Friz Gets A Director's Chair

Friz Freleng would have turned 121 today. Readers of this blog are knowledgeable enough that they don’t need me to go through his background.

However, we will give you a bit of a set-up from an interview by Jerry Beck in 1989 and published in that great magazine Animato!. Freleng explained he, Hugh Harman, Rudy Ising and Ham Hamilton did a demo sound film starring Bosko after they were all dumped when Universal decided to take Oswald the rabbit away from their studio in Los Angeles. Freleng went back to New York to work for Charlie Mintz on Krazy Kat cartoons.

Then in 1930 Hugh and Rudy sold Leon Schlesinger on a Bosko series. Freleng left Mintz and returned from New York to animate on it.

Said Friz:

I stayed with Hugh and Rudy through the start of the Schlesinger era. When we lost the contract with Schlesinger [in 1933], we were doing work for Van Beuren, farm-out work. I stayed with Hugh, but I thought he was going nowhere. Not that I could see the future.
When Leon Schlesigner tempted me away from Hugh and Rudy when they went to MGM, I had a guilt complex about it. Schlesinger sent Ray Katz over to see me, called me every once in a while, and tempted me to come over. He had hired a guy by the name of Tom Palmer, and Jack King, a couple of guys from Disney. Guys who were not making it. . . .
And when I came over they let Tom Palmer go. . . . and I took all the drawings that he had made. Warner would not accept their cartoons, and Leon thought he was going out of business. He said, "I've got everything I've made in my lifetime dumped into this thing." So I took a lot of the drawings, and I retimed them, threw out a lot...

Palmer’s two cartoons were Buddy’s Day Out and I’ve Got to Sing a Torch Song. Freleng isn’t credited on either of them.



His directorial credit is on Buddy the Gob, released Jan. 13, 1934. It’s not exactly strong on story or gags but, as the studio discovered, there wasn't a whole lot they could do with Buddy; he's a watered-down version of the plucky Mickey Mouse in this cartoon. Freleng and whoever was in the story department tossed in a pop culture reference. The camera pans to the right from two Chinese dancers in a parade ...



I couldn’t tell you who is on the left, but the one on the right is Hot-cha-cha! Jimmy Durante. (Note: Strummer Petersen believes it's a poor drawing of Marie Dressler. Considering she was big at MGM, he's likely correct). We get a close-up of The Schnozz.



The plot involves Buddy jumping off his ship and rescuing a girl who is to be fed to a fire-breathing dragon. Of course, there’s a butt-violation gag.



As Bernie Brown plays Warren and Dubin's "Shanghail Lil" (from the 1933 Warners feature Footlight Parade) Buddy and the girl escape from an angry mob, cutting a wooden bridge after making it over to the opposite cliff.

One of the mob throws a spear at the heckling Buddy and misses.



The arrow develops a mind of its own. It turns around and, well, if one butt-violation gag is funny, then two are TWICE as funny, right?



And then. Well, nothing. That’s all, folks. Buddy appears just as stunned as the theatre audience that the cartoon just stops.



Before the year was over, Bugs Hardaway and Jack King took over the Looney Tunes with Buddy while Freleng concentrated on the Merrie Melodies. Besides a misbegotten stint at MGM in the late ‘30s, Freleng stuck with the Warners studio until just before it closed in 1963. You know all about a stop at Hanna-Barbera, and a studio with David DePatie and a panther and such, so we’ll skip that.

Buddy died about a year and a half after this cartoon appeared. It's safe to say Friz's directorial career went on slightly longer. And he was responsible for some of the most enjoyable cartoons ever made.

Rhapsody in Cement

Friz Freleng’s Rhapsody in Rivets (1941) was one of a number of cartoons to synchronise Liszt’s Hungarian Rhapsody No. 2 to animated action on screen. It was nominated for an Oscar, but the cartoon based on the same music which won the award was the Tom and Jerry short The Cat Concerto (1947).

Mike Maltese (at least he received the rotating story credit) and Freleng must have worked closely to match gags to the timing of the music. I can’t explain it, but the humour is something that would come out a Freleng unit cartoon.

