311. Shop, Look and Listen (1940)

featuring Blabbermouse.
Warner cartoon no. 310.
Release date: December 21, 1940.
Series: Merrie Melodies.
Supervision: Friz Freleng.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Blabbermouse/Mohicans/Whistler's Mother), Bill Thompson (Conductor).
Story: Dave Monahan.
Animation: Cal Dalton.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: The conductor and Blabbermouse return again, where a tour is performed at an empty department store.

Being the second (and last) cartoon to feature Blabbermouse, this is also quite possibly the final WB cartoon to use the formula for blabbermouth annoying characters, which had been a concept used by Tex, Bob Clampett and Ben Hardaway previously...another case where the Warner humour are a step ahead, showing how the directors and writers have developed better humour strategies.


Judging by the title card which features 'featuring Blabbermouse'--was the character was really intended to be a newly established character for the Warner shorts? Well, it isn't certain for sure but it was more or less likely just a temporary creation, as the character doesn't hold any merit than Porky or Bugs, or even Sniffles.


It still feels a little bit peculiar that the character would be followed up from the previous short Little Blabbermouse, which isn't a spectacular cartoon itself in which the cartoon is given a sequel. Perhaps it was a hit during the time it was released in theatres? Yowp, can you back this up with any surviving reviews from Film Daily?

It's also quite satisfying to see how the short marks the end of those annoying characters who talk continuously, which showed little purpose, and how they were apparently meant to be appealing and funny.

The short itself, is without doubt a follow up to Blabbermouse' debut short which was released earlier this year. Comparing this short to Little Blabbermouse, I'll say that Blabbermouse was superior. This cartoon is just a almost recycled plot from the short itself, except with 'Blabbermouse' it at least showed some sort of synopsis or summit, whereas with the cartoon it doesn't.

It's merely just another spot-gag short which takes place in a department store, whereas previously beforehand it took part in a chemist. A part of me wonders whether any planned future Blabbermouse shorts would have been based on different stores for each short, such as a restaurant, or a  bookstore.

The whole perspective of the Blabbermouse shorts are very 1930s-oriented, with gags not being fresh, and lame deliveries and construction. The ending itself for the sequel short, ends with the same scenario and delivery from Little Blabbermouse, too. Blabbermouse, who doesn't even center the whole cartoon himself, just continuously asks infuriating questions to annoy the conductor, that he eventually snaps and gives Blabbermouse his destiny. His fate is, during the modern inventions sequence, he gets pulled off the cart, and ends up wrapped in a Xmas present, with a stamp slammed to his mouth reading 'Do Not Open 'Till Xmas'. The delivery is at least more charming and delivered better than the previous short, considering the short was released around Christmas time. Also, notice how the finishing dialogue for Blabbermouse is almost similar to the preceding short, where he threatens the conductor to summon his father, being a police officer.

Anyway, some parts I thought worth to analyse, and that would be the opening sequence itself. The short's opening is rather lengthy, and to me it goes on a lot longer than necessary. It features the exterior of the department store building, the working hours for the days, including a Sunday gag, as well as a pan of the interior of the store at night, before we meet the conductor by the cashier. The opening sequence opens with the department store's neon lights flashing, with the department store called 'J.T. Gimlet'; a unfunny parody of the now defunct store 'Gimbels'. The opening time sequence has a particular lame gag lineup where the days of the week read the times the department store is open: '9 to 6' even on a Sunday, if it is open.

The opening sequence I guess was added longer to add some extra time, and I guess to at least try and create some suspense and wonder, even though there isn't much to be curious about.

The cartoon sequences which focus on the picture frame department shows some good gag developments as well as delivery. A great example can be the Whistler's Mother portrait. The portrait is seen as how the public know the ending, of an elderly lady sitting at her chair.

She then comes to life, whistling to She'll Be Comin' Around The Mountains. At first, you would expect the gag to have had a very weak outcome, or something you would expect out a Tex Avery spot-gag, but thanks to Freleng...the gag then develops further, with some decent comic timing.

