369. Lights Fantastic (1942)

Warner cartoon no. 368.
Release date: May 23, 1942.
Series: Merrie Melodies.
Supervision: Friz Freleng.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Various voices).
Story: Sgt. Dave Monahan.
Animation: Gil Turner.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: A take-off on billboard advertising products, satirising billboards with commercial characters singing and dancing.

Although this may not be a Warner cartoon up to anybody's taste; it is without doubt one of the most strange and unique shorts in their entire stock library. Instead of creating a spot-gag cartoon based on billboards, Freleng turns the concept into a musical concept, as well as a short where he can practice and improve on his timing.


The opening scene features an elaborate color stock footage of New York Times Square at night. However, by the time World War II hit America, the Times Square lights went out, so the stock footage would've been filmed some years ago.

If you look really closely, you'll find a cinema with bright neon lights reading: May Way for Tomorrow, which was first released in 1937. One can assume this was when the footage was shot. However, the film could've been a possible re-release or it ran in theatres longer than '37 - can you clarify Yowp? The stock footage has also been used in several shorts, Rebel Rabbit being a striking example.

Friz experiments and has fun with exploring unique types of timing, as well as achieving a different type of comedy. The typewriter-billboard gag is a good example of that. Friz's timing combined with Stalling's original cue is the icing on the cake.

The billboard is advertising an Understood Typewriters product. The gag itself is is the billboard is typewriting positive statements: "It's Sensational! It's Colossal!", which at the time were key adjective words used in advertising to describe a product or motion picture.

It becomes even more of a gag, as the typewriter on the billboard fails to spell the word "Stupendous". Freleng has the writer pause for a while, deliberately ruining the jingle and timing of music. As soon as the typewriter incorrectly types a letter, it crosses out the verse, and starts a new one: again, making another make. After a pause, the typewriter quickly spells out: "It's Swell!". It's great satire that contradicts what the advertisements make it out to me, and Stalling's improvised cue really adds to the charm.

Freleng's timing is also put to excellent use in the effects animated billboard sequence which animates a beautiful scenic image in synchronisation to the Johann Strauss's Voice of Spring. Freleng has re-used the sequence later in Holiday for Shoestrings, but both are excellent showcases of Friz's abilities. To achieve such a scene, it would require a lot of careful, meticulous planning on not only timing the pieces in the animated billboard, but also how the layout will look.

Freleng's knowledge of music is put to excellent use, as he finds an elaborate piece that would fit perfectly to a sequence like this. It's a wonder how Freleng managed to accomplish this incredible, ambitious task: twice! Not only is it a gag that has an animated billboard move in the rhythm of the classical piece, but it becomes even more of a gag as it's revealed in the typical Warners gag Eat at Joe's.

As dated as some of the cartoon is today, racial stereotypes are guaranteed, but only for entertainment purposes. The gags involving Chinese billboard signs set in Chinatown. One gag involves a bus conductor seeking a crowd to go for a bus excursion. After the last remaining passengers enter the bus, the scene trucks back to reveal two Chinese men picking up the bus like a rickshaw, and leave.

The sequence with a group of Chinese men reading the sign notices is much more humorous. As Chinese handwriting tends to be written written as one word, and the neon sign is very thin. This causes them to stretch their legs to read the rest of the advertisement written in Chinese.

They do this every time Chinese handwriting slides upwards up at the sign. Mel does a great accent on Chinese men muttering as they read, adds to the comedy and realism. Another Chinese-related gag appears in a billboard sign advertising a free eye test, courtesy of Dr. I.C. Spots (heh - where's Ben Hardaway when you need him?).

As each word pops up, it gets smaller and smaller. Finally the smallest writing is written in Chinese, and the doctor announces: "If you can read this: you are Chinese!". This is probably the most politically incorrect gag of the whole short, even though you can't help but snigger at it.

Other great sequences which show excellent satire is seen in some of the musical number sequences. One for example, would be the Laugh, Clown, Laugh sequence. In the billboard poster, a clown representing a comedic advert begins to sing the infamous song. As soon as he sings the word 'laugh', he slowly begins to chuckle, and later breaks down, cracking with laughter. Gil Turner, who animated the scene, really added the energy to the gag, making it enjoyable.

