Arguably the most beloved director of the Golden Age, Bob Clampett is well-known for his zany, rapid-fire, frenzy and extravagant stories, widely regarded as fan-favorite. The fact of the matter is he’s a nuke at his best, but when he shows signs of exhaustion and burnout, his shorts feel incredibly uninspired, albeit not as painful as Tex Avery’s lows because at the very least Clampett could find his true vocation without leaving WB. Just like I did with Freleng’s filmography, here’s my list from Clampett’s worst to best.

(I’m trying to make some animation breakdowns as accurately as possible, but Clampett’s unpredictability doesn’t make this task any easier)

10) 1939

I invite you to read the production numbers of Clampett’s shorts: they’re mostly close to each other, therefore it’s not astounding to view such a decline – ending up with an inevitable burnout – after just two years. He released 14 shorts that feel like 50 for how much he’s running out of ideas, to the point that nearly each cartoon suddenly stops focusing on Porky Pig, who is supposed to be the main attraction, because Clampett is reasonably fed up with Porky shorts. My theory is he wasn’t THAT alone in that regard, since Porky disappears in a few Freleng shorts, as well, so it’s essentially a matter of being forced to illustrate an uninteresting mascot, who finds in his stutter the sole unique trait he owns. Sure, Porky’s got his fans, who consider him likewise charming, but the problem is we are so used to more distinct characters, able to entertain no matter the obstacles, such as Bugs Bunny, Daffy Duck, Sylvester… that such a laid-back, seraphic and mild character can no longer please as much. Fortunately, WB realized it 3-4 years after I Haven’t Got a Hat and eventually decided to let Porky burst with anger, whereas Disney didn’t and kept on consuming Mickey Mouse even after he became a hollow shell during post-1938, and never put any more effort to improve him.
Albeit not as much as in 1940, the narrow absence of Daffy Duck is kinda bothersome, given that Scalp Trouble and Wise Quacks are the only pleasing shorts of this subpar year. Especially the latter’s got some hilarious bits like “Me drinking? YES” and the whole inebriated ending. The rest is either mediocre or plain bleak, Porky’s Picnic once again proves bringing back Piggy Pig wasn’t a brilliant idea, the very last scene saves it from an even lower rating. Porky’s Movie Mystery is one of the numerous examples of Warner not giving a shit about Porky, since he’s introduced midway through, which is also what The Lone Stranger and Porky does, only with Porky not even being the protagonist of his own cartoon. Even if he were the main character, it wouldn’t make things better, because they’d still be unremarkable. Yet, nothing beats the sappy and directionless Naughty Neighbors, easily the worst Clampett short ever released, hitting Charles Nicholsesque bottom, further proof of the shortsighted idea of recycling Petunia.
Known animators: Bobe Cannon (leaves after Porky’s Hotel), John Carey, Norm McCabe, Izzy Ellis, Vive Risto, Dave Hoffman (possibly joins upon Cannon’s departure).

1. The Lone Stranger and Porky (Marcus, 8748) 5/10
2. Porky’s Tire Trouble (Foster, 8750) 6/10
3. Porky’s Movie Mystery (Gee, 8752) 5/10
4. Chicken Jitters (8860) 4/10
5. Kristopher Kolumbus, Jr. (8862) 5/10
6. Polar Pals (Foster, 8922) 6/10
7. Scalp Trouble (Gee, 8924) 7/10
8. Porky’s Picnic (Foster, 8926) 5/10
9. Wise Quacks (Foster, 8928) 8/10
10. Porky’s Hotel (9098) 6/10
11. Jeepers Creepers (Gee, 9100) 6/10
12. Naughty Neighbors (Foster, 9102) 3/10
13. Pied Piper Porky (Gee, 9104) 6/10
14. The Film Fan (Gee, 9156) 5/10

