End Of The Line, Folks: Crazy Cruise

 

Original release date: 3/14/1942

DVD AVAILABILITY: Wrongly included in a disc of Bob Clampett cartoons on Looney Tunes Golden Collection Volume 5.

You can see a decent version of this cartoon HERE. 

<><><><>

This is it. Production #455 was the last of Fred Avery's supervisions to go through the animation process at Leon Schlesinger's studio. By this time, Avery, now allowed to use his nickname Tex, was probably at work on Red Hot Riding Hood or another of his earliest Metro-Goldwyn-Mayer efforts.

I don't think anyone ever asked him about these after-the-fact last Schlesinger films. It would be revealing to know what he thought of them--if indeed he gave them the time of day. Avery didn't seem the type to reflect on what he'd done in the past. It's not the worst final cartoon (and compromised "film maudit" to boot) anyone ever made, and it might be too much to expect a last blaze of inspiration and fervor in a film finished by other hands.

Sans director credit, this final spot-gag travelog provided groans and chuckles before going to the ether of cartoons that didn't get reissued. Revived for TV fodder, the cartoon aired uncut for years before someone bothered to watch it and caught the morbid/racist gag deep within it. That bit was then snipped out, making a compromised film less itself.

The Cagey Canary: A Late-Blooming Hybrid

Original release date: 11/22/1941

The surviving copy is a Blue Ribbon reissue from October 11, 1947. 

The original title card has surfaced, and shows no director credit, as is typical for a Leon Schlesinger production released after a director quit or was fired.

You can see a good-quality (tho' time-compressed) version of this cartoon HERE. No DVD or Blu-Ray release of this cartoon  yet exists.

<><><><>

A pretty good (and mostly mute) predator/prey comedy, The Cagey Canary feels more like a Friz Freleng cartoon than Avery's work. Freleng would soon release a similar cartoon, Double Chaser, as he worked his way toward Tweetie Pie, his Oscar-winning 1947 classic. If the credits of this original title card are at all reliable, Michael Maltese provided the story for this short. Its tit-for-tat humor, variations on a central (and threatening) action and what dialogue it has syncs up to Maltese's work with Freleng. It's less talky than Maltese's writing for Chuck Jones, but its structure and its character dynamics are accomplished. 

Maltese filtered through the detached chess-match of Avery's comedic eye, it again shows how close these late Schlesinger cartoons approach the look and feel of Avery's M-G-M classics. His drawing style is still buried deep within Robert McKimson's character designs. With their tendency towards better animation, the added bells and whistles slow Avery's timing down--with one gag taking a hell of a long time to get across. Let's wade in and have a look-see...

Wabbit Twouble: A Small Addendum to An Outstanding Podcast

Original animation drawing from Wabbit Twouble with color
notations for the ink and paint department.

Release date: 12/20/41

Availability: Looney Tunes Golden Collection, Volume 1 (DVD); Looney Tunes Platinum Collection, Volume 2 (Blu-Ray; both from Warner Home Video)

You can view a nice copy of this cartoon HERE.

This may be the most perfunctory post on this blog, since others have already covered, in good detail, what I might have observed about Wabbit Twouble, the last Avery-instigated Bugs B unny cartoon. 

That Komoroski and Bob Jaques devoted the fourth episode of their must-hear podcast Cartoon Logic to Wabbit Twouble. You may listen to that episode HERE.

Steven Hartley, in his gone-but-not-forgotten Warner Brothers cartoon blog "Likely Looney, Mostly Merrie," covered Wabbit Twouble HERE.

The Bug Parade: Trusting One's Comedic Insects

Release date: 10/11/41

The version we see is the Blue Ribbon re-issue of 7/12/52

Availability: NONE

You can watch a better-than-average TV version HERE.

<><><>

The original credits for this cartoon may or may not have had Fred Avery listed as supervisor. Like many Warner Brothers cartoons, this one lost its original credits when reissued 11 years after its first run, at which time Avery was winding down his time at Metro-Goldwyn-Mayer. Bug Parade was the last thing on his mind then, unless he happened to go see a movie in mid-July 1952 and saw it as part of the program.

