404. Tokio Jokio (1943)

Warner cartoon no. 403.
Release date: May 15, 1943.
Series: Looney Tunes.
Supervision: CPL. Norman McCabe.
Producer: Leon Schlesinger.
Starring: Mel Blanc (All voices)
Story: Don Christensen.
Animation: Izzy Ellis.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: A U.S. propaganda short featuring a newsreel "captured from the enemy" reveals Japanese propaganda in a string of gags and stereotypes.

NORMAN McCABE

Norm McCabe's last directorial short for Warner Bros. as he went to join the army. As often said, McCabe never got the chance to leave a lasting impression for his contributions to the Warner Bros' animation legacy. While this is attributed by his short tenure as director, but so are the style of cartoons he turned out. It's a pity McCabe is mostly remembered for his war-themed cartoons that are today considered immoral in our "politically correct" generation. Perhaps the most striking example of that would be Tokio Jokio.

Not only is the cartoon incredibly dated in its references as well as extremely offensive and racist in its stereotypes; but it's a testament to how hurt America had been since it's infamous Pearl Harbour attack in 1941. Without a doubt, the short would've been successful and appropriate amongst audiences in its original release.

The short is presented in the form of a typical Warner Bros. sight-gag cartoon. The opening scene features a voice-over explaining that the short is merely a Japanese news reel that was "captured from the enemy". The theme is on "Japan-nazi" propaganda - depicting and criticising the Japanese in the lowest form of humanity as being weak, incompetent and foolish.

The caricatures have stereotypes all-over - as the Japanese are presented as skinny, wearing glasses and having giant teeth. While many cartoons considered immoral and politically incorrect today weren't intended to be harmful or racist towards stereotypes - this is the short's purpose. Since both countries were at war with each other and fighting for survival - the stereotypes themselves were intended to give audiences some sense of superiority and optimism. It is my intention to review the cartoon, not only reflecting on historical/social context - but entertainment values in 1943.

The sight-gag primarily attack the Japanese government for their poor treatment of defending their civilians and industry - which are satirised in several sequences. A striking example occurs early in the cartoon where the Japanese narrator presents the nation's "finest air-raid siren". The siren, of course, is heard from two Japanese citizens who prick each other's rear ends with a needle to create a screeching effect.


As tasteless as the gag has become over time, it symbolises Japan's poor handling of civil defense and how pathetic it's presented in comparison to the U.S.

The cooking sequence is another satire on Japan's home front; which was unorganised as the government concentrated more on their propaganda...creating many factors in the process. The sequence features General Hideki Tojo as a cook, as he demonstrates on how to make a club sandwich by using ration cards.

It's an exaggerated take on Japan's food rationing to bring the notion towards American audiences that their home front is inferior. The sequence is further exaggerated as the Tojo cook hits himself on the head with a club--portraying Tojo and the government as ignorant.

The short interprets Japan's military production as poor as indicated in a few sequences. In a scene which features the Japanese Navy at sea - a submarine enters the shot as the camera pans slowly underwater. The narrator reveals it was released "three weeks ahead of schedule". Indeed, it's still being constructed as it operates underwater. The submarine crashes off-screen with several deaths as depicted from Carl Stalling's Taps cue.

From the perspective of a 1943 audience member; it would've been a great showcase on how incompetent the Japanese were. This is also showcased in the 'victory suit' gag. The "Victory Suit" was a civilian fashion in the U.S. during WW2 as part of the war effort - lacking excess fabric and containing low quality wool...which were seen as bigger priorities for military uniforms.

Here, the fashion is parodied with a "Japanese Victory Suit". Expect this to be another gag mocking the Japanese home front and military production. A vertical camera pan downwards reveals an advertisement for the Japanese victory suit. At first, it reads "no cuffs", "no pleats" and "no lapels" which was the definition of the American suit. Then, the narrator announces: "no suit!", with the camera panning downwards to reveal an almost naked Japanese man freezing in the snow, as he tries to warm himself with a candle.

