Category: Tweety

An innocent little canary? Not if any of the putty tats he killed have any say in things.

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Tweet Dreams

“Are you nervous?”

Directed by Friz Freleng. A Merrie Melody released on December 5, 1959.

Animals have emotions, and that means mental problems too. Modern sciences allow certain doctors to become experts on the mind, and can give you someone to talk to, so you can manage to overcome non-physical problems and live life more happy and carefree. It doesn’t really work on humans. I know ’cause I tried it once.

Sometimes the answer to what’s troubling a beast is very simple. Take the latest patient walking out of the clinic: a dog who thinks he’s a cat. The solution? His negligent owner just needs to stop giving him cat food. I could’ve figured that out. That means I’m a genius! Next patient! Sylvester is next, but he’s here by himself, and talks to the staff. This world is weird. Strange. Off putting. I like it here. Why care for an animal when you could just charge it rent?

As Sylvester gets himself comfortable on the couch, and is told to relay his life story, we realize we’re going to be stuck in one of those clip-show cartoons. I’d sigh, but I haven’t the energy. Sylvester begins with his childhood. Odd enough, to see one of McKimson’s shorts included, but more so? Sylvester is painting himself as his son! Does this mean we’re seeing Jr. as an adult? Does this mean all the shorts without Jr. are him as an adult? You can’t be too certain, seeing as being a ‘junior’ means his name really is Sylvester. Is that true for all the tomcats in their family? Is it sylvesters all the way back? Felis silvestris?

Back in “not making a big deal over something trivial land”, Sylvester uses a clip from “Whose Kitten Who” to explain that his dad never taught him how to catch mice, as they weren’t around. He can tie a kangaroo down, though. (Sport.) Without a mother, this meant he was straight outta luck for hunting. He had to resort to fishing, as that is done by instinct. He recalls the time in “Sandy Claws” where all he got for his troubles was a tour of a tuna’s digestive tract.

It was a fateful day, as that was when he first laid his eyes on Tweety, via a very goofy still frame. Almost as if someone was angry they weren’t getting to animate enough new footage. This first encounter led Sylvester to crash into a rock via water-skis, so he instantly decided to forget things by taking a trip to the (“Tweety’s) Circus”.  Who would’ve guessed Tweety worked there? He gives in to another chase, which ended with him angering an elephant. You’d think this would cause him to support the ivory trade, but no, it just convinced him that Tweety had to die.

They were just suddenly living together after that. He was no longer just “A Street Cat Named Sylvester“. It was a nice home, but he couldn’t enjoy it what with the canary obsession. Now being owned by Granny, he had to make sure his chases weren’t sighted. Hiding in her knitting box could cause him to lose fur, and I’m sure that also triggered something in him. And now we jump to Christmas, because this selection of clips wasn’t random enough. There were some “Gift Wrapped” shenanigans that got Granny wise to his game. It was probably her that suggested he get help or vacate his new domicile. What other choice did he have? Go back to fishing? Move back in with dad? Do some theater work?

Wouldn’t you know it, the doctor fell asleep. Not the worst idea to have during a clip show. But, rude nonetheless. Doesn’t even apologize. His more important problem is flying to Detroit. Telling Sylvester to call for another appointment, he jumps out the window. Not the worst idea to have dur- He can fly. This world is disturbing. Surreal. Non-cannon. Not having the money for any more visits, Sylvester flies after him.

Favorite Part: That ending was so random that I feel like if I didn’t give it the coveted position, it would hurt me. Mentally, per the theme.

Personal Rating: 1. I really don’t think you should watch these in an era where many of the featured clips can be watched in whole on physical media/whatever you’d call the opposite.

And with that said, can you believe I’ve been doing this for fifteen years now? I haven’t improved much. I’m also considering something: I’ve had my own idea for an animated series for almost as long, and I’ve never really discussed it anywhere with anyone. I’d like to just put my thoughts out there, and I think this blog could be good for that.

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Sandy Claws

*Tarzan Yell*

Directed by I. Freleng; Story by Arthur Davis and Warren Foster; Animation by Art Davis, Manuel Perez, and Virgil Ross. Layouts by Hawley Pratt; Backgrounds by Irv Wyner; Voice Characterization by Mel Blanc; Music by Carl Stalling. A Looney Tune released on April 2, 1955.

I really don’t understand the Oscars. Not that I’ve really tried to, but this short was good enough to be a nominee? It’s good, but not great. If I had to pick from the choices for that year’s best cartoon, I’d have gone with “Crazy Mixed up Pup”. I’m digressing.