Bug Parade was probably titled The Bug Parade in its 1941 release, in a reference to the 1925 silent war film The Big Parade, King Vidor's epic drama of the First World War. The punny title hung on a cartoon with no connection to that cast-of-bazillions film. It would have gotten a laugh from older theatergoers who might have seen the original run, or the film's 1931 reissue with a musical score. 

We open with a complex display of insect transit, as our narrator, who sounds like Robert C. Bruce but may not be him, comments in that sunny, condescending tone we've come to expect.

"The Garden of the Moon," a winsome tune by Harry Warren, Al Dubin and Johnny Mercer (and from the 1938 picture of the same name) underscores this ground-level pageant. Narrator promises us of "little-known facts in the lives of these tiny creatures."

All this and Rabbit Stew: Bugs Bunny's Most Shocking Moment

Release date: 9/13/1941

AVAILABILITY: On many dollar-store VHS tapes and DVDs, and online, usually in atrocious visual quality.

You can view a better-than-average version of this cartoon HERE, but be aware it contains an appalling stereotyped black character.

<><><><><>

The first Avery cartoon released without a director credit, All this and Rabbit Stew is the lowest moment in the screen career of Bugs Bunny. Never re-issued, for reasons obvious the moment the credits end, the cartoon was pillaged for gags in later WB cartoons. Like Bugs Bunny Nips the Nips (1944), it's a Bugs episode few have seen. The cartoon speaks well of no one involved, from the beloved series star to its writer and director. 

Making peace with the racism rife in classic animation is a cross its historians have to bear. Baked into America's collective consciousness in the 20th century, racial and cultural prejudice is the bleak flipside of the nation's all-inclusive ideal. Wars were fought, lives were lost and ill will flowed through the country's veins as non-Anglo-Saxon people were thought of as less than human or "not as good as us."

Aviation Vacation: No Cause for Elation

Release date: 8/2/41 (according to BCDB)

DVD/BR AVAILABILITY: none

You may view a not-so-hot but uncut print of this cartoon HERE. The screen grabs are provided by our great pal Devon Baxter, and make this frequency of posting possible. Please check out and support Devon's Patreon page. He's doing superb work in determining who did what in these classic cartoons, where the film credits usually bely the artists who worked on them.

<><><><><><><><>

Here we go with the last year of this blog. I intend to complete this project in 2020. I've dawdled too much, and have often set this blog aside when paying projects demanded my attention. I'm so close to the finish line (and semi-retired) now that I resolve to get through this final spate of Avery-at-WB cartoons as often and as well as I can.

There are still some surprises remaining in Avery's Schlesinger cartoons. Few are seen in Aviation Vacation, a film notable for the birth of one of its maker's most inspired moments. This gag, refined to perfection in the 1952 release Magical Maestro, is the main joy of this by-the-book spot-gagger.

This was the last spot-gag cartoon completed by Avery before he left the Leon Schlesinger studio. Surviving prints look as bad as many of Avery's M-G-M cartoons. It's never been restored for reasons soon apparent. When shown on television, about a minute of footage went missing. Again, all will be revealed...

The Heckling Hare: "Cartoon Man Walks Out"

Release date: 7/5/41 (according to BCDB); 7/12/41 (according to Michael Barrier's Hollywood Cartoons)

DVD/BR AVAILABILITY: Looney Tunes Golden Collection, Vol. 2; as a part of the film What's Up, Doc? A Salute to Bugs Bunny, Pt.1 on LTGC Vol. 3; Looney Tunes Spotlight Collection Vol. 8  (all Warners Home Video DVDs)

You may view a crisp correct-ratio print of this cartoon HERE. The screen grabs are provided by our great pal Devon Baxter, and make this frequency of posting possible. Please check out and support Devon's Patreon page. He's doing superb work in determining who did what in these classic cartoons, where the film credits usually bely the artists who worked on them.

