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    You WIll Need To Reset Your Password!!!

    We just moved hosts on this system, and this has caused a few updates. One is the way we encode and store the encoded passwords.

    Your old passwords will NOT work. You will need to reset your password. This is normal. Just click on reset password from the log in screen. Should be smooth as silk to do...

    Sorry for the hassle.

    Dave Koch
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    Are You Just Hanging Out?

    Just lurking? Join the club, we'd love to have you in the Big Cartoon Forum! Sign up is easy- just enter your name and password.... or join using your Facebook account!

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    Dave Koch
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    Other Side Of Maleficent

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    BCDB Hits 150K Entries

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    Warner Brings Back Animated Stone-Age Family

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    Disney To Feast In France

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    Renegades of Animation: Pat Sullivan

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LTGC: Revenge of the Sixth

Discussion in 'The Animated Word' started by Dave Koch, Jan 24, 2014.

  1. Dave Koch

    Dave Koch Cartoon Admin

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    Looney Tunes Golden Collection,

    Volume 6


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    As the title of this review implies, the Looney Tunes Golden Collection is back for what, as it turns out, may very well indeed be its “last hurrah”… that is, unless sales of the present set dictate otherwise.

    In my earlier review of Volume 5 of the Looney Tunes Golden Collection I had erroneously stated that the mid-point in the DVD series had been reached. At that time many of us, me included, were under the misapprehension that the series would yield at least an additional five volumes, which would nearly exhaust the Warner Bros. cartoon library (although that had never been etched in stone). A few months ago Looney Tunes fans everywhere received the startling news that the sixth volume in Warner Home Video’s long-running franchise would, in all likelihood, be the very last.
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    Only recently was it revealed that the sales of LTGC5 had been mediocre to the point that Warner Home Video had strongly considered pulling the plug on the series. It was largely through the efforts and exhortations of Animation Historian Jerry Beck (who has been a key creative consultant on the series) and WHV’s own George Feltenstein that we now have the current volume. In a recent blog post Mr. Beck wrote:

    "…George Feltenstein (Warner Home Video Sr. VP of Catalog) and I lobbied for one more set to get the lesser known, more obscure material out there before the vault doors were completely shut. The Bosko, Buddy, propaganda and one-shot shorts on this set were selected intentionally. We might never have this chance again.

    I sleep better knowing PAGE MISS GLORY, BOSKO'S PICTURE SHOW, RUSSIAN RHAPSODY --and even NORMAN NORMAL-- amongst others included here, are restored.

    If the sales are better than expected, the Golden Collections could possibly continue. So tell all your friends to buy it!

    In the meantime, Warners is still restoring the library, 60 cartoons a year, and we are working to configure new packages to release on a regular basis."
    What does the future hold for the Looney Tunes on DVD? Mr. Beck isn’t revealing full details just yet; but there has been at least talk of a couple of DVD sets featuring fully-restored episodes of The Bugs Bunny Show as well as the possibility of 1-disc or 2-disc sets devoted exclusively to individual Looney Tunes characters. I think it’s pretty safe to say at this point in time that the 4-Disc format to which we’ve all grown accustomed is more-or-less a thing of the past. WHV recently abandoned the 4-disc format of their Popeye the Sailor Franchise; presumably because of low sales of the first volume in that series. Both the 2nd and 3rd volumes in that series have been released as 2-disc sets.
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    "You are getting very sleepy... you will buy this DVD..."

