261. Naughty Neighbors (1939)

starring PORKY
Warner cartoon no. 260.
Release date: October 7, 1939.
Series: Looney Tunes.
Supervision: Bob Clampett.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Porky Pig/McCoy Duck), Shirley Reed (Petunia Pig), Danny Webb (Duck).
Story: Warren Foster.
Animation: Izzy Ellis.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: The Martins (Petunia) and the McCoys (Porky) make an end to the feud. Whilst they're away romantically--the feud breaks again.

Last cartoon to star Petunia Pig; who would then become a more popular character in comics.

The cartoon then starts off with a title card prologue which explains about how the sate of Kaintucky (Kentucky) is a state that lives in peace and harmony; unlike the outside world. I guess its pronounced 'Kaintucky' for Southern dialect.

In the following shot afterwards it turns out that in the state of Kentucky is the boundary line of the infamous rivals: The Martins and the McCoys. It turns out there is a war going on between the two feuding families.

But are portrayed as farm animals. In the following newspaper: the headlines screams: 'FEUD ENDS'. Petunia and Porky are seen in separate photographs facing opposite each other. Petunia is identified as a Martin, and Porky as (the REAL McCoy). The music cue in the background is When I Yoo Hoo. Notice a newspaper column in the background reading Titanic Hits Iceberg.

During the slow camera pan through the rural area of where the Martins and the McCoys reside; we find that both families are seen peaceful and contented. After the long and boring pan, we find Porky and Petunia standing separately from the boundary line. Petunia is seen pleased: 'Gee Porky, I'm so glad we patched up our quarrel. Aren't you?'.

Porky then attempts to make real efforts with his stuttering problem as he stutters: 'Now we've buried the hat-hat--tommyhawk. We can now be sweeth--sweet--frie--we can say "hello"'.

Standing face-to-face through the borders are two old-timer ducks. The McCoy duck remarks: 'Well, sonny, who'd have thought after all our feudin' and shootin' that you Martins and us McCoys would be friends'. The old duck is immediately angered of the idea, and his face then points straight towards the Martin duck; 'IT WILL NEVER WORK!'. He spits tobacco and continues glaring at each other. Porky looks at the ducks, feeling rather let down. He turns firm to them: 'Now you Martin and McCoy get together and be good boys'. They look at each other, and only shake each other's hands with hesitation.

Porky and Petunia then break into song: Would You Like to Take a Walk - though done in substitute lyrics of course. Porky starts off with the singing about how they are so glad to be friends. Believe it or else, this is probably the most annoying and awful song sequence Clampett has ever created. The lyrics are incredibly lame, such a bland tune and Petunia's singing is so cringeworthy.

As they continue to walk through the countryside, feeling extremely happy...they walks together holding hands. They walk the old-timer ducks then fly 'peas, porridge, hot'.

Watching them both embrace each other--this doesn't even feel like an influence of a cutesy cartoon...it feels like a parody of a cutesy cartoon. They then continue to point out to the cows they would be a part of friendship with the last cow asking surprised, 'Who me??'. Ugh, the rear shot of Porky and Petunia wiggling their backsides and walking out of the scene--combined with their horrible song--what else could be worse? Thank god, for the iris out. Gee, I wouldn't mind if this appeared in an animated film by (say), Hal Sutherland, but Bob Clampett??? Could he really be that low in terms of standards. Even for the time it was made it feels substandard.

In the next sequence - we find two pairs of ducks (both Martin and McCoy) who are seen dancing peacefully like friends. However, one of the ducks then quickly slams and bangs the other in a fiendish way before they continue to dance. The comic timing, I'll admit, is amusing as it shows the enemies still can't resist the hatred.

The next scene features the same old timer ducks playing 'peas, porridge, hot' with their hands. However, at random times they whack each other with mallets and clubs. Okay, at least Clampett is showing a little bit of his own distinctive style with comic timing and wackiness.

After all the random attacks on each other, the two ducks realise that they can't resist after all...and so they pull out shotguns to begin firing at each other. The feud has revived. Meanwhile there is a duck at the spot who watches the firing of the bullets, and then jumps up a fence to blow into the cow's horn to play of what would sound like the start of a war. And to all the fanboys reading this, no, this is NOT Daffy Duck or even a cameo appearance--since I have no clue where this idea originated?

The mother duck then starts to prepare her eggs to war; and the eggs get ready to crack in rhythm of the drum beating and then they end up marching out; which was from a gag reuse in What Price Porky. During the battle sequence, we find the farm animas at war: a dog using a machine gun already gets a bad reaction form his hands.


Meanwhile there is a mother cat who is struggling to feed her kits by carrying a carton of milk with her. She has an idea by raising the carton by her hand: bullets strike through and her kittens are able to drink milk much easier. Note the one bathing.

Meanwhile; Petunia and Porky are having a wonderful time out in the country away from the animals, they hear the sounds of gun fighting. Porky and Petunia look out and he stutters: 'Gosh they fue-fue-fightin' again!'.

Porky then dashes through the scene where he tries to be a hero by running through dangerous bombs (as well as ducking under his own straps to avoid being hit). Porky rushes inside a cabin, where he grabs out a 'Feud Pacifier' which turns out to be a hand grenade. He runs out with it and tosses it outside. After he tosses the grenade away: the ducks and animals are seen friends again...but that really soppy music cue and annoying singing? Seriously? The cartoon finishes when Porky and Petunia are happy as can be. Petunia covers Porky's face by giving him a face...and the duck pops out pointing that them "...something that will come from THAAT!" -- ahh, another of only of the only few Clampett subtle gags featured in this cartoon.

Overall comments: If you want an example of a Bob Clampett cartoon which really has no charming gags or even a part of Clampett's wonderful charms (comic timing, jokes) this cartoon is your example. Well, I'd probably spare the final gag of the cartoon as it probably was the only part which resembled Clampett's traits. Of course, the feuding families: The Hatfied-McCoy feud appeared to have been largely well-known of the era, being that it has been quite a regular idea for animated cartoons...but of all of the ones there are: this is definitely one of the weakest developments of the family feuds in this cartoon. The fact that Porky and Petunia are heads of the feud and settled in agreement feels largely out of character, considering how we associate Petunia as a girlfriend to Porky, and yet before the cartoon starts: they were enemies??

