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Agrega una trama en tu idiomaA sneaker-wearing, hairy monster chases Bugs through a castle belonging to an evil scientist.A sneaker-wearing, hairy monster chases Bugs through a castle belonging to an evil scientist.A sneaker-wearing, hairy monster chases Bugs through a castle belonging to an evil scientist.
- Dirección
- Guionista
- Elenco
Mel Blanc
- Bugs Bunny
- (voz)
- …
- Dirección
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- Producción, taquilla y más en IMDbPro
Opiniones destacadas
There are so many reasons why I loved this cartoon. One significant reason is the characters, I loved all of them. Bugs is great here, he is drawn well and he has some great lines, but this is one instance when he is overshadowed by not one but two characters. One is the monster who looks very like the one in Water Water Every Hare, he is scary at first, but he is very fuzzy and cute as well. The other is the scientist, he looks and acts exactly like Peter Lorre, and he is priceless, his looks, his voice, everything. I also loved the animation, it isn't the very best looking of all the Looney Tunes cartoons, but the opening sequence is suitably atmospheric and there are some nice backgrounds, lovely simple colours and crisp character features. The music is great too, I always look for this and I wasn't disappointed, it had some haunting moments but it was also fun. The dialogue is inspired and really funny, the story is well constructed, the visual gags are just as funny as the dialogue and the pacing is fine. Oh, and Mel Blanc's vocals are superb. Overall, a wonderful Looney Tunes cartoon. 10/10 Bethany Cox
Bugs Bunny thinks he's being watched. Is the bunny getting paranoid in his old age? Nope, because as we see, someone IS watching him, an Evil Scientist. The scientist uses a robotic female rabbit to lure Bugs into his castle. Once there the robot self-destructs as Bugs kisses it. Then the evil scientist lets Gossamer, the hair monster to catch the wasscily rabbit. That's when the fun starts. For some reason this short didn't tickle my fancy as much as others that I've seen with Gossamer in them. Not to say this one isn't worth seeing, as it most definitely is.This cartoon is on Disk 3 of the "Looney Tunes Golden Collection Volume 1" It also has an optional commentary
My Grade: B
My Grade: B
Bugs finds himself in a laboratory where Peter Lorre is housing a monster. The monster isn't all that frightening and bugs sort of has him for lunch. There are continuous chase scenes and typical schtick. Nothing new to this, but, then, Bugs is Bugs. This episode has him yelling, "Is there a doctor in the house" with predictable results.
The most astonishing and visually audacious of the early Bugs Bunnies, a Chuck Jones masterpiece, that uses the cheap target of the Universal horror movie, long since wallowing in parody, to create some extraordinary effects. The tale is the usual - Bugs being chased by a relentless predator; but is given added piquancy by the horror setting. Bugs is often at the root of his own troubles, whether by arrogant egocentricity, disarming androgyny or slippery playfulness goading the less gifted into violence; but in this case it is Bugs' lust that does him in, as he is led to a castle, with 'Evil Scientist' blaring in neon over its portals, by a beautiful mechanical doll, unsurprisingly, considering our hero's narcissism, very similar to himself (what do you mean all rabbits look the same?!). This mixture of the erotic and the machine prefigures Ballard and Cronenburg, of course, but also reaches back to modern horror's roots, the perverse tales of E.T.A. Hoffman.
The evil scientist, supposedly a take on Peter Lorre, lures Bugs as pet-food for his fearsome monster, who turns out to be a rather cute carpet beast, a dim-witted giant Bugs makes rather heavy weather of. The variations on the chase are vertiginously invigorating, Jones' art is at the zenith of its inventiveness, mocking the horror genre, yet managing to evoke its resonances and themes. In possibly the greatest sequence in Warners animation, the Monster chases Bugs and sees the long hall he occupies reflected the mirror. He also sees himself - his reflection is horrified by him, and runs away out the reflected hall door. This sequence is, er, mirrored, by a later scene, when Bugs, about to be eaten, reveals the watching audience to the Monster, who, exposed, flees through the never-ending castle walls in shame and terror.
This theme of the doppelganger, the shameful double that usually represents all the dark side of our natures we have repressed, is also brilliantly represented in the short's treatment of surveillance. Our first image is of Bugs emerging from his hole, so powerful that the entire forest is his bedroom. and yet he is afraid that he is being watched. Suddenly, he is framed by a screen, which startles the audience (well, me anyway) into a guilty realisation of what it is doing; when the screen belongs to the evil scientist, and the audience is linked to his madman who seeks to murder Bugs, the act of looking, spying, is linked to death - Bugs is in danger as long as he is trapped in the frame, as long as he is being watched. Freedom only is possible when he leaves, and the short is over; but this is a kind of death anyway, as Bugs is a cartoon character who only exists in a cartoon. (Do I need to mention McCarthy?)
