be mislabeled as bugs?) Oh that concerns the “strap mother.” Our narrator married her.

Personal Rating: 2. It’s a whimper, not a bang.

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Red Riding Hoodwinked

“EEE! The big bad putty-tat!”

HEY GRANDMA! I BROUGHT A LITTLE BIRD FOR YOU! TA HAVE!

Directed by I. Freleng; Story by Warren Foster; Animation by Arthur Davis, Gery Chiniquy, and Ted Bonnicksen; Layouts by Hawley Pratt; Backgrounds by Irv Wyner; Voice Characterization by Mel Blanc; Music by Milt Franklyn. Released in 1955.

Quite the interesting way to start this tale! Ms. Foray tells about the hood of all things. It was worn by a girl, so they called her Red Riding Hood. (The hood meanwhile was named “Girl inside my body”) On this day, Red is going to visit her grandmother and is bringing her a gift. Namely, Tweety. This gets the attention of Sylvester who was in the middle of feasting on Trash Scraps TM. The girl gets on the bus with the cat following. (And crashing into a post since he wasn’t looking where he was going.)

As is the case with nearly all buses, it drops her off with still a distance to go and she skips through the woods the rest of the way. She is being watched by the Big Bad Wolf. (I thought that was the wolf from the 3 pigs story.) With quite the terrible memory as he needs a sign (that comes out of nowhere) to be clued in on her name. (Then again, how would he know her name in the first place? Has he tried this before?) She tells him of her plans before being on her way again. The wolf decides to take the shortcut to Granny’s place. (Why didn’t Red take it?) Along the way, he sends Sylvester a glare that warns him to keep out of his way. (“Now where was I going again? Oh yeah, Grandma’s house.”)

Since he took the shortcut he is the first to get there and shoves Granny out. (And I do mean Granny. It’s not some generic old woman in this tale.) He finds Sylvester already in the bed. (Somehow.) Then Red arrives and knowing that Sylvester could easily tip her off that something is amiss, has him hide under the bed. (He needs him nearby as he still can’t quite remember the kid’s name.) Red comes in to show her gift. A canary is hardly a meal for a wolf, so he has her place it on the ground. There, Tweety asks why the old woman is also under the bed.

Knowing that everyone has heard the dialogue before and knows it by heart, Red makes all her observations in one statement. The wolf and cat reveal who they really are and give chase. Sylvester accidentally slams a door on the wolf and brings him to with some water. Instead of being grateful, the wolf beats him with the pail. This allows their prey to make a getaway. They chase them outside, but the two cleverly run back in and lock the door. The wolf goes to the back and tries to break down that door, while Sylvester begins nailing a rubber band to the front. The wolf finally gets in the back way, and goes to let Sylvester in, (Guess he’s realized that the cat isn’t trying to eat girl meat and could actually make a decent ally.) just as Sylvester launches a rock at the non-budging door.

While he checks to make sure his pal is okay, the girl and the bird make a retreat to the bus stop, getting on a bus. The predators run faster than the vehicle to the next stop leaving their prey all but trapped. The bus stops for them and they shove past each other to get in. Then are immediately punched off by the bus driver, Granny herself. Don’t ever come between a grandmother and her granddaughter/pet.

Personal Rating: 3

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Goldimouse and the Three Cats

“I don’t like porridge. I want a mouse!”

Directed by Friz Freleng; Story by Michael Maltese; Animation by Virgil Ross, Art Davis, and Gerry Chiniquy; Layouts by Hawley Pratt; Backgrounds by Tom O’Loughlin; Film editor: Treg Brown; Voice Characterization by Mel Blanc; Musical Direction by Milt Franklyn. Released in 1960

Once there were three cats. A father, a mother and a spoiled brat. They were going to eat the unknown food known as porridge, but found it’s temperature not to their liking. They decide to go for a walk while it cools. (I guess the mother’s just out of luck, seeing as hers already was too cold.) Junior (In a cute looking coonskin cap.) complains about his diet and whines for a mouse. Sylvester tells him no as there are no mice around.

Speak of the devil, a little blonde rodent named Goldimouse happens upon their meals and eats. Full of whatever porridge is made of, she goes to find a bed to sleep on. Sylvester’s is so hard she bounces off it. The mother’s (this is the only short where Junior has a mother of any kind) is so soft she sinks into it. She finds Junior’s to her liking and falls asleep. (Wasn’t it nice of his parents to give him a mat that says “Spoiled Brat” to put next to his bed so it would be the first thing he sees in the morning?)