Other sequences poke fun at satirising Japanese society such as the incendiary bomb scene. The scene is presented as an educational guide on them. The text fades onto the screen on not approaching them within the first five seconds. An unsuspecting Japanese citizen walks into the scene, and counts the seconds with his watch. Then he walks over to the bomb to roast a sausage until it then detonates.


After the explosion his face is seen missing, with his glasses and hat still in the same position. The quote: "Ah! Rosing face, please! Rosing face!" is a direct pun on the Asian sociological concept of "losing face"...indicating the man has dishonoured himself - which is considered shameful in Asian culture.


Asian honour is also satirised in a scene featuring a suicide mission of a Japanese naval solider riding a Kaiten human torpedo. Honour suicide was a common attack during the war; were not only Banzai charges and Kamikaze attacks allowed Japanese soldiers to die with honour, but also used in attacking the enemy. It was also considered an atonement for any misconduct or disgrace from any civilian.

According to the narrator: "But he-a not caring, are you happy gentleman?", and asks the soldier, "Have you anything to say?". The soldier responds. "Uh, no, nothing except - LET ME OUT OF HERE!". It's a gag which was conceived to intentionally offend Japanese people by mocking their honour - and indicating that some soldiers aren't as honourable.

The spot-gag parody on Japanese propaganda wouldn't be complete without its own mockery on Japanese politicians and generals - as seen in the "Headline Poisonalities" section. The most revealing is the sequence on General Isoroku Yamamoto, who is perhaps, today best remembered for being responsible in planning the attacks on Pearl Harbour. His height is caricatured as he walks in stilts, to give him a taller appearance.


Yamamoto reveals his plans to "dictate peace term in the White House". An Editor's note title card reveals a reserved room for Yamamoto - which is revealed to be an active electric chair.

What's most intriguing about the sequence is the timing of Yamamoto's death and the cartoon's release. The general had been assassinated when his plane was shot down by an American fighter squadron in the Solomon Islands - a month before the cartoon's release. The cartoon was made while Yamamoto was still alive; even though the gag might've seemed even out of place by the time it was shown in theatres.

While the Yamamoto sequence was an approach to dark humour - the scene featuring General Masaharu Homma is more or less in the style of Warner Bros. spot-gag - with contradictory dialogue. The narrator observes the "coolness and calmness of Japanese Officer in air raid". The real scenario reveals the exact opposite as a frantic Homma frantically rushes around the forest before ducking underneath a tree log. Once he sticks his head out the log, a skunk does the same. Adding insult to injury, the skunk reappears with a gas mask on his head.

The "Flashes on the Axis" segment takes a brief break from the sustained Japanese stereotype - save for the voiceover narration. The segment focuses primarily on Japan's allies: Germany, Italy, and a caricature of William Joyce, an American-British radio broadcaster and Nazi sympathiser known as "Lord Haw Haw" by nickname - and caricatured with an ass' head named "Lord Hee Haw", hence the visual metaphor. He is the broadcaster on the segment.

Animation by Art Davis.

While the stereotypes might still be frowned upon today - admittedly, they are more forgiving and less offensive as the sequence pokes fun on the actual enemies, like Adolf Hitler and Benito Mussolini. The Hitler scene features an admittedly amusing gag of Hitler twitching his moustache like Charlie Chaplin, as he reacts to a postcard he received from Rudolf Hess, reading "Wish you were here".

The irony of Hess' message is exposed as Hitler turns the postcard over that reveals Hess held captive in a concentration camp - (whereas in reality, he was held in British custody). The kiss marks written on the letter also adds to the touch.

The Rome scene is another addition to the lame puns from the multiple Warner Bros. spot-gag cartoons. The narrator observes the infamous ancient ruins as seen in a horizontal camera pan. The camera quickly pans to reveal "ruin #1" which happens to be Mussolini. Personally, I don't think Mussolini has ever been properly caricatured in animated cartoons. The caricature is primarily focused on the chin and the lips. His forehead is treated generically, which is probably one of his more revealing facial features.