Granny is an odd bird. Well, she’s not a bird, but if she was she’d still be an odd one for resembling a human. She’s odd for bringing an actual bird to the beach. Not that canaries shouldn’t be allowed to enjoy the beach, but it screams “The grandchildren want nothing to do with me, so I shower my love and will all my belongings on the only creature that does.” She sets Tweety down on a rock, promising to return once she’s gotten into her bikini. I know half of you started reaching for tissues and the other halfs’ brains threw up. You’re both in for a surprise.

What isn’t surprising is Sylvester not being too far off. He’s fishing for his food today. The worm seems hesitant to sacrifice its life, but Sylvester’s gun forces its (suddenly appearing) hand. Bait and baiter are swallowed by a tuna. Sylvester manages to get free, but loses all that valuable sashimi. He needs something easier to eat. He is all American after all, and we are satisfied to put as little effort as possible into our meals. Just as long as it’s warm and tasting of salt.

Tweety meets those requirements. Sylvester makes to nab him, when he gets swallowed again. This time by a wave. He escapes again, but Tweety wasn’t so lucky. That wasn’t just a wave. In fact, I’d say it was fit to be tide! (I don’t like myself.) You can’t spell ‘catfish’ without ‘cat’ but Sylvester isn’t going to swim out to eat. He tries lowering himself via his fishing pole, but runs out of line. Hey, since you’re halfway there now, it’d be stupid to return to shore, right?

Right. So he steals a boat. Being tied to the dock makes him lose the sides via momentum. The three words that best describe him are, and I quote, sink, sank, sunk.  Attaching skis and an outboard motor work better, but he crashes into Tweety’s island. Hey, since you’re all the way there now, it’d be stupid to return to shore, right?

No, because then he’d be stuck waiting for the tide. He finally decides to just swim out via water wings (that’s what those are, right?) but that’s when the sharks show up. We don’t see more than the dorsal fins, but they’re obviously dogfish. (I really don’t like myself.) Too bad the tuna got Sylvester’s gun. Granny finally exits the changing room. Poor dear is really out of touch. Her “bikini” could only get away with such a label in the 1890’s, perhaps. Just for that, there’ll be no more Bea Benaderet voicing you. Somebody tell June to show up early this year!

As any pet owner would be, Granny is upset to find her bird lost at sea, and easy octopus pickin’s. Sylvester the lifeguard to the rescue! I love his little outfit! (I say “love” too much. I should really switch it up.) Granny loves him too, mistaking this for an act of heroism. He crashes, and she plans to revive him via bucket of water. Both end swallowed by the ocean. (This might be the record of times Sylvester was swallerd.) Time for a team-up.

Granny mans the pumps while Sylvester treks out in a diving suit. (Makes me wonder if she can understand him in this short.) Too bad they took too long, and Tweety just decided to save himself by rowing back to the beach. (Would his cage really float?) So elated at finding her darling unharmed, Granny leaves her post to reunite. With no one at the pump, Sylvester begins suffocating. Granny remembers him though, and does to her best to compensate. That’s more air than Sylvester can breathe and it has to go somewhere…

He bails from the now floating suit, somehow anticipating this very situation, seeing as he has a parachute. Granny has lost sight of him now, and is upset because she really feels like the cat deserves a reward. He gets the exact opposite, drifting into the institution you always find near the beach: the dog pound. It’s just good manners to give them one day of fun before they have to be put down.

Favorite Part: Honestly, the team-up. It’s funny to think Granny is unknowingly abetting in attempted murder. In fact, they really should have made it last throughout the picture.

Personal Rating: 3. Good. But Oscar worthy? I don’t see it.

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A Street Cat named Sylvester

“I tawt I taw a tweety bird.”

Directed by I. Freleng; Story by Warren Foster; Animation by Virgil Ross, Arthur Davis, Manuel Perez, and Ken Champin; Layouts by Hawley Pratt; Backgrounds by Irv Wyner; Voice Characterization by Mel Blanc. Music: Carl W. Stalling. A Looney Tune released on September 5, 1953.

That title is a lie. Sylvester is very much a pet today. But the pun! Too tempting! And yet, Tweety still gets the star billing. He’s been around longer.