The cats come home and find empty bowls, and mussed up beds. Junior is delighted to find a mouse on his. (I think she got bigger. Too much porridge?) She wakes up and leaps onto Sylvester in fright. This results in my favorite line Junior has ever said: “Put her on the plate, Pop! Put her on the plate!” Goldi escapes and Junior bawls. To shut him up, Sylvester pokes his head in to grab her but she mallets his skull. Junior wears a bag in shame.

Sylvester tries launching an arrow, but launches himself. Junior tells his mom to bring the thing. (A plunger.) He tries a blow gun but Goldi blows it back to him. (Did she shrink?) Junior tells his mom to get some band-aids. Sylvester tries to lure her out with TNT stuffed cheese. It might have worked if Junior hadn’t startled him into falling on it. He calls for mother again. (She’s no Ma bear. Even at her most deadpan, Ma was entertaining. This cat just sounds bored.)

Sylvester builds a hammer like device that will bonk the mouse when she exits her hole. (By this point, Junior is considering just eating the porridge) Of course, Sylvester is the one who gets flattened. While he works on his next scheme, mother and son are reading. (Or faking it. Their eyes aren’t open) While he works, they silently head out to a bomb shelter. One explosion later and Sylvester returns. Junior asks if he got his breakfast and Sylvester pours porridge on his spoiled brat’s head. Bon appetite!

Personal Rating: 3

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Paying the Piper

“And th-th-there’s what’s left of the last rat.”

Directed by Robert McKimson; Story by Warren Foster; Animation by Manny Gould, John Carey, Charles McKimson, and Phil DeLara; Layouts by Cornett Wood; Backgrounds by Richard H. Thomas; Voice Characterization by Mel Blanc; Musical Direction by Carl W. Stalling. Released in 1949.

Today is the Summer Solstice, which means it’s been at least four months since my fight with my good pal, Porky. I went to him recently and asked what it would take to earn his forgiveness. He’s a good guy and he didn’t ask for much: Just a short starring him that ends with him being the victor being talked about. Done and done! (Or it will be in about one summary later.)

The town of Hamelin has been cleared of rats. Good news, right? Not for the cats of the town. (It’s not like they could eat mice or birds or fish or lizards or…) They go to complain to the supreme cat. (Just like their wild cousins the lions, domestic cats have a monarchy.) Supreme there looks familiar doesn’t he? He looks an awful lot like the cat who would appear about seven months later in “Swallow the leader.” But since they are calling him “Supreme”, maybe he is just Miles’s brother. Anyway, he vows to help his people. The piper who got rid of the mice is going to get paid. But if for some reason there was still at least one rat in the town, he’d get gypped. Putting on a rat suit he heads out.

Said piper is none other than Porky. Playing a rather catchy rendition of “Little Brown Jug” he was able to successfully drive the rodents away. All except that large one. (Who asks if they were expecting Bugs Bunny.)  The mayor refuses to pay until it’s gone, and so Porky sets off. You know how in the original story, the mayor refuses to pay the piper anything and so said piper just drives the children out of town? Don’t think Porky isn’t bass enough to do that too. He’s just a nice guy.

Porky loses track of the rodent, instead bumping into some rude cat who says the pig’s sister “smokes corn silk.” (What?) Porky mentions that he’s wrong. His sister works in a butcher shop and smokes hams. Make of that what you will. Finding a labeled rat hole, Porky tries to lure it out. He gets scolded by the cat for bothering a sick baby. (“I’m not long for this world.”) The rat then shows up and whips his tail at the pig. Porky chases again, but loses him once more.

He tries luring him out again, and the rat pretends to fall for it. But when Porky notices it’s not following him anymore he runs back and crashes into the cat again. This time he remarks that Porky’s brother “eats jellybeans.” Porky wonders how he knows so much about his family. (That’s just one fact though. He got the other one wrong, didn’t he?) When Porky does manage to grab the rat, Supreme jumps out of the suit, leaving the piper with an empty skin. Porky has killed it! But supreme has stolen all the cash in town. (Which is Porky’s new reward. He’s earned it.)