Hollywood Steps Out and les films maudits of '41

Release date: 5/24/41 (according to BCDB); the version we have is the edited Blue Ribbon reissue of 10/2/48

DVD/BR AVAILABILITY: Looney Tunes Golden Collection, Vol. 2; LT Platinum Collection, Vol. 2; LT Spotlight Collection Vol. 2 (all Warners Home Video DVDs)

You may view a crisp correct-ratio print of this cartoon HERE. The screen grabs are provided by our great pal Devon Baxter, and make this frequency of posting possible. 

<><><><><><><><>

Tex Avery's remaining Warner Brothers cartoons often suffer from tampering or the presence of another director's hand. Some were cartoons left unfinished when Avery parted ways with Leon Schlesinger; others had cuts demanded by the front office.

Hollywood Steps Out is an example of how certain cartoons were altered for their reissue--in this case, seven years after its director had moved on to M-G-M. In this window of time, a war was fought, times changed and some celebrities lost their mass appeal; others matured and no longer resembled their caricatured selves. As wartime gags were scissored from post-war reissues, cultural references that no longer made sense got 86d. None of this mattered to the average moviegoer. The cartoon was not the reason they came to the theater. 

Bundled with other short subjects and coming attractions, they were the prelude to the main features--extras that, if missed, weren't a problem for most viewers. Cartoons came and went; some became word-of-mouth favorites and the good ones built a gradual fan-base that blossomed in the age of television.

Tortoise Beats Hare: Protagonist Loses; Shreds Opening Credits

Release date: 3/15/1941

Available on Looney Tunes Golden Collection Vol. 2 (WHV DVD); Looney Tunes Platinum Collection, Vol. 2 (WHV BR)

You may download a copy of the cartoon HERE.

<><><><>

The second Bugs Bunny cartoon under the Avery aegis, Tortoise Beats Hare adds another influential ripple to animation: the notion that the hero can be a loser. Or, more precisely. that the protagonist (who is also an antagonist) is prone to a different outcome than we're used to in conventional storytelling. It furthers the strong impression that Bugs Bunny is a compelling individual.

Another animation historian noted (and I paraphrase) that Bugs is the one animated character most of us would enjoy hanging out with. He is smart, world-wise, has a great sense of humor and never wants for amusement in life. If he heckles his adversaries, it's more to enlighten them of their lack of self-awareness and smarts. Bugs could be doing anything, but since he's a cartoon animal, he makes do with the options of this painted and penciled world, and enjoys his existence. Mickey Mouse is a cipher; Bugs has a genuine personality.

Characters such as Donald Duck and Andy Panda had frustration scenarios built into their series. Donald's screen persona is wholly based on vexing outcomes to simple tasks and the aggravation this brings him. But neither character is one you'd care to pal around with. (Andy Panda's passive-aggressive hostility might be a bit much to contend with for long.)

This winner-as-loser concept could be misused, as in the Famous Studios Popeye short Wood Peckin' (1943), which shows how tiresome this routine can become if not handled with finesse. The Warners cartoon directors and writers learned that Bugs had to maintain his cool and shrug off events that would ruffle other animated characters. He could not be another limb-flailing kook. Once they understood that basic truth, Bugs' character became the unflustered being we recognize as the "classic" version.

Other Schlesinger studio directors would further Bugs' persona through the 1940s, in alliance with Mel Blanc's voicing, which defines the character alongside his personality traits. The Bugs of this film is still larval. He looks less like the Bugs we know and love than in his prior film A Wild Hare. Some of the animation here looks like character designs from the Friz Freleng unit (who created a nadir of the early character in Hiawatha's Rabbit Hunt later in this year).

Tortoise Beats Hare has one of Avery's most alarming and innovative openings. Still-frame captures can't do it justice. Its effect is a culmination of Avery's direction, Carl Stallings' musical score, Mel Blanc's vocal and the combined might of the animation, ink and paint and background departments. The effect remains shocking and fresh. Avery returned to this set-up in his M-G-M cartoons, but the shock of the new renders this maiden voyage the best of them all.

Bugs struts stage-left into the title frame. Chewing on his characteristic carrot, he almost doesn't notice the credits.

