425. I Got Plenty of Mutton (1944)

Warner cartoon no. 424.
Release date: March 11, 1944.
Series: Looney Tunes.
Supervision: Frank Tashlin.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Wolf / Killer Diller).
Story: Melvin Millar.
Animation: Izzy Ellis.
Musical Direction: Carl Stalling.
Sound: Treg Brown (uncredited).
Synopsis: A raw-boned wolf, deprived of meat due to wartime rations; reads a newspaper about a sheepdog, leaving his flock to join the army. The wolf seeks an opportunity.

It's no secret that American civilians faced tough conditions on the home front during WW2. Rationing was enforced at a greater scale, from food resources to tires. But there was no shortage of humour, as far as the WB cartoons were concerned. A scenario involving a wolf, suffering from war-time rationing, paves the way for comedic opportunities - which will be broken down in this cartoon.


Once Frank Tashlin upgraded to making Technicolor cartoons (when B/W production ceased on the Schlesinger shorts); he slowly starts to turn his attention less on cinematic staging; and more on design and timing. His flamboyant cinematic style peaked with his B/W magnum opuses: Porky Pig's Feat and Puss 'N Booty. Maybe Tashlin felt he exhausted himself on the technique; and wanted to look for other forms of innovation. Regardless, it would still provide a unique flavour to his cartoons.

In the case of this opening sequence depicting the wolf's suffering of wartime rations, Tashlin isn't thinking just cinematically. Instead, it's how character animation and direct staging can provide entertainment. It's no secret that Tashlin was also an avid designer, and the wolf in particular has an impressive, funny design that evokes starvation - especially on the deformed chest that's hunched from the rest of his emaciated body.

The opening sequence that serves as exposition for the wolf's starvation, is enough of a showcase for Frank Tashlin's versatility and calibre. From the newspaper on the table, the camera pans to an elaborate layout of the wolf's hands pumping out water into a pot. The camera pans to follow the wolf, walking from the foreground into the background, to place the pot by the fireplace.

Tashlin's timing comes into effect in a scene of the wolf shooing away the rats, who are stealing the wolf's rations by drinking from his weak meat broth. An appropriate multiple effect drawn on the wolf is applied to capture the wolf's incessant pursuit of survival. The wolf turns the cauldron over, realising his broth is now significantly rationed to the point of a singular drop of water.  Tashlin's timing comes to aid as the wolf gets ready to take the last drop until a rat zips into the scene, and on top of the wolf's nose - taking the last drop for himself.


Tashlin's keen eye for entertainment results in how nicely executed it is. For instance, when the wolf pulls out the tureen from a dish - a mist of steam flows around the plate; obscuring what's on it. The steam unveils to reveal a pitiful, singular pea. The effect alone is both hilarious and powerful. The audience knows his predicament too well.

The wolf's frail design is taken advantage of in the following scene as he eats the pea. His frailty is so severe that the pea struggles to slide down his throat - as it zigzags across. In a vertical setup, the camera pans down to the body, with the pea landing at the bottom of his stomach and bouncing gently. With no animation on the wolf from the neck below, Treg Brown's sound work has nice touches to the entertainment values of this scene.

Tashlin's starvation sequence is a nice blend of how he directs a scene both comedically and powerfully. Some of the gags are quite sadistic, but it's executed in a light-hearted way to overlook that. Carl Stalling's score is foreboding in a sense of echoing the macabre subject of starvation. And yet, Stalling has time to apply his musical touches for comedic value - like the pea-eating gag.

And so, the wolf's delight - a newspaper headline reveals that dogs are being drafted for the war effort. An amusing photograph illustration reveals the emotional parting of the sheep dog and his flock; the latter who likely sense a premonition.

The wolf takes this chance to prey on the flock, and put an end to his starvation. Tashlin's feel for energy and characterisation are met with a series of fast cuts, to emphasise the wolf's full force and burning desire.

Tashlin already had roots with the technique, going back to his earlier directorial efforts like Porky's Romance (1937) or Porky in the Northwoods (1936). The effect was very encouraging, but less effective. By the time of this cartoon's production, Tashlin had already blossomed as a director - that the results proved successful.