    It stands to reason, then (particularly in the current economic climate), that any future Looney Tunes sets will be similarly-released. WHV had, of course, been releasing Looney Tunes on DVD in a 2-disc format from the very beginning; as part of their concurrent “Spotlight Collection” series. Those 2-disc sets were conceived as a “best of” series; with each individual volume comprising the most popular cartoons and bonus features contained in their 4-disc counterparts. It’s quite possible that any unreleased Looney Tunes and Merrie Melodies cartoons might simply be relegated to the Spotlight Collections series. In any event, fans can look forward to more cartoons in the near future and that is cause for celebration! Again, as Mr. Beck has intimated, the Golden Collections could possibly continue if sales of LTGC6 justify the release of further volumes in the series; so order a copy today if you haven’t already done so!
    In many ways the present volume represents a first for the series:

    It is the first volume, for instance, notto feature any wrap-around segments or voice-recording sessions for The Bugs Bunny Show; but, again, we’ve been told that complete episodes are just around the corner. It is also the first volume not to feature any “Behind the Tunes” segments; although early on it had appeared that the producers of those segments were running out of topics. The entertaining and informative spoken commentaries and music-only audio tracks, however, are still included; albeit not as generously as before so that extra cartoons could be accommodated.

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    The animated opening (top left) and main title-card (top right) to Hare Trigger

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    Bugs imitates Gary Cooper (left) and impresses Sam with his artistic talents (right)

    In addition, this is the first volume in which a major character like Bugs Bunny, Daffy Duck or Speedy Gonzales has not been given his own individual disc of cartoons; but the advantage in this is that it allows for a greater variety of one-shot cartoons across the entire set. Moreover, this is the first and only volume in the series to boast a whopping 75 cartoons; as opposed to 60 in previous volumes. It was reported earlier that there would be, in fact, a total of 76 cartoons; but apparently one title was left out for reasons still not known (could this missing title have been the elusive Coal Black an’ de Sebben Dwarfs?)

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    ("Ahhhh... Shaddup!!!") [​IMG]


    Looking at the disc contents for Volume 6, the phrase “everything but the kitchen sink” immediately leaps to mind. Mssrs. Beck and Feltenstein have procured for us some truly great cartoons this time around and, with just a few exceptions, they look and sound as if they were newly-created. Nearly half of the cartoons in this volume are in glorious black-and-white (there are possibly more here than in all the previous volumes combined) and the restorations of the majority of these are simply gorgeous!

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    Original main and end-titles from early Looney Tunes, starring "Bosko"

    Of the six cartoons featuring Bosko, “the Talk-Ink Kid”, Bosko in Person appears for the first time on DVD. Bosko the Doughboy has been included on Disc 2 as part of the “Patriotic Pals” program of (mostly) war-themed cartoons. The remaining Bosko cartoons can be found on Disc 3, in the all Black-and-White program, “Bosko, Buddy & Merrie Melodies.

    One of the earliest Bosko cartoons, Congo Jazz, had been released previously on DVD in the 2-volume set from Bosko Video/Image Entertainment, The Uncensored Bosko, as well as on the compilation disc, Attack of the 30’s Characters from Thunderbean Animation. The restoration of this title for LTGC6, however, leaves the others in the dust. Details in the backgrounds are thrown into sharp relief like never before. In his critique of Congo Jazz, the second cartoon in the Bosko series, Jerry Beck has noted that the animators seemed uncomfortable drawing four-legged creatures in this cartoon and apparently for that reason had the jungle beasts moving about on their hind legs. Despite the primitive simplicity of its story, gags and draftsmanship; Congo Jazz (along with The Booze Hangs High) to me represents the best of the early Boskos.
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    Bosko must contend with (left) a highly-contented cow and (right) a trio of soused sows, in The Booze Hangs High

