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Rikichi
Reviews
North by Northwest (1959)
North by Northwest proves that great art can also be entertaining.
Alfred Hitchcock made this film at the height of his genius and also at the height of his popularity, when his television show gave him the kind of exposure and face recognition usually reserved for only the biggest stars. Hitch always maintained that great films should also entertain, North by Northwest being presented here as our star witness to prove his assertion to be correct.
Cary Grant plays Roger O. Thornhill as the slick Madison Avenue advertising man who is mistaken to be George Kaplin, a spy hot on the trail of Phillip Vandamm, played masterfully by James Mason. All we really know about Thornhill is the statement he makes to Eve Kendall (Eva Marie Saint) on the train from New York to Chicago that he has a mother, several bartenders and two ex-wives dependant upon him for support. The "O" used to initial his middle name stands for "nothing" and his initials, R.O.T., sum up his life. These details are revealing and the scene is beautifully crafted, showing us the apparent emptiness of his life prior to this adventure. Ernst Lehman's script is loaded with these types of gems throughout the picture.
If you're really not into excellent dialogue and clever acting and prefer that the story get on with it, this also is the movie for you, as it has two of the most memorable action sequences in the history of motion pictures. Of course I'm referring to the crop dusting sequence and the finale on top of Mount Rushmore. Those are enough to put this movie near the top of anyone's must see list.
Kudos are also due to Leo G. Carroll in one of his best character roles as The Professor, who's humble appearance belies the fact that he is the one who is responsible for manipulating much of the action behind the scenes. A young Martin Landau, as Leonard, Vandamm's "right arm", shows us in the few scenes that he's in what a capable actor he was. The music by the great Bernard Herrmann is one of the classic pieces that made him famous, starting from the clever opening title sequence to it's conclusion.
If we view this movie in its historical context of 1959, we see that it was made in the middle of the Cold War, and much of the suspense is reliant upon the audience's reality of living with the knowledge that everything could end with the press of a button (I know this is too simplistic, but many people's perception at this point in history was just that). The Professor, Vandamm, Ms. Kendall, Leonard and others are Cold Warriors, and it is Thornhill's misfortune to become swept up in it's intrigues, but our very great fortune to be able to get swept up with him and let Hitcock, the "Master of Suspense", be our guide in one of his masterworks.
The Old Grey Hare (1944)
When Clampett was good, he was vewy vewy good.
I have gone on record as not being the biggest fan of Robert Clampett. He repeats a lot of corny gags that didn't really bear repeating, some of his animation had the tendency to become too rubbery, but what I most objected to was actually not a failing of his own, but a sort of tribute, as dozens of animators that followed trying to emulate him most often accentuated his bad traits at the expense of his genius. Ah, that's the rub! How can you copy genius?
This cartoon was one of those masterpieces Clampett created while he was at Warner Bros. We've all seen a hundred cartoons (my exaggerate - he he) where they show characters in infancy to old age, but never has anyone captured the brilliance of this one. As Bugs Bunny and Elmer Fudd go to the year 2000, the chase is on with a space age type rifle, and when we see them as infants, the chase was on even then with a popgun.
Like I said, I'm not a huge fan of Clampett's, but all animation lovers have to be indebted to those works he directed at WB that even today (especially today) are high water marks for anyone in this medium.
Rabbit Fire (1951)
I'll Give You Such a Pinch!
This is the first of Chuck Jones' famous "Hunting Trilogy". The premise of all three films (Rabbit Seasoning and Duck! Rabbit, Duck! being the other two) is that Bugs Bunny and Daffy Duck try to persuade Elmer Fudd as to whether it's duck hunting season or rabbit hunting season. All three are classics, and all are very close to being a continuation of the previous one. Many stations wouldn't air these because of violence, and when Fox used to have a show called Merrie Melodies, they cut the scenes where Daffy Duck gets shot.
If I had to choose the best of the bunch, I pick this one because it has one of the funniest endings of any cartoon ever made.
