Director / Contributor
Posted:
Apr 24, 2004, 6:15 PM
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Significant toons in Sylvester's career
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Here is my list of cartoons that have shaped Sylvester into the character he is today and shall be forever. Again, I encourage others to add either other Sly cartoons or share any other thoughts about the cat. (Also again, images provided by Dave Mackey)
1. Life With Feathers (by Friz Freleng c. 1945)
It should go without saying that the a characters first appearance is always a big step in his career. Much like a human being's life wouldn't amount to much if he stayed in the womb. But, none-the-less, Sylvester's beginning was quite monumantal for him. Virtually every aspect of Sylvester's persona was here: his low but calculating intelligence, his dexterity at entertaining us while being the butt of a smaller animal's joke, not to mention his trademark lisp and catch-phrase "Thufferin' Thuccatash!"
But, what also helped this cartoon along is it's ingenious story. Friz expertly pulled off a role reversal inwhich the bird WANTS to be eaten but Sylvester does NOT want to eat him. Then, at the end, the roles are switched back again. And, it all happens in a way that makes sense. Not once do you scratch your head and ask "why did they do that?" The story flows beautifully. That is the reason why this particular cartoon was nominated for an Oscar and Sylvester was on his way.
2. Kitty Kornered (by Bob Clampett c. 1946) <on dvd>
This cartoon is significant for Sylvester for two reasons. One, is that this is the first time someone else besides Friz worked with Sylvester. This would be Clampett's only cartoon with the cat (he was getting ready to leave the studio at this time) but it sparked inspiration for the other directors to work with him. McKimson would use him to great affect against his Hippety Hopper character and give him a smashing guest appearance with Foghorn Leghorn in Crowing Pains. Chuck Jones and Art Davis would find uses for him as well, thereby making him one of the more rich and comlex characters at Looney Tunes.
Reason number two is just for the fact that this marks one of the only times where SLYVESTER WINS!! (The other time being Back Alley Oproar.) Poor old Sylvester would never have it so good ever again.
3. Tweetie Pie (by Friz Freleng c. 1947) <on dvd>
A definite highlight in Sylvester's career. For this is the toon that won Sylvester, Tweety, Friz, and Warner Bros. it FIRST OSCAR!!! However, there are some that think that this cartoon only won because Rhapsody Rabbit had been accidentally snubbed last year and so this Oscar was ONLY awarded to Tweetie Pie for that reason.
But, this cartoon has it's own merits as well. For one thing, Sylvester and Tweety were created seperately by two different directors (Tweety - Clampett; Sylvester - Freleng). Miraculously, when the two were put together, it was instant chemistry. This cat & bird team played off each other nicely. (Incidentally, this is almost indentical to how Laurel & Hardy got started 20 years prior). The scene at the very end inwhich Tweety constantly hits Sylvester with a shovel expresses their synergy perfectly.
The puzzling part is, their producer at the time Eddie Selzer didn't think this would be a good pairing. But, Friz fought him all the way and was eventually given permission for Ed to make this cartoon. The results certainly proved Eddie wrong beyond all doubt. This incident would inspire Chuck Jones to fight for the life of Pepe Le Pew and Jack Warner to reinstate the Tazmanian Devil. Cartainly, any cartoon that can prove big business wrong is okay by me.
4. I Taw a Puddy Tat (by Friz Freleng c. 1948)
This is Sylvester & Tweety's follow-up film. This one didn't win an Oscar but was just as popular in the theatres as their first appearance which definitely inspired Friz to use this team many more times. This series was so popular in fact that Friz was commisioned by the studio to make three Sylvester & Tweety cartoons a year.
But, this particular cartoon also added another wrinkle to Sylveser's personality. Here is the first time we get to see Sylvester be a bully and a victim in the same cartoon and play them both beautifully. The story starts out with his owner phoning the pet shop ordering another bird after their last one "mysteriously disappeared" which is when we see Sylvester in his cat-bed hiccuping some yellow feathers. When the pet shop confirms her order of a new bird, we see Sly stamp a bird picture behind a curtain right behind several other stamps. This of course indicates that he has eaten many of these pet shop birds for devilish fun. But, the next bird sent over is none other than Tweety who quickly teaches him a lesson. But, for me, Tweety taught it to him too good. When he did all those pratfalls on the puddy tat by himself that was fine. But, to bring in that bull dog, that's like bringing in a bazooka when only a pellet gun would suffice. So, all of a sudden, at the hands of this dog, Sylvester is completely helpless and hardly has the ability to overcome this problem of his. I'm sure Tweety wanted to get this fight over quickly but still, one must feel for Sylvester as he is locked in Tweety's cage with the dog and is supposedly beaten to a comatose state (the cartoon leaves that open. Actually, if you've even see what a real cat does to a real bird, you'd understand Tweety's anger a little better.).