A lot of Porky Pig in this cartoon is certainly out of character, particularly when he sings that honest-to-god horrible song, and of course, doesn't have much to contribute to the cartoon. Clampett has made him a much more weaker character, and we already know he's bored with Porky, and literally is on 'auto-pilot' throughout his 1939-1941 Porky Pig entries. The cartoon also runs at quite a short amount of time: 6 minutes and 19 seconds in the version I have viewed. Yet again, as much as there is no good solid climax, it's still probably better off really short. Warren Foster's writing is also at a low standard then he usually is, though I suppose his writing career is too early to have it criticised. Personally, I feel his breakthrough was in 1942 when Clampett finally got to direct colour cartoons.

250. Porky's Picnic (1939)

Warner cartoon no. 249.
Release date: July 15, 1939.
Series: Looney Tunes.
Supervision: Bob Clampett.
Producer: Leon Schlesinger.
Starring: Bob Clampett (Porky Pig), Berneice Hansell (Pinky) and Shirley Reed (Petunia Pig).
Animation: Bobe Cannon and Vive Risto.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Porky is set to take his girlfriend Petunia and nephew Pinky out for a picnic and then trouble occurs when Pinky ends up in peril.


250 reviews reviewed which means that roughly one-quarter (25%) of the entire WB original collection  have been reviewed.

The cartoon begins with Porky who is riding on his sidecar and announces to the audience: 'I'm going to see my girlfriend', and then he struggles to stutter out Petunia's name. He continues to stutter her name which then gets really annoying to the point you want him to get on with it - then he mentions, 'I sound like a motorboat' which is just a very cheesy line.

That brief opening itself reminds me a lot of what the old early 30s Bosko or Mickey Mouse cartoons looked like; where Porky feels as bland as those characters and the atmosphere feels the cartoon was made in the wrong time period.

Afterwards Porky parks his sidecar at Petunia's house in a bird's eye view. Porky walks over to Petunia's porch and at first, he combs his hair to make his appearance dandy. The way he just walks over to Porky's door with the pandering is just enough to make me lose my interest as I already know it's really weak for Clampett's standards. This whole scene just make Porky feel like a softie and it's just been padded in. Porky then rings the doorbell. An extended hand arrives out and knocks on the door (and Porky's head) in the theme of Shave and a Haircut. The hand knocking on Porky's head is cute. Petunia walks over the door and looks at Porky with an ecstatic voice, 'Why Porky!'.

Porky then asks Petunia whether she would be interested in going out with Porky for a picnic at the park - and she replies enthusiastically, 'Would I?' and she quickly dashes up the stairs to get her basket and back down in about a second. They get ready to leave holding each others hands. She comments: 'It sure is a lovely day for a picnic'. Meanwhile, Pinky is seen inside the house asleep, but wakes up and lowers the baby chair and walks out with it.

Meanwhile on the road we see Porky driving whilst Petunia is sitting on the side of the side car. A honk is heard off-screen so Porky moves over to the right. It turns out that Pinky is the one riding who is honking as he rides on his scooter and grabs out a horn and honks it which is a little bit of Clampett humour.

Petunia gasps: 'Why its Pinky!'. Porky rides over and his scooter knocks a rock but Porky catches him on time. Porky then asks Pinky to behave and encourages him by telling him the story of Glodilocks and the Three Bears.

As Porky already starts the story - Pinky takes the screw out of the sidecar (attached to Porky's gear) and then they are both disattached and both go through different routes. All of the gags here are extremely weak and the cartoon isn't getting anywhere! The way Pinky just screams and squeals like a baby is obnoxious enough through Berneice Hansell's voice effects. Meanwhile there is a steam locomotive steaming by and the '515' train is obviously the famous reused animation which started off in Rhythm in the Bow - but who gives the monkeys?

Pinky and Petunia are still stuck in the sidecar where they are near the steam train but do find themselves at risk when they are about to go through the crosstalks. Please, help me '515' train and run them over so I don't have to put up with Pinky or even review this cartoon. The traffic light makes a signal for the train to 'stop' but Petunia covers her eyes believing she will be hit.

The train then makes a complete sudden stop and the sidecar continues to cross the tracks without any damage whatsoever. Oh man!! Afterwards - the sidecar immediately attaches back into Porky's gear.

Hang on a minute - how can it physically happen when the screw driver isn't even there?? Its crazy!! After being attached - Porky finishes off the rest of the fairy-tale, and not even knowing what they both went through. Pinky then completely fakes her interest by describing it as: 'that's the best story I never heard' - now...how does that make sense? Its not even funny, and the voice is just more annoying to hear than to laugh at Pinky faking it.

Porky and his lot then arrive at the city park where the sidecar stops and they arrive at their spot for the picnic area. Petunia comments: 'Well', then Porky: '..here...', and Pinky: '...we are' which s just odd. Porky then stretches his arms and suggests, 'Guess I'll take a...' and dashes over to the hammock and finishes the last word: '...nap' which I don't understand what the purpose of that was.

Meanwhile there is a squirrel standing near the sidecar who have picked up an acorn. Pinky is already carrying with him some shears, and yet, for no reason (or maybe sadistically) tries to decapitate the squirrel's head which then follows into a sequence.

I don't see how THAT is even supposed to be humorous or funny---it's just cruel and unpleasant! It's more unpleasant when the squirrel hides under a tree stump and the squirrel's head pops out and there is a sequence where the squirrel has to avoid having his head cut off by the shears--geez, murder!! Petunia arrives at the spot and then drags him out and wraps his knuckles for wandering off. Well, I'd thank Petunia for once for saving the squirrel, but to even telling off for trying to kill the squirrel - Jesus! She takes Pinky over to the tree where he can have his nap whilst Porky is resting on the hammock.

Porky is snoring in his hammock - and once Petunia is away; Pinky will play. Pinky creeps over to Porky's hammock and tricks him as he whacks him with a paddle but dashes back pretending to be snoozing. Porky wakes up and shrugs not even suspecting Pinky. Clampett is reusing that gag which he has used before in Porky's Naughty Nephew except with different conclusion.

As Pinky walks over in an attempt to whack Porky again; Porky immediately wakes up with Pinky caught completely. Porky asks sternly; 'Pinky, what were you going to do?'. Pinky responds: 'I was just going to...' and then he whacks Porky with the paddle a couple of times. Okay, I'll admit that is kind of funny as it does hugely resemble the Looney Tunes humour; but it could've been much funnier if it were one huge whack...but hey, early days. Porky looks at Pinky as he walks away. Porky looks at Pinky and comments sarcastically: 'Cute kid' and pantomimes throat being cut.

