Category: Alex Lovy

One of the last directors the studio had. Gave us a couple of new characters, before they closed for good.

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Go Away Stowaway

“Looksth a little rough out there.”

It’s nice to have a mouse around the ship.

Directed by Alex Lovy; Story by Cal Howard; Animation by Volus Jones, Ted Bonnicksen, LaVerne Harding, and Ed Solomon; Layouts by David Hanan and Lin Larson; Backgrounds by Bob Abrams; Film Editor: Hal Geer; Voice Characterization by Mel Blanc; Musical Direction by William Lava. A Merrie Melody released on September 30, 1967.

As things get started, Speedy makes sure the camera is rolling before performing. That’s acting 101. Although he’s singing instead. His tune annoys Daffy who is also living wherever the two are. Let’s just assume they share rent, and that’s why Daffy only tells him to can it instead of trying to off him like usual. Speedy figures Daffy could use a vacation, and that’s a good excuse for Speedy to do the same. But Daffy would never do something Speedy suggested. There must be a sneakier way.

Speedy sprinkles soap chips off the roof. From inside, it looks like it’s snowing outside. That’s just mean. Don’t ever trick anyone into thinking it’s the worst time of the year. And for those of you who think you like Winter, no. What you really like is being able to survive through it. There’s no shame in admitting it’s worse than awful. Especially around here. I’m tirading because I didn’t like this short and hope that we can talk about the weather instead. It’s reasonably warm where I am right now. How about you?

Daffy falls for the trick and packs for the south. (What are the shirts for?) Unknowingly gaining a hitchhiker in Speedy. Before he leaves, Daffy bitterly tells the mouse he can now make all the sound he desires while the trip is in progress. Speedy asks where they’re going from the luggage, but Daffy isn’t inviting him. Someone has to keep the bills paid. It makes sense and is less insulting than “Speedy’s just coming for the sake of the plot.” Don’t you want to believe things are flowing organically?

Also, Daffy opted to take a cruise and a cheapwad like him isn’t paying for two tickets. But no sooner is he settled than he finds Speedy guitaring on the same deck. This is an easy fix: just alert the captain about the stowaway/vermin problem. Speedy flees the scene but he needn’t worry too much. The budget doesn’t actually allow any other characters to appear on screen, so Daffy has to give chase. He chases up the rigging, but Speedy cuts the line and Daffy ends up in a smokestack.

He doesn’t react to that though. What hurts him is the steam whistle blowing on him as he exits. I don’t doubt that would hurt too, but after the stack? He lands on the shuffleboard court, and Speedy sends a puck into his beak. I think it grew in size, too. But Daffy could have shrunk. I’m sure he got dehydrated going into a smokestack. Continuing the chase, Speedy gets him in the water where the barely animated sharks live. Daffy survives and decides he might as well stay in his room. He’s learning!

Speedy is hungry, and wants Daffy’s food. He gets the duck to lose his appetite with the classic “phony ocean swaying in front of the porthole” bit. But look! No cheese! A cartoon mouse who isn’t having cheese at least play a supporting role in dinner! That tends to be rare, so I thought I’d bring it up. Because I’m still not enjoying this picture and the next joke was so awful, that I dropped it down a point in rating. It’s worse than worse than awful. Yeah. That bad.

Daffy decides to pretend the ship is sinking, so Speedy will abandon it. He rings the alarm bell, and Speedy runs in circles shrieking. And Daffy just believes him. That’s… wow. That’s pathetic! Daffy isn’t that dumb! He could be tricked into thinking it was real! Or Speedy could have insulted his ego! (“Sorry Señor Duck, but you are too fat to fit in thees life boat.”) Or he could see Speedy flirting with a hottie in a lifeboat! Or… or… *primal scream*! Was anybody having fun making the cartoons at this point in time?

After the simplified shark chases him back on board, Daffy decides to just get rid of Speedy. He plans to drop an anchor on him from the crows nest. Speedy will never notice the target painted on the ground. (I, however, will notice Speedy’s nose changing color with every step he takes. Do you think the inkers ever did that on purpose just to see if they could get away with it?) Speedy walks off before things connect, and the anchor punches a hole in the ship. Going down?

