395. Tortoise Wins By a Hare (1943)

Warner cartoon no. 394.
Release date: February 20, 1943.
Series: Merrie Melodies.
Supervision: Bob Clampett.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Bugs Bunny / Cecil Turtle / Mrs. Cecil Turtle / Narrators / Rabbit Bookee / Dumb Rabbit at Finish Line), Kent Rogers (Dumb Rabbit with Telescope).
Story: Warren Foster.
Animation: Bob McKimson.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Refusing to admit defeat; Bugs Bunny challenges his racing opponent Cecil Turtle for another race - this time with more conniving tricks.

How often is Bugs Bunny portrayed as a loser? Rarely. As mentioned in the original Tortoise Beats Hare review; Tex Avery had already begun experimenting with Bugs' personality from his standard streetwise persona. Once Tex left the studio and Bob Clampett inherited his Merrie Melodies unit, Clampett takes the opportunity to reuse Bugs' "sore loser" personality and take it to different heights - thus, creating a sequel from Tex's fable parody.

The opening sequence has a combination of fresh and reused material. Much of the opening is stock footage from the previous Cecil Turtle short, which observes the race between the two opponents as well as the petty tricks the rabbit performed. Not only does it cut corners and keeps within budget constraints - but it also creates good exposition for what is yet to come - and the frustration Bugs Bunny feels.

Additional narration masterfully voiced by Mel Blanc is kept to the style and energy of Clampett's direction as he excitedly commentates on the race which makes up for the more conservative pacing from the original Tex short.

Up until the closing of the commentary - it's interesting to see how the footage had been deliberately manipulated by removing Cecil's cunning tricks as indicated in the original ending - therefore replacing it with new animation of Cecil boasting about his triumph.

Following that - Rod Scribner delights the viewer with a tour-de-force piece of character animation that helps convey Bugs' frustration and confusion perfectly. It's no easy ride for any animation professional to animate a character whose goes through a wide range of emotions and mood swings. Bugs finishes watching the reel outraged and astonished: "How does he do it?" as he spits out bites from his carrot and vigorously kicks the projector away.


Bugs paces around his home, bewildered: "I can't understand it! It's against the laws of nature. We just ain't in the cards! A toitle beatin' me, a rabbit?!". Then his emotions switches to arrogance and pride: "Yeah, I'm an athlete. I've got an athelete's physique. Sure! I got an athlete's legs. Coitenly, I even got an athlete's foot!" and shows off his foot - with the proportions of a human foot.

The opening sequence is an excellent piece of exposition that reveals Bugs' motives and a rare observation of his true colours - or at least how Bob Clampett interprets him. His soliloquy indicates that he feels threatened and disgraced of being outwitted, and is determined to restore his pride: "How does that moron do it? I'll find out his secret, if it's the last thing I ever do!"

The subtle animation switch from Scribner to Bob McKimson in the dialogue ("And I will, too") creates the perfect mood change, as McKimson could capture that appeal into Bugs' sudden relaxed attitude - while Scribner could push the poses and hit the accents abruptly to express his temper in an over-animated way.

For a character whom the audience have grown to love for his streetwise, mischievous nature - Clampett's meddling of his standard personality gives him a dark side that movie-goers hadn't likely experienced, and perhaps feel empathy for. Since Cecil Turtle is portrayed with low cunning that drives Bugs to insanity - the audience would root for Bugs' second chance to win that race.

To get what he wants - Bugs takes every chance possible by disguising himself to get information out of Cecil Turtle - which eventually created identity confusion from the rabbit population. Determination for Bugs to win is not only centred on the rabbit himself - but the majority of rabbit spectators who are willing to cheat, putting their arrogance above everything.

Bugs' optimism and motivation to win has poisoned his mind, to the point he overlooks the subtle tricks Cecil planted on him. This is evident when he designs the "modern design and streamline" shell. Once he dresses behind a curtain, complete with a swim cap on his head - Bugs could become a victim of his own disguise. This indicates that Bugs thinks he's becoming craftier than before by learning from his mistakes; but is oblivious to the potential traps Cecil has lied in store for him.