The mother then remarks, 'You ought to hear my son, he's a whistler, too'. The mother then impersonates his son, as she stomps her foot and claps broadly. The timing, as well as the extra setup works out with satisfaction, with a touch of Freleng's subtle genius.

Another amusing though subtle visual delivery appears following on where we view an infamous sculpture known as The Thinker. The Thinker is indeed, thinking and pondering to himself, with some of Blanc's distinctive murmurs. As he thinks, it turns out the Thinker is reading his Tax Income Report from 1939, or is it 1940? I guess that was a clean-up error, as indicated on paper, as well as the layout shot. Freleng even pays homage to one of Tex's gags that he uses for his spot-gags...though not one of his more charming gags. The Hunter painting indicates the dog is pointing at a direction with a eager face and is dragging the hunter to the direction. It turns out the direction is pointed at the Lonesome Pine, which shows even Freleng has gone as far as to make a dog-innuendo gag.

Not to mention, there are also going to be some poor gags which fall flat through the sequence, as well as how it was developed. Earlier on during the tour of the department store, the conductor points out the various types of shoes that are in stock. The camera pans through the conductor's point of view of what's on stock. First, you get the suede, pumps, slippers, and then mules. Two different coloured mules then pop out of the box where they bray, and the whole output was just incredibly weak, and amateurish. It just sticks out like a sore thumb, you'd expect a 'mule' gag to somehow appear, and having them bray continuously shows no surprise or effort in developing this gag.

Another sequence, which shows a tad bit of weakness, but it more or less was reused from the Freleng short: Sweet Sioux; is the Last of the Mohicans painting. The gag itself is a little tame and unoriginal, but Freleng's comic timing had improved to better taste three years previously, that the smack is a tad more funnier.

Moving on to the modern inventions sequences, the mechanical robots call for some technical assignments for the animator. One of the highlights for the mechanical sequences are a group of machines seated at a table playing cards. This also calls for an amusing gag setup, as well as Friz's own comic timing.

The mechanical robots playing poker, are portrayed as very human, that they even would cheat in a game.

Due to the cheat, one of the mechanical robots shoots the robot, which is a hilarious setup; in terms of delivery and Friz's timing. It portrays very well as a close up, as well as unexpected tension that goes into the sequence.

Another great little sequence which is great to watch visually would be the modern invention sequence where the booths are seen wrapping up Christmas presents. This is a great advantage for Treg Brown who has created some very groundbreaking sound effects for the wrapping sequence, that they show a very technical and comical charm to it. You can hear the sound with better and more memorable cartoons like Baby Bottleneck, during the 'Powerhouse' sequence. So, towards the end of the cartoon, the machines come to better use where they grab hold of Blabbermouse, and wrap him around as a Xmas present, as well as placing the stamp on his mouth so he'd stubble to speak, and that's the last we ever see of Blabbermouse.

To conclude the review, Shop, Look and Listen is still just a mere lame followup to Little Blabbermouse, and it's as smile as that. Though both cartoons have the same construction and theme, though you'd probably ask how could I compare both cartoons? Well, Little Blabbermouse stood out to me for two great sequences, which included the song sequences which combined some great popular songs with the items, as well as a chase sequence with the cat, whereas with this cartoon there is no climax or much thought put together. You could hardly call the mechanicals to be the climax of the film, except they only come to good use when they shut the character's yap. Still, it's a good cartoon to an extend, as it would involve the end of Blabbermouse, and not having to endure annoying, unappealing chatterbox characters.

Well, this now marks the end of reviewing the year 1940: which HAS taken an awful long time to get through, and eventually...I have made it. Overall: this has been a groundbreaking year for the studio: meaning the birth of Bugs Bunny, as well as the return of Friz Freleng. The humour has improved a great deal, the timing is getting faster and the gags funnier, and we'll see what 1941 has to offer when the blog next reviews it...