Well, the ship has sunk and every human on board went with it. I can prove this: Daffy is left floating in the water (Speedy on his belly) but that shark isn’t bothering with him now. There’s so much more meat a fathom or two down that isn’t struggling. As to why Daffy isn’t pushing Speedy into the water? Oh goody! The cartoon is over!

Favorite Part: Blegh! I haven’t such a hard time deciding since “Tokio Jokio“. I’m still not ever sure I’ve made the right decision, but I’m choosing that Speedy didn’t once consider parting with Daffy. Maybe he sees the duck as his only friend? I mean, he’s not usually trying to mess with Daffy. It’s the other way around.

Personal Rating: 1. I wish we could have seen these two characters team up in the 50’s. It would at least look more polished.

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Feud with a Dude

“Outta bed, you tadpoles!”

Directed by Alex Lovy; Story by Cal Howard; Animatin by Ted Bonnicksen, LaVerne Harding, Volus Jones, and Ed Solomon; Layouts by Bob Givens; Backgrounds by Bob Abrams; Film Editor: Hal Geer; Voice Characterization by Larry Storch; Musical Direction by William Lava. A Merrie Melody released on May 25, 1968.

Now the Hatfields and McCoys; they are feudin’ mountain boys and there’s only one thought rattling in their heads: Go and grab your gun and shoot, in the snoot or in the glute, doesn’t matter, just as long’s the other’s dead. At least they have the decency to greet each other. Only semi-politely because it’s harder to kill someone you’re friends with. And they got to kill each other real bad. Because politics. (You can always blame them.)

Age is no factor in this war. The elderly and infantile have both been shooting guns their entire respective lives. But there’s no need to say a lack of education led to this. These guys know their battlefield, and how to take advantage to gain the same. I like the guy who kicks ass, knowing it will kick harder and launch him to a higher vantage point. See, if it was me, I’d just be kissing it.

Flying above is Merlin. The magic mouse himself. He notes to Second Banana that the land below them is the Ozarks and that they are home to friendly hillbillies. Those are his words! I use the much more P.C. ‘hillwilliam’. And I guess that makes the bullets attacking your carpet, friendly fire? Down they go. Merlin has a parachute in his hat for situations like this, and they make it down safely. But will it stay safely?

It will not. Both leaders of the war want to know what side the mice are on. Since each mouse is facing a different man, both claim to be on the side of the one who’s asking. Usually a sound decision for keeping your blood inside you. But neither is buying it. Mice never take separate sides, so both get fired upon. Merlin, ever the peacemaker asks why the feudin’, boys. It’s recent enough that neither has forgotten: the Hatfield leader stole a hen, and the McCoy one took a pig. Revenge seemed like the next logical step.

Merlin has magic on his side and pulls both animals out of his hat, giving them back to their respective humans. (That is a good contender for cutest animated pig. Easily top ten. If it had a little birthday hat, it could make top three.) The men apologize to the other. They genuinely had no idea the mouse was the criminal mastermind. Oops. Can you do a disappearing trick? Those are the best because even if the crowd hates it, you won’t know.

The two are chased into a hen house. They claim to be chickens but Mister Hatfield can only believe that for so long. He says they’re are not chickens. And Merlin can live with that. But somebody has to be the chicken here, and since Merlin is a master hypnotist, it’s gonna the man. Now he scratches, pecks, cackles… come to think of it, I do all that too. But I didn’t need a hypnotist to get where I am today!

A swift kick in the rump is all that it takes to return him to normal. And that didn’t buy Merlin much time. Not that he’d get far anyway, there’s the rest of the recycled animated family to contend with. So he stuffs S.B. into his hat, (Which is probably how he found himself as Merlin’s assistant in the first place.) And bolts behind a fence. He conjures up  a rocket ship. The best that money can buy! And since this is the late sixties, that means the live-action variety.

The Hatfields and McCoys, they’re stumped feudin’ mountain boys. Not sure how Merlin got the goods he had. Cause they’re admitting to the stealin’. And once again (with feelin’), things are the back the way before and just as bad.

