Video summary

Every "MGM" Cartoon Reviewed (Part 3)

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Entertainment

Overview

This video is a fast, opinionated “review marathon” of MGM-era animated shorts (Part 3). The reviewer frames the selection as a mix of laughs and controversy, repeatedly pointing out era-specific material and familiar recurring cartoon formulas—especially:

  • Tom & Jerry slapstick
  • Tex Avery’s frenetic joke style
  • John Sutherland’s Cold War economics propaganda shorts

Main Through-lines / What Stands Out

Director contrast (structure, pacing, gag style)

The reviewer repeatedly compares how different creators handle form and momentum:

  • Tex Avery: chaos-first storytelling, minimal plot, lots of reaction shots, and energy that feels almost fourth-wall-ish.
  • Hanna-Barbera: more structured and sometimes “cutesier,” generally punchy but less relentless than Avery.
  • Dick Lundy: attempts to carry on Avery’s approach, but is often considered less sharp.
  • John Sutherland: delivers explicitly pro-capitalist / anti-communist economics lessons, treated by the reviewer as a mostly dry ideological detour.

Recurring themes

Common patterns across the shorts include:

  • cat-and-mouse rivalry frameworks
  • “updated” retellings of older stories
  • clip-show formats designed to reuse animation
  • scientific and invention gimmicks (e.g., invisible ink, future machines)

Highlights and Memorable Moments

“Uncle Tom’s Cabana” (Tex Avery)

Called out as wildly disjointed—the reviewer argues that even if the animation and individual gags are strong, the plot doesn’t fully “coagulate.”

The reviewer notes the blackface issue is not the main driver of their critique here; it’s largely the structure.

“The Truce Hurts” (Tom & Jerry & Spike/Butch)

Praised for being unexpectedly funny while mocking sentimental “we’re friends now” cartoons.

Key points the reviewer emphasizes:

  • chair-pushing/response slapstick
  • the trio actually learns lessons
  • the ending lands as likably-cruel rather than inconsistent

“Lucky Ducky” (Tex Avery)

Described as go-go-go, packed with gags such as:

  • conga line ducks
  • a school-crossing gag
  • mocking hunters

The reviewer calls it classic and underrated.

Late entries featuring Tom suffering cruelty

The reviewer repeatedly highlights Tom’s moments of sadism/cruelty and “slug” quality—especially Jerry’s relentless tactics.

“Heavenly Puss” (standout Tom & Jerry)

Treated as one of the biggest critical peaks of the entire video.

The reviewer points to a rare tonal shift:

  • Tom dies after slapstick
  • then undergoes a heaven/hell sequence
  • is forced into a race against the clock to get Jerry’s forgiveness
  • includes striking imagery and a “dream within a story” layer

The overall assessment: a tonal masterpiece blending horrifying and strangely beautiful comedy.

Cold War economics section (John Sutherland)

“Make Mind Freedom”

Seen as anti-collectivist propaganda—the reviewer calls it sometimes surface-level and occasionally straw-mannish, but still historically worth viewing.

Other titles: mixed reception

The reviewer discusses:

  • “What Price Freedom?”
  • “Going Places”
  • “Albert in Blenderland”
  • “Inside Cackle Corners”
  • “Freshlaid Plans”
  • “Why play Leaprog?”

General pattern:

  • some are judged more visually persuasive (e.g., “Albert in Blenderland” is credited more for storytelling than lecturing)
  • others come off as dull, like animated textbooks

Clip shows and budget-padding call-outs

  • “Jerry’s Diary” and “Smitten Kitten” are criticized as clip-show filler.
  • The reviewer evaluates whether the framing device adds value, usually concluding it adds just barely enough.

Most severe tone/ending reaction: “Two Mousketeers”

The famous ending—Tom being beheaded—is called surprisingly somber and horrific, not played as pure laughs.

Still, it’s treated as a top-tier classic because the overall flow works well, ending framed as both cruelty and class comedy in a French setting.

Jokes / Recurring Comedic Style Notes

What the reviewer repeatedly loves

  • voice acting line deliveries (especially highlighting Lilian Randolph)
  • clever pun timing and reaction facial expressions
  • Tex Avery’s ability to reuse the same gag multiple times while keeping it funny through execution
  • slapstick targeting specific body parts (tails, teeth, eyes) with strong visual exaggeration

Common critique

  • some shorts rely on disliked frame devices (a recurring sentiment: “you’re not doing pulp fiction”)
  • some stories end abruptly or don’t build to a satisfying climax
  • later entries are judged as increasingly formulaic or “going through motions”

Wrap-up / Overall Verdict of Part 3

The reviewer concludes Part 3 is more consistently strong than Part 2, with fewer genuinely bad entries overall.

They also hint the “good times” won’t last forever as they approach Part 4, where the era shifts toward Jean Deitch and Chuck Jones-directed Tom & Jerry shorts.

Personalities (Recurring / Mentioned)

  • Nigel (comedic co-host reference to Finding Nemo)
  • Tex Avery
  • Hanna-Barbera
  • Dick Lundy
  • George and Junior / Barney Bear / Droopy / Spike / Mammy Two Shoes / Jerry / Tom / Nibbles / Butch
  • Lilian Randolph
  • John Sutherland (economics / pro-capitalist Cold War short context)

Original video