Looney Tunes and Merrie Melodies (1964-1969)

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This is a good article.

IMPORTANT: Just like the late 1962-1964 era, please have some respect for poor William "Bill" Lava, as well as anybody else such as Rudy Larriva and Alex Lovy. Also, PLEASE have some respect for the DePatie-Freleng Enterprises company, since DFE co-founder David H. DePatie (who was born on December 24, 1929) sadly died recently on September 23, 2021.

Looney Tunes and Merrie Melodies (1964-1969)

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Leon Schlesinger wouldn't be liking this if he was alive...
Genre: Comedy
Running Time: 6-8 Minutes
Country: United States
Release Date: October 24, 1964 –

September 20, 1969

Created by: Warner Bros.
Distributed by: DePatie-Freleng Enterprises (1964-1967)

Format Films (1965-1967)
Warner Bros.-Seven Arts (1967-1969)

Starring: Mel Blanc

Larry Storch (1967-1969)

Episodes: 66 Shorts
Previous show: late 1962-1964 era
Next show: 1979-2000 revival-era


Looney Tunes and (its spin-off Merrie Melodies) is an American animated short film theatrical series by Warner Brothers that ran from 1930 until 1969.

Due to the shutdown of Warner Bros. Cartoons, which produced the original Looney Tunes and Merrie Melodies cartoons, in 1963, these cartoons had to be outsourced to DePatie-Freleng Enterprises between 1964 and 1967 with smaller budgets (though eleven Wile E. Coyote and Road Runner cartoons were outsourced to Format Films, a studio specializing in made-for-TV animation, which handled three other shorts during a transition period in 1967). Under the supervision of William L. Hendricks, and now under the name Warner Bros.-Seven Arts, the studio reopened in 1967 with even smaller budgets, and would close down for the last time in 1969 after Kinney National Services acquired the company and, looking to cut costs, axed the cartoon studio.

Even though most of the original Looney Tunes shorts were well received by critics and fans, and the shorts of the late 1962-1964 (and to a lesser extent, the 1930-mid-1933 era), while not entirely horrible, received weaker to okay reception, the same can't be said for these cartoons (along with the late 1933-1935 era), which were panned (the DePatie-Freleng Enterprises era, on the other hand however, got positive-to-mixed reviews) by critics and fans alike. This article will be talking about the Looney Tunes cartoons from "Pancho's Hideaway" to "Injun Trouble".

Shorts

DePatie-Freleng Enterprises era

1964

  • "Pancho's Hideaway" (Freleng; October 24; with Speedy Gonzales and Pancho Vanilla (Yosemite Sam-resemblant))
  • "Road to Andalay" (Freleng; December 26; with Speedy Gonzales and Sylvester)

1965

  • "Zip Zip Hooray!" (Jones; January 1; with Road Runner and Wile E. Coyote; scored by Milt Franklyn; reuses footage from Adventures of the Roadrunner)
  • "It's Nice to Have a Mouse Around the House" (Freleng; January 16; with Speedy Gonzales, Daffy Duck, Sylvester, and Granny; first Speedy and Daffy pairing)
  • "Cats and Bruises" (Freleng; January 30; with Speedy Gonzales and Sylvester)
  • "Roadrunner a Go-Go" (Jones; February 1; with Road Runner and Wile E. Coyote; scored by Milt Franklyn; reuses footage from Adventures of the Roadrunner)
  • "The Wild Chase" (Freleng; Febuary 27; with Road Runner, Wile E. Coyote, Speedy Gonzales, and Sylvester; last cartoon directed by Friz Freleng and final pairing of Speedy and Sylvester in the classic era)
  • "Moby Duck" (McKimson; March 27; with Speedy Gonzales and Daffy Duck)
  • "Assault and Peppered" (McKimson; April 24; with Speedy Gonzales and Daffy Duck)
  • "Well Worn Daffy" (McKimson; May 22; with Speedy Gonzales and Daffy Duck)
  • "Suppressed Duck" (McKimson; June 26; with Daffy Duck; only solo appearance of Daffy Duck in this era)
  • "Corn on the Cop" (Spector; July 24; with Daffy Duck, Porky Pig, and Granny; last appearance of Granny in the Golden Age of Animation)
  • "Rushing Roulette" (McKimson; July 31; with Road Runner and Wile E. Coyote)
  • The Larriva Eleven (Larriva; August 21, 1965 - March 12, 1966; with Road Runner and Wile E. Coyote; outsourced to Format Films, series of eleven cartoons)
  • "Tease for Two" (McKimson; August 28; with Daffy Duck and the Goofy Gophers; last appearance of the Goofy Gophers in Golden Age of Animation)
  • "Chili Corn Corny" (McKimson; October 23; with Speedy Gonzales, Jose Crow (or, perhaps a one-shot character, named the Loco Crow) and Daffy Duck)
  • "Go Go Amigo" (McKimson; November 20; with Speedy Gonzales and Daffy Duck)

