Category: Academy Award Nominees

These cartoons were lucky enough to earn the prestige of being considered for an Oscar. (And some were lucky enough to actually win!)

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Life with Feathers

“Aren’t you hungry?”

Directed by I. Freleng; Story by Tedd Pierce; Animation by Virgil Ross; Musical Direction by Carl W. Stalling. A Merrie Melody released on March 24, 1945.

Some sort of domestic squabble is going on in a birdcage, and I’m proven right by one of the occupants being evicted. He tells us that he is a lovebird, that was his wife who hates his guts now, and as his name suggests, he needs love to live. No point in suffering. He begins brainstorming some ideas about how to off himself. I’m sure some people would think he’s overreacting, but I think it’s kinda sweet that he is dedicated to the one he loves if she wasn’t. If I ever lost a girlfriend, I’m sure I wouldn’t find life too enjoyable anymore, either.  Me and him should be drinking buddies.

Fate decides his death for him with a cat who looks like he’s in the mood for a snack, seeing as he’s picking through the trash. This cat is Sylvester making his first appearance. And he rushes over once the bird gets his attention. He stops short because this seems too good to be true. He deduces that the bird is poisoned and just wants one less cat in the world. Because that’s what poisonous creatures want right? No point in living if you can’t ever be hugged. (On another note, pay attention to the speck of background between Mr. Lovebird’s wing and head. It’s also depressed as it turns blue.)

Sylvester’s owner calls him back for some milk. Wait, why was he picking through the trash if someone feeds him? (On another note, if you watch his face closely, you’ll see it has more white than usual as he zips into frame.) He spits out every drop once he finds out who was at the bottom of the bowl. Since Sylvester is paranoid and Mr. Lovebird isn’t going to explain why he’s come to the worst life choice possible, he has no choice but to order a mallet, smack the cat, then enter his mouth whilst he shouts.

Sylvester smokes a pipe to get him back out. (Hey, if you want to die so much, why don’t you just inhale that smoke that’s being inhaled. That secondhand stuff is deadly.) He traps Mr. L in a glass jug, and proceeds to open some cat food. (Does he normally feed himself solid food? He’s really well trained!) Whilst his head is turned, a very familiar looking feather drops into the bowl. Not daring to not look behind him, Sylvester doesn’t notice until it’s sticking out of his mouth. His worst fears are confirmed upon checking on the jug. He ate the dirty birdy!

Mr. L is okay though. This is all part of his master scheme: give Sylvester some pills, and hop on the spoon himself before it goes past the gums. Sylvester catches on. The bird decides to play fowl. He turns the radio to some sort of program that does nothing but ask if you’d like to eat this’nthat or so’nso. (Maybe it’s an ad?) To make things harder, Mr. L also shows plenty of pictures of delicious looking meals. The torture is working. (Do those fish have hair on them?) Sylvester soon gives in figuring if this doesn’t kill him, spending the rest of his life starving will. I’d say that adds up. Just before the deed is done, a telegram is delivered to the bird.

Whatever it said, it worked like a charm. Mr. L tells Sylvester that things will be all right back at home, so he doesn’t have to eat him. (On another note, his beak turns blue because it’s still depressed.) Too bad his treatment worked so well! Sylvester is still hungry and this bird on his had is worth two in any bush. The lovebird just barely manages to escape with his life. (Now, aren’t you ashamed you took it for granted?) So what was on that note, anyway? Has the Mrs. forgiven you for whatever she did? Better than that! She’s going to go live with her mother. Oh, Mr. Lovebird. Here I thought you were loyal to the end.

Well, you know what fickle creatures lovebirds are. Sweetiepuss changed her mind last minute, and Mr. L resumes his Sylvester chase. Since the little guy never made another appearance, I think he succeeded.

Favorite Part: One of the ways Mr. L tries to get Sylvester to eat is by dressing as Santa so he can give him a “present”. His pathetic, wimpery “Merry Christmas” is music to my ears.

Personal Rating: 3. A fine way to start a new character off. Good enough to be nominated for the Oscar too! But since it was the forties, you already know it lost to a “Tom and Jerry”.

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Hiawatha’s Rabbit Hunt

“Imagine a joik like that tryin’ to catch a smart guy like me.”

https://www.dailymotion.com/video/x6gu9tk

Supervision by I. Freleng; Story by Michael Maltese; Animation by Gil Turner; Musical Direction by Carl W. Stalling. A Merrie Melody released on June 7, 1941.