9) 1940

For a moment, I was tempted to insert Clampett’s 1940 as his worst year, because he released only one short with Daffy Duck, Porky’s Last Stand, even so this year features less painful lows than 1939 without particularly noteworthy shorts, which contribute to place his 1940 right in the middle. Again, Porky isn’t very entertaining on his own, often disappearing for a while for the forementioned reasons, like in Porky’s Poor Fish and The Chewin’ Bruin in which he’s not even the protagonist. Also, the fact Clampett recycles some previous shorts doesn’t definitely improve his performance, as seen in Patient Porky being a very poor remake of The Daffy Doc – that cat was supposed to play Daffy’s role, but if Daffy was great in his insanity, he happens to be the total opposite without his charm, unpleasantly insane – and Pilgrim Porky mixing Kristopher Kolumbus Jr. and the Averyesque spot-gag formula, which l’ll never get tired of criticizing.
On a more positive note, The Timid Toreador is fine, even though I tend to agree with Eddie Selzer here, since I don’t care for bullfighting shorts either, with the sole exceptions of Señor Droopy and Bully for Bugs, and Prehistoric Porky feels like a breath of fresh air during Clampett’s burnout, as the beginning is great, Porky ripping up bills is pretty funny the way it’s timed and for once he’s quite active in his own short.
Known animators: John Carey, Norm McCabe, Izzy Ellis, Vive Risto, Dave Hoffman.

1. Porky’s Last Stand (Foster, 9158) 7/10
2. Africa Squeaks (Gee, 9160) 5/10
3. Ali-Baba Bound (Millar, 9364) 6/10
4. Pilgrim Porky (Foster, 9368) 5/10
5. Slap-Happy Pappy (Foster, 9370) 5/10
6. Porky’s Poor Fish (Millar, 9372) 4/10
7. The Chewin’ Bruin (Gee, 9534) 5/10
8. Patient Porky (Foster, 9538) 5/10
9. Prehistoric Porky (Millar, 9614) 7/10
10. The Sour Puss (Foster, 9634) 6/10
11. The Timid Toreador (with Norm McCabe) (Millar, 9638) 6/10

8) 1941

This year doesn’t meet a very promising start, since – on one hand – Clampett attempts to make non-Porky shorts, but if the best he can come up with is Averyesque spot-gag cartoons, you do realize his two-year-long downward spiral hasn’t yet encountered its epilogue. Goofy Groceries looks like a bizarre blend between Freleng’s September in the Rain and Tashlin’s Have You Got Any Castles + the sugar coated atmosphere from Naughty Neighbors, so what could possibly go right, given such a premise??? Porky’s Snooze Reel includes both Porky and the spot-gag format – nothing too exciting, again – but at least it’s got the tax evader bit and Porky imitating Lew Lehr, which are pretty funny. Meet John Doughboy – conversely – doesn’t even try to engage, it’s mere WWII propaganda masked by a weak format.
Daffy Duck thankfully appears more frequently, in A Coy Decoy (which will strongly influence Book Revue) and The Henpecked Duck, the better moments of his pre-McKimson 1941 alongside Porky’s Pooch, which is a bit jarring due to Porky’s milder attitude if compared with his edgelord self in Chuck Jones’ trilogy.
Then, Avery left Schlesinger’s studios, Clampett inherited his unit, leaving his older one to Norm McCabe, and for starters he had to finish those shorts planned by Avery, like Wabbit Twouble, the return to form which would turn his artistic career for the best.
Known animators: John Carey, Norm McCabe, Izzy Ellis, Vive Risto, Cal Dalton (Porky’s Pooch); Bob McKimson, Virgil Ross, Rod Scribner, Sid Sutherland, Chuck McKimson, Rev Chaney.