310. The Timid Toreador (1940)

Warner cartoon no. 309.
Release date: December 21, 1940.
Series: Looney Tunes.
Supervision: Bob Clampett and Norman McCabe.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Porky Pig/Slapsie Maxie Rosenbull/Matador).
Story: Melvin Millar.
Animation: Izzy Ellis.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Porky is selling hot peppers in the streets; and it ends up coming to advantage when he is encountered by a fiery bull.

The first cartoon where Norm McCabe, himself sets a 'supervision' credit but shared with Bob Clampett. It's uncertain as to how much he had contributed to the cartoon, other than possibly the animation. The cartoon as a whole feels a lot like a Clampett product, as his drawing style is evident in the animation through layouts, the way he interprets gags, and also his timing. Don't state this as fact, but it's likely perhaps McCabe was being supervised by Clampett in terms of timing, animation, and that McCabe didn't become loose until Clampett took over Tex Avery's unit.

Clampett chooses gags which evidently make the cartoon appear as his own product, rather than McCabe's, whose cartoons stand out as more milder than Bob's later cartoons, and more active than his black and white shorts.

During the opening sequence, it opens with particularly lame gags in a town which lies in a desert.

An example can be seen in the poster sequence at the beginning, where the poster advertising the bullfight lists out the matadors, toreadors, picadors, as well as a 'cuspidor'; which if you translate to English, meaning a spittoon.

A rather useless play-on word for the sequence. Then cut to the town sequence, where Clampett is satirising and paying homage to the popular Hollywood diner The Brown Derby, where here it's titled The Brown Sombrero. Clampett's drawing style is evident in the scenes of the trio playing some music (song anyone?). A washerwoman is seen cleaning some long underwear, beating it with a paddle. Then the paddle forms to life, almost drowning the washerwoman in the fountain and whacking her in the rear end. Only Clampett would interpret a gag such as this, with its bizarre pantomiming, and his taste of timing. The opening sequence is really much just exposition, for what is to come, especially in the sequence featuring Porky selling hot tamales, which would become an important element in the cartoon's poor synopsis.

Now time for a bit of analysis on a gag which Clampett reused rather regularly, though it is one of his more darker and tamer gags, but done with good comic timing. Porky is seen selling how tamales in the streets of the merry village. A unsuspecting chicken approaches the scene, where it opens the box of hot tamales. Of course, the box advertises the hot tamales as 'too hot to handle'. Unnoticed of the slogan, the chicken swallows the hot tamale which then results to his fate--a roast dinner.

A very flat gag in terms of creativity and energy, but Clampett's (or McCabe's) timing couldn't have been funnier with the way it has been delivered. After those few moments of no suspense, the chicken exploding is as bizarre it's going to get. If the gag had been approached again a couple of years later, Clampett would have staged and interpret the gag differently, with possibly more edgy comic timing, and a series of takes.

The bullfight sequence shows how relying on references, and deliberate setups shows how it overlaps the action of the bullfight, and with many gag opportunities wasted. Chuck Jones would master a cartoon involving Bugs Bunny and a bullfight in Bully for Bugs, whereas Tex Avery would do so at MGM with Señor Droopy.

The name of the matador is 'Punchy Pancho' (perhaps a reference to the infamous outlaw Pancho Villa?); whereas the bull is named 'Slapsie Maxie Rosenbull' which is a poor pun to the infamous boxer of its time: Maxie Rosenbloom.

Throughout the fight, we get deliberate setups with some particularly unfunny one-liners from the bull, though Blanc's voice makes the right touch. He approaches the matador who is waving the red flag.

The bull approaches rather angrily, but compliments on the design of the flag: "Nice piece of material, I think it is", I suppose its amusing in a ironic sense, but Clampett obviously isn't relying on his comic genius, or his flamboyant sense of wild timing.

It appears very obvious that Clampett or McCabe clearly aren't coming up with some very creative concepts for the short, and it gets so that reused dialogue for the fish was used from The Sour Puss, and the whole delivery of it. I believe that the laugh and the caricature of the matador laughing goofily (as well as the horse) are supposed to resemble Lew Lehr to an extent. The bull charges at the matador, combining the matador and the horse together, making them looking like a centaur. I'll admit, its the only highlight of that sequence, where the timing and delivery really come to advantage, as well as being a solitary gag.