Despite the cartoon being riddled with offensive stereotypes almost everywhere - some scenes showcasing McCabe's coming timing are hard to criticise. The opening titles for the news reel is perhaps one of the more offensive gags. To begin with, the title of the reel is "Nipponews of the Week", which features a rooster (a direct parody of the Pathe news reel opening) who is anticipating a crowing noise.


As he does, he changes into a Japanese caricatured vulture, who is portrayed as scheming and evil as the Rising Sun flag appears. The stereotype is further emphasised as the vulture says: "Oh, cock-a-doodle-do, Prease!". As uncomfortable as the scene might be; McCabe's timing is pretty impressive.

The sports segment is another prime example of that. The gag and caricature of the sports commentator is in such bad taste that it's impossible to not find it in the least bit amusing. In a sudden iris out; his mouth gets stuck in the circle - that it falls off and clutters into the ground. Again, the timing and imagination of the gag doesn't fail to impress.

The following scene is more of a satire of Japanese sport players who are also illustrated as physically weak. The player indicated on the screen in a baseball outfit is considered to be the Japanese equivalent of Babe Ruth. Once a fly flies into the scene; the player attempts to swat it but misses and spins in a circle. While the gag might've been an arrogant in emphasising America's superiority; it turns sadistic and unnecessary when the fly responds by grabbing the swatter and whacking him with it.

With offensive stereotypes asides; the short has its share on lame, corny puns that spot-gag cartoons are heavily reliant on - as seen in the ancient ruins scene. One scene in the "civilian defense" segment reveals a listening post - which is nothing more than a pole with key holes covering it. The pun on the aircraft spotter is even more cringeworthy as the plane is literally being painted with spots.


The final segment featuring literal interpretations of marine boats is also riddled with typical visual puns, especially the "minesweeper" gag - which features two mechanical hands sweeping mines away with a broom).

When the ship accidentally explodes - a buoy is featured in the sea with a sign reading: "Regrettable Incident Please". So, the short ends which pokes fun on another Japanese stereotype where they're portrayed as being over-polite. Nevertheless the gag itself doesn't pay off with the results being lame.

It's almost impossible to give the cartoon a rating without giving consideration on historical/social context. While the humour has become outdated and offensive within today's modern society; it's still a fascinating piece of history reflecting on the attitude America had towards their enemies. Withouy a doubt, the short would've been effective on American audiences in giving the notion of hope and patriotism. It's perfectly understandable that the racism would cause uncomfortable viewing, but it can't be judged out of context - especially as history can't simply be ignored and written off. Therefore, the short would be better off viewed today purely for historical purposes, rather than for entertainment--as the stereotypes were certainly intentional. With racial problems asides, it's otherwise, an insipid cartoon, complete with gags that felt forced and stale. While McCabe shows moments of competence as a director - the short remains remotely unfunny, dated, and uncomfortable to watch.

Rating: 1.5/5.

399. Hop and Go (1943)

Warner cartoon no. 398.
Release date: March 27, 1943.
Series: Looney Tunes.
Supervision: Norm McCabe.
Producer: Leon Schlesinger.
Starring: Pinto Colvig (Claude Hopper), Mel Blanc (Scottish Rabbits).
Story: Melvin Millar, Don Christensen (unc.)
Animation: Cal Dalton.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Two Scottish rabbits attempt to challenge Claude Hopper's statement as the greatest hopper in the world - even going so far as to cheat.

Norm McCabe rarely had the opportunity to develop a personal style like Chuck Jones or Bob Clampett; as he was typically lumbered with war-themed shorts. However, McCabe's take on a one-shot cartoon with a plot not heavily reliant on wartime references states his potential.