Other enjoyable sequences that occur would be the can-can sequence. This wasn't the first time we saw "can-can" performers in a Warner short (see Goofy Groceries), but instead they are dancing to the song number. In this sequence, the can-can dancers, disguised as coffee bean cans, perform their dance as well as reveal their rear ends (the ends of a tin can), to the popular song: The Latin Quarter. The result of the gag, is that the billboard adds another neon sign, reading: it's dated. The back of the tin cans reveal dated can as "Jan 5, 1942", four months after it was released. It's another great satire on false advertising.

Perhaps the highlight of the cartoon would be the satire on the Four Roses whiskey, spoofed as Four Noses. This features animated stick figurines with big, red noses sticking out. They go into a jingle, singing My High-Polished Nose, which is a take-off to the popular song My Wild Irish Rose. Not only is a great sequence, but it's a great little jingle that sets the mood and atmosphere into a positive one. The stick figurines were designed appealingly, giving the sequence a rather unique look towards it, artistically. The little nose character, who sings back-up: "It sparkles and gleams at night" adds to the charm. A top-notch sequence.

As the cartoon reaches its finale: it's finale ends on a high note: a musical, rhymic sequence. This showed great cooperation between Freleng Stalling as they plan their timing and music, to coincide with the billboard characters as they dance to Annabella, in rhythm to the Congo.

The sequence starts out uniquely, with a cup of coffee dripping, and the dripping noise starts the beat of the finale. This follows by a group of peanuts shaking, adding more rhythm; a cow chewing at another billboard ad (ringing its bell).

Then the rhythmic beat really begins. We get amusing gags which add to the charm. The liver oil billboard scene is a scene which amuses me most. We get a pair (a man and fish) dancing together during the conga. The man has the fish attached to a rope, as they dance; they switch positions (see screenshot). Perhaps the funniest scene in the finale is the Egyptian cigarettes billboard scene. The billboard is created with several picture slides, we get a a couple of Egyptians performing their cultural dance, then we get a hotfoot gag, with an Egyptian stomping the hand of the culprit. It's a gag incredibly decent, it was used once more in A Hare Grows in Manhattan. Some decent editing in the final shot of Times Square as the footage pauses to match the rhythmic beat, as the cartoon closes.

Although an unusual Warner Bros. short, it's still worth a pass for its creativity and unique concept. Even though it's mainly an update of the old "sing-and-dance" routine from the 30s shorts, Friz's update shows how advanced and experienced he became a director, after directing those mundane 30s Merrie Melodies himself. His timing is to a tee in this short, and his knowledge of music is evident. It really hasn't got a narrative or story, but merely a mood piece--to enchant audiences with melodies and comical sequences. It's no wonder why several later cartoons have repeated several gags in the cartoon because of its clever, conceived gags and sequences. Overall, I think it's an enjoyable, unique effort from Freleng, and it's certainly worth the watch.

Ratings: 3.5/5.

362. Saps in Chaps (1942)

Warner cartoon no. 361.
Release date: April 11, 1942.
Series: Looney Tunes.
Supervision: Friz Freleng.
Producer: Leon Schlesinger.
Starring: Reid Kilpatrick (Narrator), Mel Blanc, Billy Bletcher (Various Voices).
Story: Sgt. Dave Monahan.
Animation: Manny Perez.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: A spotgag parody on how the Wild West was first inhabited by civilisation.


Despite the departure of Tex Avery from the Studio, Warners still had some of his writers who were still writing out spot-gag cartoons, in the style the audience were used to seeing in the past four years. Spot gag cartoons at Warners didn't seem to die down until at least around 1944, when by that point they became less frequent, and everybody realised how unfunny they were. In this case, Freleng takes another shot at a spot-gag carton centring on the Wild West back in the pioneer days, with Dave Monahan being the writer, who is credited as "Sgt. Dave Monahan", for he became a sergeant during World War II.

The short begins with a long background displaying the journey of the pioneers going West, which is seen from the American map. An animated line coordinates the pioneer's journey. Although this shows two individual shots of each map, its a very complex job to stage and lay out, especially since the sequence will have to require visual gags.


The pioneers are travelling far, already through the Black Hills of South Dakota, in which the narrator describes: "In the ways when the west was young.."..the camera then pans to a visual gag in South Dakota of Mount Rushmore with the four presidents presented very youthful looking. The young Roosevelt caricature is very attractive.

Moving forward, the pioneers are seen travelling further (though this time wounding all the way down in Texas, crossing through Oklahoma) as they make their way through the Great Plains, then through the American Desert. More visual gags are presented along the way, such as the Rocky Mountains ('the backbone of the nation'), and so the Rockies are illustrated to look like backbones.