Things start off in the style of their first team-up: Tweety is taking note of how winter is the death of all joy and will to live in the world, and only barely managing to stay warm via the heat of a cigar butt. Fate’s wind blows him into a house, and he bangs on the door, pleading for sanctuary. He’s putting a lot of effort into his door pounding, but no human would be able to hear his little fist-wings over the howl of that gale. That door would need to be answered by a feline, but what, are we supposed to believe this is a cartoon?

Sylvester is delighted by what is on the other side of the door. You gotta take advantage when opportunity knocks, and take it he does. It always makes me laugh when he licks Tweety like a ice-pop. That’s as far as he gets before Granny is attracted by the noise. She’d probably try to interfere and keep him from eating something crawling with germs. Sylvester sticks his treat in a vase with books on top to prevent any escapes. Not noticing anything out of the ordinary, Granny takes him to the kitchen for supper.

As is expected of a cat, he turns his nose up at the canned stuff. See, cats were just never meant to be pets like pigs. Don’t ask me how humanity got their roles mixed up. All I can tell you youngin’s about is the glory of movie rental stores. There’s a third mammal in the house too: Hector the bulldog, but he’s tied up with a broken leg. Somehow got it from chasing Sylvester. He shouldn’t be an obstacle, but Sylvester is a black cat, and they’re like bad luck or something.

Granny takes notice of the oddly placed books, meaning Sylvester is going to have to act fast and cause a distraction. Anything that will further hurt the dog will be a plus. He makes Hector’s injured paw slam on the ground, and the dog howls. (The howls of pain in this short may sound familiar. I’ve heard them get reused in the films like “George of the Jungle” and games like “Frogger 2: Swampy’s Revenge”.) Properly distracted, Granny comes to give him medicine to ease the pain. Judging by the fear in his eyes and the green in his pallor, it’s nasty stuff.

When Sylvester finally gets back to his prize, he finds a TNT stick instead. The chase leads back over to Hector who gives the cat a bite. That sounded like a howl of pain! And that medicine isn’t the kind that you have to wait at least four hours between doses. Granny could make him chug the whole bottle if it wasn’t so expensive. Sylvester does a stupid thing in his panic, and hides Tweety in the dog’s mouth. Luckily, the medicine isn’t fatal to birds, as Tweety ends up taking the worst of it. But it’s a temporary victory, since when Hector smacks Sylvester with a club, his howls of pain summon Granny for a repeat performance.

Tweety decides to stick with Hector for protection, leading Sylvester to drastic measures. He hoists the fridge up via a rope, and aims to drop it on Hector. Even though the dog is for sure under its shadow, it ends up dropping on Sylvester. Black cats. Why aren’t there more cartoons where the bad luck they bring affects themselves? Sylvester is now laid up next to Hector and worse yet, will be subjected to the same toxic tonics. And worse than that? Tweety has been fiddling with the stuff and added whatever and so forth to the bottle. If Sylvester doesn’t die, the best case scenario will be like something out of Roald Dahl’s imagination.

Favorite Part: Hector saying Tweety will be taken over his dead body. (Which is surreal to hear him say after watching the entirety of “The Sylvester and Tweety Mysteries” and hearing him speak naught but typical canine noises.) Sylvester says that condition can be arranged. It’s cliche, but its always cool when someone says they’ll take them up on it.

Personal Rating: 3

Oh, and here’s this:

I know if you read my blog that you’ll have already seen this, but I wouldn’t be a good fan if I didn’t put it up. I’m excited, but cautious.

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Tweet and Sour

“You did sthee a pussthycat!”

Directed by Friz Freleng; Story by Warren Foster; Animation by Virgil Ross, Art Davis, and Gerry Chiniquy; Layouts by Hawley Pratt; Backgrounds by Irv Wyner; Voice Characterization by Mel Blanc (June Foray); Music by Milt Franklyn. A Looney Tune released on March 24, 1956.

Granny is heading out for the time being, but she assures Tweety that he will be safe as she is locking the door. But she makes the foolish mistake of sticking the key under the welcome mat, the very place cats like Sylvester tend to hide. As she drives away she waves what could potentially be her final goodbye to her bird, but she snaps out of it and gets the canary out of the cat’s mouth.

Time for a threat. Either Tweety is unharmed by the time she gets back from… wherever it is she is going, or Sylvester is sold to a violin string factory. (That isn’t what catgut is, lady! Leave the feline alone!) Her threat flies straight through those ears, as he is all set to try again once she’s gone. Only after Tweety reminds him of the very real threat does he reluctantly decide to behave himself. But Sylvester isn’t the only cat in town…

Hey! I recognize that orange cat! It’s the one-eyed fellow from “Puddy Tat Twouble“! I’ve heard people say this guy is Sam, but since he doesn’t talk and can’t tell them they are mistaken, his name is Lee. And he helps himself to the bird, despite Sylvester telling him that his life is on the line. Why should Lee care about something that doesn’t affect him? That’s the American lifestyle! Sylvester does his best to get Tweety away from this interloper, and vice versa.

