150. Porky in the North Woods (1936)

Release date: December 19th, 1936

Series: Looney Tunes

Director: Frank Tashlin

Starring: Joe Dougherty (Porky), Billy Bletcher (Jean-Baptiste), Berneice Hansell (Benny Beaver)

I can hardly believe it, but here we are: the final cartoon of 1936! 1936 has been quite a big year. Remember Beans? He was still a part of this year’s filmography! Porky truly rose to stardom, Jack King got the boot (along with Beans) in favor of Frank Tashlin... 1937 is a big, big, big year for Looney Tunes. This is the year I really think the cartoons truly become loony. Mel Blanc joining the cast is probably the most major contribution, but Daffy’s emergence (and Pwrunia’s) and Bob Clampett’s directorial debut (Ub Iwerks too, though unfortunately not as notable) are not to be overlooked either. 

Moving on, this is Norm McCabe’s first animation credit! Norm would animate for Bob Clampett and eventually take over his unit in 1941, directing a good batch of cartoons until 1943 when he went to fight in the war. A lot of his filmography is composed of WWII propaganda, some much better than others, but I really enjoy his cartoons, especially his Daffy shorts.

Okay, lots of yapping from me. Let me shut up so I can yap some more: inspired by the 1936-1940 radio show Renfrew of the Mounted, Porky runs a wildlife refuge in the north woods, keeping local animals safe from trapping and hunting. However, a burly lumberjack doesn’t take too kindly to Porky’s good will, and makes it a point to hunt and trap every animal in sight.

The first 20 seconds of the cartoon is a combination of a pan and still images of signs mounted on the trees. Lots of directors (particularly Bob Clampett) would utilize stills or pans in the opening of the cartoon to take up some time and reduce costs. The signs advertise Porky’s game refuge: no trespassing, no shooting, no trapping, no fishing, no fires. Eventually, the signs just reduce to “NO”, a plethora of NOs tacked onto various pine trees. Wonderful accompaniment of the music as the shots get quicker and the signs grow in size, the climax of the scene revealing porky hammering a giant sign to a tree that reads A THOUSAND TIMES NO. The final sign complete, Porky shakes his fists in glory as the local wildlife cheer him on in gratitude and victory.

With the next scene, the peaceful atmosphere of the sanctuary is broken as the familiar thunder of Billy Bletcher’s laugh fills the screen. Tons of beautiful, odd, unconventional camera angles that create an air of mystery and tension. We have no idea what the villain looks like, but right away we can surmise he is indeed a villain as he spits in the faces of the signs. He shoots a rifle at the no shooting sign, throws out a trap by the no trapping sign, casts a line near the no fishing sign, and lighting a fire beneath the no fire sign. We have no idea what he looks like. Bletcher’s laugh is wonderfully haunting and truly enhances the mood of the scene.

A lighter mood as we focus in on two beavers engaging in a jolly game of leap frog, giggles provided by the great Betneice Hansell. Stalling’s underscore of “Canadian Capers” is very fitting and adds an upbeat energy, as well as a nice swingy compliment. Just then, the beavers spot an apple hanging from a tree. Food! 

They rejoice, bounding over time the apple and eventually battling over who gets the food, smacking each other with their tails. One beaver smacks the other so hard that the beaver is sent spinning around like a top, curving up a tree trunk and falling to the ground. The cut back to the offending beaver is rather quick, almost too quick, but it adapts to the high energy of the scene.

With the apple all for himself, the beaver reaches for it. Unfortunately, the string is attached to a trap covered beneath the snow, and the beaver gets his tail caught in the ferocious iron jaws. Crying out in pain and agony, the beaver orders his friend to get help. 

Frank Tashlin’s sense of speed is quite tactile and exhilarating as the trapped beaver pushes his friend forward to get help, backgrounds changing constantly as the beaver slides across the landscape. 7 different backgrounds total! Suddenly, the beaver stops, thinking, and curses silently. He zooms back to where the trapped beaver is, same sense of urgency and speed. With that, he plucks the apple down from the tree and swallows it whole before zooming back to get help. The cutting and pacing reminds me a lot of the fast cutting in Porky’s Romance where Petunia rushes a forlorn Porky back to her house, seeing that he bears chocolates and roses.

Speaking of Porky  the little beaver enlists in his help. Instead of stopping to talk to him, the beaver runs circles around the tree where Porky is situated, dragging him into the circle without a break in momentum. Porky’s taken back to the scene of the crime, where the tearful, trapped beaver thanks Porky for coming to the rescue. Porky pries the trap open, reassuring “Hold still, benny!”, and the beaver is freed. 

Benny’s tail is crumpled up, but Porky doesn’t have time to mend it—“Uh oh, another one!” While Porky goes to aid the offscreen voice crying for help, Benny mopes to the audience “Oh, look at my poor tail. I hope it won’t be a permanent wave!” the permanent wave machine was a relatively new invention, actually invented by a Black woman named Marjorie Joyner! Invented in 1928, it was still new enough for the joke here to hit.

Porky aids other animals who have been victim to the traps, including a rabbit’s crumpled ears and a skunk’s crumpled tail, Porky putting a clothespin on his nose to hide the smell. Tashlin’s love of shadows enhances the mystery behind the brutal trapper as we see a big, bulky shadow march across the ground, past the empty traps. 

A thick, french accent sneers “Ah, so they robbed my traps, eh? What you think of that? I will kill him! He can’t do this to Jean-Baptiste!” Bosko the Lumberjack also featured a french, villainous lumberjack by the name of Pierre instead of Jean-Baptiste. Bletcher’s vocals and Tashlin’s characterization makes JB a much more menacing villain than Pierre.

Now, we spot Porky’s first aid station for his game refuge. Carl Stalling’s accompaniment wonderfully compliments this entire cartoon, but this scene especially. A line of injured, crumpled, downtrodden animals trudge inside the refuge, sulking to a minor accompaniment of “Little Man, You’ve Had a Busy Day”. Pan across the exterior of the cabin, and out stroll the rehabilitated animals, tails and ears shining triumphantly from being straightened out, the accompaniment a major key rendition of “Tramp, Tramp, Tramp, the Boys are Marching”.

Inside we view the process behind Porky’s handiwork in a wonderfully endearing (and amusing) scene, animated by Norm McCabe. Porky has Benny Beaver propped up on a table, placing a cloth over his tail. Porky grabs a steaming hot iron and irons it out, wincing sympathetically as Benny grimaces, but eventually is fixed up and ready to go. Porky’s animation is wonderful, his expressions are clear and he comes off as very fatherly and warm (the “love thy neighbor” sign furthering this. Ironically, the same sign would give Porky turmoil in Porky’s Bear Facts, where he begrudgingly lets in his starving neighbors after remembering his sign.) 

Carl Stalling’s arrangement of “Little Man, You’ve Had a Busy Day” is just wonderful and one of my favorite arrangements he’s done in his entire career. The song itself is very endearing and sweet. In all, a lovely, warm atmosphere.

