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Hair-Raising Hare (1946)

Approved | | Animation, Short, Comedy | 25 May 1946 (USA)
A sneaker-wearing, hairy monster chases Bugs through a castle belonging to an evil scientist.


(as Charles M. Jones)





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Complete credited cast:


A wind-up toy in the shapely shape of a female rabbit lures Bugs Bunny out of his rabbit hole and into the castle of an evil scientist who looks exactly like Peter Lorre. The scientist wants to feed the rabbit to his huge, sneaker-wearing monster. The beast, completely covered in orange hair, is frightening enough to leave our hero temporarily speechless - forcing him to hold up a sign that says, "Yipe!" But Bugs Bunny is not easily cowed, and soon the wily rabbit is disguising himself in turns as a lamp, a chatty manicurist, a figure in a framed portrait and a knight on a charging horse, tricking and frustrating his nightmarish opponent at every turn. Written by J. Spurlin

Plot Summary | Add Synopsis


Approved | See all certifications »




Release Date:

25 May 1946 (USA)  »

Also Known As:

Angsthase Pfeffernase  »

Company Credits

Production Co:

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Technical Specs


Sound Mix:



Aspect Ratio:

1.37 : 1
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Did You Know?


The orange monster has no name in this cartoon. He is known as Rudolph in Water, Water Every Hare (1952), then as Gossamer in Duck Dodgers and the Return of the 24½th Century (1980). The latter name is the one most familiar to cartoon fans. See more »


When Bugs is being held by the neck by Gossamer/Rudolph, he says, "Look, out there in the audience." When he says the "Out there in the audience" part, his mouth doesn't move. The Hair Raising Hare Schematics on the Looney Tunes Golden Collection prove this: during the part where you see the goof, you also see that the "out there in the audience" part was added in a different color ink. See more »


Bugs Bunny: And so, having re-redisposed of the monster, exit our...
[wind-up decoy walks by]
Bugs Bunny: ... he... ro. Mechanical.
[decoy kisses Bugs]
Bugs Bunny: Well, so it's mechanical.
[follows decoy]
See more »

Crazy Credits

Gossamer ran away, after Bugs Bunny pointed out the theatre audience to Gossamer and cameras, just like its shadow ran away, three minutes earlier that the filming was occurring. Gossamer then ran away, after looking & saying People! in extreme fear or shock. Less than five seconds, after Bugs Bunny scared Gossamer away, Peter Lorre charactered evil-scientist second mechanical rabbit smooches Bugs Bunny & attracts him, Bugs follows it. After saying "So, it's mechanical!" & starts following it, the closing credits & music begin. See more »


Referenced in Sheep Raider (2001) See more »


Oh, You Beautiful Doll
Music by Nat Ayer
Played during the mechanical rabbit scenes
See more »

Frequently Asked Questions

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User Reviews

one of the great horror films - as resonant as Buster Keaton.
8 August 2000 | by (dublin, ireland) – See all my reviews

The most astonishing and visually audacious of the early Bugs Bunnies, a Chuck Jones masterpiece, that uses the cheap target of the Universal horror movie, long since wallowing in parody, to create some extraordinary effects. The tale is the usual - Bugs being chased by a relentless predator; but is given added piquancy by the horror setting. Bugs is often at the root of his own troubles, whether by arrogant egocentricity, disarming androgyny or slippery playfulness goading the less gifted into violence; but in this case it is Bugs' lust that does him in, as he is led to a castle, with 'Evil Scientist' blaring in neon over its portals, by a beautiful mechanical doll, unsurprisingly, considering our hero's narcissism, very similar to himself (what do you mean all rabbits look the same?!). This mixture of the erotic and the machine prefigures Ballard and Cronenburg, of course, but also reaches back to modern horror's roots, the perverse tales of E.T.A. Hoffman.

The evil scientist, supposedly a take on Peter Lorre, lures Bugs as pet-food for his fearsome monster, who turns out to be a rather cute carpet beast, a dim-witted giant Bugs makes rather heavy weather of. The variations on the chase are vertiginously invigorating, Jones' art is at the zenith of its inventiveness, mocking the horror genre, yet managing to evoke its resonances and themes. In possibly the greatest sequence in Warners animation, the Monster chases Bugs and sees the long hall he occupies reflected the mirror. He also sees himself - his reflection is horrified by him, and runs away out the reflected hall door. This sequence is, er, mirrored, by a later scene, when Bugs, about to be eaten, reveals the watching audience to the Monster, who, exposed, flees through the never-ending castle walls in shame and terror.

This theme of the doppelganger, the shameful double that usually represents all the dark side of our natures we have repressed, is also brilliantly represented in the short's treatment of surveillance. Our first image is of Bugs emerging from his hole, so powerful that the entire forest is his bedroom. and yet he is afraid that he is being watched. Suddenly, he is framed by a screen, which startles the audience (well, me anyway) into a guilty realisation of what it is doing; when the screen belongs to the evil scientist, and the audience is linked to his madman who seeks to murder Bugs, the act of looking, spying, is linked to death - Bugs is in danger as long as he is trapped in the frame, as long as he is being watched. Freedom only is possible when he leaves, and the short is over; but this is a kind of death anyway, as Bugs is a cartoon character who only exists in a cartoon. (Do I need to mention McCarthy?)

The dark colours are beautiful; the playing with perspectives ingenious; and the excuse for a 'What's Up Doc?' is as ingenious as Hitchcock's cameo in 'Lifeboat'.

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