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Heaven Scent

“♪A smile was all you gave to me…♪”

Oh, to be a skunk. Nobody bothers those guys.

Directed by Chuck Jones; Story by Chuck Jones; Animation by Abe Levitow, Richard Thompson, Ken Harris, and Ben Washam; Layouts by Erni Nordli; Backgrounds by Philip DeGuard; Voice Characterization by Mel Blanc; Music by Milt Franklyn. A Merrie Melody released in 1956.

A fisherman comes back from the water one day with a decent sized batch of fish. The scent of the dead animals attracts the nose of one Penelope Pussycat. She tries to help herself to one of the morsels, but finds dogs every way she looks. The constant barking eventually has her hopping onto a flap pole that has been recently painted. Unlike most of her appearances, this time the stripe is no accident. She coats her back in the paint and her skunk disguise is complete. (Isn’t it interesting? If you had no idea what a skunk was, you’d never guess it was the most feared animal on the planet.)

The trick works, and the dogs are sent running. The fisherman too. So there is nothing stopping Penelope from helping herself to a nice fat fish and heading off to the park for a picnic of one. But you know, picnics by yourself kinda scream “I’m lonely.” If only she had a special someone to share her life with. Enter Pepe. And he is smitten. And since the only thing required to make a relationship work is the male wanting the female, why does she run from him? He won’t let that stop him though. He finds her in grapes, and a tree. (Pepe: “Marry me.” *she runs* Pepe: “Too subtle?”)

So, he decides to try the “playing hard to get card,” himself. Running in front of her and saying that he loves her but isn’t sure about marriage yet. She runs in a different direction. (The wood in the fences and trees in the background is interesting in this short. They aren’t colored in. An artistic choice? Or was Mr. DeGuard feeling lazy on this one?) Pepe knows a shortcut and manages to catch her in his arms. Running out of directions, Penelope begins running up a mountain. Pepe is still right behind her and has a little fun making her an echo love note. But she runs again. Pepe continues following her, as she runs into a tunnel that is blocked. Pepe stops to note that while there is not much difference between the sexes, “Viva La Difference!” and follows after her.

And it just ends. Weird. It was pretty entertaining, but I guess they didn’t really have a clue about how to end it. That poor ending probably makes this my least favorite Pepe short. But I’ll have to watch them all again to be sure. (And yes, I’ve seen every Pepe Le Pew cartoon. Hasn’t everybody?)

Personal Rating: 3

(Nah, It was probably an artistic choice by Philip. I never knew the guy, but I don’t think he’d be one to accidentally leave wood uncolored.)

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Raw! Raw! Rooster

“I won- I say, I wonder what the poor chickens are doing.”

That Rhode Island Red ain’t right. (Or blue.)

Directed by Robert McKimson; Story by Tedd Pierce; Animation by Russ Dyson, Ted Bonnicksen, George Grandpre, and Keith Darling; Layouts and Backgrounds by Richard H. Thomas; Film Editor: Treg Brown; Voice Characterization by Mel Blanc; Musical Direction by Carl W. Stalling. A Looney Tune released in 1956.

Life is good for Foghorn. As the only male in the chicken yard, he has many hens to love and worship him. But it appears that the good times will only last so long as he receives a telegram from an old college buddy, Rhode Island Red. (Based on the names roosters have here, I can only assume that their other friends were named Chantic-Larry and Plymouth Rocky.) Foghorn isn’t happy to hear this. He had enough of Red in college. (Am I the only one who would be interested in seeing some shorts based on his college days?)

He barricades the place, but whoops! Red was the telegram man the whole time. And he greets Foghorn with joy buzzers and squirting flowers. Then he heads right over to Foghorn’s hens. That was a fun visit, time for Red to leave. (I feel for Foghorn here. I’ve had to put up with old “friends” from school that thought I wanted to talk to them again after all those years. How wrong they were.) Foghorn sets up a trick camera that will knock Red into a pit when the “picture is taken.” Naturally, it doesn’t work until Foghorn gets in front of it. After climbing out of the pit, Red still asks for a photo and Foghorn obliges to shoot him. Red isn’t as daft as you’d think, and puts his fingers in the “lenses” of Foghorn’s “camera.”

