Ping Pong Ball Eyes

By the time Tex Avery and Heck Allen got around to making Wild and Woolfy, they had to figure out different sexual-excitement gags for the wolf when he sees Red on stage than they had used before.

They kept things to a minimum. The first one features the MGM ink-and-paint department’s brush work, some multiples, and eyes popping out of the head, bouncing away like table tennis balls.



Showmen’s Trade Review of Jan. 5, 1946, reported:

After viewing the MGM Color Cartoon, "Wild and Woolfy," Marines stationed at Camp Pendleton, Calif., have requested the Culver City studio for permission to use the leading character, a little dog in a ten-gallon hat, as their official mascot. The studio is now working up an insignia featuring the pup for the Marine outfit.

Wild and Woolfy was copyrighted Sept. 21, 1945 and released Nov. 3, 1945. Claude Smith’s model sheet for the cartoon is dated May 5, 1944. The short was animated by Preston Blair, Ed Love, Ray Abrams and Walt Clinton, whose name was taken off the October 1952 re-release. Johnny Johnsen was the background artist; the cartoon opens with a pan over one of his lovely paintings with buttes, plains, cacti, and rocks with the credits on a foreground overlay.

A Box Gag Returns

Some old cartoon ground is ploughed by director Dick Lundy in Caballero Droopy, an MGM release starring Droopy, the matador wolf and a bull. We saw them all in Tex Avery’s Señor Droopy, released three years earlier.

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.

Life Imitates Tex

Tex Avery’s Car of Tomorrow (1951) made fun of the step-down Hudson and the wrap-around-window Studebaker; both were joked about on network radio comedy shows of the day. But there was also a gag where, eventually, life imitated art.

A small car appears on the screen, and narrator Gil Warren describes it: “The super-thrifty Scotchman model. This car uses absolutely no gasoline.” Dissolve to the gag.



It turned out someone actually made a “Scotchman.” Studebaker produced the Scotsman (scotch is a drink, not a nationality). Studebaker produced the economy car in 1957 and 1958.



No, it didn’t run on pedal power. But it got “25 to 29 miles per gallon,” according to newspaper ads in June 1957 (“Oil industry trembles,” the ad announced). The Scotsman came in two-door, four-door and station wagon models.You got a heater and turn signals as free extras.

By this time, Avery was in the cartoon commercial business, though he wasn’t animating a Studebaker.

Deer Mother-in-Law

In 1910, humourist Irvin S. Cobb wrote the mother-in-law joke was one of only eight jokes in the world, and all others were derivatives of the eight. (The “Peevish Wife” and the “Husband-Who-Comes-in-Stewed” were among the other two).

They were old then. And, more than 40 years later, Tex Avery was putting them on screen at MGM.

In Field and Scream (1955), the narrator tells us “Our old friend Ed here has designed a special deer hunting outfit for the mother-in-law.” Ed even helps her on with it.



It comes with a special accessory.



The mother-in-law strolls out of the scene. We hear a shot off-camera. Ed bows his head in mock sorrow.



A great look to cap the scene.



Grant Simmons, Mike Lah and Walt Clinton are the animators. Designs by Ed Benedict.

If you want an earlier example of a mother-in-law cartoon, here's one from a newspaper from 1903.

How To Slam a Newspaper By Jerry Mouse of Prague

No, this post won’t bash the Gene Deitch Tom and Jerry cartoons made in Czechoslovakia. They do have some redeeming factors. One is they never included an annoying duck that became Yakky Doodle. Another is they never featured a way-too-cute little French mouse.

Instead, we’ll simply post the frames from a scene in Mouse Into Space (released March 1962). Todd Dockstader’s story has Jerry reading a newspaper ad encouraging mice to enlist in the space programme, promising “There are no cats in outer space!” Here's an in-between as Jerry turns to look at Tom.



Fed up with Tom trying to kill him, first with a pistol, and then a bomb, Jerry has had enough, and storms off out of the scene after slamming down a newspaper. The action takes place pretty quickly, though it still seems a little jerky on screen. These are the drawings, one for each frame (exceptions noted below).



The drawing below is held for four frames.



The next two drawings are held for two frames.



33 frames in all, less than a second and a half. Lots of jagged impact animation, isn't there?

Vaclav Bedrich is given an "animation director" credit, though Deitch is credited as the director. Who did what is your guess. Gene isn't around any more to ask.