Losing the slippery feline again, Porky “figures” he might as well bring the rats back. Or rather he plays the very specific record that I left for him to find: “Rat stampede to fool cats on the other side of the fence with.” Taking the bait, Supreme rushes out to what’s sure to be a feast. Porky pounds him and gets his money. But not before telling the cat that his sister “… drives a pickle wagon.” (Yeah! Tell him! It makes sense when you say it!)

Personal Rating: 3

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Bewitched Bunny

“She is a witch, and means to eat you for her supper.”

Directed by Charles M. Jones; Story by Michael Maltese; Animation by Lloyd Vaughan, Ken Harris, and Ben Washam; Layouts by Maurice Noble; Backgrounds by Philip DeGuard; Voice Characterization by Mel Blanc; Musical Direction by Carl W. Stalling. Released in 1954.

Chuck Jones must’ve really enjoyed the Disney character, Witch Hazel from the 1952 short “Trick or Treat”, and so he would create his own, and this was her first appearance. (Let’s be honest. His has way more personality)

Bugs is reading the story of Hansel and Gretel. Much to his surprise, he finds he’s become part of the story and has just come to the part where the witch invites the kids into her gingerbread house. (It doesn’t look like gingerbread, but let’s be fair: it wouldn’t last long if it really was.) The kids are your stereotypical German kids, and as such they have thick accents and hefty appetites. They accept her offer for more food and follow her inside. This looks like a job for the masked Avenger! (Iron man?) But since he’s not around, Bugs’ll have to do.

Inside, the kids are chowing down and are oblivious to the fact they are sitting in a large pan. Hazel (who is not voice by June Foray in this short, but rather Bea Bennederet) is glancing over the various dishes she can make with the kids. (Urchin Pie is a great delicacy, speaking personally.) Bugs arrives dressed as a truant officer and finds the kids. (He also realizes what a weird name Hansel is.) He warns them of their impending fate and they waste no time believing him and hightail it out of there. Personally, I’d stick around. This house is cool! Look at that decor! The window curtains are painted on, and there’s a picture of a boat labeled: witchcraft. (Genius!)

Bugs takes off his disguise as he accomplished his mission. But it might have been better to wait until he was outside as Hazel decides to have a rabbit dinner instead. She mounts her broom (that channels the spirit of Charlie Chaplin) but crashes. Good thing she is a witch. Magic works wonders! And she happens to have several sleeping potions on standby. (Did you know that worm sweat residue is one?) She cooks up a brew and fills up a carrot with it. (She has a jar of nice on the shelf. If she only wasn’t out of sugar and spice. She could make her own girls from scratch.) Bugs catching a whiff of food cooking comes in and delivers my favorite line he has ever said: “I get to lick the po-ot! I get to lick the po-ot!” Hysterical.

Hazel shoos him out while she finishes. She then finishes. Bugs sits down to dine while she prepares a bed for him. Bet you didn’t know that Rabbits sleep in piles of root vegetables. Upon learning the carrot he ate was poisoned, he falls asleep. (No it wasn’t. Drugged maybe, but not poisoned. Hazel doesn’t want to die.) Hazel goes to get some relish. (You can’t eat rabbit without relish. It’d be like eating urchin pie without gravy.) And then a handsome prince arrives. Or at least what many girls consider handsome. I’m heterosexual so I’m not sure. He awakes Bugs with a kiss. The rabbit is grateful, but points out he should be looking for Snow White. (The prince for the record also realizes what a weird name Hansel is.)

Hazel resumes the chase and Bugs appears to be trapped. Finding some magic powder that is to only be used in emergencies, he hurls it at her. She turns into a rabbit doe, and the hallway gets a romantic makeover. Bugs immediately falls head over heels for her. As they walk away, Bugs take note of our obviously skeptical faces. He knows it may be a little creepy, but then, aren’t all women witches inside? (Please note: The views expressed by Mister Bugs Bunny do not accurately reflect the opinions of the author of this blog. Only some women are truly witches. However one thing we all can agree on is this: Hansel is a weird name.)

Personal Rating: 3

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The Up-standing Sitter

“I’ll face the world alone!”

Directed by Robert McKimson; Story by Warren Foster; Animation by Phil DeLara, Manny Gould, John Carey, and Charles McKimson; Layouts by Cornett Wood; Backgrounds by Richard H. Thomas; Voice Characterization by Mel Blanc; Musical Direction by Carl Stalling. Released in 1947
That’s, ah say, that’s no sitter.