1. Porky’s Snooze Reel (with Norm McCabe) (Foster, 9772) 5/10
2. Goofy Groceries (Millar, 9851) 4/10
3. Farm Frolics (Foster, 9857) 5/10
4. A Coy Decoy (Millar, 9938) 7/10
5. Meet John Doughboy (Foster, 74) 3/10
6. We, the Animals Squeak! (Millar, 76) 6/10
7. The Henpecked Duck (Foster, 78) 7/10
8. The Cagey Canary (planned by Tex Avery, finished) (Maltese, 225) 7/10
9. Wabbit Twouble (planned by Tex Avery, finished) (Monahan, 413) 10/10
10. Porky’s Pooch (Foster, 176) 7/10

7) 1937

Unlike the likes of Freleng and Jones struggling during their early days, Clampett’s debut year isn’t so bad at all, since he’s supposed to provide what Ub Iwerks couldn’t accomplish. Placing one’s bets on specific situations, puns, more vibrant and resolute pacing and Averyesque overindulgence, albeit less inclined to compromise. Sure, his early shorts do represent the mere antiphon of what’s to come, like Porky’s Badtime Story which features Gabby the Goat from the unfortunate Iwerks period, as another try to give Porky a noteworthy sidekick, who results in being a poor and less simp version of Donald Duck, therefore it’s not difficult to expect merely serviceable outputs. They’re unripe, yet you do acknowledge Clampett is the director with the most potential, even more than Freleng and Avery.
Known animators: Bob Clampett (Porky’s Badtime Story), Chuck Jones, Jerry Hathcock, Bill Hammer, Tom Massey, Bobe Cannon, John Carey, Norm McCabe…

1. Porky’s Badtime Story (7797) 7/10
2. Get Rich Quick Porky (8148) 7/10
3. Rover’s Rival (with Chuck Jones) (Rose, 8228) 6/10
4. Porky’s Hero Agency (with Chuck Jones) (Gee, 8308) 6/10

6) 1942

Decent, yet important 1942 as without this year, the explosive Clampett we all know and appreciate would’ve never existed. While I think his “edgelord period” officially begins in 1943, because his shorts are still not that chaotic, Clampett basically does the groundwork of the following 4 years, by creating an imaginary bridge between his b&w period (spot-gag and travelogues) and his new shorts featuring Bugs Bunny and the others. Both Aloha Hooey and Crazy Cruise (spot-gag again) – originally planned by Avery – delivered utterly unimpressive results, but Nutty News finds some actually funny bits like the barber shop and the stolen articles, boosted by Elmer’s narration which is nice. As for the new stuff, The Wacky Wabbit is a solid Bugs-Elmer short, albeit not as good as Wabbit Twouble, Bugs Bunny Gets the Boid is a classic featuring one of the best tertiary characters ever created, Beaky Buzzard voiced by Kent Rogers – simply perfect for the role, nobody would ever top him – and A Tale of Two Kitties introduces Tweety, whom Babbitt and Catsello want to eat, especially Catsello who wants to give Babbitt his boid. Bottom line, Clampett interchanging successful new content with trite b&w patterns.
Known animators: Bob McKimson, Virgil Ross, Rod Scribner, Sid Sutherland, Rev Chaney.

1. Aloha Hooey (planned by Tex Avery, finished) (Maltese, 227) 4/10
2. Crazy Cruise (planned by Tex Avery, finished) (Maltese, 445) 5/10
3. Horton Hatches the Egg (Maltese, 441) 8/10
4. The Wacky Wabbit (Foster, 603) 8/10
5. Nutty News (Foster, 772) 6/10
6. Bugs Bunny Gets the Boid (Foster, 605) 9/10
7. Wacky Blackout (Foster, 778) 5/10
8. Eatin’ on the Cuff or The Moth Who Came to Dinner (Foster, 798) 5/10
9. The Hep Cat (Foster, 776) 7/10
10. A Tale of Two Kitties (Foster, 725) 8/10