Cecil's superior craftiness is essential in the sequence featuring Bugs' disguise as Bill Thompson's Old Timer character from Fibber McGee and Molly. Bugs disguises himself as an elderly critter in an attempt to seek information out of Cecil's secret method for beating Bugs Bunny, as asked: ("Tell me, Johnny! How come you always beat dat rabbit!").

Animation by Bob McKimson.

Cecil, who can see through his disguise, deliberately gives him a false answer - hinting he has another cunning trap set for Bugs Bunny. Cecil claims: "The secret is modern design, y'know, streamlinin'". He reveals a blueprint of his "air-flow chassis" - which is very clearly a design of a turtle shell, which Bugs dimly sees past.

A masterwork of character animation and story arcing - Clampett's bad habits of abrupt cuts are revealing in the part where Cecil explains his comparison to how "rabbits are built all wrong for racing" compared to turtles. Whether it was an intended cut or a deleted piece in-between - it's a mystery.

Taking advantage of Bugs' unintelligence, he carries on further by criticising the "ridiculous ears" as just "wind resistors". Clampett's timing has a funny touch to it as Bugs attempts to discreetly write the information in a typewriter hidden under his heard - indicating that Bugs' disguise and role play has no subtlety at all. Before leaving, Cecil makes one cutting remark which foreshadows the rest of the short: "Rabbits aren't very bright, either."

"Rabbits aren't very bright". Warren Foster takes advantage of the quote and builds it as a running gag and a recurring problem for Bugs. While Bugs is winning at the start of the race, the rabbit spectators mistake Bugs' "modern design" costume as the turtle. In an attempt to sabotage the race - the rabbits paint the road lines to a corner facing a brick wall; giving Bugs an accident.

Assaulting Bugs, he protests: "Toitle Shmoitle! I'm the rabbit!" - but the close-minded rabbits are too ignorant to see past the disguise and continue attacking him. So, Cecil reinforces the misconception by disguising himself in a rabbit costume and munching a carrot, staying in character: "Yup, that's the turtle alright!". So, the rabbits allow the disguised turtle to continue the race freely while Bugs fights his way to finish the race.

The problem worsens as when Bugs speeds past the rabbits to outrun the turtle. The muddle between both identities thus turn Bugs' race into a nightmare as the mobster rabbit shoots at his shell - where the ricocheted bullets spare him, followed by underground explosives that delay his speed.

Foster's genius at conceiving misunderstood situations results in Cecil winning the race and once again - outsmarting the rabbit.

The misunderstanding between the identities plays a key role in a mini sub-plot that centres on a group of rabbit gangsters. Prior to the race, an exposition sequence reveals that Bugs isn't alone in his motivation to win the race. The rabbit bookie comments, "We bettin' everything we got on that rabbit to win. In fact, we don't even think that the toitle will finish, do we boys?" - hinting a devious plot that would foreshadow Bugs' foiled disguise.


Building up to the cartoon's climax - Bugs overtakes the turtle in the race and wins again. By a twist of fate, the gangsters hide behind the finish sign - mistaking Bugs as the turtle. At his near moment of triumph; it's crushed as he is pounded by the mobsters; while the other rabbits give the race to Cecil.

Defeated and confused, he finally cracks as he shreds his disguise away and cries out: "You fools! Whatt'ya doin'? I'm the rabbit! The rabbit! Look, I'm the rabbit!". The finale is another beautiful showcase of Rod Scribner's over-animating that nails Bugs' devastation perfectly - expressing a lot of imagination in Bugs' shape to get a performance out of it. Upon realisation, the gangster rabbits say: "Meh, now he tells us!".

Knowing they've lost their entire fortune on gambling; they take a pistol to their temples simultaneously and commit suicide right at the finish line as the short abruptly cross-dissolves. Their suicide at the finishing line itself is a visual metaphor - marking where their lives will "finish". A cynical, dark ending itself - Cecil's comments on rabbits being unintelligent and his trickery had lost to several lives.

(For those interested in the hidden gags; the newspaper scene is full of it - though WWII-related.  Perhaps the most alarming in the shot of the front paper is the mini-headline reading "Adolph Hitler Commits Suicide" - a fact which was foreseen two years later. Ironic, how the petty race tournament makes bigger headlines than the suicide headline. In the close-up of Cecil and Bugs, he shows off his "A" and "C" ration cards - hinting it's his "secret weapon").