Warner Bros. certainly hit gold with their wascawy wabbit! Only four shorts in, and he’s already gotten his second Oscar nomination! (Out of three total, but still…) I can’t say this was better than the year’s winner (Disney’s “Lend a Paw”), but I’d have given the award to “Rhapsody in Rivets.”

Bugs is reading the classic and harmonious “The Song of Hiawatha,” and while he does find it enjoyable, he’s a little bit terrified that the piece tells of the mighty warrior hunting a rabbit. I mean, Bugs is a rabbit, and Hiawatha is right there! Or a facsimile of one who looks like he might have some Elmer Fudd in his ancestry. Still, a bow and arrow can hurt something fierce, and with an intention to make rabbit stew, it’s probably in Bugs’s best interest to hide.

But that cooking pot makes a pretty good tub, and living in wilderness can get a guy rather filthy, so you can’t fault Bugs too much for treating himself to a bath. Just what Hiawatha was planning, so why question the good fortune. He prepares the fire with Bugs’s help and the rabbit eases himself into the just right (for now) temperatures. Awwww! And the hunter is feeding him too! Why would anyone need to fear him- oh, yeah. Those carrots are ingredients. Just like Bugs. He bolts.

Bugs tries to make an escape via one of his holes, but this being early in his career, he actually fails to complete the whole stunt. (I love how ashamed and embarrassed he looks. We’ve all looked like that.) Hiawatha plans to tie Bugs up with a rope. (And his hand? Either he slipped on a glove at falcon speed, or he accidentally cut off all circulation to it for a second. Both are feasible.) Bugs ties him up and does the worst kind of mocking: dance mocking. (Though I love his dance. The butt bouncing is the cherry on the icing on the cake on the plate.)

When the little guy actually manages to point an arrow at Bugs’s cranium, the rabbit finds that hopping away won’t work, as the man follows his jumps precisely. Bugs challenges him to take on his finisher, a series of rapid hops and landing on a branch growing out of a cliff. It’s that last part that is the trickiest, and so it’s the part that slips up Hiawatha. (Oh, and thanks for calling him a sucker, Bugs. I wouldn’t have understood the classic transformation gag if you weren’t commenting. Do it verbal or visual, not voth. Er, both.)

You gotta know when to accept defeat, and Hiawatha does. Time to canoe home and get some takeout from Bison King, or Buckdonalds, or maybe even Kentucky Fried Trout. (Much simpler.) Bugs recites the end of the poem, as he watches him leave. But Hiawatha is determined to have the final say, and he paddles back to give Bugs one of those smooches he’s always giving out. Seems like we’ll have to declare a truce.

Favorite Part: When told he is going to be tied up, Bugs bursts into laughter. The best way to take all pluck out of one’s plan. (Plus, it sounds funny.)

Personal Rating: 3

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High Note

” ‘THE BLUE ADNUBE’ “

Directed by Chuck Jones; Story by Michael Maltese; Animation by Richard Thompson and Ken Harris; Layouts by Maurice Noble; Backgrounds by Philip DeGuard and William Butler; Film Editor: Treg Brown; Musical Direction by Milt Franklyn. A Looney Tune released on December 3, 1960.

MUSIC NOTES ARE PEOPLE!

I know you don’t want to believe me, but it is true. Chuck Jones said so! See, when one writes sheet music, they are really just playing god. Deciding who will live where, and ultimately creating beautiful music/ear cancer. The notes take their job very seriously, they do. They set up the score themselves, including folding out the treble clefs, the score, and the other things that have names.

The notes themselves have the most important job. Not for the faint of heart, you understand. See, what they have to do, is take their place on top of the score, and hang upside down to make what appears to our eyes as this:

Hello, note!

Once everyone is in place, and everything is ready, the conductor note takes to their podium and begins the show. “The Blue Danube” is a classic piece that has can be heard in series ranging from “Animaniacs” to “Spongebob Squarepants.” (And beyond, but they were the first two examples that entered my head.) The notes have performed this piece so many times, why would they ever expect anything could go wrong?