Later, Red shows off his football skills to the hens with Foghorn’s help. Foghorn puts a firecracker in the melon they are using as a ball and throws him a pass. But the funny thing about football is, you can pass the ball back. But Red is a sportsman of all types and accepts Foghorn’s game of golf next. Foghorn tries to use trick exploding balls on Red. But the first one doesn’t go off until Red hits it towards him and the second one goes off when Foghorn hits it.

Finally though, he comes up with a working plan. He puts on his own telegram man outfit and delivers a note to Red informing him of an inheritance to pick up. While Foghorn could just win like this, he has to one up Red again by presenting him with some parting gifts. A time bomb that he calls an electric bowling ball, and an electric clock that will tell him when to bowl. With friends like him, why would Red need any enemies?

Personal Rating: 3

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Crowing Pains

“Where are we taking me, boy?”

Directed by Robert McKimson; Story by Warren Foster; Animation by John Carey, I. Ellis, Charles McKimson and Manny Gould; Layout by Cornett Wood; Backgrounds by Richard H. Thomas; Voice Characterization by Mel Blanc; Musical Direction by Carl W. Stalling. A Looney Tune released in 1947.

Still being early in Foghorn’s career, (this was only his second appearance) this short is credited as starring Henery Hawk. In fact, Foghorn isn’t even trying to annoy the dog here. It’s Sylvester of all characters. After a chase has left the dog hanging by his neck, Sylvester readies an axe. (Geeze! Foghorn was never this bloodthirsty.) Proving to me that he finds heckling the dog all in good fun, Foghorn appears in the nick of time and takes the head off the axe. He berates the cat who, frustrated that he can’t get a word in edgewise, smacks him over the head and departs.

Enter Henery. Wanting a chicken to eat, he grabs Foghorn and makes for home. Foghorn points out a mistake. He is not a chicken. As we all know, Chickens have black fur. Sylvester has black fur. Sylvester is therefore a chicken. To help him get close, Foghorn gives Henery a plastic egg to wear and sends him on his way. Finding the egg underneath his person, Sylvester is overjoyed to find he is a mother. There’s something wrong here. Males can’t be mothers. Sylvester is male. Sylvester is therefore no mother. He tries to run away, but Henery is on him like white on snow. (Not all rice is white you know.)

Henery shows himself when Sylvester tries to hammer him dead. He wants the chicken to come quietly but Sylvester claims to not be a chicken. I’m pretty sure he is. If he’s not, then who is? Foghorn? That’s just silly. Sylvester, Foghorn, and the Barnyard Dawg (for no real reason) all argue over who is supposed to be dinner. (Me personally, I prefer cats.) Henery then gets an idea. Roosters are supposed to crow at dawn. Those three are males. Roosters are males. Therefore, if one of them is a rooster (which is a chicken) all they have to do to find out is watch the sunrise.

Come the next morn, we find crowing coming from the rooster: Sylvester! Henery drags him away. Not seeing the ventriloquism book Foghorn has. Wait… Darn it! I had it all backwards! The dog was the chicken!

Personal Rating: 3

Don’t expect an update next Tuesday. No, I’m not going anywhere again. My work schedule has changed and I’m sick of working around my blogging. So, from now on, I’ll be updating on Sunday’s like I should have been doing since day 1. So if you enjoy this place, (and I know you all do) you’ll be pleased to find the next post earlier than next week. Dr. Foolio, out.

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My Little Duckaroo

“I’ve got you now, Canasta.”

He’s gonna tear him limb from tree!

Directed by Charles M. Jones; Story by Michael Maltese; Animation by Ken Harris, Ben Washam, Abe Levitow, Richard Thompson and Lloyd Vaughn; Layouts by Maurice Noble; Backgrounds by Phillip DeGuard; Voice Characterization by Mel Blanc; Musical Directon by Milt Franklyn. A Merrie Melody released in 1954.

It’s a followup to “Dripalong Daffy.” And sadly, it’s not as good as its predecessor. Daffy is once again cast as the hero, known this time as the Masked Avenger. Porky is there too, and still relegated to the role of comic relief. Daffy spots a wanted poster for Nasty Canasta. (Looking different than he did in his first appearance and how he would look in “Barbary Coast Bunny.” Guy just can’t find a style he likes.) Daffy decides to fix his little red wagon, but not because it is the right thing to do. It’s all about the money.

