When we think of classic animated cartoons, names like Walt Disney and Chuck Jones often come to mind. However, there is one name that stands out as the wild and innovative force behind some of the most outrageous, fast-paced, and hilarious cartoons in history: Tex Avery. Known for his revolutionary style, exaggerated expressions, and breaking of the fourth wall, Avery changed animation forever. His work with Warner Bros. and MGM Studios during the Golden Age of Animation (1930s-1950s) shaped the future of cartoons and introduced audiences to some of the most beloved animated characters of all time.
Early Life and Career Beginnings
Frederick Bean “Tex Avery” was born on February 26, 1908, in Taylor, Texas. Growing up with a love for drawing, he pursued a career in animation and attended the Art Institute of Chicago. His career officially began in the early 1930s when he joined Walter Lantz Productions, the home of Woody Woodpecker. There, he worked as an animator on Oswald the Lucky Rabbit cartoons, developing his comedic sensibilities and animation skills.
Avery’s big break came in 1935 when he moved to Warner Bros. and joined the animation department known as “Termite Terrace,” the birthplace of the Looney Tunes and Merrie Melodies cartoons. Working alongside animation legends like Chuck Jones, Bob Clampett, and Friz Freleng, Avery soon became a key player in shaping Warner Bros.’ distinctive brand of humor.
Revolutionizing Animation at Warner Bros.
Tex Avery’s directorial career took off when he was assigned his own animation unit at Warner Bros. He quickly established himself as a visionary with a penchant for pushing the limits of traditional animation. One of his most significant contributions was directing “A Wild Hare” (1940), the first official Bugs Bunny cartoon. The film introduced audiences to the cool, wisecracking rabbit with his iconic catchphrase, “Eh, what’s up, doc?” Bugs Bunny would go on to become one of the most famous animated characters in history.
Avery’s Warner Bros. cartoons were filled with exaggerated gags, rapid-fire pacing, and characters that frequently broke the fourth wall by acknowledging the audience. He played with animation physics, stretching and squashing characters in ways that were previously unseen. His films were filled with irreverent humor, slapstick comedy, and absurd visual gags that defied logic and reality.
Some of Avery’s other notable Warner Bros. cartoons include:
- Daffy Duck’s first appearance in “Porky’s Duck Hunt” (1937), which introduced the zany, unpredictable personality that set him apart from other animated characters at the time.
- “The Heckling Hare” (1941), famous for its controversial ending where the protagonist falls off a cliff multiple times before the scene abruptly cuts to black.
- “Tortoise Beats Hare” (1941), which showcased his love for subverting expectations and reinterpreting classic tales.
The MGM Years and Even Greater Success
In 1942, Tex Avery left Warner Bros. and joined Metro-Goldwyn-Mayer (MGM), where he had even more creative freedom to experiment with animation. It was at MGM that he created some of his most iconic characters, including Droopy, the slow-talking but clever basset hound, and Screwy Squirrel, a chaotic and unpredictable trickster.
Avery’s work at MGM took his comedic style to new heights. He embraced wild exaggeration, impossible physics, and a self-aware, meta-humor approach that delighted audiences. Some of his most famous cartoons from this era include:
- “Red Hot Riding Hood” (1943): A satirical and risqué retelling of the classic fairy tale, featuring the glamorous and seductive Red and the howling, lovestruck Wolf. The short became one of Avery’s most famous works and set the template for countless animated femme fatales.
- “Northwest Hounded Police” (1946): Starring Droopy as an unrelenting, slow-moving police officer who comically outsmarts a fugitive wolf at every turn.
- “King-Size Canary” (1947): A brilliant example of Avery’s love for extreme exaggeration, featuring a cat, canary, and mouse growing to monstrous sizes due to a magical growth formula.
Innovations and Impact on Animation
Tex Avery’s influence on animation cannot be overstated. He redefined what was possible in animated storytelling by:
- Speeding Up the Comedy: Avery introduced rapid-fire pacing and quick-witted humor, influencing later animators like Chuck Jones and Bob Clampett.
- Exaggeration Beyond Limits: His use of extreme reactions, such as characters’ eyes bulging out of their heads or jaws literally hitting the floor, became standard animation tropes.
- Breaking the Fourth Wall: Characters in Avery’s cartoons often spoke directly to the audience, acknowledging that they were in a cartoon, a technique that would later be adopted by shows like “Animaniacs” and “Looney Tunes.”
- Meta-Humor and Parodies: Avery’s self-aware humor paved the way for modern satirical animation, influencing series such as “The Simpsons” and “Family Guy.”
Later Career and Legacy
Tex Avery left MGM in the 1950s and worked on various projects, including animation for television commercials. He contributed to Warner Bros. cartoons again briefly and also worked at the animation studio for Cascade Pictures. Though he never reached the same heights as his earlier career, his impact on animation remained undeniable.
Avery passed away on August 26, 1980, but his legacy endures. His work continues to be studied and celebrated for its groundbreaking techniques and influence on modern animation. Many of today’s animators credit him as a major inspiration, and his cartoons are still beloved by audiences worldwide.
Conclusion
Tex Avery was more than just a cartoon director; he was a pioneer who reshaped the landscape of animation. His fearless approach to storytelling, boundless creativity, and ability to push the limits of humor and physical comedy left an indelible mark on the industry. Whether through the wisecracks of Bugs Bunny, the deadpan humor of Droopy, or the over-the-top antics of his countless other creations, Avery’s influence remains alive and well in animation today. His legacy proves that cartoons are more than just entertainment—they are an art form capable of endless innovation and laughter.