5. Scaredy Cat (by Chuck Jones c. 1948) <on dvd>
This is certainly not the first pairing of Porky and Sylvester. That distinction goes to Kitty Kornered. What does make this cartoon great is that Sylvester gets to stretch his pantomime skills. Under Jones competant guidance, we get to see Sylvester try to warn Porky of their impending doom through a series of "histrionic" jestures and complex facial expressions and tell the story way better than anyone else could with dialogue (one of Jones' specialties). Another great aspect of this cartoon is that the constuction is that of the best suspenseful drama or horror movies. The cinematography and the pace create an incrediblly cerebral atmosphere that could rival Hitchcock's best work really. All this and Sylvester's ability come together at the end to make an absolutely brilliant climax. Sylvester's expressions, the sun rise used for emphasis, and the music make for an ending that can blow anything away. Thankfully, this cartoon is available on the first wave of Looney Tunes dvds. I urge all to either buy a copy or, if you've already done so, rewatch this particular cartoon to see what I mean.
6. Pop 'Im, Pop (by Robert McKimson c. 1950)
It was official. Sylvester had become a father in this cartoon. It was a boy, about 5 heads smaller than him. His name was (and is) Sylvester Jr. and boy did he idolize his daddy. Where the boy's mother was is anybody's guess.
But, what made this event significant is that Sylvester's humiliation is increased expotentially because now he has someone to impress whereas before he suffered in silence. Therefore, whenever Sylvester gets kicked or punched by Hippety Hopper the pain felt by and for Sylvester is doubled. Once for the brutality of it brought out by great Rod Scribner animation and again for the disappointment Sylvester feels for himself through the eyes of his son.
Usually, whenever a cartoon character is given a son, that character usually becomes toned down and ceases to entertain at the same capacity (Goofy went through this in the '90's when Max came along.) However, Sylvester remained as viable as ever. His son didn't slow him down any. Although future plots with Junior took a more "sit-com"-like turn, the two never lost their edge (not until Space Jam of course).
7. Puddy Tat Trouble (by Friz Freleng c. 1951) <on dvd>
Besides the fact that this is one of the best timed and best executed cartoons of all time, this cartoon holds another significance. For the first time in Sylvester's life, he has some competition for Tweety. He and an orange cat with an eye-patch trade blows back and forth in their efforts to catch this elusive canary. Needless to say, the action of this particular installment of the series is doubled, maybe even tripled or more. Sylvester would go on to do similar cartoons such as Tweet and Sour, Trick or Tweet, and the Oscar nominated Mouse and Garden. Thus, this cartoon proves that Sylvester has the amazing ability to not only play off prey but fellow predators as well. He had just been made richer as a character, but it wouldn't stop there.
8. Tree for Two (by Friz Freleng c. 1952)
I think many hard core Sylvester fans prefer these cartoons of his. The reason being that it shows his strictly as a victim thus putting a huge amount of sympathy onto him and causes some to even hate Tweety, Hippety Hopper, and even Speedy Gonzales for retaliating against him. But, none-the-less, Sylvester plays the victim excellently here. He actually appears totally helpless against these back alley dogs Spike and Chester. Especially when Spike corners him against a box and Sylvester hides his face as he timidly waves his claws towards the dog.
However, like in Life With Feathers, it's the ingenious story that elevates this toon above others. While Sylvester hideshis face waving his claws, an escaped Panther emerges from the boxes and scratches the dog beyond injury. However, both animals didn't see this Panther so the dog thinks Sylvester is extremely tough and runs in fear while Sly also is convinced of his intimidation abilities and picks a fight with Chester. This of course proves to be a mistake and Sylvester is beaten once again.
But, like I stated before, Sylvester made many fans with this one I'm sure. The sympathy factor went through the roof for the first time here.
9. Satan's Waitin' (by Friz Freleng c. 1954)
There is an existential notion that everyone has a place in this universe and nothing can be done to change it. This cartoon demonstares that notion exquisitely.