Outside, a much harsher scene. Jean-Baptiste makes his way to the refuge as we see his lumbering shadow and thundering voice. The animation of his shadow reflecting over the injured animals is very calculated and lovely. Finally, we get a good look at him—essentially, he’s just Le Commandant from Little Beau Porky! The animals spot his brawny figure and disperse at the sight. Jean-Baptiste marches into the cabin, ready for a confrontation.

Porky wraps up ironing a fox’s tail, Jean-Baptiste putting his beefy hands down on the table. Ever absentminded, Porky places a cloth over his hands and irons them, the scene made even funnier as Jean-Baptiste side eyes the audience. Accomplished with his handiwork, Porky removes the cloth as we see JB’s flattened hands. Porky doesn’t register what he just did until a second later, gasping as he finally makes eye contact with the threatening Jean-Baptiste.

Like the previous two Tashlin entries, this cartoon ALSO has a battle scene, animated by Volney White. Stalling’s underscore of “Black Coffee”, one of his favorites, compliments the chaos as JB sneaks around the table, eventually cornering Porky and pinning him down on top of the table. He irons Porky’s tail out, who shudders in pain. Porky’s tail now essentially reduced to a long pin, JB balances him by the table and punches him repeatedly like a bunching back. The animation of Porky wobbling back and forth is wonderful.

JB throws Porky over to the other end of the cabin, his tail getting stuck in the wall. A hot teapot repeatedly scalds Porky’s bottom, but JB snags a whip just in time to retrieve his victim and abuse him some more. JB then engages in a one person game of tennis, hitting Porky repeatedly with a snow shoe, Porky at one turning into a giant ball. The sound effects are all vocal effects, something Treg Brown would popularize. It would become even more popularized with the BOIP/BEOWIP sound effects provided by Bob Clampett, used in many a cartoon.

All of the animals observe in horror from the outside, particularly Benny Beaver. Reusing the 7 backgrounds from when the other beaver was hustling across the landscape to warn Porky about the trap, Benny swings on a moose’s beard and sounding an alarm call. All of the animals of the north woods collaborate: bears come running from their caves, skunks running straight at the audience from a tree, George Arliss caricatured turtles marching in lines and beating their chests, beavers flowing out of their dens, you name it.

The animals all unite together and barge into the cabin, underscored by “Poet and Peasant Overture”. The offscreen action of JB getting his, the camera panning rapidly back and forth in front of an exterior shot, was also used in Tashlin’s first, Porky’s Poultry Plant. Tashlin uses his super quick cuts to convey the exhilaration of the action happening as a beaver launches two beavers into JB via handsaw. JB, now armed with skis, slides down the mountain as the various woodland critters beat up on JB. Beavers and turtles beat him with clubs, beavers firing logs while using a gang of moose(s) as bows.

The cutting starts to get a little too quick for Tashlin’s own good. As the logs pellet into the back of JB’s head, he knocks his dentures out. There’s a literal split second gag of the dentures biting him on his nose, but the cut is so quick to the next scene that you would never know it happened. The other battle scenes have been just as fast in Tashlin’s other cartoons, but this feels particularly snappy, maybe because of the music. It’s still a wonderfully exhilarating scene regardless, just a bit incoherent. 

Benny and his beaver pal trip JB with a rope tied between two trees, with JB crying out “You NASTY man!!!”, quoted from comedian Joe Penner. JB reaches his demise as he plunges headfirst into the snow, with only the bottoms of his skis sticking out.

A triumphant, victorious rendition of “Little Man, You’ve Had a Busy Day” closes out the cartoon as all of the animals celebrate, with Porky inexplicably outside once more and amongst the crowd, shaking his fists. Distant sounds of “WHOOPEE!”s break the celebration, and the animals crowd around to find the source. Iris out on Benny and his buddy using JB’s skis as a seesaw.

I love this cartoon, it’s truly one of my favorite Dougherty cartoons and one of my favorite Tashlin cartoons. Carl Stalling’s arrangements shine bright—his repeated use of “Little Man, You’ve Had a Busy Day” is wonderful and has made me tear up on a number of occasions. Tashlin’s camerawork is just phenomenal, especially with JB’s opening scenes as he defies all the signs, the scene furthered in greatness by Bletcher’s haunting laugh. 

The animation is wonderful—Volney White’s animation of JB and Porky’s battle deserves to be commended, as he animated the entire riff between the two. Billy Bletcher and Berneice Hansell l rock the cartoon with their vocals. Porky doesn’t say much at all, presumably because Tashlin got frustrated working with Dougherty’s uncontrollable stutter. I wonder if that’s what left a bad impression of Porky on him from the start. Nevertheless, WATCH THIS CARTOON! It’s lovely, very moody, very exhilarating, and full of energy. It’s a beautiful cartoon that is absolutely worthy of your attention. Give it a watch! 

Link!

149. The Village Smithy (1936)

Release date: December 5th, 1936

Series: Looney Tunes

Director: Tex Avery

Starring: Earle Hodgins (Narrator), Tex Avery (Blacksmith), Joe Dougherty (Porky)

A few reviews ago, I said that Porky in the North Woods was the first cartoon to debut the “Porky Signature” opening. Turns out I was wrong, it’s actually THIS one! (a small error, though, considering Porky in the North Woods is the cartoon right after this one. Still, my mistake!) A witty retelling of the longsfellow poem that pins Porky as a clumsy smithy, which results in trouble.

Earle Hodgins does a wonderful job as the narrator. We open to him literally setting up the scene—after he says “Under the spreading chestnut tree”, a chestnut tree falls to the ground, the “standing” village smithy not far behind, lazing on the grass and most certainly NOT standing. The narrator sighs. “I said STAND. Stand up, you lug!” 

The smithy does so, his back to the audience. “Hey, this way!” He whips around to ogle at the audience before swaying bashfully. While lauding the smithy’s physique, comedy’s greatest friend, juxtaposition, strikes hard. Instead of seeing the smithy’s brawny arms, we’re met with twigs, hilariously accompanied by his overly large, sinewy hands. Recognizing the folly, the smithy takes a moment to inflate his muscles by blowing into his respective thumbs.

“...and now, the blacksmith shop.” The smithy throws up his dukes and boxes at an unseen foe as the shack falls into place right behind him. Contented with his new shop, the smithy goes inside to investigate, while the local schoolchildren come to observe the smithy at work. “They love to see the flaming forge and hear the bellows roar.” A wonderful closeup as the bellows lets out a ferocious lion’s roar, the narrator remarking “Boy, what a roar!” 

One of my favorite gags in the entire cartoon is when the children are observing the smithy. The narrator suddenly grows hotheaded, shooing them out. “Alright kids, get out of the scene now! You bother me.” Even better is the reaction from the kids, all grumbling and trudging away, one even kicking a van across the screen in defiance. Hodgins’ voice combined with Tex’s timing make for a wonderful end product of comedy.