Luckily, Canasta’s hideout is clearly labeled, so Daffy has no problem finding it. The problems start when he comes in and introduces himself to the thug. Canasta can’t be bothered to react to Daffy at all. Not even to his nice mask. (I agree with Daffy. It is stylish) He has no luck with either of his alter egos either; The Frisco Kid and Superguy. Eventually though, Canasta does challenge Daffy to a game of cards.

After the classic “cutting the cards joke”, Daffy deals. He gives Canasta one card and keeps the other 51 for himself. He has a royal straight flush full house with four aces. Canasta has a three of clubs and his gun in Daffy’s mouth. It’s clear who the winner is. Daffy then suggests arm wrestling. I’m not surprised he loses. Canasta is the kind of guy who makes a cigarette by putting all the ingredients into his mouth and spitting out the final product.

Porky suggests that Daffy just arrest Canasta. And I’m happy to report that Daffy doesn’t do the old “glad I thought of it gag.” That’s not my favorite gag. He slaps some handcuffs on Canasta and tries to drag him away. Canasta breaks free. Daffy finally snaps and challenges the outlaw to fight. Porky has the utmost confidence in him. (Um, Porky old pal? You did see Canasta’s Crusher impression, didn’t you?) Porky calmly waits for the fight to subside outside, (while his shirt changes color briefly) as he assures us that Daffy is going to fix Canasta’s little red wagon.

Daffy comes out the loser. And to add insult to injury, Canasta literally made him fix his little red wagon. (That’s harsh. We watched a subpar sequel to a great Daffy short for such a weak punchline?)

Personal Rating: 2 (Mostly because it’s a rather disappointing sequel, if you haven’t seen it’s predecessor, it could earn a three.)

No post next week. I’ll be out of town. But we’ll be back the week after, so stay tooned!

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June Foray

June of 1952
Ain’t she a beauty?

Death is kinda cool. It gets rid of people I dislike, provides me with delicious animals to eat, and (when handled carefully) can be a very good punchline in jokes. But every now and then, it goes too far and takes away someone before I’m ready for them to go. June Foray was one of those people. Not only was she a very talented voice actor, but she was the oldest one! Continuing to do amazing work, even though her age kept growing. (That’s one of the perks to voicing an old woman. It gets more authentic)

Born on September 18, 1917 (Yep. She was that close to cracking age 100.) was June Lucille Forer. Daugher of Ida and Morris Forer. Like many people, young June had ideas about what she wanted to do with her life that would end up different. In this case, she wanted to be a dancer. Her mother had her attend local classes, but something happened that caused her to drop out: pneumonia. But at the age of 12, her voice was broadcast on a local radio drama for the first time. In just three years, she was doing regular work as radio voices. But after living in Massachusetts her whole life, she and her family would move after her father fell on hard financial times. Their destination? Los Angeles.

June entered the radio biz through the WBZA Players, and would go on to star in her own radio series in the late 1930s, “Lady Make Believe.” Her popularity grew and soon she was making regular appearances on coast-to-coast network shows. By the 1940s, June began doing some film work. A few live action roles, but mostly doing voice overs. In the Donald Duck short, “Trick or Treat” she played a character named Witch Hazel. Chuck Jones saw that short and was very impressed. He invited her over to be a part of Looney Tunes where she took over for Bea Benaderet as the voice of Granny and Chuck’s own Witch Hazel. Unfortunately, due to Mel’s deal about being the only one to get voice credit, (Which I’ll explain more when I blog about him.) June didn’t get her credit for those shorts. But she did get some great words of encouragement from Jones: “June Foray is not the female Mel Blanc, Mel Blanc was the male June Foray.” (Nice words to be sure, but I find them debatable. No disrespect Ms. Foray, but Mel will always be the greatest voice actor and no one will ever be able to top him.)

June had many famous roles over the years. Cindy Lou Who, Woody Woodpecker’s niece and nephew, Splinter and Knothead, and even playing as the terrifying Talky Tina doll from the “Living Doll” episode of “The Twilight Zone.” But she did have her fair share of not getting roles too. She tried out for Betty Rubble but did not get the part. She was “terribly disappointed.” (And the person who got the part? Bea Benaderet.) But arguably, her most famous role would be that of Rocket J. Squirrel.