Animation by Virgil Ross.

What also makes the short so rich asides from characterisation and storytelling - is Clampett's take on speed and energy compared to Avery's fable. Whilst Avery had Tortoise Beats Hare built towards a gradual climax rather than speed; Clampett takes complete advantage of that. The energy helps convey Bugs' arrogance and pride perfectly throughout the race sequence.


Just prior to the race, there is a great piece which captures the arrogance persona. This is evident when Bugs slaps Cecil's face into a tangle - to emphasise he is the dominant bully, and brawny - compared to the brainy Cecil.

Bugs' "modern design" costume also helps capture the energy and speed of the race - as Bugs runs a big streak by easily outrunning the turtle. He bursts with excitement as he shows off his costume and goes into funny poses, which displays too much confidence in his part. Clampett even manipulates the speed to the point where Bugs' speed goes completely out of frame. This example occurs as Bugs speeds close to the finishing line as he races rapidly past to the point where the camera loses track of him.

Comparing the sequel to it's original predecessor - it's remarkable to see the major difference in the Warner short's sharp-timing and broader energy in a span of just two years. The sequel is completely focused on frustration and motivation; which is blended perfectly altogether in every department. Clampett's energy and timing is spiced up wonderfully. The time period couldn't have been more perfect; as it was made during the Second World War - when animation from the major studios became more cynical and vibrant due to that effect. Warren Foster couldn't have depicted a more compelling and hilarious scenario to indicate another of Bugs Bunny's failure. The characterisation and circumstances scattered in the cartoon is incredibly well founded, it's easily up a couple of notches from Tex's animated short. For an animated short, Cecil has so much character written around him: a conniving trickster who takes Bugs Bunny to a level or degree that audiences hadn't considered or experienced before.

Rating: 5/5.

394. Pigs in a Polka (1943)

Warner cartoon no. 393.
Release date: February 6, 1943.
Series: Merrie Melodies.
Supervision: Friz Freleng.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Wolf narrator, 3rd pig), Sara Berner (1st and 2nd pig).
Story credit unknown.
Animation credit unknown.
Musical Direction: Carl W. Stalling.
(based on the Brahms Hungarian Dances).
Sound: Treg Brown (uncredited).
Synopsis: Hilarious parody of the infamous "Three Little Pigs" tale told by the "Hungarian Dances" piece.

Original cartoon titles.

A quote repeated several times before, but worth another mention to fit with the theme of today's review. Friz Freleng explains his love for music in animated cartoons, and why he uses it regularly in Leonard Maltin's Of Mice and Magic:

"I love music. I can't read it, but I can feel it. When I hear it, I see things in my mind. Music inspires my visual thinking. I time my cartoons to music, and I find it helps me. Everything is done rhythmically." After a successful feat in Rhapsody in Rivets (which earned the Studio an Oscar nomination); Friz leaps at another chance in tackling classical Eastern European music: Joannes Brahm's Hungarian Dances - telling it in a form of a well-known fairy tale (and in the public domain). One challenge after the other; Friz's incredible vision takes the opportunity to parody Disney; primarily The Three Little Pigs and not forgetting the then fairly recent Fantasia.

Animation by Dick Bickenbach.

The opening sequence is a direct parody of Fantasia itself - with the staging and art direction similar to the Deems Taylor footage. Replacing Taylor, is a wolf narrator - depicted with a Brooklynese accent. Mel Blanc gives the wolf some added character as he has struggles pronouncing "interpretation" during his narration. It's a clever parody indicating how establishes critics can make mistakes.


Some scenes during the musical show direct references to the popular Silly Symphony short. Released only a decade earlier, Disney's Three Little Pigs was very popular in cinema during the Great Depression as it helped raise spirits during dark times while it revolutionised the standards of character animation.

Friz Freleng takes some iconic moments from the short and pays homage to it as featured the two procrastinating pigs dancing merrily, whilst the smart pig takes no chances by continuing work on his bricked home. It's a funny little parody where it perfectly harmonises with Brahm's musical piece. It recurs a second time later in the cartoon; becoming a motif for the two pigs who ignore the potential peril they're in.