With the smithy now alone, he pumps the bellows up and down and up and down and up and down up and down up and down up and down—the narrator repeats “up and down” at a furious pace, the smithy struggling to keep up, pumping frantically with his giant tongue hanging out of his mouth in exhaustion. Another wonderful gag that is succinctly timed. Even better is the dialogue spawned from the gag: fed up with his mistreatment, the smithy tosses away the bellows and directly addresses the narrator. “Listen, chief! Take it easy. We got plenty of time, this cartoon ain't half over yet!” Tex Avery provides the voice of the smithy, and I believe this is Virgil Ross animation.

So, with that reassurance that we have plenty of time, the narrator introduces our hero, Porky Pig. Great juxtaposition with the triumphant fanfare and then the pan over to reveal tiny, portly Porky shaking his fists in the glory. The narrator takes a moment to recollect himself. “Let’s see, we have the blacksmith—“ the smithy sticks his tongue out at the narrator “—the blacksmith shop... now, boys, we need a horse.” 

Bob Clampett animates the scene of the smithy and Porky looking for the horse, Porky hilariously lifting up a magazine and a barrel on the ground, as if a giant horse would be hiding under such menial and small objects. The fated horseshoe clops grow louder, and a camel struts into view. “Oh, my mistake. This little fellow belongs in our foreign feature picture.” A cane drags the camel offscreen, and the void is soon replaced by a white horse, thrown onto the scene.

The smithy pulls the horse out of his reins and leads him to a barrel, where the horse sits down like a human. Measuring the horse’s hoof, the smithy declares “Size 6 and 7/8ths!”, a number that would be frequented in quite a few cartoons. Porky dutifully salutes and scours the shop for a suitable horseshoe, stacked in shoeboxes in neat rows of shelves. Another director attempting to pull off such a literal gag may have gotten a few polite chuckles, but Tex ensures that it’s funny. It’s not that wild of a gag if you think about it, but Tex approaches it like it is. His love of jokes and gags really breathe life into his cartoons.

Absentmindedly, Porky reaches into a box of rubber horseshoes instead of iron horseshoes (cleverly named Bad-Year, a take on the Goodyear tires.) Rubber horseshoes were all the rage in the ‘30s, presumably because they were much quieter than iron and much more comfortable for the horse. Unfortunately, being rubber, they aren’t so easy to smelt. Lots of bounce-back. 

Porky finds this out fairly quickly as he goes to hammer the horseshoe, then getting whacked in the eye by the hammer and glaring at the horseshoe suspiciously. Very funny animation by Bob Clampett. Porky tries again, getting hit once more. Instead, he ducks out of the way, so the hammer can’t hit him. Of course it does, konking him on the head. Ah, but wait! The perfect solution! Porky places a nearby kettle on his head like a helmet, and braces for impact as he pounds on the horseshoe. Nothing. Now complacent, Porky takes off his “helmet”, and the hammer wastes no time whacking him in the face, completely unprompted. Porky’s befuddled stare is lovely after the fact.

Horseshoe in hand, Porky goes to hammer the horseshoe to the horse’s hoof, but accidentally nails it to the smithy’s outstretched foot instead. Porky gives him the okay (a high pitched “Okey dokey” reused from Little Beau Porky), but quickly comes to realize his mistake. 

The animation is quite literally bouncy, rubbery, and amusing as the smithy walks through his shop, practically skipping as the rubber propels him into the air with each step. His footsteps grow higher in height, to the point where the smithy bangs his head against the ceiling. Aggravated, he pries off the horseshoe, throwing it out of the shop in frustration. It bounces against a tree, and, being rubber, knocks right back into the smithy like a boomerang. This time, the smithy tosses the shoe out and slams the door shut, thinking he’s outwitted the horseshoe. Not the case—the horseshoe flies in from behind courtesy of an open window and hits the smithy, a gag that would be reused in Porky’s Badtime Story and later Tick Tock Tuckered.

Instead of letting his temper get to him, the smithy gingerly places the horseshoe on the ground with the utmost patience and grace. Of course, the horseshoe comes back with a vengeance, slingshotting into the face of the smithy from just the slightest contact with the floor. A lovely gag with perfect timing. 

Now visibly furious, the smithy places the horseshoe in a clamp, locking it so as to keep it still. Locked in place, the horseshoe causes the entire shop to tremble vigorously as it tries to break out of its vice. The smithy puts the shoe out of its misery by shooting it with a gun, the shoe flopping down motionless. In all, a great sequence that really takes advantage of rubbery animation. Not unlike Porky’s dog drinking rubberizing solution and literally turning into a rubber hose character in Porky’s Tire Trouble.

A befuddled Porky wanders into the scene, bringing the smithy his trusty steed. The smithy orders Porky to get him a (proper) horseshoe. The smithy literally smacks the horse into its reins, pushing its entire body through the exposed hole, while Porky prepares the horseshoe, smelting it.

In many of my Tex reviews, I often laud him about his use of timing and speed. A few times i’ve mentioned how the timing has thrown an entire cartoon out of proportion. This is always the scene I have in mind. Porky grabs the smoldering hot horseshoe, running across the shop with the searing death trap unsecured in a clamp. Porky trips, and the horseshoe is sent flying into the air, landing right on the horse’s butt and essentially branding it. The horse justifiably leaps up in agony, and with the cart attached, barrels into the smithy. Thus, the smithy is sent toppling into the wagon, pulled uncontrollably by a burning horse.

Just a great number of gags, one after the other. The chase leads out of the shop and right through a general store, reducing it to nothing but wood planks and half a foundation. Past the traffic guard they zoom, spinning the guard around like a top in the process. Whirling past a bank destroys the façade, and the interior is exposed as we spot a robber trying to hammer his way into the safe. A ditch digger ducks just in time for the horse and the smithy to race by, the digger popping his head up from the hole and ogling at the audience nonplussed.

A sign reads HERE THEY COME!, and certainly they do come, spinning the sign in the process so that the other side reads THERE THEY GO! The horse manages to flip the cart and itself over a chasm, maintaining no breaks in the chase. Just a great setup as the sequence freezes for a moment, the smithy addressing the audience, “Whew! What a buggy ride!” 

The chase is led to a fence, the pulled string slingshotting them BACKWARDS. As expected (yet still exhilaratingly so), the entire chase scene plays out backwards—a classic Averyism. This entire chase scene is highly reminiscent of a chase scene in Tex’s first Droopy cartoon, Dumb-Hounded, though to a higher degree. Same exhilarating chase, same exhilaration reversed. Here, the damage is essentially reversed—the sign is flipped back to HERE THEY COME!, the ditch digger almost gets his head cut off once more (though this time he asks “Say, am I missing something?”), the bank façade is restored and the robber concealed, the traffic guard is put out of his interminable top spin, A newly constructed general store with workers putting on the finishing touches is moved out of the way just in time for the horse and the smithy to not so safely return to the shop.

Winded, the smithy wipes the sweat off his forehead. “Say, listen,” he addresses Porky, “tell me how all this happened.” Porky re-enacts the scene. “Well, I just had a hot horseshoe like this—“ he holds up another scalding hot horseshoe, “—and I was running like this, and uh...” 