Now all this work would make her one of my heroes easily enough, but June did much more for animation than that. In the 1960s she became devoted to the preservation and promotion of the medium and wrote numerous magazine articles about it. In 1972, having noted that there had been no awards to celebrate animation, she came up with the idea for the Annie Awards. In 1995 (the birth year of a very suave blogger) ASIFA-Hollywood established the June Foray Award. An award that is awarded to “individuals who have made a significant and benevolent or charitable impact on the art and industry of animation.” (June would go on to win the first of these awards.) She was also on the Governors’ board of the Academy of Motion Picture Arts & Sciences. And thanks to her, we got the Academy Award for Best-Animated Feature. Something she had been lobbying for for two decades. (That’s dedicated.) At age 94, she became the oldest entertainer to be nominated and win an Emmy. And even in her nineties, she continued to play her various roles.

But unfortunately, on July 26, 2017, Ms. Foray was taken away from us. She had been in declining health ever since an automobile accident in 2015, but I was really hoping to meet her at least once before her time was up. Thanks for everything, June. You’ve been there my entire life, and made many parts of it much more enjoyable. If I ever get to where you ended up, I’ll be asking for an autograph.

Sorry for lack of update last week. I had just got back from a trip to San Diego Comic-Con. Boy was that fun! Getting to dress as Porky never gets old, and five times as many people as last year asked for photos of me. (Special thanks to the one who posed with me.) But by far the best part, was meeting Jerry Beck. (Who I did not suggest visiting this place. I was having enough trouble speaking coherently in front of another of my idols.) But he was super nice and even signed my W.B. shield. (Which he specifically signed to me, so you can’t have it.)

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Birth of a Notion

“I have no duck, Leopold.”

Directed by Robert McKimson; Story by Warren Foster. A Looney Tune released in 1947.

During the Autumn, ducks tend to fly south to warmer temperatures. Daffy is not like most ducks, and instead has a plan to get himself a warm home for Winter. It all hinges on the bone he’s holding. He leaves it on a house’s porch and calls for the dog that lives there. (I suppose he’s been scouting to find a home with a dog. It’s needed for his plan.) The dog prepares to feast on that bone, but Daffy stops him. He claims that the bone is poison and that he saved his life by keeping him from eating it.

Leopold, (for that is the dog’s name) is grateful and tells Daffy that in return, he’ll get him anything he can. Daffy requests sharing the house. Leopold doesn’t think his master would like him doing that, but eventually gives in. His master is a familiar face: it’s that scientist that looks like Peter Lorre. (Who from this day forward, shall be known as Pete Lorry.) He is working on some sort of experiment that is requiring something he does not have: a duck’s wishbone. Leopold, meanwhile, sticks Daffy in the closet promising to bring him food and water.

If Daffy wasn’t Daffy, his plan would have definitely worked. But he’s not one to stay there, and naturally leaves. Just in time to overhear Pete tell his dog about his duck loss. Daffy isn’t scared as one usually would be in this situation, but is instead angry. He tries to goad Leopold to join in on the Pete-killing, but the dog is loyal to his master and won’t partake. Daffy throws stuff at Pete’s head and succeeds in hitting him once with a bat, just as Leopold grabs it. Pete is very calm (while breaking the bat into many pieces) and tells Leopold that he will do horrible things to him, should he get hurt.

Daffy is not through, and heads into his bedroom with a knife. He takes a stab at taking a stab, but Pete happens to sleep with a shield and is unharmed. But he is now very much aware that there is a duck on the premises. A chase ensures with trapdoors, a door that leads to a countryside speeding by, and arms coming out of the walls. (Intermixed with a shot of Leopold complaining about his “role” in the short. Best joke of the cartoon, right there.)

After having many sharp objects thrown at him, Daffy goes for the obvious solution and just leaves. Who knew it was that easy? To Leopold’s horror, Pete begins wondering if a dog’s wishbone would work in whatever he’s working on. Why is Leopold scared when dogs don’t have wishbones, you ask? Well, clearly Pete won’t figure that out until he’s dug through Leopold’s neck. That’s how mad scientists work.

Daffy meanwhile is preparing to try the bone scheme at a different house, but another bird has beaten him to the punch and kicks Daffy away into the sky. Well, it’s easier than flying yourself, so Daffy kicks back and enjoys the ride. (Leopold joining him with fan powered flight.)

Personal Rating: 3

Don’t expect a post next week. While I can’t promise that I won’t have time to write one, I also can’t claim to have the time to do it. So for just once in your life, don’t expect the unexpected.