After falling off a building trying to catch Tweety, he actually dies. His soul leaves his body and notices two escalators. The one going up is blocked and so must take th one that goes to Hell. While there, he is informed that only one of his lives was lost and that he'd have to wait for the other eight.
Back on Earth, Sylvester realizes that trying to catch this bird will send him right back to Hell so his immediate reaction is to tell Tweety to get lost. However, eager to receive a soul, a demon pops up behind and encourages Sylvester and encourages him to carry on thereby losing more of his lives every time he fails. When Sylvester is down to one life, even the demon's insistance can't get him to go after Tweety again. His plan is to live in bank vault with several cans of cat food so that he can avoid any oppurtunities to be tempted by Tweety and hopefully go to Heaven. Unfortunately, that night, two bank robbers use too much dynamite trying to blow up the vault and all three end up going to Hell anyway.
It just futher proves that anybody, especially cartoon villains, can't fight their destiny.
10. Birds Anonymous (by Friz Freleng c. 1957) <on dvd>
There's a good reason for this cartoon to win an Oscar. It seems that all the Sylvester & Tweety cartoons were building up to this moment.
The toon starts of with a Hitchcock-inspired opening of Sylvester trying to catch Tweety in a dark room. However, right at the moment of payoff, and softspoken cat opens a window and tells Sylvester of the dangers of bird addiction. The next day, both cats are at a Birds Anonymous meeting in a back alley and with their help, Sylvester has given up birds forever. However, when he gets home, he finds that easier said than done. His emotional state as he tries to resist eating Tweety is nothing short of phenomenally good. Even Sir Anthony Hopkins could learn a thing or two from this performance. Near the end when Sylvester breaks down from the stress of it all and cries "...after all I am a pussy cat!" that pretty much solidified the Oscar nod in his direction. This performance was so good that he followed it up in another great Sylvester classic The Last Hungry Cat which features a Hitchcock figure tormenting Sylvester this time.
Thus, Sylvester became one of the most richest, fully-realised, complicated, sympathetic characters of all time with this cartoon. Truly, the greatest performance of his career. Will he or any other character be able to follow it? Only time will tell. (Although, I'm sure time is saying "Aint gonna happen.")
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http://www.youtube.com/watch?v=gi0dqcR-Otk
(This post was edited by damfine on Nov 24, 2005, 4:19 PM)
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Director / Contributor
Posted:
Apr 24, 2004, 11:53 PM
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Re: Significant toons in Sylvester's career
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 Whoops, I reread this thing and noticed many spelling and gramatical errors. I'd love to change them myself but I can't. I'm hoping one of the mods could take care of that for me.[unsure]
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http://www.youtube.com/watch?v=gi0dqcR-Otk
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Research Guru
Posted:
Apr 25, 2004, 12:15 AM
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Re: Significant toons in Sylvester's career
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All excellent choices, damfine. A few things to add (as usual!):
3. Tweetie Pie (by Friz Freleng c. 1947)
A definite highlight in Sylvester's career. For this is the toon that won Sylvester, Tweety, Friz, and Warner Bros. it FIRST OSCAR!!! However, there are some that think that this cartoon only won because Rhapsody Rabbit had been accidentally snubbed last year and so this Oscar was ONLY awarded to Tweetie Pie for that reason. It should be noted that although this was indeed the first pairing of Sylvester and Tweety, Sylvester was named "Thomas" in this cartoon! Also, this was the first time that Tweety was canary yellow, as opposed to his former flesh color.
While this cartoon was being made, producer Edward Selzer ordered director Friz Freleng not to use a canary, but instead, to use a woodpecker from an earlier production. Freleng immediately quit; however, that evening, an apologetic Selzer called Freleng at home and hired him back. Selzer accepted the Academy Award for the short the following year.
5. Scaredy Cat (by Chuck Jones c. 1948) This is certainly not the first pairing of Porky and Sylvester. That distinction goes to Kitty Kornered. What does make this cartoon great is that Sylvester gets to stretch his pantomime skills.
This was the cartoon in which Sylvester first acquired his name. It was also the first Sylvester cartoon directed by Chuck Jones. 6. Pop 'Im, Pop (by Robert McKimson c. 1950) It was official. Sylvester had become a father in this cartoon. It was a boy, about 5 heads smaller than him. His name was (and is) Sylvester Jr. and boy did he idolize his daddy. Where the boy's mother was is anybody's guess. But, what made this event significant is that Sylvester's humiliation is increased expotentially because now he has someone to impress whereas before he suffered in silence. Therefore, whenever Sylvester gets kicked or punched by Hippety Hopper the pain felt by and for Sylvester is doubled.