Some clever animation staging on the coordinate avoiding to cross the Painted Desert, Arizona as it's presented with Wet Paint signs, and the line dodges that territory. Despite a few inconsistencies with the map, it's still a well-planned sequence with some enlightening visual gags making it satisfying enough.

As for most of the cartoon, it doesn't give you much gags or wonderful sequences to offer. The rest of the short relies on a lot of uninspiring gags, which usually leads to the result of corniness and bad delivery.

One sequence focuses on a gag of a man who is seen struggling to survive in the desert as he is crawling on the ground, dehydrated and trying in vain to find water.

He even becomes a potential victim by a flying pair of vultures, with one vulture shouting out: "Hey Joe, come 'ere. I've got a bone to pick with you!". The dehydrated man then finds himself arriving at a water stand, where the water man arrives to give him a bucket of water.

He encourages him to drink steadily in order for him to survive his journey in the desert. After a guzzle from the bucket, assuming he has restored his energy, he continues his journey. Just as he continues, he immediately returns to his dehydrated state by crawling through the sand, pleading for water. This is an unfunny gag, leading to unfunny delivery, especially after all that build up it led to.

More corny sequences are released throughout the cartoon. Sequences that come in mind would be the roll-up cigarette scene. A cowboy is seen leaning beside the wagon, and is preparing to roll himself a piggy.

He takes out some rolling paper, then some tobacco; and attempts to create a rollup action by whirling his fingers. This, however, leads to no effect: except by leading his fingers in a "twisted" situation.

The hand whirl effect had a decent touch, though it's a gag that still works on its own. Then you encounter another sequence which is also trite. The scene takes us to a saloon, where a group of men are seen engaging a game of poker, and enjoying their beverages, until...A stereotypical 19th century villain walks in the saloon with two pistols pointing.

Everybody is intimidated by his appearance, except for a he-man seen leaning by the saloon. The villain fires pistols at him, only leading for the cowboy ticklish with laughter from the firing pistols. It's a incoherent gag, it's silly, but its the gist of the whole scene; to make the mucho man seem tougher than everyone's expectations. I suppose it passes as a gag.

There is some decent animated sequences which show Freleng taking his abilities to an advantage. The townsfolk scenes of the men walking down the streets in their chaps with an appealing pose as well as a decent piece of timing of their walk. The scene follows with a mouse also copying the walk, but finds however he is confronted by a cat who chases the mouse with a lasso.

Other fun sequences take place during the rodeo sequence, although in the scene I'm referring to, Friz could've exaggerated this further, to make the gag more fitting. One of the gags centers on a rodeo attempting to jump on top of his bull. His hands are holding its grip to the bull's horns, but he finds himself skidding on the ground continuous. After letting go of the bull, he finds his body has stretched out long, and his legs compressed. As a gag, the pose and exaggeration appears to be lacking, and to have him appear even more stretched would've worked better.

Dave Monahan's puns also come to great use in some sequences. Just as the pioneers have begun to settle in the Wild West, the narrator speaks metaphorically: "The towns sprang up like mushrooms". This is also another advantage to Freleng's timing as the towns plop up, indeed, like mushrooms. Treg Brown's effects also add to the appeal and wit behind the gag, adding emphasis on the growing effect. Great touch on the small gas service growing slightly.


Other great sequence in that matter, would be in the sequence featuring another rodeo performance. The cowboy is seen gripping tightly and wildly on the horse, as the narrator commentates: "He'll never throw this boy!".

Upon hearing the phrase, the horse questions his commentary by staring at the unseen narrator with doubt, and then tosses his rider from his back to the ground, before he sticks his tongue with cheekiness and walking away from the scene. The attitude the horse has is great as it gives a funnier setup to the gag as well as making the narrator appear foolish from saying those words.

More gags in the sequence that also tend to bare a lot of corny delivery and action would appear in the sequence of an Indian baby who is seen riding on top of his squaw pretending his Papoose is a saddle. The gag was thrown in the sequence showing little execution other than just plain corniness. I guess it fits in the sequence, as Injuns were still had civilisation in the Wild West.


Not to mention the scenes also show 'suspense-killers', too. In one scene a couple of cowboys are seen attempting to hold onto the gate of what appears to be a rough and intimidating horse attempting to break out and into the arena.