Putty Tat Trouble (1951)
The Further Adventures of Tweety
In the large Looney Tunes canon of some of the greatest cartoons ever made, the Tweety and Sylvester entries give them even further solidity by being one of their most popular series and never letting the audience down with a below par effort. Most, including this one in particular, have an elegance enhanced by the music of Carl Stalling. Many of the gags are of the two putty tats competing against one another to be the one to catch Tweety, but when the action comes out of the cold outdoors to the scene in the basement of one of the apartment buildings, we have one of those transcendental moments of pure Looney Tunes genius when the little yellow bird meets another little yellow bird perched on a glass of water.
What's Up Doc? (1950)
You're Gonna Shoot Someone, With That Old Shotgun
Okay, now, I'm sick of hearing about how Robert McKimson doesn't match up with against the "great" Looney Tunes directors like Chuck Jones, Friz Freleng, Tex Avery, Bob Clampett, and I've even read in a book written by one of the foremost cartoon critics, Leonard Maltin, that he doesn't even compare well against Art Davis! I'm not going to denigrate those other directors (well, maybe Davis), we come here to praise McKimson. Sure, he's had his stinkers, but so has everyone else mentioned. When anyone says he's not in the the same league as these others, just remember that those four are a few of the greatest names in cartoon history. As evidence for my case I call upon "A Lad in His Lamp", "Hillbilly Hare", "Walky Talky Hawky", "Devil May Hare", "Stupor Duck", and the list of great 'toons goes on. How about the creation of such characters as Foghorn Leghorn, Henery Hawk, Hippety Hopper, Sylvester Jr., Speedy Gonzales, and the Tasmanian Devil, amongst others.
In What's Up Doc? (yes, my little rant is over) we have another of those wonderful devices where a cartoon character tells us about his rise to stardom, and it's never been done better. (Quick Quiz: Name all of the stars in the park). The vaudeville scenes are highlighted by the duo of Bugs Bunny and Elmer Fudd singing "What's Up Doc?". Although I'll admit that the joke at the end is a little tame, overall this is one of those memorable Warner Bros. cartoon from their golden age. Oh, and did I mention that this is directed by Robert McKimson?
Haredevil Hare (1948)
Earth to Bugs Bunny, Do You Read Us, Bugs?
This is the first cartoon featuring Marvin the Martian and his sidekick, K-9. Marvin has become even more popular today than he was when Warner Bros. was making those fabulous shorts in the 40's and 50's., much like Taz (although why the adoration for that simple character is beyond my comprehension - but that is a comment for another section). Marvin is trying to blow up the Earth and of course Bugs tries to stop him, because everyone he knows is there. This is a great cartoon, not my favorite with the Martian, but a very good beginning for him. Of note is that Mel Blanc would change the voice for him in subsequent cartoons, and the later interpretation is an improvement, but the one he has in this one takes nothing away from it.
The Big Snooze (1946)
Clampett's Last for WB
I don't know any of the details surrounding Bob Clampett's departure from Warner Bros., but in this, his last cartoon for them, was one of the weirdest from a long list of strange entries from him. I don't think he got along well with the new studio imposed producer, Edward Selzer. Leon Schlesinger, the previous one, and the creator of Looney Tunes and Merrie Melodies, let him have all the freedom he needed with zany, wild cartoons as the result. Some, like "Porky in Wackyland" and "The Daffy Doc" are considered by many cartoon historians to be important for the bold liberties he took with art and the use of space. He did things that had never been done before, but Warner Bros. bought out Schlesinger for $1,000,000 and Clampett's star never quite shone as brightly as it did in those heady days.
At the beginning of this cartoon, then, it is significant that we see that Elmer Fudd is becoming disenchanted with his cartoon contract with "Mr. Warner" and tears it up in frustration after once again being the fall guy for Bugs Bunny. What follows is a surreal sequence after Elmer falls asleep. Bugs uses "nightmare paint" to make him dream so Bugs can manipulate him in his slumber to save both of their careers. We have the usual assortment of corny Clampett gags mixed in with some stunning scenes that must have had everyone back in 1946 scratching their heads a little, wondering if Clampett had finally lost his mind. The price that innovative people sometimes have to pay is that not everyone will get it, and I don't think Selzer was anywhere near "getting it", so Clampett got the door.
Baseball Bugs (1946)
One, Two, Three Strikes You're Out!