Pinky ends up skipping gayly through the park and is about to navigate to the zoo area. Oh god, could the cartoon get any more annoying by listening to Pinky hum? Pinky enters inside the alligator's cage - completely thoughtless and helpless. He walks through the alligator's jaws but only just misses as the alligator's jaws snap. There is a little scene where Pinky goes through left and right of the alligator's jaws and manages to miss.

Porky is awakened by Petunia as she screams with fear: 'Porky! Porky! Look at Pinky, etc.!' and she is already panic-stricken as she points to Pinky in the zoo area. Porky leaves his hammock and dashes through the zoo area, and even makes it through the alligator's cage (misses the snapping jaws).

Porky zips around the zoo cage-to-cage looking for Pinky and spots him inside the lion's cage sleeping with the mother lion and her cubs. Pinky waves towards Porky as part of his mischievous plan. Porky quietly creeps over to try and retrieve Pinky. The lion wakes up instantly with sudden timing which then follows into a repetitive chase sequence of Porky and the lion running around the cage in circles. Okay, but what is really much point of this chase sequence - he managed to creep through the thick bars - why couldn't he have just ran straight out and not running around the cage like a cretin?

Petunia immediately faints and Porky quickly zips out of the cage so he can fan Petunia to try and make her conscious. He runs back in -- and tells the lion the chase can still continue. Of course, knowing this is all supposed to be funny and goofy...but what bothers me is he leaves by escaping through the bars when actually he could have just escaped through them the very first thing after the lion woke up.

I'll admit the timing of the lion being trapped and tangled by the bars is really neat and firm timing there. Porky runs at the spot, and even returns back with Pinky towards Petunia in a type of American football manoeuvre.

Porky's face is now completely covered in mud; and Petunia embraces Porky and smooches him and her face is also covered in mud. The mud in Petunia's face of course make her appear she is racially stereotyped there. Pinky looks up and then spots the same squirrel he tried to decapitate earlier. He creeps up towards the squirrel with his shears and the squirrel manages to trick him by whacking him with the paddle. While it serves him right, I think Pinky being whacked by the paddle - just wasn't enough justice for him..

Overall comments: This cartoon is so far and by far one of the weakest cartoons that Clampett have ever made. It's completely clear by this point he couldn't care less about the pig. Here, it appears he just plans on treating Porky like any bland straight-man characters that even Mickey Mouse or Buddy could turn out with funnier results compared to this cartoon. Then again, the cartoon probably would've worked better as an early black-and-white Mickey Mouse or Buddy cartoon, even though I already produced a picnic cartoon. Porky Pig certainly feels like an out-of-date character of his time and even the introduction of the cartoon is suffice enough to show you how bad the cartoon is going to be. If you thought Pinky was obnoxious in Porky's Naughty Nephew - then obviously, he is even worse in this cartoon. Also, the cartoon also appears to have hardly any gags at all - at least no funny gags.

The only gag which I would give credit is when Pinky whacks Porky in the head when he answers Porky's question - the way it would've been executed from the script would sound like a funny gag but Clampett didn't exactly present it in a hilarious form. Petunia Pig is also pretty pointless as a regular character in the series, and I'm glad she was dropped out after Naughty Neighbours - and appeared to have made some career in comics afterwards. How come if Clampett was extremely bored of directing Porky cartoons, and yet would decide to make low-quality cartoons and even make Porky feel a lame director? I guess we'll never know, other than through an educated guess he was fresh of ideas on making Porky funny -- but then again: Porky didn't become a very funny character until about 1941 or 1942. Overall the entire story of the cartoon is really meandering where it feels like a completely unfocused plot and even cartoon itself.

184. Porky's Double Trouble (1937)

Warner cartoon no. 183.
Release date: November 13, 1937.
Series: Looney Tunes.
Supervision: Frank Tashlin.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Porky / The Killer).
Story: George Manuell.
Animation: Joe D'Igalo.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synposis: Criminal, Killer has escaped from prison and uses banker Porky as a plan to steal his identity and loot at the bank.

The cartoon begins as we find that there is a silhouetted figure and we can tell that is a prisoner. The beams then start to shoot straight at the figure and is now identified as a criminal that looks like a tough version of Porky Pig wearing prison uniform. The tough pig criminal then starts to shoot with his pistols to those that have found him. That is a good way to open the cartoon which Tashlin is influenced by film; with a silhouetted figure escaping but caught by light.

Tashlin was influenced even more with silhouettes as there are prison wardens on top of the prison walls firing at the tough pig criminal. The prison wardens then start to run down after the criminal; also performed in silhouette and the whistle blows. I love how Tashlin has demonstrated the scenery of the prison wardens and its atmosphere. The colours look very good and striking. Prison walls are dark at night; and you probably can't see prison wardens shooting at you; and they look like figures which is why I find that Tashlin has done a good job there. In the next scenes; we then find the narrator is narrating the recent news of what has happened. It follows by with montage shots of the police are in their offices doing some serious work with the telephone systems. The shot of the police dialling is a notorious reuse of the 1930s Warner Bros. cartoons as it originated in The Blow Out a very early Avery cartoon. The narrator then starts off; 'The machinery of the law is put into motion as news of the escape is flashed over the police telephone system...' the fast radio-typical talking continues as the news is pretty bad; but the montage shots are really great as you see the police cars leaving for action; and typewriters clicking on the report. All of this is done by the works of Frank Tashlin with his brainstorming film technique ideas.

The newspaper then fades into the screen as the headline screams the front page: "KILLER" ESCAPES FROM ALCATRAZ PRISON!! and even the news reporter reads it out. Killer is the name of the character we saw at the beginning; so we know who he is now; and of course Alcatraz Prison is a very famous prison island near San Francisco that used to be active around this period. It's visited by many people today.