Once the wolf leaps from the boulder to prey on the flock; there are a series of eclectic angles, ranging from wide-shots to close-ups. They all connect masterfully and the matter of seconds it takes, makes the result feel effortless.

Johnny Burton's camera department deserve special credit for successfully pulling off the point of view shot of the flock trucking in closer, during the dive. As a single frame, the flock are drawn within the background due to economic reasons. However, due to how quickly the shot goes; it doesn't detract from the experience at all.

After an excellent showcase of Tashlin's rapid-cutting endeavour, another niche of Tashlin takes form in the following scene. The wolf freezes at mid-air at the threatening sight of a fearless ram - who intercepts the wolf's ploy to eat the flock.

The wolf encounters a new dilemma -
as revealed in a Tex Avery-esque sub-heading.

The staging of the two characters is both broad and angular. Much of the animation is kept in a held pose - save for the wolf's hysterically sheepish grin. The use of limited animation conveys the comedy in an innovative matter - the fewer the drawings, the better the impact.

The wolf quickly looks at the newspaper again, to discover the identity of the ram, as Killer Diller--the new caretaker of the flock. And so, this results in a typical battle of wits sequence; full of fun animation and layout work.

Tashlin's sense of design and caricature is used broadly in a sequence of the wolf setting up his disguise. In the scene, animated by Cal Dalton, the wolf takes on the disguise of a sheep. Dalton's animation is grotesque in a sense that it's fitting with the character. It serves a purpose. The wolf attempts to enhance attractiveness by applying makeup on; but to little effect.

The use of caricature and cartooning is a hysterical showcase of ugliness - especially when the wolf puts on fake eyelashes that are hideously long. Dalton's animation typically involved pudginess in the characters he drew - and it seems he was a natural choice for this assignment!

Once the wolf poses in front of Killer Diller in his sheep costume, he becomes his own victim! The scene presents a good case of role reversal between those characters - the wolf is in sheep's clothing, while the ram becomes a lusty wolf!

Although sexual burlesque was becoming all the rage in animated cartoons (most notably starting with Tex Avery's Red Hot Riding Hood); it was being skirted around Hollywood movies too, during the early 40s. For example, Billy Wilder's The Major and the Minor (1942) is played harmless from the Production Code's point of view, but the film as a whole it's riddled by such sexual tension and tendencies.

Regarding this sequence, it's extremely suggestive from a visual standpoint. Take the close-up of Killer Diller, who's so horny that his curved horns erect, piping hot. On the face of it, it looks like a wacky cartoon gag, but the phallic symbol of his horns is extremely suggestive and hard to overlook.

Killer Diller embraces the disguised wolf, and lusts seductively with a French accent. Art Davis' animation in this segment exhibits his flair for personality animation, such as the subtle touches of the wolf looking for a club to hit Killer Diller, which bursts into energetic animation of the wolf whirling in a drybrush effect, after striking the club on a tree branch.

The disguise flies off the wolf, causing him to frantically escape Killer's arms and return to his disguise - in a surrealistic, topsy-turvy pose that almost feels inspired by the Cubism movement.

The remainder of the cartoon deals with the wolf trying to escape Killer Diller's consistent advances towards him. At a time of war, the wolf attempts to dispose Killer Diller with an anti-aircraft gun, but the ram pulls him inside, to kiss him.


The chase advances into the night - and for the first time, the wolf speaks, in a fit of rage. Exasperated, he tears off his disguise in a fit of outburst: "Look, ya dope! Look! I'm not a sheep! I'm not a sheep! I'm a wolf! I'm a wolf!"

Unfazed, Killer Diller responds: "So what...so am I!" and howls. The sexually risque dialogue and hilarious topper of a closing gag also feels genuine. No matter what the circumstances are - love can be found in all sorts of weird places. The bona fide spontaneity and sophistication of the innuendo is what makes Warner Bros. stand out from the rest! And indeed, it predates the immortalised ending from Wilder's Some Like It Hot - which was surely coincidental. Great minds think alike!