The Hungarian Dance No. 5 perfectly indicates each pig's personality during their introductory scenes. For the first two pigs they have the same theme. Their actions are a cutting match to the music; as their construction of their homes is rushed and inadequate, as depicted within the music. The rushed quality of the house results in the second pig having to reconstruct his collapsed matchstick home.


Friz Freleng nails the timing right down to every frame; as the timing of the rushed construction is conveyed beautifully in animation - such as the first pig frantically raking the hay. It's the only sequence where the rules are violated within the musical classic standards. Each pig has a simple line of dialogue only intended as exposition.

For the practical pig - the pig is given a different theme compared to the first two. The music is much slower and steady; compared to the previous energetic theme, thanks to Friz's remarkable vision. This conveys the pig's meticulous nature wonderfully; as carefully he spreads the cement on layer and stacks the bricks in an assembly line, one-by-one.

It's a fitting motif for the third pig, as it  distinguishes his own personality from the previous two pigs. To close the sequence with a gag - a nested crane oversees the construction of the house roof. Seeking an opportunity of a new residence, unexpectedly he plants his nest on top of it and resides there; much to the annoyance of the smart pig.

The wolf's introduction is a bizarre yet still suitable dance as the dance number goes into a different theme. To capture the dance believably while synchronised accurately to the music; Freleng has the wolf perform a Cossack dance as he travels through the woodlands.

The wolf, who is caricatured and illustrated as a villain; appears to be law-abiding enough to signal a left-turn in traffic - which is a decent, spontaneous touch. To keep with budget constraints; Freleng cuts down on animation footage while maintaining the accurate synchronisation to the piece.

Phil Monroe, the animator on the sequence animates only two poses of the wolf discreetly sneaking up on the tree; and using those poses for consistency. A difficult feat to meet with Freleng's high standards. The gag itself pays off as the wolf unknowingly falls into a pond; but crosses his way through underwater and back onto soil.

Friz never loses focus on the narrative as he builds further on zanier ideas to have the pigs in peril. Spontaneously, the wolf leaps from the rock disguised as a gypsy dancer playing a tambourine, whilst dancing in rhythm to Brahm's dance number. The wolf entices the two pigs to the point where they rotate their bodies; turning their legs in a knot - a very subtle gag thanks to the convincing charade of the wolf.


Enticing the pigs once more with his tambourine, they walk into a trap - creating an obstacle in the story whilst still perfectly blended with the music. Freleng's delivery and timing couldn't be topped any further when he pigs unexpectedly beat up the wolf off-screen and leap out the rock in gypsy costumes and dancing to the music; the faster it becomes.

A very unpredictable move by the pigs, making the sequence itself more entertaining - indicating they were bluffing the entire time. Gerry Chiniquy's animation of the pig dancers features great staging skills and hilarious caricature on their faces. Their fun is almost over when the wolf reveals his true, sinister nature - making the pigs more vulnerable. Cornered, they run from the wolf to hide in the straw home.

Animation by Gerry Chiniquy.

After encountering with the pigs with a plan flawed - the wolf sticks to a different strategy; to mercilessly trap and kill the pigs without further ado. The suspense blends well to the music as the action of the wolf advancing further helps build up the pace to the score.

Freleng takes an alternate approach by finding different ways for the wolf to destroy their homes. Instead of "blowing the house down" as typically told in the story; the gags are much wittier and broad.

For the house full of straw; the wolf lights a match and has the home destroyed in seconds. For the house of matchsticks, the wolf observes the delicate balance it stands and adds another matchstick on top to make it collapse. The gags work greatly even for economical reasons; as the wolf's intensive blow wouldn't have fitted with the music synchronisation; so different strategies make the scenes funnier that way. During the chase; the pigs safely make it into the bricked house.

Friz's extroadinary vision of music and storytelling combine a great result where a string of recurring gags fit appropriately during the No. 6 dance; which features the wolf constantly slamming onto a door, with his head triggering as he faints.