    It is interesting to see how the Bosko cartoons evolved only moderately, in terms of their technical-quality and gags, over the course of the three years between Congo Jazz and the next-to-last Bosko cartoon, Bosko’s Picture Show. While the latter cartoon boasts improved animation and topical humor (as opposed to the “barnyard” variety of the earlier cartoons); it is only mildly amusing. It has gained notoriety over the decades following its initial release chiefly because of a choice epithet uttered by Bosko near the end. Bosko, commenting on the action of the melodrama that is unfolding on the movie screen, at one point refers to the Simon Legree-type villain as “the dirty ***k”.1 It has been suggested that Bosko’s slur was intended as a form of retaliation by director Hugh Harman against the Looney Tunes’ Producer, Leon Schlesinger. Despite the constant repetition and formula inherent in the Bosko cartoons (Harman, an ex-Disneyite, reportedly lifted ideas from earlier and current Disney productions); he nevertheless felt justified in asking Schlesinger for more money. Schlesinger refused to cut his profits in order to increase the budget for new cartoons, however, and as a result Harman and Ising eventually left the studio to produce cartoons for MGM.
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    Bosko (left) drops the "F-bomb" in Bosko's Picture Show, while Honey (right) celebrates the "Repeal of Prohibition" in Bosko in Person

    Ride Him, Bosko is one of the few cartoons in the Bosko series in which one can find any semblance of innovation. Near the end of this cartoon (which is set in the Old West) Bosko is seen trying to save his girlfriend, Honey, who is trapped in a runaway stagecoach. As he rides to the rescue, the camera pulls back (in an apparent nod to Max Fleischer and his “Out of the Inkwell” series) to reveal the animators as they watch the proceedings on a rear-view screen. The animators try to decide how the action should resolve; but when they can’t think of a satisfactory ending they exit the room, leaving Bosko (and the audience) hanging.
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    The new face of Looney Tunes: the original main-title card for an early "Buddy" cartoon

    Following Harman and Ising’s departure, Schlesinger raided the Disney Studio for replacements and hired Jack King and Tom Palmer as directors. Since Harman and Ising themselves owned the rights to the Bosko character and had taken him to MGM with them; the Schlesinger Studio was hard-pressed to create a new starring character for its “Looney Tunes” series. Ultimately they came up with “Buddy”; a human character that was unfortunately quite bland (compared to Bosko). Buddy nevertheless kept the Looney Tunes running until the introduction of Porky Pig, who would eventually breathe new life into the series. Three of Buddy’s better cartoons are included on Disc 3, Buddy’s Day Out (featuring a somewhat more boyish-looking version of the character), Buddy’s Beer Garden and Buddy’s Circus.

    “Beans” the Cat (who had debuted with Porky Pig in Isadore “Friz” Freleng’s 1935 “Merrie Melodies” cartoon, I Haven’t Got a Hat) is represented on Disc 3 in A Cartoonist’s Nightmare. The staff at Termite Terrace had at one time pinned their hopes on making a star out of Beans and had featured him in a few solo cartoons, as well as in entries like Boom Boom and Alpine Antics which paired him again with Porky. Fortunately for us this turned out not to be the case; Beans was eventually retired and Porky soon attained lasting immortality as the Looney Tunes' official spokesperson. This Looney Tune and Gold Diggers of ’49 are the best of the handful of cartoons to have featured the Beans character. Like the final scene of Ride Him, Bosko, it too appears to have been inspired by the earlier Fleischer “Out of the Inkwell” cartoons.
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    A day in the life of a cartoon cop: scenes from One More Time