5) 1938

If 1937 represents Clampett’s beginnings, 1938 marks the beginning of Clampett’s chaos, which feels so refreshing in a period in which the remaining directors were enduring difficult situations, like Freleng’s MGM proposition of a bigger salary, Tashlin’s growing discrepancies with Schlesinger, Avery’s subpar performances and Hardaway and Dalton’s mediocrity making Freleng’s departure even more regretful. In fact, Clampett’s energetic and stormy shorts are the main reason for 1938 to be the most prolific year of the ’30s, and considering how much effort he put, it’s easier to realize why he’d suffer a creative burnout in the following two years. Fast pacing is the key of the majority of his shorts, a few of which result in being true gems, like Porky’s Party handling some rightful chaos with the penguin dealing with a silkworm and a “mad dog” – replacing Petunia and Gabby proved to be the right choice – the poultry war of What Price Porky, The Daffy Doc featuring hysterical Daffy willing to “heal” Porky his way, but Porky & Daffy – underrated short – happens to be one of my favorite Clampett cartoons, thanks to its engaging story and Daffy’s undisputed driving force, who becomes invincible once Porky hits a dinner platter over his head. It’s pretty rare to encounter perfect shorts in the ’30s, but this one definitely takes the cake, it’s that good. Daffy and Porky are a great duo, unfortunately underused by Clampett in the following two years.
As for Porky in Wackyland – arguably Clampett’s first breakthrough, as well as the first cartoon written by Foster – it is imaginative for its wacky and nonsensical imagery, but simultaneously something’s missing, like a common thread able to partially restrain Clampett’s fandango. Besides, maybe it’s just my assumption, but he’s also missing Chuck Jones’ contribution – shortly promoted as a director after Tashlin’s departure. In fairness, the fact it doesn’t offer anything else but random stuff being random sort of makes it a slightly overrated short. Don’t misinterpret this, it still remains a great entry unlike Porky in Egypt, which tried the chaotic experiment again, this time involving desert hallucinations, but supplying a far less satisfying output without the Wackyland charm. It’s barely a random muddle – I may save the Lew Lehr reference. Porky’s Naughty Nephew isn’t good at all, Piggy is nearly as insufferable as Sylvester Jr. – at the very least the former appears only twice – I hate anything about him, his voice alone makes me want to spitroast him.
Known animators: Chuck Jones (last work in Porky & Daffy), Bobe Cannon, John Carey, Norm McCabe, Izzy Ellis, Vive Risto (from Porky in Wackyland onwards).

1. Porky’s Poppa (with Chuck Jones) (Harrison, 8352) 7/10
2. What Price Porky (Clampett, 8404) 8/10
3. Porky’s Five and Ten (Hardaway, 8453) 5/10
4. Injun Trouble (Manuell, 8505) 6/10
5. Porky’s Party (8592) 8/10
6. Porky & Daffy (8594) 10/10
7. Porky in Wackyland (Foster, 8608) 9/10
8. Porky’s Naughty Nephew (Foster, 8674) 5/10
9. Porky in Egypt (Gee, 8682) 6/10
10. The Daffy Doc (Gee, 8686) 8/10

2) 1943

Why no #4? Since Clampett literally exploded after 1942, ranking the subsequent three years in #2 sounds like the most suitable option, because there isn’t really much difference between them. Specifically, 1943 marks the start of edgelord Clampett, abruptly shifting the tone of his shorts immediately. There’s barely no more idle time, as what he aims to is loud, over-the-top, extravagant, edgy and aggressive subjects. It seems like the cutesy Porky shorts of the late ’30s are a thing of the past, as Clampett is finally ready to become the powerhouse Selzer’s studio would be regretfully deprived of. The shift from A Tale of Two Kitties to Coal Black and de Sebben Dwarfs is instantaneous, as the Censored 11 short retells the classic Snow White tale with dark-skinned characters voiced by black people – quite a novelty for its time – adding some more chaos to an otherwise not so substantial story. Tortoise Wins by a Hare is a direct follow-up of Avery’s Tortoise Beats Hare, one of the finest early examples of Clampett pushing everything to the edge, from Bugs’ fierce determination to win the race against Cecil the Turtle to more suicide gags. It’s not even the only short in which Bugs is overwhelmed by his opponent, as Falling Hare involves a gremlin constantly teasing and outsmarting him throughout the picture, resulting in a highly energetic cartoon (also thanks to his tremendous animators, he’s arguably got the best unit) with a great climax.
Then we get to A Corny Concerto, Clampett’s raspberry of Disney’s Fantasia, by having Elmer – wearing ill-fitting tailcoat – playing Deems Taylor’s role in the original while introducing the two segments. The Vienna Woods segment is likely the better one (the harmonizing crying is simply hilarious), since I believe it’s where Tashlin’s influence is felt the most (he wrote it), especially during the shocking revelation of Bugs wearing bra, tutu and ballet flats. The Blue Danube segment also works, but the swan shooing the black duckling happens to sound more racist than half of the Censored 11. Maybe I’m overthinking it…
Known animators: Bob McKimson, Virgil Ross, Rod Scribner, Sid Sutherland (last work in Tortoise Wins by a Hare), Phil Monroe (recurring), Tom McKimson (recurring), Art Babbitt (The Wise Quacking Duck), Bill Melendez (presumably in Falling Hare).