Millar and Don Christenen's story is in the same vein of a standard Warner Bros. short: a dim-witted kangaroo named Claude Hopper boasts about being "the best darn hopper in the whole world"; and two eavesdropping Scottish rabbits decide to use him for their own amusement.

The opening sequence indicates no sign of McCabe's lowering standards. For example an impressive camera shot features the camera hopping in rhythm to Claude's hopping action - an effect used similarly in Friz Freleng's Hop, Skip and a Chump.

Carl Stalling composes a little hopping rhythm which gives some added personality on Claude, and of course, Pinto Colvig's singing voice in the persona of Goofy is always entertaining to hear. The layouts on the opening shot and Claude Hopper hopping in perspective indicate Dave Hilberman's enjoyment of problem solving on complex layout work.

 Characterisations and personas are also typical in the spirit of Warner Bros. in this short. Claude Hopper is portrayed as ignorant based on his heavy size and Pinto Colvig's Goofy persona. There's also a subtle reference of Colvig, too.


Claude brags to the rabbits about his hopping by declaring, "I've got a certificate to prove it", with the certificate reading "This guy is a goof" - a possible reference to Colvig known as the original voice actor for Disney's Goofy.

The Scottish rabbits, on the other hand are depicted as much smaller and slender in size - adding some craftiness to their low cunning. Mel Blanc is always reliable for giving some added personality (like the Scottish dialect on the rabbits) to characters who are portrayed as conniving, if nothing else.

Their contrasting size and personalities are put to good use in a sequence involving Claude Hopper's attempts of accomplishing the longest jump. As Claude leaps; the rabbits are hanging onto the end of his tail. Once Hopper lands, they leap from his tail and land on the ground in front of him. So, the rabbits take advantage of his gullibility by measuring the other rabbit in front - deceiving Claude into thinking he's been narrowly beaten.

Astonished, Claude attempts the jump once more but finds he's landed in the exact position as before. In an attempt to break the record one last time; Claude empties various heavy objects from his pouch to reduce the weight. The scottish rabbit takes his chance by placing a piece of bubble gum underneath Claude's tail.

McCabe's comic timing plays along nicely by giving impact and weight to the strength of the gum. Treg Brown's resourceful sound effects add to the right touch, also. Falling back from the stretchiness of the gum; Claude falls backwards and crashes onto a pile of junk that had fallen from his pouch - once again, outsmarted by the rabbits.

At the same time, Norm McCabe continues to fulfil his potential as a director - by using dynamics and uncommon styles of pacing and shot angles for sequences requiring it. Dave Hilberman's layouts are better appreciated in scenes involving Claude hopping on the branch of the tree, and landing backwards on a birds nest - resulting in the birth of a baby bird screeching "Mammy!" to Claude.


McCabe's use of dynamics are most revealing in the sequence where the rabbits attempt to loosen a giant boulder. The boulder is intended to land at one end of a log - in hope for Claude to have a grand leap.

Not only are the great compositional shots effective but also appropriate in its visual storytelling. For the scenes of the boulder falling - McCabe channels a little of Chuck Jones from this era (see My Favourite Duck and Flop Goes the Weasel).

The falling boulder is witnessed by each character with the aid of rapid pacing and several quick shots to make the anticipation gag more effective and dynamic. A daring feat to accomplish, McCabe's timing proves competent as he navigates through Hilberman's layouts wisely and effectively.

The boxing match sequence is another example of depicting both character personalities and use of creative pacing, as analysed earlier. Although the payoff itself is a little weak in creativity and execution.

The rabbits speed past Claude, creating him dizzy spells. Out of nowhere, one of the rabbits pulls out a fighting canvas effortlessly. This is also an occurrence with Claude's "goof" certificate.

Claude's bragging and boasting continues to do no favours as he considers himself an athlete. A taste of cartoon logic is taken for granted as one of the rabbits unexpectedly pulls out a switch from the fighting pole - causing one of the ropes to arise; causing Claude to spin around the rope in the style of an acrobat. The execution feels a little weak as the sudden appearance of a switch seems to not depict the rabbit's slyness as seen in the long jump sequence which follows after.

