Bugs Bunny rushes into the scene with the help of a dry brush and exits with a smear.
“I’m multiplyin’, see?” Bugs explains. “I’m multiplyin’!” As The Big Snooze was released in 1946, Bugs is using a 1946-style multiplying machine.
Rod Scribner, Izzy Ellis, Manny Gould and Bill Melendez are Bob Clampett’s animators on this one, which feels like it was edited with a lawnmower in places, the cuts in picture and sound are so abrupt.
Definitely done be someone who had one foot out the door of the studio in terms of editing. But in terms of motivation, it's really the only Bugs effort Clampett did that's in line with what the other units were doing, in that he's not aggressively hecking someone just for fun or has an out-sized ego in the 50s Daffy mode -- he's trying to get Elmer back to the studio so he doesn't ruin the cushy deal the rabbit's got going. That allows Bugs to be playfully malicious, and not as mean as he could be in some of Bob's other outings (especially during the period when Warren Foster was working mainly over at the Tashlin unit).
ReplyDeleteFunny cartoon, but "dialogue not synched to the animation" is right. At one point near the end, you can see Bugs actually mouth the words, "Eh, what's up, doc?", even though he doesn't say it.
ReplyDeleteThe striking use of thick neon-color outlines against a black backdrop would seem to be at least partially inspired from the "Pink Elephants on Parade" sequence from Dumbo. It also might be seen as a precursor to Fudget's Budget (1954) from Yowp's favorite cartoon studio.
ReplyDeleteBacall to Arms, started by Clampett, also suffers from some atrocious editing work.
And for that matter, as noted elsewhere, "Hare Remover" (Tashlin, 1946) has some abrupt cuts AND shifts in animation style.
ReplyDeleteReally risque. Elmer Fudd in just a few leaves and then he loses those revealing his bare butt for a moment. Clampett seemed to have a kinky side. Some of the later Beany and Cecils get a little racy.
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