The narrator even uses superlatives to add to the horse's malice, as well as a word of caution: "You've got to be tough to ride this baby". As the horse jumps out of the arena with a tough attitude, he turns to the audience cheering, and feeling somewhat disturbed and intimidated himself. The horse reacts to this timidly, "Ooooh, people" and the horse shyly walks back into the stable, cancelling his performance at the arena. This is an amusing piece in satirising suspense, as the horse doesn't live to its superlatives.

Like many of the travelogue parodies in cartoons, you are always bound to find a recurring gag to carry on the entire cartoon. While this cartoon does feature a recurring gag, it doesn't really take much advantage of it, other than much a gag passing-by intended for possible laughs. The recurring gag features a cowboy who is attempting to hop on top of his horse and saddle, but his horse keeps on galloping, leaving for the cowboy to fail every time. The horse cycle as well as the cowboy's jump is nicely done and executed as a gag, but that's generally all you see as a recurring gag. It's mainly intended to interrupt opening and closing sequences. The ending gag is very much like that, though Friz adds a charming touch, with the cowboy and horse changing positions on galloping action, as the cartoon draws to a finish.

This short is evident that the spot-gag cartoons from Schlesinger were already growing very tiresome and uncreative. Not just because the gags were getting weaker, but because the cartoons lacked any inspiration for gag material as well as execution. Tex Avery's first few travelogue parodies were inventive at first because of some gags and satire which hadn't been explored before, but as more cartoons poured out, the gags grew tiring very fast. Despite this, Tex still maintained in creating an original gag every now and then. This cartoon features gags which are obviously outdated for Schlesinger humour, and that the Warner directors need to break out of the habit. Not to mention, the studio had already advanced with character personalities to the point where they could make more and more funny cartoons, whereas the spot-gag cartoons just get more dated in more wilder approach to humour that Warners was experimenting with.

Rating: 2/5.

359. Conrad the Sailor (1942)

Warner cartoon no. 358.
Release date: February 28, 1942.
Series: Merrie Melodies.
Supervision: Chuck Jones.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Daffy Duck), Pinto Colvig (Conrad Cat).
Story: Dave Monahan.
Animation: Ben Washam.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Conrad Cat is busy cleaning the deck, but gets distracted by his duties when he becomes a target of bullying from Daffy Duck.

It's worth to mention before we review the cartoon that what really stands out greatly about the cartoon; is not just Chuck Jones' drastic change in direction, or that Conrad Cat represents Goofy; but it's the art direction of the cartoon. Chuck's layout artist from this era, was John McGrew who designed a lot of unique and ambitious backgrounds for classic animated shorts. It was unusual for McGrew's work to appear in such cartoons, as many audiences were used to seeing watercolored, oiled backgrounds seen from Disney as well as other studios. McGrew and Jones both helped revolutionise the look of classic animation, as well as making the cartoons a lot of fun at the same time.

Compare his work to some of the cartoons he worked on like: The Dover Boys, Case of the Missing Hare, etc. All of his work in those shorts show how very versatile he was in terms of designing as well as providing the right atmosphere for cartoons. In this cartoon, not only does his layout work in all scenic locations of a navy ship look modern in art direction, but pleasantly realistic too. These screen grabs were borrowed from the late Michael Sporn's ever-so-inpsiring Splog; for more of McGrew's artwork on the short. Mike writes a great analysis here, complete with breathtaking frame grabs.

You can tell how risky and complex, both Jones and McGrew wanted to be artistically; they were willing to use their artistic abilities to the point where it could sometimes sidetrack from story purposes, as well as the animation itself; which to itself is a disadvantage in animation. A real shame he never received screen credit for his great work at Warners, much like the many other background and layout artists working in that era.

Conrad Cat, in his final appearance, is once again interpreted differently by Chuck. Perhaps judging by the lacklustre of The Bird Came C.O.D., Chuck switched to turn to comedy; giving him a Goofy persona. To add to that, have Pinto Colvig provide the voice.


Chuck's approach to humour has also drastically changed in the course of this cartoon, compared to what we're used to his approach. His pacing and timing has lived up to the Warner Bros. standards, as well as the gags.

The gags work coherently, and have that looney sensibility that lives up to the series' name. Perhaps this can be attributed to Dave Monahan, who had written shorts mostly for Tex Avery and Friz Freleng, who were the funniest directors Warner's had in 1940-1941.