One routine involves a cement mixer acting as a cocktail shaker. After the “drink” is poured out, an arm appears from behind the mixer and plops a garnish on top. I cannot picture Chuck Jones (even with Maltese writing) using this kind of gag.



Correct me I’m wrong, but I believe the first cartoon to employ this piece of music was in 1929 in The Opry House, a Mickey Mouse short. You can also hear it (besides in the aforementioned cartoons) in various lengths in Fire Bugs (Fleischer, 1930), Bars and Stripes (Mintz/Columbia, 1931), The Candy House (Lantz, 1934), A Car-Tune Portrait (Fleischer, 1937), Farmyard Symphony (Disney, 1938), Dipsy Gypsy (George Pal/Paramount, 1941), Rhapsody Rabbit (Warners, 1946), Back Alley Oproar (Warners, 1948), The Magic Fluke (UPA/Columbia, 1949) and Convict Concerto (Lantz, 1954). I must be missing some.

(Yes, I know, The Simpsons, Roger Rabbit. I’m talking about theatrical animated shorts).

It was originally released Dec. 6, 1941; the Warners’ theatre in Fresno screened it that day. Spake an exhibitor to the Motion Picture Herald:

You might call this a partial burlesque of Fantasia. No matter what you call it, it is a very, very clever cartoon showing the building of a skyscraper to the Second Hungarian Rhapsody music. My audience laughed a great deal and praised it afterward.

Gil Turner received the rotating animator credit, chopped off when the cartoon was re-released in 1947. The backgrounds appear to be the work of Leonard Kester.

Hare-Less Wolf Backgrounds

Boris Gorelick came up with some neat backgrounds in Hare-Less Wolf (1958). It's filled with purple rolling hills and trees in various shades of autumnal red.



Here are some others. Several of these were longer than TV frame, but I can't snip them together without characters getting in the way. You can see cels outside the Charles M. Wolf cave entrance.



Gorelick is credited with only seven cartoons for the Friz Freleng unit, and then he is replaced by Tom O'Loughlin. We wrote about him in this post.

Maybe the best part of Warren Foster's story in this cartoon is naming the forgetful antagonist after Chuck Jones. Many of the gags are reminiscent of ones you've seen in other Bugs Bunny cartoons.

June Foray is here with her Marjorie Main voice as Mrs. Wolf.

A Close Nazi Shave

Cat equals Nazi in The Fifth Column Mouse, 1943 Warner Bros. cartoon directed by Friz Freleng.

Fifth columnists were traitors who supported the enemy from inside their homeland. In this cartoon, mice are persuaded by the Fifth Column Mouse that a cat invading their home won’t hurt them.

If there’s any doubt the cat is a stand-in for the Axis, even before hearing the patriotic war song “We Did It Before” by marching soldier-mice, the cat scrapes ice off a window, with the clear spot forming what suspiciously looks like Hitler’s hair. The cat doesn’t need a German accent; the “hair” and the attitude that a cat is an enemy of mice is enough. (When the cat whispers his plot to the gullible mouse, Carl Stalling plays “Ach Du Lieber Augustine” in the background).

A good portion of the short is a chase, which adds to the energy of the cartoon. A fun freeze-frame scene is when one mouse takes an electric shaver to the cat. Here are some of the frames of multiples characters.



This is another cartoon featuring a “Buy Bonds” poster in the background. And it includes the Beethoven’s Fifth notes that signify Morse Code for the letter “V” for “Victory” as the cat looks at its shaved body.

The cartoon has been Blue Ribboned, so there are no credits.

The Forest Rabbits

Forest rabbit Bugs Bunny is reading “Little Hiawatha” and gets to a line about the “mighty warrior” hunting “the forest rabbit.” Bugs suddenly realises that means him.



Bugs runs around in circles before leaving, stage left. To make the exit seem faster, Bugs develops multiples of himself. Some drawings.



Maybe Leon Schlesinger liked this cartoon as he put it into Oscar contention, but Hiawatha is too much of a dullard for me. (Clampett. Re-used footage. Yes, I know).

The original credits said Gil Turner animated some of this short for the Friz Freleng unit.