by Douglas Messerli
Melvin Millar and Don Christensen (screenplay), Cal Dalton (animation),
Norman McCabe (director) The Daffy Duckaroo / 1942 [animated cartoon]
This World War II originally in black-and-white and later colorized, is
filled with the kind of racial stereotyping common throughout the 1930s and which
saw a rise in the War-time 1940s.
In this case, Daffy Duckaroo,
tired of Hollywood, retires to the role of a singing cowboy in the American
West. Like Greta Garbo, Daffy declares, so report the newspapers, that he “wants
to be a lone…ranger.”
If at first Daffy treats the
existence of Little Beaver with bluff, when the hulking Indian returns and perceives
his size, Daffy runs off and hides in Daisy June’s dresser, emerging as an
Indian girl with whom Little Beaver immediately falls in love, forgetting his
Brooklynese broad.
Little Beaver puts on his
warpaint and begins to court the newest gal in the teepee, Daffy escaping a
kiss by mostly playing on a series of drums before accomplishing a tomahawk
routine, each throw just missing Little Beaver’s head.
As the Wikipedia entry currently
notes, there are numerous war-time references, including the moment when Daffy
shoots back at the Indians with an unloaded gun, turning to the camera to
explain that we save the bullets “for the Army.” At another moment he encounters
a sign reading that to keep the speed level under 40, a reference to the 35 mph
speed limit imposed during the war in order to ration gas.
*Among
the requirements stated by The Loyal Wahoo, from January 29, 2006, in order to be a
Wahoo one must own at least 60 pink shirts, must be attracted to the same sex,
and must have girlish qualities. (The Urban Dictionary)
Los Angeles, September 23, 2025
Reprinted from My Queer Cinema blog (September 2025).


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