Favorite Part: During the chase, Merlin magics up a door that stands up on its own without any supports. Hatfield knocks on it and McCoy (who simply went past it) tells him to come in. It was stupid enough to be funny.

Personal Rating: 2. They should’ve used the hypnosis more. It’s a fun trope.

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Flying Circus

“DUMMKOPF!”

Directed by Alex Lovy; Story by Cal Howard; Animation: Ted Bonnicksen, LaVerne Harding, Volus Jones, and Ed Solomon; Layouts by Bob Givens; Backgrounds by Bob Abrams; Film Editor: Hal Geer; Voice Characterization by Larry Storch; Musical Direction by William Lava. A Looney Tune released on September 14, 1968.

WWII is still too recent in everyone’s minds to be making light of without the excuse of it being propaganda. But WWI is a great setting for comedic mishaps. (Although given the release date of this picture, emphasis is on “mishaps”.)

Ace, our creatively named WWI flying ace has just gotten done dog fighting for the day and is glad to be back on terra firma. He gleefully slaps one of his companions on the back before reality hits him: this isn’t his airfield. And that “supposed friend” of his is actually the guy he just shot down: Fritz Von Wienerschintzel. (If the Looney Tunes Wiki is to be believed. And I believe it.) Fritz ain’t too happy to see his nemesis on this side, but it is a great chance to get back at him for the humiliating defeat. He and his troops try to fire on the enemy, but Ace is able to avoid their fire and get his plane up and running once more. He’s outta here!

Fritz isn’t about to let him get away with his actions twice, so he flies after him. (His goggles slip over his eyes for a second, but I don’t think that was intentional.) Once in the air, the two exchange bullets, fly through blimps and then Ace does his secret maneuver: half an aileron roll that gives him an opportunity to clonk Fritz’s head with a wrench. (I kinda feel Mr. Storch isn’t trying hard enough with the role of Ace. He sounds too similar to Cool Cat. At least Fritz sounds like Rimfire with a slight German accent.)

The smack sends Fritz out the bottom of his plane and at the mercy of the tag-team of gravity and the earth. Whether by intent or accident, Ace catches him. Fritz is so grateful, that he covers the pilot’s eyes. This causes them to unintentionally barnstorm and pick up a bovine. A loop evicts the animal, who was savvy enough to have taken what I believe was the only parachute. But this leaves two other bodies plummeting down to the ground, and I doubt it wants to be friends with them.

Ace, always with a plan at the ready, whistles for his plane to come back, and it does. Fritz gives it a try, and surprisingly his plane has remained in the air this whole time. It comes for its pilot, but misses him. Luckily, a blimp below bounces him back and the chase reignites and recycles animation we already saw being used during the title cards. Fritz finally manages to get some revenge, and shoots Ace’s tail off. Without that, Ace falls from his plane. But as he does, he grabs Fritz’s plane and pulls most of its frame off. Get down here, Fritz! You’re grounded, young man!

Well, despite the somewhat painful landing, Fritz is ecstatic about his victory and goes to tell his allies. The short isn’t restarting with a fresh continuity, you’re just suffering from deja view. (Sic.) After giving Ace a hearty back slap, Fritz realizes this isn’t his airfield. And it’s a shame he lost his plane in the landing, as this place looks serious. Live-action footage, and all. (Ace meanwhile, can go back to his second job: stunt-double for Roland of “Roland and Ratfink” fame. Don’t you think they look alike?)

Favorite Part: Fritz throwing a bomb at Ace whilst in the air. Since he’s behind and throwing it in the direction he’s going, it keeps coming back to him. I think the science is accurate. (Oh yeah, he ends up swallowing it and surviving. I know that science is accurate.)

Personal Rating: 2, but it probably is really a 1. I just can’t help but snicker at live-action being used as a punchline. (See “Rabbit Hood” if you want a similar ending paired with an actually funny, well animated cartoon.)

 

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Hippydrome Tiger

“Get off my chariot.”