Things go wrong sixteen notes in. The seventeenth note is missing, and that is quite the anomaly as he’s never been late before. Oh, he’s around all right. He’s been  in the sheets next over. The booze related ones. (“Little Brown Jug” IS a catchy tune.) This doesn’t really make him “high” as the title suggests, but there isn’t as many puns one could make. I suppose there could be “Hey Mary, wanna do marijuana?”, or “I’m in pain without cocaine in my brain.” Or the always classic “P.C.P. and L.S.D. (Tell me what they mean to me.)” But those are all terrible ideas that I just made up, so we’ll have to stick with a drunk note. For now.

Highrum (as I affectionately call him) can be identified as an alcoholic by the classic symptoms: tipsy staggering, hiccuping loudly, and a red nose. (Although, since he lacks one of those, his whole head is a lovely vermilion.) He stumbles back to his workspace, but now that his head isn’t very clear, he starts interacting with the other notes. Why, a whole note looks a lot like an egg. That’s because it is. This is how notes reproduce. But hatching it too early, could really throw the tempo off. And it’s rather rude of him to get the quarter rests worked up, seeing as how they are essentially dogs.

The conductor note is constantly many steps behind their quarry, even though High is constantly evading them unintentionally. Seems the conductor will have to act like a drunk note to catch one. So, when High takes one of their eighth note steeds out for a run, the conductor does the same. They are even willing to sacrifice one of their trebles, using it as makeshift lasso with which to catch the interloper. Hope it was worth it. Those things are a b*tch to tangle. (But in all seriousness here, I LOVE the backgrounds in this short.)

Keeping High pinned in his place, the conductor can finally get on with the music. Things go wrong sixteen notes in. Not only did High escape, but the rest of the notes got sick of waiting, and went to try out the liquor lyrics for themselves.

Favorite Part: When High is playing with the rest dog. Not only is it cute, but the object he grabs for it to fetch was just barely established as a baby note. That is so dark. I love it.

Personal Rating: If you’re a kid, you’d probably go no higher than a 3. (And I’m flattered/impressed you’re here, but you’re way too young for my jokes.) For the rest of us, 4. (The rest of us.) Those who really know music will especially enjoy it.

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Nelly’s Folly

“The world’s fist singin’ gyraffe!”

Directed by Chuck Jones; Co-Directors: Maurice Noble and Abe Levitow; Story by Dave Detiege and Chuck Jones; Animation by Richard Thompson, Ben Washam, Tom Ray, and Ken Harris; Backgrounds by Philip DeGuard; Film Editor: Treg Brown; Voice Characterization by Mel Blanc, Gloria Wood; Musical Direction by Milt Franklyn. A Merrie Melody released on December 30, 1961.

This tale begins in Africa. Precisely, in one of its jungles. Mistake number 1: there’s a lion. Mistake number 2: there’s a warthog. Mistake number 3: there’s our titular star, Nelly. She’s a giraffe. Now that we’ve got the mistakes named, let’s move on to the rest, because it really is sensational.

Nelly isn’t like your normal giraffes. Chewing cud, and splaying her forelegs out to drink. Well, okay. She probably does those things too, but she has a more unusual talent too: singing! Yes, she can sing! In fact, she attracts quite a crowd from the other animals. They love her voice. And because she has the longest neck in the animal kingdom, her voice can carry for miles around and attract all kinds of public. Including a human. It looks like he came here to hunt, but a member of the Artiodactyla Order that is capable of producing music? That’s even more valuable than some taxidermy trophy!

He offers to help her get discovered. I guess he is a talent scout on the side, because he already has a contract on him. (Even more incredible: Nelly knows how to sign it!) It is with tears in her eyes that she leaves the continent she has known all her life, but she has a gift, and must share it with the world. (Hey, why is a tiger seeing her off?) Next stop: New York City! Her first role: a commercial jingle for some cure-all tonic that probably does jack all. You may think she got scammed, but this is pretty accurate. Even for a giraffe. You have to start at the bottom, gain some notoriety, and then you move on to the big stuff.

It pays off. Her commercial gig leads to lead roles in musicals. Then comes the merchandise. Clothing inspired by her, and albums. Lots of albums. Soon, she is attracting bigger crowds than ever before. (Usually consisting of background of people, with images of clapping hands pasted over it. Stylistic.) She has fame, good looks, and is known the world over! (Probably.) Why is she so unhappy? Well, I’m no giraffe psychiatrist, (at least, not anymore) but I’d wager that these people may love the idea of her, but they don’t love “HER her.” Life is lonely. (That I can attest to.) She can’t enjoy success without someone to share it. (Agents don’t count.)

