Rhapsody in Rivets

When the foreman steps from his office, his entire construction workforce is poised to embark on what is an entertaining exercise in humorous synchronicity as Franz Liszt provides the music and a myriad of enthusiastic workers set about building, drilling and cementing their way up, and up, and up - all whilst plenty of slapstick humour sees comedic injuries and disaster ensue. It's end to end stuff this with some finely drawn characterisations giving us an idea of just how complex building a building can be, especially when some of your colleagues are half asleep, or hungry or absent-minded and the choice of score is as inspired as the vibrant animation. This is good fun.

Love animation, it was a big part of my life as a child, particularly Disney, Looney Tunes and Tom and Jerry, and still love it whether it's film, television or cartoons.

'Rhapsody in Rivets' to me is among Friz Freleng's best work. And this is coming from somebody who is in his prime period and was responsible for some of my favourites. With the involvement of composer Carl Stalling, with heavy use of Liszt's oft-used in animation "Hungarian Rhapsody No.2", and writer Michael Maltese, 'Rhapsody in Rivets' potential was enormous, with it also being directed by Freleng. Potential that is as superb as one can get in execution.

Freleng's style is all over 'Rhapsody in Rivets' and he's in his elements, relishing every colour and every gag.

Animation is wonderful. Throughout it is vividly bright in colour, fluid and rich in detail and smooth in movement and design. Stalling demonstrates why he is my personal favourite of the regular Looney Tunes composers with his lush, characterful and action-enhancing scoring that is mainly a brilliant arrangement of the 2nd Hungarian Rhapsody.

Liszt's music is seamlessly arranged and synchronised with the visuals and gags. The setting is made very imaginative use of and the characters are great fun.

The cartoon is fast-paced liveliness in timing and the gags, in a gag-driven cartoon with no dialogue, are a great many and come thick and fast. There is not a misfire among them, actually haven't seen a cartoon as hilarious as this in a while.

Overall, wonderful. 10/10 Bethany Cox

While classical music (as well as this particular tune) has long been used in cartoons, I can't say I've ever seen it used like it is in "Rhapsody in Rivets". It's darned clever and made incredibly great use of the music--integrating it into a film that is simply a delight to watch.

This film begins with the foreman on a construction job overseeing it just like the conductor of an orchestra. As he gesticulates, the characters working on the bridge do so in perfect unison with the music--or when they don't the foreman becomes very angry. Seeing hammers, jackhammers and the like perfectly times with Liszt's 'Hungarian Rhapsody Number 2' was pretty amazing. And, I am not surprised that this one ending up getting nominated for an Oscar for Best Animated Short. For kids, I'd score this one a 6, as kids want more humor and characters bonking each other on the head. But for older audiences, it deserves at least a 9, as there is nothing quite like it!

When I first watched this cartoon short ages ago, I was amazed by the film itself. Such a hilarious cartoon playing out to the tune of a classical song, there are few of.

The story is that of a foreman, who is a lion, who "conducts" a group of human-like animal construction workers to build the tallest building, the Umpire State Building, a clear parody on the Empire State Building. While the animal workers strive to build this construction, hilarity quickly ensues in the form of the workers messing up each others' workings and a multitude of hilarious events which make this cartoon short well worth watching! I recommend it to all who enjoy a good musical parody.

. . . "catchy." While some listeners may consider it to be a little "highbrow" in these days of Liquid Sky and Abba, there are several hummable stanzas of tunes here. RHAPSODY IN RIVETS originally was produced for the Jenny Lind and Bing Crosby crowd, so it would be unfair to expect it to be backed by the strains of Dancing Queen or Sweet Dreams, let alone Hey Jude and We Didn't Start the Fire. RHAPSODY is part and parcel post of the time that it originated, which is why it begins to the strains of Buster Bizet and not Little Richard. Of course, it is always best to view archival footage such as this on a platform that includes readily accessible footnotes.