Bryant influenced Elmer in more ways than one.

Bryan influenced Elmer’s development in an unexpected manner in 1941. For the short Wabbit Twouble, director Clampett thought that Fudd would be more amusing if he actually resembled Bryan, and so revised the modelsheets originally done by Robert Givens. Elmer gained considerable weight and rather resembled a well-dressed bowling pin, a depiction hardly flattering to either Fudd or Bryan. After several cartoons in this incarnation, Freleng’s unit, using Vivie Risto’s revised modelsheet, changed Elmer back to his thinner version for the 1942 short, The Hare Brained Hypnotist. This was a far more attractive version of the character, and little about Elmer Fudd would change from that point on.

It must be remembered that Bryan was primarily a performer. By the time that the final version of Elmer Fudd appeared in 1942, Bryan had appeared in some 20 films. A full-fledged character actor, Bryan was also working in radio. Beginning in 1941, he joined the cast of one of America’s most popular programs, The Great Gildersleeve. In 1942, he took the lead role of Major Hoople in Our Boarding House. Bryan’s radio career lasted until the mid-1950s, and by that time, he would be a TV star.

Beginning with a spot on The Beulah Show in 1950, Bryan made appearances on several television series, including I Love Lucy and Zane Grey Theater. Never one to pass up opportunities, Bryan also recorded Tickety-Tock, the Clock that Couldn’t Tell Time for Capitol Records. Bryan, though less well known than Blanc, worked in every medium of entertainment that Blanc did.

As the Warners artists continued to work with Bryan and Elmer Fudd, it became evident that the character could be adapted to many settings and roles. This was partly because Warner Bros. had some of Hollywood’s finest cartoon directors, but the job turned in by Bryan truly made a star of Elmer. Bryan was able to summon up a unique voice that would have been funny if it had come from a squirrel, a caterpillar, or even a blank screen. Fudd’s weakling voice was perfect for a low-key doormat, but Bryan was able to summon up marvelous rants of joy, frustration, anger, terror and, on several occasions, unexpected sophistication as Elmer became a true ensemble player in the Warner Bros. cartoons. In each film, Bryan was able to maintain Elmer’s distinctive speech impediment and trademark staccato laugh no matter what role he portrayed.

True, Bryan was famous for voicing only one cartoon character, but when one considers the talent needed in order for Elmer to become an accomplished screen actor, Bryan’s achievement seems awesome indeed. Arthur Bryan led Elmer into battle against many times against Bugs Bunny, but Daffy Duck, Sylvester, the Goofy Gophers and picnic-wrecking ants also faced off against the mild-mannered star. Along the way Elmer portrayed a hunter, a photographer, a mad scientist, a giant, an elf-king, a TV show host, a farmer, a news narrator and a Canadian mounted policeman, to name a few.

Bryant’s work in What’s Opera, Doc? is one of the landmark achievements in voice acting.

Consider some of Bryan’s finest work: Elmer as a waiter terrorized by Humphrey Bogart’s wrath in Slick Hare (1947), as a menacing giant in Beanstalk Bunny (1955) or as a silly Cupid (The Stupid Cupid, 1944). Bryan gave a wonderfully panicked performance in Hare Tonic (1945), in which Fudd believes he has been stricken with “rabbititus.” Bryan portrayed a more cosmopolitan Fudd (as a vaudeville star and a millionaire, respectively) in What’s Up, Doc? (1950) and Hare Brush (1955). The talented actor proved he could vary Fudd’s voice to make him aged or infantile (The Old Grey Hare, 1944).

In one neat performance (A Pest in the House, 1947), Bryan used his own speaking voice to portray a weary businessman seeking rest in a hotel. The place is managed by Elmer Fudd, and, due to Daffy Duck’s machinations, Bryan’s businessman winds up pummeling his famous alter ego!

Then there are the roles most beloved by animation aficionados — Elmer as a disheveled parody of Deems Taylor in the Fantasia parody A Corny Concerto (1942). Elmer blasting Daffy Duck into oblivion in Chuck Jones’ famous hunting trilogy, Rabbit Fire/Rabbit Seasoning/Duck! Rabbit! Duck! (1951-53). Elmer as a mortified, reluctant opera star in The Rabbit of Seville (1950). Then, the piece de resistance. In 1957, Bryan performed what many believe to be Elmer Fudd’s finest role.

From the first moment of What’s Opera, Doc? It is clear that director Jones intended Elmer to be as much the star as Bugs Bunny. This elaborate Wagnerian spoof cast Elmer Fudd as Siegfried. Clad in an oversized “magic helmet,” gesturing dramatically and twirling with the grace of a ballerina born, Fudd (and Bryan) display a depth of character unsurpassed in any of his other cartoons. Still, that’s not all, folks; the cartoon features a stunning musical duet between Blanc and Bryan that reveals Elmer Fudd to be a very fine singer indeed.

Unfortunately, Bryan would make only four more cartoons. In the fall of 1959, Bryan recorded Elmer’s voice for director Freleng’s Person to Bunny. It was an undistinguished short featuring re-used gags and animation, and it would be Bryan’s unknowing farewell. On Nov. 18, Bryan suffered a fatal heart attack at his Hollywood home. Bryan was gone, but Elmer Fudd, having become immortal, had to go on. The studio requested Blanc to assume the task, but he initially rebelled, stating that he did not do imitations. Blanc finally dropped his qualms and attempted the job. Blanc was the first of many; Daws Butler, Greg Burson, Billy West and Jeff Bergman were among others who attempted to carry on the legacy of Bryan. Some were better than others were, but none could top the original. Bryan simply was Elmer Fudd.

Bryan, in retrospect, appeared in 59 live-action films and at least seven television series. His radio career spanned more than20 years. He starred in 38 Merrie Melodies, 20 Looney Tunes and one wartime special, Leon Schlesinger Presents Bugs Bunny, in 1942. Bryan worked with every major cartoon director at Warner Bros. at least once; Freleng led the parade with 21 collaborations. Although Bryan’s name appears in various animation histories, he tends to receive only cursory mention; perhaps this is because he specialized in only one character. Still, this ignores his depth as a performer, his talent and his staying power in one of the world’s most difficult businesses.

As Elmer Fudd might have eulogized, “Arthur Q. Bwyan, he was a vewy gweat man.”

Martin “Dr. Toon” Goodman is a longtime student and fan of animation. He lives in Anderson, Indiana.