“I can see you through the key hole!”
Directed by I. Freleng; Story by Warren Foster; Animation by Manuel Perez, Ken Champin, Virgil Ross, and Arthur Davis; Layouts by Hawley Pratt; Backgrounds by Irv Wyner; Voice Characterization by Mel Blanc; Musical Direction by Carl W. Stalling. A Merrie Melody released on June 20, 1953.
We started this fun themed month with a ghost story, then moved on to real life horror, and now I’ll continue this trend with a cartoon featuring costumes. Maybe next week I’ll discuss “The Cookie Carnival.” Wouldn’t that be a shake-up?
Sam takes note of the local news. Namely, there’s a widow that’s inherited 50 million big ones. And he can’t help but feel that anyone having just lost a loved one should immediately replace what’s missing. You know, he’s single. A suspicious Bugs can’t help but see what the little guy is up to, and finds Sam in the next scene with flowers and candy. He’s got marriage on his mind. Bugs might just need to intervene.
Said widow is Granny (that newspaper photo didn’t do her justice), who has so much cash, she literally sets some aside to burn. (Whoever her husband was, his death clearly didn’t affect her too much. In fact, how do we know this isn’t the first time she’s gotten in such a rewarding situation? I’m worried about you, Sam.) She answers her door to find Sam trying to woo her, and she lets him chase her. But she must put their fun on a brief hiatus as there’s yet another knock.
It’s Bugs dressed as the marquee of Queensberry… rouge, I think. Putting on his best Pepe Le Pew impression, he also gets to chase the flirty Granny around. Sam isn’t pleased and slaps Bugs with his glove. Bugs (and his disappearing/reappearing hat) returns the favor but he bothers to put a brick in his, first. Time for pistols at ten paces. Bugs, ever ten paces ahead, counts out as many steps between nine and ten as he needs to get Sam to walk out into the path of an incoming bus.
When Sam comes banging at the door again, it is answered by Bugs in Granny garb. And Sam refers to “her” as “Emma.” Could this be Granny’s real name? If it isn’t, what is it with Sam and girls named Emma? Sam gets to chase again, but “Emma” ends things quickly with a piano to the face. It’s then that the real Emma (?) finds him and sets him in a chair while she fixes him some coffee. The other one reaches him first and does the ole ‘giving lumps when asking for lumps’ bit.
When Gremma returns, Sam kicks the coffee out of her hands sending her running for the gun that I’m guessing she’s already used before SOME WAY. Sam realizes that he may have just kicked away the easy life, and follows begging for forgiveness. He gets Bugs (still in disguise) to forgive him and he then suggests they elope, much to Sam’s glee. When they’re walking down the aisle, Bugs’s dress gets caught on a snag and tears off revealing his hairy legs. Leading to a great line from the priest: “Do you, Sam, take this woman… woman?”
That comment gets Sam to look over his bride once more and instantly get cold feet. He flees the wedding, leaving Bugs crying crocodile tears. (Who are all those people they invited anyway? I don’t recognize anybody but me.)
Favorite Part: The animation of Sam and later Bugs chasing Granny. I can’t explain it, but it slays me. And I wish I had an opportunity to chase someone like that without warranting a call for help.
Personal Rating: 4. Granny is probably at her best here. Fun to see her having so much fun.