As he runs with the horseshoe, he trips over once more, and the horseshoe is sent flying into the horse’s rear a second time. We iris out as the entire chase scene starts from the beginning, the smithy sent toppling into the cart and barreling into the general store.

So much to address! But, in all: this is one of my favorite Tex cartoons at his tenure at Warner Bros. Earle Hodgins does a fantastic job as the narrator, Tex as the smithy. The cartoon is so anti-Disney, so sardonic, so wild and out there, so unconventional. It’s still hilarious (and then some) 84+ years later, and still innovative and new. 

The fourth wall breaks are strong and feel natural, not at all forced or obligatory. The animation is fun and amusing, especially in conjunction with the increasingly frustrated narrator. And that chase scene is just impeccable. Truly a scene that just goes off the rails. Remember, all of that destruction and havoc occurred because Porky TRIPPED and a horseshoe burnt the horse. 10 seconds in and the chase wasn’t even about the burn anymore, it was just a chase for the hell of it. And it totally works. I definitely encourage you to see the scene, if not this entire cartoon in general. I can’t implore you enough to watch it. I truly think this is one of the best cartoons we’ve seen in this journey. See for yourself and allow the cartoon to succeed in where my words have failed.

Link!

148. The Coo-Coo Nut Grove (1936)

Release date: November 28th, 1936

Series: Merrie Melodies

Director: Friz Freleng

Starring: Peter Lind Hayes (Walter Winchell), Berneice Hansell, Shirley Reed (Dionne Quintuplets), Tedd Pierce (W.C. Squeals), Martha Wentworth (Mae West), Jeane Cowan (Helen Morgan), Melvin Gibby (Horse Noises)

The cartoon that caused Katherine Hepburn to watch it 4 times and Clark Gable twice. An amalgamation of celebrity caricatures, designs courtesy of the great T. Hee. See Laurel and Hardy share a drink, Clark Gable flap his ears to the beat of Edna May Oliver’s dancing, W.C. Fields flirt with Katherine Hepburn, and so on.

A parody of the famed Hollywood nightclub the cocoanut grove, we open to a beautiful overlayed pan of the Coo-Coo Nut Grove, a nightclub literally nestled in a cluster of coconut trees. The backgrounds are wonderfully stylistic and sharp—not quite Art Deco, but the same “newness” that Page Miss Glory exuded so well. A zoom in reveals that the red blinking neon light advertising the nightclub is lit up by fireflies, an oldie but goodie.

Arriving to the nightclub itself, we iris in on Ben Birdie, a caricature of radio personality Ben Bernie. While he’s giving his trademark catchphrases such as “Yowza!”, a mouse caricature of journalist Walter Winchell pops out of a tuba, holding out a scallion for Birdie. “Flash! An orchid for you, old mousetrap, from your old pal Walter Windpipe!”

Birdie takes care of the pest by blowing into the mouthpiece of the tuba, propelling windpipe across the nightclub. Bernie and Winchell had a good relationship off the set, but assumed the rules of enemies on Bernie’s show. While Birdie comments that it’s an ill wind, an ill wind, yowza, we get a good look of the patrons in the crowd. 

Comedian Hugh Hubert is the first celebrity, who giggles and claps, bashfully averting his gaze. As a Daffy Duck aficionado, I owe a lot to Hubert—he’s the one they based Daffy’s trademark laugh after. Thanks, Hugh! The table next to him features W.C. Squeals and Katherine “Heartburn” (an obvious play on Hepburn.) Squeals admires what a beautiful hand she has, prompting her to repeat the Boulevardier from the Bronx cackle bashfully before glaring at him in disgust. The laugh is more fitting as a horse, for sure! Hepburn would be subject to MANY, MANY references in Looney Tunes shorts, primarily by Tex Avery. Every time you hear a woman say something like “really it is,” that’s a Hepburn impression.

Next table over features a crotchety Ned Sparks, groveling “I go everywhere, I do everything, and I never have any fun.” Sparks’ shtick was always playing a miserable, deadpan character. Pan up to the coconut treetops (these backgrounds are absolutely gorgeous), where Johnny Weissmuller is pouring his wife and Vedette Lupe Vélez a glass of wine. I love the bow tie tacked on to his Tarzan garb, wonderfully tacky. Instead of offering the glass, Weissmuller downs it all in one go, beating his chest and doing the Tarzan yell that Buddy did in Buddy of the Apes. How I don’t miss you! I’m sure it’s implied, but Weissmuller was the original Tarzan. Even more interesting, he was a gold medal olympic swimmer back in the ‘20s.

Ben Birdie introduces “the profile of profiling”, and thus sparks this lovely gag of John Barrymore walking through the nightclub, his head at profile. No matter which way his body turns, his head is always at profile. Eventually, his head is turned 180 degrees backwards as he sits down at a table. If you look him up, you’ll find that many of his headshots are profiles. The same gag would be reused in Freleng’s Dog Daze and A Star is Hatched.

Elsewhere, we spot a panicked woman running from some unknown threat. Her face is concealed, so we’re unaware as to what caricature she is, but we DO know her pursuer: a bird caricature of Harpo Marx, galloping behind her and honking a horn. His hat opens to reveal an extending stop sign, and Harpo pretends to pull the brakes. The sign switches to go, and Harpo shifts back into gear, resuming his galloping routine. The animation is flighty, loose, hilarious, and ridiculous.

Back to Ben Birdie, who moves things along. “And now, let us indulge to a bit of the light fantastic, etcetera, etcetera.” Almost immediately, a crowd of couples get up to dance. It seems to me that the animation was reused from another freleng cartoon, I’m a Big Shot Now. Cut to another couple in particular, a turtle George Arliss and bird Mae West. A great pair, seeing as Mae Wear was essentially a sex symbol, and George Arliss was much older, being 68 as of 1936. Very smooth and fun animation, topped off with West affirming “Keeup up the good work.” 

Another WB favorite to caricature—Laurel and Hardy. If my memory serves me correctly, this is the first time we see Hardy caricatured as a pig. In many a cartoon, he’d be portrayed as such, often mimicked by Porky. These include (but are not limited to) The Case of the Stuttering Pig, You Ought to Be in Pictures, and The Timid Toreador. Hardy grabs a coconut and signals for Laurel to share. They both put their straws in the coconut and drink, and essentially swap themselves. Hardy substantially loses weight and turns into Laurel, whereas Laurel gains substantial weight and turns into Hardy. Very clever.

The next act features Edna May Oliver, who does an elaborate dance routine to “The Lady in Red”. Clark Gable in the audience is particularly entranced, flapping his ears to the music (another Gable caricature staple.) Leon Schlesinger himself said after the cartoon’s release, “Gable [came to see the film] at least twice, mesmerized by the rhythmic waving of his own ears. That ought to answer any questions about can Hollywood stars take it.” Schlesinger kept close tabs on who came to see his films, which only makes sense: he worked at Chicago’s Colonial Theater in 1908, keeping an autograph book of all the stars who would happen to visit. 

