Maltese's approach to the gag also makes it a lot more comical, for the gag feels like a homage towards the 1930s shorts of book characters coming to life, but in this short it is accomplished well in this bizarre twist.Īnd so, after a series of musical numbers Maltese takes a little break from musical sequences, and gives Porky the chance to shine by his attempt to dispose the cat. It's a wonderful gag delivery, as the latter book title is accurate. Just as he walks back, the alley cat throws the book back but this time with a different title: "The Return of Fu Manchu". Fu Manchu" which references the infamous book series of the master criminal, Fu Manchu.Īs Porky tosses the book outside, supposedly hitting the alley-cat off-screen, Porky turns to walk back to his head, muttering "Take that you old cat!". The alley-cat still continues singing after being hit by the vase, and this time he sings Irish Eyes are Smiling. Porky attempts to find another plan to get the cat out of the way. One of the funnier gags in the short that doesn't rely on animation timing is the book-tossing sequence, at least if you read the titles from the book cover. As the cat breaks down into finale, the vase flies past hitting him, from the other side. Its a great little gag that never made it in Back-Alley. Porky awakens and finds he is disturbed by the racket the cat is making, and starts to throw out pieces of items from his home. The cat manages to dodge the objects flying towards him, but one gag centers on an inanimate vase object which halts, and the cat struggles to dodge past it. The cat warms up his vocal chords as he blows on the harmonica to prepare for his performance of Largo al factotum from The Barber of Seville. Though a lot of the animation is parallel, since the scene in the remake was animated by Virgil Ross, the latter short shows an improvement in terms of animation performance. The scenery, too, is identical, though the layout work here, compared to the Hawley Pratt layout contrast slightly. A lot of the alley cat's subtle bits of acting such as his cough, as well as gathering all the falling pieces of musical sheets, are all there in the remake.
Porky is definitely cast perfectly as the disturbed sleeper, and Maltese certainly makes use of the character well, making him more prominent in the short, especially by taking Porky to a new level that no-one had attempted before.įrom the start of the sequence, a typical Warners viewer will realise that the opening is almost identical towards the intro to Back-Alley Oproar. Instead, Porky shows a much more darker side, he intents to kill the alley cat so long that he can no longer be disturbed. Personally, I feel the short was the first time where Porky really had a three-dimensional personality, and not just the cute, straightforward stuttering character that he had been interpreted for the past six years at Schlesinger. Only Maltese would go beyond a simple storyline by giving the cat an identity, such as his love for singing. The storyline is merely simple: an alley-cat disturbs Porky's sleep. humour going as far as to the next level, thanks to the genius of Michael Maltese. For the time this short was released, it was a breakthrough in terms of Warner Bros.
Instead of Elmer and Sylvester, Porky plays the role of the disturbed sleeper, and Sylvester's role is just a one-shot alley cat. It's a wonderful, hilarious short which had fast-pacing and musical numbers combined wonderfully, and it's a huge win.Ī truly amazing short, there are those who aren't aware that the cartoon was merely an improved remake of this short: Notes to You, where the original story concept was conceived by Mike Maltese. shorts are at least familiar with the Friz Freleng masterpiece, Back Alley Oproar, released in 1948, starring Sylvester.
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