As she mopes, she finds herself in the zoo. And just look at that fetching bull giraffe! She may have just laid eyes on him, but she knows what she likes. Wait, he’s already in a relationship? That’s a bit of a turn-off, but loneliness is powerful. (Again, I know this well.) She begins to see him, but does this ever cause problems. Of course it makes headlines! The biggest, tallest star getting involved in such a scandal? The public won’t hear of it! It’s well documented that they will accept anything starlets do, except infidelity. In fact, at her next performance, she finds an empty house. Everyone has abandoned her. Her fans, her agent, could her boyfriend be next?

Yep. Now that she’s lost her notoriety, he wants nothing to do with her. (Luckily for him, his original cow easily forgives. I guess if he can be so shallow, so can his mate.) Here’s where the cartoon gets dark. As the narrator explains, “those who remember Nelly, like to think she went back to Africa.” Notice that? They like to THINK that. Seeing how its being said as she lingers on a bridge, could it be that Nelly actually jumped? (No wonder this cartoon was an Academy nominee. I mean, I guess Maurice Noble’s brilliant backgrounds played a part in that. And there’s no shame to losing to “Ersatz” That film deserved to win.)

Even if it never really happened, we see how things would turn out if Nelly did return home. She’d be sad, but at least surrounded by her old friends. They too feel bad for her, because they are true friends. But wait! Another giraffe! Another male giraffe! Another SINGING giraffe! But the absolute best part? He looks faithful. The other animals feel the love in the air, so I’d wager he’s for real. (I love the warthog taking an aside glance to realize he is hugging his predators. He probably has just realized that they have no intention of letting go.) I hope this is the canon ending. It’s a great reward for Nelly, the world’s only singing giraffe. (As far as humanity knows.)

P.S. There’s no “That’s all Folks!” end card. That doesn’t happen often.

Favorite Part: The reveal of Nelly’s true love. You’ll first think it’s just another shot of her, since only the legs are shown. But then his baritone joins her song, the color comes back to her life, and everything looks like it will be all right after all.

Personal Rating: 4

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Greetings Bait

“Don’t be so reluctant, Dragon!”

Supervision by I. Freleng; Story by Tedd Pierce; Animation by Manuel Perez; Musical Direction by Carl Stalling. A Merrie Melody released on May 15, 1943.

Fishing. A nice way to sleep and use the lack of fish biting as an excuse. Unless of course, you’re one of a rare few who actually LIKES wrenching a cold, slippery, wide-eyed, innocent animal from its natural habitat and either eating it, or mounting it on a wall. (Or the even rarer one’s who catch and release. They’re my favorite.) Our mystery fisherman of the picture is probably the “eating” type, as he sends his line down with a serving platter.

He has some bait as well. Believe it or else, this worm has a bit of a history. This short actually marks his second appearance! (Out of two.) He previously debuted two years earlier in “The Wacky Worm.” Which is why we’re going to call him “Wack” from now on. It makes me wonder why Freleng didn’t try to develop any more pictures with this worm, seeing as how this one here is an Oscar nominee.

Wack has a mustache, so in Warner Bros. fashion, he talks like Jerry Colona. Upon reaching the bottom of the water, he makes himself a sandwich. By which I mean, he makes “himself” a sandwich. He’s one of those animals who’s happy to be a part of a fishing team. Like these two were:

Of course, that doesn’t mean that Wack is suicidal. As soon as a fish tries to partake of his wacky flesh, the worm darts away, and gives the line a tug to reel in the goods. Switching out the small (but not literally) fry for a bigger catch on the way up. One fish, is that enough? Not for out mystery, fish-tory, man. Down Wack goes for part two. Fish is fish, so he has no qualms about trying to lure in one of the “lesser” varieties. This guy clearly has more mercury inside of him than a shark; if his mannerisms are any indication. He’s not even smart enough to try and take the bait. He’s gotta be fooled into thinking taking the hook is a circus act. (Seriously. Don’t put that guy in your mouth.)

As is befitting his “Wacky” name, out worm is willing to dress as a mermaid to get the fish’s attention. It works, but it isn’t his boss pulling the line up, but a crab instead. Wack almost loses the latest catch in the crab’s digestive tract, before correcting himself. The crustacean isn’t too pleased to be cheated out of a free meal, and chases the little guy. (I figured this was all taking place in freshwater, but the appearance of seahorses says otherwise. I can admit I made a mistake.)