The news reporter then proclaims: A manhunt is on! The picture of the Killer here I find is very well designed and even is drawn very solid in that newspaper. The police however believe that Killer is hiding as reported. Notice at the top of the newspaper you'll find Leon Schlesinger's surname written in small handwriting. After the fade-out of the newspaper; we then iris in to a background of a boarding school that is called Katz School for Girls which is of course a reference to Ray Katz; who was an associate of Leon; as well as his brother-in-law. The news reporter reports that the girl's boarding school is in fact abandoned. We view inside the house to find that the house is in fact stored with guns, deadly weapons, teargas, bombs, etc. and a whole range of weapons that the news reporter lists. The camera pan from where we lead to the room and even the hallway of the staircase was very cleverly filmed and the cameraman did this in the orders of Tashlin.

Meanwhile inside a room of the abandoned boarding school; there are a group of thugs standing together on a table with multiple newspapers laid out with the headlines focusing on Killer. One of the thugs reading the papers then comments on the killer as they go in dialogue:

Thug 1:No jail can hold the chief.
Thug 2: Yes, the guy is clever, just like Houdonny. (I think he's referencing daredevil Houdini). He can get out of anything.
Thug 3: That's a good picture of the Chief. He looks just like Clark Taylor.
Thug 4: Yeah, but it don't look natural. They no numbers on him

With the names of who they're describing; I believe that they are referencing celebrities but not quite saying their names correctly; like Houdonny would be Houdini. The thug probably then said 'Clark Taylor' as though it's a cross combo between Clark Gable and Robert Taylor as one of the thugs has mixed up the names; perhaps. There is a sudden knock on the door; and the thugs then turn around with their pistols pointing towards the door as the thugs then shout out altogether; 'Who's there?' It turns out there appears to be a baby doll outside who might resemble Mae West that responds; 'I've got a message from the killer, boys'. The thugs then walk over to see who it is; they even have their own peepholes through the door but on different height orders; so each thug climb on top of each other to view their own peephole which I think is rather funny. The baby doll then replies back; 'Open up and let me in, will you?' The door then opens and the Mae West caricature then walks in with her sophisticated walk.

The thugs then line up by the door as they let her in showing that they admire her looks and sex appeal. The Mae West baby doll then walks over to the last thug lined up; as the thug rubs her cheek with his finger asking; 'What message did the Killer send, sweetie pie?' She then replies in her girl voice; 'He said...' as she walks over she then punches the thug in the face and all the other thugs get whacked as well and they bundle to the door.

The Mae West baby doll was in fact a disguise as it was Killer pretending to be a baby doll. He replies then in his manly terrifying voice; '...not to fool around with dames, you lugs! Let that learn you a lesson'. Killer then takes off the fur coat that wore and we find him wearing the prison uniform; and he placed two bombs on his chest so that he could disguise them as boobs. He then starts to take off the boots and appears as his normal self in prison uniform. He picks up one of the newspapers as he comments; 'Some publicity, eh?' He picks up the newspaper; and one of the headlines with his face featured reads; PUBLIC ENEMY No. 1. Killer then comments; 'Once I was only Public Enemy No. 9. Now I'm at the top!'. From the point of view shot of Killer reading the newspaper; he then moves onto the right as he finds some extra news about Porky Pig; as it reads; Porky Pig Promoted to Bank Teller with a picture next to him. Killer then gets baffled over the picture of him and exclaims; 'The guy looks just like me! He could be me twin brother!' and I like the comparisons between the pictures of them. Killer then starts to think of an idea; as he places the newspaper on the table and brings his thug gang over to discuss the plan. 'We go to the bank, get this guy and then...(whispering)' and they're plan is to capture Porky but the rest is for us to find out.

The off-screen news reporter then returns his spot as he narrates; 'The evildoers carefully plan another hideous crime'. We then view the outside of the bank that is called Worst National Bank which I think is pretty funny since Porky has been given a promotion on the worst national bank which pretty much makes him a sucker. We find that Porky is inside the offices as he is the bank teller. There is a queue of animals (as civilians) lining up to hand their money over to the bank.

The scenes of Porky just doing his job aren't too interesting and I bet it was vey tedious for the animator even though the job had to be done; as we just watch Porky signing a cheque and handing it back. There is however a Scottish terrier civilian of course stereotyped as a Scotsman; in which he hands over the bank book to Porky. The Scotsman then grabs out his purse in which it has a very tight lock around it; and I imagine that could be a little cold since Scottish people are stereotyped for being very tight with money. As he unwinds his purse there are moths that fly out of it which is random; but amusing. The Scottie dog then hands over a join to Porky as he signs his bank book; and off he goes. Porky then picks up the coin to drop it; but it drops very flat which means it wasn't a proper coin as it shows Porky has been tricked by a Scottish terrier who is very tight with me and I think that is the whole gist of the joke. Porky has been conned as he covers his hand over his face and slides it down with grief and humiliation.

Miss Petunia Pig; who appears again in this cartoon (and at this point the only character that Tashlin was really focusing on) then starts to get Porky's attention by calling his name over. She plays as Porky's secretary in this cartoon. Porky walks over as he stutters; 'Yes, Miss Petunia'. Petunia is acting all flirty towards Porky as she suggests a date with Porky; 'How about you and I stepping out tonight, big boy?' Porky is of course very nervous and is afraid to confront his feelings:

'Gee, Miss Petunia. I'm bashful. Ha-ha. You're so pretty, and I'm--' He continues to hesitate but then at that moment; Porky is saved by the bell. Porky then quickly replies, 'It's time for lunch. Goodbye'. Porky then dashes out of the scene as he had no chance to show his feelings and would probably annoy Petunia even more. Meanwhile outside Killer is outside disguised as Mae West as he is pretending to be fixing his car as he is holding onto a hammer and is hammering his car. Porky then steps out of the bank and watches what the "woman" is doing. He walks over to Killer in disguise for some assistance. Porky then walks over as he asks for some assistance; 'May I help you madam?'; and Killer puts on his disguised voice; 'Would you be so kind?' faking as though the woman is struggling. As Porky appears to he doing a hat-take; it appears as though he's excited about the woman's looks or so it seems and not for Petunia.

Porky Pig then starts to look over at the car with the front part open where he is trying to fix the engine. Killer (in disguise) realises that it is his chance to finally attack Porky with the hammer; but as he is about to do so Porky turns around at the spot spoiling the moment. Porky then says, 'It won't take a minute'. He then tries to hit him again but Porky keeps turning as he responds; 'It's almost fixed'. As Porky keeps turning; he replies about the engine is 'in the bag'. Killer in disguise then boots Porky in the behind and traps him inside the engine compartment as he shouts in his man voice, 'So are you!'