Once again Porky is portrayed as a minor character, who has at least some stardom in the cartoon's climax sequence. He is seen as a seller who is selling hot tamales, whose chanting the words in rhythm to La Cucaracha.

He walks in the middle of the ring as he is busy selling hot tamales to attendees watching the bullfight. With the matador screaming out of the scene like a baby, Porky is the next victim. Standing behind the angry bull, Porky turns, but after a double-take rushes frantically out of the way.

So, Porky decides to antagonise the bull as he grabs out a blade, but the blade slides down loose, causing Porky to timidly smile at the bull, with that expression which very much belongs to Warners.

Just then, as Porky is caught up with the cartoon's action scenes, Porky being the subplot of the cartoon, uses his hot tamales as a weapon to defeat the ball. The hot tamales become a justified symbol to the bull's ruin, where the bull sniffs the scent of the peppers. The bull, after sniffing, remarks: "Hot tamales. Hot? (chuckles) who's afraid of hot?", and then takes the whole lot down. The reaction from the bull isn't very integral of what you would expect out of Clampett, as the reaction stands out as rather mild, apart from crashing outside the stadium and knocking the village buildings around.

After the crowd decide to cheer on Porky's impulsive finale of the bullfight; a rain of sombreros and hats fly on top of Porky. The cartoon concludes with quite possibly the most hypnagogic gag featured in the cartoon, where a derby hat lands on Porky, transforming his face into Laurel Hardy, with his music cue backgrounded in the score. It is, itself, very much an out-of-nowhere gag which you would expect from alcoholic gagmen (not implying Clampett); but the caricature is a decent touch, and it blends in neatly.

Now, to turn over to the readers: how do you knew The Timid Toreador: a Clampett product or a McCabe product? Well, it is pretty evident that this was largely Clampett's own, rather than McCabes even though it is unknown as to how much he contributed to the cartoon. Clampett still would have done character layouts due to his drawing style dominating the entire cartoon. His poor gag sense and no motivation with the story is also evident, whereas McCabe had a different style compared to Clampett's black and white cartoons. Despite McCabe's cartoons having lived in the darklight like some of Clampett's cartoons--McCabe at least showed some effort artistically as well as creatively. Why would Norm McCabe be co-directing with Clampett that early since Clampett hadn't yet left the Katz unit even at the time this cartoon was released, and Tex hadn't yet left the Studios. The cartoon, itself overall adds up as Clampett's own cartoon, with possibly McCabe's assistance, even though not relying too much on the credits. 

309. Of Fox and Hounds (1940)

Warner cartoon no. 308.
Release date: December 7, 1940.
Series: Merrie Melodies.
Supervision: Draft No. 412. (Tex Avery).
Producer: Leon Schlesinger.
Starring: Mel Blanc (Willoughby / George the Fox).
Story: Draft No. 1312.
Animation: Draft No. 6102.
Musical Direction: Draft No. 158 (too bad) (Carl W. Stalling).
Sound: Treg Brown (uncredited).
Synopsis: Two George-and-Lennie personalities: a sly fox, a dim-witted hound named Willoughby is in hunt for a fox, but never succeeds when one keeps out-witting him.


Before the review can begin, as it appears to be (judging by the copyright catalog) the original titles for the cartoon had a sort of gag to it; where the artists responsible for whichever were credited as digits. A very typical interpretation by Tex, but at the same time a little pointless as enthusiasts don't get to know who the story was credited to, and the animator...but at the same time? Does it even matter? Tex's unit already consisted of Bob McKimson, Rod Scribner, Virgil Ross, Sid Sutherland and Charles McKimson; whereas the story credit was rotated, and at the time: worked in groups. However, it's most likely possible credits or possible writers for the short could have been Dave Monahan or Jack Miller, who were regular writers for Tex in this time period.

