Gay purr ee characters

During the 1890s, situated in the southern region of France, Mewsette, portrayed by Judy Garland, leads an uncomplicated life as a feline on a farm alongside her companion, Jaune Tom (voiced by Robert Goulet), who frequently engages in hunting mice with his associate, Robespierre (Red Buttons). Upon discovering the allure of Parisian life through her owner's sibling, Mewsette grows discontented with her seemingly "plebeian" existence and vehemently spurns a mouse presented by Jaune Tom, consequently leaving him feeling disheartened. Incensed by Mewsette's sudden outburst, Robespierre advises her to journey to Paris if her current state is truly so unhappy; she promptly takes this advice by clandestinely boarding the departing buggy's luggage compartment. Learning of Mewsette's departure, Jaune Tom embarks on a quest to Paris, determined to locate her, with Robespierre accompanying him. Concurrently, Mewsette reaches Paris and encounters Meowrice (Paul Frees), who asserts his ability to transform her into an authentic Parisian, all the while she remains oblivious to his ulterior motive: a deceptive yet highly profitable matchmaking scheme.

Released in 1962, Gay Purr-ee stands as an animated musical production from UPA, with distribution handled by Warner Bros. This picture notably signified UPA's second, and ultimately last, animated feature endeavor, concurrently marking the inaugural animated feature to be distributed by Warner Bros. Initially, UPA had established the project with United Artists; however, they subsequently transferred it to Warner Bros. when the necessary funding proved excessively slow to materialize. Following Judy Garland's casting as a principal performer, at her recommendation, Harold Arlen and E. Y. Harburg, celebrated for composing the songs for The Wizard of Oz, were engaged. The primary male role had originally been earmarked for Gene Kelly, who, however, withdrew prior to the commencement of production; Elvis Presley had even been considered as a potential substitute until Robert Goulet was successfully secured, who then took a week-long break from his Broadway performance in Camelot to record his part. Although the movie garnered favorable critiques upon its release and received an intensive marketing campaign from Warner Bros., modern accounts suggest the film's theatrical earnings were modest, and its financial shortfall significantly contributed to UPA's decision to discontinue animation. Certain commendable aspects are indeed observable within Gay Purr-ee; nevertheless, their merit largely stems from the exceptional art direction and vocal contributions, rather than from the cinematic creation as a whole.

From an artistic standpoint, while the cinematic presentation employs more simplistic forms and a less extensive animation style compared to Walt Disney's productions, the depiction of Paris is undeniably distinctive and vibrant, elucidating why the film garnered critical acclaim for its visual guidance. A notably remarkable segment encompasses a sequence where Meowrice elaborates on various portraits of Mewsette, crafted by renowned artistic personalities spanning from Vincent Van Gogh to Pablo Picasso; here, Mewsette is not merely depicted in the characteristic manner of each artist, but we are also provided with insights into the inherent artistic methodologies. Given Robert Goulet and Judy Garland's participation in the vocal ensemble, it comes as no surprise that both the musical score and the voice performances are truly exceptional, with even humorous tunes such as "Bubbles" (a composition addressing intoxication from champagne) proving memorable and enjoyable to hear, courtesy of Goulet's vocal talent. The core storyline of the movie is, in my estimation, where deficiencies begin to surface; from a world-building viewpoint, there appears to be no substantive rationale for the characters being felines, and when peculiar elements like the cats' concern for human monetary units or subtle background jests of cats attired in clothing exist alongside the primary characters behaving as realistic felines, it considerably diminishes the overall sense of immersion. Furthermore, character motivations are not particularly adeptly communicated, especially concerning Mewsette herself, and I believe that presenting Jaune Tom and Mewsette already united at the film's outset somewhat undermines the narrative progression.

While certain commendable efforts are evident in Gay Purr-ee, particularly concerning its vocal ensemble and artistic direction, from a narrative standpoint, it appears to be deficient in meticulousness and sophistication. The cinematic piece merits viewing for enthusiasts of Goulet and Garland, in addition to aficionados of animation, yet it is unquestionably inferior to the combined value of its individual components.

I, for one, profoundly adore this cinematic work. While I admittedly find its title somewhat peculiar, all other aspects are simply superb. Gay Purr-ee exudes sophistication, wit, and charm, and I have consistently found it captivating to rewatch. My admiration for Judy Garland is immense, and I consider her portrayals in The Wizard of Oz, Meet Me in St Louis, and A Star is Born to be eternally significant. Chuck Jones, moreover, stands as an outstanding animation director, having, in my view, helmed some of the most exceptional animated shorts ever created. Furthermore, I hold a deep affection for felines; they are adorable, intelligent, and delightful creatures. Beyond Gay Purr-ee, other notable films featuring cats include The AristoCats (a production frequently contrasted with this movie) and, in particular, Felidae, which represents a distinctly different category of work.