Some gags use some cliches typical of the Warner Bros. style of humour. This is evident in the sequence of Claude Hopper after being rescued from his collision with a tunnel.

He is brought back from the river, where one rabbit uses his tail like a hand pump; while the other rabbit rinses himself (with the dripping water coming from Claude's soaked hair) whilst singing Singin' in the Bathtub - a popular song choice whenever a character showers or bathes. The scene of the principal rabbit washing his hands on the water's pouch like a sink is a decent visual gag itself; and the unexpected delivery of the rabbit pulling the plug out for the water to fade is hilarious itself.

Like many McCabe shorts; the finale sequence is heavy on war-related references. Although some of the gags have aged overtime; some of the visual effects work still hold up well. Claude has begun his long continuous leap and on the way he encounters several war planes, as well as references to food rations - like the bizarre "price ceiling" pun.

McCabe completely manipulates time and length of his leap as the sequence cross-dissolves into nighttime. The colour styling and tone of a silhouetted Claude beneath a night sky is incredibly stunning and rich in style. As Claude strikes a match - the light reflections on Claude enhances the quality.

Claude encounters a calamity as beam lights flash right at him; as an unseen enemy targets and attempts to fire ammunition at him. A silly, funny little gag in the style of Avery or Clampett occurs in between as Claude attempts to shout, but to no avail due to the loudness of the firing. Then, he bellows: "Sorta noisy, ain't it?" as the firing halts momentarily.


Unaware that he is carrying a box of dynamite the rabbits planted underneath his pouch - he panics as he begins to lower at the ground. And so, Claude successfully hops out of sight as the box of dynamite detonates - creating mass destruction of the site.

As the smoke unveils - a smug Claude remarks, "Well folks, I guess we know who's champeen now!". In the following long shot; it's revealed that Claude placed the dynamite in the city of Tokyo - making him a hero for unintentionally causing destruction for the enemy. Without doubt, a hysterical ending for war-time audiences and film enthusiasts although the gag would date very quickly once the Japanese surrendered only two years - making the ending seem out of plate for contemporary standards.

A good change from Norm McCabe's usual war-related plots - although Hop and Go only contains some good elements in vein of the definitive Warner Bros. humour. Although the characters are stock personalities - they work well enough to create elaborate, dynamic sequences like the boulder and Claude's enormous leap finale. McCabe continues to expand and search for his personal style. It's a real pity this became McCabe's second to last short for Warners; diminishing his chance of being in the spotlight of other Warner stalwarts like Freleng or Jones. Despite such elements, McCabe's use of war-time references have dated the short and making the short underrated.

Rating: 3/5.

393. Confusions of a Nutzy Spy (1943)

Warner cartoon no. 392.
Release date: January 23, 1943.
Series: Looney Tunes.
Supervision: Norm McCabe.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Porky Pig / Missing Lynx).
Story: Don Christensen.
Animation: Izzy Ellis.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Constable Porky and his dog, Eggbert, are on the lookout for a German spy: Missing Lynx, who aims to blow up a railway bridge.

As competent as Norm McCabe might be in presenting stylish backgrounds with some innovative staging - he never seemed to have played an influential role as far as story goes. As often, he was lumbered with cartoons with dated wartime references and heavy propaganda - much like Confusions of a Nutzy Spy (title parodied from the 1939 film - Confessions of a Nazi Spy). Occasionally, he takes the material together and turns them into a near-masterpiece like The Ducktators. As confident and professional McCabe was in giving the right personality for Daffy Duck - Porky seemed an awkward character in the hands of McCabe, much like how Clampett would interpret him in his weakest cartoons.

The opening pan shot of the interior police station ranges from hit to miss. On the hit side, it is a astonishingly complicated piece of layout of the camera panning back, forth and through the hall of assorted things like various criminal practices and exhibits. Only a strong, experienced layout artist like Dave Hilberman could've designed and coordinated such an ambitious exercise; not forgetting the craftiness of Johnny Burton's camera department.