Tweety, in turn is trying to keep away from the both of them. He hides under a hen that lives in a hen house. (Naturally.) The hen is a little spooked when she feels something slip under her, but she seems to get over it quickly as when Sylvester makes a grab, she has a huge smile. (Ew.) Once she sees the claws that were groping her, she runs to tell the resident rooster, Not Foghorn the leghorn. He prepares to wallop the intruder, when Lee comes back and chases Sylvester off. His paw ends up flat as a pancake.

Sylvester gets Tweety back in the house, who comments on how kind the putty-tat is. Sylvester isn’t pleased to hear his reputation referred to in such a kindly manner and points out this is all to keep his body alive. (Don’t you have nine lives, son?) Not like Granny is going to forget this threat after this one time. Lee is planning to come down via chimney, so Sylvester sends up some dynamite via balloon. Lee lets it pass, and slips back down. It’s at that moment that the balloon realizes it has no helium and it drifts back down. Lee flees.

Sylvester notices Granny has returned from… wherever it is she was, and rushes Tweety back to the cage. She comes in just at that moment where the cage door is still open and his paw is still touching the bird. Knowing she wouldn’t believe him anyway, (I’m not even sure the two can communicate) he falls into a violin box on his own. Umm… Tweety? This is where you speak up and defend your hero… Tweety?

Favorite Part: When Granny waves to Tweety in Sylvester’s grasp, Sylvester waves back. It’s funnily cute. Like a pig with a pail on his head, or an elephant taking someone’s lunch.

Personal Rating: 3

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Tugboat Granny

“ANCHORS AWEIGH!”

Directed by Friz Freleng; Story by Warren Foster; Animation by Virgil Ross, Art Davis, and Gerry Chiniquy; Layouts by Hawley Pratt; Backgrounds by Irv Wyner; Film Editor: Treg Brown; Voice Characterization by Mel Blanc; Musical Direction by Milt Franklyn. A Merrie Melody released on June 23, 1956.

Would you look at that! Granny actually got her name in the title! But… it’s only so they could make a “Tuboat Annie” pun, so she won’t be featuring much in the following short. All we get out of her is a duet with Tweety about tugboats. Granny has a tugboat, you see. I don’t think I’ve made that quite clear. As for Sylvester, he’s been trying to snag a meal by hanging around the fishermen. Since that’s not working out, he decides to try and board the boat and bag the bird.

He first tries a rowboat. Tweety drops an anchor, causing the cat to have to row back to shore, sans boat. Next, he tries a rubber raft. They’re impervious to anchors, but not darts, and it just so happens that Tweety has one of those on him. (Weird. The shot of his dart hitting the raft contains no water. It makes the raft appear to levitate.) Well, the tug is making its way under a bridge now, so Sylvester tries to simply drop down. He lands in the smokestack. (Which would be impressive if this was a video game. It’d probably earn you a piece of heart.)

Right. Going on the water didn’t work. Going over the water didn’t work. Since there aren’t any sharks in this cartoon, it looks like it’s time to try going under and through the water. Sylvester makes a pipe into a handy metal snorkel, but that is exactly the kind of perch that attracts penguin-gulls. And it is insistent on staying put. Since Sylvester has no gills, he has to return to shore. Only then does he find that the bird laid an egg, which is now in his mouth. He throws it at the pest, but gravity returns it to him.

That’s enough tugging for today. Granny (Still not on screen, mind you.) starts docking. Sylvester readies a lasso, but it flies too far, and grabs a hold of a passing speedboat, pulling Sylvester in tow. He starts to get into the spirit of things, and starts pulling faces and stunts. When one doesn’t look where one is going, one is liable to crash into a post. Quoth the fish: “I tawt I taw a puddy-tat.”

Favorite Part: Sylvester’s disastrous fishing trip. Hearing somebody got a bite, he hides in their tackle box. The catch that is put in with him, is a very angry crab. The natural enemy of the common house cat.

Personal Rating: 3

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Space Jam A New Legacy (First Thoughts)

“You remember fun, don’t you, doc?”