Directed by Robert McKimson; Story by Warren Foster; Animation by Phil DeLara, Manny Gould, John Carey, and Charles McKimson; Layouts by Cornett Wood; Backgrounds by Richard H. Thomas; Voice Characterization by Mel Blanc; Musical Direction by Carl Stalling. Released in 1947.

Daffy works for a babysitting service. (Are those still around?) Not only that, but apparently he’s the best sitter the place has. He has just gotten a job and heads off. As he goes, he sings about how this job is full of abuse but he puts up with it as the pay is pretty good. He arrives at his location. The mother is a hen and she wants Daffy to keep watch over her unborn child. (With birds, the term babysitter is literal.) He sits and the chick almost immediately hatches. That’s gotta hurt. Not having your mom around to witness your birth. (You and Dr. Doofenshmirtz are kindred spirits kid.)

He tries to guess Daffy’s relation to him, but runs out of relatives and deduces that Daffy is a stranger. Since kids shouldn’t talk to those, he runs off. Sitter or not, Daffy is technically still a stranger. (He’s plenty strange.) I don’t know what this kid’s problem is, but he now goes out of his way to make Daffy suffer. He hides in the mouth of a bulldog named Spike. (Bulldogs are always named Spike. It’s an unspoken rule.) He leaps out as Daffy reaches into the beast and it wakes up. He won’t let go of Daffy’s arm/wing, until he’s backed him up a ladder and off the barn’s roof. The chick (who needs a name. How about Spencer?) finds another hen and goes under. Daffy reaches once more only for the hen to spot him. Trying to play it cool, Daffy pretends he was miming a train the whole time. (Don’t you hate being in those situations?)

Spencer hops out before Daffy spots him and comes back for more hen groping in a barrel disguise. She puts a TNT stick under a feather duster for him to find. Spencer meanwhile has now run onto a wire high above the farm. Daffy tries to tightrope walk over but the chick blows him away. (Rooster’s are known to have really strong lungs, regardless of age.) A slingshot launches him into the side of the barn, and a rocket ends up taking him on a ride that ends up crashing into Spikes house. After it explodes, the dog spanks Daffy with what’s left of his domicile. Spencer gives Daffy a phone, and he calls his employers. A sitter he may be, but he’ll be standing from now on.

Personal Rating: 3

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The Super Snooper

“What’s on your mind? Besides your hat?”

Oh, so he’s working THAT side of the street.

Directed by Robert McKimson; Story by Tedd Pierce; Animation by Herman Cohen, Rod Scribner, Phil DeLara, and Charles Mckimson; Layouts by Robert Givens; Backgrounds by Richard H. Thomas; Voice Characterization by Mel Blanc; Musical Direction by Carl W. Stalling. Released in 1952

In this short, Daffy is Duck Drake. Which is like if my name was human man. (Why does that actually sound cool?) He’s a private eye, ear, nose, and throat. And he could really use a new case. His old one is full of empty bottles. (I hope you enjoy puns. There’s a lot of them here.) Good luck for him! A phone call informs him that there has been a murder at the J. Cleaver Axehandle Estate. And they are willing to give up plenty of cash. Which they prove they have by sending it through the phone. (Even bus fare.)

Daffy (literally) hops out of the building and heads off. Upon arriving he starts interrogating the butler, before stopping to admit it’s never the butler and follows him inside. (Doing the classic “walk this way” gag.) He demands to see the body, and boy does he get it. The woman claiming to be the body is a combination of Melissa from “The Scarlet Pumpernickel,” and Jessica Rabbit. She has the hots for Daffy, who doesn’t let hormones get in the way of business. (I’m impressed.) She also claims to be innocent. Daffy can’t believe it, she has guilt written all over her face. (Nothing a little make-up can’t cover.)

He begins his accusations of her shooting her husband with her playing her part. Could she have grabbed a handgun from her handbag and shot him? (The demonstration leaves Daffy’s bill full of holes.) Or maybe she took the rifle off the wall and killed him that way? (Possibly. She has quite the aim as she proves in her Daffy themed shooting gallery.) Perhaps it was the ole’ dropping a piano on his head? (Has anyone ever been offed this way?) Or the extremely over complicated rerouting the train tracks to the front door scenario? (A classic.)

Nope and nope. As she stated, there was no murder here. Daffy has gotten the wrong location! But she is guilty. Guilty of being head over heels for Daffy. Seeing her pupils have turned into ball n’ chains, Daffy bolts. Melessica takes off after him, the silhouettes they make crashing through the door form a couple walking down the aisle. Isn’t it romantic?

