Mon gros bébé

The Stork. The Stork is only source of humor in this otherwise not funny and dry short. It's rather predictable and does not offer any real amusement. The Stork really makes you laugh but other than him, I really would not waste my time watching this.

Not one of my favourite cartoons ever, but good fun nonetheless. It does get predictable by the end despite a very interesting concept, a couple of the gags not featuring the stork are on the dry side and the pacing in the middle could have been crisper. However, the animation is colourful and cleanly detailed, the sight of the giant toys is an incredible sight to behold visually. The music is lively, lushly orchestrated and characterful with clever arrangements of pre-existing tunes. The narration is sharply satirical, and the subtext with the father's terror at having a new baby in his life is one that anybody would identify with. Most of the gags are very amusing, though not much is hilarious. The best moments come from the stork, though the moment with the giant father using a jeweller's eye(manacle?) to change nappies is also memorable. The characters are good enough, only the stork has staying star power though nobody is useless to the story which is a good thing. The voice acting from Mel Blanc, Bea Beanderet(who does a fine job with the least to do of the three) and Norman Nesbitt is terrific. All in all, good fun. 7/10 Bethany Cox

. . . West Coast types. Back in the 1900's, San Francisco swiped the Pride of Pittsburgh and turned him into a bay-plopping fraud. Now he'll have to wait until he expires to escape the Hall of Shame for the more famous one, according to the Commissioner of Baseball. The always prophetic Brothers Warner do a good job of anticipating this whole fiasco in GOO GOO GOLIATH. Though some purists may argue that berry should be at least as dark as his derby, this is the sort of DEI mischief that has recently been discovered to be Unconstitutional. Leader T contends that the most tangible Threat to America is White Collar Crime, as typified by Elon Muskie. That is why most U. S. billionaires were locked up during the first 100 days.

While the drunken stork is an amusing thread running through this story of baby-swapping, there are many other memorable moments: the giant baby playing with life-size trucks, or the satire of those 1950's cautionary films with the scene of an empty yard and the narrator saying "a gatedoor carelessly left ajar, and an innocent baby wanders away..." (obviously a closed gate wouldn't have impeded the giant baby), or the giant father using a jeweler's eyepiece to see as he changes the diapers on his extremely tiny baby. Perhaps not as inventive as the classic Mars/Earth baby-swap, "Rocket-bye Baby" but still worthy.

Friz Freleng's domestic comedy 'Goo Goo Goliath' takes as its starting point the idea of babies delivered to the wrong parents. Although this idea had been touched on before in cartoons such as Bob Clampett's 'Baby Bottleneck', 'Goo Goo Goliath' adds the amusing touch that the mix up is due to the drunkenness of a stork who is perpetually toasted by new parents. This concept is the best thing about this rather weak cartoon and Freleng would reprise it in the Bugs Bunny cartoon 'Apes of Wrath'. 'Goo Goo Goliath' is also similar to Chuck Jones's equally odd and misfiring 'Rocket-Bye Baby' which emerged two years after 'Goo Goo Goliath'. The idea of a giant baby delivered to a normal sized couple has very limited comic potential and 'Goo Goo Goliath' struggles to make the concept work. It's not helped by the unattractive, angular style in which the cartoon is presented. Ultimately, the jokes run dry almost immediately and there is little to recommend this unusual but unappealing cartoon.