As the title suggests, these are just my first thoughts about this film. A synopsis, complete with annoying jokes, limited information, and inflations to my own ego will happen someday in the future. Not today, for it is the present.

Very short version of this post: 🙂

Long version of this post: I expected this movie to be fun. Not good, bad, great, or abysmal. Just fun. And I got exactly that. Let’s be real. Even the first S.J. wasn’t really all that great. (Something I’ve come to grips with long since I blogged about it.) Neither of them have a great story, these films are just an excuse to have cartoons play basketball. (And sell W.B. merchandise on the side.)

Speaking of weak story, I won’t lie: this film has got one of those. LeBron is just playing the “father who wants his progeny to be like him, despite the kid’s protests to do something else.” Seen it. And yeah, the man isn’t a superb actor. (At least he is able to admit it in the film.) Still, I feel he does better than Jordan did. He definitely emotes more. As opposed to Michael looking dead inside. (Really. How could you not go “Looney” getting to meet animation’s greatest characters?)

But as week as the story is, (and some might disagree with me on this) it’s leagues better than the first one’s. Having the Tunes exist in a digital world makes much more sense than being underground. And for that matter, LeBron’s actor/son’s conflict actually gets some sort of payoff. Unlike Michael’s actor/son who mopes a bit, cheers up upon finding his dad was kidnapped by animated characters, then disappears until the denouement.

And the crossover aspect! If you can fathom the idea of someone never seeing “Ready player one” or any “Avengers” movie, then you can probably believe me when I say I was getting goosebumps when all of Warner’s properties gather to watch the game. But there’s a downside to that too. After they assemble, they don’t do anything. Yes, they’re the audience, but the original film let its audience react a bit more. (The most we get here is a pout from King Kong.)

For that matter, the original utilized the Tunes universe just a bit better. The team you see in all the advertisements? That’s pretty much all we get. Marvin and K-9 get a little screen time, when everyone sans Bugs is coerced into seeing what other worlds they can explore there’s a group shot of many minor characters. It just goes by so fast one can’t enjoy it. (I was able to see Rocky, Muggsy and Playboy.) And Canasta appears in the “Mad Max” universe. That’s it.

Wasted potential there. Why couldn’t they join the rest of the crowd for watching?Too expensive to animate? Which reminds me, the animation was gorgeous. Not spectacular. There’s nothing on the levels of “Fantasia” or “Spirited Away.” But what we get is a real treat. Vibrant, bouncy, and looney. Just what I expected and wanted. But that’s the 2-d stuff. How was the 3-d?

I won’t lie. It looks good. And that’s a relief considering how computer generated animation trying to look like it really exists ranges from nightmare inducing:

“I’m the reason animated spider’s are drawn with simple mouths!”

To laughably pathetic.

“Did I miss the auditions for “Pan’s Labyrinth”?”

The voice acting was nice as well. Zendaya Maree Stoerme Coleman did pretty good as Lola. Heck, if I didn’t know going in, I would’ve figured Ms. Bunny was being voiced by a 25 years older Kath Soucie. And the basketball stars voicing the villains did an admirable job. And mentioning the villains, I thought they were a lot of fun. Even if super-powered mutant basketball players feels strangely familiar.

“Good news, everyone! The public no longer has to remember us via “Pixels!”

It’s a good thing they were a joy to watch, as they don’t get nearly as much screen time as the Monstars. And one of them appears too late, and disappears too fast. Why wasn’t he there from the start? Oh, and while I’m discussing the villains: I found Don Cheadle entertaining, but not Pete. He did nothing to further the story. Completely superfluous. But the Minions have made it so animated films won’t sell if there isn’t at least one tiny, annoying, comic relief character that wouldn’t be missed if cut out completely.

The weakest part of the film in my opinion? The ending. I won’t spoil it here, but it didn’t make a whole lot of sense to me, and seemed to wrap up a bit too fast. Lucky for me the fun stuff starts a lot quicker than its predecessor, so I don’t feel like there was a bunch of wasted time squeezing the entertaining middle.

And that pretty much wraps up my first thoughts after my first viewing of the first “Looney Tunes” film I’ve been able to see in theaters. My rating is just a few more lines down.

Short version of this post: I quite enjoyed it.

Favorite Part: Really, I did get chills seeing such a large crossover of properties. It might change in the future, but it’s the winner for now.

Personal Rating: I’ve been seeing fairly negative reviews from other people. I however, feel that if you go in expecting to see a movie that is more “fun than substance,” you’ll have a good time. (It’s the film equivalent of a lollipop.) Therefore, I grant it a 3 for the basic crowd, and a 4 for my fellow Looney-tics. (Yes, really.)