During Oliver’s dance number, a lanky, rubber hose limbed Gary Cooper struts through the nightclub, doing his walk that he would feature in many of his cartoons. A trio of monkeys observe from the treetops, one of them declaring “He’s pixilated!” 

Next dance number is none other than the Dionne quintuplets, voiced by (who else?) Berneice Hansel, singing a medley of “Our Old Man” and “What’s the Matter with Father”. Hansell’s voice talents are lovely and hilarious as always, and there’s a great little dance interlude as the quints turn around and tap their feet with their butts in the air. Just in case you forgot they were babies! By this time, the quintuplets, only 2 years old, already had a movie made about them in early 1936 called The Country Doctor.

Back to Johnny Weissmuller and Lupe Vélez, who are applauding the act from the treetops. A great scene as Weissmuller spots a mouse skittering right by their table and shrieks. The great, mighty Tarzan faints at the sight, and Vélez instead does her own Tarzan cry, grabbing her cowardly husband and swinging across a vine as the mouse skitters under the table.

Back to the mysterious running woman pursued by Harpo Marx. Harpo tackles her, and the woman finally reveals herself to be none other than Groucho Marx! This gag would be much more notably reused in Tex Avery’s Hollywood Steps Out, with Clark Gable pursuing Groucho instead of harpo. I like the inclusion of Harpo, it makes the reveal all the more disturbing. Harpo, appalled, dashes out of the nightclub while Groucho grins.

The next scene is a more somber mood. Teardrops rain on the grass, and a slow pan reveals a tearful Helen Morgan singing “The Little Things You Used to Do”, perched on a piano and wringing a handkerchief. The animation is quite good, with lots subtle head tilts. Wallace Beery is particularly moved by the music. So moved, in fact, that he grabs a nearby banana hanging from a bunch, squirts out a line on a butter knife like a line of toothpaste, and shoves the knife in his mouth to cope with his heart strings being pulled. Harpo Marx is also moved, using a windshield wiper from his multipurpose hat to wipe away his tears. Edward G. Robinson and George Raft aren’t particularly moved, chuffing on a cigar and flipping a coin respectively. That is, until, they both break down in sobs and embrace each other—a great mood change and great way to totally shatter the “tough guy” act.

Now, the nightclub is totally afloat, caricatures sitting on their tables as the ground is submerged in tears. Slowly, the tables begin to drift away in the current, with the George Arliss turtle rowing along, using his shell as a boat. And with that, Ben Birdie signs off.

While this cartoon is dated, sure, I think it’s a cartoon you can enjoy, regardless if you understand the references or not. I certainly didn’t know a good 35% of the caricatures, and had to look them up. But I truly believe that’s part of the fun of it though, and that’s why I love these caricature-centric shorts. You get to explore and really get hands on, you get to research, you get to learn something new. I sure didn’t know that George Arliss was born in 1868, and I find that fascinating! I didn’t know that Ben Bernie and Walter Winchell played enemies on Bernie’s show, but now I do. It’s fascinating! 

And that’s in part why I love doing these reviews. No matter what, there is always something new to learn. And besides, if anything, you can laugh and admire how the caricatures are drawn, and the backgrounds are just superb. This is definitely a visual centric cartoon, and it constitutes a watch for that alone. I prefer Hollywood Steps Out myself, but this is a good entry, especially for 1936. I say go for it! 

Link!

147. Little Beau Porky (1936)

Disclaimer: This cartoon contains racial stereotypes and caricatures. While perhaps not as extreme in depiction as other cartoons, the racism and stereotypes are still very much there and deserve addressing. I do not at all condone these depictions, I find them gross and wrong, but to gloss over them would be just as wrong. Thank you for understanding.

Release date: November 14th, 1936

Series: Looney Tunes

Director: Frank Tashlin

Starring: Joe Dougherty (Porky), Billy Bletcher (Ali-Mode, Le Commandant)

Frank Tashlin’s second cartoon, and it’s yet another foreign legion short. Bosko had one, Buddy had one, and now Porky has one. Porky would have another legion short in 1940 with Bob Clampett’s Ali-Baba Bound. This time, a bumbling yet eager Porky is ready to go out and get the treacherous ali-mode. Unfortunately, his snobbish commandant dismisses him to camel scrubbing duties, deeming him incapable of the mission. But no matter—while holding up the fort, Porky receives an unexpected visitor.

The opening sequence is an impressive one at that. Essentially a montage of silhouettes at the foreign legion, the execution is very well done. A silhouette trumpets a fanfare, while another shot displays the shadow of a flag being raised, the shadow reflecting across both the floor and the wall. A legionnaire begins a drum march, and we get this lovely marching scene, the silhouettes weaving in and out as they travel across various walls, some receding into the distance, some not. All in all, a very impressive scene that displays Frank Tashlin’s eye for staging and cinematography. This right here is why he’s one of my favorite directors—his cartoons are so innovative in approach.

Next, we pan across a long wall, getting to a sign that reads LE COMMANDANT. The mystery of offscreen jangling is solved as Le Commandant himself pompously marches on screen, his plethora of medals clanging profusely against his giant chest with each step. Man, I would not want to animate that. (I find myself saying this often in some of Tashlin’s cartoons) the animation of the commandant turning around to face the audience isn’t as smooth, feeling a bit rough around the edges (maybe an assistant did it?) but the scene of him marching along is very strong and humorous.

Another rolling pan ot the legionnaires, all standing at attention. Though they vary in all shapes and sizes, their respect for the commandant is front and center. Each stiff as a board, going down the line... and then there’s Porky, slouched over asleep as he leans on the guy next to him. A lovely display of devotion and veneration. The commandant takes notice, barking “PORKY PIG! ATTENTION!” 

Porky snaps awake and dutifully stands at attention. In fact, he tries so hard to prove that he has been dutifully standing still the entire time that he kicks his leg out to snap it back in position, knocking over the entire line of legionnaires in the process like bowling pins. Another “ATTENTION!” reverses the bowling pin soldiers, who all pile up back into place, cleverly accompanied by the reverse sound effects of bowling pins being knocked over. 

The commandant calls for Porky once more, and there’s a long, drawn out, hilariously timed pause as Porky doesn’t move. One more “PORKY PIG!” snags his attention. Porky stutters profusely (more than usual), “Wh-wh-w-who-uh-wh-who-uh-who-uh-who-uh-wh-who, me-uh-m-mm-me-uh-me-mmm——me?” 

Great combination of sound effects as the commandant mocks Porky furiously, the angry jangle of his medals drowning out his retort as he stutters back “YE-YE-YE-YE-YE-YES Y-YO-YOU-UH... YES, YOU!!!” With a dutiful march forward, Porky arrives at the commandant’s side and gives a salute. “FORWARD MARCH!” 