For a cartoon that favours pantomime over dialogue; it could've been a natural assignment for Chuck Jones to direct; but Tashlin's masterful directing proves that any competent director is capable of handling such material! Despite the wartime themes, this cartoon still feels timeless due to its simplistic battle-of-wits formula. The writers at Warner Bros' ability to make light of real-world problems, like wartime rationing, is remarkable; especially when they take on a cliched narrative that becomes less cliched and more spontaneous. Amongst several sexual-oriented cartoons that occurred during this era, Frank Tashlin's take has a more sophisticated quality; whereas, say, Bob Clampett's is more gross-out, and Tex Avery's more boisterous. Overall, Tashlin's tricks of the trade resulted in a highly entertaining, spontaneous cartoon that emphasises why the Warner cartoons are worth a damn!

Rating: 4/5.

419. Puss n' Booty (1943)

Warner cartoon no. 418.
Release date: December 11, 1943.
Series: Looney Tunes.
Supervision: Frank Tashlin.
Producer: Leon Schlesinger.
Starring: Bea Benaderet (Woman); Mel Blanc (Hiccups).
Story: Warren Foster.
Animation: Cal Dalton.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Rudolph awaits for a new canary to arrive, with the intention of eating it. Little does he realise how resilient his prey is.


By April 1943; Warner Bros. had ordered for all cartoons from the Looney Tunes series to be produced in colour for the 1943-44 season. Not only would all of Leon Schlesinger's cartoons feature colour, but the distinction between the Looney Tunes and Merrie Melodies segment would cease to exist. Prior to the demand, only a handful of cartoons from the series were still being produced in black-and-white under Frank Tashlin.

Tashlin's first few cartoons during his second directorial stint at Schlesinger's that screamed with lavish film techniques and strong uses of cinematic staging. Once Tashlin moved over to colour cartoons - he begun experimenting more with design work and angular movement.

For the final Looney Tunes short produced in black-and-white; Tashlin ends the tradition with a satisfying sendoff. If Porky Pig's Feat was Tashlin's finest cartoon in terms of its successful use of comedy and experimental filmmaking blended together; then Puss 'n Booty is arguably Tashlin's finest cartoon as far as dynamics, pacing and audacious camera angles.

The cartoon's premise is a cliched formula, which consists of a duelling cat and canary. Warren Foster brings innovation to the characterisations - by making a seemingly harmless canary more potent based on its true colours. Foster finally has an opportunity to showcase his talents as a story man. Although he worked on many classic Bob Clampett cartoons - the stories always feel more like Clampett's than Foster's. The concept is largely a forerunner for the Sylvester and Tweety series. The cartoon itself would be remade with the duo in I Taw a Putty Tat (1948). Frank Tashlin turns such a formula-ridden idea into a cinematic experience!

Tashlin's ability to stage animated scenes in the style of a cinematographer never fails to impress. Such planning might've been a burden for the layout artist or the cameraman; but the results were worth it.

In the opening scene of the lady entering her house, the shot is depicted from point of view. The camera pans at various corners and edges of the house; once the woman discovers the disappearance of her missing canary, Dicky - (gettit?).

Johnny Burton's camera department have the delicate assignment of nailing the timing of the panning; to make the simulated P.O.V. convincing. The mistress's point of view ends once her cat Rudolph, is introduced to the audience, supposedly snoozing away.

The mistress asks for the whereabouts of Rudolph, who shakes his head. The evidence is revealed once Rudolph accidentally hiccups bird feathers from his mouth. Tashlin applies some intriguing timing of the cat burying the evidence with him. Much of Rudolph's frantic action of retrieving the feathers consists of approximately twenty frames: one feet and four frames in animation, or just slightly under a second. The following frame immediately cuts to Rudolph pretending to be asleep; which looks very jerky in motion whilst freeze framing. Such jerkiness works to an advantage by adding emphasis of a cat, hiding his crimes.

Although Tashlin's keen usage of cinematography is evident, he doesn't go too farfetched to the point it could potentially interfere with scenes involving character personalities or bits of exposition. Tashlin keeps a fair balance between characterisation and cinematic techniques.

Following the opening; Rudolph's character is devoted some time - by establishing his conniving persona. He tricks his owner by opening a window, mimicking canary whistles, and pretending to cry of despair.

The mistress is tricked into believing the canary had flown away. A fair use of exposition reveals that five canaries have been eaten by Rudolph in a month - but "lost" from the perspective of the owner.