Directed by Alex Lovy; Story by Tony Benedict; Animation by Ted Bonnicksen, LaVerne Harding, Volus Jones, and Ed Solomon; Backgrounds by Bob Abrams; Layouts by Jamie R. Diaz. Film Editor: Hal Geer; Voice Characterization by Larry Storch; Musical Direction by William Lava. A Looney Tune released on March 30, 1968.

Time once again for “Hunting Tigers” with your host, Colonel Rimfire.  Today, he will be hunting with his best friend that is making her second and final appearance, Ella the robot elephant. Yes, a mechanical, pink pachyderm is the man’s preferred mode of transportation. People only tend to laugh once, as one bullet is enough to silence them.

But wouldn’t you know it? Cool Cat isn’t around! He was kind enough to leave a note that says he’s going to Paris. Not knowing where the colonel is now, I can’t say how much of a trip he has to make, but make it he does and learns about the tiger’s whereabouts. C.C. has entered the Grand Prix because tigers are allowed to do that. And hunters are allowed to hunt them regardless of their race. (They were rather progressive like that.)

The race starts, and I hope you weren’t betting on any of the human racers. They’ve disappeared, and haven’t been seen since. (Though, I swear I caught sight of one at the mall.) Since Ella has wheels, Rimfire isn’t too far behind his prey. A little oil slick sends him into the drink, but since Ella has a trunk, it can be used as a periscope and they can find their way out. (Ugh. I don’t like how the thing looks now. Put the trunk down. PLEASE.)

Ella may have wheels and a trunk, but her steering leaves a good deal to be desired. When Cool Cat makes a 90 degree turn, the pursuers keep on going straight towards and over a cliff. But somehow, the track continues below, and Cool Cat was driving fast enough for the two to land on top of his vehicle. Naturally, the tiger tries to make a break for it, but ole Rimmy has a tight grip on the cat. He ends up getting pulled out of the car. Ella, being the sole occupant, is considered the winner once she crosses the finish.

With Cool Cat pinned up against a tree, Rimfire feels assured of victory. But the sporting thing is to offer the feline a final request, and Cool requests a light. Seems fair enough, but when the colonel’s back is turned, we see that the object to be lighted is a rocket that aims to blast the hunter away. It does too. C.C. heads to finish the race, but sees the elephant android receiving his victory parade. With nothing else to do and the short coming to a close, he allows the hunter to chase him once more.

Favorite Part: After Rimfire emerges from the lake, he fires a torpedo Cool Cat. The tiger freakin’ GRABS THE TORPEDO and throws it right back. Thus proving his cooliocity to you.

Personal Rating: 2

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Skyscraper Caper

“What an easy job this is going to be. I think.”

Directed by Alex Lovy; Story by Cal Howard; Animation by Ted Bonnicksen, LaVerne Harding, Volus Jones, and Ed Solomon; Layouts by Bob Givens; Backgrounds by Bob Abrams and Ralph Penn; Film Editor: Hal Geer; Voices: Mel Blanc; Musical Direction by William Lava. A Merrie Melody released o March 9, 1968.

Daffy has a bad case of sleepwalking. Bad enough to have him walking out of his house. It’s a good thing that Speedy catches sight of this, but his warnings aren’t enough to wake Daffy, and the duck walks into a lake. (Speedy’s house seems disproportioned. Daffy comes up to its roof, but Speedy seems to be half as tall as that. I don’t know. It seems off, but there’s plenty more to complain about.)

Speedy offers a solution: Daffy gives him 5 pesos, and Speedy will watch over him. Waking him in case he sleep walks again. And, believe it or not, Daffy not only agrees to that, but happily so! He’s not convinced that’s too much? He’s okay letting Speedy in his house? This is not the Daffy I know and love. He’s…he’s gone. He’s changed for the worse, just like everything I’ve ever loved. (Fine. I’ll tone it back a bit.)

Staying up all hours is a tiring job, so Speedy rigs up a rope around Daffy’s bed. If Daffy walks into it, it will ring a bell that will wake them both. Speedy will then take the credit. He even has the nerve to ask Daffy for another payment for his services. Unbelievably, Daffy pays up. (Even calling it worth paying for? Daffy, come back to me, pal!) It’s not a perfect plan. Once Daffy exits his bed the other way, he completely bypasses the rope.