Personal Rating: 3

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The Abominable Snow Rabbit

“I AIN’T NO BUNNY RABBIT!”

Directed by Chuck Jones; Co-Directed by Maurice Noble; Story by Tedd Pierce; Animation by Ken Harris, Richard Thompson, Bob Bransford, and Tom Ray; Backgrounds by Philip DeGuard. Film Editor: Treg Brown; Voice Characterization by Mel Blanc; Musical Direction by Milt Franklyn. Released in 1961

On a snowy mountain, we see an all too familiar burrow move through the frosty ground. It’s Bugs, en route to Palm Springs. Daffy is along for the trip and heads off to go for a dip before Bugs can warn him that things aren’t quite right. Daffy ends up diving into a frozen pond. (Ouch.) After consulting a map, Bugs finds they have ended up in the Himalayas. (Which Daffy corrects his pronunciation of. I like that Daffy has at least one thing he can do better.) Upset that Bugs got them sidetracked in Asia, Daffy heads off on his own without Bugs.

It’s not long before he bumps into a yeti. This is Hugo. (Although he wouldn’t get his name until the TV special “Bug’s Bunny’s Bustin out all over’s” “Spaced out Bunny.”) There’s no need to panic though, this yeti isn’t going to eat Daffy. (Although that might be the preferred option.) He mistakes Daffy for a bunny rabbit, and names him George. (Daffy had been keeping his arms inside his bathing suit to conserve heat, leaving the sleeves looking a bit like long ears.) When Daffy points out they are sleeves and not ears, Hugo spanks him for lying. (They call that tough love.) But the duck offers up the whereabouts of a real rabbit.

Calling Bugs over allows the duck to escape, while the yeti happily cuddles his new George. (Daffy acknowledges the fact he’s a jerk, but at least he’s alive.) Hugo then decides to sit on Bugs much like a mother hen. (oooooooooooooookayyyyyyy…) Seeing his opportunity, Bugs burrows out and goes to get Daffy back. (Who I must point out is saying some great lines that I use frequently myself. “I’m not like other people. I can’t stand pain. It hurts me.” I relate!) Bugs claims Daffy is a rabbit. Daffy has a good idea; he asks the creature what makes a rabbit look like a rabbit. Long ears naturally. (Although now, I want to see a rabbit with dog ears or something.) Bugs ties his ears down and does the ‘ole two fingers behind another’s head routine. Daffy is chosen as Bugs escapes.

Hugo is happy that he has a rabbit at last. Covered in lovely black feathers and a strong bill…wait…No mammals have feathers! Even a simple minded creature knows that! Daffy points out the retreating rabbit and Hugo chases after him. (Daffy following because he wants to see Bugs get hurt.) Later at Palm Springs, an overheated Hugo tells a stranger of his lost love. (Bugs in disguise) Seeing Daffy coming up, Bugs slips a rabbit hood (Not the short from 1949.) on his head. Hugo excitedly grabs his new pet. Alas, it’s not meant to last. For as abominable as he may be, he can’t hide the fact that he is a snowman, and he melts.

Personal Rating: 4

And a toast to an old friend of mine. I’ll never forget the animation she made of the two of us synced up to this short’s dialogue. The best Looney Tunes gift I ever received. I’m sorry I can’t show you the proof. It’s lost to time by this point.

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The Stupor Salesman

“Thith guyth gonna be a tough nut to crack.”

Directed by Arthur Davis; Story by Lloyd Turner, William Scott; Animation by J.C. Melendez, Don Williams, Emery Hawkins, and Basil Davidovich; Layouts by Don Smith; Backgrounds by Phlip DeGuard; Voice Characterization by Mel Blanc; Musical Direction by Carl W. Stalling. Released in 1948

Here’s another entry on the list of “The One-hundred Greatest Looney Tunes.”

The last national bank is robbed one night. Not in the traditional “This is a stick-up” sense. This had some thought put into it. The criminal blows up the vault and makes off. The police have identified this villain as Slug McSlug. (Who is not actually a slug) He’s not too bad of a mastermind either, seeing as he paints his Sedan just after the cops identify its color. (I’m guessing they couldn’t get his license plate number.) Driving away from it all, McSlug hides out in a cabin. (I don’t know if it’s his or not, but is that really the question here?)