Wack accuses the crab of only being tough due to it’s exoskeleton. (It does make up for his lack of a spine.) Good thing, that as an arthropod, he can shed it to prove the mouthy annelid wrong. Wack turns to us and admits that the following fight isn’t going to be pretty. In fact, the camera is going to return to the surface while he takes on his clawed foe. (Not cool. I had bets to pool!) After our thrashing  subsides, the loser is reeled in. Seems pride really does come before a fall, as Wack is the loser. (And our fisherman is revealed at last! Who else would make use of Colona-worm, than the human Jerry, himself?)

Favorite part: Probably what got this short it’s chance at Oscar-dom. (Oh well. Donald earned it this year) When Wack is being chased, each of the crab’s eye-stalks view him around different corners of a chest. We actually get to see what each eye sees! Wack running away from one, and closer to the other! It’s art!

Personal Rating: 3, as a whole, but the eye segment earns a four on its own.

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Now Hear This

“QUIET!”

https://www.topcartoons.tv/now-hear-this/

Directed by Chuck Jones; Co-Direction: Maurice Noble; Story by John Dunn, and Chuck Jones; Animation by Ben Washam, and Bob Bransford; Backgrounds by Philip DeGuard; Sound Effects Created by Treg Brown; Musical Direction by Bill Lava. A Looney Tune released on April 27, 1963.

Oh boy. This is a hard cartoon to describe. It’s kind of like if UPA directed “The Beatles Yellow Submarine.” And that just describes the style. Strange as it may be, it is an artistic masterpiece! And it was rightfully nominated for an academy award. (The last Looney Tune to get such an honor!) What could have beaten it? Another abstract short made by Mel Brooks? I suppose that makes sense, much as I hate to admit it. It’s also where we get the first use of the abstract opening that was used during the sixties. (A shame it is now remembered as part of the weaker shorts.)

So the plot. Unfortunately, the twist is spoiled as soon as it starts. (That’s pretty much my only gripe.) So we’ll just pretend like we never saw anything. An old British gentleman strolls along. Ironically, he is hard of hearing and carries around an ear trumpet. Clearly, it has gotten much use. The poor thing is battered and beaten. So we aren’t surprised to see him trade it for the red, shiny, pristine and perfect one he finds on the ground.

He gives it a test run. And not a moment too soon! Sounds like there is an automobile approaching! Or rather, it was some sort of animal. (As an animal expert, I’m saddened to find I can’t identify it. It resembles an insect, but has a telescoping neck and shoes for feet. It defies all nature.) Well, that was odd. But it seems to be working now, as the man delights in listening to a songbird. But the insanity is just getting started. Part of which is caused by some little man dressed all in pink, and lacks facial features. (Save for a nose)

I’m not sure if he is real or not, but in this short, I’m not sure if anything is real. Even our main character is started to get nervous, judging by the sounds his heart is making. And then? The scariest thing I’ve ever seen in animation. That is no exaggeration. In total darkness, the man is watched by several sets of angry eyes. That’s it. And that horrifying image is awesome. (Part of why it’s scary is that it’s a perfect metaphor for how I view the world. All alone. The only ones who look at us, silently judge.)

Why doesn’t the man just get rid of the thing causing all this trouble? He can’t! The little pink man won’t allow it! And the trumpet begins entangling the old man in music. Eventually leading up to a “Gigantic Explosion!” Happily, the old man is still alive. (If a bit bandaged.) Better yet, his old horn is still in the trash can. Tattered it may be, it still works fine, and the gentleman once more can hear the the lovely sounds the world has to produce. And the owner of the red horn? Satan. (Wish they hadn’t showed him at the beginning) At least that explains the creepy as hell imagery. He happily puts his horn back on his head, and leaves.

This short is something else. A treat for the ears as much as the eyes. (Just like the best cartoons) I think it’s one of the studio’s best, and think it belongs right up there with “Porky’s Preview” as one of the “100 best.”

Personal Rating: 4, but if the twist hadn’t been spoiled, I’d give it a 5. So close.

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Mouse and Garden

“We’re pals, aren’t we Sylvester?”

Directed by Friz Freleng. Released in 1960 (Nominated for an Academy Award. Lost to the Noveltoon, Munro.)