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To Duck…. Or not to Duck

“No rough stuff!”

Supervision by Charles M. Jones; Story by Tedd Pierce; Animation by Robert Cannon; Musical Direction by Carl W. Stalling. A Looney Tune released in 1943.

Daffy is having a grand time flying as only he would up in the clouds, when he is nearly shot. This leaves an impact shaped like him in the cloud, much to his amusement. He screws around with this for a bit, but he is eventually hit and he goes down. After berating the dog who is retrieving him about not being gentle, (Whose name is Laramore. A name I’ve never heard outside of this short.) he is brought back to the one who shot him: Elmer.

Elmer is pretty polite about things. He apologizes for killing Daffy, at least. But he defends his actions as sport. Daffy quits faking (Oh, come on. Were you really buying it?) and rightfully complains about what a bad example of sport it is. Elmer is armed to the teeth, and Daffy doesn’t have anything but a bullet-proof vest. (“How did that get there?”) He demands that Elmer and him fight in a real sport: boxing. There’s already a ring set up even. (Ducks love boxing you know. How else would there be a full house there already? Clearly, they just sit there constantly waiting for a fight.)

I love the referee at this match. If I didn’t know better, I’d say he’s voiced by Tex Avery due to all the laughing he does when he is supposed to introduce Elmer. (“You can have him!”) He finally does get Elmer’s name out, and he is promptly booed by the audience. To be fair, Laramore cheers for him but the ducks pelt him with projectiles. When introducing Daffy however, he not only gives him a hug, but addresses him as “Daffy, (Good to his mother) Duck.” Daffy is promptly applauded by the audience. To be fair, Laramore boos him, but the ducks pelt him with projectiles.

The ref. (who would be named Ducky Wheeze in “The Sylvester and Tweety Msyteries”) begins listing all the moves that are not allowed. He even demonstrates them on Elmer. Daffy wants to be absolutely clear on things, so he repeats all of them on Elmer just so he knows they’re illegal. When the fight is ready to begin, the two are ordered to shake hands. Daffy tells Elmer to pick a hand, and Elmer picks the wrong hand. (There was nothing in it.) Daffy is willing to let him try again, and there is something in the other: a mallet that clobbers Elmer.

Ducky starts the match, but Elmer is already out and Daffy is declared the winner! Definitely more fair. Daffy is looking out for all the animals that are unfairly killed. Elmer is a good loser. He doesn’t complain, but he does point out that he thought they weren’t supposed to use certain moves. The moves in question being, the ones he is now using on Daffy and Ducky.

Personal Rating: 4

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Hare Trigger

“I ain’t a-givin’ up without a struggle!”

Directed by I. Freleng; Story by Michael Maltese; Animation by Manuel Perez, Ken Champin, Virgil Ross, and Gerry Chiniquy;  Layouts and Backgrounds by Paul Julian and Hawley Pratt; Musical Direction by Carl Stalling. A Merrie Melody released in 1945.

Happy 4th! There’s nothing more American than a cowboy. So, why not talk about Sam’s first short? (Heck, it was said to be Freleng’s favorite short that had him in it!) This short is full of firsts! It’s Hawley’s first time being credited, and what’s more it’s the first short that gives everyone their due. Leon Scheslinger wasn’t one to let valuable screen time be taken up by a still shot with a bunch of names. But when the studio was sold to the W.B. they were finally given that right.

Bugs is riding a train through the west of America as a piece of mail. (And hiding from his numerous relatives who are trying to piggyback on his film super-stardom.) Sam makes his first appearance trying to hold the train up. (He looks a wee bit different here than in his later appearances. He has a wart or something on his nose, and his mask has less hair surround it, so it is easier to tell it is a mask) The train doesn’t slow down at all. It passes right over him! Sam has to catch up to it on horse. (Which he needs stairs to mount.)

Once on board, he frightens the post man away and begins to load up. (Mail was pretty valuable in the forties.) One piece of mail talks back, so Sam introduces himself as “the meanest, roughest, rip-roaring’est, Edward Everett Horton-est, hombre that ever packed a six-shooter.” (Which is how I would introduce myself if Edward Everett Horton was still well known.) Bugs tells him of a guy in the next car who not only is all that, but packs a seven shooter to boot. Sam goes over to challenge him. (It’s Bugs.)