    Smile, Darn Ya, Smile! and One More Time, also on Disc 3, are two of the three cartoons featuring Foxy, yet another short-lived character at the Schlesinger Studio. Foxy was just one of many Mickey Mouse rip-offs (albeit here with pointy ears and a bushy tail) to come forth from rival animation studios during the 1930's. It is alleged that Foxy was retired after just three cartoons because Walt Disney had threatened to sue Harman and Ising for copyright infringement. One More Time contains more than a fair amount of violence (taking its cue from the various gangster pictures produced by Warner Bros. around the same time). The final scene, in particular, is somewhat shocking; with Foxy getting his derriere decimated by machine gun fire. Perhaps this is pure conjecture on my part, but I think that may have been Harman and Ising’s way of effectively "killing off" Foxy in what turned out to be his final cartoon. The character was briefly revived in 1992 and made an appearance in the "Tiny Toons Adventures" episode, Two-Tone Town.
    Four additional bonus black and white cartoons are included on Disc 3: How Do I Know It’s Sunday, I Like Mountain Music, I Love a Parade and Sittin’ On a Backyard Fence. The highlight of the special features on Disc 3, however, is without doubt the "Schlesinger Productions Christmas Party"; a set of “gag reels” that were compiled by the animation staff largely for their own amusement. Excerpts from these reels had been previously included in recent television and DVD documentaries on the Warner Bros. Cartoon Studio; but this appears to be the first time that they have been shown in their entirety. Jerry Beck and former Schlesinger Ink-and-Paint Artist, Martha Sigall, offer insightful commentary to the proceedings. Watching the hijinks depicted here (e.g., Leon Schlesinger giving Ray Katz a hotfoot; Chuck Jones, Robert Clampett and Tex Avery appearing in drag) it is easy to see just why the Looney Tunes and Merrie Melodies cartoons are so consistently funny and enjoyable; for the people who made them were apparently every bit as demented as (if not more than) the cartoon characters and the stories that they created.

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    Comedian "Ed Vinn" (left) appears in an ad for "Vexico" Gasoline from I Like Mountain Music

    An infant (right) gets the final "seat of approval" in Shuffle Off to Buffalo

    The overall theme of LTGC6 is one of patriotism, as can be seen from the cover art which depicts Bugs, Daffy, Tweety and Sylvester, Elmer (and a monochromatic Bosko) in military uniform. This motif is continued on the inside covers of the boxed set with a series of clever WWII-era posters containing propaganda messages not unlike the ones that adorned workplaces and other public buildings during the war years. Obviously the choice of a patriotic theme was inspired by the plethora of war-related cartoons that are included in the set and contained on Disc 2. A number of these, such as Daffy the Commando and The Fifth-Column Mouse had been previously released on video in the VHS compilation from Turner Home Entertainment, Bugs and Daffy: the Wartime Cartoons (MGM/UA 1998). The visual-quality of these cartoons for the present DVD release, however, is vastly superior. According to the track listings for Disc 2, there is supposed to be an audio commentary by Jerry Beck for The Fifth-Column Mouse but I was not able to find it. It would appear that the commentary was left out at the last possible minute; shortly after the DVD cases had been printed and assembled. No explanation about this anomaly has been forthcoming.

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    Practical jokes which occured daily at Termite Terrace (above, left to right) were often reflected in the cartoons themselves:

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    Norm McCabe’s The Ducktators, which for years had circulated on TV and in Public Domain VHS compilation tapes with its final scene missing, is presented here complete and uncut. Some of the “blackout-gag” cartoons, like The Weakly Reporter, are admittedly weak on gags and story. The best of the wartime cartoons presented here are, without a doubt, Bob Clampett’s Russian Rhapsody (which features some wonderful caricatures of the animation staff) and Friz Freleng’s Herr Meets Hare. The latter was written by Michael Maltese and includes a dance sequence with Hermann Goering and Bugs Bunny (dressed as “Brunhilde”) that would be duplicated twelve years later with Bugs and Elmer Fudd in Chuck Jones’s What’s Opera Doc.

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    Three cartoons that were commissioned by the Sloane Foundation, By Word of Mouse, Heir-Conditioned and Yankee Dood It, round out the main contents of Disc 2; each one attempting to explain in an entertaining fashion to the average layperson the principles of modern-day (by 1950’s standards) economics. Among the special features on Disc 2 are three additional wartime-era cartoons, Confusions of a Nutzy Spy, The Fighting 69½th and Hop and Go. Also included are five of the “Captain and the Kids” cartoons that Friz Freleng directed at MGM; during a brief sojourn away from the Schlesinger Studio. Freleng reportedly hated making these but the ones chosen for this compilation nevertheless bear his particular stamp and are arguably the best in the series. This is particularly true of Poultry Pirates; which features a scene (meticulously set to the strains of Franz von Suppe's “Poet and Peasant” Overture) depicting the Captain as he engages in a smack-down with a bantam rooster. All of the “Captain and the Kids” cartoons (which were freely adapted from the popular “Katzenjammer Kids” comic strip) were originally produced and released in sepia-tone but are presented here in black and white. The Captain’s Christmas and Petunia National Park were produced in color.