The original title card does exist (though it is seen as a small size) through a group of original titles owned by Tim Cohea (Sogturtle); though it would be great to see it blown up into a clearer and bigger size.

Had Tex completely abandoned the Bugs Bunny idea after A Wild Hare and interpreted it as a one-shot cartoon? Of course not, where did I get such nonsense! Obviously, Tex would direct a few more Bugs Bunny cartoons; until he left the Studio...but did Tex experiment the personality formula with other characters? Well, here is the cartoon which is being reviewed.

It was no doubt that A Wild Hare was (and is) a revolutionary cartoon for the whole Schlesinger Studio; but before Bugs would make more appearances--Bugs would use the quick-witted persona for other characters. Here, we see the fox...named George; who is merely Bugs Bunny in a fox suit.

He can manipulate his potential enemies, for example..the bloodhound, Willoughby. He can easily outsmart his opponents, including a slow-witted, stupid hound; as well as a fierce, grizzly bear. Compared to A Wild Hare this cartoon lacks as much creativity and the gags appear to fall a bit flat in this cartoon. It has quite a tepid construction to the story; where it really focuses on Willoughby being out-witted by the sly fox, and falling off the climax. Nothing too original, or as well as exciting.

For what it is worth, the cartoon is a "first" for its reasons. For one, it is the first Warner short (or quite possibly Hollywood short) which is a satire of the very popular Steinbeck book: Of Mice and Men which was published in 1937. The parody between the two characters work so well, and the relationship is very rich and successful that this would revolutionise to more future cartoons using that similar formula (or satirising elements of it).

Also, this is the first cartoon which marks the first appearance of the short-lived character by Tex: Willoughby..who he had used in two other Warner cartoons: The Crackpot Quail and The Heckling Hare. With the 'Of Mice and Men' persona being more revolutionary in the cartoon, the contrast between Lennie and George. It's not so much on the book; but of Lou Cheney Jr's performance on Lennie from the 1939 Hal Roach film of the same name.

It becomes a very rich and believable concept from Tex. The fox being very cunning and sly, as they are known for, and whereas Willoughby just has the look and expressions of a dimwit.

It has an excellent satire that you are convinced you see George and Lennie inside of them, it can see through some excellent character animation by Virgil Ross when the Fox and Willoughby first encounter one another. This just about explains as to why the Of Mice and Men satire is revolutionary for the cartoon; as it would help upgrade the humour in the Warner cartoons by producing more clever burlesque, rather than just over-used, unfunny one-liners from obscure radio shows.

Johnny Johnsen's background paintings also punch up a notch in terms of detail and beauty. We've all seen his for for Tex's cartoons at MGM and Disney, who produces beautiful colours and designs for his shorts...but the panorama opening shows how rich it looks. Whilst Stalling plays William Tell during the opening shot where it is shown as early morning.

The colours of the sky show so much realism and truth to it. A background no nice, that Tex has used it twice: the latter for the MGM short Out-Foxed. Friz himself had also borrowed it for Foxy by Proxy--interesting how Tex still had access to re-use Johnsen's backgrounds when he was over at MGM; and yet Freleng could at Warners.

Note that even the backgrounds show a particular style throughout the film. Note the illustrated cover of the first edition of Of Mice and Men (by Ross MacDonald) actually shows some subtle inspiration in the backgrounds by Johnsen. Although it may not be very evident, but Johnsen's use of colour and the wavy trees give quite a strong connection to the illustrated cover--which could mean Johnsen was inspired by the cover.

On the animation side; Tex Avery is still developing on some characteristic cycles which he is well known for. Look at the run cycle for Willoughby when he running in the forest (supposedly chasing after the fox).

This is a great one which was hilariously animated (probably Bob McKimson) which shows how Tex could even be very wacky and exaggerated in some areas, even if he hadn't quite got into that faze. The cycle is used at least four times in the cartoon itself; which is used as a climax which then results into failure: three times he just falls off at the edge of the cliff, and the first he crashes into a tree "I'm gonna go catch the fox--'cos I know every tree in this forest!" and then he slams at the tree. Perfect timing. What's great about the run cycle is that it nails the dimwitted personality and low intelligence of Willoughby. It implies that Willoughby is that ignorant he cannot run properly.

