Señor Droopy Swirls

Ever seen characters swirl from one take to the next? It happens in “Señor Droopy” (released 1948) where the Tex Avery wolf and a bull go at it in the ring. Here are some drawings of the characters getting stretched into the swirls.






A mass of brown brushstrokes give the appearance of spinning like a top. Soon, the swirls separate into the colour of the two characters and they stop, with the swirls vanishing. Below, you can see the outlines of the characters behind the swirls.



Avery’s animators in this cartoon are Bobe Cannon, Walt Clinton, Preston Blair, Mike Lah and Grant Simmons.

Smoked Hams Exit

Woody Woodpecker makes a dash for it in “Smoked Hams” (1946), directed by Dick Lundy. All but the last drawing are on twos.







The credited animators were Myron Henry Natwick and Stanley Casimir Onaitis.

Wonga is 104

Phil Harris would be 104 today and, if you think about it, he really had four careers. To some, he’s best-known for his work on the Jack Benny radio show which he parlayed into his own show co-starring second wife Alice Faye. But it’s not like Jack plucked him from obscurity. He had a dance band with a home base at several different Los Angeles night spots and was recording for Victor. He appeared in several films with Charlie Ruggles, including the comedy “Melody Cruise” (1933). So it was evident to Jack that Harris could act and fill a stooge role that his previous bandleaders had been handling. Harris had plenty of experience on the radio before he joined the Benny show as well. In fact, while Harris’ “two shows” was a running joke starting in the mid-‘40s, Harris was already hosting a musical show with his dance band on CBS when Jack hired him and continued to so while appearing with Benny.

No doubt Harris was happy to settle down with Benny and give up the grind of touring. The Galveston News wrote about a Harris stop in its June 15, 1933 edition; it was a big deal and the paper had a number of Harris stories over several weeks.

HOLLYWOOD HOLDS BRILLIANT OPENING WITH PHIL HARRIS' ORCHESTRA; CROWD ATTENDS
With all the brilliance, pomp and ceremony that goes with a Hollywood first-night and amid a scene of splendor and beauty, Hollywood Dinner Club opened its eighth summer season last night to a packed house, with hundreds being turned away.
It was the moat colorful and successful premier from every viewpoint in the history of the popular west end theater-restaurant. Newly decorated in rare good taste and with a new Frigidaire cooling system the smart, fashioned crowd was thrilled by the appointments and the entertainment of Manager Sam Maceo as they danced, dined and made merry within a veritable forest of flowers.
Phil Harris and his orchestra proved a sensational hit. Thin debonair young man from Hollywood is a great entertainer and his combination of musicians and vocalists provide divertisement comparable to the best seen at the club in recent years.
While Harris did not have any of the movie stars present in person, they were there in spirit. More than a hundred telegrams were displayed from big names in the picture industry who wished Phil luck in his first appearance away from California. Included in the lot were messages from Wallace Beery, Robert Montgomery, Ruth Chatterton, Maurice Chevalier, Gary Cooper, Kay Francis, Anson Weeks, Ginger Rogers, James Cagney, Edwin G. Robinson, Richard Bathelmess and scores of others. Baby Leroy, the tot in Maurice Chevalier’s “A Bedtime Story,” sent this message: “ ‘Ga Ga Goo Club,’ which means ‘Whatever Mr. Chevalier says goes for me, too.’ ”
To single out any particular number that Phil Harris did best would be difficult indeed. The-first night crowd apparently liked everything he offered and cried for more. “Tea for Two,” done with Leah Ray; “Love Tales,” a number that West coast radio critics chose three times in a row as the outstanding number of the week, “It Happened to Me,” theme song from "So This is Harris,” and “Isn’t This a Night for Love,” the theme song from the picture “Melody Cruise,” in which Harris is starred and which will come to the Martini Theater Saturday, were well received.
Harris has some fine arrangements of dance tunes and most of those played were new and taken from current New York musicals and motion picture hits.
Leah Ray, lovely in a black and white lace gown, scored an individual hit and undoubtedly will become as great a favorite here as she was in California. Though still in her teens, she is a finished artist and has a style that wins her audience without a struggle.
Phil Harris’ Ambassadors is another feature with the orchestra that clicked strongly. This trio make a nice appearance and harmonize perfectly.
If one may judge by his reception last night, Phil Harris is due for a highly successful month’s engagement here.
Harris and the band will broadcast four times weekly over KPRC, Houston, and the same outlet will be used when he begins his national network broadcasts June 23.