Okay; we know that one of Killer's plans so far is that he's already captured Porky inside the engine compartment of the car; as the car drives off. The narrator continues; 'The Killer adds kidnapping to his already long list of diabolical crimes'. The car then drives off back to the abandoned boarding school for girls. Inside the room where Killer is; we then pan across to find that Killer has in fact come up with a very dirty plan as he realises that he looks like Porky and works in a bank. Killer then speaks about the plan; 'And with your sissy clothes on, I can rob the bank. And you'll take the rap, see?' Killer is wearing Porky's bank uniform; while he has Porky tied up to a chair so that he wouldn't be able to escape. What a horrid plan realising that he has found a very clever but dirty way to rob the bank and to make sure the police mistaken Porky as Killer because of them looking identical. The only parts that don't make them look identical is that Killer almost looks as though he needs a shave.

After laughing at his crooked scheme; he then walks over to the mirror. Killer walks over as he is disguised as Porky. He comments; 'Now I look like the squirt!' The mirror reflection then starts to pull a face towards Killer which was a little fun gag added to also make Killer feel a fool. Killer then punches the glass in the mirror as we find that the reflection has a black-eye; now that is funny considering it feels like an actual person in there.

Killer then walks over towards Porky all tied-up on a chair in which he says goodbye to him; 'So long squirty-wirty' as he pulls Porky's snout so long and far that as he lets go; his snout hits his face and laughs at Porky. I've seen that same animation style on Porky that appears to love drawing very goofy eyes and wild takes; I've seen it in Case of the Stuttering Pig but I don't know who it is. After having Porky all trapped; then we fade back to the 'Worst National Bank' as there is a description of it displayed on the wall reading: A terrible reserve bank capital plenty millions deposits half that amount which is of course a jokey description. With the neat camera movement; we move back towards the street as we find Killer in a long-shot walking over to the bank pretending to be Porky whistling happy. The news reporter (who is narrating the story) then reveals to us audience already that he is wearing Porky's clothes so that his identity is hidden; and then continues on which I quite like; 'Public Enemy No. 1 has returned to the bank'. That is a pretty good animated scene of Killer walking through but I imagine that the staging and layout of it must've been very complicating to the animator as there is a lot of camera movement and such.


The sign that did read in the "teller" section of the bank reading Porky Pig Gone to Lunch then is removed by Killer as he stands on the counter waiting for those queuing up to hand in their money or items. One of the ladies lining up then asks; 'Put my jewels in the safe, Porky'. Killer then starts to hand over the jewels and stuffs it in his pockets where he probably considers it the "safe". Another man then hands over a couple of hundred dollar notes and asks him to put it in the deposit; but then again Porky stuffs them in his pocket assuming that could be his deposit.

Porky then starts to grab onto more items that are being handed over to him such includes bag of coins; money notes, and even a whole box of jewellery which must mean Killer could be in seventh heaven as this rate. Meanwhile Petunia Pig who is distracted and interests in "Porky" then calls Killer over shouting, "Oh Porky". Killer who is still handing over the money and hiding them shouts very rudely, 'Yeah, what is it?!' he then makes a taste realising that he is shouting at the wrong person. Killer realises that he has made a mistake so he puts on a voice of Porky asking the same question; 'Yeah what is it?' now that is very funny considering I that Killer has almost made a fool of himself and forgot who he was saying that too; even putting on a voice of Porky was even funny - just the charm of it being shown.

Killer then walks over to Petunia Pig; as she then flirts with him assuming he's Porky by asking the same question she asked before lunch; 'How about you and I stepping out tonight, big boy?' as she fiddles with his chin. Killer then starts to act rather violently and pressures Petunia (pretending to be Porky) 'Why wait until tonight, baby?' he then grabs Petunia in which he smooches Petunia on the lips very tightly and probably very uncomfortably.

Petunia then releases herself loose in which she slaps Killer in the face holding onto her desk shocked as she points towards him; 'Why you're not Porky Pig!' Kiler replies as he couldn't care less, 'So what?' Petunia Pig then starts to press the burglar alarm in which the burglar alarm goes off. Within seconds; we find that Killer is already blasting inside the room with his pistols at the police shooting after him for looting. Killer then makes an escape after he has been caught; and in the next scenery he has already driven back to his headquarters. The news reporter continues (who appears to be reporting the entire cartoon of the actions of what Killer's been up to), 'After looting the bank, the Killer speeds back to the hideout!' We view back to the room as there the thugs are in the same room with them. Killer then shows the thugs all the money and jewellery that he managed to steal, 'Easy picking, huh, boys?' Killer then points over to Porky trying to make a fool of him, 'And they (the police) think you did it!' in which he goes on to laugh at Porky. Poor Porky; he's going through so much chaos that he doesn't even deserve it.

Meanwhile back outside; the cops are standing outside the boarding school (their headquarters) in which they duck under to try and make sure Killer doesn't know that the cops are about. Killer looks out the window as he shouts, 'Jiggers! The cops!' Killer then starts to fire at them with his machine gun but a whole lot of jewellery and goods all fly out of his pockets because of his spastic movements with the machine gun.

The cops are also outside the boarding school in which they start to fire with their guns too. The police officer then walks over to the boarding school in which he starts to fire from the top but he ends up digging himself to the ground which is of course a funny gag; but I think that is reused animation from the cartoon I'm a Big Shot Now. The officer is sitting on top of the branch of the tree about to fire; but there is a woodpecker opposite the tree and the officer doesn't notice it. The woodpecker starts to peck on the tree, but the officer thinks he's dead as he covers his chest shouting; 'Ouch. They got me'. Now that is just hilarious and even a original idea that came up (even though it's probably been used loads of times) but not with a woodpecker before and I think that is just funny. The officer still shooting straight him is still dug to the ground; and luckily one of the bullets flies up to the top part of the house and the ropes loose Porky Pig. Luckily that the bullets even missed Porky. Porky jumps out of his chair relieved that he is free but is ready to seek revenge.

The thugs are standing outside with their heads through these stands for which you change your clothes and cover your privacy. Porky is standing on top of the banister of the stairs holding onto a lamp in which he jumps off and kicks the stand as the thugs crash to a wall trapped. Porky then swings back to the hallway upstairs.