From the start of the cartoon, it's clearly established that Conrad is working as a sailor for a navy ship, cleaning the decks. While the navy crew sing Anchors Aweigh together, Conrad sings the song alone; and it's clear he's established as an outcast.

Conrad's introduction scene is 45 feet of animation (30 seconds), and the action mostly consists of Conrad singing and cleaning. This was a real challenge approached to animator Ken Harris, who animated the scene. He had to create some inventive animation as well as gags to not lose the audience's attention, especially as the scene shows little descriptive action. So, he adds some decent touches like Conrad swinging the mop, and positioning his hand for the mop to hand neatly.

Another great addition to the cartoon is none other than Daffy Duck. Daffy had been appearing sporadically such as in a few black and white Looney Tunes, though this is his first colour cartoon since Daffy Duck and the Dinosaur, directed by none other than Chuck himself. This cartoon; Daffy's characteristics well interpreted by Chuck and Monahan. Daffy is not only mischievous and looney, but he's cynical, he can dominate people; and Chuck nails that kind of persona in this short.

He becomes an instant menace to Conrad once he discovers Daffy's footprints on the floor, and finds Daffy loitering on top of a mast. There, Daffy mocks Conrad's singing by singing in a mockery voice: "We're shoving right off, again", before leaving a forth-wall remark to Conrad, "Phew, is that guy awful? Gee, it makes me sick."

The sequence with Daffy pestering Conrad's duties is a brilliant showcase of how Chuck Jones has nailed the comic standards which you'd expect from a Warner Bros. short. Not to mention, it's also very inventive in giving Daffy more of a wacky personality.

As Conrad is scrubbing firmly of the deck singing angrily: "We're shoving right off for home!", Daffy replaces the water bucket with a bucket of paint; to make Conrad's navy life a living hell. Conrad sweeps the deck, not realising at first he is using red paint.

Daffy responds to this by disapproving Conrad sarcastically, "Very sloppy, Roscoe. You're a slovenly housekeeper". Conrad reacts to the criticism harshly and aims the mop directly to Daffy's face. Daffy grabs the mop, leading to a brilliant scene with Daffy grabs the mop and improvises by performing a short act in the style of vaudeville. The dry-brush effect on that scene is just delightful.

Daffy tosses the mop up in the air, and shouts to Conrad: "Catch! Catch!". The 3/4 up shots from Conrad's POV of the mop falling is another brilliant angle, as well as another great reason to admire how gutsy McGrew and Jones were in laying out the angle.

The mop falling in perspective is very complex to animate, and it would require only the ambitions of Jones' unit to accomplish it well. The next shot of Conrad's mini eye-take is just a brilliant showcase of timing. Chuck was never afraid to exaggerate poses, especially with eye-takes; and he used some of the most subtle kinds such as in shorts like Daffy Duck and the Dinosaur or Prest-O Change-O. After the mop smacks Conrad's face, the camera pans to Daffy sitting on top of the mop once again taunting Conrad; "Very petite, Betsy. Very, very petite". Once again, its a brilliant showcase in representing the potential of what the rest of the cartoon.

Despite the potential of having really good characters in creating an all-round funny cartoon; Chuck Jones is just not quite there yet. Sure, he has Daffy; and an improvement on the Conrad character (even if it means a rip-off to Goofy), as well as a really good sequence; but the only part that's really lacking in the short is the hyperactivity and energy from the characters.

Daffy acts looney like he'd usually behave in any other Warners cartoon, but its his looney energy that makes him somewhat tamer in this cartoon. Not to mention, in the latter half of the cartoon; both Conrad and Daffy remain silent a lot of the time, occasionally speaking a line of dialogue, and since the mop gag; the energy and characterisation just faded.

An example can appear in the crow's nest scene, where Conrad holds out his telescope on the lookout for Daffy. After placing the telescope back and supposedly grabbing hold of it again, he grabs Daffy's neck mistaking him as a scope. This leads to Daffy's sarcastic remark at Conrad, "Swell view, eh doc?".

Much of that sequence is performed in pantomime, and by doing that; you feel you are losing the personality already established from the characters. It just doesn't work in a cartoon which has a lot of fast-paced action. Note another scene which shows characteristics but lacks energy and motivation. Daffy has slider down a very long chute, but lands from the threatening hands of Conrad. Just as his hands get cleansed, Daffy licks Conrad's lips; unintentionally freeing him. It would've been more motivating a gag if Daffy's hyperactivity was there, such as his 'hoo-hoos'.

