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Speaking of longtime crew members, Abominable It would have been really easy and lazy to play Bugs off as oblivious to the invasion around him, but Freleng instead wisely makes him aware of the threat and has him fight back, with wits going against alien technology.
Oh Papa, we thought you were run over by an elevator! It's also a true testament to his skills as an actor; whereas it would have been slot end reins easy for someone else to just use a stock "nice" voice for Sam in a Jekyll and Hyde sort of way, Blanc concocts a sedated version with all these mild inflections that's still authentic to the character--you're slot end reins that's exactly how Sam would sound if he wasn't a loud villain.
The cartoon is at its funniest when it's less manic and more subtle: Milt Franklyn provides an eerie sci-fi score that's a refreshing change of pace for a Freleng cartoon, showing that the composer was still full of surprises right to the end.
Hugo is a fun malice-free "villain" and the last of the Of Mice and Men Lenny archetypes that the studio had enjoyed using for decades.
On the other end of the spectrum, Bugs's "Daddy, you're back from Peru! The genius behind it is Friz Freleng's commitment to the premise--no winks, no nods, no inside jokes about acting jobs on this screwball picture--just accept that a white guy from Texas is an alien leading robots to invade the planet the only fault is they didn't have the temerity to also include Sam's bandit mask.
Bugs Bunny, Wile E.
Choosing a Headstall that Works Best for You
Bryan's final appearance as Elmer Fudd. The Abominable Snow-Rabbit CJ Bugs and Daffy are burrowing to Palm Springs, but they end up in the Himalayas, where they meet a huge abominable snowman Hugowho is looking for a cute little rabbit to love. At one point Wile E. The gags for the most part work despite the general "battle of wits" concept being stripped away; it really could have been any adversary hunting Bugs, as Wile E.
Bugs decides to test him. Coyote lures a rather zany Bugs with a picnic set-up, then goes after him with a rifle and grenade. Sam's angry responses to everything has never been more hysterical, with Friz Freleng parodying the idea of a rageaholic even before the condition became widely known. Sam is a delight as an over-the-top alien warrior, with the self-identifying scream of his own name before blasting off being a particular highlight.
Coyote Critique Chuck Jones and a presumably uncredited Mike Maltese offer an interesting characterization of Bugs, attempting to make him as freewheeling as he was back in the s. The comic timing of the gags cover familiar ground and don't try to reinvent the wheel--you have the explosion going off as a final bolt is being loosened, a character defying another's suggestion and then regretting it, etc.
The whole second half is just recycled footage and ideas, from Daffy's "Jeepers Creepers" tap-dance from Show Biz Bugs to the moldy All This and Rabbit Stew log gag, though the ending with Daffy's sudden stage fright is a charming surprise.
Bugs's role here is less menacing than it was in the older film; he seems to be testing Sam but is unaware of how malicious it's coming across--which makes his astonished "Well!
Elmer Fudd Daws Butler: The grand lead-up to Bugs's hole is a cute reveal, recalling a similar scene back in A Hare Grows in Manhattan. Burrows interviews Bugs from his rabbit hole, but Daffy and Elmer interrupt.
Mel Blanc still turns in a solid performance particularly as Sam and Bugs's closing "I love everybody" line is a charming throwaway, but it's not enough to save this ordeal. Bugs's line about the Amos and Andy radio show is sometimes cut from television. Daffy's jealousy is kept more or less in check this time out, as he really just wants to be on television, resulting in one of the more sympathetic portrayals of the duck in a while.
The final scene with a "reformed" Sam offers some well-choreographed Freleng slapstick as the duke subjects himself to a parade of abuse from his staff--punctuated with the only logical conclusion to the situation, leading one to wonder if Bugs knew what he was doing all along. It hurts me," which is perhaps one of the wittiest things ever said in a Warner Bros.
Bryan, who passed away just ten months after recording his Elmer dialogue and was already gone by the time the cartoon hit theaters. A Night at the Movies It's also something of a last hurrah for Pierce at the studio--his name would appear on only a couple more unimpressive slot end reins for the other units including a very dubious credit on the Hippety Hopper cheater Freudy Cat before leaving to work as a freelance writer to little success.
Bugs Bunny, Daffy Duck, Hugo Critique Enjoyable Chuck Jones picture in the vein of his earlier Bugs-and-Daffy-travel cartoon, Ali Baba Bunny, while the pair's back-and-forth about who is and isn't a rabbit momentarily recalls the arguments from the "wabbit season trilogy.
His Tourette-like reactions as he falls victims to his own traps are priceless, offering every faux-profanity under the sun to the point where they almost serve as a musical accompaniment to the visual gags. Bugs shows up to declare that Sam will receive one million pounds in legal tender, but only if he can keep his temper.
A sad send-off for such a viable major character.
The wabbit still had some action left in him despite the budgets getting smaller and smaller. The touches are mostly on the surface--Bugs sleeping in a baby's crib or having him scream randomly to scare Wile E. Master layout artist Maurice Noble starts receiving credit on Jones's cartoons as co-director, in part because Jones was busy co-producing The Bugs Bunny Show but also because as budgets and resources dwindled the visual design was becoming a more and more important factor in the success of the shorts.
His work sadly starts teetering dangerously between being too cute and too clever, but thankfully here he's kept it relatively in check. Put me down, please. But ironically or maybe fittinglyMel Blanc is funnier as Sam as he tries to put on a phony "pleasant" voice, shifting back and forth from gruff anger to almost smarmy smoothness.
This also serves as a bittersweet farewell to Arthur Q.
It's a novel approach this one time, the pseudo-intellectual versus the knowing goofball, but it would have gotten old fast if the entire series turned into this, as Bugs doesn't so much outsmart Wile E.