What s opera doc
What s opera doc
What’s Opera, Doc?
From Wikipedia, the free encyclopedia
Arthur Q. Bryan
Musical Arrangement:
Milt Franklyn
Lyrics Written by:
Michael Maltese
Richard Thompson
Abe Levitow
What’s Opera, Doc? is a 1957 American Warner Bros. Merrie Melodies cartoon directed by Chuck Jones and written by Michael Maltese. [1] The short was released on July 6, 1957, and stars Bugs Bunny and Elmer Fudd. [2]
The story features Elmer chasing Bugs through a parody of 19th-century classical composer Richard Wagner’s operas, particularly Der Ring des Nibelungen (The Ring of the Nibelung), Der Fliegende Holländer (The Flying Dutchman), and Tannhäuser. It borrows heavily from the second opera in the «Ring Cycle» Die Walküre, woven around the typical Bugs–Elmer feud. The short marks the final appearance of Elmer Fudd in a Chuck Jones cartoon.
It has been widely praised by many in the animation industry as the greatest animated cartoon that Warner Bros. ever released, and has been ranked as such in the top 50 animated cartoons of all time. In 1992, the Library of Congress deemed it «culturally, historically or aesthetically significant», and selected it for preservation in the National Film Registry, the first cartoon short to receive such honors.
From Wikipedia, the free encyclopedia
Arthur Q. Bryan
Musical Arrangement:
Milt Franklyn
Lyrics Written by:
Michael Maltese
Richard Thompson
Abe Levitow
What’s Opera, Doc? is a 1957 American Warner Bros. Merrie Melodies cartoon directed by Chuck Jones and written by Michael Maltese. [1] The short was released on July 6, 1957, and stars Bugs Bunny and Elmer Fudd. [2]
The story features Elmer chasing Bugs through a parody of 19th-century classical composer Richard Wagner’s operas, particularly Der Ring des Nibelungen (The Ring of the Nibelung), Der Fliegende Holländer (The Flying Dutchman), and Tannhäuser. It borrows heavily from the second opera in the «Ring Cycle» Die Walküre, woven around the typical Bugs–Elmer feud. The short marks the final appearance of Elmer Fudd in a Chuck Jones cartoon.
It has been widely praised by many in the animation industry as the greatest animated cartoon that Warner Bros. ever released, and has been ranked as such in the top 50 animated cartoons of all time. In 1992, the Library of Congress deemed it «culturally, historically or aesthetically significant», and selected it for preservation in the National Film Registry, the first cartoon short to receive such honors.
Dressed as the demigod Siegfried, Elmer Fudd sings «Be vewy qwiet, I’m hunting wabbits» in recitative, before he finds rabbit tracks and arrives at Bugs Bunny’s hole. Elmer jams his spear into Bugs’ hole while singing «Kill the wabbit! Kill the wabbit! Kill the wabbit!» to the tune of Ride of the Valkyries. Bugs sticks his head out of another rabbit hole and taunts Elmer about his spear and magic helmet. This prompts a display of Elmer-as-Siegfried’s «mighty powers», which scares Bugs. Bugs flees and the chase begins.
Elmer stops in his tracks at the sight of the beautiful Valkyrie Brünnhilde (Bugs in disguise). «Siegfried» and «Brünnhilde» exchange endearments and perform a short ballet (based on the Venusberg ballet in Tannhäuser). Bugs’ true identity is exposed when his headdress falls off, enraging Elmer. Bugs discards his disguise and the chase begins anew. Elmer’s rage causes a storm to brew, tearing apart the mountains where Bugs has fled. Upon seeing Bugs’ intact yet seemingly lifeless body as a drop of rain from a flower lands on the rabbit, Elmer regrets his wrath and tearfully carries the rabbit off. Bugs breaks the fourth wall and raises his head to face the audience while remarking, «Well, what did you expect in an opera? A happy ending?»
Voice cast
Production
Originally released to theaters by Warner Bros. on July 6, 1957, [2] What’s Opera, Doc? features the speaking and singing voices of Mel Blanc and Arthur Q. Bryan as Bugs and Elmer, respectively. The short is also sometimes informally referred to [ by whom? ] as Kill the Wabbit after the line sung by Elmer to the tune of Wagner’s «Ride of the Valkyries», the opening passage from Act Three of Die Walküre (which is also the leitmotif of the Valkyries).