1966

  • "The Astroduck" (McKimson; January 1; with Speedy Gonzales and Daffy Duck)
  • "Mucho Locos" (McKimson; February 5; with Speedy Gonzales, Daffy Duck, Porky Pig, and Jose and Manuel; clip show short; scored by Herman Stein, last appearances of Porky Pig, and Jose and Manuel in the Golden Age of Animation and guest appearance of Señor Vulturo from "Tortilla Flaps")
  • "Mexican Mousepiece" (McKimson; February 26; with Speedy Gonzales and Daffy Duck)
  • "Daffy Rents" (McKimson; March 26; with Speedy Gonzales and Daffy Duck; scored by Irving Gertz)
  • "A-Haunting We Will Go" (McKimson; April 26; with Speedy Gonzales, Daffy Duck, and Witch Hazel; last appearance of Witch Hazel in the Golden Age of Animation)
  • "Snow Excuse" (McKimson; May 21; with Speedy Gonzales and Daffy Duck)
  • "A Squeak in the Deep" (McKimson; July 19; with Speedy Gonzales and Daffy Duck; scored by Walter Greene)
  • "Feather Finger" (McKimson; August 20; with Speedy Gonzales and Daffy Duck; scored by Walter Greene)
  • "Swing Ding Amigo" (McKimson; September 17; with Speedy Gonzales and Daffy Duck; scored by Walter Greene)
  • "Sugar and Spies" (McKimson; November 5; with Road Runner and Wile E. Coyote; last appearances of Road Runner and Wile E. Coyote in the Golden Age of Animation; scored by Walter Greene)
  • "A Taste of Catnip" (McKimson; December 3; with Speedy Gonzales, Daffy Duck, and Sylvester; last appearance of Sylvester in the Golden Age of Animation; scored by Walter Greene)

1967

  • "Daffy's Diner" (McKimson; January 21; with Speedy Gonzales and Daffy Duck; last short of the DePatie-Freleng era; scored by Walter Greene)

Format Films transition shorts

1967

  • "Quacker Tracker" (Larriva; April 29; with Speedy Gonzales and Daffy Duck; scored by Frank Perkins)
  • "The Music Mice-Tro" (Larriva; May 27; with Speedy Gonzales and Daffy Duck; first short to use the 1967-present MPAA logo on the opening credits)
  • "The Spy Swatter" (Larriva; June 24; with Speedy Gonzales, Daffy Duck and Sam Cat; last short directed by Rudy Larriva)

Seven Arts era

1967

  • "Speedy Ghost to Town" (Lovy; July 29; with Speedy Gonzales and Daffy Duck)
  • "Rodent to Stardom" (Lovy; September 23; with Speedy Gonzales and Daffy Duck; first short to credit Warner Bros.-Seven Arts)
  • "Go Away Stowaway" (Lovy; September 30; with Speedy Gonzales and Daffy Duck)
  • "Cool Cat" (Lovy; October 14; with Cool Cat and Colonel Rimfire; also, the first appearances of both; first short to have "W7" logo on opening/ending titles)
  • "Merlin the Magic Mouse" (Lovy; November 18; with Merlin, Second Banana, and Sam Cat; first appearances of Merlin and Second Banana, last appearance of Sam Cat in the Golden Age of Animation)
  • "Fiesta Fiasco" (Lovy; December 9; with Speedy Gonzales and Daffy Duck)

1968

  • "Hocus Pocus Powwow" (Lovy; January 13; with Merlin and Second Banana)
  • "Norman Normal" (Lovy; February 3; one-off; cartoon special)
  • "Big Game Haunt" (Lovy; February 10; with Cool Cat and Colonel Rimfire)
  • "Skyscraper Caper" (Lovy; March 9; with Speedy Gonzales and Daffy Duck)
  • "Hippydrome Tiger" (Lovy; March 30; with Cool Cat and Colonel Rimfire)
  • "Feud with a Dude" (Lovy; May 25; with Merlin and Second Banana)
  • "The Door" (Mundie; June 1; one-off; scored by Clark Terry; cartoon special)
  • "See Ya Later Gladiator" (Lovy; June 29; with Speedy Gonzales and Daffy Duck; last appearances of Speedy Gonzales and Daffy Duck in Golden Age of Animation, and their final pairing together, at least in the classic era)
  • "3 Ring Wing-Ding" (Lovy; August 24; with Cool Cat and Colonel Rimfire; last appearance of Colonel Rimfire in the Golden Age of Animation)
  • "Flying Circus" (Lovy; September 14; one-off)
  • "Chimp & Zee" (Lovy; October 12; one-off; last short directed by Alex Lovy)
  • "Bunny and Claude (We Rob Carrot Patches)" (McKimson; November 9; with Bunny and Claude, the first appearance of both)

