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In HOLIDAY FOR DRUMSTICKS (’49), Art Davis’s penultimate cartoon as a regular director, the duck persuades a turkey on a diet to avoid becoming Thanksgiving dinner, and for Daffy to be well-fed.
In HOLIDAY FOR DRUMSTICKS (’49), Art Davis’s penultimate cartoon as a regular director, the duck persuades a turkey on a diet to avoid becoming Thanksgiving dinner, and for Daffy to be well-fed.
In Bob McKimson’s THE HIGH AND THE FLIGHTY ('56), interloping salesman Daffy cashes in on the Foghorn-Dawg conflict when he supplies them both with items from the Ace Novelty Company (of Walla Walla, Washington).
In Bob McKimson’s THE HIGH AND THE FLIGHTY ('56), interloping salesman Daffy cashes in on the Foghorn-Dawg conflict when he supplies them both with items from the Ace Novelty Company (of Walla Walla, Washington).
In Bob McKimson’s MUSCLE TUSSLE (’53), scrawny little ten-pound weakling Daffy vies for his girl’s affections over a musclebound he-duck at the beach.
In Bob McKimson’s MUSCLE TUSSLE (’53), scrawny little ten-pound weakling Daffy vies for his girl’s affections over a musclebound he-duck at the beach.
In Friz Freleng’s LITTLE RED RODENT HOOD (’52), the story of Red Riding Hood is visualized in cat-and-mouse terms, with a mousified Granny telling the tale.
In Friz Freleng’s LITTLE RED RODENT HOOD (’52), the story of Red Riding Hood is visualized in cat-and-mouse terms, with a mousified Granny telling the tale.
In Bob McKimson’s KIDDIN’ THE KITTEN (’52), lazy Dodsworth the cat (voiced by Sheldon Leonard) trains a kitten to do his mousecatching for him. McKimson used Dodsworth again for A PECK O’TROUBLE, where he has the same kitten retrieve a woodpecker up a telephone pole.
In Bob McKimson’s KIDDIN’ THE KITTEN (’52), lazy Dodsworth the cat (voiced by Sheldon Leonard) trains a kitten to do his mousecatching for him. McKimson used Dodsworth again for A PECK O’TROUBLE, where he has the same kitten retrieve a woodpecker up a telephone pole.
In TWEETY’S S.O.S., starving Sylvester stows away aboard an ocean liner to chase Tweety, guarded by Granny. One of the scenes uses a variation of the “this wittle pitty” gag from Tweety’s first appearance in Clampett’s A TALE OF TWO KITTIES.
In TWEETY’S S.O.S., starving Sylvester stows away aboard an ocean liner to chase Tweety, guarded by Granny. One of the scenes uses a variation of the “this wittle pitty” gag from Tweety’s first appearance in Clampett’s A TALE OF TWO KITTIES.
In Bob McKimson’s BIG TOP BUNNY (’51), Bugs is brought into Colonel Korny’s circus to partner with Bruno, an egotistical Slovakian acrobatic bear.
In Bob McKimson’s BIG TOP BUNNY (’51), Bugs is brought into Colonel Korny’s circus to partner with Bruno, an egotistical Slovakian acrobatic bear.
In Bob McKimson’s DAFFY DUCK HUNT (’49), Porky’s hunting dog has the duck play dead to impress his master, and Daffy is brought home for dinner, left to stay in the deep freezer. When the hound double-crosses Daffy, the duck tries to make a getaway.
In Bob McKimson’s DAFFY DUCK HUNT (’49), Porky’s hunting dog has the duck play dead to impress his master, and Daffy is brought home for dinner, left to stay in the deep freezer. When the hound double-crosses Daffy, the duck tries to make a getaway.
In Friz Freleng’s CURTAIN RAZOR (’49), theatrical agent Porky Pig auditions a series of acts by various performers, including a self-referential bit of Mel Blanc’s title as “The Man of a Thousand Voices,” and a truly sensational act saved for the finale.
In Friz Freleng’s CURTAIN RAZOR (’49), theatrical agent Porky Pig auditions a series of acts by various performers, including a self-referential bit of Mel Blanc’s title as “The Man of a Thousand Voices,” and a truly sensational act saved for the finale.
In Chuck Jones’ MY BUNNY LIES OVER THE SEA (’48), Bugs finds himself in Scotland, where he is challenged to a game of golf by Angus MacRory.
In Chuck Jones’ MY BUNNY LIES OVER THE SEA (’48), Bugs finds himself in Scotland, where he is challenged to a game of golf by Angus MacRory.
In Art Davis’ DOGGONE CATS (’47), Sylvester and his alley cat chum create all sorts of obstacles for Wellington the dog, as he tries to deliver a package to Uncle Louie.
In Art Davis’ DOGGONE CATS (’47), Sylvester and his alley cat chum create all sorts of obstacles for Wellington the dog, as he tries to deliver a package to Uncle Louie.
In ACROBATTY BUNNY (’46), Bob McKimson’s first Bugs cartoon as a director, the circus comes to town, and the lion’s cage is placed directly atop Bugs’ rabbit hole, which leads to a battle between the rabbit and Nero the lion.
In ACROBATTY BUNNY (’46), Bob McKimson’s first Bugs cartoon as a director, the circus comes to town, and the lion’s cage is placed directly atop Bugs’ rabbit hole, which leads to a battle between the rabbit and Nero the lion.
In Bob Clampett’s wartime-flavored short, RUSSIAN RHAPSODY (’44), a certain dictator decides to bomb Moscow singlehandedly when Germany’s warplanes headed there disappear. Little does he know that there are gremlins on board dismantling the aircraft, bit by bit.
In Bob Clampett’s wartime-flavored short, RUSSIAN RHAPSODY (’44), a certain dictator decides to bomb Moscow singlehandedly when Germany’s warplanes headed there disappear. Little does he know that there are gremlins on board dismantling the aircraft, bit by bit.
In Bob Clampett’s HARE RIBBIN’ (’44), Bugs is pursued by a red-headed hound (based on Bert Gordon’s radio character The Mad Russian) underwater, where much of the action takes place.
In Bob Clampett’s HARE RIBBIN’ (’44), Bugs is pursued by a red-headed hound (based on Bert Gordon’s radio character The Mad Russian) underwater, where much of the action takes place.
Friz Freleng’s DUCK SOUP TO NUTS (’44) harkens back to 1937’s PORKY’S DUCK HUNT, but with much sharper writing and timing.
Friz Freleng’s DUCK SOUP TO NUTS (’44) harkens back to 1937’s PORKY’S DUCK HUNT, but with much sharper writing and timing.
In Friz Freleng’s YANKEE DOODLE DAFFY (’43), theatrical agent Daffy barges into Porky’s casting office and tries to secure an audition for child prodigy “Sleepy Lagoon.” Viewers may notice that Daffy’s vocals are pitched much higher than usual.
In Friz Freleng’s YANKEE DOODLE DAFFY (’43), theatrical agent Daffy barges into Porky’s casting office and tries to secure an audition for child prodigy “Sleepy Lagoon.” Viewers may notice that Daffy’s vocals are pitched much higher than usual.