You Ought to Be in Pictures

As part of his plan to eliminate the competition, Daffy Duck convinces Porky Pig to seek his fame and fortune in feature movies. After convincing producer Leon Schlesinger to tear up his contract, Porky heads out to a hollywood studio to look for a job, but all he finds is a lot of trouble.

The only animation seen in the film is Daffy, Porky, and Porky's car. This is not only unique for a Warner Brothers cartoon, it may at the time have been the most ambitious effort ever to combine animation with live action footage. Although extremely simple by today's standards, nothing done since can match the brilliant creativity and direction which makes this such a hilarious success.

The real strength of the film, however, is Porky. We might consider this the ultimate ensemble film, since Porky can only attain such incredible heights through the combination of efforts by Friz Freleng (director), Mel Blanc (voice), Jack Miller (writer) and Norman Cohen (animator). For 8 glorious minutes, Porky is every bit the comedic actor that Charlie Chaplin was at his very best.

Wow, this is different, and way ahead of its time, that's for sure. You have a 1940 cartoon that mixes live characters with cartoon ones, such as Porky Pig. This is almost a half-century before "Who Framed Roger Rabbit" came out!

We are at the artist's studio where Porky Pig and Daffy Duck are drawn and when everyone goes to lunch, Daffy comes alive and asks Porky, "Say, you want a good job?"

"I know where you can get a good job in features as Bette Davis' leading man," says the duckster. Porky is reluctant, saying he already as a good job and a contract but Daffy, sounding the Devil pouring bad advice into Porky's ear, advises him to go up and tell the boss that "I quit." Unfortunately for Porky, Daffy's advice wasn't very good.

I loved Porky's line to the boss: "What's Errol Flynn got that I haven't?"

Notes: It was interesting to see Looney Tunes producer Leon Schlesinger, although he wasn't much of an actor, and the voice behind all these famous characters, Mel Blanc, who plays both a security guard and a stagehand......This cartoon runs almost 10 minutes, which is several minutes longer than normal.

An amusing behind-the-scenes, studio-tour parody, "You Ought to Be in Pictures" is especially comical as a gag on what was happening to Porky Pig's character in the Looney Tunes cartoons. In the black-and-white beginning, he was Leon Schlessinger and company's top toon, starring as a stuttering everyman-type anthropomorphic hog in such innovative animated shorts as "Porky in Wackyland" (1937). But, he soon began to be overshadowed by one of the characters the cartoonists tried to make his side-kick, Daffy Duck, who in this film tries to trick Porky into getting out of his contract so as to break into live-action features--and not coincidently put Daffy in line for a promotion. Little did they know, however, and unaddressed in this film, is that another star was just getting started at Looney Tunes the same year, Bugs Bunny. In the tradition of tragic irony, the Pig has been a secondary character ever since as if serving out Schlessinger's punishment for him trying to once be released from his contract. Echoes there of John Gilbert's career sabotaged by Louis B. Mayer holding a grudge. Or William Haines run out by Mayer. Or Judy Garland mistreated by Mayer.... Well, Mayer just wasn't a good guy.

Anyways, it seems as though just about every animation department made this type of cartoon-interacting-with-animators film at some point, and it's one of my favorite types of cartoons, for the reflexivity and technical craft of mixing animation and live action. Winsor McCay adding a framing narrative to explain how he made his cartoons and also becoming one himself in "Gertie the Dinosaur" (1914), Willis O'Brien's work with stop-motion animation culminating with matte shots in "King Kong" (1933), "Cartoon Factory" (1924) taking advantage of rotoscoping in Fleischer's Koko the Clown - Out of the Inkwell series, selective double-exposures and editing trickery in Disney's "Alice's Wonderland" (1923) and the rest of the Alice comedies, and this. It's not "Who Framed Roger Rabbit" (1988) , but it's still clever and well done. The bit where Porky pretends to be Oliver Hardy to sneak onto the studio lot is pretty good, and the drawing live-action actors' hands for their interaction with the Pig is an innovation that I'm not sure I've seen done prior, or at least not quite as thoroughly. Another one of the "50 Greatest Cartoons" according to Jerry Beck's Looney-Tunes-heavy book, which although I might not go that far, there are certainly worse ways to spend nine minutes.

"You Ought to Be in Pictures" was made when the Looney Tunes were still in their infancy, but it's just about as good as their most famous cartoons. While the animators are out to lunch, Daffy Duck convinces Porky Pig that cartoons aren't for him and that he should work in feature films. But when Porky tries to enter a studio, the security guard (played by writer Michael Maltese) throws him out. After a few more mishaps, Porky finally decides to get revenge on Daffy.

Man, they pulled no punches when making these cartoons. And even though mixing live action with animation was a new thing, they really accomplished something cool.

Friz Freleng's 'You Ought to be in Pictures' is a brilliant, atypical Warner Bros. cartoon. Beautifully combining animation and live action film (only Porky Pig, Daffy Duck and Porky's car are animated), it stars many of the Warner staff, including Leon Schlesinger who, despite playing himself, manages to be hammier than the pig he's acting opposite! While the animators at the Warner Bros. studio are out at lunch, the newly drawn Daffy Duck convinces the newly drawn Porky Pig that he deserves better than a career in animation and sets him on his way to seeking a starring role in the movies. His motives, of course, are to get rid of Porky so that he can take his place as Warner's big star. An early glimpse of the greedy, narcissistic version of Daffy (as opposed to the crazy version of Daffy more commonly seen in these early black and white shorts), this is also another clear case of Daffy stealing the cartoon, something that would lead to life imitating art as Daffy really did replace Porky as Warner's most popular star. Porky's trip to a movie studio and his high speed chase through the streets to get his job back make 'You Ought to be in Pictures' seem more epically expansive than the average short of this era and the interaction between real life and animation is surprisingly smooth for such an early example of the two mediums coexisting. All in all, 'You Ought to be in Pictures' is a fascinating, entertaining short which is extremely easy to love. Ironically, having achieved his aim of replacing Porky as a comedy star, Daffy would be complaining of being typecast as a comedy player just ten years later in Chuck Jones's 'The Scarlet Pumpernickel'. There's just no pleasing some ducks!