The commandant turns around, his giant saber sheath knocking Porky to the ground. Porky recovers, and we get this wonderful scene of Porky mocking the commandant. He winks at the audience, shoving his hat forward on his face he and following in time with the commandant, swinging his belly around pompously and all, even popping one eye open at the audience as if to make sure they’re still watching. He gives another wink, completely oblivious that the commandant has stopped his march. Porky climbs up the saber sheath, bumping into the commandant’s arm and tumbling down to the ground. He recovers in no time with a dutiful salute.

“YOU, SCRUB MY CAMEL! AND BE CAREFUL YOU DO NOT HURT HIM!” the commandant orders. Porky makes his way towards the camel, situated by a wash tub and a ladder for convenience, giving a high pitched “Okey-dokey.”

Porky scrubs his brush against a bar of soap, whistling a jolly rendition of “Fella with the Fiddle”. He climbs the ladder and prepares to scrub the camel, when the camel lies down on the ground in protest. Porky shrugs, making his way back down to the ladder, the camel standing back up. Thinking for a moment, Porky winks at the audience and inconspicuously saunters to the ladder slowly, whistling nonchalantly, when he scrambles to the top of the ladder as fast as he could, just in time for the camel to duck again. What ensues is a great scene of Porky repeatedly climbing up and down the ladder, the camel standing and sitting when necessary. Combined with Carl Stalling’s score, the musical timing is excellent as both Porky and the camel rocket back and forth, the ladder eventually breaking under Porky’s weight, Porky flopping to the ground and glaring at the audience in exasperated defeat.

Elsewhere, an urgent legionnaire bounds through the desert on his camel. Animation is smooth and bouncy as the legionnaire bounces up and down on the camel, not unlike a similar gag in Porky in Egypt. A guard spots the legionnaire and pulls a lever to open the doors into the legion. Eventually, the legionnaire slides off of the camel’s neck, still galloping frantically. Grabbing a paper, he yells “Le Commandant, Le Commandant!”, tripping over a rock in the process. The paper flies over to the commandant, who glares at it with steely eyes as the paper floats around him like a paper airplane. Finally, the commandant uses his sharp, needle point beard to pierce the paper in place.

Another amusing facial hair gag as the commandant’s mustache furls into a pair of glasses. The animation is a little rough, but the joke is still there. The telegram (or, in this case, camelgram) alerts the commandant that Ali-Mode’s gang is on the attack, and that he must come at once. Great detail of the hole pierced through the paper from the commandant’s beard.

Next up is a lovely sequence of overlays. A legionnaire trumpets a fanfare, and images flash by one by one of the preparations. Legionnaires running through the barracks, shouting and yelling, grabbing their rifles, and embarking on their camels. Another great cinematographic trick of Tashlin’s that works in his favor, successfully adding moodiness and a sense of adventure.

All of the legionnaires stream out on camelback, with Porky not too far behind, jauntily making his way towards the exit. Now I know for certain this animation was reused in Porky in Egypt, or at the very least inspired from. Porky’s sense of nonchalant confidence is interrupted when the commandant yanks him back by the camel’s tail. We then get another Tashlin favorite, characters getting up close and personal to the screen. The commandant barks at the screen, “Where do you think YOU’RE going!?” Cut to a closeup of a tearful Porky lying on the ground. “We need MEN, not CAMEL SCRUBBERS!” 

With that, the commandant leaves on his camel, catching his hat that flew off his head with his saber. Porky grovels on top of a fitting accompaniment of “Am I Blue?”. “Shucks! So I’m a camel scrubber, huh? I’d rather be a camel scrubber than an old jingle bell general.” This is the most controlled delivery I’ve ever heard Joe Dougherty give, and probably the longest. He really does have talent, he can voice act, and he sounds good once he gets his stutter under control, but I think people are so put off by his stuttering that it’s easier to pity him than commend him. I’ve also seen all of this cartoons before, though, so maybe I’m used to it.

Pan to a threatening poster of Ali-Mode. WANTED DEAD OR ALIVE — “PREFERABLY DEAD”! Porky shuffles up to the poster, rambling about how he isn’t afraid of Ali. “I’d like to meet him face to face. I’d punch him in the jaw, the big sissy!” 

Caught up in moping, staring at the ground, Porky finally glances at the poster. His tough guy act is extinguished immediately as he screams and dashes to barricade the open door shut. Even better, Porky rushes back to the poster, dismissing it as “I wasn’t scared! I just felt a draft.”

Next cut reveals the legion being viewed by a pair of binoculars, belonging to none other than Ali-Mode himself. He whistles to signal for his gang to follow. There’s some wonderfully bouncy animation as Ali tiptoes to the door of the legion. As I mentioned in the disclaimer, the stereotyping is certainly there (and he’s also... inexplicably in blackface? The lips aren’t too noticeable, but when they are they are rather prominent), and I’m not defending his depiction, but in terms of technicalities he is a very good villain. Billy Bletcher’s vocal talents shine with this next scene, and his overall animation is very smooth, flouncy, and calculated. He isn’t as harshly caricatured as other depictions I’ve seen (but that’s not for me to decide in the first place), but it was enough that it turned me off from this cartoon for awhile, and I forgot how many good qualities this cartoon did have.

Ali knocks on the door, mimicking the sound of Porky, who’s nailing boards to the other side of the door. Porky shudders, tentatively hammering a few times, with Ali knocking right back. Porky looks at his camel and hilariously declares in a womanly falsetto, “It’s an echo!” Ali also mimics the falsetto, Bletcher just as entertaining as Dougherty. “It’s an echo!” 

Porky (poorly) yodels, eagerly awaiting a response. Ali yodels right back with an impressive, jazzy twist. I’m not sure if that’s Bletcher doing the entire thing or not, but kudos to him if so! Porky, thinking it’s himself, announces to the camel “Pretty good, huh?” Ali mocks porky’s stutter, answering “Pr-pr-pre-pre-pretty g-g-g-good, huh?” Finally, his egotism gets to him. “HECK! That’s PERFECT!” 

Now realizing he’s most definitely not conversing with an echo, a timid Porky dives under his camel for safety and asks “Who’s there?” Ali puts on his womanly falsetto. “I’m a poor little sheik with no place to sleep. Won’t you please let me in?” 

Sound familiar? It should—it was used in Disney’s The Three Little Pigs in 1933, with “sheep” in place of “sheik”. Bletcher, as you may recall, voiced the wolf in that same short. Funnily enough, Frank Tashlin would head to Disney in 1938 after leaving Schlesinger’s. Porky checks to see who’s outside, and recognizes the man plucking his machete as Ali-Mode. 

Ali demands to be let in, slamming on the door repeatedly as Porky refuses. Porky insists “No, no, a thousand times no!”, a short-lived catchphrase of his. Tashlin’s next cartoon, Porky in the North Woods, would have Porky nailing a ton of signs that day “NO” on a bunch of trees, eventually ending with a giant sign that reads “A THOUSAND TIMES NO!” 

Ali-Mode speaks in pig latin to his followers, eventually yelling “AMSCRAY!” His followers dig in the ground, making it to the inside of the legion. Porky hacks away at a palm tree, which falls and konks all of the enemies on the head in succession, sending them flying back outside.