1969

  • "The Great Carrot-Train Robbery" (McKimson; January 25; with Bunny and Claude, the second and last appearance of both)
  • "Fistic Mystic" (McKimson; March 29; with Merlin and Second Banana)
  • "Rabbit Stew and Rabbits Too!" (McKimson; June 7; one-off)
  • "Shamrock and Roll" (McKimson; June 28; with Merlin and Second Banana; last appearances of Merlin and Second Banana in the Golden Age of Animation)
  • "Bugged by a Bee" (McKimson; July 26; with Cool Cat; last Looney Tunes short)
  • "Injun Trouble" (McKimson; September 20; with Cool Cat; last Merrie Melodies short; last appearance of Cool Cat in the Golden Age of Animation; last short directed by Robert McKimson)

Why This Era Sucks

  1. Budget problems heavily affected this era, which only got worse as the years progressed.
    • Because of said budget problems, the studios were only allowed to use a minimal set of characters, most notably Daffy Duck, Speedy Gonzales, Wile E. Coyote and the Road Runner. As a result, other popular and long-time favorite Looney Tunes characters like Bugs Bunny, Foghorn Leghorn, Tweety, Pepé Le Pew, Elmer Fudd, Yosemite Sam, Marvin the Martian, and Taz were are all nowhere to be found in this era, since they got retired in the late 1962-1964 era.
    • To add insult to injury, DePatie-Freleng Enterprises wanted to bring Bugs Bunny back, but they were forced to stick to that same handful of characters.
      • By 1967, Daffy Duck and Speedy Gonzales were the only classic characters left. To replace the remaining characters, director Alex Lovy had to create a new breed of characters, the most notable being Cool Cat and Merlin the Magic Mouse, many of whom were maligned, not well-received, disliked, and tarnished amongst fans, animation buffs, and even director Robert McKimson. In fact, only Cool Cat, Colonel Rimfire, and Spooky made any prominent appearances after the Seven Arts era, and the rest either being reduced to silent cameos or not appearing at all.
    • Poor and bizarre animation much like the Gene Deitch era of Tom and Jerry, the post-1955 Walter Lantz cartoons, the 1960s Famous Studios cartoons from Paramount, the 1960s made-for-TV Popeye the Sailor cartoons, DePatie-Freleng Enterprises low-budget cartoons like Super President, The Oddball Couple, Crazylegs Crane, and the later Pink Panther cartoons, UPA's The Dick Tracy Show and the Terrytoons that is a massive downgrade from the earlier Looney Tunes cartoons and to a lesser extent, the late 1962-1964 era. It ranges from being bland to plain uncanny, creepy-looking and/or simplistic. It bottoms out with the Rudy Larriva-directed Format Films cartoons and the Alex Lovy-directed Warner Bros.-Seven Arts cartoons, which had animation quality that wouldn't feel out of place on television of the time.
    • Limited stock sound effects (mostly from the Hanna-Barbera library), which got worse during the Seven Arts cartoons. "The Great Carrot Train Robbery" is most infamous for the limited amount of sound effects used.
    • The "abstract" intro that was first used on "Now Hear This" (keep in mind that this was designed just for abstract, one-shot cartoons) mostly consists of moving lines, showing how low the budget of this era (along with the late 1962-1964 era) was.
      • Adding onto that, it replaced the "bullseye" opening and closing title cards and uses a very "clunky" version of "The Merry Go-Round Broke Down". The closing title card theme is a cut version of William Lava's theme. This theme would get "lighter and calmer" variants during the Seven Arts cartoons with less instruments. Additionally, Merrie Melodies no longer used its "Merrily We Roll Along" theme.
    • DePatie-Freleng era suspiciously have their plots being entirely mish-mashes of animation and gags from older, better cartoons from the classic era; for example:
      • "The Wild Chase" re-uses animation and gags from the Chuck Jones-directed Road Runner shorts "Wild About Hurry", "Zoom and Bored" and "Hopalong Casualty".
      • "Cats and Bruises" entirely re-uses animation and gags from the Speedy/Sylvester cartoons "Here Today, Gone Tamale" and "The Pied Piper of Guadalupe" and the Tweety/Sylvester cartoons "Canary Row", "Dog Pounded", and "A Pizza Tweety-Pie".
      • "Mucho Locos" re-uses animation and gags from the Daffy Duck shorts "Deduce, You Say", "Robin Hood Daffy", and "China Jones" and Speedy Gonzales shorts "Tortilla Flaps" and "Mexicali Shmoes".
      • "Road to Andalay" re-uses animation from "The Jet Cage" (aka the short that also started the downfall of the classic era of "Looney Tunes").
      • "A-Haunting We Will Go" re-uses animation and gags from "Duck Amuck", even recycling the iconic "mutant Daffy". This cartoon also uses recycled scenes from the Bugs Bunny cartoons, "Broom-Stick Bunny" and "A Witch's Tangled Hare".
      • "Mexican Mousepiece" re-uses the "flying sequence" animation from "Stupor Duck".
      • "Feather Finger" re-uses the shooting gag from "Daffy's Inn Trouble".
    • Tons of animation errors; for example, in "Cats and Bruises" during a brief shot showing the bulldogs in the dog pound, the bulldogs appear to be completely static and their mouths do not move in sync to the barking sounds, in "Mucho Locos", Señor Vulturo's color scheme is black, instead of blue in his first appearance, "Tortilla Flaps" (please note that "Mucho Locos" also suffers from other animation errors too and not just this, all thanks to redrawn animation), in "Shot and Bothered", where Wile E. Coyote does not disappear after a boulder falls on him for the first time, in "Out and Out Rout", Wile E. Coyote's eyebrows change color, while flying, and most importantly, in "See Ya Later Gladiator", the same background for two shots of Daffy walking to a window was used, even though he's in a completely different room both times.
  2. Very weak writing compared to the classic era.
  3. Rudy Larriva's eleven Road Runner and Wile E. Coyote cartoons (collectively nicknamed "The Larriva Eleven"; however, no disrespect to the deceased) have been considered by many as the worst Road Runner cartoons due to the poor animation, weak gags and repetitive music. Notably, these cartoons lack the Latin phrases gag that was used in the previous Road Runner cartoons, recycle the same "coyote fall" and explosion scenes, and often break the "laws" of Chuck Jones' Road Runner cartoons.
  4. Two particular Looney Tunes characters suffered flanderization during these eras;
    • Daffy Duck suffers the worst case of flanderization in this era, even more so than any other Looney Tunes characters, or his persona from the Bugs Bunny shorts (which is when his flanderization actually started). He went from a screwball, yet a mischievous prankster in the original cartoons to a grouchy, humorless, and even more so of a greedy and selfish sadist than he was in the Chuck Jones, Friz Freleng and/or Robert McKimson shorts, who does anything in order to get what he wants and doesn't care about anyone else. In fact, he's so despicable in these shorts that he acted more like a villain than a hero, which makes it very hard to root for him (with minor sole exceptions such as "Mexican Mousepiece", "Fiesta Fiasco" and "Skyscraper Caper"). Most of the Daffy vs. Speedy shorts such as "Assault and Peppered", "Well Worn Daffy", "Chili Corn Corny", "Mucho Locos", "The Astroduck" and "Snow Excuse", as well as "Tease for Two" (Daffy's only pairing with the Goofy Gophers) are the worst offenders for using this characterization of Daffy as examples. In fact, most of these really show they had Daffy play at his absolute worst.