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    Scenes from (left to right) Friz Freleng's Poultry Pirates and The Captain's Christmas

    Personally, I had hoped that LTGC6 would have included a few more entries from the “Private SNAFU” series of instructional cartoons as special features on Disc 2. These were produced by the Schlesinger Studio for the U.S. Military as part of their “Army-Navy Screen Magazine”. About a dozen or so titles from the SNAFU series had previously been released on the last 3 volumes of LTGC; but there are still more that have yet to be officially released on DVD. 2

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    Disc 4 presents a smorgasbord for any die-hard Looney Tunes fan. One rarely-shown cartoon directed by Robert McKimson, The Oily American (above, left and right) makes its DVD debut. This cartoon has been absent from the airwaves primarily because of its politically-incorrect depiction of Native Americans. Horton Hatches the Egg (below, left and right) is another cartoon that has been eagerly awaited. Unfortunately the original main-title sequence for this cartoon could not be restored, presumably because the original music tracks no longer exist; the version presented here is from a “Blue Ribbon” re-issue. Jerry Beck had previously posted a screen-shot of the original title-card, back in August, on his "Cartoon Brew" website; but, unfortunately, the image has long-since been deleted. Hopefully it will be included among the illustrations for Beck's upcoming book on the 100 greatest Warner Bros. cartoons.

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    Fred “Tex” Avery’s only excursion into the Art Deco world is represented by Page Miss Glory (below, left and right). I had previously seen this cartoon only in faded 16mm prints. It is a revelation, then, to see the gorgeous hues that have been restored in this new digital transfer.

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    Two other rarities include McKimson’s The Hole Idea (below, left), about an inventor who creates “portable holes”. Alex Lovy’s Norman Normal (below, right) also contains an ending that leaves the viewer hanging.

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    Friz Freleng’s Lights Fantastic (above, left and right) indulges the director’s predilection with consumer-product labels. Besides making reference to the act of tripping a light switch, the title is a pun on the old expression for dancing, or, “tripping the light fantastic”. The word “fantastic” could also be used to describe the restorations of the cartoons Much Ado About Nutting (below, left) and Chow Hound (below, right); the latter of which restores the un-PC scene of a mouse dressed as an African native.

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    I always find it difficult to watch Chuck Jones's Fresh Airdale; a morality tale of a duplicitous canine who repeatedly screws over his master, then pins the blame on the cat. The dog is never punished for his misdeeds, but rather is consistently showered with praise and accolades. The cat, on the other hand, is consistently treated with scorn and derision; despite the fact that he is completely blameless.

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    The two faces of "Shep"


    A documentary on legendary voice-actor Mel Blanc (albeit one that contains more than a few half-truths) rounds out the special features section of Disc 4; as well as the following four bonus cartoons: Punch Trunk, Sleepy Time Possum, Wild Wild World and Bartholomew Versus the Wheel. The latter cartoon was Robert McKimson’s only attempt at making an “art” film; along the lines of the kind of cartoons that had been done at UPA over a decade earlier. Despite the criticism that an effort such as this coming from McKimson and Warner Bros. by 1964 was too-little-too-late; the cartoon nevertheless delights with its child-like drawing style and narration. I should point out at this juncture that not all of the bonus cartoons contained in LTGC6 have been fully-restored. A number of them, however, have been remastered from prints of excellent quality.

