423. Tom Turk and Daffy (1944)

featuring PORKY PIG
Warner cartoon no. 422.
Release date: February 12, 1944.
Series: Looney Tunes.
Supervision: Chuck Jones.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Porky Pig, Daffy Duck), Billy Bletcher (Turkey).
Story: The Staff.
Animation: Ken Harris.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Daffy Duck protects a turkey from becoming a Thanksgiving dinner, hunted by Porky Pig. Soon, he turns into a "stool pigeon" by betraying the turkey's trust.

Before I commence with the review; I'm not going to theorise too much on the story credit for this cartoon. The context of "The Staff" credit has been forgotten overtime; much to the chagrin of some cartoon fans. Don't take my guess for granted; but I believe it was simply a joke by the Schlesinger crew. After all, would 1944 audiences really care on who wrote the cartoon?


If I had to pinpoint a writer, I'd say Mike Maltese, or maybe Ted Pierce. Then again, Leon Schlesinger also employed gagmen in his service. Hubie Karp worked as a gagman for Michael Maltese, although he wasn't hired until late 1944. Any idea who might've worked alongside Mike around the time of the cartoon's production?

Onto the review: Porky and Daffy continued to be a successful duo in animated cartoons, that a hatful of story opportunities were open to them. For this cartoon, the locale is centered during the Colonial era. Porky assumes the role of a pilgrim, hunting for a turkey to feast for his Thanksgiving dinner, but Daffy intervenes by hiding the turkey from harm.

The opening sequence serves as exposition for the entire cartoon. In a wintery scenario, Daffy is contentedly building a snowman. Daffy reacts to the off-screen gunshots in a vigorous manner, as broadly depicted in the frame grab. Daffy encounters a desperate turkey, vulnerable from the shooting.


Some wonderful character animation from Bobe Cannon who depicts despair and cowardice in a comical fashion. The turkey cries, "Don't let 'em kill me! I'm too young to die! I've got my whole life before me: love, travel, good books!", and proceeds to climb on top of Daffy, whose weight burdens him, yelling and sobbing "HIDE ME!".


Daffy's nonplussed expression as he sinks slowly in the snow is priceless. It's a beautiful presentation of how one might respond awkwardly to such a plea.

Billy Bletcher clearly has a blast with his vocal performance for the turkey's plea - and wonderfully versatile in vocalising comedy. It's more refreshing from the standard, villainous voice; for which he was typically typecast in cartoons.

Animation by Ken Harris.

Ken Harris' animation beautifully portrays Daffy as ignoramus by showing that the character has no consideration for the turkey's well-being, by physically forcing him down potential hiding places; to no avail. First, he attempts to hide the turkey under a lump of snow and in another attempt down a rabbit hole.

Daffy's characterisation is portrayed in a hilarious fashion, as he jabs the turkey with a pole down the hole, until he reconsiders: "Nah, even more obvious-er."

Daffy's ideas for hiding places become even more hysterically ridiculous as he tries to stuff the turkey inside a narrow tree. Whilst Porky is seen from the distance, Daffy chooses the final hiding spot; and hides the turkey inside a snowman.


Once Porky arrives and meets Daffy, he guards the snowman and attempts to stall Porky. To begin with, Daffy appears to be resilient and defensive; by declaring: "My lips are sealed." In a close-up; Daffy's "loyalty" is featured as a visual metaphor, with a dissolve of padlocks and a vice; supposedly closing his bill tight.

The opening scenes have already established the premise in a precise manner. Daffy hides a turkey, and defends him from hunter Porky. This paves the way for some comedy opportunities based on these characters. Daffy is clearly portrayed as careless and ignorant - so it begins to transcend that.

Porky walks away with disappointment, complaining: "I had everything ready for a nice, big turkey dinner." The following close-up exquisitely illustrates temptation and battling good vs. evil. Daffy is enticed by Porky's remarks about a roast dinner, so much so, that he desires it. Without being wholly corrupted; he forms like an angel, declaring: "I'm no stool pigeon." But, his halo disappears and devil horns appear at the thought of cranberry sauce!


Background colour play a pivotal part in Daffy's torn emotions. He's literally "torn" to the point when the colours are divided to coincide with the staging of the scene. A celestial blue colour depicts his willingness to do good; whilst a more vibrant purple colour suggests a sinister nature consuming him.

Chuck Jones' posing are broad and nutty in a sense, but Daffy's emotions feel very human in his hopeless attempt in fighting temptation; and his corruption. The point-of-view shot of Porky walking away is crisply inter-cut to evoke Daffy's increasing impulse.