On the miss side, the gags on the elaborate opening shot is saddled with unfunny visual puns that Tex Avery himself, even on his bad days, would mock at.

Gags like the the finger print department lack any creativity or coherence, as they are literally printed all over the wall; with no impact or pay off whatsoever. Lest not forget exhibit A of a model of the letter "A". Ho-hum. Then, there are a few display gags which is more adult oriented. In one gag, the camera pans to a jar displaying a "sure cure for criminal tendencies" with a hangman's noose attached to it. As sadistic as the gag implies, it's worth the chortle. The wanted posters exhibit has a cheeky pay-off towards it. The camera panning on generic posters, one-by-one on criminals who are wanted for arson and fraud. Then, the camera pans to a wanted poster of an attractive woman posing in a bathing suit - with a tongue-in cheek message by the U.S. Army.

Areas where McCabe could be visionary with his timing is evident in Eggbert's establishing scene. He is snoozing on a box, with the radio on. As he snores, he breathes "z's" literally in and out his mouth - a la comic strips. It's a creative, visual gag combined with graceful timing which is hardly practiced in classic Golden Age animation.

Animation by Art Davis.

Awakened by the radio; Eggbert slowly reaches his paw to turn off the radio causing the announcer to break forth-wall within the short: "Don't touch that dial!", a likely reference to the CBS radio programme, Blondie, based on the comic strip. The paw trigger effect has an effective piece of timing. Afterwards, Eggbert grabs a mallet and smashes the radio.


McCabe's visionary timing is put into good practice in a fine scene of the "Nutzy" spy: Missing Lynx - a lame parody on the description 'missing link'. The lynx, who is voiced hilariously in Mel Blanc's Germanic dialect is discreetly watching Porky and Eggbert's moves.

McCabe takes advantage on a cliched gag of a cartoon villain peeking in and out of a tree at different direction. As the spy's peeking becomes quicker - he unknowingly splits into another pair - with one and the other at a different position of the tree. The lynx double-takes at the surreal gag and both of them collide; morphing back into one figure. It's a clever piece of reverse animation that coincides with the original - which makes an oddball of a gag work effectively. The double-take and the spontaneity of the second figure makes the gag all the more merrier.

If there are weak spots as far as characterization goes - look no further than the sequences where the Missing Lynx attempts to fool Porky. While Porky and Eggbert snoop around the woodlands; Eggbert stops at a dead end of a foot blocking way - the Lynx disguised as an elderly dog.


The sequence itself would've been more passable had the lynx been under disguise the entire time - making Porky's gullibility seem more believable. As Porky inquires, "Have you seen a spy around here?". Afterwards, the spy removes his disguises and bluffs, "Does he look like this", maintaining a strikingly similar pose as seen in the poster.

Once Porky nods, in the hope of gaining information - the lynx responds: "Nope, I have not seen him" and zips out of the scene - confusing Porky. Just in time we feature a "Hitler is a stinker" gag as Eggbert pulls a Hitler mask out the spy's suitcase during investigation - until he discreetly retrieves it.

As a sequence, it's very clumsy in its own execution and handling on Porky's personality. Being gullible is one thing, but it's incredibly out of character of Porky to fall for a trick when the spy isn't making any effort to disguise himself. For a Bugs Bunny cartoon, the scenario is different in a significant way; but since the personalities in this short are undeveloped: it flaws.

Proven the previous sequence was weak in execution - the bridge sequence is hardly better. The spy reaches his destination to plot his terrorist act: a railway bridge. Just as he's about to adjust and plant the bomb; Porky has him cornered at gunpoint.

Immediately, the apparent master of disguises slips into a Porky Pig disguise. He interrogates: "Vell, I'm-a not so sure that you're Porky Pig either!" and furthermore mocks his stutter. He moves Porky away from the railway, causing him to ponder: "I'm really gettin' suspicious of that guy!"