This is the third of the three Warner Bros. shorts (the others being Hare Brush and Rabbit Rampage) in which Elmer defeats Bugs (though here the former shows regret for defeating the latter), as well as the last Elmer Fudd cartoon directed by Jones. [ citation needed ]
What’s Opera, Doc? required about six times as much work and expense as any of the other six-minute cartoons his production unit was turning out at the time. Jones admitted as much, having described a surreptitious re-allocation of production time to complete the short. [3] During the six minutes of What’s Opera, Doc?, Jones lampoons Disney’s Fantasia, the contemporary style of ballet, Wagner’s perceived ponderous operatic style, and even the by-then clichéd Bugs-and-Elmer formula. [4]
Michael Maltese devised the story for the cartoon, and also wrote lyrics to Wagner’s music to create the duet «Return My Love». Art director Maurice Noble devised the stylized backdrops. The cartoon drew upon previous Warner studio work: Maltese originated the concept of Bugs in Valkyrie drag riding a fat horse to the Tannhäuser Pilgrim’s Chorus in the suppressed 1945 wartime cartoon Herr Meets Hare, directed by Friz Freleng. [ citation needed ]
Legacy
In 1994, What’s Opera, Doc? ranked No. 1 in a list of The 50 Greatest Cartoons of all time. The list was conducted via survey by a thousand animators. [5]
In 1992, the United States Library of Congress deemed it «culturally, historically, or aesthetically significant», and selected it for preservation in the National Film Registry, making it the first short cartoon to receive such honors. Duck Amuck and One Froggy Evening were later inducted into the registry, making Chuck Jones the only animator with three shorts thus recognized. [6] [7]
The short has an 8.4 rating on IMDb, making it the second-highest rated cartoon on said platform, only being beaten by Duck Amuck.
User Reviews
Every aspect of this cartoon is outstanding, and that’s coming from someone who hates opera! The illustrations in this are fantastic, the direction super and the dialog in this «opera» is hilarious.
Kudos, too, to Mel Blanc (Bugs Bunny) and Arthur Q. Bryant (Elmer Fudd) for their outstanding voice-work having those two characters sing and talk in this opera. I appreciated their work in here more than about anything, although the direction by Chuck Jones and that artwork is really tremendous. All of them outshine the story in here.
No, I still don’t enjoy the «opera» but I will always enjoy this stunning-looking cartoon, which is part of Volume Two on the Looney Tunes Golden Collection.
In the style of a classic opera, Elmer Fudd, resplendent with magic helmet, seeks to kill the rabbit Bugs Bunny. However, dressing as an opera dame, Bugs attempts to outsmart and avoid Fudd the best he can. However, can he make the ruse last.
Fudd is a good character and here merges his usual meek personae with the epic operatic warrior to good effect. Bugs is his usual tricky self but he is down played a little bit as the cartoon seems less concerned about hilarity than about a witty, quality product. The two of them are adapted perfectly to the music and the cartoon is great with them.
There’s a tender Bugs-Elmer duet, set to Wagner, that goes like so:
Elmer: Oh, Bwunhilde. You’re so wuvwy.
Bugs (in drag): Yes, I know it. I can’t help it.
Elmer: Oh, Bwunhilde, be my WUV.
Scholars may detect actual commentary in this seven-minute masterpiece on the seeds of Nazism as sown by Wagner, the absurdity of the opera music-theater construct, or the multiple ironies of anthropomorphic cross-dressing. The rest of us just find it deadpan-knockout funny, musically glorious, and enacted on the greatest Wagnerian set ever built. Bravo tutti, and a deep, grateful bow to the late, great Chuck Jones; we shall never see his like again.
Elmer Fudd as the demigod Siegfried & Bugs Bunny as the Valkyrie Brunhilde, star in this classic cartoon masterpiece that will not only stand the test of time, but seemingly gets all the better with age. Brilliantly voiced, expertly animated, and amazingly greatly scored. This is Looney Tunes at the top of it’s form. Funny and a tad bit sad, but always exhilarating. This short singly handedly got me interested in classical music, when countless music teachers could not. This animated short can be seen on Disc 4 of the Looney Tunes Golden Collection Volume 2 and also features an optional commentary by Chuck Jones, Micheal Maltese and Maurice Noble, a second Commentary track by Daniel Goldmark, as well as a music only track, a voice over only track, and a short featurette. If any cartoon warranted that any extras, this would be the one.
With my speaw and Magic Hewmut! Magic Hewmut! Kiww the wabbit! Kiww the wabbit!
Immortal lines. Like those other famous lines: «Here’s looking at you, kid.» «Put your lips together and blow!» «I’m Woodrow Wilson, go to bed!» «How do you split a car in half!»
This little cartoon got me hooked on opera in general and is certainly the best Bugs Bunny around! There are no other!