Alongside mashed potatoes, chestnut dressings and greened peas; a favourite of Daffy's, candied yams, was also prepared for Porky's dinner. So, Daffy breaks down crying as he bellows: "The yams did it! The yams did it!". He impersonates a stool pigeon and begins to coo (squeal), indicating that Daffy is perfectly willing to reveal the turkey's whereabouts.

Daffy's breakdown serves as an unforgettable scene throughout his entire legacy. Succumbing to temptation and attempting to divert the blame correlates with the human mindset, and yet his betrayal is impeccably funny; right down to the animation and Mel Blanc's voice work.

Of course, like a Chuck Jones cartoon, Daffy directs the turkey's location to Porky with numerous signs, as though his desire isn't escalating any further. Dissolve inside the snowman, the turkey refers to Daffy as: "quisling".


The cartoon takes a different direction with the turkey plotting retribution for Daffy's treachery. The turkey steps in as a plot device to turn the conflict towards Porky and Daffy, rather than what the opening exposition established.

The turkey trails under a pile of snow and hides behind a remorseful crying Daffy. He sacrifices his own feathers to plant them on Daffy's rear end (without his knowledge), and gobbles to attract Porky's attention.

With the exception of Bugs Bunny, the Schlesinger cartoon writers knew fully well that their characters were dumb and unsophisticated. Despite just meeting Daffy a moment ago, Porky completely overlooks this and takes Daffy for a turkey. Daffy's denial isn't enough for the obtuse Porky; which puts him in a vulnerable spot.

Several gags during the chase sequence feel like a throwback to early Chuck Jones cartoons, which involved inanimate objects personified to challenge the character. This is evident in the scene of Porky getting attacked by Daffy's snowballs. Snowballs strike Porky from different directions, including two from opposite sides. Porky comes face-to-face with a large snowball, who mimics every  movement of his. Daffy arises and strikes him with a mallet.


Although Chuck had explored these gags several times in his earlier years (i.e. Elmer attempting to blow the candle out in Good Night, Elmer), the timing is advanced and the gag is kept spontaneous; with Daffy merging from the large snowball.


Further gags take advantage of the winter locale in the cartoon. Daffy fills up a bucket from a lake and tosses the water out of it. The running water solidifies into a piece of ice, and strikes Porky - with forceful timing to illustrate pain.

Daffy showcases his zany ability as he loiters by a tree and pours a glass of water over him, forming into ice. Porky's attempt to crack the ice with his gun creates a comical staggering effect from Ken Harris' animation.

Chuck Jones' innovative use of funny expressions are uniquely showcased in a scene of Porky that's remarkably broad. Porky has been fooled by Daffy from the "toll bridge" gag. He skids from the snow and has a moment of thought. After a series of visual gags highlighting Porky's stupidity, he completely boils up. Porky slams his gun in the ground and is all-out exploding with rage. He anticipates a huge sprint, as he digs up a lot of heavy snow before he exits the scene - animated sublimely by Bobe Cannon.

During the buildup, Porky goes through several angry expressions which are very far-fetched for a character whose relatively tamer compared to Daffy, or even Bugs. It's a unique form of outrageous posing that has seldom been seen in Porky or since. It's a pity that Cannon reportedly despised animating broad and wild, despite how well he excelled in it.

The wildness doesn't end, as during the chase, Porky's rage and speed are executed in a perilous and yet exaggerated sense. To begin with, he transforms into a war tank; symbolising force and danger. Such a gag easily rivals the more outlandish gags Tex Avery would conceive. The great use of energy in Porky's wrath causes a snowy hill to break open into a chasm. The cutting and timing of the chase scenes are a contender for Clampett's more flamboyant energy.


The final scenes of the cartoon are represented as a bookend to the entire cartoon. The turkey is contentedly building a snowman, but is ambushed by a cowardly Daffy. It perfectly matches the opening scene, to demonstrate the changes made through the course of the cartoon - and the heavy emphasis on the characterisations reverse.

The turkey gets the last laugh, as he deliberately re-enacts Daffy's careless attempts to hide the turkey. Soon, his "attempts" to hide Daffy turns ruthless as the turkey kicks Daffy up a tree; and cuts the tree down with an axe, causing it to land on his body.

The fast-cutting becomes very slick and abrupt to showcase the turkey taking pleasure in fulfilling retribution on Daffy. For the final scene, the cartoon ends very appropriately on the turkey continuously beating up Daffy Duck into the night - long after Porky Pig is out of the picture.