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Bugs Bunny’s Howl-oween Special

“Beware! Beware!”

https://www.dailymotion.com/video/x5m8c06

Producer: Hal Geer; Directed by David Detiege, Abe Levitow and Maurice Noble; Story by Cliff Roberts; Music by Harper McKay. A TV special aired on CBS on October 26, 1978.

Halloween is such a fun time of year. You can be as macabre as you want and nobody bats an eye. Having any excuse to eat nothing but chocolate is also a bonus. And unlike other holidays, this one doesn’t have any deeper meaning anymore, and is used solely as a fun excuse. And naturally, there are plenty of cartoon treats on the side.

This special consist of clips from other “spooky” themed Looney Tunes and edited together with some new footage. (Sort of like Frankenstein’s monster.) Even if you aren’t the expert on these shorts, like I am, it’s not hard to tell where edits were made. Voices sounding different and animation not syncing up properly.

We start with a bit of “A-haunting we will go.” Right after Daffy’s nephew warns of the real witch, and his uncle drags him out to prove him wrong, we cut to a snippet of “Broom Stick Bunny.” Hazel still invites Bugs in, but doesn’t explain why she is giving him a tea designed to un-uglify someone. Even more confusing, after Bugs reveals himself to be a rabbit, she still wants him to drink, as she sees “that witch” as a threat. (You’ve lost me. Can a rabbit be a witch? And if the two are combined, will that spell the end of all witches?)

Bugs refuses to drink her tea, saying that he only will drink the kind his doctor makes. So, now we jump to a “Hyde and Hare” clip. While Bugs is chased by Hyde, his screams wake up a sleeping Sylvester, and we next jump to an abridged “Hyde and go Tweet.” After that, Bugs has somehow managed to escape Hyde and samples his formula. Now properly scary, he leaves to try and frighten Hazel. She is immune, turns him back to normal, and that makes him fall asleep. Next up: “A witch’s tangled hare.”

After all that, we finally catch up to Daffy arriving at her place, with most of that short being played. It cuts right after Daffy leaves. (Here’s an omission I never noticed before: when Speedy tries to make Daffy drink, the table is gone. But there is still a chunk of Speedy’s clothes missing that is table shaped.)

After all this, Bugs is still not impressed with Hazel’s attempts at being scary. She decides to show him, by frightening the cat that is accompanying Porky who is coming to stay at her house, since she put up a vacancy sign. (She now lives amongst some other buildings? Magic works fast!) So now, we get a mishmash of “Claws for alarm” and “Scaredy Cat” playing. And despite Hazel saying SHE is going to be the one scaring the cat, he runs off when Porky orders him to get out. (Not to mention, was she doing anything? Were all those mice under her control?)

I guess Bugs is convinced, as he offers to team up with her to frighten people, and proposes a toast. Upon drinking she turns into Count Bloodcount and “Transylvania 6-5000” plays. To be fair, they put in some new dialogue here, with Bugs wondering where the witch went, and Hazel speaking instead of the vampire. (But they don’t explain why Bugs is dressed as an umpire suddenly. Unless you’ve seen the original, you’re going to be confused.)

Once back to her self, she chases Bugs as she has had enough of him. (I do love the face he makes as he runs away from her.) This leads to our last clip from “Bewitched Bunny.” This time, once Hazel is transformed, Bugs doesn’t make a sexist remark, and just notes that no one wants to be alone on Halloween. The two then go to share Hazel’s brew.

This special is kind of a mess. The cartoons don’t always flow together neatly, and will probably confuse anyone over the age of five. I’m sure little kids will love it through and through, but that doesn’t include me. Here’s wishing any of you REAL people who read this, a happy Halloween. (Seriously though people. Stop leaving your spam on my website. You’re just wasting your time.)

Personal Rating: 1 (You’re better off just watching the original shorts)

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Heir Conditioned

“You, doll!”

https://www.dailymotion.com/video/x6z2bzo

Directed by Friz Freleng; Story by Warren Foster; Animation by Art Davis, Gerry Chiniquy, and Virgil Ross; Layouts by Hawley Pratt; Backgrounds by Irv Wyner; Voice Characterization by Mel Blanc; Music by Milt Franklyn. A Looney Tune released on November 26, 1955.