Ray was a Harris discovery—at least, he gave her her singing first job—and she later married MCA and New York Jets boss Sonny Werblin.

Harris debuted on the Benny show on October 4, 1936. It look a while for the writers to get his character in place; he was kind of a jerkish antagonist to Benny at first. It really sounds painful. Eventually, they had to realise “mean” didn’t work, and that any put-downs of Jack had to be humorous, if not deserved. Harris became the self-absorbed, carefree, alcohol-friendly, illiterate braggart, one of radio’s great characters.

There was little fanfare about Harris’ arrival, nor much speculation about who would replace Johnny Green as the show’s orchestra leader. The Wisconsin State Journal of October 8th sums up all I’ve been able to find in papers of the day:

Phil Harris won the band assignment for the Jack Benny program after a long series of eliminations. Benny was unable to make his mind up as to which of three band leaders he would take and was won over by hearing Harris play in Los Angeles. Benny is also to have another new stooge in the person of Patsy Flick, who was on the Mutual network last year as a dialectician.

Band leader was Harris’ first career, radio star was his second. His fourth was voice actor for Disney as a couple of casual characters. Harris as Baloo singing “The Bare Necessities” may be the highlight of “The Jungle Book.” In between was his third career, that of doting husband to Alice Faye, amateur golfer and someone who only worked when he wanted to, enjoying the good life in between. In a way, all his careers are interrelated, and all entertaining.

Here’s Wonga Philip Harris in his best animated role.

The Rumors About Dr Seuss

The best part about the Snafu cartoon ‘Rumors’ (1943) is the flying baloneys, jabbering away over an army base. But something that’s about as fun is checking out the incidental characters that had to be influenced by the art of Dr. Seuss. That shouldn’t be surprising as he was with the First Motion Picture Unit of the U.S. Army Air Force during the last couple of years of the war. The Snafus were commissioned by the military to play for soldiers and most were animated and recorded at the Warner Bros. studio.

I’d love to point out similarly-drawn characters in Dr. Seuss’ books but my knowledge isn’t that in depth. So I’ll just put up the animation drawings instead.



Here’s the first appearance of a horn-mouthed creature as Snafu slowly starts being driven insane by rumours.



The eyelashes on the horse are like the ones you’d find on Horton the Elephant, though at least some of the Seuss characters had only three lashes.



And here’s another Horned Beaketybeast with his friends.

The Seussical animation is by Friz Freleng’s unit. I’m not sure how the Snafu cartoons were put through the system; if Ted Geisel was involved then I gather the story came from FMPU and the rest of the work was handled at Warners.

That’s Oswald

Not too many stars have their career revived at the age of 85, but Oswald the Lucky Rabbit isn’t just anyone. He was Walt Disney’s first animated success, and then made the jump from silent to sound films before a slow and steady decline. After all, what can be more demeaning than playing straight man to Charlie Chicken in comic books?

The Disney Hype Machine™ has gone all out pushing Oswald lately, most recently digging into the archives and creating a “cartoon” from some of the drawings made for one of Oswald’s first cartoons. So allow me to dig into the archives and pass on a couple of old Oswald newspaper stories.

In case you don’t know the basic story...

Walt Disney created Oswald in 1927 for distribution by Universal through Margaret Winkler’s company managed by her husband, Charles Mintz. Mintz then waved a contract at Disney’s unhappy animators and hired all but one of them, taking Oswald as well because the rabbit wasn’t Disney’s property. But Oswald wasn’t Mintz’s, either, and Charlie became an early victim of Cartoon Karma. Universal suddenly decided to dump the Mintz studio and set up its own under Walter Lantz to make Oswald cartoons. Mintz played out the rest of his years making increasingly crappy cartoons while Disney and Lantz went on to much better things.

The Syracuse Herald of March 11, 1929 reveals “Walter B. Lantz, animated cartoon artist, has arrived in Universal City to do his stuff.” Not long after that, Oswald—and Lantz—got a bit of publicity. Here’s a syndicated column dated July 27, 1929:

Screen Life in Hollywood
By HUBBARD KEAVY
HOLLYWOOD, July 26—It takes 15 or 20 men two weeks to make Oswald act for a few minutes. Oswald is that mischievous little rabbit of screendom possessing so many human qualities.
The film, “Oswald, the Lucky Rabbit,” comes under the head of “short subjects,” but to the artists and cameramen who put Oswald and his playmates in celluloid and into sounds, it is anything but a short subject.
Every time Oswald playfully pulls off his elongated ears, or throws his right paw through a window pane, it means hundreds of minute cartoons painstakingly made. One of Oswald’s adventures requires more than 6,000 individual cartoons, which make a half-reel of film. A separate series of cartoons must be drawn for every-movement.
Crew Of Artists
Walter B. Lantz, the originator, and his two assistants pencil the cartoons after the story has been written. Each draws a portion of the story. Other artists retrace the drawings in ink. Each of the 5,000 cartoons must be photographed separately and sounds to accompany Oswald’s antics are made during this process.
The popularity of cartoon comedies has grown greatly during the last few years, and now nearly every picture theater in the country has on its program either Oswald, Felix the Cat or Aesop’s Fables, to name three of the better known screen cartoons.

The absence of the name “Mickey Mouse” in that last sentence is intriguing.

The funniest story about Oswald comes in another Hubbard Keavy column, this one dated April 12, 1931. People who keep blabbing on about the 1934 Production Code and its effect on films don’t seem to realise there was an earlier Code in place with restrictions as well. That’s the centre of this piece dealing with an Oswald cartoon.

Story Conferences
Story conferences have been story conferences ever since the first movie studio came to Hollywood, but every once in a while one crops up of more than usual interest.
The movie public generally is aware that the board of censors, a rather intangible bogey that frightens the producers and the directors, recently decreed that cows in the animated cartoons should be entirely removed from the dairy business.
The pen and ink boys, who draw Mickey Mouse, Oswald the Rabbit, and the other talking cartoon characters, were in a very sad state of mind for some time afterward.
Walter Lantz, creator of Oswald, called a story conference to determine just what steps should be taken.
Hundreds of sketches were submitted and paper littered the floor.
Finally Lantz hit upon an idea. He attired Madame Cow in a Mother Hubbard frock. Her part in the picture was to run down a railroad track.
But Bossy found difficulty running in a Mother Hubbard and the artists became tired of drawing the bulky dress.
Finally, when the comic strip was about half finished, Lantz threw up his hands and moaned; “What will we do?”
“Oh, let a train hit her,” said one of his disgusted assistants.
Then—just about the time the assistant was prepared to laugh at his own remark—Lantz surprised the group.
“Swell idea,” he declared. “Change the script. Draw a train. We’ll end the whole thing in the next scene.”
And the cow, a hapless sacrifice to fashion, was just a bit too slow in leaping from the track in the next scene.

Perhaps a Lantz expert out there knows the name of the cartoon involved. “The Farmer” (1931) features a cow giving milk under a Mother Hubbard skirt, but there’s no train scene.

It’s up for grabs who might have come up with the train gag. Both Tex Avery and Pinto Colvig were working for Lantz in 1931. Either one could have blurted out a warped gag like that.

In case you haven’t seen the footage created from drawings made for “Harum Scarum,” you can play the video below. Is it the work of Ham Hamilton? Rudy Ising? Ub Iwerks? Beats me. Regardless, it’s a lot of fun and I’d rather watch this than the stuff that’s in theatres today.

Buddy and Azusa

Jack Benny wasn’t the first person to have some fun with the city of Azusa. Benny’s train-call of “Anaheim, Azusa and Cucamonga” made it into a number of cartoons (sometimes voiced by train-caller Mel Blanc) but before that, Azusa appears in the background of one of the low points of Warner Bros. animation, “Buddy’s Day Out.”

The background drawing (the artist is unknown) feature oil wells and storage tanks, so I presume the oil industry was alive in the extremely rural Azusa when this cartoon was released in 1933.



This inept cartoon was directed by Tom Palmer, who was soon fired and joined fellow ex-Disney buddy Burt Gillett in New York City at the Van Beuren Studio. Palmer’s stint at the Leon Schlesinger studio was a fiasco. If you can actually sit through “Buddy’s Day Out,” you can be thankful it isn’t longer. The obvious edits in the soundtrack leave you with the impression parts of it were cut out before it hit theatres, thus inflicting less of it on thankful theatre patrons.

Palmer is immortalised in an inside gag in the background. As Buddy and Cookie continue to drive along the road in Azusa, a side-road heads to Palmer’s place, with a sign thoughtfully helping anyone who wants to go there and tell him what they think of his cartoon.

Benny and Azusa

Name Mel Blanc’s most famous words in cartoons, and they’d have to be “What’s up, doc?” Name his most famous words in radio, and they’d probably be “Train leaving on Track 5 for Anaheim, Azusa and Cuc-amonga.” Blanc first called the stations on January 7, 1945 and the gag kept right on going into the TV years.