It always strikes me as odd how the mistress never suspects Rudolph of her "missing" canaries, in that short span of time - especially when her cat is home alone regularly. I'd imagine Rudolph pulls the same trick on the lady for each canary. Such naivety would be legit for a Warner Bros. cartoon, that oughtn't to be questioned.

The sequence ends with a simple solution for the mistress: order another canary from the pet shop - to the satisfaction of both the lady and Rudolph. The shot of Rudolph curling around his owner's legs is very striking and insightful of the character - who hides his sinister nature in the presence of the lady. Rudolph's two-faced personality and motive has firmly been established by the end of the sequence.

Suspense and tension begins to build during a sequence of Rudolph impatiently awaiting for the delivery of the canary. The dreaded wait is hilariously illustrated through Art Davis' animation. Rudolph paces back and forth on top of the front wall of 1605 Maple Drive. Once Rudolph turns to pace back; his head turns after his body begins walking!

Carl Stalling's music enhances the tension of the wait - further emphasised in Rudolph's restless walk cycle on the wall. Stalling also briefly uses a part of Powerhouse with a tense musical arrangement that fittingly provides atmosphere to the cat's desperation.

Tashlin experiments with scene transitions when a different truck representing a gas company drive past the house. Rudolph is already standing on the sidewalk; attempting to attract the attention of the driver by literally ripping off the house sign from a brick wall!

In a side shot, the truck drives through the shot - but once the vehicle disappears, Rudolph has returned to pacing anxiously on top of the wall. It's a dangerously ambitious piece of staging, that makes the transition very unique as far as timing's concerned.

Already Frank Tashlin was gradually experimenting with angular, stylised poses for his characters. It would eventually take its course during his last few cartoons for Warner Bros. - but elements of it started to crop up in his black-and-white shorts. A scene of Rudolph whistling desperately for the pet store van is not only broad in animation; but also shape-like in proportions.


Once the delivery man walks to the front door of the house; Rudolph discreetly sneaks behind. Rudolph's tiptoe cycle is economical, but without lesser quality. Rudolph's body is a held drawing, but only his paws and feet are animated. It's an innovative, stylised piece of animation that might cut corners, but still exemplify Rudolph's slyness.

It looks like Tashlin was influenced by the avant-garde layouts Dave Hilberman provided for him. In one shot; Rudolph's body aligns with the shape of the porch steps as he follows the delivery man carrying a cage.

By the time the canary, now named Petey, has settled into its new surroundings and left alone from the mistress - the action begins. Extensive use of fast-cutting and perspective heightens the tensity of the scene. To begin with, the mistress places a saucer of milk on the floor and leaves the scene. Rudolph spits out the milk with heartfelt disgust, and sneakily advances towards the birdcage.

Perspective animation is applied to create the illusion of a continuous shot; as Rudolph's body obstructs the camera, and walks to the birdcage - facing rearwards at the audience. The technique isn't quite perfected, as an obvious cut occurs once Rudolph's body blocks the camera. It's a daring device that deserves credit for effort.

After the elaborate perspective shot; Tashlin's fast-cutting makes up a lot of the action of the cat pouncing coinciding with the canary's reaction. The intercutting builds suspense and danger for the canary; whose seen as helpless from a viewer's perspective.

Spontaneously, the canary lifts the birdcage upwards; causing Rudolph to narrowly miss his prey. The spontaneous delivery of the canary is a nice payoff from Rudolph's pouncing action staged as a nail-biting moment. The cat crashes onto a wall; taking the physical shape of a coin that rattles on the floor after the impact.

The nighttime sequences occurring during the cartoon's climax; exhibits Tashlin's finest use of a cinematic mode. The layout work of Dave Hilberman (who worked with Tashlin around that time), is a masterpiece in dynamics. Each shot is uniquely staged and framed; and it flows effortlessly in continuity action. The build-up and use of dynamics are comparable to auteurs like Alfred Hitchcock or cinematographer Gregg Toland.

The scenario consists of very imposing camera angles, as well as an emphasis of low-key lighting and silhouette. It's largely a homage to the film-noir style of filmmaking - which was all the rage during 1940's Hollywood.