Daffy walks out of his already open door, and heads into town. (It’s clearly midday now. How late do those two sleep?) And now, halfway through the picture, Daffy makes his way to a skyscraper. It’s still under construction, but this is one of the oldest known cartoon ideas. Someone will blindly stumble around the place, but always be saved at the last minute. It’s worked with Popeye, it’s worked with Mickey, it’s worked with Bugs. So, it should work here!

And they immediately botch it up. Daffy walks onto a girder, walks to the edge, and…just stands there. BOR-ING! You took the fun out of this gag, why exactly? Now Speedy wakes up and notices the duck is gone. He rushes outside, (not taking the bell for no reason) and sees Daffy still WAITING on the edge of his beam. Speedy is fast enough to make it there, and keep Daffy from falling more.

There’s an ice cream man there. He doesn’t look happy. (But I suppose he is selling at a construction site. There can’t be much business.) His bell wakes Daffy up, and he falls off the building. He grabs on to the side, and saves himself from death. Speedy lowers down a NOOSE that Daffy is supposed to use to get back up, by sticking his head in it, and pulling the other end to get himself up. (Why are these two’s personalities switched?)

Daffy manages to get back up, but a jackhammer sends him back down. He grabs a clock hand, and, for no other reason than to get some more pain out of him, the hour hand begins turning at a rapid rate, hitting Daffy multiple times and causing him to let go. He bounces around the area, thanks to awnings, and telephone wires, before landing in Speedy’s wagon, knocking him out. Speedy returns him to his bed, and Daffy is convinced the whole thing is a dream. (I wish I could think the same.)

Favorite Part: Speedy telling the sleeping Daffy to wake up. Once he’s in the water, Speedy remarks that he is awake now. (Yes, that was the highlight.)

Personal Rating: 1. The characters were out character, the jokes weren’t funny, and the animation was as poor as it usually was at this time.

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Big Game Haunt

“No use hiding! You can’t escape!”

There’s a go-go-ghost!

Directed by Alex Lovy; Story by Cal Howard; Animation by Ted Bonnicksen, LaVerne Harding, Volus Jones, and Ed Solomon; Layouts by Bob Givens; Backgrounds by Bob Abrams; Film Editor: Hal Geer; Voice Characterization by Larry Storch; Musical Direction by William Lava. A Merrie Melody released on February 10, 1968.

On a nice day, such as the one shown in this picture, one should really be out hunting tigers. I mean, it’s not like they’re an endangered species, and we’ve already wiped out three of their subspecies. They’re just large cats in stripes. Really, Colonel Rimfire is totally in the right for chasing after Cool Cat. Yet, the tiger doesn’t want to be hunted for some unknown selfish reason. What’s his problem?

C.C. decides to take refuge in some derelict house he finds. Somehow, Rimfire missed that, and heads towards the house just to ask if anyone saw the tiger. Despite the rustic appearance the building has, Rimfire knocks. Cool Cat is on the other end and does the old “does your target have the same features I have, sorry, I haven’t seen him” bit. (He also slams the door on his hunter) Angry, Rimfire chases after him.

Knowing that the tiger is nearby, Rimfire purposefully says aloud that he is giving up. Cool Cat does indeed poke his head out of his hiding place, but manages to escape again. Rimfire gives chase, and despite being less than three feet away, still can’t manage to shoot his prey. The two of them run past an old trunk, and awaken the one who sleeps inside it.

The credits list this guy as “Spooky” but… that nose, that physique, that manner of speech. I think this guy is the ghost of Ranger J. Audubon Woodlore. (There was only so many times he could reprimand Humphrey, before the big guy realized he was a bear.) Despite his name, he’s a friendly ghost. He just wants to be pals with the two trespassers on his property. But the two aren’t so keen, just seeing a ghost is enough to frighten them.