The Crackpot Quail: A Repressed Razz-berry and a Screwball Experiment

Release date: 2/15/41 (according to BCDB)

This cartoon is in the public domain, and has no official DVD or BR release. It may be on some PD releases, but I don't know of any specific discs. Despite its PD status, it was quasi-remastered in the 1990s and shows up on Boomerang.

You may view a crisp Boomerang-sourced print of this cartoon HERE.

<><><><><><><><>

Fred Avery's time at the Leon Schlesinger studio was growing short. By the final months of 1940, he had made significant innovations to studio animation: faster pace and timing, breaking the fourth wall in a more intimate way, harder-hitting humor (much of it sourced from radio shows, movies and other popular culture of the day) and the development of the screwball character. Add to that Avery's debut of the topical spot-gag cartoon, which used deliberately corny humor as a weapon, and, via a sardonic narrator, bridged the experience between filmmaker and spectator, and his body of work is as game-changing as the Walt Disney studio's.

Having recently crested with the impeccable A Wild Hare, Avery had no further heights to reach with Schlesinger. His cartoons of the 1941 season maintain a high technical quality. The worst ones have some nugget to be be mined later in his career (e.g. the hair-in-projector-gate gag of Aviation Vacation). Avery was ready and willing for a more rewarding berth in the world of animation. He would reach that goal by 1941's end, after a brief stint at Paramount, with M-G-M--the glossiest movie factory in Tinseltown. Known for their frothy musicals, "important" big-budget literary adaptations and costume dramas, feather-light comedies and their early championing of movie franchises (Calling Dr. Kildare!!!), Metro-Goldwyn-Mayer first released Ub Iwerks' Flip the Frog cartoons and then lured Hugh Harman and Rudolph Ising from the early Warners animation studio.

The Haunted Mouse: Return to Monochrome Has Mixed Results for Avery Unit (with guest commentator Devon Baxter)

Release date: 2/15/1941 (according to BCDb)

DVD-Blu-Ray Availability: none

You may view or download the complete version of this cartoon HERE.

<><><><><><><><><><>

A big thank-you to Devon Baxter, Cartoon Research columnist and budding film restoration person, who kept on me to finally get this post, started far too long ago, finished. His comments pepper this look at a troubled production.

1941 begins with the Avery unit's first black and white cartoon since 1937's Porky's Garden. In this period, all of Leon Schlesinger's directors took turns making monochrome Looney Tunes.

This was apparently to help the studio meet its release requirements for the year. As well, less Technicolor footage lowered the outlay of money. Most of these '41 cartoons are in the public domain. When they came up for copyright renewal, the powers-that-were possibly passed on the trouble. What could black and white cartoons do for them in the late 1960s?

There are some fine cartoons in this batch. Friz Freleng helmed some high-quality Porky Pig episodes. As my friend Thad K. has noted, they're substantially better than the late black and whites of Bob Clampett, who let Porky become a mindless figurehead. Freleng's black and whites are highly amusing and well-made.

These would be the only black-and-white cartoons of Chuck Jones' directorial career. He made a few outstanding Looney Tunes, including Joe Glow the Firefly and some Porkys. Avery served a hitch in the Looney Tunes trenches, and had been away from the series since 1937. His two B&W shorts of '41 gave us the transcendental Porky's Preview and this beautifully animated, problematic one-shot.

The Haunted Mouse is a failure as a cartoon; a fatal flaw in its storyline, plus unsympathetic characters, leads nowhere. This isn't the first time Avery has made do with a sub-par storyline. It's a surprise to see Michael Maltese's name as storyman. His scenarios for Friz Freleng and Chuck Jones are among the most solid of the mature-period WB cartoons. Maltese's scenarios are usually bullet-proof. This cartoon seems like an experiment--doing something without insurance of its success. Such risks could be better taken in a lower-budget black and white cartoon.

Cancer treatment and this guy (at left) have kept me pre-occupied. I'm in the middle of restoring Cecil Jensen's classic absurdist comic strip Elmo, which I intend to self-publish by the end of this year.