And, if you never see it, look out for that horse! It takes a lot not to enjoy the sure absurdity of this story! If they ever give a DVD with just this ONE cartoon on, I will probably buy it.
Consider yourself exceptionally lucky if you lay eyes upon this cartoon! It’s the crown jewel of classic animation! None of todays sci-fi recycled trash a la Pokemon-Digimon things come near the Wagnerian majesty of WHATS OPERA, DOC?
«What’s Opera, Doc?» required about six times as much work and expense as any of the other six-minute cartoons his production unit was turning out at the time. Jones has admitted as much, having described a surreptitious re-allocation of production time to complete the short.
There are a handful of cartoons that people will remember forever. This is one of them. Is there another Bugs and Fudd short that stands out more? Not that I can think of.
My favorite moments from «What’s Opera, Doc?» include the following (DO NOT read any further until after you have actually seen this cartoon). The opening of this film reveals some rather intimidating cliff shadows of Elmer at his most dangerous. Elmer is rather funny with his opening quiet vocalization of «Be vewy quiet. I’m hunting wabbits» and especially with his frenzied «Kill the wabbit! Kill the wabbit! Kill the wabbit!» sung to a familiar Valkyrie theme; Bugs then sings to a horn accompaniment as he casually asks Elmer what he’s up to. Bugs’ and Elmer’s love duet (with Bugs disguised as Brunhilda) is nicely punctuated by Bugs’ fluttering eyelids. The musical accompaniment momentarily breaks away from being Wagnerian as Bugs’ helmet & wig disguise drops off his head and bounces down the stairs.
«What’s Opera, Doc?» is brilliant, simply brilliant! Chuck Jones was a very educated man who knew that if you’re dealing with Wagnerian opera, by gad, you’d better have a large orchestra! Mel Blanc and Arthur Q. Bryan turned out to be fairly decent singers in their respective Bugs & Elmer characterizations. The dance sequences between hunter and rabbit were authentically recreated, and the uses of light, shadow, & color are almost beyond compare. Sometimes I think it’s easy to become unaware of all the hard work & effort that goes into a brief animated cartoon; when we watch the cartoon, all we see is pure art, not the actual work that went on behind the scenes. As a result of all that hard work, «What’s Opera, Doc?» is now available on DVD for all of us to enjoy and appreciate its elegance. If you’re a fan of the Warner Bros. cartoons, you simply cannot miss «What’s Opera, Doc?»
The cartoon is not, as is commonly asserted, Wagner’s fourteen-hour Ring cycle compressed into seven minutes, since none of the content of the story is taken from Wagner (also, the disappointingly lame «Weturn, My Wuv» lyrics are set to a tune from «Tannhäuser»). It would be better still if it WERE a true parody of Wagner. As it is, wonderful and self-contained as the short is, it’s also a bit baffling; not funny, but lacking the final ounce of courage required to be truly thrilling or moving, either. It IS a pity that it wasn’t even nominated for Best Animated Short of 1957, especially in the absence of serious competition: Disney had shut down its short cartoon unit the previous year, UPA was churning out Mr. Magoo and nothing else, it wasn’t a particularly outstanding year for MGM, and (the final indignity) the cartoon that actually WON the award that year was yet another worthless Sylvester and Tweety effort.
While I’m not usually a fan of Elmer Fudd, this was one of my favourite Warner Brothers’ cartoons when I was a child even though at the time I had no idea that it was based on the music of Wagner.
It is great seeing Elmer Fudd singing about how he is going to kill the wabbit with his spear and magic helmet before falling in love with Bugs after the latter slips into a disguise as an operatic heroine. Of course the disguise slips and Elmer summons lightning bolts to strike down the fleeing Bugs.
Here Chuck Jones has given us one of the best cartoon shorts that I’ve seen, they certainly don’t make them like this any more sadly.
‘What’s Opera, Doc?’ has become a renowned classic for its fluid animation, sharp humour balanced with operatic drama and staging, and a score that perfectly sandwiches all the film’s themes without once seeming jarring to the viewer. Chuck Jones directed this masterpiece and you can tell that the man pushed hard to make his Looney Tunes films stand out from the crowd: he didn’t pull back from creating hyper-energetic pictures that sucked in the audience from frame one.
I love this short; it’s beautifully directed, acted and scored that it’s comparable to the best feature films out on the market. What else can I say that hasn’t been said about this film? For some viewers this was probably THE gateway-drug of a film that got millions of people into Looney Tunes (or animation) in general. It’s a flawless masterpiece of animation and short filmmaking.