He covered his tracks well, but the cops still pull up right outside. But they’re not stopping. They are just dropping somebody off. Daffy, to be precise. What McSlug doesn’t lack in brains, he makes up for with his lousy shooting. He can’t hit the constantly moving towards him target. (Daffy mistakes the bullets for mosquitoes.) When he finally reaches the door, we find out that he’s merely a (stupor) salesman. And he’s not taking “not interested” for an answer. He demonstrates some of his wares: gun polish that makes McSlug’s gun so shiny it melts, a mini helicopter that breaks through the roof, and an elevator that crashes through the floor.

Daffy refuses to leave until Slug buys something. Surely there must be something he wants/needs? Well, he could do with some brass knuckles. Daffy has those. (What hasn’t he got?) Slug tries to test them, but they break upon the iron Daffy holds to protect himself. Slug tries firing his gun at him again, but quickly runs out of bullets. Being the stand-up guy he is, Daffy offers him a free sample of bullets. When fired at again, it’s revealed that he was also demonstrating his bullet proof vest.

He also has a lighter that he wants to show off. He turns on the oven and attempts to demonstrate. The darn thing doesn’t seem to work and if that wasn’t enough, Slug loses his patience and tosses the duck out. Once alone, he tries the lighter himself. What compels him to do that? Does he just want to prove he can make it work? Did he actually need a lighter? Does he have some weird kind of fire fetish that he can’t indulge in until he’s alone? But the oven has been on the whole time and the cabin is full of flammable gas. He gets it to work just as Daffy is coming back for another round. He’s finally got something to sell that Slug needs: A house to go with his remaining doorknob.

Personal Rating: 3

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Stupor Duck

“Wouldn’t you think they could find sthome other place to put a building?”

Directed by Robert McKimson; Story by Tedd Pierce; Animation by Ted Bonnicksen, George Grandpre, Russ Dyson, and Keith Darling; Layouts by Robert Gribbroek; Backgrounds by Richard H. Thomas; Effects Animation by Harry Love; Voice Characterization by Mel Blanc; Musical Direction by Carl Stalling. Released in 1956

So, the new Batman vs Superman movie has come out, and everyone seems to hate it. (I’m not going to see it. Animation is my forte.) I’m sure we can all agree that this cartoon is a better take on Superman than a film that came out 60 years later.

Daffy is Stupor Duck is Cluck Trent. He may look like a mild mannered mallard, but he’s faster than a speeding pop gun! More powerful than a locomotive on life support! And able to leap over buildings while only getting his cape caught on a flagpole in a single bound! (The building in question is called “McKimson associates”) When in his secret identity, Cluck works at a newspaper office. While he takes a quick break to ingest some mild pills, he overhears a voice coming from the managing editor’s office. It sounds like a Russian terrorist! (That was just the time period it was folks. I don’t mean to offend.)

The voice claims he is Aardvark Ratnik and that he will blow up everything he darn well pleases. Not if Stupor Duck has any say in it! Daffy leaves to go get in his costume. (Shame. I was enjoying those glasses) While he’s away, he misses the part where the editor turns off the TV, wondering why he bothers watching such soap operas. I never question watching all the cartoons I do. Enjoy your pleasures! Stupor Duck comes in and assumes that Ratnik escaped though the window. He “follows” and smacks into a skyscraper.

While he searches, he sees a building toppling over. He zooms down to save it. Whoops, it was being demolished. The foreman punches him. (Would that really hurt? If you’re strong enough to hold up a building, wouldn’t a punch not even faze you?) Over the ocean he sees a ship sinking! It really is! But then, submarines were designed to do that, weren’t they? Stupor Duck gets a torpedo for his troubles. The next crisis is surely Aardvark’s work! Some dynamite planted underneath a railroad track. Stupor Duck grabs the explosive and flies off, unaware that this is all part of a Warner Bros. movie. The man who didn’t see the superhero, has a great reaction to the feathers that are drifting down to him.

Continuing on his way, Stupor Duck finds what appears to be a giant missile! It’s Ratnik for sure this time! Or rather it’s an experimental rocket that Stupor Duck seems to get stuck on. It blasts off. Look! In the Sky! It’s a bird! It’s a plane! No, it actually is a bird! It’s Stupor Duck!…En route to the moon. Good thing he can fly.

Personal Rating: 3