Killer is in fact still shooting straight ahead at the cops; and Porky has found the culprit on which he's set him to humiliation and for kidnapping him. Porky then jumps off the steps in which he prepares a land on top of Killer in which they fight one another. They are beating each other up continuously; and I think that watching the animation of them beating up; should be worth freeze framing and notice how that each drawings are so different but yet so funny and interesting; should be worth studying. I know that this was done by an animator who was wacky in the Tashlin unit and loved to draw eyes overlapping their foreheads but I don't know the animator; does anyone else know or have a theory? The police are in fact standing by the doorstep in which Petunia is standing with them. The police officers then ask; 'Who's Porky'. The real Porky Pig then starts to point to himself, 'I'm Porky' but Killer then shouts out 'I'm PORKY!' in which he is trying to fake his identity again. The officer still points with his guns asks who's the killer; but then Porky and Killer then debate each other who is Porky; but it's just Killer who is trying to make it very difficult for both of them; and even the officers too. Only one person will be able to prove to the police; Petunia Pig.

Petunia Pig then starts to press on the chief's arms in which she starts to have her words; 'Just a minute, chief. I'll find out'. There is a really weird cut from where Petunia is standing next to Porky and appears to have got to him real quick; it feels like a goof to me. She stands next to Porky examining him on the real identity. She tries it out; as she speaks in her flirtatious catchphrase; 'How about you and I stepping out tonight, big boy?' Porky then replies in which he stutters, then Petunia then proves to the officers; 'That's Porky'.

She then starts to show that she has second thoughts on the Killer as she gasps with glee and admiration; 'How that Killer can kiss'. Porky then starts to move towards Petunia in which he kisses her so passionately to try and prove his love to her as he just hesitated towards her. After Porky gives her a kiss to try and get her to win his heart; he stands in a pose with attitude but however Petunia turns him down. She then responds to that; 'I still take the Killer' which would make Porky downhearted as though Petunia doesn't prefer Porky. If you think about it; if only Killer hadn't planned to kidnap Porky or even encounter Petunia by giving her the kiss; this whole thing would never happen to Porky. Petunia then starts to walk off with the Killer as he is being arrested by the police. She holds onto Killer's arm in which it turns out that Killer has got the girl at the end of the cartoon; and is practically the winner and Porky being the winner. Petunia comments, 'Come on big boy, I'll wait until you get out'. Being Public Enemy's No. 1 - at this rate she'll probably be waiting forever.

Overall comments: The way that the story structured throughout this cartoon I feel has been put into detail as how Killer's plans will flow. Of course when I watch what Killer is doing; I really feel that is a nasty villain planning on getting another innocent albeit identical character like Porky to be Killer and lead him being arrested by the officers without trial. I really like how that Frank Tashlin's film techniques feel rather advanced in my opinion; as in the beginning it really feels he's focusing on live-action film techniques that no other cartoon director achieved what he could achieve. The silhouettes were amazing from the beginning as it gives you the feeling of how dark it would be; and the montage shots were pulled really well. Some of the bold writing I feel even shows the type of writing that appeals to Tashlin.

However despite the great animation in the cartoon, and the designs, techniques, etc. I don't particularly like how Porky is handled in the cartoon. I understand the whole joke at the end where we think the Killer goes to prison; in which Petunia goes into this 'My hero' attitude to Porky and ends the girl - it doesn't end that way; and I think that's what the WB writers are for - they like to surprise their audiences. I just feel as though Porky in this cartoon was treated like a sucker and after what he's been through he even got his heart broken as Petunia leaves him for the Killer; I don't think Porky got what he deserved but I think that's the whole though; we are expecting the Killer to get perfect justice which would be a life impriseoment but instead even though going to prison; he has won the heart of Petunia forever which makes it particularly funny but I do feel pity on Poor Porky.

182. The Case of the Stuttering Pig (1937)

Warner cartoon no. 181.
Release date: October 30, 1937.
Series: Looney Tunes.
Supervision: Frank Tashlin.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Porky Pig / Guy in the Third Row) and Billy Bletcher (Lawyer Goodwill).
Story: Melvin Millar.
Animation: Volney White.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Porky's lawyer tries to cheat out of Porky's uncle's will by transforming into a monster and to capture his family.


This is the first WB cartoon where it directly parodies Dr. Jekyll and Mr. Hyde. The cartoon's title is a pun to the 1937 Warner Bros. film The Case of the Stuttering Bishop; which was only released a few months prior to the cartoon's release. I wonder if the cartoon had a working title. Also the first cartoon for story man Melvin "Tubby" Millar to get screen credit who would work for Tashlin, Avery, Norm McCabe and Clampett in his black-and-white years. He was already a regular story man at the studio for a few years (beginning in 1934) before the cartoons got screen credit.

During the credits we hear the music of William Tell Overture in the theme where it plays a storm. The cartoon begins with a house on top of the hill and there is a dangerous and heavy storm occurring. The wind is howling, the rain is flowing and there are trees being blown to the side with some very good effects animation. The lightning effects are done by two cels (white and black) to give it a flashing effect; which was a very good technique that were done by Frank Tashlin.

The rain for this sequence is of course rain filmed in a studio from live-action but I think it was done when placed after animation cels to give it a stunning effect. The effects animation of the window shutters are a very marvellous effects; but however I am starting to question though if AC Gamer did effects animation. Sure; he was known as one but if he was then how come his credits were with Freleng and must've been in the Freleng unit whilst never credited with the other units but I'm not too sure though. After the William Tell piece has finished in the storm shots. We find some more shots that Tashlin heavily focused on with obscure camera angles. The interior shot of the house focuses on the grandfather clock and the pendulum is swinging.

After some good experimental Tashlin-esque shots; we then find that the people who own the house are Porky Pig and his family. We find that Porky has got four children in his house and their names are in order: Patrick, Peter, Percy and Portus. All four of them are sitting in their own individual chairs rather afraid of what is to happen.

During this camera PAN through the entire family; we find that all the members of the family are frightened, even Petunia Pig; the wife of Porky in this cartoon. As we PAN to Porky Pig, he is the only happy character seated which I guess makes it rather funny since he's the odd one out. That was a pretty good camera PAN to make the gag work. But what also makes the gag work with the camera pan was that notice how that the children sitting down are actually being seated in height order. After that PAN, we then start to hear a knock on the door in which it scares Porky; there is a quick cut to Porky as he makes a take and jumps up in the air. The family are on top of a ceiling lamp in which their heads pop out of the lampshade and this time in head size order (smallest to biggest; Petunia to Patrick). Porky however doesn't match with the other heads which also makes him the odd one out. Mmm, I find it interesting that now Petunia has arrived on this cartoon about 7 months after 'Porky's Romance' - I guess she was popular enough to return briefly.

