It is initially because he is an extraordinary gagman that Tex Avery can allow this rise in the rhythm. Opting for to push on the majority of traditional situations of cartoon, he builds his movies according to the principle that "everything can happen, and very quickly...". Always inserted in a real story, at least until the end of the Forties, crescendo of the gags leaves no chance to the witness, whose attention is taken since the first frames. The sound tape take part in this abduction: close your eyes, listen to it and let your imagination rove. Okay ? It is always already some Tex Avery.

To have made explicit a certain number of things on the human nature is a second part of the Avery's genius. He is, of course, at the opposite side of Disney's productions, childish and already moralizing, and well beyond the transgressions of the other studios.

In the infernal world of Tex Avery, the characters of the tales have enough of it to always play the same role. They ask help to the witnesses, surely as tired as them of all these sillinesses. Avery does not wish to wake up the child who sleep in each adult. He prefers to speak to this obscure share which we all carry in us, with our taste for violence and sex.

Addressing themselves to an adult public, some Avery's cartoons are true nightmares put in gags. Dumb-Hounded looks like these dreams where you wish to flee without never that point reaching. In The Cat That Hated People, the cat is the victim of familiar objects transformed into tools of torture with an independent and sadistic will. In The Cuckoo Clock, a cat will be made insane by the presence of a nutcase orange cuckoo. Without forgetting the noise, which encourages Spike to the murder in Cock-A-Doodle Dog.

If the cartoons of Tex Avery fascinate the witnesses always as much, fifty years after their creation, it is not only because the intelligence of their humour and their exceptional artistic and technical qualities, but also by the permanence of the topics which they approach.

Such the wolf, at least once in his life, each one could live this state in love which transforms us from silly seducer into wild animal. The metamorphoses of the wolf when it sees the girl are famous, almost passed in the common language so much they are close to what we can feel sometimes. On the other hand, few people are interested in the last metamorphosis of the wolf, however most instructive which is: when we wish for us only the fruit of our passion, we become about it malicious, aggressive, violent ones, ready to fight with the others to retain that we wish. It is what shows Tex Avery, and what was valid in 1945 is as much at the end of this millenium.