Gay Purr-ee is, quite simply, superb. Its animation is exquisite, and the visual aesthetic is both unparalleled and vibrant; I particularly admired the character renderings for Mewsette and Meowrice, with Mewsette appearing beautiful and captivating, and Meowrice demonstrating considerable sophistication. The narrative consistently proves captivating; despite its profound simplicity, this very straightforwardness achieves remarkable success, and it perpetually retains its inherent appeal. The conversational exchanges also possess a significant degree of cleverness, seldom seeming contrived or hackneyed. The personalities depicted are amiable; I have perpetually held a fondness for Meowrice myself, and Robespierre is exceptionally endearing. The tempo is swift, and I thoroughly enjoyed the inventive sequence featuring the impressionist artists, notably including Van Gogh.

Nevertheless, the most cherished attributes of Gay Purr-ee, in my view, reside in its musical score and the vocal performances. The composition is, quite simply, magnificent. Harold Arlen and E.G. Harburg represent one of the preeminent songwriting partnerships, and I was thoroughly impressed by their contributions in this work. The background music is highly pleasing, and the opening is splendid. "Little Drops of Rain" and "Roses Red, Violets Blue" are utterly charming, yet my personal favorite remains "Paris is a Lonely Town," which is profoundly moving. Furthermore, the vocal artistry is undeniably superb. This motion picture transcends being merely a display for Judy Garland's abilities, contrary to some opinions. She delivers her songs with exquisite beauty and imbues Mewsette with a notable sense of humility and empathy, evident in both her spoken dialogue and her singing. Robert Goulet possesses a magnificent voice, and Jaune Tom skillfully avoids appearing uninspired, courtesy of the allure Goulet imparts. Red Buttons mirrors his character, Robespierre, being both adorable and humorous, while the extraordinary Paul Frees is exceptional in his portrayal of Meowrice. Additionally, it was gratifying to once again encounter Mel Blanc's unique vocal timbre.

In summary, this animated feature is charming, witty, and sophisticated, and I believe it is unjustly undervalued. Nine out of ten. Bethany Cox

Even though its eighty-five-minute runtime is excessive, this animated musical from UPA is notably melodic, showcasing abundant visual cleverness and panache. The rather insubstantial storyline, which concerns a French farm cat pursuing escapades in Paris, benefits significantly from the vibrant compositions of Harold Arlen and E.Y. Harburg, and, naturally, from Judy Garland's brilliant speaking and singing voice as Mewsette. Having never achieved widespread appeal among younger audiences, the screenplay of this film frequently emphasizes complex dialogue rather than overt animated humor. As a result, it fails to be a major crowd-pleaser, though those studying animation would be well-advised to examine it (the amusing art history segment focusing on the Impressionists alone justifies the viewing time). Two and a half stars out of four.

This cinematic production is truly splendid. The narrative unfolds as a classic trope: "female protagonist spurns male suitor; female protagonist encounters peril; male suitor comes to her aid; all subsequently achieve a joyous existence." It is deeply fulfilling from a romantic perspective. Paul Frees' vocalization is flawlessly suited for Meowrice, just as Robert Goulet's is for Jaune Tom. Judy Garland's voice, portraying Mewsette, is in peak condition. The impressionistic artistic and scenic approach is distinctive; I have yet to encounter another comparable example.

This constitutes one of those cinematic pieces that guardians can permit their offspring to relish, free from apprehension of excessive exposure to themes of sexuality or aggression. Conversely, adults are also able to derive pleasure from it, albeit on a distinct plane of comprehension.

It remains a film we view consistently, typically three or four times annually.

This film encompasses every conceivable element! It offers action, romantic entanglement (albeit between two animated felines!), and peril, all within a suitable family viewing environment! Youngsters will undoubtedly cherish this timeless classic; I can almost guarantee it! Furthermore, adults will find themselves laughing and shedding tears alongside the story, enthusiastically rooting for the diminutive Robespierre, with his small physique yet courageous spirit. Observe Jaune Tom's tail and whiskers twitching as "The best mouse catcher in all of Paris!" detects a rodent from hundreds of feet away (though he never actually dispatches one). Then there's the alluring Mewsette, who desires more than she can manage and consequently finds herself embroiled in difficulties. Madame Rubinschottz, the sizable, pink cat of questionable reputation, characterized by her elongated eyelashes and prominent red lips, dispatches the vile Meowrice, the rogue tasked with luring a charming young feline (Mewsette) into her illicit enterprise. And let us not overlook the "Money-Cats" (those scruffy, absurd, clumsy black alley cats who gyrate their hindquarters on the rooftops to the melody of "The money-cat knows where the money-tree grows"!). This animated production resembles those renowned potato crisps that assert one cannot consume merely a single one. Once you experience this motion picture, you will invariably desire to revisit it!