I am on the home-stretch of this blog project. It makes sense to finish it. When I decided to examine each one of Tex Avery's Warner Brothers cartoons--to establish some kind of critical exploration of a neglected and mis-judged body of films--I knew there would be some rough going. It's more pleasurable to write about films I admire and consider successful. But we learn from mistakes--our own and others'--and there is value in examining why something doesn't work.

With the sound off, The Haunted Mouse is a thing of beauty. Lush, atmospheric backgrounds and nuanced animation from such talents as Robert McKimson, Virgil Ross and Rod Scribner are state-of-the-art 1940 work. We do miss Carl Stalling's moody score if we omit the audio track--an essential component of these cartoons.

We'll go through it with sight and sound, warts and all. Ready?

Steinbeck Literary and Screen Classic Inspires Black Comedy; Of Fox and Hounds Celebrates the Dark Comedy of Short-Term Memory

Release date: 12/7/1940 (according to BCDb)

DVD-Blu-Ray Availability: none

You may view the complete version of this cartoon HERE.

If you would like to see a nice print of Lewis Milestone's 1939 film (discussed in-depth here), click HERE to download it. Thanks to Devon Baxter for supplying this unusually nice version of a film lost in PD limbo.

<><><><><><><><><><>

The Avery unit's last cartoon of 1940 was inspired by the 1939 Hal Roach-produced film of John Steinbeck's Of Mice and Men. Directed by Lewis Milestone, who helmed films as dissimilar as All Quiet on the Western Front (1930) and Ocean's 11 (1960), the movie, for its pastoral settings, is a fore-runner to the film noir sensibility. Its main characters, George and Lennie, are pre-destined to suffering, trouble and tragedy. They first appear in Milestone's version two steps ahead of a lynch mob, running for their lives and hopping a freight train to temporarily escape death.

Lon Chaney, Jr. and Burgess Meredith in roles of a lifetime

We next see them aboard a bus, and the characters and their relationship are deftly established. George Milton (played by Burgess Meredith) is a confident, world-weary know-it-all. Had his life circumstances been better, George might have been a wheeler-dealer. Instead, he's an itenerant laborer saddled with Lennie Small (Lon Chaney, in a breakout role that should have led to bigger things, but never really did).

Lennie was described by a junior high school classmate, c. 1975, as a "ree-tard." He was sent to the principal's office for this outburst, which was too much by '70s standards [altho' racial and cultural epithets were still alive and well in American pop culture] and, I presume, chastened for this statement.

Lennie has issues; due to a traumatic head injury, he lacks the ability to reason and remember. He's eerily reminiscent of a person with Alzheimer's. Save a few strong memories, Lennie can't hang onto to any event for more than a few minutes. We see him have a distressing moment. He reaches in his front shirt pocket for his work permit, can't find it, and panics. Easygoing George reassures him; he's got both their permits. Would he, for a minute, entrust Lennie with such an important slip of paper?

George and Lennie are 86d from the bus by a vexed driver (played, uncredited, by Eddie Dunn, a veteran actor and a familiar face from Hollywood Westerns and occasional classic films like The Great Dictator and The Bank Dick) and face a 10-mile walk, under the merciless California desert sun, to the ranch where they'll strain their bodies hoisting bags of grain in exchange for three hots and a cot.

They decide to camp out in a wooded area. There, George forces Lennie to hand over a dead bird, which he heaves away in disgust. Lennie likes to pet small animals--it obviously calms his general sense of ill-being. George complains about having had to take away a dead mouse a few days earlier.

After their meal of canned beans, Lennie exhorts George to repeat a favorite fantasy: that, someday, the two of them will settle down, and be well-off. They'll have a small farm of their own, and Lennie will have the job of taking care of the rabbits. "Tell me about the rabbits, George," Chaney's Lennie says, with all the hope in the world showing in his glazed, innocent eyes.

Wacky Wildlife Brings Late 1940 Spot-Gag 'Trifecta' to a Close

Release date: 11/9/1940 (according to BCDb)
DVD-Blu-Ray Availability: none

You may view the complete version of this cartoon HERE.

