If you don't like this, we can't be friends.

At first rather annoying in its heavy emphasis on reenactments, this movie ultimately proves fascinating, simply because the complicated, highly dramatic tale it tells still almost defies belief.

The film never slows down or bores, plunging from one harrowing sequence to the next.

One of the worst ways to make a cult movie is to set out to make a cult movie.

This is a Warner Bros. cartoon from almost 75 years ago. It is one of the more known cartoons that do not feature the regular guys like Daffy, Bugs etc. It runs for 9 minutes, which is 2 minutes longer as these cartoons from that time usually do. But that's also all the differences. Chuck Jones, Ted Pierce and Mel Blanc are in here as usual for Warner Bros. Maybe you could interpret the Dover reference as an indirect sign of American support for Britain during these dark days of World War II. In any case, the Dover boys never got more than this short movie I think and I can see why. I found none of the Dover Boys particularly memorable. If anybody somehow was not forgettable in here, then it was the antagonist, maybe also the woman. These two also shared the only funny moments for me, namely when she keeps screaming for help yet always interrupts that state in order to beat the crap out of the bad guy. That had something hilarious to it. That's all unfortunately. The three boys I found very forgettable. Not recommended.

Chuck Jones's 'The Dover Boys' is out and out one of the funniest cartoons ever made. From a cracking and atypical script by Tedd Pierce which satirises the melodramatic boy's books of the early 20th century, Jones seizes the opportunity to create something different. Much to the studio's dismay, Jones opted to experiment with a stylised and minimal design. The characters look very different from your average Warner Bros. characters and they snap from pose to pose extremely quickly, making for an exceedingly pacey film. The Dover Boys are three students from Pimento university who pride themselves on being extremely wholesome despite sharing a fiancé between the three of them. This fiancé, Dora, is one of the most remarkable things in the whole short. Her first appearance, in which she imitates a cuckoo clock and then charges down the stairs without even moving her legs, epitomises the quirky style of 'The Dover Boys' and is an early indication of just how wonderfully well this unusual approach works. She is also a great example of a subversion of the damsel in distress stereotype, assuming that role while clearly indicating she can take care of herself better than any man ever could.The cartoon, however, really belongs to the villain, the green-faced Dan Backslide. Beautifully designed and animated, he gets all the best lines, many of which are made all the funnier by one of Mel Blanc's finest ever voice characterizations. Throw in a bizarre and disturbingly arbitrary running gag, a great narration by John McLeish and a handful of hilarious gags and peculiar animation techniques and you have one of the classic shorts in animation history. 'The Dover Boys' is a lesser discussed cartoon in comparison to the more well known shorts in the Chuck Jones canon ('One Froggy Evening', 'What's Opera Doc', 'Duck Amuck' etc.) but for those who have seen it, it remains an unforgettable and extraordinarily important film that has a far reaching influence, not least on those wonderful cartoons made by UPA.

To me, at least, "The Dover Boys at Pimento University or The Rivals of Roquefort Hall" seems like one of the most unusual Looney Tunes cartoons, but I still liked it. Portraying some college friends trying to rescue a woman from a cad/thief, the cartoon doesn't get quite as wacky as most cartoons produced by that group - I always liked them for how zany they were - but it ends on a good note. And any Chuck Jones-directed cartoon is a good one (especially with the whole tree sequence here).All in all, "The Dover Boys" gives one a sense of college life during WWII. Will we remember college positively or negatively? Only time will tell, but I'll sure remember this cartoon positively.

For me, the Dover Boys marked the time when Jones left behind for good the "cute" look and made animation art that pushed the known limits.What a hoot. The staged poses of the characters lampooned the stuffy portraiture of the Victorian era, gaining breakneck speed and stopping suddenly...it must have been hard to "time" this film.The sequence in which Dan Backslide steals the "runabout" stands alone in cartoon history--Jones creates an almost 3-D world, and his use of the rubbery single-frame "takes" to highlight the rapid moves was inspired.Of course, the goofy guy in the bathing costume finally wins Dora (he was the only character to exhibit any fluidity, finally freeing Dora to dance along in syncopation). What was the message here-? How the heck would I know-? Was Dan's resemblance to Dick Powell accidental-?