Despite the cartoon being a little revolutionary in terms of the humour, the animation as well as animation timing--the story of the cartoon, however isn't so much of spectacular as those three which I covered.

The cartoon is really split into acts where the fox outsmarts the dog; and there is really no twists or connections which follow in the cartoon.

The first sequence shows Willoughby, dumbfounded of the fact he is speaking to a fox, and asks for the whereabouts. This means the fox responds:

"Well, I tell ya what you do. You go down to that ol' tree stump, and turn right until you come to a ray of fence. You'll find him right on the other side. You can't miss him". Then, Willoughby runs in his characteristic cycle until he falls, and realises: "Y'know...THAT was the fox!". The next sequence, however, is just a repeat from the previous sequence, except the fox is in disguise of a hound costume.

He repeats the exact same instructions, and then Willoughby crashes again. Tex deliberately makes the sequence a pointless repeat, even by the own words of the fox: "My name's George. Here we go again". The animation, most probably done by Rod Scribner, shows some great character animation as well as weight of the costume, whereas the previous sequence showed great communication animation (by Virgil). Whilst the acting by Blanc and Tex (voicing Willoguhby) is top-notch; the sequence really lacks any depth (and humour) as well as a climax for what is to come, a little irrational.

Then, the pace doesn't pick up until Willoughby follows the fox in disguise; but discovers however that whilst he is under the log; the costume stretches (as it is jammed from the log) and it rips open. So, George the fox then begins to run away from Willoughby, who realises it is the fox: "You know, George was spoofin' us. He was no fox all the time." Then this leads to a brief chase sequence; until the climax finally comes---Willoughby intimidated by an intimidated bear which he mistakens as a friend for trapping George the fox.

Tex's own use of suspense in the shots then becomes evident when Willoughby is hiding on top of a tree, frightened of a provoked, fierce bear.

George, witnessing the intense moment, then attempts to save Willoughby by using his craftiness--the ol' hotfoot. He strikes a match and places it under the bear's foot. The pacing of the shots where the match almost strikes his foot is very effective, as well as Stalling who gives the suspense through music. As though Tex was hardly wacky in this time period, a wonderfully comically timed sequence occurs when the bear is struck by the foot; in which it reflects all the way to the bear's spine, and he dashes off. For the time period it was made in, it shows some great use of speed and delivery.

 Then as the cartoon draws to a close; we find that Tex recycles and repeats animated sequences and bits of action and dialogue all to combine to the concluding gag of the gag. We find the realistic looking trumpeter on his horse; blowing to A-Hunting We Will Go, and all the other hounds follow.

Just then, Willoughby (who has kept George in his kennel) then asks him to help find a fox in which George, responds the exact same words which he used twice previously; in which Willoughby responds: "Well, gee, thanks a lot, George! Thanks a lot!" kissing George.

Then, this results in the crazy characteristic run cycle, Stalling's music cue for the run and he falls off the cliff. This time, hardly a sound---just a little 'ping'. The camera pans down vertically, in which Willoughby (already planned) had landed softly on a bunch of mattresses and cushions, remarking: "Ya know, I ain't so dumb!". A few flaws in the sequence, Willoughby's ignorance and consistent response to George's overused prank just gets carried away; and having a whole sequence full of repeated elements all runs down together. Except, that the concluding gag at least had a continuous bit of logic towards it...and at least a smart move for Willoughby.

Despite the cartoon being revolutionary in terms of its humour; using the Of Mice and Men formula, as well as character relationships...the cartoon itself falls flat and runs down together. The story is full of contradictions, where the results are just weak. The whole first half of the short is incredibly slow, where two sequences are generally the same, and many elements (and sequences) are reused several times, just to get one big laugh--which was the ending shot of the cartoon. It was just one of Tex's little ambitions in hoping to get a laugh, but it wasn't one which he pulled off successfully.