It’s a matter of comedy fact that strange sounds are funny. So are words. “Smith” isn’t funny. “Krankenschpooler” is funny.

People get very protective about the name of their community, even if it sounds funny. And so it was for some of the burghers of Anaheim, Azusa and Cucamonga who felt their towns were being ridiculed. That wasn’t the case at all. Their towns had odd names, though they were unwilling to accept that, and the names got laughs. As the train-caller routine became a running gag, it got instant laughs.

Here’s a piece from The Independent of April 20, 1956 where the townsfolk of Azusa weigh in.

Benny’s Humor Lost on Azusans
City Is Still Butt of Gag
By RAY DUNCAN
In Azusa a dying job is clinging to a town that is very much alive. The town is still enjoying an ancient gag about itself that it never did think was very funny.
This is the joke. “Anaheim, Azusa and Cucamonga.”
Get it? A lot of people don’t when you pin them down after they stop laughing at it.
“Out-of-town people drive into my place,” says Azusa service station manager Don Johnson, “and they ask what town this is and when I tell them, they laugh and say, ‘Are you kidding? You mean there really is such a place? I thought it was just on the Jack Benny show.’
“Some yell from their cars, “Hey, which way is Cucamonga?” and fall back convulsed by their own wit.
“So this is Azusa,” others say. “I was expecting a hick town, a whistle stop, like it is on the radio.”
But station agent Amos Hanke said, “I often see them laughing on the bus as they go through, but there’s nothing really funny about town. It’s very nice. We all take it seriously.”
“It still gets a laugh,” sighed another Azusan, “but I never could see it myself. Anaheim isn’t funny, and neither is Azusa. What makes them seem funny is Cucamonga on the end. But still, Cucamonga wouldn’t seem quite as funny if Anaheim and Azusa didn’t come first."
“If Jack Benny told you often enough that Pasadena is a funny word,” said another Azusan, “it would gradually get to be a funny word.”
“People used to come out here just to see what Azusa is like in real life,” said railroad station agent R. W. Lewis. “That was when the big trains stopped here. They don’t stop now.”
NEITHER DOES the gag. For more than a decade Azusa has been facing the fact that it is part of one of the greatest long-running jokes in modern history. Citizens reported yesterday that the gag is slowing down just a little with age.
“But that joke helped put us on the map," says Cornelius Smith, often known as “Mr. Azusa” because he has been a leader here for 50 years. “We got together and we made Jack Benny honorary mayor of Anaheim, Azusa and Cucamonga (he paused to smile at the famous phrase) and I guess Benny is the only man ever to be made honorary mayor of three cities at once.”
In Rhode Island a newspaper columnist once complained that Anaheim, Azusa and Cucamonga “have absolutely no legitimate reason for being known anywhere outside Los Angeles County.”
Mr. Azusa wrote a fiery reply pointing out that Anaheim is in Orange County, Cucamonga is in San Bernardino County, and only Azusa is in Los Angeles County—and set the man straight on some other things too.
“Chambers of Commerce from all over the country have phoned us and wired us asking how we managed to get so many mentions on the Benny show,” Smith says.
“Opinions differ on how it all started. A few weeks ago in Pomona a frost warning broadcaster named Floyd D. Young was quoted as saying that the tri-city gag was inspired by his nightly reading of temperatures. Smith of Azusa denies this.
Most of Jack Benny’s gag writers have changed since the 1940’s even if his gags haven’t, but one veteran is Sam Perrin who yesterday remembered it like this:
“We had decided to do a show in the L.A. railroad station, and we were sitting in the station a couple of days beforehand, kicking the idea around, George Balzer and I, and we heard this train caller sound off, and we decided it would be good to have some funny names called out on the show. We made a list of the funny town names we could think of, and tried them out in combinations, and we finally narrowed it down to you-know-what.”
Anaheim, Azusa and Cucamonga aren’t even on the same railroad line, but in radio-TV a joke is more important than geography.
A COMMON question from travelers through town is, “Where did they ever get a name like Azusa from anyway?” A common answer is, “Azusa means everything from A to Z in the U.S.A. AZUSA Get It?”
“There actually is almost everything from A to Z here. when you stop to think about it,” said service station manager Johnson. “There’s Aerojet, and the Angling Club, and Azusa Rock and Sand Co., and . . .”
He couldn’t think of anything here that started with Z. Azusa has no zoo and therefore no zebra, but civic honor is saved by public spirited citizens like Henry Zeka, Dorothy Zerell, Norman Ziser, Raymond Zitney, Ivan Zuber and Dalila Zepeda.
The Chamber of Commerce is mystified abou the origin of the word Azusa, and only mentions some possible Indian meanings like “watering place” and “place of contented people.”
But if you go to the library you can find three reference books on California place names, all of which say Azusa probably derives from Askuska-Gna, an Indian word meaning “skunk place” or “place of the skunk” or just plain “skunk hill.”
That controversy has never been aired by Benny. On one program, he sent Rochester out to see how things were in Anaheim, Azusa and Cucamonga.
“I’m in Azusa now,” Rochester phoned back on the air. “All these other towns are blaming each other for being on your program so much. Anaheim is blaming Azusa, Azusa is blaming Anaheim, and Cuca is blaming Monga.”

