Avery had been given time away from the studio to deal with some personal things. His writer, Rich Hogan, left animation at the same time. In came Lundy, with Jack Cosgriff and Heck Allen to help with the gags. They crafted yet another story of Droopy and the wolf vying for the hand of a Latina (in this case, a cartoon, not a live-action Lina Romay).
There are Avery-type gags, too. One was lifted from King-Size Canary (1947), where a hungry hobo cat piles two boxes on top of each other to reach a window; the boxes suspend in mid-air.
Here, it happens after the wolf sends an Avery-style anvil into the air. Ignore the horrendous DNR in the frames below; there's a better version out there but I don't have it.
The stacking starts in mid-action.
He’s got the girl! Oh, no, he hasn’t. The anvil he sent in the air earlier returns, thanks to the laws of gravity.
Exhibitor magazine of July 30, 1952 rated it “fair” and complained the cartoon slowed down after the first half. By comparison, Señor Droopy is superior. It has some great posing and animation by Bobe Cannon.
The animators here are Avery’s team from when he left: Grant Simmons, Mike Lah and Walt Clinton, with Ray Patterson from the Hanna-Barbera unit taking care of some scenes (Bob Bentley would soon be hired). Johnny Johnsen is uncredited as the background painter.
The official release date was Sept. 27, 1952 but the cartoon played at the Paramount in Bristol, Tennessee from Aug. 24 to 28 with The Merry Widow.
I personally like this cartoon. Yeah, it isn't as madcap as Avery's Droopy shorts, but its still enjoyable to a degree and has the same nuances seen in Lundy's other cartoons.
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