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00:00Hi, this is Eddie Fitzgerald and we're on Frank Tashland's Stupid Cupid.
00:07This is one of the funniest films ever made. It's really, truly funny because it's streamlined,
00:12because he knows the gags he wants to get across and he is relentless in pursuing them.
00:16Everything that has nothing to do with the gag is stripped away from this film.
00:20It begins real fast.
00:22Now, he begins with a little bit of a problem.
00:24He has some weak animation here, a little bit of weak drawing.
00:27That happens in every cartoon or at least in every director's career.
00:30It's just something you have to live with, but he gets around it. It doesn't matter.
00:33The thing is so gag-oriented that it doesn't matter if the drawing on Elmer isn't what it might be in other circumstances.
00:51We don't do a lot of acting on the bird.
00:54We don't do a lot of acting on the bird. The bird gets shot.
01:05For Tashland, the gag is always the most important thing.
01:07He wanted to make funny cartoons.
01:09It's funny how seldom you actually see that in a cartoon.
01:12I mean, how many cartoons are really made to make the audience laugh out loud?
01:16Not to go for the subtle laugh or the internal laugh, but the external laugh, the laugh that you actually hear.
01:22I think that's what Tashland wanted.
01:24A lot of people feel insecure about that. They're afraid to take a risk.
01:27They do hyphenated cartoons or even live action where it's sort of a romantic comedy or something like that.
01:33So in case nobody laughs, you can always say, well, I wasn't really going after a laugh here.
01:38But boy, here they're announcing the intention to get laughs.
01:42It's a risky thing to do. If you don't succeed, you look real bad.
01:53Relentless pacing.
02:02One of the things I really like about this cartoon is the collaboration here between Stalling and Tregg Brown.
02:08Stalling had this way of building up to real ominous music and everything for a little thing like plucking a flower.
02:14Or Daffy sees a girl in the case of this film and they're playing ominous music.
02:18You know, that shouldn't work, I suppose, but it does. Music has its own rules. It really does.
02:23I think music is about dog emotions. There's something inhuman about it.
02:35This is a really drastic pose.
02:37Mike Barrier is quoted as saying that a lot of directors avoided these kind of drastic poses because it took away from the believability of the animation.
02:44I think it works perfectly for Tashlyn because he's all about the gag.
02:49It's not about the plot. It's not really even about the character per se. It's about the gag.
02:58Tashlyn's after that laugh. Look at this.
03:02This is so funny.
03:04Just about the most drastic thing of its kind I've ever seen in a film, actually.
03:15There's a lot of cinema in this film, too.
03:22A lot of drastic angles, a lot of unusual cuts, things you don't suspect.
03:29Well, that was an easy voice session for Arthur K. Bryant, wasn't it?
03:37Look at this pan. Isn't that gorgeous?
03:44Oh, I don't know what you call that bass oboe or clarinet or something. I don't know what instrument that is.
03:54That's over somebody just falling.
03:57Sounds like a whole army is coming over the horizon when you play music like that.
04:01That's what Carl Stalling does. He surprises you with these unexpected accents.
04:06He tries to defeat people's expectations sometimes.
04:10Harry could elongate the sequence because he knew he had Stalling's music to back him up.
04:14There again with the chicken, you know, the suddenly subtle music after the big music.
04:19This conga drum or whatever kind of drum it is.
04:22Come my love, fly with me.
04:36There's so much opportunity in a film like this for sound effects.
04:38A lot of times you can build a film around the sound effects.
04:40I mean, you consider the sound effects as a kind of soundtrack, the way you consider music.
04:45Boy, if you owned a sound effect, you would never have thought you could do well for the film.
04:50Boy, si vous n'entendiez que les effets de son pour certains films, vous pourriez l'écouter,
04:55comme si vous écoutiez une musique sur votre radio.
05:02Ici, il y en a tellement.
05:04Bien sûr, Tregg Brown, qui a réalisé les effets de son, était un musicien,
05:07donc je suis sûr qu'il a travaillé bien avec Carl Stalling,
05:09intégrant les effets de son comme s'ils étaient des morceaux de musique.
05:14C'est génial, regardez l'animation.
05:16C'est la partie la plus drôle du film pour moi.
05:20C'est tellement réel, il prie pardon.
05:22Et il le veut vraiment aussi.
05:29Vous et votre femme charmante.
05:30C'est mon dialogue préféré de l'entière carrière.
05:33Il y a une scène qui arrive ici où Daffy kisse les pieds du Rooster.
05:36C'est tellement drôle.
05:37Vous savez, il y avait un film de vaudeville,
05:39où les 4 choses les plus drôles,
05:40l'une, c'est que vous appuyez sur les doigts de quelqu'un,
05:42l'autre, c'est qu'avec deux pieds, vous appuyez sur deux assiettes de doigts.
05:46Et puis, la chose la plus drôle, peut-être encore plus drôle que ça,
05:50c'est que vous tapez quelqu'un dans l'œil.
05:52Et la chose la plus drôle, selon ce vaudevillien,
05:54c'est que vous ne pouvez jamais faire quelque chose de plus drôle
05:56que deux doigts qui tapent deux yeux.
05:58J'ai juste pensé à ça,
05:59parce que l'image de lui kisser les pieds était tellement stupide.
06:10Voilà les couleurs de l'enfer.
06:13Tashlin et beaucoup de directeurs de Warner
06:15aiment s'occuper d'un genre de backgrounds ominieux,
06:17et beaucoup de temps, la musique est omineuse.
06:19Ici, on va finir très vite.
06:21Je pense qu'il y avait probablement un autre ending originellement,
06:24mais l'idée c'est de sortir après le climax.
06:27Et on l'a fait.
06:29Au revoir.