1. Coal Black and de Sebben Dwarfs (Foster, 827) 7/10
2. Tortoise Wins by a Hare (Foster, 915) 8/10
3. The Wise Quacking Duck (Foster, 1056) 8/10
4. Tin Pan Alley Cats (Foster, 975) 5/10
5. A Corny Concerto (Tashlin, 19-12) 9/10
6. Falling Hare (Foster, 8-13) 10/10
7. An Itch in Time (Foster, 24-12) 8/10

2) 1944

Clampett’s explosive moment continues in the following year, whose verve still manages to keep his shorts relatively engaging, even when the script is a bit uncompelling, like in the case of Lou Lilly. Hare Ribbin’ is essentially carried by Clampett and his masterful unit, as it doesn’t really rely on much logic, even for his very standards, because Bugs and his foe stay underwater for the rest of the picture, as though they were trying to mimic the scene from Avery’s The Heckling Hare, which lasted way less. Lilly’s questionable narrative incoherency literally overshadows the two alternate endings involving a suicide joke, trademark trope of his edgelord period. Fortunately, Russian Rhapsody and Buckaroo Bugs are stronger enough to conceal Lilly’s writing sins, like the lack of a solid plot, because Clampett’s unit is simply terrific at expressing his wit. Buckaroo Bugs in particular features a few ludicrous bits, like Bugs’ BANG fake-out and the canyon climax, as well as a pretty dumb foe in Red Hot Ryder, a mustacheless Yosemite Sam.
Conversely, Tick Tock Tuckered – being a remake of his own Porky’s Badtime Story – is necessarily “calmer” than his current work in order to keep the tone of the original, even though his edgelord self does pop up in a few moments, like the boss’ loud warning looking and sounding even ANGRIER than the original, Daffy shooting at the moon and Porky killing off the alarm clock in the end. Needless to say, Daffy is such an indescribable improvement over Gabby.
Known animators: Bob McKimson, Virgil Ross (last work in Tick Tock Tuckered), Rod Scribner, Phil Monroe (last work in Tick Tock Tuckered), Tom McKimson (recurring), Gil Turner (from Birdy and the Beast), Manny Gould (from Birdy and the Beast onwards), Basil Davidovich (from The Old Grey Hare).

1. What’s Cookin’ Doc? (Sasanoff, 22-12) 6/10
2. Tick Tock Tuckered (Foster, 3-14) 8/10
3. Russian Rhapsody (Lilly, 26-12) 8/10
4. Hare Ribbin’ (Lilly, 10-13) 7/10
5. Birdy and the Beast (Foster, 5-13) 8/10
6. Buckaroo Bugs (Lilly, 7-14) 9/10
7. The Old Grey Hare (Sasanoff, 11-13) 9/10

