Cazando Pollos al Amanecer

This Foghorn Leghorn short offers a twist on the usual Tom and Jerry/Sylvester and Tweety/Roadrunner and Wil E. Coyote model. Like those classics, we are offered a conflict between scavenger and prey. Unlike them, the scavenger is a sweet little cutie, while his victim is a bloated, blustery sneak. The film begins with lachrymose melodrama, as the hero's father tragically tells toddler Henery Hawk that he is a chicken hawk, that he must hunt chickens. With innocent bravado, he sets out to fulfil his duty, but his ominous first act is to fail to fly, falling and thudding from a great height.

Meanwhile Foghorn Leghorn is having his usual self-imposed troubles with Barnyard Dog, taunting the latter because safe in the knowledge of his being tied up. Foghorn is lovably unsympathetic, a windy, Burl Ives-type, full of cod-military guff; he'll turn any trick to save his own hide. This mixture of malice and cowardice makes him a true cousin of Bugs.

He sees in the chickenhawk an opportunity to further exasperate Barnyard, and, persuading the little fellow that he is a horse, and Barnyard a chicken, urges Henery to root out his meal. Much sadistic lunacy ensues, wonderfully brutal, with the scheming Foghorn not always coming out best.

This energetic short plays havoc with sentimental ideals of the pastoral, especially prominent just after the war - its celebration of metamorphosis, duplicity and cunning is heartening in that oppressive All American social atmosphere. There is also some bracing philosophy about the struggle between free-will and genetic destiny. A Tex Avery would have made this a classic, but a funny script and peerlessly protean Mel Blanc voicing make this a rare treat.

This is the first appearance of Foghorn Leghorn and the dog as well as the second appearance of Henery Hawk (but the first voiced by Mel Blanc). As far as the dog and chicken are concerned, they related to each other exactly as they did in subsequent films--and seeing them tormenting each other was, as always, a pleasure. In the midst of this fighting arrives Henery who is used by both Foghorn and the dog to fight their battle. Quite a few later films featured similar scenarios, but this was the first.

This film was nominated for Best Animated Short but ultimately lost to "Cat Concerto"--which was an intellectual Tom & Jerry outing which critics apparently loved but which was short on laughs. If I had been alive and a member of AMPAS (the Oscar folks) back then, I certainly would have voted for "Walky Talky Hawky", as it was the funniest of the nominees.

A wonderful debut for Foghorn Leghorn in this Oscar-nominated short. This one has the formula that would make up many of the Foghorn cartoons, but probably never better than it is here. Young chicken hawk Henery Hawk is determined to get himself a chicken. He happens upon the farm where Foghorn Leghorn resides and finds the rooster feuding with the farm's dog (Barnyard Dog, also in his first appearance). Foghorn convinces Henery that the dog is a chicken, which results in lots of funny gags.

It's a hilarious short with great lines and gags, and colorful, well-drawn animation. One of director Bob McKimson's best. Lively music from Carl Stalling. Mel Blanc's voice work is flawless. As much fun as his voices for the main trio are, his work with Henery's father in the beginning of the cartoon was a highlight for me. So melodramatic! It's a Looney Tunes classic, both for being the beginning of a terrific series and for being very funny in its own right.

Foghorn Leghorn is not my favourite of the Looney Tunes characters. He is however a very funny one and one of their most distinctive(Pepe LePew probably gets the top spot on that front. Walky Talky Hawky was Foghorn and Henery Hawke's first cartoon, and while it's their first it's also one of their better ones. The animation is beautifully done, Foghorn is a little overweight here as he was in his early cartoons but the colours are vibrant with a good amount of depth and the backgrounds are fluid and detailed. The music has always been one of the main reasons why Foghorn's and Looney Tunes' (in general) cartoons score so well with me. It is lushly orchestrated, it is hugely energetic and very catchy and jazzy, it enhances the action so well and keeps you in a good mood throughout and afterwards. The writing would get wittier later on- as you'd expect for a first time there is the sense that it's trying to find its feet still, perfectly natural- but it is still very funny and fresh with the Foghorn series' writing style(ie. Foghorn's repetition and crazy similes) evident. The gags are clever and well timed. The two characters come off against each other very well, they're not at their best, their personalities got stronger as the series evolved, but they are still like the characters that we know. Mel Blanc does a great job, spot on as Foghorn as always and while he's fine as Henery there are times where he sounds as though he's experimenting with which voice he used before settling with a hybrid of Bugs Bunny, Speedy Gonzales and Tweety. In conclusion, a great promising start in introducing a character that is funny and sticks out from the crowd. 9/10 Bethany Cox

McKimson tends to be overlooked as a director, despite having done so many important and hilarious cartoons.

He clearly did something right, considering his fourth release was nominated for an Oscar.

The Foghorn character and situation is almost entirely crystalized from the start, save for the voice. His rivalry with the barnyard dog and tricking the naive Henery Hawk became a staple for the series. Foghorn's voice would eventually be set in stone by his fourth appearance.

Having inherited Tashlin's former crew, McKimson's cartoons from 1946 more or less have Tashlin's sense of energy. This entry is the most frantic paced of the series. Art Davis, Cal Dalton, and Dick Bickenbach had a lot to with the zaniness and this was the sole Foghorn that they animated on.

This entry makes a strong case for Robert McKimson as a director.