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The chorus line looney tunes movie#

Violence creates the joke and in the end Wile E. Of course, watching as a mother, in a city currently notorious for its annual murder count, I couldn’t help but think about the violence in these shorts. Even though we knew it was coming, we laughed. It was instructive to hear the audience laugh each time Puddy Tat’s gum bubble was burst by Tweetie Bird. I suppose you could look at the role reversal in these duos as teaching children about using your wits to outsmart a bully. As a film scholar and mother, I see them differently now. It’s been a long time since I saw Tweetie Bird trick the Puddy Tat or Road Runner torture Wile E.

The chorus line looney tunes movie#

Looney Tunes and Merrie Melodies largely followed a format similar to the American musical movie genre they simply pared it down to the essentials of conflict and song, sped it up, and made us laugh. Culture Sprout laughed at the shenanigans I laughed at the collapsing of I don’t know how many hours of heavy, tragic opera into 6 hilarious minutes.įor as many times as we see Bugs Bunny in drag, we also see him in a chorus line, conducting an orchestra, and reenacting our favorite musicals and hit songs. In it Elmer Fudd chases Bugs around, Fudd trying to “Kill the Wabbit.” Bugs distracts him as an alluring Brunhilda. It’s the standard Elmer Fudd-Bugs Bunny conflict, with the expected interruptions and resolution.

I think my favorite tidbit–and movie–was about “ What’s Opera Doc?” (1957), which parodies Wagner’s Ring Cycle (all of them) and two other Wagnerian operas, all in 6 minutes or so.

It was a sound editor for these animated shorts who perfected the “click track,” a kind of audio-metronome that allows the orchestra to synchronize its performance to the film in the sound studio.

From Rossini to Liszt, from Brahms to Strauss to Tchaikovsky, Bugs and friends covered them all. Daugherty noted that many viewers experienced classical music and opera for the first time while watching these films. vast music library to draw on, the films included swing, jazz, and the popular music of their day as well.

As the names imply, Looney Tunes and Merrie Melodies had music at their core. With Warner Bros.

Daugherty talked about the history and music of the films.īob Clampett’s Looney Tunes Porky Pig intro in 1938–1939 Produced by Leon Schlesinger (Photo credit: Wikipedia) Just three short years after Al Jolson uttered the first synchronized speech and sang on screen, Bugs and friends were singing and dancing in perfect harmony and synchronization.Ī recent trip with Culture Sprout to Chicago’s Symphony Hall for “ Warner Brother’s Presents Bugs Bunny at the Symphony” taught me so much more. A thoroughly entertaining concert by the Warner Brother’s Symphony Orchestra, conducted by George Daugherty, “Bugs Bunny at the Symphony” consists of dozens of Looney Tunes and Merrie Melodies shorts, some screened alone, others screened with live accompaniment. While the animation is limited (at least by today’s standards), the sound design of these shorts is quite impressive. Looney Tunes and Merrie Melodies were produced from 1930 to 1969, the earliest ones capitalizing on film’s exciting, new sound technology.

Not until years later did I learn that the most of “Saturday morning cartoons” we watched were, in fact, theatrical shorts originally produced to pair with feature films and to be shown in movie theaters. I did see a puddy tat.” “That’s all folks.” Elmer Fudd, Tweetie Bird, and Porky Pig dripped into our vernacular–“I’m hunting wabbits,” “I thought I taw a puddy tat. I watched them with my brother, or later snuggled under a blanket by myself. Bugs Bunny, Daffy Duck, Elmer Fudd, Porky Pig, and all the Warner Brothers characters played a large role in my childhood television consumption.