In 1961, the animation team at Paramount Pictures created the character of Kozmo, a little Martian boy who comes to Earth and creates comic disruptions. Unfortunately, the first two entries in the Kozmo series, “The Kid from Mars” and “Kozmo Goes to School,” were dismally unfunny and the character was dropped.
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Apes of Wrath (1959)
Directed by Friz Freleng
Story by Warren Foster
Animation by Arthur Davis, Virgil Ross, Gerry Chiniquy
Music by Milt Franklyn
A drunk stork tasked with delivering a baby gorilla to his impatient parents loses the simian infant during a jungle stop. Unwilling to admit his negligence, the stork knocks out Bugs Bunny, dresses him in a diaper and baby bonnet, and delivers him to the gorillas. The father gorilla (named Elvis, for some reason) is appalled by the sight of Bugs as his baby and grabs a mallet to pulverize the decidedly non-gorilla-looking infant. But the mother gorilla (who has no given name) is in love with her new baby and chastises her husband (with a rolling pin to the head) for being an unkind father. Bugs decides to take advantage of this unlikely situation and antagonize the ill-tempered gorilla father, until the stork delivers the real baby and Bugs is forced to escape from the revenge-hungry gorilla that he ruthlessly annoyed.
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“Hare-abian Nights” (1959)
Directed by Ken Harris
Story by Michael Maltese
Animation by Ken Harris and Ben Washam
Music by Milt Franklyn
Bugs Bunny is burrowing underground on his way to Perth Amboy, only to arrive in an Arabian sultan’s palace – a mistake he blames on failing to make a left turn in Des Moines. He thinks he is in a movie theater, but quickly discovers he is part of a line-up of would-be entertainers ordered to amuse the sultan. The performers work on an elevated stage with a trap door. If the sultan is not entertained, he pushes a button that drops the unlucky performers into a crocodile pit. Bugs is introduced as a “teller of tales” and quickly endeavors to stay out of the crocodile pit by recalling a few of his unlikely comic adventures.
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Pre-Hysterical Hare (1958)
Directed by Robert McKimson
Story by Tedd Pierce
Animation by Ted Bonnicksen, Warren Batchelder, Tom Ray, George Grandpré
Music by John Seely
It’s rabbit season and Bugs Bunny tries to evade rifle-toting Elmer Fudd. Bugs balls into an underground cave with prehistoric wall paintings and a giant powder horn that serves as a time capsule from 10,000 BC, with instructions for an opening in 1960 AD. Bugs opens the powder horn and finds a reel of film. Bugs returns to his hole-in-the-ground residence and loads the film into a projector. The film opens with title credits announcing “A Micronesian Film Documentary in Breathtaking Cro-Magnonscope. Color by Neanderthal Color.” To Bugs’ surprise, the film focuses on his prehistoric ancestor, a saber-toothed rabbit, who is being pursued by the caveman Elmer Fuddstone.
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During the 1930s, several animated shorts presented silly caricatures of celebrities in unlikely situations. The 1933 Warner Bros. offering “I’ve Got to Sing a Torch Song” is among the most interesting of this mini-genre, with some genuinely amusing gags involving the big names of the day.
Hare-Way to the Stars (1958)
Directed by Chuck Jones
Story by Michael Maltese
Animation by Richard Thompson, Ken Harris, Abe Levitow, Harry Love
Music by Milt Franklyn
A half-asleep Bugs Bunny, hungover from mixing carrot juice and radish juice the night before, climbs up the ladder of his underground residence to take his morning bath in a nearby pond, unaware that a space agency parked a rocket ship directly above his hole in the ground. Bugs keeps climbing from the hole into the rocket, which blasts off from the Earth. Bugs only realizes his predicament when he unscrews the rocket’s cap and gets knocked off by a speeding satellite that lands him the lair of Marvin the Martian, who is planning to blow up the Earth with his “Illudium Q-36 Explosive Space Modulator” because it obscures his view of Venus. Bugs steals the “Illudium Q-36 Explosive Space Modulator” and Marvin dispatches a squad of Martians to capture him.
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I don’t know how many people would agree with me on this, but I think that “Pecos Pest” is the greatest of the Golden Age Tom and Jerry cartoons. I am enthralled with this short because it deviates from the usual knockabout of the series with the inclusion of an audacious new character who shakes up the comedy with inventive humor.
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