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    Scenes from (clockwise, from top left) Dog Gone South and Often an Orphan

    In previous volumes of LTGC one or more discs would be devoted to a single character or pair of characters (e.g., The Road-Runner and Coyote, Tweety and Sylvester, Porky Pig, Speedy Gonzales); with Bugs Bunny cartoons taking up most, if not all, of Disc 1. For the present and (final?) volume the producers have thrown all of the beloved Warner Bros. characters onto the first DVD in the set. I was particularly pleased to find that two of my favorite cartoons featuring “Charlie Dog”, Often an Orphan and Dog Gone South have been included. I remember that my elementary school chums and I would race down the school corridors (much to the consternation of the School Faculty and the Principal) between class periods; calling out a line from the latter cartoon to one another, “Oh Belvedere… come here, boy!”

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    I had not seen McKimson’s A Ham In a Role (featuring the “Goofy Gophers”, also later known as "Mac" and "Tosh") for decades and I was surprised at how much of the verbal humor had escaped me when I saw it on TV as a child. A much underrated cartoon, in my opinion; its inclusion here is most welcome.

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    My second favorite pairing of Porky Pig and Sylvester (my first would be Scaredy Cat), Jumpin’ Jupiter, is also included and one has the added option of listening to the complete Carl Stalling score for this cartoon on a bonus music-only track.

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    Comparing the restoration, here, of To Duck….or Not to Duck to the previous video incarnations of this witty Daffy Duck vehicle is like comparing apples and oranges. One saw nothing but a haze of reddish-brown in the previous versions; here, the veil has been lifted on the full range of colors that audiences must have seen in the 1940’s.

    The two cartoons featuring the Three Bears that I remember frequently seeing on TV in the 1970’s were The Bee-Deviled Bruin and A Bear For Punishment. Every once in awhile Bugs Bunny and the Three Bears would also turn up on one of the independent stations as part of the Pre-1948 TV cartoon packages. Occasionally I would also see What’s Brewin’ Bruin. Because of the ending to Bear Feat(in which Papa Bear attempts suicide), however, that particular cartoon rarely turned up on TV. From a glance at the following it is easy to see how some parent groups might also have called for its suppression on the airwaves:

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    Friz Freleng’s Hare Trigger marked the first ever appearance of Yosemite Sam as well as the first pairing of this character with Bugs Bunny. I must admit I’ve never liked this cartoon quite as much as I do later cartoons in the Bugs/Sam series, like Bugs Bunny Rides Again and High Diving Hare; but it nevertheless has its moments of inspired comedy: such as when Sam demands that Bugs draw a gun and Bugs obliges—literally! Another Western parody included on Disc 1 is Chuck Jones’s My Little Duckaroo, a sequel, if you will, of his earlier Dripalong Daffy. I have to say, though, that I agree with others who say this cartoon is not nearly as good as its predecessor. An earlier Chuck Jones Daffy/Porky pairing, My Favorite Duck, looks fantastic in its present remastering.

    Hook, Line and Stinker, presented here on DVD for the first time, is one of a handful of Warner Bros. cartoons released in 1958 that had used stock music for their soundtracks in the wake of a temporary musicians' strike. The soundtracks (credited on-screen to "John Seely") actually comprised different tracks from the Capitol "Hi-Q" Music Library; the music of which had been written by various composers. Wile E. Coyote gets a little creative in this one, adding a grand piano no less to his arsenal of weapons. When I originally saw the cartoon on TV my feeling, back then, was that the stock music didn’t fit the action at all. Watching it again after so many years, however, I’ve actually had a change of heart; the music (which many will recognize from the early Hanna-Barbera "Yogi Bear" and "Huckleberry Hound" TV cartoons) is now not quite as bad as I remember.

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    Foghorn Leghorn is represented on Disc 1 by two cartoons, Crowing Pains (the original animated opening of which is restored here) and Raw! Raw! Rooster! The latter cartoon features some great additional voice characterizations by an uncredited Daws Butler (to whom Mel Blanc allegedly referred as his only serious competition). The sole Pepé Le Pew cartoon on Disc 1 is Heaven Scent; the ending of which, in my opinion, falls somewhat flat.

