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Tex Avery (1908- 1980 )
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One of the challenges for Warner Bros. during this time was how to match the success of Disney, whose "personality animation" had taken commercial animation from stick figures and simple backdrops to credible characters and realistic imagery. Avery joined Chuck Jones and Bob Clampett in creating a cutting-edge unit called "Termite Terrace." From this ramshackle building on the Warners lot came Bugs Bunny, Porky Pig, Daffy Duck, Elmer Fudd, and most of the great Warners characters. Avery, at 27, was the grand old man of the group, but his ideas about how to transform the theatrical cartoon were more radical than those of his younger comrades.
In his pursuit of the gag, he added more jokes but cut out unnecessary exposition, often acting out the characters' parts himself and sometimes supplying the voices for the more buffoonish types. Above all, he steered the Warner Bros. house style away from Disneyesque sentimentality and made cartoons that appealed equally to adults, who appreciated Avery's speed, sarcasm, and irony, and to kids, who liked the nonstop action. Disney's "cute and cuddly" creatures, under Avery's guidance, were transformed into unflappable wits like Bugs Bunny, endearing buffoons like Porky Pig, or dazzling crazies like Daffy Duck.
Even the classic fairy tale, a market that Disney had cornered, was appropriated by Avery, who made innocent heroines like Red Riding Hood into sexy jazz babies, more than a match for any Wolf. Avery also endeared himself to intellectuals by constantly breaking through the artifice of the cartoon, having characters leap out of the end credits, loudly object to the plot of the cartoon they were starring in, or speak directly to the audience (often shown as silhouettes at the bottom of the frame). Such unheard-of techniques pegged Avery as a modernist and suggested his affinity with Pirandello and Brecht ó not bad for a rowdy boy from Texas.
In 1941, at age 33, Avery moved to M-G-M, where his talent for sight gags, blackouts, rabid pacing, violent humor, and sexy characters found its fullest expression. He tried to duplicate his earlier success with characters like Bugs Bunny and Daffy Duck, but "Screwy Squirrel" was far from endearing, even by Avery's standards. Screwy's purpose, according to critic Greg Ford, was to "shatter audience complacency," which he did with some of the rudest gags on record. More successful was the series of World
War II walking pin-ups that Avery created for American G.I.s stationed abroad. Again using the fairy-tale framework that served him well at Warners, he changed Cinderella and Red Riding Hood into gorgeous sexpots who tantalize "the Wolf" (unnamed) and the audience with their lurid charms. These characters were the basis for "Jessica Rabbit" in Who Framed Roger Rabbit?, but equally fun for audiences were the Wolf's reactions to Cinderella/ Red's come-ons. Avery devised a series of wild reaction gags of the Wolf that eventually caught the attention of the censors; images like the Wolf suddenly stiffening in mid-air were rightly interpreted as "phallic gags." The Wolf's lust was never consummated, but you'd never know it from the sexy aura of cartoons like Swing Shift Cinderella and Red
Hot Riding Hood. Avery enjoyed equal success with Droopy Dog, a tiny, impossibly unruffled character who barely acknowledges the brutal assaults on him and always triumphs.
At both Warners and M-G-M, Avery ruthlessly satirized sacred cows, everything from the capitalist concept of progress (The House of Tomorrow) to literary classics (Steinbeck's Of Mice and Men becomes Lonesome Lenny) to Frank Sinatra (Li'l Tinker). The sheer breadth of his targets and his exhausting perfectionism may have influenced his move from M-G-M in 1954 to the studio of one of his earliest collaborators, Walter Lantz at Universal. After directing only four cartoons there, he went into animating television commercials for bug spray and corn chips, and eventually found himself doing drudge work for former competitors Hanna-Barbera.
He was working for them when he died of a heart attack in 1980, at age 72. Part of his decline can be blamed on historical circumstance: the theatrical cartoon was being phased out of theatres by the 1950s. More important, though, he was simply burned out, a term he used frequently to describe himself. His pursuit of the perfect gag has a romantic resonance to it, since like any ideal it was bound by its nature to fail. But like the characters, the work always outlives the author, and a bit of Avery continues to live whenever someone says, "What's up, doc?"
Copyright © 1998 by Gary Morris
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