<><><><><><><><><><>

Yes, we're still in spot-gag mode. That's three in a row. I just want you to realize how I must sometimes suffer for my art!

I kid the Avery spot-gag cartoons. Having to study and review them has given me a grudging respect for them. As time-capsules of the development of Hollywood studio animation, and of the film-to-film progression of one of its great directors, these cartoons have great value. Entertainment-wise, ehh. At their best, they're a well-oiled joke machine. We may be able to second-guess their every move, but they remain likable, to a point.

We are fast reaching the point of no return for the spot-gag cartoons. In 1941, this tacit series takes a prolonged nose-dive, despite a couple of forward-reaching comedic ideas.

Once I get this entry done, I can move on to Of Fox and Hounds, which is one of my favorite Avery cartoons. So there's that.

Light-Hearted Holiday Highlights: About What You'd Expect, But Amusing

Release date: 10/12/1940 (according to BCDb)
DVD-Blu-Ray Availability: Bugs Bunny's Cupid Capers (WHV, 2010)

You may view the complete version of this cartoon HERE.

<><><><><><><><><><>

Yes, we're still in spot-gag mode. This cartoon sits higher on the bell curve than the teeth-gnashers the Avery unit will put out as our hero nears the end of his time with the Leon Schlesinger animation studio.

Neither terrible or ground-breaking, it's professional cartoon product, and offers some amusing bits, including its clever presentation of the title card:

Ceiling Hero: Stale Material Gets a More Sophisticated Treatment

Release date: 8/24/1940 (according to BCDb)
DVD-Blu-Ray Availability: none

You may view the complete version of this cartoon HERE.

<><><><><><><><><><>

After the creative and cinematic triumph of A Wild Hare, Avery might have felt exhausted, and relied on a familiar fallback--the spot-gag cartoon. We see this pattern throughout his latter career at Leon Schlesinger's studio: masterpiece/dud/masterpiece/dud.

Despite Avery's growing confidence and finesse as a movie-maker, he had a hard time with winning streaks. Some of this was borne of his self-challenge to try new things, take risks and better what he'd done before. How the spot-gag format inspired him is a mystery. It was a familiar port to rest while he charged himself up for his next superior effort.

Ceiling Hero offers nothing new in terms of content. The gags are mostly cornball, with two shining moments of inspiration. Despite its lack of yocks, the cartoon impresses with its forthright, composed and cool-handed air. We are closer to the style that Avery will use in his best M-G-M pictures. Gone is the gawkiness of 1937/8; the show-off who practically mashes his gags in the audience's face. Avery still had a bit of that in his system, and it shows up in a few of his early M-G-M shorts. Ceiling Hero looks ahead to the spot-gag cartoons Avery will do at the end of the decade. House of Tomorrow, Car of Tomorrow and TV of Tomorrow peddle deliberately stale gags with a poker face, with a few innovative and genuinely successful vignettes here and there.

A Star is Born (After Some Growing Pains): Bugs Bunny Emerges in A Wild Hare

Release date: 7/27/1940 (according to BCDb)
DVD-Blu-Ray Availability: Looney Tunes Platinum Collection: Volume 2 (available in both formats)

You may view the complete version of this cartoon HERE.

<><><><><><><><><><>

PREFACE: This will be the longest, most involved chapter in this blog. It marks the fifth year of this quixotic ode to one of my favorite filmmakers.

When I started this blog in 2013, I assumed I'd breeze through Tex Avery's Warner Brothers cartoons in a year or two. Life had different plans for me. With luck, I'll reach the end here by 2023, assuming the free Internet, blogs and computers still exist, and we're not talking into sentient sticks and beaming our thoughts into some shared cephalopodic mind-screen.

I have been mesmerized by animation since infancy. The first motion picture I saw was a revival of Snow White and the Seven Dwarfs in Tallahassee, Florida in 1965. My grandmother later delighted in recalling my sheer terror at moments in the film, but I wasn't traumatized--just fascinated and compelled to see more, at a point when I might not have been able to discern live-action footage from hand-drawn animation.