The climax fires at rapid pace, almost too rapid for coherency. I’d rather take too fast than too slow, though, and it isn’t TOO detrimental to the cartoon. It adds a sense of urgency and exhilaration, and forces you to be captivated so you don’t miss any details. A gunman fires his machine gun at Porky  who’s running up a tower. The stairs disintegrate beneath him from the shower of bullets. Porky reaches his own machine gun and fires back from his respective tower, the bullets breaking the gunman’s perch and sending him toppling into a water well. He lands in the bucket, causing the handle on the well to spin repeatedly and smack the guy firing next to the well.

Ali-Mode is making his way up towards the tower, poking his head out of the floor hatch. Porky stomps down on the hatch, which sends Ali flying down his ladder and down to the ground. This charade is repeated again, as is the handle smacking gag as another gunman falls into the bucket and smacks the bystander. When Porky goes to squash ali a third time, he misses the door and falls right down with Ali. Ali flops onto Porky’s camel, who beats him senseless with its humps. Very amusing, quick animation. Porky whistles for the camel, and the camel bucks Ali into an open barrel of syrup. With that, Ali-Mode is taken care of, the camel repeatedly licking his face.

Iris in to the familiar jangling of the commandant’s medals. In fact, it’s a different commandant: a smaller, piggy, stuttering commandant, marching along with his medals twice as long as his body width. Porky whistles for his camel, and even his camel struts out, his humps decorated and his tail high in the air. Iris out.

Not Porly’s best cartoon ever, but this is a VERY good entry, especially for the Dougherty era. Maybe the best one yet. The stereotyping is not nearly as abundant as I remembered it to be, but they’re still very much there and deserve addressing. With that said, though, and I’m not defending the depiction, Ali-Mode is a good villain. Billy Bletcher’s vocals are absolutely phenomenal, whether it be voicing the commandant or Ali. Lots of falsettos, lots of yelling, even yodeling. That, combined with the amusing character acting where Ali tricks Porky into thinking he’s an echo at the door, makes for some amusing entertainment. 

Also, Porky was full of personality in this one, probably the most we’ve seen thus far. I’ve noticed that Tashlin’s Porky is a lot more personal than Tex’s at this time, Ub Iwerks’, and Bob Clampett’s in 1937. Lots of winking towards the audience or talking to the audience. There’s a scene in Porky’s Railroad where Porky has a closeup on the ground, straight up lamenting towards the audience. Tex Avery was, of course, the fourth wall master (as we’ll soon see in The Village Smithy), but Tashlin harnesses a much more personal feeling that is still sardonic and amusing.

The pacing of this cartoon seems to be at opposite ends: it’s a rather lengthy cartoon, running over 8 minutes. The beginning seems a bit too slow, and the end too fast, but in all it’s a highly entertaining cartoon that’s worth of watch. Again, there are stereotypes and caricatures, so view with discretion. I don’t try to be like “This short is racist. Watch it!” (though I know that’s what I sound like), but I do think it’s worth at least a one time watch. There’s a lot to absorb and learn from this one: voice acting, character acting, camera angles, silhouettes, overlays, etc. It’s worth a watch.

Link!

146. Don’t Look Now (1936)

Release date: November 7th, 1936

Series: Merrie Melodies

Director: Tex Avery

Starring: Tex Avery (Preacher), Berneice Hansell (Cathleen, Bear Cubs), Timmy Bond (Devil, Cupid, Cuckoo Bird), Martha Wentworth (woman woodpecker), Billy Bletcher (Devil Cuckoo Bird), Shirley Reed (Tortoise, Skunk)

The first of quite a few cartoons where Tex Avery has supplied his own voice. The only other directors I can think of who have done voices in cartoons are Bob Clampett, Rudy Ising and Cal Howard, but I’m sure there are others. Regardless—it’s Valentine’s Day, and Cupid is itching to do some matchmaking. But, as Isaac Newton taught us, for every action there is an equal and opposite reaction. In this case, a little devil is the opposite reaction, ready to break some hearts.

It’s Valentine’s Day, as indicated by a valentine card popping up on the screen reading “Will you be my valentine?” Fade to a beautiful layout of Dan Cupid’s humble abode, a fittingly heart shaped home, mailbox... even the butterflies flittering about have noticeably heart shaped wings. The interior is no different than the exterior: Cupid’s asleep in his heart shaped bed, when a heart shaped cuckoo bird pops out of a heart shaped cuckoo clock, calling “Time’s a-wastin’!” 

Cupid wakes up in an instant and bounds over to his exposed shower, quickly dousing himself one water and toweling off. He pulls his arrow holder out from the umbrella stand, tearing off a page of the calendar. “Well! St. Valentine’s day! My big day!” A cute and clever visual as Cupid heads outside, right to his garden, where rows of arrows sprout up from the soil. Cupid grabs his lawn mower and makes his way across the field, the arrows neatly piling into his holster over his head.

A good bit of personality is exuded as Cupid prepares for the big day with some target practice. First, he shoves a pile of playing cards inside a toaster. He pulls the lever down with his foot, and as he engages in his airborne game of 52 pickup, he shoots numerous arrows at the cards, pinning them all against a tree in the shape of a heart, with an ace of hearts right in the middle. To further display some naïve pride (bordering cockiness), Cupid fires an arrow through a hole in the tree, the arrow curving and returning to him through a hollow log. Placing an apple on his head in the meantime, Cupid still manages to hit his target successfully. And for good measure, he engages in a quick round of a duck shooting carnival game. He pings all of his wooden ducks down in an instant, save for one, who panics and attempts to flee the arrow. Nevertheless, he too gets hit. An amusing gag with a good balance of cute and funny. Satisfied, Cupid embarks, leaving a sign on his front gate that reads GONE HUNTING.

Meanwhile, we have a very clever parallel with a strong sense of juxtaposition. Now focus on a little devil cherub, whose house is almost exactly like Cupid’s, though adorned with foreboding, “evil” furniture, including an asbestos pillow. His cuckoo clock, a boiler, opens up to reveal a Billy Bletcher voiced bird who announces “Crime marches on!” 

The devil awakens and hops out of his bed, which is actually one giant frying pan (or burner, or grill, or whatever you want to call it.) He too takes a shower, bathing in the cool, refreshing red hot flames pouring out of the shower head. Already the parallels are humorous and clever, heightened by how obvious they are. The devil repeats the same calendar shtick as cupid, declaring “Well! St. Valentine’s day! My big day!” 

Outside, the devil’s mood isn’t nearly as cheery as Cupid. He scoffs at the audience, kicking a line of cans with malice as he trudges along. “Aw, this valentine day gag is the bomb! Love, kisses, sweethearts, sissy stuff!” 

Regardless of opinion on the holiday, it’s undeniable that love is in the air, as displayed by two flirtatious turtles, the guy begging for the girl’s affection. Thankfully, Cupid is just around the corner. Cupid launches into “Don’t Look Now”, detailing about how happy lovebirds will be once struck with his fated arrows. 

