Bewitched Bunny (1954)
Directed by Chuck Jones
Story by Michael Maltese
Animation by Lloyd Vaughan, Ken Harris, Ben Washam
Music by Carl Stalling
“Bewitched Bunny” is notable for introducing Witch Hazel as Bugs Bunny’s first female adversary. A large, lumpy, green-hued character, she levitates to click her heels in merriment over her sorcery, cackling with glee over what she perceives to be a superiority over her long-eared foe.
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Duck! Rabbit! Duck! (1953)
Directed by Charles M. Jones
Story by Michael Maltese
Animation by Ken Harris, Abe Levitow, Richard Thompson, Lloyd Vaughan, Ben Washam
Music by Carl Stalling and Milt Franklyn
The final entry in the “Hunting Trilogy” that pits Bugs Bunny against Daffy Duck against Elmer Fudd, “Duck! Rabbit! Duck!” is the weakest of the three films due to joke repetition and an uneven balance among the characters.
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Lumber Jack-Rabbit (1953)
Directed by Charles M. Jones
Story by Michael Maltese
Animation by Abe Levitow, Ken Harris, Richard Thompson, Lloyd Vaughan, Ben Washam
Music by Carl Stalling
Notable as the only Bugs Bunny cartoon shot in the 3D process, “Lumber Jack-Rabbit” gets off to an amusing start when a wandering Bugs sings “Jimmy Crack Corn” while journeying into Paul Bunyan’s garden. Unaware that he is in a giant’s domain – he mistakes the asparagus for “funny looking trees” – he becomes ecstatic at discovering gigantic carrots. Bugs sets up mining equipment to cull his harvest, but is interrupted by Paul Bunyan’s equally massive Smidgen.
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Bully for Bugs (1953)
Directed by Charles M. Jones
Story by Michael Maltese
Animation by Ben Washam, Lloyd Vaughan, Ken Harris
Music by Carl Stalling
According to Chuck Jones, “Bully for Bugs” came about because of an unexpected declaration made by producer Edward Selzer didn’t want any films related to bullfighting because he felt that bullfights aren’t funny. If Selzer was commenting on comedy films with a bullfighting theme, he was most correct – those films relied heavily on stock footage, trick editing, the obvious use of stunt doubles and connect-the-dots comedy with the funnymen supposedly being chased around a bullring.
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Water, Water Every Hare (1952)
Directed by Chuck Jones
Story by Michael Maltese
Animation by Ben Washam, Ken Harris, Phil Monroe, Lloyd Vaughan, Richard Thompson, Harry Love
Music by Carl Stalling
Comedy horror movies rarely work, if only because they devolve into the obvious buffoonery of having the funnymen go into unamusing spasms of anxiety when confronted by ghouls, ghosts, creepy beings, and other unpleasant entities. The 1952 cartoon “Water, Water Every Hare” clicks because it doesn’t sink into the standard nonsense of the comic (in this case, Bugs Bunny) being endlessly frightened by the stock villains. Instead, it offers some brilliantly inventive segments that take the comedy horror genre to a new dimension.
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Operation: Rabbit (1952)
Directed by Charles M. Jones
Story by Michael Maltese
Animation by Lloyd Vaughan, Ben Washam, Ken Harris, Phil Monroe
Music by Carl Stalling
Prior to the 1952 “Operation: Rabbit,” Bugs Bunny’s foes could be classified in one of four categories: the dimwitted hunter, the hotheaded loudmouth, the pompous authority figure, and the smart-ass who consistently played Bugs for a chump – Cecil Turtle and the gremlin in “Falling Hare” were among the rare detractors who kept getting the best of him.
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Rabbit Fire (1951)
Directed by Chuck Jones
Story by Michael Maltese
Animation by Ken Harris, Phil Monroe, Lloyd Vaughan and Ben Washam
Music by Carl W. Stalling
In the realm of the Bugs Bunny cartoons, “Rabbit Fire” is both a blessing and a curse. The blessing, of course, is the film’s contents – a fast, inventive serving of classic dialogue and innovative visual comedy that resulted in an animated masterpiece. The curse, however, involved the same issues that make it a blessing. “Rabbit Fire” is so remarkable that it created a lightning-in-a-bottle moment that could never be repeated with the same level of style and substance. And Lord knows the Termite Terrace gang tried endlessly to duplicate its brilliance, with results that ranged from almost perfect to dreadful.
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