Pies and old comedy go together like, well, pies and old comedy. We get both in another one of Friz Freleng’s winners, A Hare Grows in Manhattan (1947).
Tex Avery’s last theatrical cartoon is a disappointment. He once again re-visits the “don’t make noise” theme which he put as the premise of his previous cartoon, the fine and funny The Legend of Rockabye Point.
It’s remarkable that Jack Benny hit the five-year mark of his radio show and he didn’t even have two of the people which we all think of today when Benny comes to mind.
Preston Blair’s master-work at the MGM cartoon studio has to be the dance sequence in Red Hot Riding Hood (1943). Much has been written about it, so there’s little for me to say other than enjoy some of these drawings from one scene.
Remember the gag in Tex Avery’s The Peachy Cobbler (1950) where the elves hammered nails into each other’s butts? The same thing happens in one of the mini-cartoons that ended The Quick Draw McGraw Show.
Director Tex Avery, writer Rich Hogan, animator Paul J. Smith and composer Carl Stalling all get credits on the 1940 Warner Bros. cartoon Cross Country Detours, but there are several whose names don’t get mentioned at all.
There’s an extended scene in the Heckle and Jeckle cartoon Satisfied Customers (1954) where a grocery store clerk slips into a crate of eggs (courtesy of a banana peel thrown by one of our heroes) and tries to catch them all so they don’t break.
The stories weren’t much, the animation was minimal, dialogue was non-existent, but Colonel Bleep has the distinction of getting on the air before anything Hanna-Barbera put on TV.
Leon Schlesinger heeded the call of his country and of the Warner brothers, who decided in 1939 that patriotic films were needed, by rushing the Merrie Melodies short Old Glory through production.
John Sutherland Productions released some pretty attractive and imaginative animation/partially-animated short films for industrial customers in the late 1940s and the 1950s.