The following scene is a great tour-de-force of Friz's timing and Chiniquy's animation. The wolf attempts to strike the house down with his puffing, but to no avail. Milt Franklyn's orchestration fits the right atmosphere of the wolf's action.

The heavy, suspenseful music adds to the determination and struggles of the wolf. There is even enough time for a hilarious mouthwash gag (in a lame pun known as Lusterine), a subtle insult on the wolf's bad breath. Following that, the wolf stands back quite a distance in hopes of breaking down the door - it couldn't have been timed and synchronised any better, As he makes a run for it; the pigs cunningly open the door to let him in - so he can fall for the old gag routine. The practical pig shuts the back door in time so the wolf smacks right into it; and then gets dumped at the backyard,

Safe inside the bricked house, the two pigs dance and celebrate to Hungarian Dance No. 7 (repeated animation from earlier). The practical pig is annoyed at their own presence as he watches them frustratingly.

The following sequence is a great showcase at where Freleng wisely selects the nature of the music to create a suspenseful sequence. Outside, the pigs hear sad violin music (Hungarian Dance No. 17) and look out the window to find the wolf disguised as a poor, old babushka.

The wolf's disguise is evidently revealing as he is supposedly covered in a storm of fake snow (seen from the pig's POV); when really he has talcum powder dispensed from a contraption attached to his back. Animator on the sequence Phil Monroe gives some added character to the wolf as he shakes the powder to make his disguise more convincing; whilst still successfully timed to the music.

It's a clever scenario choice as the music helps emphasise the pigs' sympathy for the disguised wolf. Ignoring the protest warning of the practical pig; the two pigs push him aside from the door and let the disguised wolf inside for some shelter. The following shot is very ironic for its gag pay-off. The wise brother is suspicious of the disguise; and discreetly lifts the cloak up from back to discover a record player - implying that Brahm's music is being played within the actual dance number. The pig turns the record to the other side to the wolf's motif. The wolf can't help himself but perform the Cossack; which unveils his disguise.

For the final climax; Friz Freleng wisely selects the Hungarian Dance No. 6 to sync with the action scenes, which he uses as a motif for the short. The classical music is played so inventively in the final sequence to the point where the music overlaps the contradiction of the house's architecture.

Seen from the exterior as a one-story house. The action shots of the pigs upstairs indicate the house is somehow larger than it looks. The music and action are synchronised so brilliantly and innovative that one would completely overlook the idea that the house has an elevator; causing the wolf to fall down several floors; leading him supposedly down to the basement.

Once again, Friz Freleng exceeds in mastering in synchronising classical music into gag animation which he achieved in Rhapsody in Rivets - and earning the Schlesinger studio another Oscar nomination. Whereas Rhapsody focused on a construction site followed by a string of gags to blend in with Franz List's Hungarian Rhapsody; this is the first where Friz blends classical music while telling a story altogether. The character personalities are wonderfully depicted with the various choices of music in the dance number. It's a pity the story credit today is now a mystery; due to the cartoon being "Blue Ribboned" and no credits recorded in the copyright category. It's a safe bet that either Ted Pierce or Mike Maltese wrote the short; leaning more towards Maltese. Whoever wrote it deserves praise for an incredible vision in conceiving the appropriate gags and material to the Brahms piece. All in all, a Freleng masterpiece.

Rating: 5/5.

393. Confusions of a Nutzy Spy (1943)

Warner cartoon no. 392.
Release date: January 23, 1943.
Series: Looney Tunes.
Supervision: Norm McCabe.
Producer: Leon Schlesinger.
Starring: Mel Blanc (Porky Pig / Missing Lynx).
Story: Don Christensen.
Animation: Izzy Ellis.
Musical Direction: Carl W. Stalling.
Sound: Treg Brown (uncredited).
Synopsis: Constable Porky and his dog, Eggbert, are on the lookout for a German spy: Missing Lynx, who aims to blow up a railway bridge.

As competent as Norm McCabe might be in presenting stylish backgrounds with some innovative staging - he never seemed to have played an influential role as far as story goes. As often, he was lumbered with cartoons with dated wartime references and heavy propaganda - much like Confusions of a Nutzy Spy (title parodied from the 1939 film - Confessions of a Nazi Spy). Occasionally, he takes the material together and turns them into a near-masterpiece like The Ducktators. As confident and professional McCabe was in giving the right personality for Daffy Duck - Porky seemed an awkward character in the hands of McCabe, much like how Clampett would interpret him in his weakest cartoons.

