The reference-book entry was written in the mid-1970s for Richard Roud’s Cinema: A Critical Dictionary (1980). (A much-expended version appeared in the January-February 1975 issue of Film Comment.) And the review that comes after this was written for the Monthly Film Bulletin (May 1976, vol. 43, no. 508) — a publication of the British Film Institute, where I was serving at the time as assistant editor — and it follows most of the format of that magazine by following credits with first a one-paragraph synopsis and then a one-paragraph review. Mostly we covered features (all of those released in the country), but occasionally we also did shorts, such as this one. —J.R.
Tex Avery’s best cartoons seem to take off in one of two possible surrealist/narrative directions. A scattershot Hellzapoppin technique thrives on speed, multiplicity, surprise, incongruity, and paradox, with whatever plastic and thematic results ensue from this method. (Examples: Who Killed Who, 1943; Happy-Go-Nutty, 1944; Little Rural Riding Hood, 1949.) A more demonic-obsessive approach develops a single idée fixe to reductio ad absurdum proportions, maintaining roughly the same plastic and thematic concerns throughout. (Examples: Dumb Hounded, 1943; King Size Canary, 1947; Half-Pint Pygmy, 1948.)
With the aid of Heck Allen, Rich Hogan, and other collaborators, Avery provided indiscriminate audiences of the 40s and early 50s with neurotic miracles, bristling with energy and sophistication – and exclusively within seven or eight-minute formats.… Read more »