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    The original main-titles (above, left and right) and two scenes (below) from Crowing Pains

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    Special Features on Disc 1 include two more Looney Tunes television specials. The first, Bugs Bunny in King Arthur’s Court, is a re-telling of the classic Mark Twain novel. The special was originally titled, A Connecticut Rabbit in King Arthur’s Court. Why Warner Bros. decided to change the title I have no idea; unless they argued that Bugs is supposedly from New York (Brooklyn, to be exact) and not Connecticut. Whatever the reason, many feel that the humor of Chuck Jones’s “plagiarized” credit is diminished with the title-change. The second TV special, Daffy Duck’s Easter Egg-Citement (originally entitled, Daffy Duck's Easter Special) is composed of three separate cartoons. The credits for this special list a number of directors, animators and layout/background artists from the classic Warner Bros. days; but somehow the humor lost its edge in the intervening years. Then again, I suppose that’s to be expected; after all, most of the people who worked on this project already had one foot in the grave. This is one of the few "Looney Tunes" TV specials to feature music written solely by Harper McKay (which, unfortunately, sounds rather pedestrian compared to the classic scores by Stalling).

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    An atmospheric scene (left) from Birth of a Notion

    Martha Sigall (right), reminiscing with Jerry Beck

    Of the four bonus cartoons included on Disc 1, only Hippity Hopper was of any real interest to me. I was especially glad to see that the “Eta Bita Pi Girls Sorority” visual-gag was left intact. Boyhood Daze, featuring the character of Ralph Phillips, is a follow-up to Chuck Jones’s earlier From A to Zzzz. I have to say that I prefer the earlier cartoon; although this one, which finds Ralph confined to his bedroom following a minor infraction, is not completely without charm. Sniffles Takes a Trip is from Jones’s earlier period when he, like most every other cartoon director in Hollywood, was still trying to emulate the elusive “Disney” style. The print of the cartoon used here is marred by a soundtrack that many here in the Forum have described as “tinny”. I finally got a chance to view Rabbit Rampage for the very first time; I was anxious to see just what all the commotion was about. It’s not a bad cartoon (with fine animation done solely by Ben Washam), but it’s not terribly good, either… It has been suggested elsewhere that Jones directed this cartoon as a way of exacting revenge on his bosses for having temporarily closed down the Warner Bros. Cartoon Studio during the mid-1950’s. After all, what better way to piss-off the corporate suits than to take their starring cartoon character and subject him to all manner of abuse and humiliation? Bugs finally gets his comeuppance at the hands of an off-screen Elmer Fudd; but, to be fair, does not suffer any physical damage to the degree of that in Jones’s earlier (and superior) Duck Amuck.

    If this is indeed the end of the Looney Tunes Golden Collection; then overall it looks like the series has gone out with a bang. I urge anyone who wants to see more of these classic cartoons on DVD again anytime soon to pick up a copy today!

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    Special thanks to Bmode for assistance with images

    Notes:
    1. Jerry Beck, among others, can attest after numerous viewings that this is actually what Bosko says. Thanks to what Mr. Beck refers to as “the magic of DVD’s”, one can rewind the passage over and again to determine for oneself whether or not Bosko is cursing.
    2. I discovered recently that the older Bosko Video DVD, The Complete Uncensored Private SNAFU, is back in circulation after having been out-of-print for the last 3 years. This DVD compilation (despite having minor glitches like a small, but noticeable, company logo present for a few seconds during each cartoon) contains nearly every extant Private SNAFU cartoon short produced by Leon Schlesinger and Warner Bros. for the U.S. Military. The DVD includes one of two unreleased cartoons, Going Home (Chuck Jones, 1944) plus two cartoons produced in 1945 by the fledgling UPA Studio and one in 1946 by Harman-Ising’s own independent studio.

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