The boy's mother -- or, at least, Mrs. Sylvester -- was seen in two cartoons: A Mouse Divided (1953) and Goldimouse And The Three Cats (1960) which, I believe, did depict Sylvester Jr. Neither cartoon was very big in shaping Sylvester's career, but it should be noted that A Mouse Divided did mark the first appearance of that WB staple, the Drunken Stork! I think, though, you should have mentioned Hop, Look And Listen (1948), which was the first appearance of Hippety Hopper... and Hippety's first pairing with Sylvester. 10. Birds Anonymous (by Friz Freleng c. 1957) There's a good reason for this cartoon to win an Oscar. It seems that all the Sylvester & Tweety cartoons were building up to this moment.
An obvious choice! However, you didn't mention that this was the first appearance of Sylvester's orange feline pal Sam, one of the greatest "hero's best friends" in animation. At one point after this production, producer Ed Selzer was extremely sick and was admitted to a hospital. Selzer told Mel Blanc that if he died, Blanc could have one of the Oscars the studio had received over the years. Blanc selected the Oscar for this short, since it was his favorite. Selzer later recovered, but Blanc was finally given the gold statue when Ed Selzer did pass on in the 1970s. Another couple of cartoons worth considering: Crowing Pains (aka Barnyard Showdown; 1947): Not exactly starring Sylvester, since Foghorn Leghorn, the Barnyard Dog and Henery Hawk are also in the all-star cast. However, it was the first Sylvester cartoon directed by Robert McKimson, as well as the first one animated by Robert's kid brother Charles. Canary Row (1950): Very surprised you didn't mention this one! This introduced a third member of the eternal triangle: Granny, the owner and protector of Tweety. No matter how much a bulldog pushes Sylvester around in cartoons, he always comes back for more. But Granny puts a real scare into Sylvester whenever she appears -- this lady can really fight back, and poor Sylvester knows it. Gift Wrapped (1952): This Christmas-themed tale marked Daws Butler's first appearance in a Warner Bros. cartoon. ------------------------- "Oh boy." -- Allan Sherman
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Director / Contributor
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Apr 25, 2004, 12:35 AM
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Re: Significant toons in Sylvester's career
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Many great additions, Em. But, some of those I left out on purpose because it had very little to do with Sylvester as a character such as Tweety being painted yellow or Dasw Butler's first WB cartoon. If Daws had taken over as Sylvester's voice then that cartoon would have been a huge milestone for Sylvester. However, as it is, it's only a minor note.
I totally didn't know about Mel Blanc and the BA Oscar. He definitely deserved more than Mr. Selzer.
Also, thanks for the info about Sylvester getting his name in Scaredy Cat. I never knew that before. Now I'm really glad I added it to my list.
And another thing, about Junior's mom, she does appear in A Mouse Divided (1953) and Goldimouse and the Three Cats (1960). However, Pop 'Im, Pop came out in 1950. Where was she then is what I'm wondering.
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http://www.youtube.com/watch?v=gi0dqcR-Otk
(This post was edited by damfine on Apr 25, 2004, 12:38 AM)
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Jpeg Master
Posted:
Apr 25, 2004, 4:07 AM
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Re: Significant toons in Sylvester's career
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Here's the missing title cards for your well done filmography for Sylvester, who happens to be my unsung hero in the Warner Bros. character department.
Unfortunately, the Bmode "title card reviver" doesn't work well on Blue Ribbons. Nice post, I'd add my comments but it's late and I'm exhausted.
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BmodeMusic.com
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Director / Contributor
Posted:
May 1, 2004, 12:22 AM
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Re: Significant toons in Sylvester's career
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Canary Row (1950): Very surprised you didn't mention this one! This introduced a third member of the eternal triangle: Granny, the owner and protector of Tweety. No matter how much a bulldog pushes Sylvester around in cartoons, he always comes back for more. But Granny puts a real scare into Sylvester whenever she appears -- this lady can really fight back, and poor Sylvester knows it. This one's included in the Tweety thread.