The second of the shorts designed to teach economics. Figured I might as well get them all taken care of. This one has a bit more comedy over education I feel. It starts off with a cat in an alley. (Quite the dapper one too. He’s got a little vest and hat.) Glancing at a newspaper, he finds out that a friend of his has just inherited some money. He tells friends who tell friends, and the story gets exaggerated. (Considering the total goes from “a fortune” to one million to three million.) Such news even convinces a cat in a cage to put Tweety back in one piece. There are sure to be much tastier things in the future. Sylvester is said friend and it looks like he’s all for spending the money frivolously. But I guess his late owner foresaw that as he is stuck with the company of Elmer as his financial advisor. It’s probably a good thing he’s around. There’s a whole army of moochers (cats) outside coming to help spend the loot. Elmer throws them out, but they stick around. Watching and waiting for a chance to snag their prey. Elmer notices the saw going around the bag and switches it with a firecracker holding one instead. He tells Sylvester they are going to invest the money. (Really now, can’t you let him have some of it to have fun with? I’m not surprised the putty tat tries to make a run for it) His pals are still trying to help too. Dressing as a phony mother, with a phony kitten, in a phony snowstorm asking for pho- I mean real cash. Elmer buys this and is all set to hand over at least a few dollars, but the “baby” ruins it for asking for 5,000. His “mother” beats him for speaking. Why not send in their smartest cat, Charlie? Posing as a salesman, he at least gets in the house and demonstrates a cleaner for metal. He succeeds in dissolving Elmer’s watch. Even if it worked, I guess all that would happen is Elmer would buy some. Either way, he shows himself out. Elmer locks the door so he can finally get the lesson going. Starting up a slideshow, (again, don’t try and learn this stuff from me.) He explains how life used to be much harder. Specifically, the work world. People would work long hours for little pay. But thanks to investing, new products were made. Which led to more jobs to make said products, and higher wages. With more people working, shorter hours could also be allowed. The cats (most of whom I think are voiced by Stan Freberg) saw all this, and wouldn’t you know it, they reform. Sylvester is not so easily swayed, and while Elmer’s back is turned, he runs the money over to his pals. In turn, they scold him and demand he puts it back. The economic structure depends on it! Sylvester finally agrees to invest it. Bitter that his owner didn’t take the money with her, saving him the headache. (Seriously though. That’s three million dollars. During the fifties, yes, but still a goodly amount. Like I said, I’m not an investor, but you really can’t let him have maybe 10,000? At least let him have one party.)

Personal Rating: 2

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Satan’s Watin’

“I’m not takin’ anymore chanceth with you!”

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Directed by I. Freleng; Story by Warren Foster; Animation by Virgil Ross, Arthur Davis, Manuel Perez, and Ken Champin; Layouts by Hawley Pratt; Backgrounds by Irv Wyner; Voice Characterization by Mel Blanc; Musical Direction by Carl W. Stalling. A Looney Tune released in 1954.

Another one of the 100 greatest! And don’t let the fact that the cartoon says Tweety is the star here. He’s but a means to an end. This is strictly Sylvester’s short. While doing the usual chase thing up on a building, Sylvester skids off the edge. But by using a couple of Tweety’s feathers, he manages to fly his way back up to safety. Tweety thanks him for returning them. Without those, Sylvester plummets. While it is true that cats land on their feet, gravity is still accounted for. With that pulling down on him, Sylvester smashes into the pavement. He’s dead. I’m not joking. His soul actually leaves his body. Two different escalators also appear. Any newly deceased being would choose the one going up, but it’s roped off. Sylvester has no choice but to take the one going down. In Hell, the devil (or one of his minions shaped like a bulldog) welcomes the cat. Looking him up in his book, the devil dog finds Sylvester is indeed supposed to be here. (Why? For trying to eat? Or do all cats go to Hell? In the real world, I’m not complaining. I hate cats. But I love Sylvester! This hardly seems fair.) Seems an eternity of being mauled by satanic dogs awaits him. There’s just one catch: since cats have nine lives, nothing happens until the rest of them show up. So I guess cats just go to hell then. What if his other lives were (whatever the divine powers that be in this short) deem good? Doesn’t matter. Back on Earth, Sylvester the second comes to. He reuses to chase Tweety anymore. (Not that it matters) Satan tempts him into it though, and the chase leads right in front of a steamroller. Sylvester’s second life sits next to his first, flat as the day he died. (Shouldn’t Tweety have died there too?) Sylvester three is told by Satan that having seven lives left means he’s lucky, and he chases the bird into an amusement park and into a haunted house. He is literally scared to death. Life three remains pale as a ghost. (Sadly, this ends the lives all looking different. But I guess that would be too morbid, because…) After coming to again, the fourth reiteration of the cat chases the canary into a shooting gallery. This was a different time, as those guns fire real bullets and lives 4-7 end up wasted. Tweety hops on a roller coaster, with Sylvester waiting with a club. Failing to keep his body in the vehicle at all times is what costs him life #8. Still thinking he has a choice in the matter, Sylvester runs off vowing to give up the chase. He decides to spend the remainder of his days in a bank vault. (I guess he knows by now that he’s screwed, so he might as well make his time last. It might be boring, but at least it’ll be peaceful.) That night, some burglars come into the bank, aiming to blow open the safe with nitroglycerin. If playing Crash Bandicoot has taught me anything, it’s that that stuff is a good way to get yourself killed. Surprise! They get themselves killed. And robbing a bank was enough to seal their fate, and down they go. Unfortunately for him, Sylvester was caught in the crossfire. Whoops.