Porky then stutters on top of the lampshade in the ceiling nervously, 'Who's there?'. A voice then comes from outside the door as it's a rather soft voice; the voice says 'Why it's only me, your good friend Lawyer Goodwill. Would you please let me in?'. Okay; so it's Porky's lawyer in this cartoon.

Porky then walks over to the front door chuckling realising it was only his faithful old lawyer of his, "Okay. Just a minute" answers Porky as he walks over to the door to open it for Lawyer Goodwill. As Porky opens the door; the storm then blows Porky and his family behind as well as his furniture. Lawyer Goodwill arrived already in his raincoat and then he closes the door behind him. I like the weight of the animation of where they are blown back and the lawyer's struggle to enter. Lawyer Goodwill's head is not seen as his hat is covering it. Goodwill then grabs out his hat and empties the amount of rain and water out so it splashes onto the floor. The lawyer's head then appears after emptying his hat and it feels quite strange that it appeared but cleverly animated. The lawyer then walks over to the family; 'Now children, come, come. We've got business to attend to'. Of course the lawyer is seen here as a very warm-hearted, soft-spoken lawyer who is no harm towards Porky or his family here.

In the next sequence; we find that Porky's family and the lawyer are seen seated on the dining table.  The lawyer then shows to the family the will of their uncle; Uncle Solomon. The lawyer continues, 'We are here to read the will left by your late uncle, my good friend, Solomon Swine'. The lawyer gets a little emotional when looking at the portrait of him that makes him look like Oliver Hardy; he had recently passed away; 'Rest in bones'.

The lawyer then stops sobbing over the loss of their uncle and his friend and continues about the will, 'I have the will right here. You can read it for yourselves'. The family then look over to see what is written from their uncle's will: I will and bequeath all my property to my niece and nephews. Love and kisses, Uncle Solly. P.S. Bury me not on the Long Prairie! Of course; the P.S. message is meant to be a joke as it's a title cowboy folk song. The family are awed about the will as the niece and nephews get his own life insurance. The lawyer interrupts the moment; 'P.S. Tut-tut - there's more to read'. Another P.S. note then reads: However, in case anything happens to my heirs my entire fortune goes to my good friend Lawyer Goodwill - Uncle Solly. Of course that would only happened if their children would've got kidnapped or killed, or what

The lawyer then makes it clear to the family; 'You see if anything happened to you. I would get all this property'. The lawyer then grabs his bag as he leaves for the door. The lawyer then starts to make an exit to the door; 'However nothing will happen'. He then closes the door; but opens it again to make the final remark; 'I hope'. Of course we find that the lawyer has a really sweet personality to him. I don't know if this is Bletcher voicing the lawyer with a sweet voice.

There is a really neat Tashlin technique of Lawyer Goodwill walking down the front steps of the porch. Notice how that when he walks down the stairs you see him gone from the screen for a while; but you find him a few seconds later you find that he appears on the screen walking around the other part of the house in which the camera starts moving. That must've been complicating to stage and layout but I like how this is viewed from the eyes of a still camera in which Goodwill appears again after walking down the steps. The lawyer is then walking down to the basement of the house; but dashes back to hear any sound in the house before walking down. Mark Kausler credits that scene to the credited animator: Volney White.


The lawyer appears to have a secret laboratory in which he takes off his jacket as we start to find out more about the darker side of Lawyer Goodwill. After taking off his jacket; he replaces it with a black jacket of what he would wear done in the laboratory. Goodwill then reaches his lab table and brings out two glass cups on the table and looks over at the shelf.

Lawyer Goodwill's hand then pops over to the shelf (nicely animated) as he grabs out a potion called 'Jekyll and Hyde Juice' which sounds like a cool name for a wicked potion; as it references Dr. Jekyll and Mr. Hyde. Lawyer Goodwill then starts to pull off the cork out of the bottle by biting it off; giving it a good socket plop effect when the cork is pulled off. Goodwill then starts to pour the potion into the glass cup in which he then starts to mix it together with both cups. Some very interesting effects with the water changing cups; but it was no effects animator though. Lawyer Goodwill then looks at the glass for his potion in which he is planning something evil towards but we can only figure out what his plan is but we only know that he is up to no good; since the label of the potion does give it away. I like how scenes were laid out and staged which gives it

After mixing the drinks; Goodwill then starts to take one glass in which the potion also have foam on top like a soda drink. Goodwill then starts to take a drink from the potion and he breaks the glass breathing heavily. We are waiting for a dramatic moment after drinking that potion as we are expecting him to change like in the novel, Dr. Jekyll and Mr. Hyde.

After breathing heavily for a while; we then hear silence for a while (and dramatic music stops) in which it turns out that the experiment didn't work and there is a still pose on Goodwill. His eyes blink after the plan didn't work out well. Goodwill then raises his shoulders in a "Oh well" type attitude in which he tries again. Lawyer Goodwill then pours another part of the potion in which he pours it into the glass again. Goodwill then walks over to the milkshake machine to mix the drink; and of course milkshake machines were brand new upon the film's release. After mixing it like a milkshake which is a rather clever-idea type gag; Goodwill then has the milkshake-type foam on top of the glass which would make a really good formula. Goodwill then starts to guzzle down the entire potion down his throat in which he breaks the glass, and that's when the action begins.

This time Goodwill is breathing heavily and seriously. I like how the camera gets closer and closer upon the heavy breather to make the action more intense so that was some good camera ideas being brought here; and definitely an idea from Tashlin. We then truck back as the music gets more intense and the heavy breathing starts to get more intense until...