Any grumblings about Jack’s jokes certainly weren’t official. Publicity is publicity, after all. He had been made honorary mayor of the three towns in January 1946 (sparking a forgotten feud with Abbott and Costello). Azusa hosted Jack Benny Day on behalf of all three on June 15, 1965. Newspaper stories don’t reveal if he arrived by train. It would have been a shame if he didn’t.

Minerva Pious

If anyone remembers Fred Allen any more, it’s for the Allen’s Alley portion of his radio programme, where four characters would joke up issues of the day. Fans can name the characters—Mrs. Nussbaum (Minerva Pious), Senator Claghorn (Kenny Delmar), Titus Moody (Parker Fennelly) and Ajax Cassidy (Peter Donald). They made such an impact that people have forgotten they weren’t the original residents of the Alley in 1942 and only spent two years together. The actors who played the last three characters were relative newcomers to the Allen show.

Pious, however, was with Allen in the earliest days, and she actually gets an on-air credit on the debut of The Hour of Smiles on March 21, 1934, which was the brainchild of the ad agency of Allen’s sponsor at the time. The other regulars were Irwin Delmore, Lionel Stander, Jack Smart and Eileen Douglas, though Walter Tetley whenever Allen needed a child voice. Pious was doing her Nussbaum Jewish dialect even back then and was well respected for the variety of accents she could master.

The Lowell Sun of August 16, 1934, carried a short biography about her, something unusual for a stock player on a radio show.

How Minerva Became a Star
“How,” repeated tiny Minerva Pious, reaching up to pull a thread oft the reporter’s cuff, “did I become a radio character actress?”
“Yes,” said the reporter, walking down the stairs six steps so he could be on a level with her eyes. “And how did you learn all those dialects?”
“Well, booblitchka, I’ll tell you,” Minerva said. “Ich war in Moscow geboren et quand j’ai dix ans je quitto La Russie et viens aux Etats Unis, et, signore questa patria....”
And out of it all, the reporter, who was something of a linguist himself, gathered an unusual story.... not the least unusual part of which was the fact that Miss Pious, who is a character actress on Fred Allen’s Wednesday evening Town Hall Tonight program, probably owes her successful position in radio today to the fact that she forgot in the middle of a performance and was fired.
The performance was not acting, however. It was playing the piano for a radio singer. Miss Pious, who always prided herself upon her ability to remember notes, would, under no circumstances, have the music before her at the piano. In the middle of a performance one night her memory failed her. She was fired.
This ended her work as accompanist and started her on a career as a character actress. The singer who fired her—Harry Taylor—is none other than Harry Tugend, Fred Allen’s assistant and director of Town Hall Tonight, and when the Allen group was looking for a woman who could do Russian dialect, In January, 1933, Tugend remembered little Minerva Pious, who wasn’t a perfect accompanist, but was a native Russian. She has been with the Allen group ever since, speaking all the European dialects, including the Scandinavian.
Miss Pious was born in Moscow, March 5, 1909. She had her first stage experience as a child walk-on in an opera in which her father sang the baritone lead. She went to school in Moscow, Vienna, Paris, and in various American places after her parents brought her to this country.
Before going into radio she played character bits on the New York stage and worked in the editorial department of a large national and international news syndicate. She also
played in German and French dramatics in Salzburg.
In person, she belies her rather powerful, husky voice. She is exactly five feet tall, and has brown eyes and dark hair. She likes bridge and tennis, and has published songs, poetry and prose. Believe it or not, Minerva Pious is really her name and she is really Russian.