Life is hard for Sylvester. If he’s not being anyone’s pet, he doesn’t get any food and is reduced to picking through the trash. At least he’s got a friend. Sam, (voiced by Daws Butler, the same person who voiced many of Hanna Barberas characters, like Yogi, Huckleberry Hound, and Quick Draw) who previously appeared with him in the short “Trick or Tweet” The two are the best of chums. And they’re always willing to share the other’s food. Sylvester takes note of a mouse. It’s small, but it’s got more nutrition than fish bones. Seeing his chance, he ditches Sam and chases the rodent into a boathouse. Unlike most mice in Looney Tunes, this one is not a clever trickster and Sylvester steps on its tail. Sam comes in and Sylvester hides his snack behind a pillar. Somehow, Sam knows about this and hammers Sylvester’s foot and replaces the mouse with a lit firecracker, which Sylvester eats. Sam hides the mouse in a bureau and when Sylvester asks what’s in it, he claims it’s nothing. Sylvester pokes his head in and comments that he’s right. Sam finds the mouse in his friend’s mouth. Now that they both know the other is aware, they decide to put the mouse in a jug (hope they don’t mind if he dies, there can’t be an air supply there) that they dangle from a rope, promising to share it in the morning. The two sleep on a bed that’s there and Sam dreams of a mouse feast. (Sylvester dreams of hitting Sam for dreaming of said mouse) Sam attempts to get the mouse but is caught in the act. Since he can’t be trusted, Sam is tied to the bed. Sylvester attempts, but Sam mallets his head. (All while still tied to the bed) Sam tries to reach the jug from the water below, using a pipe as a snorkel. Sylvester puts another firecracker down it. (Is he walking on water?) Sam spits it back up a few times, before Sylvester plugs it up. To finally stop this whole thing, the two agree to be tied together. But later, Sylvester ties more string on the line so he can get the mouse without Sam waking up. He ties Sam’s end to a motorboat, but Sam wakes up and catches him. He ties Sylvester’s tail to the boat and exposes him. Unaware that he’s now the one tied up, Sylvester announces his plans to have Sam be taken away. Sam points out that he switched the lines and shakes Sylvester’s hand/paw in farewell. The boat takes off with Sylvester, Sam, and the jug all being taken along. They crash and the two cats make it to an offshore rock. As the mouse (somehow escaped) floats back to land in the jug, the two cats continuously kick each other as we iris out.

Personal Rating: 3

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The Pied Piper of Guadalupe

“Don’t go Armando! No! Don’t go!”

Directed by Friz Freleng. Released in 1961

Another Academy nominee? Speedy sure got a few of those didn’t he? So what did it lose to? (*Google search*) “Ersatz”? That’s a darn, fine film to lose to.

Sylvester it seems, has really lost his touch. He can’t catch any mice. They’re fast and they carry demeaning signs and smack him with planks. Thinking in front of a book sale, (One of which is apparently written by story man Warren Foster. Which makes perfect sense.) he spies a copy of the Pied Piper. Surely, the same thing would work on mice as well as rats. After taking some lessons from the J.C. Mendelez, he gets dressed up to play the part and begins to play his flute. The mice laugh at his attempts, but soon stop when it works. They can’t help but dance over to him, where he knocks them out and places them in his jug. Even tying their tails to a stake can’t hold them back and soon they’re all captured. Save one.

Speedy is still there. (Did he not hear the music?) He asks for the gato to release his friends, or Speedy will just have to rescue them. Underestimating him again, (Sylvester! You have to stop doing that.) he opens the jug and Speedy makes good of his word. Sylvester plays the flute and Speedy dances over only to smack him with a mallet. Why is Speedy immune? It’s not fair or good story writing. You could have shown Speedy trying to sleep, plugging his ears to keep out the noise, and warning his friends that their teasing is dangerous.

Sylvester ditches his cute outfit and hides in a barrel with some dynamite. Speedy rolls the barrel along which ends up trapping Sylvester in the container with a lit explosive and a dog. He gets a motorcycle and chases the mouse, who stops short at a cliff and lets the cat careen over the edge. Sylvester eventually gets out, but Speedy next leads him into a collision with a bus. Sylvester has no choice but to go to the “El Gato Infirmary” and get some casts on his broken bones. Speedy points out he dropped his flute. (“Don’t you want heem?” “No, I don’t want ‘heem’.”) Sylvester tells Speedy he can have it. The mouse plays and Sylvester is forced to dance after him on his broken foot. (That’s harsh.)

Personal Rating: 3

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Mexicali Shmoes

“I’m too young to go kaboom!”

