135. When I Yoo Hoo (1936)

Release date: June 27th, 1936

Series: Merrie Melodies

Director: Friz Freleng

Starring: Billy Bletcher (Voice)

Friz is full of interesting titles, with Bingo Crosbyana and now When I Yoo Hoo. Instead of the Hatfields and McCoys we have the Weavers and the Mathews, two feuding families who decide to put an end to their squabble by means of a cock fight.

Welcome to Hickory Holler, populated by 42 Weavers and 41 Mathews. A quiet, remote countryside with nary a conflict in sight. We focus in on the Weavers first (white text at the top indicating so), playing some good ol’ country music on their front porch. Pan across to the other side of the tracks where we meet the Mathews, all asleep in their cabin—a stark contrast to the jolly nature of the weavers. Good composition.

Back to the Weavers, where a goat sings the titular “When I Yoo Hoo”, intermittently spitting out lobs of tobacco. The song is catchy, and is energized when a cow does a dance routine, flashing her bloomers beneath her dress, a flour sack. The timing is excellent as always, though it’s evident Friz wanted to get the song out of the way.

Suddenly, a bullet ruptures the ground. A dog picking at a banjo surmises “The Mathews are up!”, a very amusing delivery as more gunshots shower the area. The Weavers seek refuge in their cabin as we get a shot of the Mathews, one yokel smugly shooting out of his window with his feet like it’s nothing. Meanwhile, a pig (no relation to Porky) fires from the safety of his bed, the force so strong he propels himself into the wall and back out like a Murphy bed.

The Weavers retaliate, firing from inside their own cabin. Timing is key and sells the joke when a bullet strikes one of the Weavers’ coonskin cap, the cap gaining a life of its own and whining like a dog as it runs in anguished circles. The punch lies in the Weavers’ struggle to pacify his hat, attempting to hit it with a club but with no luck. Finally he strikes it, placing the cap back on his hat and resuming his gunfire.

While the two families go at it, another man traverses the bumpy country roads in his jalopy, his car bucking and breaking apart as he shudders over some rocks. Regardless, he reaches his destination and tacks a sign to a tree. The sign advertises a cock fight (how ethical) that holds the honor of ending the dispute between families. Loser has to leave the county. Signed, of course, the sheriff. A funny gag as two members from each family tentatively creep up at separate intervals to read the message mounted, both carrying white flags as if to say “Don’t shoot!”

Time passes and we go to the beginnings of the cock fight. Both families stream into a barn, hilarious walk cycles as the families march inside sideways, pointing a rifle at the enemy opposite them. I’ve noticed Friz is very strong with his parallels and liked to do them often. They work in his favor! 

Commotion fills the barn as the feuding families bicker at each other across the bleachers. The sheriff, perched in the boxing ring, holds up his hands in an attempt to shut them up. He introduces the roosters—first the Weavers’ rooster, an angry brown rooster pacing in his pen, and then the Mathews’ rooster, a green rooster with equal parts disdain. Both families cheer on their respective fighters, and both families have a sign bearing their names (both spelling their names with a backwards, a very amusing detail.) 

With that, the bell rings and the roosters are freed. They both go for the intimidation tactic, getting right up in each other’s faces, even twisting their bodies and necks around each other. Highly amusing timing as always. Eventually their necks untie, and with great force both roosters are propelled away from each other. A pause, and then they go at it, accompanied by “William Tell Overture” in the background and hilarious smacking sounds.

Both families cheer on their respective team as kicks and punches are exchanged, now a rowdy rendition of “Poet and Peasant Overture” underscoring the scene. What better way to incorporate classical music into cartoons than with a cock fight? Facetiousness aside, it certainly does enhance the scene and make it much more entertaining. The bell rings intermittently and the roosters momentarily rest in their respective corners, then go at it once more, then rest, and so on. Timing once more a pivotal component to the gag.

The Mathews’ rooster suffers quite a ferocious beating from the Weavers’, punching his neck up and kicking it down into place. Mathews’ staggers around in a fugue—things aren’t looking too good. Just then, he stumbles upon a crowd member holding a jug of whiskey. The rooster eagerly snags the alcohol and downs it, and like some sort of twisted Popeye, he regains his vigor, strength, and then some. He marches towards his opponent, repeatedly punching the feathers off of him. The animation throughout the entire fight scene is very snappy and good. Nothing spectacular, but certainly commendable.

The Mathews family is full of energy as they watch their prized rooster beat the tar out of the Weavers’ rooster. Captivatingly smooth and bouncy animation as the Mathews rooster sends the Weavers rooster flying into the ropes of the boxing ring, bouncing off both sides of the ring like a slingshot. His flight comes to a half as he bumps into the Mathews rooster, both now exhausted.

Marching up to the comatose roosters, the sheriff attempts to discern a winner. Seeing the beating the Weavers’ rooster took, he declares the Mathews family the winner. They’re mighty pleased. The Weavers, however, make their displeasure known by shooting a bullet straight at the sheriff, which narrowly misses. Ever the people pleaser, the sheriff now declares the Weavers as the winner, yet receives the same contemptible gunshot from the Mathews.

Unsure of what to do, the sheriff declares the match a draw. A happy end, right? Of course not! Tensions higher than ever, both families leap into the ring and dogpile on each other, a frenzy of fighting ensuing. Even more hilarious, both roosters are now perched in opposite bleachers, rooting on their respective families. Iris out on a not so happy yet very amusing end.

An average Merrie Melody, but “average” holds much different (and more positive) connotations than what would have been considered average in 1934 or even 1935. The parallels made the short decipherable and intriguing, personalities amusing and the animation shining through with the entire fight scene. As I mentioned, the implementation of classical music really heightened the effectiveness and entertainment of the fight. It was relatively brief, but certainly enough to leave an impact. The end resolution (or rather lack of one) was definitely amusing to say the least. Timing served as an important vessel to the jokes, and thankfully worked out in their favor. Overall nothing too spectacular, but a decent and amusing cartoon that could constitute a watch.

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