      • To add salt to the wound, the butchery of Daffy's character in this era was first done by both Friz Freleng and Robert McKimson, two veteran directors who previously worked on the Daffy Duck cartoons in the classic era, as opposed to new writers/directors who never worked on any of the original Looney Tunes cartoons before, all because DePatie-Freleng Enterprises needed a new antagonist for Speedy Gonzales to replace other Looney Tunes antagonists who have been retired from this era, such as Sylvester and Yosemite Sam.
    • In "The Larriva Eleven", the Road Runner has changed from an innocent and lovable bird into a sadistic and malicious annoyance who actually tries to harm the Coyote without going "Beep beep". Same goes with Robert McKimson's shorts, for example, in "Rushing Roulette" he throws the Coyote off a mountain on a trolley and in "Sugar and Spies" he sends the Coyote to the moon using a remote control at the end.
  5. Due to the studios only being allowed to use a minimal set of characters, this era shows some awkwardly mismatched character pairings among the classic characters, most notably the Daffy Duck and Speedy Gonzales pairings. The problem is that unlike past character pairings, such as Sylvester/Tweety, Bugs Bunny/Elmer Fudd or Yosemite Sam, and even Sylvester/Speedy during the first few years of the era, the Daffy/Speedy pairings are a horrible mismatch due to poor chemistry between the duo.
  6. Uninteresting music from William Lava (again, no disrespect to the deceased) that doesn't sound like it would belong in Looney Tunes, mainly due to poor William "Bill" Lava being forced to work with a small orchestra instead of the full Warner Bros. orchestra as before. What's worse is that, in "The Larriva Eleven", all of the music would be repeated for all, but the first short.
    • Walter Greene's music in the last few cartoons in the DePatie-Freleng era are a bit better than William Lava's work, but is a bit aged and still isn't as memorable as anything Carl Stalling or Milt Franklyn had previously done, albeit still passable at best.
      • Same goes for Herman Stein's score for "Mucho Locos", Irving Gertz's score for "Daffy Rents" and Frank Perkins' score for "Quacker Tracker".
  7. Some of the cartoons' plots in these eras are rip-offs or rehashes of older, better cartoons from the classic era. For example:
    • "Moby Duck" is a rip-off of the 1951 Sylvester cartoon "Canned Feud" (though depending on one's view), and the 1956 Bugs Bunny/Yosemite Sam cartoon, "Rabbitson Crusoe".
    • "Assault and Peppered" is a rip-off of the 1950 Bugs Bunny/Yosemite Sam cartoon "Bunker Hill Bunny".
    • "Well Worn Daffy" is a rip-off of the 1955 Bugs Bunny/Yosemite Sam cartoon "Sahara Hare".
    • "Corn on the Cop" is a police-style rip-off of the 1956 Daffy Duck/Porky Pig cartoon "Rocket Squad".
    • "Tease for Two" is a rip-off of the 1955 Goofy Gophers/Elmer Fudd cartoon "Pests for Guests".
    • "A-Haunting We Will Go" is a rip-off of the 1956 Bugs Bunny/Witch Hazel cartoon, "Broom-Stick Bunny" and the 1962 Bugs Bunny/Yosemite Sam cartoon, "Shishkabugs".
    • "Mexican Mousepiece" is a rip-off of the 1950 Bugs Bunny/Yosemite Sam cartoon "Big House Bunny".
    • Much like "Nuts and Volts", both "The Solid Tin Coyote" and "Daffy Rents" are rip-offs of the 1953 Bugs Bunny/Elmer Fudd cartoon "Robot Rabbit".
    • Both "Just Plane Beep" and "Flying Circus" are rip-offs of the 1964 Bugs Bunny/Yosemite Sam cartoon "Dumb Patrol".
    • Both "A Squeak in the Deep" and "Hippydrome Tiger" are rip-offs of racing cartoons from the classic era, particularly of the 1963 Bugs Bunny/Daffy Duck cartoon "The Million Hare".
    • Much like "Freudy Cat", "A Taste of Catnip" is a rip-off of the 1959 Sylvester/Tweety cartoon, "Tweet Dreams".
    • "Daffy's Diner" is a rip-off of the 1946 Sniffles cartoon "Hush My Mouse".
    • "Rodent to Stardom" is a rip-off of the 1956 and 1957 Bugs Bunny/Daffy Duck cartoons, "A Star Is Bored" and "Show Biz Bugs".
    • "Go Away Stowaway" is a rip-off of the 1942 Daffy Duck/Conrad Cat, the 1951 and 1956 Tweety/Sylvester, and the 1962 Daffy Duck cartoons, "Conrad the Sailor", "Tweety's S.O.S.", "Tugboat Granny", and "Good Noose".