Lawyer Goodwill then changes into a nasty looking villain very quickly; and I think the transforming scene was planned out very perfectly. It was done very quickly but I feel that it was done in a rather frightening way. The villain (who was then Lawyer Goodwill) turns out to be a fraud towards Porky's family as he breaks the forth wall, 'You wouldn't think I was Lawyer Goodwill now, would you?' Goodwill then starts to move over to the camera much closer when saying 'would you'. Goodwill then starts to makes vows; 'I'm going to get rid of those pigs and you can't help them either!' The villain then pops closer to the camera as he shouts; 'You bunch of softies! Yeah, you in the third row! You big softie!' then starts to laugh evilly. I really like the animation of when the villain keeps on coming close to the camera as it shows some very good broad staging. The voice of Goodwill as a nasty villain is of course the voice of Billy Bletcher; and I feel that this isn't any old voice of his and he definitely puts on a very unique voice for the villain compared to what he usually does.

As the scene from the villainous Goodwill; we fade into Porky's home where the family are inside the lounge. The siblings are standing up rather pleased they're at home. Porky remarks; 'Here we are all safe and sound in our own little house'. After that remark (which will cause superstition); Goodwill's hand then pops up in a single-shot of the power switch which appears to be in the basement.

The power then goes out; but pops back again in which the biggest sibling; Patrick has vanished (and I like how there are X marks on where they stood - as though X marks the spot). Porky notices that Patrick went missing which shocks the other family. The power switch then goes off the second time but as it turns back on; we find that the second biggest child Peter has also vanished. Porky calls out that Peter has gone missing; (and the other family members get more shocked). The power switch goes off again but back in a millisecond in which Percy has gone missing; Porky again calls out his name as he did with the other missing kids. The power switch then goes off again for the final time as we find the last and smallest sibling Portus has gone missing which means the entire children have been wiped out in each very brief "power cut". The power goes off again (excuse me) for the final part THIS time with Porky and Petunia now missing; hence their X positions on the couch which gives the design of the room a more interesting view.

Oh it turns out that Porky and Petunia weren't missing as we got tricked by how the director wanted it present. Porky and Petunia were hiding behind the couch after the power went off. Petunia and Porky both shake but Petunia holds on Porky afraid:

Petunia Pig: Gee Porky, I'm scared'.
Porky Pig: Don't be frightened. You're with me. We'll find them.

Porky then holds onto Petunia's hand as they step out of the couch to go and look out for their kids. Porky then starts to try and call for his kids, 'Hey fellas, where are ya?' There is a long background pan as we exit the living room to the basement; then we dissolve into the basement as we find Goodwill laughing; the pan continues as we find that the siblings are in the stocks tied up; and there are spare ones for Porky and Petunia. Goodwill then continues; 'and as soon I can get Porky and Petunia up here.  I'll do away with all of you - like this'. The villainous Goodwill then starts to pantomime a cut throat. Goodwill even comments to the audience; 'And if that guy in the third row comes up. I'll fix him too'. Of course the recurring gag of the short is referencing the guy from the third row which is very funny and very original in this story; and it gives me the perspective that the other directors at that time were funny too; not only Avery.

Meanwhile Porky and Petunia are out in the hallway looking out for their "missing" children. Porky calls out several of their names to try and find them but no luck. Suddenly; a frame from a wall then opens and Goodwill captures Petunia. We then find that Goodwill then creeping up towards Porky who is behind him. Porky then thinks he's holding Petunia's hand (but instead holding the villain's hand) as he shushes him.

Porky then starts to realise whose hand he's holding on until he turns around and goes in that crazy, very funny eye and facial take towards the villain and dashes off. Porky then starts to make a complete dash up the stairs very fast away from the villain. As he makes it up to the top he then holds onto Goodwill who has already made it up there before he did without effort which makes it even funnier to me. Porky is seen holding onto Goodwill in which he believes he's holding onto Petunia; 'Gee, Petunia - I saw the most awful-looking man all big and black with big teeth, and a great big, long black nose and...' Porky makes a slow turn towards who he is holding onto in which he goes into that goofy take realising he is holding onto the monster Goodwill. Porky then starts to run straight back down the stairs again with fright in which he runs over to the laboratory in the basement.

Porky Pig then dashes down to the basement as he closes the door and locks it. He turns to find his actual family all tied up in the stocks and their mouths covered from bandanas so they wouldn't speak. Porky exclaims, 'Land sake's alive' as he tries to untie the family members. Just as he tries to untie then; there is loud banging going on from the basement as shows the no-good Goodwill is down there after Porky and his family. Goodwill then breaks the plank to which it locks the door and charges into the room as he shouts, 'Now I got you'.

The family are now standing by the wall cornered and afraid that they will be done for. Goodwill then walks over about to grab them threatening; 'I'll do a way with all of you'. Suddenly a heavy object falls to the ground out of nowhere in which he flies over to the stocks and ends up being trapped. Porky's family then ask curiously at the same time; 'Who did that?' A voice from nowhere then shouts, 'ME!'

Goodwill: Who are you?
Man from Audience: I'm that guy in the third row. You big sourpuss!

Now that is a very funny and clever way to end the cartoon as it shows the only person to stop the villain is the man from the third row. It was probably not what he expected but but least he got even with the villain.

Overall comments: I feel that when I watched this cartoon - Frank Tashlin really had the chance to show off the techniques that he could use; and when it comes to analysis on the obscure techniques he produces to this shorts; this cartoon says all you need to know. The opening shots with the rain and thunder were very well put together and it even feels very realistic as they shot live-action rain. I feel that the villain; Lawyer Goodwill is probably one of the greatest villains in the 1930's Golden Age cartoons. I love the character's build up on this cartoon; at the beginning we find that he is a pretty warm character; in the middle we learn to discover he is a fraud towards his family as he plans to cheat on their uncle's will; and we already learn at the end he is a fraud.

The transforming scenes were very good; and I even think that the character who was supposedly meant to be scary and Tashlin has successfully made his character frightening. The cartoon is probably one of the darker WB cartoons but I find that it's one of Tashlin's funnier cartoons and even one of his best. The 'guy in the third row' gags are just awesome and funny that it gives great satire through the cartoon and to the very end where the man gets even with the villain; so you could say an audience member was the hero of the cartoon. Of course; this is Petunia's 2nd appearance but she is married to Porky and not that lame-ass she was in Porky's Romance so I see that Tashlin is trying to make her work as a regular character - she certainly sounds better with her voice. I must say that I think this cartoon has probably one of Billy Bletcher's greatest voice performances he did in his career. Of course; almost every villain he plays has his voice sound exactly the same but he gives this villain's voice a different but appealing quality that really works. Overall; this short was a very good cartoon and Tashlin was at the top of his game when making the cartoon.