The article engages in that fine show-biz tradition of shaving some years off someone’s age. Pious spent her teenaged years in Bridgeport, Connecticut where she appeared in plays from 1919 into the early ‘20s. The picture of her in this post is from a Bridgeport newspaper 1920 and is certainly not of an 11 year old. U.S government record show she was born on March 5, 1903. Newspaper articles reveal her father, Abraham M. Pious, brought the family from Odessa, Russia to New Haven, Conn. in 1905, then moved to Bridgeport five years later (115 Roosevelt Street) where he operated the Park City Candy Manufacturing Company.

Oddly, while her hometown paper profiled her brother Billy (a prominent dentist), the only longer story it published on Pious—and it didn’t even run her obit—was the piece on December 21, 1947. There was a picture accompanying it.

War Orphan Here for New Leg;
Minerva Pious, His Benefactor
Cassino—a name that will live in American military history for years upon years.
Pious—the last name of a radio comedienne from Bridgeport who has kept America chuckling for years and years.
How these two names have become related is a story that makes Minerva Pious a truly person, was revealed in New York just last week.
Cassino was the place where Ernie Pyle wrote his most famous dispatch—the story of the company commander who died in the assault on the Jerries entrenched in a hilltop cemetery.
And Cassino was the setting for the story of the di Lillo family and their 11 year old son Guiseppe, who is now 12.
Family Wiped Out
In the Allies’ advance of April, 1944, Guiseppe was the sole survivor of a large family. Dead were his father, his mother, eight brothers and one sister. And little “Joe” himself had lost his right leg—but lived.
His case is typical of the thousands of war orphans in Europe today, and compassionate Americans are doing something about it.
One of those is Minerva Pious, the ex-Bridgeporter who plays “Mrs. Nussbaum” on Fred Allen’s NBC radio show.
Miss Pious joined other Americans in bringing to this country five war oprhans—and Guiseppe is in New York now as her charge. He will remain here until Miss Pious can get him a new leg, and then he will return to Italy under funds supplied by the comedienne and administered through the Foster Parents’ Plan for War Children, Inc., on Manhattan’s 42nd street.
Guiseppe is a bright lad who gives the impression of being quite reserved and shy, but actually has made many friends in New York. He wants to earn his own living, and through the foster parents’ plan he will be taught a trade. Before the shooting war came to Cassino, he roamed the hills tending sheep alone with other members of his family.
When he returns to Italy—after getting his new “natural action limb”—he will certainly have a warm spot in his heart for Minerva Pious and the other kindly Americans who are making a new life possible for him.

Just like Allen, Minerva Pious didn’t really make the transition to television. She appeared on a show with Gertrude Berg (of “The Goldbergs”) in 1948 and two decades later was part of the CBS soap “The Edge of Night.” Other than that, she seems to have only showed up on interviews looking back at network radio.

Pious died in March 16, 1979 at Lenox Hill Hospital in New York.

Dippy Diplomat Outline

A bunch of Walter Lantz cartoons in the mid-1940s used an outline effect to indicate movement. Here’s one from “The Dippy Diplomat,” a 1945 ahort directed by Shamus Culhane. These are consecutive frames.




During this part of the footage, Culhane alternates outline drawings on one frame with fully-rendered characters in the next.

Grim Natwick and Pat Matthews get the animation credits in this one.

Scaredy Cat and Fake Cat

Tex Avery’s eye-popping takes are well-known to any cartoon watcher, especially since they were imitated by just about every other studio for awhile. But Tex had a scare-take with fur standing on end. He used it as a running gag in ‘Ventriloquist Cat’ (1950).

The story (by Rich Hogan) is pretty simple. The mangy cat that appeared in Avery’s cartoons around this time is picked on by Spike the dog. The cat finds a ventriloquist’s kit and uses it to throw his voice, leading Spike into a bunch of funny, familiar Avery gags. The takes are on ones, as the characters hover and shudder in mid-air. Some of the takes have two different drawings of fur on end, others have four.

Eventually, the cat makes Boyer-type love to Spike disguised (rather poorly) as a cat. Spike’s cat head comes off. Time for the take.



Spike chases the cat past some dogs. Spike tries to convince the dogs he’s a dog, too, but the cat keeps throwing his voice into Spike’s mouth. The dogs get set to pounce. Cue the take.



The cat meow-laughs because he conned the dogs. The dogs suddenly hear the cat meowing and go over to get revenge for being suckered. Cue the take. Whoever the animator is then has the cat turn 180 degrees in perspective and zoom out of camera range, being chased by the pack of dogs.



Dashing up a telephone pole, the cat realises he’s not safe. That’s where the dogs chased Spike. Cue the take.



Mike Lah, Grant Simmons and Walt Clinton are the credited animators.