Spooky is actually quite aware they’re afraid of him, as he indicates this has happened before. Still, he decides to return the hat and gun that Rimfire dropped in his attempt to get away. From where Cool Cat hides, all he can see is that someone is wearing that hat, and carrying that gun. It must be the Colonel. Cool Cat tries to team up with the Colonel, only to find himself facing the real one in front of him. The two flee again.

Rimfire tries barricading a door, but since Spooky is a ghost, he can go through walls. (And he can bring the Colonel’s belongings through too. That’s actually pretty scary.) Cool Cat, who was hiding in the curtains, gets scared when Rimfire tries to share his hiding place. The tiger runs, with the sheet still on him, making him look like a ghost. This spooks Spooky, who flees himself. He phases through a brick wall, that C.C. crashes into. (Why is that even in here?)

Rimfire decides to use this time to escape, running the same way the other two did. Despite the fact he clearly saw that Cool Cat was the one under the curtains, he gets scared by that and runs the other way. (Must be getting senile in his old age) Cool Cat follows, and Spooky does likewise. (Because, Cool Cat isn’t wearing the curtains anymore?) When he realizes he is still being followed, he runs and ends up jostling Rimfire out of the phonograph he was in. (I thought he was escaping. Why is he still here?)

Finally, Rimfire runs out the front door. (It really shouldn’t have been that hard.) Cool Cat follows suit, still pursued by Spooky. Ultimately, Cool Cat runs out of energy, and sits down. Spooky joins him, commenting that they had a great race. Cool Cat, still not happy to see the dead, admits that they’ll resume as soon as he catches his breath.

Favorite Part: The fact that Cool Cat was willing to try and save his adversary. Man, this guy really IS cool.

Personal Rating: 2

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Hocus Pocus Pow Wow

“The president of the railroad will hear about this!”

Directed by Alex Lovy; Story by Cal Howard; Animation by Ted Bonnicksen, LaVerne Harding, Volus Jones, and Ed Solomon; Layouts by Bob Givens; Backgrounds by Bob Abrams; Film Editor: Hal Geer; Voice Characterization by Larry Storch; Musical Direction by William Lava. A Looney Tune released on January 13, 1968.

Merlin (the magic mouse, not that wizard guy) and Second Banana are on their way to Pow wow city to perform. Shouldn’t be too much of a hassle. Then the conductor asks for some tickets. Merlin tries to oblige, but the only thing his hat chooses to produce is flowers. (You know, I don’t think they actually HAVE any tickets.) The conductor doesn’t put up with the shenanigans for long before kicking the two off the train. Seems like walking is their best bet. But first, why not kick back and relax with one of Merlin’s patented magic hat dinners? Featuring great choices such as: Beef Wellington, Pumpkin soup, and the featured attraction: Turkey for two.

Eating all alone in the middle of a desert? Hungry eyes are going to be able to find you easily. It’s not vultures that are eyeing the dead animal on which the mice munch, but a Native American. The credits have credited him as Lo, the poor Indian. (He’s clearly not Indian, and I can’t say that he’s poor, but one CAN greet him with “How, Lo.” It’s not very PC, but in 1968, what Caucasian would care?)

If he really is poor, that might be why he wants Merlin’s hat so much. Or maybe the thought of a never ending food vessel would entice anyone. Regardless, Lo takes the hat and tries getting some food. He actually is able to bring some animals out, but doesn’t manage to take any bites before they flee. Merlin takes the hat back and runs. Lo, in turn, tries firing some arrows at the two, but only manages to hit himself.

Merlin tries a couple tricks to help himself and sidekick escape. Conjuring up a railroad crossing with an actual train attached, wearing a disguise, (Lo isn’t fooled. He can tell mouse feet from human.) and taking the man’s tomahawk and making it disappear. (He can bring it back. But one should really know better than to say “Give it to me!” in  a cartoon. Lo brought that pain on himself) Still, he is insistent that Merlin relinquish the hat. Merlin agrees, but figures they should smoke a peace pipe first. Said pipe is a firecracker, and Merlin is able to escape at last.