Samples of beautiful staging are too many to analyse. Very impressive ones feature a low-angle shot of the canary looking up at Rudolph sneaking up on the rafters. The scenes manage to use the 180-degree rule effectively from very complex camera angles.

Effects animation is strikingly utilised in a shot of Rudolph's paw seen in silhouette form - attempting to slowly catch the canary. Unexpectedly, the canary quickly responds to the threat by striking Rudolph's paw with a cartoon mallet. Elements of comedy are applied in this sequence; but the complex staging is applied extensively to emphasise suspense and buildup.

After an artistic tour de force of suspense and staging; the final battle between Rudolph and Petey commences. The cat pounces on top of the bird cage - resulting in some broad action of Rudolph crashing upwards and downwards. The canary almost encounters a close call; as he narrowly escapes the jaws of Rudolph.


The rest of the battle isn't seen, but interpreted through crashing noises - as the scene focuses on the disturbed mistress, who wakes up from her sleep.

The cartoon's ending works as a juxtaposition of the opening scene. In a throwback to much earlier, the camera pans across the room from the P.O.V. of the mistress, concerned of Rudolph's absence. She "awakens" Petey, asking: "Have you seen Rudolph?".

Petey shakes his head; but accidentally hiccups Rudolph's ribbon from his mouth - strongly implying his own demise. The punchline is both wacky in its depiction, if considering the laws of physics. The element of dark humour may be jarring; but serves as fine justice for poor Rudolph!

For the final black-and-white cartoon in the Looney Tunes series - you'd wish to see more shorts paying homage to the film-noir technique. Puss 'n Booty is perhaps Frank Tashlin's greatest cartoon, in terms of impressive staging and suspense. The use of camera angles are not only sublime; but its masterful pacing and structure that's almost equivalent to the works of Alfred Hitchcock. The short also remains funny in its characterisation and timing; with the talents of Warren Foster fulfilled. The canary is illustrated unpredictably - a fine showcase of how there's more than what the eye sees! Although the tradition of black-and-white would fade from the series - it's last cartoon is a testament of how visually appealing it can be.

Rating: 5/5.

SNAFU: The Home Front (1943)

Director: Frank Tashlin.
Release date: November 1943.
Starring: Mel Blanc (Snafu).
Music: Carl Stalling.
Sound: Treg Brown.
Synopsis: A homesick Private Snafu complains about the easy life of civilians like his family. However, he discovers they're also contributing to the war effort as he does.

Wars have the tendency of highlighting soldiers fighting combat as well as bearing the burden of military life. It's a pivotal example of war duty - but so is the home front. For civilians who are uninvolved in combat (whether it concerns the elderly or folks with 4-F ratings), society can contribute to the war effort through various kinds of factors. It ranges from various resources such as industrial or human, so the home front is still significant to a cause. The Snafu cartoons themselves were a contribution to the war effort. Every bit helps!

In this entry, Private Snafu underestimates how other forces contribute to the war effort besides armed forces. With magical guidance from the Technical Fairy, Snafu observes the various home front duties that's all beneficial for the war effort.

An intriguing element in this short that's set apart from a lot of Snafu cartoons is the character's relatively passive role. A chunk of the cartoon focuses on Snafu's family, based on what he thinks they're doing in contrast to what they're really up to. Instead of calamities that characterises Snafu; he is portrayed as an observer in this cartoon instead.

Nevertheless, Snafu's presence is felt during the cutaway sequences surrounding his family. Each of his family members are stereotyped based on Snafu's observations. He assumes his father is casually playing pool at Kelly's. His mother is portrayed as gossiping away with her lady friends whilst playing bridge.

Frank Tashlin uses sight gags as little touches to personify their apparent nature. His father uses his cigar smoke to push a cue ball that's standing at the edge of the pocket. His mother and her friends visually dissolve into a flock of hens. Such gags are amusing in Snafu's unfair interpretations of their family.

Perhaps the most hilarious observation from Snafu is seen from his interpretation of his grandfather - who he claims, "never did a day's work in his life". He is stereotyped as a perverted old coot who pleasures himself of using his binoculars to watch stripteases at a burlesque show. Some great lustful exaggeration is prominent in a shot of his eyes erecting through the binoculars.