2) 1945

He may have released only 4 shorts, but they do represent the beginning of his absolute peaks as a supervisor in 1946 – easy #1, unnecessary spoilers. Considering Lou Lilly’s writing flaws, a repetitive cartoon like Draftee Daffy would’ve had some evident issues with another director. Clampett – instead – decides to turn it into one of his most iconic shorts, through his hyperbolic imagery, like Daffy whizzing like a bolt inside his own house, locking the man from the draftboard in his safe, building a wall of bricks and riding a rocket to escape. He’s aware of availing of the best animation unit, rightfully taking full advantage of it. On top of that, a tertiary character like Beaky Buzzard achieves his own cartoon, The Bashful Buzzard, which isn’t as iconic as Bugs Bunny Gets the Boid, but remains really good. He’s just as likeable as ever and Kent Rogers’ vocals sound perfect. Too bad this is his last time voicing Beaky before his untimely demise.
For the record, the fact Clampett’s “naked” Tweety is more independent and sadistic certainly makes him far more entertaining than Freleng’s feathered Tweety, who is unfortunately more marketable. After all, I’ve never seen someone wearing a Clampett Tweety shirt…
Known animators: Bob McKimson, Rod Scribner, Gil Turner (last work in A Gruesome Twosome), Manny Gould, Basil Davidovich (last work in A Gruesome Twosome), Bill Melendez (from Wagon Heels onwards).

1. Draftee Daffy (Lilly, 1-15) 10/10
2. A Gruesome Twosome (Foster, 3-14) 8/10
3. Wagon Heels (6-14) 7/10
4. The Bashful Buzzard (Sasanoff, 4-15) 8/10

1) 1946

Not a huge surprise, since the main purpose of these 3 years was to meet the pinnacle of Clampett’s career at WB, which also happens to be his final year. This is by all means a fantastic year, filled with so many classics everybody knows the existence of.
Kitty Kornered, Porky’s return as a protagonist, stars him attempting to get rid of Sylvester and the other cats, thus producing a great deal of chaos. Such a memorable cartoon, in which FINALLY Porky is allowed to get angry – he’s like closer to Jones’ edgelord Porky than the laid-back bland pig of the ’30s – Sylvester and his crew are such entertaining foes and the first act has to be one of the loudest, most maddening, rapid-fire sections of the entire Golden Age. Sensational.
My biggest complaint about Tashlin’s Have You Got Any Castles?, You’re an Education etc… was the animation looking impressive for its own sake and the concept being creative, but not that substantial, thus making such shorts quite boring. Book Revue subverts this ’30esque format by adding whatever comes to his mind, like an inebriated cuckoo, Henry VIII simping, ladies drooling over Frankie sitting on a wheelchair, Daffy spitting on jazz music, inteligible gibberish and a wolf being sent to Hell. Brilliant parody, that’s how it works properly.
The Great Piggy Bank Robbery is an absolute fan-favorite, obviously for its engaging adventure, Daffy being at his best and the action mirroring the artistic talent of Clampett’s unit. No further explanation, quintessential short, everybody has to watch it.
I’ve read a few polarizing opinions on The Big Snooze recently, as its structure isn’t regarded as that solid due to Clampett’s imminent departure. Who cares? I still find it great, its oneiric imagery looks extremely imaginative and several gags do land, like “The rabbits are coming”, the Super Chief, “How old is she?”, “Run this way” and Q. Bryan’s “Oh what a terrible nightmare” delivery. In actuality, Bacall to Arms is the real dud, not necessarily because Clampett didn’t get to finish it, but more like for its outdated setup. I don’t like Hollywood celebrities becoming the core, since they’re meant as spoofs, not as full-fledged characters as they should. The horny wolf makes the story a bit less boring, but I’ll always consider The Big Snooze the canon finale of Clampett’s WB career. This one would sound too anticlimactic.
Known animators: Bob McKimson (last work in Book Revue), Rod Scribner, Izzy Ellis (from Baby Bottleneck) Manny Gould, Bill Melendez, Fred Abranz (presumably), Don Williams (Bacall to Arms)…

1. Book Revue (Foster, 8-15) 9/10
2. Baby Bottleneck (Foster, 12-15) 8/10
3. Kitty Kornered (Clampett, 1-16) 10/10
4. The Great Piggy Bank Robbery (Foster, M-4-15) 10/10
5. Bacall to Arms (finished by Arthur Davis) (1017) 5/10
6. The Big Snooze (Foster, L-6-16) 9/10