The dark colours are beautiful; the playing with perspectives ingenious; and the excuse for a 'What's Up Doc?' is as ingenious as Hitchcock's cameo in 'Lifeboat'.
The evil scientist, supposedly a take on Peter Lorre, lures Bugs as pet-food for his fearsome monster, who turns out to be a rather cute carpet beast, a dim-witted giant Bugs makes rather heavy weather of. The variations on the chase are vertiginously invigorating, Jones' art is at the zenith of its inventiveness, mocking the horror genre, yet managing to evoke its resonances and themes. In possibly the greatest sequence in Warners animation, the Monster chases Bugs and sees the long hall he occupies reflected the mirror. He also sees himself - his reflection is horrified by him, and runs away out the reflected hall door. This sequence is, er, mirrored, by a later scene, when Bugs, about to be eaten, reveals the watching audience to the Monster, who, exposed, flees through the never-ending castle walls in shame and terror.
This theme of the doppelganger, the shameful double that usually represents all the dark side of our natures we have repressed, is also brilliantly represented in the short's treatment of surveillance. Our first image is of Bugs emerging from his hole, so powerful that the entire forest is his bedroom. and yet he is afraid that he is being watched. Suddenly, he is framed by a screen, which startles the audience (well, me anyway) into a guilty realisation of what it is doing; when the screen belongs to the evil scientist, and the audience is linked to his madman who seeks to murder Bugs, the act of looking, spying, is linked to death - Bugs is in danger as long as he is trapped in the frame, as long as he is being watched. Freedom only is possible when he leaves, and the short is over; but this is a kind of death anyway, as Bugs is a cartoon character who only exists in a cartoon. (Do I need to mention McCarthy?)
The dark colours are beautiful; the playing with perspectives ingenious; and the excuse for a 'What's Up Doc?' is as ingenious as Hitchcock's cameo in 'Lifeboat'.
Chuck Jones's 'Hair-Raising Hare' pits Bugs Bunny against a genuinely disturbing Peter Lorre scientist caricature and his huge orange monster. The monster (later named Gossamer and also featured in Jones' luscious sequel to this short, 'Water, Water Every Hare' under the name Rudolph) is an extremely memorable villain who, despite his size, never poses much real threat to Bugs once he turns on his heckling. Although it is not as visually luscious as 'Water, Water Every Hare', Tedd Pierce has turned in a great script which includes some viciously amusing eye-poking, a priceless scene involving a suit of armour and the best "What's up, Doc" joke you'll ever hear. Bugs' wisecracks are top drawer ("Don't go up there, it's dark") and the high energy level is kept up throughout. It's also the only cartoon in which you'll get to hear Gossamer speak. All in all, then, 'Hair-Raising Hare' is a blast and makes a cracking double bill with its less gag-driven sequel.
¿Sabías que…?
- TriviaBugs Bunny's hunched-over walk and eyebrow-wagging are imitations of Groucho Marx. The evil scientist is a caricature of long-time character actor Peter Lorre. The other contemporary actors to be represented are: Boris Karloff (silhouette which responds when they ask for a doctor... Dr. Frankenstein) and Edward G. Robinson (the caricature in the framed picture, whose eyes follow Bugs Bunny).
- ErroresWhen Bugs announces that he is going to "...exit, stage right.", he is actually moving stage-left; "stage right" and "stage left" are opposite the directions as seen by the audience. Bugs should have said either "stage left" or "house right".
- Créditos curiososGossamer sees a mirror & its shadow (apparentley the first and only time) the shadow runs away "him" through numerous walls, screaming as it ran away.
- ConexionesEdited into Bugs Bunny Superstar (1975)
- Bandas sonorasHeadin' for My Beddin'
(uncredited)
Sung by Bugs after re-disposing of the Monster
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Detalles
Taquilla
- Total en EE. UU. y Canadá
- USD 14,753
- Fin de semana de estreno en EE. UU. y Canadá
- USD 12,285
- 16 feb 1998
- Total a nivel mundial
- USD 14,753
- Tiempo de ejecución
- 7min
- Mezcla de sonido
- Relación de aspecto
- 1.37 : 1
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