A more personal perspective from Snafu is his girlfriend, Sally-Lou. His paranoia kicks in at the thought of her already having an affair with a sophisticated philanderer. All those stereotypes are funny interpretations based on Snafu's homesickness - which makes him relatable as a character.

By the time the Technical Fairy arrives - he gives Snafu a special insight of his family's current activity through a telelvisor - which today, is a dated noun for a regular television set. Since television was a relatively new invention in 1943 - it's exaggeratedly portrayed as a magical device to watch people's current lives. As Snafu discovers; his father and grandfather are both contributing to industrial resources, his mother is planting a victory garden and Sally-Lou is working as a WAC. By the end of the short, Snafu comes to his senses when he realises his family are all "working in the old home town" - sung in the style of Tenting On the Old Camp Ground.

Frank Tashlin utilises some his knowledge of camera panning during the opening scene of Snafu inside a shelter during a blizzard. His only source of comfort is a phonograph ironically playing Home Sweet Home. The camera pans to the record player, then pans towards a miserable Snafu attempting to keep warm by sitting on a stove. The camera pans back to the record player, which violently malfunctions and breaks apart.


The camera pans back to Snafu when he expresses his homesickness by complaining about a possible luxury his family are having back home: "They don't even know there's a war goin' on!".

It's a complex use of camera pan that's consistently kept busy throughout the sequence. If you're aware of how cels, backgrounds and camera stands compile together, it's a great deal of effort. Frank Tashlin is fearless when it comes to taking the liberty of moving the camera much more freely. This allows the scenario to have more space instead of a claustrophobic atmosphere.

Frank Tashlin appears to approach some economic tactics in his direction - likely attributed by the smaller budgets the Snafu shorts provided. Economical or experimental, Tashlin utilises both in scenes that contain little or no animation.

Tashlin explores his timing abilities in sequences that contains no animation. This is especially evident during the victory garden sequence dug up by Snafu's mother and her pets. After ploughing the garden and planting the seeds; the crops grow rapidly to great effect.

This is achieved with no animation and the crops are likely drawn on separate levels. The effect would've been heavily reliant from the skills of Johnny Burton's camera department - who "animated" the crops growing. Not only did the department have to carefully time the effect; but also in rhythm to Beethoven's 5th symphony.

Snafu's girlfriend in a figment of the nightclub scene is drawn as part of the background. Only the seductive gentleman is completely animated in the shot. One could say it's merciful in sparing the animator from painstaking drawing skills. However, she is very passive and aloof to the gentleman during the scenario; so full animation would've been unnecessary. It showcases Tashlin's judgement of using economical factors to good use.

Elements of risqué humour are no secret in Snafu cartoons. Some of the more edgier gags surface in this short. For example, in the opening shot of a blizzard, the narrator says: "It's so cold, it would freeze the nuts of a Jeep!". The context needs no explanation, but effects animation is applied to feature two nut bolts from a Jeep actually drop and fall to the ground. Keeping the context subtle makes the delivery all the more hilarious.


The burlesque sequence probably has the biggest shock value in this cartoon. Snafu's grandfather is watching a trio of young ladies performing a saucy strip tease on stage. Stripteases have proven a fun source for gags in several Warner Bros. cartoons; but never as indecent or obvious in this Snafu cartoon.

The trio strippers are seen completely bare; save their breasts and genitalia which are covered. Sometimes Frank Tashlin underplays the racy scenario as the camera trucks in on a girl's leg whilst undoing a bra. The assistant and drawing work in those scenes are a tad sloppy, but otherwise the clarity's all there. The series of shots featuring full-frontal nudity indicates the freedom the Schlesinger studio enjoyed from the Snafu shorts.

The Home Front is an intriguing approach for a Snafu short that doesn't follow a story arc. The first half of the cartoon features Snafu's interpretation of how he sees his family back home; whilst the second half features them contributing to the war effort. Frank Tashlin would be an appropriate candidate for a cartoon that doesn't rely heavily on formula or structure. Not only is this cartoon one of the rarest occasions where Snafu doesn't meet disaster, but also the downplaying of his role. It's takes a different spin on the premise's usual formula, but it manages to clarify its message just the same.