Television had loads of limited-animation programming, but, as I discovered, early in the morning, local stations showed older cartoons. They looked, sounded and felt different. Like Snow White, they convinced me more of real-life movement than the mechanical walk cycles of The Flintstones, or the illustrated radio of Rocky and Bullwinkle.

The cartoons that interested me most came from a large package of Warner Brothers shorts purchased by Associated Artists Productions. This image, and not the iconic Warner Brothers rings, opened the cartoons I saw on early morning and afternoon TV broadcasts:

My family didn't get a color TV until 1976, so my earliest views of these, and the classic M-G-M cartoon library, plus Famous Studios, Terrytoons, Walter Lantz and the odd Disney short, were in grainy, low-rez black and white.

As a child, I had no clear idea how old these cartoons were. I knew they preceded my birth, and that the Hanna-Barbera TV cartoons--plus the other contemporary ventures into limited animation that dominated broadcast time--were more recent. No reference books existed, and there was no way to summon up a cartoon at a moment's notice. 

Local TV stations randomly ran their 16 millimeter prints of these films, three to four in a half-hour time slot. Cartoon endings were regularly cut off if the show went into overtime (i.e., exceeded the time alloted to ads). More than once, film broke during a live broadcast. Said cartoon would often next be seen missing a hunk of footage, causing an interruption like a skip on a vinyl record. 

These cartoons were time-fillers to pad out afternoon and wee-hour programming, sell advertising space to (usually) local merchants and give children something to stare at, and thus keep out of trouble/their parents' lives. 

Few people, aside from kids, cared about these broadcasts. The television stations cared about the ads that they packed in-between these shorts. A passing adult might chuckle in remembrance of seeing such cartoon fare in their childhood. And there must have been older animation enthusiasts who had some inkling of knowledge of the art form's history, and who watched these crummy broadcasts as a means to see these elusive films.

That's what I became in my latter years of high school. The golden hours of 3 to 5 PM offered a chance to see x number of cartoons daily--at this time, a mix of Warners, M-G-M and Walter Lantz material, programmed with no rhyme or reason. By then. I'd gleaned first insights behind how these remarkable films came to be--mostly misinformation, but at this time (circa 1978) any info was welcome (if later refuted by proven fact). 

It became easier to connect the dots: William Hanna and Joseph Barbera, producers of so much TV dreck, did those beautifully-animated Tom and Jerry shorts of the 1940s! Animators who worked for Disney also worked for M-G-M, Lantz and Warner Brothers!

One early godsend was the January-February 1975 issue of Film Comment with a large section on classic Hollywood cartoons--a suite of articles that coalesced with the critical thinking I'd begun about these films. The discovery of this issue, in 1979, gave me a sense of purpose in my interest in animation. These were films worth thinking about and studying. They weren't expressly made for children. They had value as containers of American popular culture and history.

Circus Today: Okay, okay! (with guest commentator Devon Baxter)

Release date: 6/22/1940 (according to BCDb)
DVD-Blu-Ray Availability: NONE

You may view the complete version of this cartoon HERE. It has some audio garbage at the start; apologies for the watermarks.

Dailymotion has been acting up lately, but this is the only extant online version I could find (that didn't seem suspicious)...

<><><><><><><><><><>

It may come as a shock to some of you to see a new post here. People have been inquiring about about when I'll be doing the next post on this blog. I'm flattered to know there are folks out there who anticipate reading my two cents on the early works of Tex Avery. Thank you.

Well, since I have a reward in the next cartoon after this, and since my old chum Devon Baxter (whose weekly column on the Cartoon Research website you are reading, aren't you? Hmmm?) offered some guest-commentator notes, I'll saddle up the old bronc and get through yet another Avery unit spot-gag cartoon.

Circus Today is one of the better efforts in this vein--there aren't many spots where I gag--and has some compelling in-jokes. Well, leave us get started...    

No narrator! This cartoon opens with an effective use of sound and visuals to convey the setting and mood. Don Brodie* gets us in the proper festive spirit as a carnival barker, spiels over this lovely circus artwork...