In most Bugs Bunny cartoons, he is pitted against a foe, usually human, while formidable in their own way, are obviously not in his league when it comes to brains. In this particular one, directed by Friz Freleng, he is up against a whole team of them. Bugs calls the Gas House Gorillas "a bunch of dirty cheaters". They then challenge him to a game of baseball where Bugs has to play every position, plus having to catch up where the Tea Totalers left off, behind 96-0 or something close to this score. Many of the jokes aren't up to writer Michael Maltese's usual standards, but anyone who has ever watched this cartoon will never forget the ending sequence where Bugs has to catch the last out of the game to win it.
Hyde and Go Tweet (1960)
One of the Last of the Best
This classic Tweety and Sylvester cartoon was one of the last great ones from that era of magnificent Looney Tunes shorts. The sight of a huge, slobbering Tweety in a role reversal of chasing Sylvester around, was not an original idea, but an old idea done with that 50's Warner Bros. flare that has sadly never been equaled.
Two years ago I took my family out to the movies for a couple of nights in a row to see a mini Looney Tunes film festival. The second night Hyde and Go Tweet was one of the selections and was a huge smash with the sold out audience (you hear that AOL/Time/Warner/etc? - SOLD OUT!). Not any of us has seen this cartoon since then, but we were recently talking about those two nights and recalled this one quite fondly.
The Scarlet Pumpernickel (1950)
You're Killing Me J. L.!
This cartoon starts out with Daffy Duck in J. L.'s (Jack L. Warner's) office pitching for a dramatic role. He's tired of having anvils drop on his head and never getting the girl. In his buildup of the proposed plot, he has J. L., and us, on the edge of our seats.
This is not your typical Looney Tunes fair. It's a roller coaster ride of slapstick comedy, cameos and that special brand of humor from writer Michael Maltese, all beautifully animated by one of the best crews ever assembled. It's a welcome departure from the formulaic series that the Warner Bros. cartoon factory from this era did so well, but the recipe from this one was to be tried out again with great success in later Daffy Duck shorts (Duck Dodgers, Stupor Duck).
Feed the Kitty (1952)
Another Chuck Jones Masterpiece
Chuck Jones has been accused in his career for being too cutesy, too Disneyesque, lacking the flamboyance and loonyness for Looney Tunes. His earliest directorial efforts gave these critics some credence. And, I suppose, you could judge this cartoon the same way. It is cute, certainly. Loony? Not too much. But it is one of those shorts that have added to the legacy of the Warner Bros. cartoons from this era, combining richness, artistry and humor like no one has ever been able to equal.
In Feed the Kitty, we have Marc Anthony, a big hulking bull of a dog, who falls head over heals for this adorable little kitty. This situation, in anyone else's hands, would have us either grabbing the hankies, or hugging the nearest toilet bowl. But Jones and his most frequent collaborator, writer Michael Maltese, have managed to integrate slapstick into this situation that gives more depth to the love this dog feels for this cat than any seven minute short should have a right to do.
The Foghorn Leghorn (1948)
I Never Get Tired of These
Foghorn Leghorn was on of the lesser stars at Warner Bros., but he was still one of the biggest cartoon stars from the mid '40's for the next 20 years. In this, his third short, once again Henery Hawk can't get it straight on what a chicken is supposed to look like, and anyone who has seen one of these classic Robert McKimson Fogorn/Henery cartoons knows the drill, and the gags in this one are very much par for the course. Also included is the Barnyard Dog, while not indispensable to this particular series, added a lot to them with his gruff matter-of-fact attitude. Besides, he was the only one who never failed to see Foghorn for what he really was, a loudmouth shnook.
Boobs in the Woods (1950)
Sell Hair Tonic to Bald Eagles in Omaha, Nebraska
This cartoon opens with a splendid little ditty by Daffy Duck. It is worth seeing for this opening musical sequence alone. What follows is a delightful series of camping gags. Porky Pig wants to paint, fish, set up his tent; but the little black duck doesn't make anything go right for him. It is faintly reminiscent of Chuck Jones' My Favorite Duck, while not quite meeting that high standard, it is Robert McKimson's best outing with this duo.