While the doting turtle is in the midst of a Maurice Chevalier impression, his girl gets struck by Cupid’s arrow, and suddenly reciprocates his feelings, literally diving into the frontside of the turtle’s shell. Smooth and highly amusing animation as the two turtles swing around together in one turtle shell envelope, picking up the lyrics. The two lovebirds walk side by side in the shell, both going inside and popping out the other end, now walking on their hands, their heads sticking out where their tail(s) should be and their legs where the head(s) should be. Very smooth and subtle animation. I’m not too great with my animator indemnifications this early, but i’d guess Chuck Jones animated this scene, seeing how fluid it is.

Jolly little Cupid sings a few more bars, when the devil joins in, ready to spread his own love. Two yokel bears bashfully dote on a log, ripe for the devil’s picking. The male bear (named Egbert), voiced by Tex Avery, guffaws “Will ya—gosh, huh huh, will ya—“, interrupted by Berneice Hansell’s squeaky voice urging him to go on. Just in time for the devil to swoop in, whispering in the girl’s ear: “Will ya go sit on a tack, ya old horse face?”

It seems there was either a cut made here, or just a startlingly awkward transition as we jump cut to the devil laughing, the woman and the log out of screen. “I’ve got something here that’ll fix these lovesick mugs! Take a gander at this!” The devil takes off his bowler hat and shows off the inside contents: blonde hairs, lipstick, bobby pins, and even a garter, all tucked away in little pouches pinned inside the hat. Delightfully scandalous and just a great premise in general.

Elsewhere, a woodpecker knocks on the door of a quaint little tree home (with his beak, of course.) Out steps a lady woodpecker (presumably his wife), to which the husband holds up a card, nudging his sweetie. “Hey, how do ya like to be my valentine, kiddo?” “Do ya mean it?” “Yes, I mean it!” the wife looks at the audience. “Should I tell him?” 

Just then, the devil pops up behind the man’s shoulder, gingerly placing a strand of blonde hair on his coat. The giant, oval shaped eyes of the devil give this scene away as Bob Clampett animation. The lovebirds embrace... but not for long. The wife takes note of the hair and grows rightfully furious, throwing a barrage of pots and pans at her double crossing husband. Cupid happens to be strolling by, noticing the clamor. A simple fire of the arrow and the wife is back to her loving self, both woodpeckers happily kissing as they repeatedly peck each others beaks with hilarious speeds (and great jackhammer sound effects), so powerful that both of their beaks become bent and crumpled.

Cupid’s next victim is a forlorn skunk, moping on a tree trunk. Cupid pings her with his arrow, and in no time the little skunk is as giddy as ever. She saunters up to the local stand selling valentines, cooing “Hello boys!” In an instant, the crowd disperses, leaving the poor skunk all to herself. Tex would base a whole cartoon on the unsuccessful love lives of skunks with his short Lil ‘Tinker at MGM in 1948. To gain the affections of the girls, ‘Tinker puts on his best frank sinatra impression, and the bobbysoxers swarm in droves.

Back to Egbert, the hayseed bear who desperately attempts to woo back his snooty girlfriend cathleen, strutting by with her nose in the air while he insist she’s got him in the wrong. Cupid comes to the rescue once more, pinging both bears with his arrows. Timing is hilariously succinct as they both pause a beat, dumbfounded, and then instantly exclaim “LET’S GET MARRIED!” With that, they rush away to prepare for the big celebration.

After a time card that simply states “So—“, Egbert strolls up to the front door of Cathleen’s house, now donning a snazzy suit. He knocks on the door. “Are ya ready, sweetie?” “Just a minute!” 

Cathleen may not be ready, but the devil sure is. He goes full out, tossing hairs, garters, bobby pins, lipstick marks, you name it. Cathleen opens the door, sporting her wedding dress, when she finds her husband to be decked in every scandalous clue imaginable. A closeup reveals even more dirty yet fantastic details: panty hose, burlesque tickets, a phone number, a garter, and a face covered in lipstick. The entire situation is amplified in humor as Egbert is completely unaware of his appearance. Cathleen prepares to wallop Egbert over the head with her bouquet, but another arrow from an offscreen Cupid sends her down on Egbert instead, practically sucking his face off.

The devil is absolutely fed up with Cupid’s meddling. “Aw, hey, what’s the gag of ruining my fun!? Ya sissy!” He Three Stooges (I’m coining that as a verb now) Cupid, poking him in the eyes and slapping him silly, picking him up above his head and twirling him around before slamming him to the ground and sitting on top, pulling Cupid’s leg as he cries out in pain. In retaliation, Cupid fashions the devil’s tail like an arrow, shooting him with his bow and sending the devil flying into a tree, who curses at Cupid incomprehensibly. His work now done, Cupid leaves the devil to his miserable, temperamental self.

Wedding bells are ringing in the chapel as Egbert and Cathleen march into the church, surrounded by a doting crowd. Just as they stroll down the aisle, the devil is finally able to dislodge his tail from the tree, ready to spark mischief. He approaches two kids outside of the church, bribing them each with lollipops. “Okey dokey. Now, here’s your candy. All you gotta do is go in the church and say...” 

We cut to the inside of the church before getting the full gist of the devil’s bribe, which is a lovely choice in set up. The officiator is asking the audience for any objections, while egbert shakes terribly, his legs knocking together in panic. Even the organ is silent. No objections. Content, Egbert and Cathleen exchange warm smiles, going in for the kiss, when...

“Daddy! Daddy! Daddy!” The two little bear cubs from before bound into the church, jumping right into a befuddled Egbert’s arms. All bets are off on the wedding as Cathleen storms out, dismissively throwing the bouquet in Egbert’s face. A lovely detail as he still attempts to catch it hopelessly. The devil is absolutely thrilled, laughing in hysterics at his best job yet.

Unfortunately, he’s finally beat by his nemesis: Cupid fires an arrow at the devil, and he too is struck with the love bug, his sour demeanor now replaced as he giddily floats along, grinning in a giant self parody of himself. What I love about Tex’s cartoons is that everything feels like a parody of itself. It’s one extreme or the other.

For the final time, Cathleen is zinged again with Cupid’s arrow, and she rushes back to Egbert, kissing him and dragging him back in the church. Activities are resumed as normal, the officiator going on like before. “I now pronounce you... uh oh.” 

He dives into a nearby pew, everyone turning their heads to see what the matter is. No time is wasted as everyone else takes cover, too. Now donning a top hat and bib, the devil strolls down the aisle with the little lonely skunk from before. Iris out.

A very entertaining cartoon that takes a little while to get momentum, but once it’s there it’s certainly there. It’s not too often you find a Valentine’s Day cartoon at Warner’s. This certainly is a non traditional take, and a very good one at that. The scandalous humor was the best part of the short, whether it be the devil decking out egbert in garters and blonde hairs, or convincing two little kids to shout “Daddy! Daddy!” in the church. While the beginning was a bit slow, the parallels make up for it, and at least contribute some added interest. In all, a cartoon that’s worth watching, especially for the second half.

Link!