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http://www.youtube.com/watch?v=gi0dqcR-Otk
(This post was edited by damfine on May 1, 2004, 12:23 AM)
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Director / Contributor
Posted:
May 6, 2004, 10:06 PM
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Re: Significant toons in Sylvester's career
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8. Tree for Two (by Friz Freleng c. 1952) I think many hard core Sylvester fans prefer these cartoons of his. The reason being that it shows his strictly as a victim thus putting a huge amount of sympathy onto him and causes some to even hate Tweety, Hippety Hopper, and even Speedy Gonzales for retaliating against him. But, none-the-less, Sylvester plays the victim excellently here. He actually appears totally helpless against these back alley dogs Spike and Chester. Especially when Spike corners him against a box and Sylvester hides his face as he timidly waves his claws towards the dog. However, like in Life With Feathers, it's the ingenious story that elevates this toon above others. While Sylvester hideshis face waving his claws, an escaped Panther emerges from the boxes and scratches the dog beyond injury. However, both animals didn't see this Panther so the dog thinks Sylvester is extremely tough and runs in fear while Sly also is convinced of his intimidation abilities and picks a fight with Chester. This of course proves to be a mistake and Sylvester is beaten once again. But, like I stated before, Sylvester made many fans with this one I'm sure. The sympathy factor went through the roof for the first time here. Actually, I just remembered that Sylvester's very first role as an absolutely sympathetic victim is Stooge For a Mouse (by Friz Freleng c. 1950). No matter, they're both great cartoons. 
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http://www.youtube.com/watch?v=gi0dqcR-Otk
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Director / Contributor
Posted:
Nov 7, 2004, 1:50 PM
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Re: Significant toons in Sylvester's career
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2. Kitty Kornered (by Bob Clampett) c. 1946 This cartoon is significant for Sylvester for two reasons. One, is that this is the first time someone else besides Friz worked with Sylvester. This would be Clampett's only cartoon with the cat (he was getting ready to leave the studio at this time) but it sparked inspiration for the other directors to work with him. McKimson would use him to great affect against his Hippety Hopper character and give him a smashing guest appearance with Foghorn Leghorn in Crowing Pains. Chuck Jones and Art Davis would find uses for him as well, thereby making him one of the more rich and comlex characters at Looney Tunes. Reason number two is just for the fact that this marks one of the only times where SLYVESTER WINS!! (The other time being Back Alley Oproar.) Poor old Sylvester would never have it so good ever again.
I just learned from wave 2 of the Looney Tunes dvds that Clampett wrote as well as directed this cartoon himself. It is therefore much more of a Clampett masterpiece than I had mentioned before.
Truly a great cartoon from an awesome genius!!
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http://www.youtube.com/watch?v=gi0dqcR-Otk
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Inbetweener
Posted:
Nov 8, 2004, 9:49 AM
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Re: Significant toons in Sylvester's career
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Here's a point, which director did Sylverster best? Or, to put another way, which director produced proportionally the greatest quality of cartoons with Sylvester as the main star?
Personally, I don't think there was any other character where 'the big three' of the 1950s (Freleng, Jones, McKimson! Wake up, those at the back!) who changed considerably depending on who was the director. Freleng portrayed Sylvester as a mainly mean, hungry cat who felt it was simply his nature to eat Tweety/Speedy. McKimson portrayed him as the father teaching the son how to catch mice, and Jones portrayed him as a caffiene-infested nervous being (well, except for the one where he's a musketeer).
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"Stop steaming up my cup!"
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Inbetweener
Posted:
Nov 8, 2004, 3:32 PM
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Re: Significant toons in Sylvester's career
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(Fruitlessly justifying the earlier comment...) Um, 'mainly' mean? Not totally mean?
I'm sorry, I'll stay behind for extra class.
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"Stop steaming up my cup!"
(This post was edited by Doodle on Nov 8, 2004, 3:32 PM)
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Apprentice
Posted:
Oct 15, 2006, 4:52 PM
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Re: Significant toons in Sylvester's career
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it should be noted that A Mouse Divided did mark the first appearance of that WB staple, the Drunken Stork! Actually, The Drunken stork first appeared in Bob Clampett's "Baby Bottlekneck"
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Director / Contributor
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Oct 20, 2006, 8:49 PM
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Re: Significant toons in Sylvester's career
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Actually, Foxy, that last one is a screenshot from Bowery Bugs (by Art Davis c. 1949).
THIS is from Baby Bottleneck (by Bob Clampett c. 1946):
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http://www.youtube.com/watch?v=gi0dqcR-Otk
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Directing Animator
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Oct 20, 2006, 9:54 PM
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Re: Significant toons in Sylvester's career
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Yea I noticed  It was supost to be:
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ToonRadio! Dog City-Editer:TV.Com! Big Cartoon DataBase!
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