So far, Tom Turk and Daffy has become one of Chuck Jones' fastest paced cartoons; and definitely worthy of rivalling Frank Tashlin or Bob Clampett. The writing and structure is sublime and true to the animated cartoon spirit, and the conflict is executed hilariously from a writing standpoint between the three characters; that it keeps the whole viewing experience engaging and spontaneous. I can't emphasise enough on how overly entertaining this cartoon is; all down to its impeccable wit and execution.

Rating: 5/5.

417. Daffy - the Commando (1943)

Warner cartoon no. 416.
Release date: November 20, 1943.
Series: Looney Tunes.
Supervision: Friz Freleng.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Daffy Duck / General Von Vulture / Hitler).
Story: Michael Maltese.
Animation: Ken Champin.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Commando Daffy Duck raids enemy lines - creating trouble along the way.

By the time of the cartoon's release; Germany were already starting to lose the Second World War. Western Allied countries were still a far cry from conquering the D-Day operation, but the short's premise suggests a speckle of optimism. The premise is centred on American commandos successfully breaking into German soil. Daffy Duck is portrayed as an American commando whose mission is to infiltrate a Nazi bunker, headed by colonel Von Vulture.

Daffy Duck is a fine candidate of an animated character challenging the Axis of WW2, comedically. Already he's dealt with a Nazi billy goat in Scrap Happy Daffy - and would go on to become a messenger in the showpiece, Plane Daffy.

Friz Freleng, perhaps the funniest of the Warner Bros. directors and Michael Maltese; the wittiest of the studio's writers, produce their take on Daffy's infiltration of a Nazi zone.


Friz Freleng might not have been as visually innovative as the likes of Bob Clampett or Chuck Jones; dynamic staging and striking composition was never unheard of from Friz. Daffy - the Commando is certainly no exception. The opening establishing shot of a Nazi trench is a beautiful piece of mise en scene, with a Nazi flag waving.

The colour styling is kept intentionally dark to indicate a macabre atmosphere. It's interesting to see the locale looking more like a World War I trench - perhaps to make the identity of a trench more familiar with audiences.

A dissolve in reveals Colonel Von Vulture pacing restlessly across his bunker, muttering in German. The indistinct German language might be ambiguous a general American audience, but the character's uneasiness is well clarified. The introduction is a solid example of exposition done right.

Other beautiful uses of colour styling is evident during the blackout sequence. The layout work, likely done by Owen Fitzgerald, features objects drawn with basic outlines that has great graphic clarity. The shot of Schultz operating the searchlight is an example of that. The characters are shown entirely in silhouette - except momentarily when Schultz clumsily shines the beam across the vulture's face. An example of how the inking and painting department would have to follow timing to remove Von Vulture's silhouette form.

Animation by Gerry Chiniquy.

Friz Freleng's timing is put to entertaining uses in several elements of the cartoon. The introduction of Von Vulture's henchman, Schultz, displays some marvellous characterisation blended with Freleng's timing when he goose-steps inside the bunker. Gerry Chiniquy applies a hysterical characteristic walk of Schultz that indicates an inept personality.


Carl Stalling's cartoon touches are greatly applied through music. For Schultz's hasty walk; rapid drum beats enhances the characterisation. Schultz's stupidity is further showcased as he unintentionally kicks Von Vulture behind his rear during his uninterrupted goose-step inside the bunker.

The vulture calls him a "dumkompf", and strikes his helmet with a mallet. Despite Schultz's helmet compressed down to his feet; he still marches outside of the bunker, at one point momentarily crashing into a wall - as his busy legs does most of the action. Freleng's understanding of comic timing and personality blended together makes this little sequence a gem of its own. Not only is Schultz presented as a buffoon - but also the Nazi realm.

The blackout sequence showcases some gags that only work in animated form - with Freleng's unit pulling it off profoundly. In Daffy's opening shot, he is floating by a parachute whilst shun by a searchlight. He casually sings the British song She Was Poor but She Was Honest in a Cockney accent, before yelling "Put out that light!".


In the following shot; Schultz foolishly turns off the searchlight, until he is further abused by Von Vulture. Once again, the use of mise en scene can play a crucial role in achieving better comedy. Both characters don't appear in the shot; but Mel Blanc's delivery of "Schultz", the interpretation of sounds and imagery proves a very striking effect.

Once the searchlight reappears - Daffy Duck has some fun with the searchlight's lens to create shadow finger puppets. At first, the shadowy puppets looks like an amateurish effect - but it immediately morphs into an elaborate form of can-can dancers.

The transition from simple puppetry to the form of dancers is beautifully subtle in timing - and it reads well in animated form. After Daffy's fun; he pulls an asbestos curtain out of nowhere. Von Vulture unwinds the curtain - revealing Daffy pulling a stereotypical Japanese face and scaring the vulture off.

Animation by Gil Turner.