    • "Big Game Haunt" is a rip-off of the 1940 one-shot cartoon, "Ghost Wanted".
    • "Feud with a Dude" is a rip-off of the 1936 one-shot, 1938 Egghead, and 1950 Bugs Bunny cartoons, "When I Yoo Hoo", "A Feud There Was", and "Hillbilly Hare".
    • "3 Ring Wing-Ding" is a rip-off of the 1940 one-shot, 1946 Bugs Bunny, and 1955 Tweety/Sylvester cartoons, "Circus Today", "Racketeer Rabbit", and "Tweety's Circus".
    • "See Ya Later Gladiator" is a rip-off of the 1955 Bugs Bunny/Yosemite Sam cartoon, "Roman Legion-Hare".
    • "Shamrock and Roll" is a rip-off of the 1951 Porky Pig cartoon, "The Wearing of the Grin".
    • "Cool Cat" is a rip-off of the 1940 Bugs Bunny debut/Elmer Fudd cartoon, "A Wild Hare".
    • Some cartoons from this era even go as far as to rip-off other classic-era cartoons. Yes, you heard that correctly. For example, "Snow Excuse" is a rip-off of the 1964 Tom and Jerry cartoon, "Snowbody Loves Me", and "Merlin the Magic Mouse" is a rip-off of the 1965 short from the same franchise, "Haunted Mouse".
  8. Most of the cartoons are either unfunny, repetitive, frustrating, or boring. A lot of gags in this era are reused from the classic cartoons, most notably with "Tease for Two" and "3 Ring Wing-Ding".
  9. They didn't even bother to hire Mel Blanc to voice any of the Seven Arts cartoons aside from the Daffy/Speedy shorts, the one-shot cartoon "Chimp & Zee", and the two Bunny and Claude shorts. Instead, Larry Storch joined in and voiced most of the characters in these shorts. While he wasn't a terrible actor and tried his best, he just wasn't as funny as Mel Blanc. Daws Butler was pretty good as the first voice of Merlin the Magic Mouse and Second Banana, but quit after the first short, leaving Storch to do the rest.
  10. "See Ya Later Gladiator", the last short with the classic cast in the Seven Arts era and in the classic era as a whole, is often considered the absolute worst Warner Bros. short by critics and fans (though, perhaps amongst the absolute worst) due to its half-hearted animation, off-model character designs, uncharacteristic plot, bad simplistic music, and overuse of Hanna-Barbera sound effects.
  11. The last Warner Bros. short, "Injun Trouble" (not to be confused with the 1938 Bob Clampett-directed short of the same name), was not a good way to end the theatrical era of Merrie Melodies label, as not only was it a cartoon starring the forgettable Cool Cat, but it was also banned from syndication and HBO Max due to the Native American stereotypes!
    • Besides just "Injun Trouble", there's still some racially controversial shorts in this era, such as "Hocus Pocus Powwow" (which was also banned from HBO Max), the last gag of "Run, Run, Sweet Road Runner" and "The Door". At least the late cartoons of the classic era, such as "Tom Tom Tomcat", "The Oily American" and "Horse Hare" tried to dial down these Native American stereotypes during the mid/late 1950s and early 1960s.
    • Additionally, but less offensively, cartoons such as "Suppressed Duck" (only the ending gag with the bear, which seems somewhat suggestive), "Mucho Locos" (containing a recycled scene from "China Jones", which may be considered offensive), and "Well Worn Daffy" (which contains Daffy Duck as an oasis Arab Riff Raff) should be noted as well, even though the shorts aren't much of a racial problem.
  12. The Seven Arts cartoons worsened most of the problems stated above.
    • The Format Films-era is also just as bad as the Seven Arts-era, if not even worse, because in addition to having television-quality animation, the shorts have very slow pacing and don't have any funny or fun-to-watch cartoons. It doesn't help the fact that both eras also started and ended on a mediocre, sour, or terrible note, unlike the DePatie-Freleng Enterprises-era.