Making it to their destination, the mice are all set to perform at the local theatre. So, what are the locals like? Actually, they are all Native American, and I don’t think they are taking too kindly to all the racial stereotyping this cartoon contained. Maybe they just really liked Lo? Whatever the reason, they chase the mice out of town. (Drat. I was really looking forward to the show)

Favorite Part: How Merlin greets the audience. “Greetings ladies and gentlemen! Or whatever the case may be.” It’s always a good idea to put the theatre-goers in their place.

Personal Rating: 2

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Chimp and Zee

“Peanut?”

Directed by Alex Lovy; Story by Don Jurwich; Animation by Ted Bonnicksen, LaVerne Harding, Volus Jones, and Ed Solomon; Layouts by Bob Givens; Backgrounds by Bob Abrams; Film Editor: Hal Geer; Voice Characterization by Mel Blanc; Musical Direction by William Lava. A Merrie Melody released on October 12, 1968.

A pretty late entry, and it kinda shows. Seems there wasn’t a lot of heart put into this one, as we aren’t given a lot of information. I’ll do my best to explain, but most of it is based on guesswork.

In the jungle, (the mighty jungle) a… and we already have our first guess. I’m not sure what this guy’s profession is. All he tells us is that he is looking for a blue-tailed simian. Apparently, it’s the rarest species of monkey in the world. What he won’t tell us is why he wants one. Fame? Money? An exotic pet? We’re not even given his name! I suppose this could be like a mad-lib, so I’ll “happily” oblige.

His name is “Dexter” he is a “professor” at “Lovy University” and wants a monkey so he can “have his students dissect it to learn how much in common man has with fellow primates.”

So, why the title of this short? Again, I have to guess! Luckily, this one is a bit easier to figure out. There is indeed one of these monkeys in this jungle, but he is accompanied by some type of jungle boy. Neither of them talk, so…

The boy’s name is “Chimp.” (because he looks more like an ape than the monkey does) His parents were “tourists” who were “looking for a way to abandon their offspring.” He was adopted by a “family of monkeys” who “gave him his name, due to a lack of tail.” His brother is named “Zee” because he was the “26th child” his family had.

That should do it. Let’s return to the “plot” so you can “be entertained/educated.”

Dexter takes a shot at what he believes is his monkey prize. It was only a coconut. Hey, a free snack is a free snack. Despite the college degree I gave him, he can’t seem to figure out how to open the fruit. Chimp pulls the pull tab off for him. Dexter drinks before realizing the boy has a monkey in tow. He’s not civilized, so he gets no say in what happens to his “brother” and that is why Dexter chases them down. Chimp shoots a suction cup arrow at the professor’s head, and ties the other end of the rope it is tied to, to a boulder. Dexter plummets.

As the chase gets going, the two come to a river. The camera begins zooming in on the wrong side of the screen for half a second, leaving more evidence that this cartoon was made for a paycheck and nothing more. (Which is too bad. The slapstick isn’t terrible) Zee asks a crocodile to help scare Dexter off. *Sigh* Here we go again…

The “animals” all “respect Chimp” because he has a “highly developed brain.” Therefore, they will “do anything” he or his family ask. (That, and blue-tailed simians have got to be poisonous. The blue tail has to mean SOMETHING!)

What else can fail? Dexter aims a blowgun around a boulder to shoot at them. (He gets himself. Hope there weren’t any toxins in the dart. For his sake) He reaches into a log and finds two arms exit. He bites the one that was hitting him, and finds it was his. Pulling on the other drags out an elephant. UGH!

The “elephant” lives in a “hollow log” because “her husband threw her out for daring to look at another bull.” It was a hippo, but the loophole didn’t make him any happier. (And why do the pachyderms in this jungle have gross looking pompadour-esque growths on their heads? It can’t be healthy.)

The professor’s final plan is to simply dress up as his prey. Not only that, but he will lure him out with a mating call. It works, but a little too well. He attracts every male blue-tail in the jungle, and they clearly have no qualms about initiating a 17 way with the “female.” (Although, if they are as rare as he says, it would probably make sense for the females to do as many males as they could. Gotta rebuild that population.) As Dexter flees, the title characters swing off. (Zee was “not affected by the call” because he is “gay.”)