Personal Rating: 4

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A Tale of Two Kitties

“HEY, BABBIT!”

Supervision by Robert Clampett; Story by Warren Foster; Animation by Rod Scribner; Musical Direction by Carl W. stalling. Released in 1942.

This short was supposed to introduce the world to new characters who would be stars for Warner Bros. But someone else stole the spotlight. The two supposed stars are two kitties. (This is their tale.)

The taller one is named Babbit (Tedd Pierce) and the stout one is Catstello. (Mel) His name is never mentioned in the short, but come on. He’s a cat and if you have any idea who Abbot and Costello are, then you know who these two are based on and you’ve made the pun yourself. (That and the studio model sheets labeled him as such.) It’s time to eat and Babbit tells his comrade to go get a bird out of a nest so they can eat. Catstello is reluctant even after he’s told of how small it is. (I guess they’d each get a mouthful, but I have a feeling Babbit would hog it all.) Turns out hes got “Heightrophobia” and it takes a pin to his backside to finally get him up the ladder.

Scared sightless as his partner is, Babbit has to angrily demand that he gives him the bird. (Catstello laments that the Hayes office is what is keeping him from fulfilling that desire. I just didn’t know the term existed in the forties.) He makes a swipe at a sleeping bird but misses. This is the birthplace of Tweety. (Inspired by nude baby photos that Clampett’s mother had and he resented.) The ladder breaks and Catstello begs to be rescued from atop the remainging pole. So scared is he that he doesn’t notice Babbit saving him until he is in his arms.

For the next attempt, Babbit shoves his pal into a box against said pals protests. He’s also afraid of the dark. Babbit lets him out and the springs on his feet bounce him up to the nest. Here, our little baby Tweety (model sheets had him labeled as Orson) utters his first words: “I tawt I taw a putty tat.” Seeing as he did taw a putty tat, Tweety has no choice but to defend himself. And does he ever! Using an arsenal of guns, clubs and even TNT sticks, he continues to beat the crap out of the poor putty tat. Catstello cries over his failure while unbeknownst to him, he sits on an explosive. When Babbit detonates it he flies up towards the nest again. But he flies past it. (Tweety helps himself to Catstello’s apple. Or rather, the worm that was inside.)

When gravity kicks in, the cat falls and is able to cling onto a telephone wire. Tweety comes over to play “This ittle piddy.” A sequence that would be reused, essentially verbatim, in “Roger Rabbit“. Even down to Tweety resembling his old design.  The bird isn’t totally heartless, as he throws the cat a rope. It’s attached to an anvil, though. Said anvil crushes the cat into the ground and drags all the surroundings towards it. This includes Babbit and his victory garden. (I really like how concerned he sounds for his friend. Turns out he really does care.) The final attempt is launching Castello with wooden wings strapped on. Wouldn’t you know it, it works. (Human beings have been trying to fly for years, and it took a simpler mind to figure it out.)

Tweety calls the “fourt interceptor tommand” to report the disturbance and the cat is blasted out of the sky. He manages to avoid landing on a pitchfork in favor of his partner. (While they didn’t become the stars, they did appear in a couple more shorts after this. But they were mice. How humiliating.) Tweety is now on the ground and initiates a blackout. Seeing their chance, the two cats stalk their prey with faces that haunted my childhood.  Tweety doesn’t freak out, though. He yells at the two to turn out the lights like he told them too. Their glowing eyes instantly dim. (As does the moon.)

Personal Rating: 4