...and dissolves to the barker drawing a crowd. This is a significant step up from the prior spot-gag cartoons. Though Robert C. Bruce's tolerant, bemused narrative voice works well in the earlier cartoons, it's refreshing to see Avery and his writers having enough confidence to let go of that crutch.

A Gander at Mother Goose Is Fine in Small Doses

Release date: 5/25/1940 (according to BCDb)
DVD-Blu-Ray Availability: Looney Tunes Golden Collection Vol. 5 DVD set, Disc 2

You may view the complete version of this cartoon HERE.

Life has kept me away from this blog, and my quixotic goal of completing it. At the rate I'm going, it may be 2025 before I'm finished--assuming that blogs, the free Internet and my sanity still exist at that future date.

A Gander at Mother Goose and its successor, Circus Today, are the calm before the creative storm for Mr. Avery. After these spot-gag efforts, his next work will change the rules of Hollywood animation--to the extent that the film, seen out of context, might not pass as anything special to the casual viewer. And you're not the casual viewer, or else you'd be looking for expensive sneakers on eBay instead of visiting this blog. So welcome to this obscure, toasty corner of the world.

A jolly swing-tinged arrangement of "Mutiny in the Nursery," the Harry Warren/Johnny Mercer collaboration that first showed up in the 1938 film Going Places, leads us into the cartoon proper--after, of course, a rare appearance by the rainbow-rings WB logo:

A thing of beauty.

 Avery tosses his first spitball into the balcony.

Robert C. Bruce, the long-suffering, ever-patient father figure who chaperones us for most of Avery's spot-gag pictures, chimes in with some warm, reassuring twaddle about turning back the pages of time and reliving cherished memories of our collective childhood days. Lovely but deceptive images back up this bogus introduction, as do Stalling's syrupy strings.

The Bear's Tale: Splintered Shards of a Fractured Fairy-Tale

Release date: 4/13/1940 (according to BCDb)
DVD-Blu-Ray Availability: Looney Tunes Golden Collection Vol. 5 DVD set

You may view the complete version of this cartoon HERE.

Still riding high, Avery & Co. return to one of the director's pet projects--trashing Disney-style fairy-tale cartoons. Light on narrative (much like Uncle Tom's Bungalow and Little Red Walking Hood), The Bear's Tale is a fourth-wall demolition derby, with the director adding his gleeful voice work to a spicy, chaotic stew.

I'd like to know who really wrote this cartoon. It's far too sophisticated, cool calm and collected to have come from the likes of "Bugs" Hardaway. I assume this title card is a typical example of Leon Schlesinger's rotating credit system.

The cartoon manages to avoid actual animation for about a minute, via novel credits that make maximal use of still images. Pages keep turning, as narrator Robert C. Bruce fools us into getting all snuggly and comfortable--as does the music of Carl W. Stalling, who was by now a master of easing us in via familiar snatches of classical and popular tunes.

 Avery kids journeyman director Mervin LeRoy, who helmed everything from Little Caesar (1930) to The Bad Seed (1956), and had a hand in a long list of enjoyable classic Hollywood product.

Cross Country Detours: Getting It Right

Release date:3/16/1940 (according to BCDb)
DVD-Blu-Ray Availability: WHV DVD of the film Virginia City

You may view the uncensored version of this cartoon HERE.

In which the Avery unit achieves its apotheosis of the spot-gag format; a cartoon this well-constructed and funny makes up for several of the limp-dicked efforts in this vein, including some dreadful ones which fall like dead bodies through the 1940 and '41 releases.

Perhaps Avery and his men were refreshed by the one-cartoon break from this highly formulaic cartoon ritual. Maybe the gag writers had a good day at the races. Whatever caused it, Cross Country Detours is a solid, witty and playful cartoon that shows Avery's hand and sees him enjoying his work again.

The combo of Lou Marcelle's* calming narration and multi-layer tracking shot is de rigeur for this cartoon genre, and away we go...

We enter Yosemite National Park, where a well-meaning animal lover chooses to violate the orders of a sign--never a good idea in Tex Averyland.