Sam dares him to draw a gun. Bugs is a pretty talented artist, so it’s no trouble for him. (I love this joke. I’ve pulled it before with cards. Then managed to draw the same card I drew.) Sam is impressed and tries his hand at it. It takes a while, (his efforts brilliantly portrayed with piano notes being off tune) but he manages to draw one which Bugs seems to be genuinely interested in.

“It stinks.”

(Guess not.)

Bugs is chased and he considers heading into a club car, but it’s full of live action people. While toons are definitely allowed in, the prejudice is still strong, so he heads back to the car Sam is in. They trade shots with Bugs ultimately removing Sam’s hat. What he thinks is said hat getting put back on his head, is really Bugs who calls to Sam as a sheriff. He pours some red ink on Sam’s head and Sam believes himself done for. He might have actually convinced himself to death had Bugs not left the bottle dripping onto his face.

Bugs next leads him into the club car, which now has a fight going on in it. Sam gets roughed up pretty badly, and while dazed, Bugs tricks him into stepping off the train. Sam returns though, and pulls Bugs on top for a brawl. Ultimately, Bugs is left tied up and dangling off the side with an anvil attached to his feet, Sam gleefully starts cutting the rope as the train passes over a gorge. Then a narrator acts like we’re in a serial and asks us if this is the end of our beloved Bugs Bunny. Bugs comes out onto the screen with Sam tied up mocking the idiot trying to pull this crap. He doesn’t know Bugs like we do.

Personal Rating: 3

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Cartoon Network Groovies

“What’s all that racket? ”

You know what made Cartoon Network so much fun to watch, back in the day? Well, yes, having cartoons that I wanted to watch was nice, but they went out of their way to make the commercials a joy as well. It’s a network where the cartoons are in charge, so naturally, the cartoons would be working there. During a commercial break, we could see the toons working at their jobs, and interacting with each other. But my favorite thing they did was the groovies. Short music videos about the cartoons we loved and if we didn’t already love them, then these videos might encourage us to take another look.

They were brilliant. Each one was different. Even the ones that were based on the same series. “Dexter’s Laboratory”, and “The Powerpuff Girls”, each had more than one for their series. (Not that I mind. I love those shows.) Even a few shows you wouldn’t think would be popular enough to get one, got one. Like JabberJaw and Betty Boop. (I didn’t even know her shorts ever aired on that channel.) Although there were some weird ones. There’s one based on “Ed, Edd and Eddy” where Sarah gives the titular boys a drink that shrinks them for her amusement. It’s a great song, but is that really related to the show? I never really watched it.

Another one is based on “Courage the Cowardly Dog”. It takes place somewhere not in Nowhere, Kansas; Eustace and Muriel look much younger; and they are having a party. This show, I did watch. And Eustace doesn’t seem like the type to allow that many people into his house without giving him something. But of course, the reason I’m talking about them here is because there were some based on “Looney Tunes”. And they get looked at more in-dept.

L’Amour A Un Odeur: A remix featuring Pepe Le Pew and his various shorts. It’s my least favorite just because it feels the most rushed to me. The music is that classic faux French they put in all his shorts.

Personal Rating: 3

Wascally Wemix: As you’d expect, this is Elmer’s song. A bunch of his lines remixed. Bugs and Daffy feature prominently too. The music kinda dying near the end, keeps it from being higher on my favorites.

Personal Rating: 3

Pork Jam: AW YEAH! My pal Porky gets a remix, and it’s awesome. His lines mixed with the music, never fail to put a smile on my face. It was my favorite as a kid. So, what could possibly top Porky?

Personal Rating: 3

Mars Forever: My favorite out of all the groovies. A recruitment video Marvin made to build up his troops. Best music in my opinion. Contains bits from all his shorts, plus “Rocket-Bye Baby.” A masterpiece if ever there was one.

Personal Rating: 4 (I could see someone wanting to watch the others if this was viewed first.)

In memory of my good friend, Abby the Dog. 2006-2017. While there are no shortage of great dogs, there was only one of you.

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Bugs Bunny’s Bustin’ out all Over

“Naughty, you might like to know, is natural for little kids.”

Written, Produced, and Directed by Chuck Jones; Co-Director: Phil Monroe; Music by Dean Elliot. A T.V. special released in 1980.