Porky in Wackyland (1938)
Dr. Seuss Meets Salvadore Dali
Wow! Over sixty years later, this cartoon short stands out as one of the greatest achievements in this medium. Bob Clampett, given the complete freedom that producer Leon Schlesinger let him have, spun out some of the weirdest and wackiest ever made.
We start out with a typical beginning for that era, Porky Pig is flying to Darkest Africa to find the last Do-Do, worth billions. But what follows is a mind bending journey, where no one evidently studied the laws of physics. Some of the humor are stock Bob Clampett jokes that are repeated in others of his cartoons, but he was always best with visual humor, when he let the animation be the star of the show.
Bully for Bugs (1953)
Bully for Chuck!
It has been reported by Chuck Jones that Edward Selzer (then Warner Bros. cartoon producer) saw his drawing of a bull and immediately said, "no bullfighting pictures!" Lucky for us that Jones and his crew ignored these hasty words, because what resulted was one of the best Bugs Bunny cartoons ever made.
We are fortunate that Bugs never learned how to read a map, because this time out, his "wrong turn at Albuquerque" brought him into a Spanish bullfighting arena with the bull chasing the matador around the ring. We are also indebted to Jones and Michael Maltese's other famous words they put into the rabbit's mouth, "Of course you know this means war!" And with those words, Jones and co. build around this situation as no one ever has before or since.
The bull is noteworthy as being only a one-shot character, but one of the many Looney Tunes "character actors" that we do not soon forget.
High Diving Hare (1949)
Should be called: "High Diving Sam"
Of all the Bugs Bunny/Yosemite Sam cartoons, this has remained one of my personal favorites. The story starts by Sam buying a whole bunch of tickets to see Fearless Freep, the high diving act being promoted by Bugs Bunny at a circus (Sam was splurging). But the fun begins when we find out that the main attraction can't make the show, so Yosemite makes Bugs be the act, or tries to anyway.
What follows is a wonderful series of gags centering around the high diving platform, and Friz Freleng and his crew did an amazing job of building each climb up the platform, followed by someone (guess who) falling down. There is one point in the cartoon where we have one of those brief Looney Tunes moments of pure genius when Sam keeps falling down and we don't even know what the cause is.
Freleng wanted to create a foil for the ultra popular Bugs Bunny that would rival the rabbit's teamings with Elmer Fudd, and Yosemite Sam fits the bill very nicely, thank you very much.
Duck Amuck (1953)
One Duck Show
The Duck has been a favorite cartoon character of audiences from his inception, but in Chuck Jones' hands, Daffy was at his greediest, all too human like best (worst?).
In this cartoon, Daffy Duck is manipulated by some unseen, omnipotent force that keeps changing the scenery, the sound, and even the appearance of Daffy himself, much to his horror. The humor in most of the gags go deeper than the usual Warner Bros. cartoon, with claustrophobia, an exact duplicate of Daffy and instant deformity inflicted upon him has us laughing at our own fears.
But it's Jones' vision of Daffy that is the true star of this and many other of his cartoons. The other directors, the great Friz Freleng and the unfairly maligned Robert McKimson, never really had the grasp of the new Daffy Duck that emerged in the mid 40's, but he really was a new creation of Michael Maltese and Chuck Jones, only faintly reminiscent of the crazy antics that handlers such as Frank Tashlin, Tex Avery and Robert Clampett portrayed him as possessing. That old Daffy was wild and wacky and good, the new Daffy always has us humans at a disadvantage by making fun of our own weaknesses.
Tweety's S.O.S. (1951)
A Match Made in Cartoon Heaven
This is one of those Tweety and Sylvester cartoons that made this legendary pair second only to Bugs Bunny in terms of Looney Tunes popularity.
Besides having all of the stock situations for this duo (Sylvester feeding out of garbage cans, the "I tawt I taw a putty tat" line, etc.), Tweety's S.O.S also stars Granny, who is one of those types of supporting characters that these Warner Bros. classics had in abundance to enrich the color and flavor of them. This time out the cat and bird are aboard an ocean liner and the gags that are extracted from this situation are creative and lively.
What a day that was in cartoon history when Friz Freleng decided to pair his Sylvester with the departed Robert Clampett's little yellow bird.