Directed by Friz Freleng. Released in 1959

Another Academy Nominee! (It lost to a short called “Moonbird.” Nothing should have ever lost to that short.)

Our story begins with two cats. The slightly chubby one is Jose, and the lanky one is Manuel. Speedy runs by pretty much just to taunt them, and Manuel pounces. Speedy naturally, escapes. Jose tells him there’s no point to chasing him, you need brains. Manuel is lacking in that department, but it’s fine. Jose has enough for both of them, and they set out to get some supper. Arriving at Speedy’s place, they invite him out to join their fiesta. Speedy does so, and easily outmaneuvers them when they start trying to take a whack at him. He hides on Manuel and Jose crushes his compadre while missing the mouse.

Plan B. Trying something that he saw “That gringo Bugs Bunny” do in a moving picture, Jose baits a fishing pole with cheese. (I’ve seen every Bugs short at least once, and I don’t recall that. Liar.) Speedy takes the bait, and drags Jose to L.A. Much later, he returns telling Manuel that his sister said hello. (Manuel: “Hello, sister.”) They stuff some dynamite in the hole and wait for the explosion. Speedy sneaks behind them and blows up a bag. They rush off, where Jose shows his true colors. He meant to eat Speedy all by himself. (I think this would have been better as the last gag, but whatever. It’s a good one) They tussle, but Jose wins. Peeking in, he sees they’ve been tricked. He goes back to Manuel to apologize… and tell him that Speedy is rightfully his. Manuel gets a face full of explosive.

They plant some land mines, but end up chasing Speedy through it. Jose is terrified, but Manuel apparently knows where they buried them all, (Under those dirt mounds?) and carries his pal to safety. (I guess I’m wrong. He stepped on one.) Getting out, he accidentally sets Jose down on one of them. Jose returns the favor. They give up. Manuel suggests they go after the slowest mouse in all Mexico, Slowpoke Rodriguez. Jose excitedly goes to the place and grabs the pokey rodent. Manuel tries to tell him something else, but its too late. Slowpoke may be slow, but he’s not defenseless. He packs a gun. And he uses it too.

Personal Rating: 3

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Tabasco Road

“Hola gato! You wanna fight?”

Directed by Robert McKimson. Released in 1957.

This short is another nominee for best animated short. It lost to “Birds Anonymous” (At least that’s a good short to lose to.)

At night in Mexico (maybe City or maybe some other place, I don’t know) the mice are having a great time at the cantina. They’re celebrating Speedy. (Is it his birthday? The fact they depend on him for survival? It’s not important.) Two mice known as Pablo and Fernando are already muy loaded on the Tequila, but ignore Speedy’s warnings and continue to drink up. At 3:00 A.M. the place clears out. Those two aren’t dead despite all the alcohol they have no doubt consumed, and tipsily head home. (I agree with them. They make a fine “trio.”) Speedy is well aware that they are in trouble and sets off to find them.

They meanwhile have attracted the attention of an alley gato. (“I think I saw un pussy gato.” “You did! You did see un pussy gato!”) Drunk as they are, they don’t recognize the danger and instead put up their dukes. The cat prepares for a feast, but Speedy arrives in the nick of time and saves Pablo; putting him in a sardine can for safekeeping. When he goes back for Fernando, he only finds his sombrero. He assumes the worst, but finds him in the can also. (Drunken mice have teleporting powers.) Speedy runs Ferny home telling Pablo to stay put. Once he gets his friend home, he rushes back for the other one. Unaware that Fernando climbed out of his window and is still stumbling about.

The gato meanwhile has found Pablo and puts him in his mouth. (Grey nose.) Speedy has seen all this and runs over. The cat screams, we hear a snap and then he kind of explodes. Ummm… what? Speedy apologizes for his… well speed, and does the whole gag again in slow motion. We see that he hammers the cat’s foot causing him to scream. Speedy grabs Pablo and sets him down on a set mousetrap. He quickly gets him off and puts him in a glass bottle, then he lights a firecracker and puts that in the cats mouth. Bad luck though, the bottle was broken and Pablo got out. Fernando meanwhile finds his way into the cats mouth himself. Speedy redoes the fast gag again and this sends the gato running for the “Ceety Leemits.”

The two drunkards are safe now, right? That’s how a Disney short would end. To Speedy’s surprise, the two have found an alley full of dozens of gatos, challenging them to a fight.

Personal Rating: 4