Redeeming Qualities

  1. Ten years later after this era ended, Freleng and Jones came back to produce new cartoons to air for television, effectively reviving and saving the series.
    • Likewise, the Looney Tunes theatrical cartoons themselves get even better when new theatrical cartoons continued production in 1987, beginning with Greg Ford and Terry Lennon's "The Duxorcist".
  2. After this era, Cool Cat and Merlin would rarely appear, with both mostly only making cameos in the spin-off show The Sylvester and Tweety Mysteries, Tweety's High-Flying Adventure (along with Colonel Rimfire), or Looney Tunes Cartoons.
    • Additionally, even though some of the new characters like Cool Cat, Merlin the Magic Mouse, Bunny and Claude, and Spooky are far from being perfect when compared to the other Looney Tunes stars, they were at least original and unique for what they are.
  3. Aside from the era's "Big Four" characters Daffy Duck, Speedy Gonzales, Wile E. Coyote and the Road Runner, Porky Pig, Sylvester and Granny are the only other major Looney Tunes characters to appear in this era, even though they only made minor appearances in this era.
    • Porky Pig appears in only two cartoons; "Corn on the Cop" and "Mucho Locos" (though the latter's appearance is stock footage from "Robin Hood Daffy").
    • Granny appears in only two cartoons; "It's Nice to Have a Mouse Around the House" (cameo appearance) and "Corn on the Cop".
    • Sylvester appears in five Speedy Gonzales cartoons; "Road to Andalay", "It's Nice to Have a Mouse Around the House" (cameo appearance), "Cats and Bruises", "The Wild Chase" and "A Taste of Catnip" (cameo appearance, albeit twice).
      • Even a few minor/supporting characters appear in this era, like the Goofy Gophers appearing in "Tease for Two", Ralph Phillips appearing in "Zip Zip Hooray!" (despite using reused footage from "Adventures of the Road-Runner"), Witch Hazel appearing in "A-Haunting We Will Go", Jose and Manuel appearing in "Chili Corn Corny" (or a possible relative/cousin, as the character is just named "The Loco Crow") and "Mucho Locos", and Sam Cat appearing in "The Spy Swatter" and "Merlin the Magic Mouse".
  4. Out of all of three eras, the DePatie-Freleng Enterprises cartoons at least used a wider set of classic characters, had less bad shorts, had more sound effects, and had slightly better animation than the Format Films and Warner Bros.-Seven Arts eras.
    • The Seven Arts era finally got slightly better after Alex Lovy departed and Looney Tunes veteran Robert McKimson returned as director, trying his best to return the cartoon studio to its heyday! Even if the final short ended both the series and his career on a sour note.
    • Speaking of which, Robert McKimson's Road Runner cartoons are far superior to Rudy Larriva's, even if he only made two Road Runner shorts, neither of which are up to the caliber of the Chuck Jones shorts.
  5. There are still a small amount of cartoons where Daffy Duck is likeable, such as "Skyscraper Caper" where he is friends with Speedy instead of an enemy, "Fiesta Fiasco", where Daffy has an actual reason to be going after Speedy (thinking Speedy's forgotten his birthday) and makes up with him at the end of the cartoon, "A Taste of Catnip" which essentially pokes fun at the idea of the Daffy/Speedy pairings as a horrible mismatch by depicting Daffy's obsessions of chasing Speedy to be abnormal, and "Mexican Mousepiece", where he is portrayed as a "Well-Intentioned Extremist"/anti-villain without selfish goals, trying to send off Speedy Gonzales and his mouse friends to a pair of starving cats that may go extinct, even if he went a little too far or overboard.
    • Thankfully, Daffy Duck would be reverted to his old personality after this era, despite his brief flanderization again in "The Chocolate Chase".
    • Also, the later cartoons in the DePatie-Freleng era often depict Daffy as a sympathetic character who has better reason to go after Speedy than a full-on antagonist.
    • Likewise, the Road Runner would also be reverted to his old personality once Chuck Jones resumed making new Road Runner cartoons for television.
  6. The awkward animation and music can make for unintentional comedy.
    • The animation can be good in some scenes, especially "Rushing Roulette", "Sugar and Spies" and "Rabbit Stew and Rabbits Too!".
  7. There are still some passable, decent, average or even good shorts in this era, that are watchable at best, despite the reused or poor animation, weak music, poorer writing, etc.. For example:
    • "Pancho's Hideaway" (which started the DePate-Freleng Enterprises era on a high note)
    • "Daffy's Diner" (which ended the DePatie-Freleng Enterprises era on a high note)
    • "Suppressed Duck" (the only solo Daffy Duck cartoon from these eras; and ended such on a high note)
    • "Rushing Roulette"
    • "The Wild Chase" (which ended Friz Freleng's directional career of the classic era on a high note)
    • "Sugar and Spies" (which ended Wile E. Coyote and the Road Runner's classic-era careers on a high note)
    • "Road to Andalay"
    • "Cats and Bruises"
    • "It's Nice to Have a Mouse Around the House" (which started the Daffy and Speedy shorts on an okay note)
    • "Go Go Amigo"
    • "Mexican Mousepiece"
    • "Daffy Rents"
    • "A-Haunting We Will Go" (though, depending on your view; also ended Witch Hazel's career on a good note)
    • "A Squeak in the Deep"
    • "Feather Finger"
    • "Swing Ding Amigo"
    • "A Taste of Catnip"
    • "Fiesta Fiasco"
    • "Skyscraper Caper"
    • "Corn on the Cop"
    • "Rabbit Stew and Rabbits Too!" (the only exceptionally good short of the Seven Arts-era; which also ended the one-offs on a high note)
    • "Fistic Mystic"
    • "Bugged by a Bee" (which ended the Looney Tunes label on a high note than Merrie Melodies)
    • "Norman Normal" (a cool experimental short)
    • "The Door" (same as "Norman Normal", despite having Native American stereotypes)
    • "Zip Zip Hooray!" and "Roadrunner a Go-Go" (despite re-using footage from the Adventures of the Road Runner pilot)
    • "Tease for Two" (though, depending on your view; also ended the Goofy Gophers' careers on an okay note)
    • "Big Game Haunt"
    • "3 Ring Wing-Ding" (depending on your view)
    • "Chimp & Zee" (which ended Alex Lovy's directional career on the series on a high note)
    • "Bunny and Claude (We Rob Carrot Patches)" and "The Great Carrot-Train Robbery" (depending on your view)
  8. The intro and outro music most specifically can be catchy, even if it's not as great as the past cartoons.
    • Some scores are also quite fitting and pretty good, most notably in "Chimp & Zee".