This is a great cartoon: though it may prove to be too harrowing for some hearts out there. Just because it’s animated doesn’t mean its emotional impressions are any less real. It’s a journey worth taking.
What’s Opera, Doc? gets 5/5 stars.
The very fact that you’ve come to this page suggests to me that you are already aware of everything I am about to tell you about Chuck Jones’s ‘What’s Opera, Doc?’ Nevertheless, it’s all worth saying again since this is undoubtedly one of the high points in animation history and thus warrants as much discussion as possible, even if it is just reiteration of old points. An ingenious double parody of both Wagner’s «Ring» cycle and the standard Bugs Bunny/Elmer Fudd cartoon as epitomized by Tex Avery’s ‘A Wild Hare’. It’s instantly apparent from the opening moments that ‘What’s Opera, Doc?’ is an extraordinarily beautiful cartoon. What also becomes quickly apparent is that ‘What’s Opera, Doc?’ is far less crammed with traditional Warner Bros. gags than the average short. The luscious look and stunning vocal work and music is far more important than gags here and so, instead of joke after joke, we get lengthy operatic routines including the longest and most emotionally charged drag act Bugs has ever done.
It’s all still very funny but ‘What’s Opera, Doc?’ has so much more to offer. Mel Blanc and Arthur Q. Bryan (as Bugs and Elmer respectively) give the performances of their careers, summoning up genuine emotion from their astonishing work. The pair had been working on Bugs and Elmer cartoon for years by this point and had the characters and their relationship down to a tee but they exert themselves even harder here and the result is an explosive chemistry that provides ‘What’s Opera, Doc?’ with its emotional core. This is key in making the jaw-droppingly tragic ending even more effective as we see the murdered Bugs lying vulnerable beneath a weeping flower. The glorious final wisecrack alleviates some of the sadness but not so much that it spoils the mood. You come away from watching ‘What’s Opera, Doc?’ with a real sense of melancholy alongside the invigorating swell of having seen something truly brilliant.
It’s unsurprising to learn that Jones swapped round his schedule, finishing other cartoons more quickly in order to give this masterful cartoon the extra attention it deserves. What is perhaps more surprising is the fact that ‘What’s Opera, Doc?’ went virtually unrecognised in its time, not even being nominated for an Oscar in a year that Robert McKimson’s Speedy Gonzalez picture ‘Tabasco Road’ was! (Incidentally, Friz Freleng’s great Sylvester and Tweety short ‘Birds Anonymous’ won the Oscar). Thankfully, ‘What’s Opera, Doc?’ has been retrospectively re-evaluated and has since been hailed as the classic it so blatantly is. Today, it is perhaps the most famous Warner Bros. cartoon of them all.
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What’s up, Doc?
Смотреть что такое «What’s up, Doc?» в других словарях:
What’s Opera, Doc? — Título What s Opera, Doc? Ficha técnica Dirección Chuck Jones Producción Edward Selzer … Wikipedia Español
What’s Up, Doc? — (dt. „Is’ was, Doc?“) ist ein geflügeltes Wort in der amerikanischen Umgangssprache. „What’s Up, Doc?“ geht ursprünglich auf die Cartoon Reihe Bugs Bunny zurück, deren gleichnamige Hauptfigur, der pfiffige Hase Bugs Bunny, den Satz routinemäßig… … Deutsch Wikipedia
What’s Up, Doc? — What’s Up, Doc? (dt. „Is’ was, Doc?“) ist ein geflügeltes Wort in der amerikanischen Umgangssprache. „What’s Up, Doc?“ geht ursprünglich auf die Cartoon Reihe Bugs Bunny zurück, deren gleichnamige Hauptfigur, der pfiffige Hase Bugs Bunny, den… … Deutsch Wikipedia
What’s Opera, Doc? — est un dessin animé réalisé par Chuck Jones sorti en 1957 mettant en scène Bugs Bunny. Sommaire 1 Synopsis 2 Fiche technique 3 Distribution 4 … Wikipédia en Français
What’s Up, Doc? — Título ¿Qué me pasa, doctor? Ficha técnica Dirección Peter Bogdanovich Producción Peter Bogdanovich … Wikipedia Español
What’s up, doc? — interrog. What is happening here? □ What’s up, doc? How’re things going? … Dictionary of American slang and colloquial expressions
What’s Up Doc? (TV series) — What s Up Doc? was a Saturday Morning children s variety series produced and aired on ITV from 1992 to 1995 and hosted by Andy Crane, Yvette Fielding and Pat Sharp. The series also included a variety of characters including Simon Perry, Colin,… … Wikipedia
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