Is it really so hard to make a Rocky and Bullwinkle cartoon? It’s somewhat unfair to just crap on the writing (by Thomas Lennon and Robert Ben Garant), the acting (June Foray’s back as Bullwinkle but barely in it), the editing (it’s hard to say if Mark Deimel’s timing is off or if it’s Trousdale’s direction), or even that direction because the CGI animation itself is pretty bad.
The first scene with Fearless Leader (Lennon voicing and doing better than his writing anyway) laying out the plan to Boris and Natasha, Robert Cait and Lauri Fraser respectively, is iffy enough but once Rocky and Bullwinkle show up the animation takes a nose dive.
The short is nine minutes with credits. The filmmakers couldn’t manage to do nine minutes of mediocre work. Instead, it just gets worse and worse (in all departments). Whoever told the CGI animators they’d done a good enough job on the fur textures for the animals was either lying or the wrong person to be judging such things. The CGI is distractingly bad, which is something since the short rushes through its jokes like no one timed them. Especially the visual gags.
Though the animators don’t seem like they’d have been able to do appropriate facial expressions for the visual gags so whatever.
And whoever thought the Lady Gaga montage was a good idea was also wrong. It’s astounding how bad presumable “Rocky and Bullwinkle” fans are at making Rocky and Bullwinkle cartoons.
Directed by Gary Trousdale; screenplay by Robert Ben Garant and Thomas Lennon, based on characters created by Bill Scott and Jay Ward; edited by Mark Deimel; music by Tony Morales; produced by Denise Nolan Cascino; released by 20th Century Fox Home Entertainment.
Starring June Foray (Rocky), Tom Kenny (Bullwinkle), Thomas Lennon (Fearless Leader), Robert Cait (Boris), Lauri Fraser (Natasha), and Robert Ben Garant (Narrator).
A Broken Leghorn never confronts its bleakness or meanness.
It opens with Foghorn Leghorn doing a good thing, tricking a presumably barren hen into thinking she laid an egg. But then it turns out to be a baby rooster, so Foghorn spends the rest of the cartoon trying to kill the adorable little rooster.
Mel Blanc’s voice characterization of the baby rooster sounds a little too much like Bugs Bunny, but it’s likable enough… and Foghorn’s a monster. Strangely, he does get his comeuppance. The cartoon ends with him caged and off, one would assume, to be slaughtered.
McKimson doesn’t seem to understand the bleakness or the meanness, which is no surprise. If he did, the cartoon might be better.
The animation’s pretty weak too. There’s no inventiveness. I suppose Broken‘s not bad, just boring.
I haven’t seen a Foghorn Leghorn cartoon since I was a kid. They haven’t improved.
Directed by Robert McKimson; written by Warren Foster; animated by Warren Batchelder, Ted Bonnicksen, George Grandpré and Tom Ray; edited by Treg Brown; music by Milt Franklyn; produced by John W. Burton; released by Warner Bros.
Starring Mel Blanc (Foghorn Leghorn / Junior Rooster) and June Foray (Miss Prissy / Hens).
I wonder if anyone involved in making The Last Hungry Cat ever owned a cat. The premise is (for a Freleng cartoon) quite good. Sylvester is haunted–by an Alfred Hitchcock-like narrator–after he “eats” Tweetie. There are a couple big logic problems. The major one involves cats. They don’t have remorse. It’s absurd Sylvester would feel guilty.
The second problem is Sylvester’s apartment. He has his own pad, a cat living among people. It’s strange.
Otherwise, if one forgives the lazy Freleng backgrounds, it’s not bad. Mel Blanc has a field day with Sylvester’s guilty ramblings. Ben Frommer’s good as the interfering narrator too.
It’s a simple story and Freleng tells it precisely. Hungry never goes on too long. It’s a tightly paced narrative with a great noir feel.
I’m a little surprised Freleng directed such a strong cartoon. Hungry is the best work of his I’ve seen.
Directed by Hawley Pratt and Friz Freleng; written by David Detiege and John W. Dunn; animated by Gerry Chiniquy, Lee Halpern, Art Leonardi, Bob Matz and Virgil Ross; edited by Treg Brown; music by Milt Franklyn; produced by John W. Burton; released by Warner Bros.
Starring Mel Blanc (Sylvester / Tweety) and June Foray (Granny); narrated by Ben Frommer.
Expository dialogue in a cartoon? I’ve never heard anything so silly before… in A-Haunting We Will Go, the witch introduces Speedy Gonzales. Unfortunately, she does not cook him.
Strangely (and sadly since the character dynamic is amusing), Daffy’s nephew doesn’t get an introduction.
The stuff with Daffy and his nephew isn’t bad–and the animation on the exterior scenes is quite good–but June Foray’s witch is exceedingly annoying. Except when she turns Speedy Gonzales into her physical clone, then Haunting becomes some weird gag about a Mexican drag queen. You’d think an anti-defamation league would have complained.
Bill Lava’s music is bad and McKimson’s approach seems more informed by “The Jetsons” than anything else.
It’s unfortunate, as the opening with Daffy and his nephew is quite good. It’s probably the best twenty or thirty seconds I’ve ever seen from McKimson.
But then Haunting plummets fast and far.
Directed by Robert McKimson; animated by Warren Batchelder, George Grandpré, Bob Matz and Manuel Perez; edited by Al Wahrman; music by William Lava; produced by David H. DePatie and Friz Freleng; released by Warner Bros.
Starring Mel Blanc (Daffy Duck / Speedy Gonzales / Daffy’s Nephew) and June Foray (Witch Hazel).