With the summer solstice tomorrow, it seems like a perfect time to talk about this special. There are three new shorts never before seen in theaters!

“Portrait of the artist as a young Bunny”

It starts with school being let out for the summer. Bugs is as excited as the children, before remembering that he hasn’t been in school for years. Distracted by this, he crashes into a tree and has a flashback to his youth. Sort of like a sequel to “The Old Grey Hare.” (Or prequel, if you prefer.)

A young Bugs is excited for summer and so is a young Elmer Fudd. He asks for us to be very quiet, and Bugs asks why he should. What is in it for him? Flustered, Elmer tries to bribe him for his silence, which Bugs uses as a great segue to start asking us viewers for money. Later, Elmer ends up walking off a cliff. (Look at those flowers behind them. These kids are either at the top of a beanstalk or are really tiny.) Bugs points out that gravity will be his undoing, but Elmer is immune. He hasn’t studied gravity yet.

Bugs leaves a book about said subject out for him, and like all children during summer vacation, Elmer happily jumps into some learning fun. Now fully understanding the “gravity” of said situation, he falls through the air now when he walks off a cliff. Wile E. makes a cameo telling him to let an expert fall first. (I don’t know what he’s doing in this time period.) Bugs isn’t about to let a kid fall to his death though, and leaves a spring for Elmer to land on and propel him back to safety. While grateful, Elmer isn’t going to let that stand in his way of being a great hunter. But all too soon, Bugs has reduced him to tears.

He decides that he has no other choice but to quit cold turkey. Bugs acts as an enabler and gets him to break his fast almost as fast as he started. Elmer returns with a rapid fire model of his pop gun and fires rounds upon rounds into Bugs. This crashes him into a tree again and he comes out of his stupor. Bugs figures that he and Elmer were the first to start chasing each other, just as he catches sight of a coyote pup chasing a very fast egg.

“Spaced Out Bunny”

Bugs loves nature, but it doesn’t seem to love him. Flowers wilt, rocks roll away, and a butterfly is ready to start something. Even the trees bark at him. Luckily, Bugs’ luck changes when he spies a carrot just waiting to be eaten. He takes the bait, unaware that it was a tranquilizer carrot that was part of a trap concocted by a one Marvin the Martian. He is pleased with his capture saying that Hugo will love Bugs. (Hugo? Where have I mentioned that name before?)

When Bugs comes to, he finds that he is no longer on Earth, and that he is not going back, lest he upset Hugo. Marvin caught him in the Himalaya’s. He is that very same abominable snowman Bugs and Daffy met. (Despite the fact he melted.) Bug’s is not happy to be in such a situation again, and tells Hugo that he doesn’t want a rabbit. He wants a robot. Marvin is a robot, right? Not really. But Bugs has another idea of what he could be used for, and soon Hugo has a “Mickey Martian” watch™ all his own. (What a way to go. Marvin has no air, and is forced to be in pretty uncomfortable situation.) Bugs then asks Hugo if he is any good at throwing a Frisbee and challenges him to throw one to Earth. Hugo takes Marvin’s ship and gives it a good hurl towards the blue planet. Bugs is along for the ride, and makes it back home safely.

“Soup or Sonic”

To finish up our special, we have the continuing exploits of the Coyote and the Roadrunner. Wile E.’s schemes this time include riding many firecrackers, (the middle flies without him, he lights his tail, it flies off without him,) throwing a Frisbeefrom Freleng Manufactures. (That’s a really good joke.) using a giant sheet of flypaper, and catching a giant housefly-squito with teeth who wraps him up in it, and throwing an explosive tennis ball. Which doesn’t seem clear on when it blows up, seeing as it hits several things and doesn’t go off. He is forced to hit several times to keep it away, but it ultimately lands next to the rest of them. Then it goes off.

Eventually, he chases the bird into a pipe that gets smaller as it goes along, and the two end up shrunk. He alerts his prey to this and the two run back to get bigger. The Roadrunner is soon back to normal. Wile E. isn’t so lucky. He doesn’t notice things are amiss, until he tries to dig into the giant bird’s leg. Unsure what to do next he holds up a sign, “You always wanted me to catch him, now what do I do?” (Can’t help but think this would be funnier if he hadn’t already pulled out the dining utensils. As if to suggest, he was only chasing the bird this whole time because we wanted him to.)

Personal Rating: 3