Shorts with Their Own Pages

DePatie-Freleng Enterprises

Trivia

  • Originally, Bob Clampett was asked to direct cartoons for the Warner Bros.-Seven Arts studio. After he refused, Alex Lovy (who previously worked at Walter Lantz Productions and Hanna-Barbera) was brought in instead.
  • Before the studio shut down, there were plans to produce more cartoons starring Norman (from "Norman Normal"), Bunny and Claude, and Rapid Rabbit and Quick Brown Fox, and adapt both Keystone Kops and the L'il Abner comic strip (the former as theatrical shorts and the latter for television), as well as the creation of more characters, such as Super Snooper (a detective), Jolly Roger (a Yosemite Sam-like pirate), Puff the Magic Dragon (which was likely negotiated when Paul Stookey was creating "Norman Normal"), and Butch Catsidy (a feline parody of Butch Cassidy who was most likely going to replace Daffy as Speedy's nemesis). There was also a plan for a Wile E. Coyote and Road Runner animated/live-action special; had this come into fruition, it would likely be the only appearance of the two in the Seven Arts era.[1] However, all of these plans were scrapped.
    • There were also rumors of Ace and Fritz (from "Flying Circus") and Chimp and Zee (from "Chimp & Zee") also possibly getting their own series, but this was not confirmed.
  • According to an interview with Robert McKimson Jr., his father, director Robert McKimson disliked the direction and cartoons during the Seven Arts era, stating how he missed fuller animation and criticized the restrictions of classic characters (by the time McKimson directed in the Seven Arts era, he couldn't use Daffy or Speedy). Robert McKimson also mentioned that Alex Lovy's characters had poor development and were hard to work with.[2]
  • Prior to the release of the HBO Max streaming service, "Pancho's Hideaway", "The Wild Chase", "Suppressed Duck" (in widescreen, but the Boomerang and later on, the HBO Max streaming services provide the fullscreen version), "Corn on the Cop", all cartoons from the Larriva Eleven except "Run, Run, Sweet Road Runner", "Tired and Feathered" and "Just Plane Beep", "A-Haunting We Will Go", "Sugar and Spies", "Norman Normal", "The Door", and both Bunny and Claude cartoons are the only cartoons in this era to be restored for DVD or streaming service releases.
    • After the release of HBO Max, many Seven Arts shorts were restored for the streaming service, leaving only the Speedy and Daffy shorts, "Hocus Pocus Powwow", "Flying Circus", and "Injun Trouble" the remaining Seven Arts shorts to not been restored at the time. In addition, "Zip Zip Hooray", "Rushing Roulette", "Tired and Feathered", "Just Plane Beep", and "Tease for Two" were also restored.
    • In addition, MeTV has aired restored versions of eighteen shorts from this era, being "It's Nice to Have a Mouse in the House", "Cats and Bruises", "Roadrunner a Go-Go", "Moby Duck", "Chili Corn Corny", "Go Go Amigo", "The Astroduck", "Mucho Locos", "Daffy Rents", "A Squeak in the Deep", "Daffy's Diner", "The Music Mice-Tro" (currently the only restored Daffy and Speedy Format Films short), "Speedy Ghost to Town", "Rodent to Stardom", "Go Away Stowaway", "Fiesta Fiasco", "Skyscraper Caper", and "See Ya Later Gladiator".
    • WarnerMedia RIDE has released four restored prints of shorts from this era, with those being "Road to Andalay", "Mexican Mousepiece", "Swing Ding Amigo", and "A Taste of Catnip".
    • As of currently, "Assault and Peppered", "Well Worn Daffy", "Run, Run, Sweet Road Runner", "Snow Excuse", "Feather Finger", "Quacker Tracker", "The Spy Swatter", "Hocus Pocus Powwow", "Flying Circus", and "Injun Trouble" are the only shorts from this era that have yet to be restored.
    • Admittedly, these restorations of the shorts, as well as the high definition added into them, are much better than how they looked before on television or previous releases, even though the low budgets and limited animation are still present.

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