It’s just August, however Oscar jabber is as of now being heard. This has helped me to remember one specific Oscar-winning toon, around which rotates one of only a handful couple of certified riddles of the toon world: the uncanny, even suspicious, closeness between Warner Brothers’ 1946 Bugs Bunny toon Composition Rabbit and MGM’s 1947 Tom and Jerry short The Feline Concerto, which brought home the Oscar.

The way that Composition was discharged the prior year Concerto may appear like a sign, however in actuality the two kid’s shows were delivered in 1946. Every element a hero—Bugs in Song and Tom in Concerto—in the appearance of a tailcoat-clad professional piano player playing out Listz’s “Hungarian Composition No. 2,” doing combating a mouse that perplexes them from inside the great piano. On account of Concerto, the mouse being referred to is, obviously, Jerry, while in Composition, Bugs (give strangely a role as a casualty) fights a non specific, anonymous mouse.

Speculations endeavoring to disclose the puzzle keep on being advanced. One has film being spilled from Technicolor Labs from one studio to the next. Another, from musicologist Subside Gimple, guesses that the association was a professional piano player named Shura Cherkassky, it’s identity, guaranteed, recording the soundtracks for the two toons, as well as really passed the thought for Feline Concerto to MGM chiefs Bill Hanna and Joe Barbera. Be that as it may, others sources recognize toon writer Scott Bradley as the musician who recorded the track for Concerto.

In 1999 I put the inquiry straightforwardly to Joe Barbera. “Having the feline play the piano was captivating to me,” Barbera let me know, “So we chose to proceed with THE CAT CONCERTO TOM AND JERRY , and do the Second Hungarian Composition. We happened to have under contract a standout amongst other musicians in the Assembled States at the time, a well known professional piano player. His name escapes me right now, however he cherished doing it.”

While Scott Bradley was a traditionally prepared piano player, he was not prestigious thusly, so the character of the artist behind Tom’s execution stays subtle. Barbera did, in any case, recollect precisely when the similitudes were found:

“It was at a screening for the Oscar candidates. We [Cat Concerto] played first. When it went ahead, individuals were snickering like heck, and when the lights went ahead, Freleng was frantic as hellfire. At that point it [Rabbit Rhapsody] played, and the activity was comparative: Bugs strolled up in the tailcoat, flipped it up, sat down, warmed up the hands, looking self-important, all precisely the same. In our own, Tom, the feline, irritates the mouse, and in his, Bugs, the rabbit, bothers the mouse. Our own wound up as one of the five [Oscar] finalists, and individuals had the inclination that he [Freleng] was ripping off our toon, yet he stated, ‘No, no, no, I never observed your goddamned lousy toon!'”

Is it accurate to say that it was, at that point, essentially only an unbelievable occurrence? “I truly trust that,” Barbera let me know. “Freleng had a comical inclination, we just idea the same, and our muffles were the same.”

All things considered, Barbera did suggest an applicable conversation starter of his own: “What’s a rabbit doing with a mouse?”


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