The opening pan shot of the interior police station ranges from hit to miss. On the hit side, it is a astonishingly complicated piece of layout of the camera panning back, forth and through the hall of assorted things like various criminal practices and exhibits. Only a strong, experienced layout artist like Dave Hilberman could've designed and coordinated such an ambitious exercise; not forgetting the craftiness of Johnny Burton's camera department.

On the miss side, the gags on the elaborate opening shot is saddled with unfunny visual puns that Tex Avery himself, even on his bad days, would mock at.

Gags like the the finger print department lack any creativity or coherence, as they are literally printed all over the wall; with no impact or pay off whatsoever. Lest not forget exhibit A of a model of the letter "A". Ho-hum. Then, there are a few display gags which is more adult oriented. In one gag, the camera pans to a jar displaying a "sure cure for criminal tendencies" with a hangman's noose attached to it. As sadistic as the gag implies, it's worth the chortle. The wanted posters exhibit has a cheeky pay-off towards it. The camera panning on generic posters, one-by-one on criminals who are wanted for arson and fraud. Then, the camera pans to a wanted poster of an attractive woman posing in a bathing suit - with a tongue-in cheek message by the U.S. Army.

Areas where McCabe could be visionary with his timing is evident in Eggbert's establishing scene. He is snoozing on a box, with the radio on. As he snores, he breathes "z's" literally in and out his mouth - a la comic strips. It's a creative, visual gag combined with graceful timing which is hardly practiced in classic Golden Age animation.

Animation by Art Davis.

Awakened by the radio; Eggbert slowly reaches his paw to turn off the radio causing the announcer to break forth-wall within the short: "Don't touch that dial!", a likely reference to the CBS radio programme, Blondie, based on the comic strip. The paw trigger effect has an effective piece of timing. Afterwards, Eggbert grabs a mallet and smashes the radio.


McCabe's visionary timing is put into good practice in a fine scene of the "Nutzy" spy: Missing Lynx - a lame parody on the description 'missing link'. The lynx, who is voiced hilariously in Mel Blanc's Germanic dialect is discreetly watching Porky and Eggbert's moves.

McCabe takes advantage on a cliched gag of a cartoon villain peeking in and out of a tree at different direction. As the spy's peeking becomes quicker - he unknowingly splits into another pair - with one and the other at a different position of the tree. The lynx double-takes at the surreal gag and both of them collide; morphing back into one figure. It's a clever piece of reverse animation that coincides with the original - which makes an oddball of a gag work effectively. The double-take and the spontaneity of the second figure makes the gag all the more merrier.

If there are weak spots as far as characterization goes - look no further than the sequences where the Missing Lynx attempts to fool Porky. While Porky and Eggbert snoop around the woodlands; Eggbert stops at a dead end of a foot blocking way - the Lynx disguised as an elderly dog.


The sequence itself would've been more passable had the lynx been under disguise the entire time - making Porky's gullibility seem more believable. As Porky inquires, "Have you seen a spy around here?". Afterwards, the spy removes his disguises and bluffs, "Does he look like this", maintaining a strikingly similar pose as seen in the poster.

Once Porky nods, in the hope of gaining information - the lynx responds: "Nope, I have not seen him" and zips out of the scene - confusing Porky. Just in time we feature a "Hitler is a stinker" gag as Eggbert pulls a Hitler mask out the spy's suitcase during investigation - until he discreetly retrieves it.

As a sequence, it's very clumsy in its own execution and handling on Porky's personality. Being gullible is one thing, but it's incredibly out of character of Porky to fall for a trick when the spy isn't making any effort to disguise himself. For a Bugs Bunny cartoon, the scenario is different in a significant way; but since the personalities in this short are undeveloped: it flaws.

Proven the previous sequence was weak in execution - the bridge sequence is hardly better. The spy reaches his destination to plot his terrorist act: a railway bridge. Just as he's about to adjust and plant the bomb; Porky has him cornered at gunpoint.