Favorite Part: As Dexter falls off the cliff, he lands in a raptors nest before falling the rest of the way. Emptying her next of crushed eggs, she finds one intact. In retaliation for the infanticide, she throws the final one at him. (It survives, but the very idea was so dark, that I loved it)

Personal Rating: 2

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Norman Normal

“♪ He looks a lot like you. ♪”

Directed by Alex Lovy. Story and voice Characterization by N. Paul Stookey and Dave Dixon; Animation by Ted Bonnicksen, LaVerne Harding, Volus Jones, and Ed Solomon; Layouts by John Freeman; Backgrounds by Bob Abrams and Ralph Penn; Film Editor: Hal Geer; Musical Direction by William Lava; Produced by William L. Hendricks and N. Paul Stookey. A Cartoon Special released on February 3, 1968.

Yep. This short isn’t technically a Looney Tune or a Merrie Melody, but it was produced by Warner Bros. so it is one of their cartoons. It’s an interesting one. More of a satire on social behavior than anything else. It was also a collaboration with folk singer, Paul Stookey. With a musical origin, it’s no surprise that our short opens with a song. The main character, Norman, shuts the band in a room, promising us we’ll hear them again at the end. (I hope so. That was catchy)

Norman seems to exist in world of doors. Entering one, he comes to his boss’s office. Seems that the ball-bearing company Norman works for is having a hard time getting a potential client interested in their product. Said client has a weakness: alcohol. It will be Norman’s job to take the man and get him drunk so they can get a signature out of him. Understandably, Norman is a bit uncomfortable doing this.

As the boss argues with him, they both get younger. Reflecting how immature this whole thing is while the argument shifts to Norman having to do something to be part of the boss’s gang. (He doesn’t have a name. Unless Boss is his name.) Seeing as Norman is a child now, the boss reverts to his original age and plays the reverse psychology card. Norman is clearly not mature enough to handle such a responsibility. This ploy works and Norman agrees to it while growing back to normal Norman. The boss sends him on his way.

Back in the dimension of doors, Norman once more resolves to not do it. It’s not right, but who is to say what is right? In such puzzling situations, turning to a parent is a good way to at least think things out. Luckily, Norman senior can also be found in a door here, so Norman enters and asks for advice. His dad chooses to instead waste time telling stories from his youth. It’s too bad he’s not being more helpful. Norman is having some serious thoughts about what is right and what is wrong, and how others have differing opinions on it. His dad ultimately disperses some half decent advice: that being to not make waves and fit it. (Translation: Conform. Society is never wrong.) Norman exits.

Rather than exiting back into the door area, Norman finds himself at a party. (Where some guy repeatedly says “Approval?” over and over like some kind of Pokemon. Since he has a lampshade on his head, we can assume this is purely alcohol based behavior.) Seems that this party is taking place later, as one person congratulates him on the sell. (We don’t get to find out if Norman did the morally sound option or not) The man also tries to tell a joke, but we miss most of it because Norman has to ask if it’s a joke about minorities to make them all fell superior. From the punchline, I’m guessing it was a pretty crappy joke, but everyone seems to find some humor in it. Even Norman.

The bartender tries to give Norman a drink. Norman doesn’t want one, saying he’s had enough. (Not sure if he really had any or not.) The bartender gets hostile and begans accusing Norman of not liking himself when drunk. The true him, that doesn’t have to abide by society’s rules and isn’t ruled by his common sense. Angry, Norman storms out.

Back in the familiar door land, Norman apologizes for getting us mixed up in his problems, and as promised, lets us hear the band once more. Before the short ends, we see the whole thing has been taking place in Norman’s mind. How existential. Stookey wanted to have Norman appear in more cartoons, but the studios closure the following year prevented this from happening.

Apologies to anyone who might have wondered where this post was last week. The website was down, and so was I. So down in fact, that I didn’t feel like updating for the rest of the week. While nothing has changed, I don’t feel you should suffer for my personal problems. (Then again, with all the comments I get, nobody probably even noticed my absence.)

Personal Rating: 4. (This only applies to adults. I’ll give it a 2 for kids)