As far as Daffy's zany antics are concerned - it's surprisingly underwhelming in some parts. In one sequence, Daffy tricks Von Vulture in giving him a "going away present", of a clock - despite being an obvious time bomb in disguise. After Daffy's exit; Von Vulture double takes and passes the bomb over to Schultz - who flies upwards after the impact.


Although the delivery highlights the colonel's naivety; the gag itself is predictable and somewhat unambitious as a concept. The execution feels more in the style of Ted Pierce instead of Michael Maltese.

The beginning showed some comedy potential - such as Von Vulture informing Daffy Duck the time, in the style of a talking clock device. The vulture calls for Schultz who marches over to strike his helmet, for the "tone". Once Daffy Duck turns away to adjust the clock bomb - the sequence loses some of its potential and spontaneity.

Mussolini crossed out of "The Apes
of Wrath" - reflecting his 1943 defeat.

Michael Maltese's witty use of languages is put to great use for gags requiring English translation. A close up shot of a telegram features some funny usage of puns written in German dialect, such as "it's your ka-rear!!" - which can mean two different things: his career or his ass.

A sequence that best utilises some of Maltese's creativity is seen during the German speaking/translation sequence between Daffy Duck and Von Vulture by a phone booth.

During a chase sequence, Daffy hides from the vulture colonel inside a phone booth. He reappears by confronting Von Vulture in German, and holding out a card of the English translation, reading: "Can't you see this telephone is busy? Wait your turn".

Soon, the gag gets amusingly absurd as Daffy uses American slang speaking in German lingo; as indicated from the title card: "Got a nickel, bud?". Von Vulture hands over the nickel to Daffy. After a few moments, Daffy exits the booth and responding in English: "It's all yours, von Limburger!" - holding out a German translation card. The real translation is, as follows: "I'm done with the telephone, Herr von Limburger". Michael Maltese demonstrates a fun parody of translations - that's both ridiculous and funny in its portrayal.

For the cartoon's climax - both suspense and comic timing pay a key part. Daffy attempts to escape by jumping on board an unoccupied aircraft. Once he skyrockets up in the air; he is immediately trapped by a circle of Messerschmitt planes - as exclaimed by Daffy: "Messerschmitts. A whole mess of Messerschmitts." Quite a tongue twister.

Animation by Phil Monroe.

Daffy manoeuvres his plane to dive downwards - causing the Messerschmitt planes to accidentally fire at each other. After a few seconds of effects animation adorns the entire screen - the pilots find their aircrafts completely tarnished to fragments, leading to their 'downfall' - (a bad pun intended).

Once Daffy travels at full speed on his aircraft - he discovers his craft is being shot to smithereens, by Von Vulture's machine gun. Daffy continues to resist by holding onto the engine, until it sputters and becomes fatigued.

Animator Phil Monroe appears to struggle in capturing the timing of an engine malfunctioning with friction - all timed to sound. The animation isn't as crisp as it could've been. And so, Daffy Duck hides himself inside a large cannon - until he realises he's entered a dark corner; and trapped by Von Vulture.


Much of the animated cartoon serves its purpose to ridicule the Nazis in whatever crude approach. The crudeness might be lacking in contrast to shorts like Russian Rhapsody, but the mockery is still there. Not surprisingly; the Fuhrer himself is ridiculed the harshest.

In a short scene during a chase with Daffy Duck; Von Vulture momentarily halts and shouts, "Heil Hitler!"; by saluting a skunk passing through the trenches. A visual metaphor of the man, who shared such contempt from the general public.

During the cartoon's resolution; Daffy Duck is fired out of a cannon, bearing a 'human cannonball' costume. He reaches his destination at a city rally conducted by Adolf Hitler. Hitler is crudely rotoscoped for the most part during his speech - likely lifted from stock footage in newsreels. The following scene is perhaps one of the most satisfying cartoon gags surrounding the dictator; Daffy Duck striking Hitler on the head with a mallet. For the ending pay-off, Hitler yells "Schultz!" as the cartoon closes.

The locale and theme is largely a product of its time; but it remains a relatively enjoyable cartoon. Fun, but it's a relatively standard Warner Bros. cartoon. The translation sequence features is wonderfully executed in its silliness and wit - done in the fine hands of Michael Maltese. Friz Freleng doesn't have too much opportunity to showcase his abilities; but when he does it's put to memorable use - such as the humorous characterisation of Schultz. More could've been explored creatively with Daffy's infiltration of a Nazi colonel - as the bomb clock sequence is arguably the weakest element of this short, gag-wise. The ending provides a hilarious payoff for an otherwise conventional short.

Ratings: 3/5.