Immediately, the apparent master of disguises slips into a Porky Pig disguise. He interrogates: "Vell, I'm-a not so sure that you're Porky Pig either!" and furthermore mocks his stutter. He moves Porky away from the railway, causing him to ponder: "I'm really gettin' suspicious of that guy!"

This is most likely the weakest spot of the entire cartoon. Porky's personality is incredibly underplayed as he has nothing more to do than feel suspicious and getting interrogated by the spy. It's a completely ridiculous concept at attempting to bluff Porky Pig by disguising as his own self! So many missed opportunities run together.

On a positive note, the bridge scene has some very choice, dynamic staging as well as some rich point-of-view shots which adds to McCabe's reputation as a stylish director. In Missing Lynx's POV shot, he holds out the bomb from his suitcase; and sets the time on it accordingly. For a description of action so simple; the work on the hands is incredibly rich in detail; with an amazing use of perspective.

As far as Eggbert's role plays in this short; his role is mainly used for recurring gags and little of personality. The recurring gag is focused on Eggbert's violent sneezing habits which appear frequently. Some of the gags pay off wonderfully. During their investigation in the park, the dog almost experiences an episode - but spontaneously the spy's arm holds his nose whilst hiding in a tree. The unpredictability of the gag alone, is hilarious.


Other areas the sneezing gags build up tension and suspense; such as when Porky and Eggbert find themselves barely dangling from a root attached to the edge of a cliff. It appears story man Don Christensen intended to use the gag as a plot device; which supposedly becomes key to the flaw in Missing Lynx's terrorist plan.

The recurring gag itself hardly has much pay off at all; as his sneeze only plays a main role when his sneezes forces the spy out from the cave. Not a complete waste of a concept; it could've worked so better as well as a much better payoff which is somewhat lacking for a potential cartoon finale. Once again, another missed opportunity.

Although the action sequences might be the usual standards for a Warner Bros. short; some shots have some outlandish. The lynx's double take upon discovering the bomb-in-a-briefcase has been retrieved by Eggbert has some effective use of smear animation which captures the panic episode he is facing.


The cave sequence is in the style of McCabe's innovative sense of mise-en-scene. Capturing the complete darkness of the cave; only the eyes are seen luminously. A typical style for animated cartoons, McCabe takes the opportunity to plan the action with the panic depicted by their eyes.

Both characters believing they are safe from the bomb-in-a-briefcase; they take at the sound of a ticking noise. Porky lights the match which reveals Eggbert has followed them, retrieving the briefcase again - Porky shouts "Yipe!" creating another panic situation as the characters run frantically around the cave in complete darkness.

Despite moments of weaknesses evident in the short - Christensen finishes the cartoon with a sense of cruel irony. At the cartoon's climax, the cornered Nutzy is quivering scaredly as he awaits the moment for the bomb to detonate. As depicted in a close-up shot, the bomb distinguishes; creating no effect whatsoever.


Enraged, the spy complains: "I knew it! I knew it! Oh, this goldarn imitation ersatz ding. It never vorks!". He bangs the bomb to the ground with frustration, when at the wrong moment: it explodes.

A lot about the final shot is depicted with cruel irony. The Nutzy is dancing happily around the clouds of heaven, under the impression his plan had worked after all - and without realizing he is dead. And another thing, it seems very ironic for a terrorist spy to spend eternally in heaven. The cartoon draws to a fade as the spy salutes, "Sieg Hiel" and faints onto the clouds.

For a director who proved capable of turning out some occasionally very good cartoons; this short ranges in the 'hit-and-miss' category. McCabe seemed uncomfortable in giving further character personality on Porky Pig; which Chuck Jones achieved brilliantly in My Favourite Duck. Instead, he is given the persona of a clueless idiot who is gullible and vulnerable, which seems a no brainer to that effect. While this short is war-themed; it surprisingly holds very little wartime references; excluding the Nazi parody and the Hitler mask reference - and instead functions like a generic Porky short. Had McCabe continued to direct after the end of the war, it's almost impossible to determine whether he could've really established himself as "one of the greats".

Rating: 2.5/5.