This is most likely the weakest spot of the entire cartoon. Porky's personality is incredibly underplayed as he has nothing more to do than feel suspicious and getting interrogated by the spy. It's a completely ridiculous concept at attempting to bluff Porky Pig by disguising as his own self! So many missed opportunities run together.

On a positive note, the bridge scene has some very choice, dynamic staging as well as some rich point-of-view shots which adds to McCabe's reputation as a stylish director. In Missing Lynx's POV shot, he holds out the bomb from his suitcase; and sets the time on it accordingly. For a description of action so simple; the work on the hands is incredibly rich in detail; with an amazing use of perspective.

As far as Eggbert's role plays in this short; his role is mainly used for recurring gags and little of personality. The recurring gag is focused on Eggbert's violent sneezing habits which appear frequently. Some of the gags pay off wonderfully. During their investigation in the park, the dog almost experiences an episode - but spontaneously the spy's arm holds his nose whilst hiding in a tree. The unpredictability of the gag alone, is hilarious.


Other areas the sneezing gags build up tension and suspense; such as when Porky and Eggbert find themselves barely dangling from a root attached to the edge of a cliff. It appears story man Don Christensen intended to use the gag as a plot device; which supposedly becomes key to the flaw in Missing Lynx's terrorist plan.

The recurring gag itself hardly has much pay off at all; as his sneeze only plays a main role when his sneezes forces the spy out from the cave. Not a complete waste of a concept; it could've worked so better as well as a much better payoff which is somewhat lacking for a potential cartoon finale. Once again, another missed opportunity.

Although the action sequences might be the usual standards for a Warner Bros. short; some shots have some outlandish. The lynx's double take upon discovering the bomb-in-a-briefcase has been retrieved by Eggbert has some effective use of smear animation which captures the panic episode he is facing.


The cave sequence is in the style of McCabe's innovative sense of mise-en-scene. Capturing the complete darkness of the cave; only the eyes are seen luminously. A typical style for animated cartoons, McCabe takes the opportunity to plan the action with the panic depicted by their eyes.

Both characters believing they are safe from the bomb-in-a-briefcase; they take at the sound of a ticking noise. Porky lights the match which reveals Eggbert has followed them, retrieving the briefcase again - Porky shouts "Yipe!" creating another panic situation as the characters run frantically around the cave in complete darkness.

Despite moments of weaknesses evident in the short - Christensen finishes the cartoon with a sense of cruel irony. At the cartoon's climax, the cornered Nutzy is quivering scaredly as he awaits the moment for the bomb to detonate. As depicted in a close-up shot, the bomb distinguishes; creating no effect whatsoever.


Enraged, the spy complains: "I knew it! I knew it! Oh, this goldarn imitation ersatz ding. It never vorks!". He bangs the bomb to the ground with frustration, when at the wrong moment: it explodes.

A lot about the final shot is depicted with cruel irony. The Nutzy is dancing happily around the clouds of heaven, under the impression his plan had worked after all - and without realizing he is dead. And another thing, it seems very ironic for a terrorist spy to spend eternally in heaven. The cartoon draws to a fade as the spy salutes, "Sieg Hiel" and faints onto the clouds.

For a director who proved capable of turning out some occasionally very good cartoons; this short ranges in the 'hit-and-miss' category. McCabe seemed uncomfortable in giving further character personality on Porky Pig; which Chuck Jones achieved brilliantly in My Favourite Duck. Instead, he is given the persona of a clueless idiot who is gullible and vulnerable, which seems a no brainer to that effect. While this short is war-themed; it surprisingly holds very little wartime references; excluding the Nazi parody and the Hitler mask reference - and instead functions like a generic Porky short. Had McCabe continued to direct after the end of the war, it's almost impossible to determine whether he could've really established himself as "one of the greats".

Rating: 2.5/5.