Despite some problems with characterisation and energy, you've got to appreciate the big change in Chuck's own pacing. Every scene is evenly paced, with no scene dragging too long whatsoever. This was a big step for Chuck, and this is what he's done right.


You'll notice Chuck certainly expressed a keen eye on dry-brush effect to help gain weight and anticipation into the action, and a lot of the time it's beautiful to look at frame-by-frame.

A clear example of that is seen in the cannon cleaning sequence. Conrad believes he is rid from Daffy, but finds Daffy is only standing right by the cannon. This leads to a childish game where Conrad's and Daffy's hands both overlap one another, and Daffy swirls Conrad's arms to get them into a sticky tangle.

Conrad manages to unfree himself easily by swirling into a frantic motion, which is seen in the screen shot. Another scene with some great, loose animation is the scene where Daffy plays the nursery rhyme clapping game Pease Porridge Hot with a perplexed Conrad. Note how Chuck's animators at that point were already very liberal in animation, and had this sense of freedom that you'd be under the impression that Chuck's allowing them to go loose. Daffy's little hitch dance in that scene is wonderfully loose and expressive.

Chuck always liked the idea of having a random, passing-by character interrupting the action, and passinby throughout the short before getting a sendoff. He's used that in cartoons such as the sailor in The Dover Boys, Humphrey Bogart in 8 Ball Bunny, and not to mention: the Mynah bird. Here, the recurring passing-by character is the sea captain. The captain is represented small in size, but big in power; hence the irony in size. During the action and chase scenes, the characters freeze when they are seen by the captain and both salute him in his presence. The timing of the captains' walk as well as Stalling's cue is entertaining comically, but it doesn't really have an edge, or a purpose; other than distracting the action.

It doesn't have much of a sendoff in the cartoon's ending, either. A scene with the captain passing by that does really stand out is the scene of Daffy and Conrad both sliding into the scene to salute. Watch how layers of Daffy and Conrad slide into the scene, with the characters starting out as transparent to opaque. It's difficult to create in terms of ink and painting, as the lighting has to be slightly different each layer. This is also another prime example of just how inventive Chuck's pacing is, and to pull it off takes a lot of ambition.

During the cartoon's climax, the short appears to built back the pace again: with Daffy's energy restored into the cartoon. Hiding inside a cannon, he hums to himself inside, but unaware of his knowledge Conrad has placed a giant bullet inside. Daffy points out obviously as a forth-wall gag, "Big bullet". Conrad lights the cannon, and the cannon fires, leading to Daffy riding the bullet.


He shouts, "Look at me, hoo-hoo-hoo, I'm a dive-bomber!". Once again, it's another great sequence which has the right pacing for an action-filled sequence. Daffy's attempts to dodge the bullet are very fluid in movement as well as impossible in action.

Believing that he has disposed of Daffy for good, Conrad walks among the deck with his mop to resume to his duties. To his surprise, he finds that the bullet has backfired leading to the bullet chasing Daffy. Realising the bullet and Daffy is leading directly to him, he expresses a "Here we go again" pose. Such a rich expression, too. This leads to the final gag where the trio (inc. the bullet) both stop at the presence of the sea captain as they salute before the bullet continues to chase them.

After almost four years of Chuck Jones directing almost consistent, tepid cartoons; this is the cartoon where he has finally broken out of the habit and started to pick up the pace much like what Friz Freleng or Bob Clampett were doing. It's got some great pacing, and not to mention even some coherent gags which in Chuck's earlier cartoons were not. Daffy Duck and Conrad in the opening scenes were great characters who created some good comedic situations, mainly in the mopping sequence; but then for a while the energy goes for a while. Though many do consider Chuck's real breakthrough in creating good comedy to be The Draft Horse, they to some extent correct. If there was a cartoon which Chuck Jones finally started to make his pacing slicker, and that none of his scenes dragged: it's definitely this short. However, in making an all-round fast-paced and great all-round entertainment: he's only so close. Like I said, the only lacklustre in the short is centred in the middle of the short, where you get long scenes of time of little to no dialogue, which doesn't quite combine well into the earlier sequences. I would personally attribute the problem to Conrad, who as a character just isn't adaptable as a character to match Daffy Duck, especially if Chuck prefers to have him silent much of the time. All in all, this was certainly an entertaining short, and from then on in his long career at Warners, Chuck could do no wrong.

Rating: 3/5.