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Of the reactions to the film by audiences at a preview screening in Los Angeles, Bakshi stated, "They forget it's animation. They treat it like a film.

This is the real thing, to get people to take animation seriously. The point is, animation was making people get up off their asses and get mad.

The film also sparked negative reactions because of its content. The younger people, the people who could take new ideas, were the people I was addressing.

I wasn't addressing the whole world. To those people who loved it, it was a huge hit, and everyone else wanted to kill me. Critical reaction was mixed, but generally positive.

Lee Beaupre wrote for The New York Times , "In dismissing the political turbulence and personal quest of the sixties while simultaneously exploiting the sexual freedom sired by that decade, Fritz the Cat truly bites the hand that fed it.

Crumb first saw the film in February , during a visit to Los Angeles with fellow underground cartoonists Spain Rodriguez , S. According to Bakshi, Crumb was dissatisfied with the film.

There's something real repressed about it. In a way, it's more twisted than my stuff. It's really twisted in some kind of weird, unfunny way.

I didn't like that sex attitude in it very much. It's like real repressed horniness; he's kind of letting it out compulsively.

Reportedly, Crumb filed a lawsuit to have his name removed from the film's credits. Morse said that no suit was filed, but an agreement was reached to remove Crumb's name from the credits.

The last time I saw it was when I was making an appearance at a German art school in the mids, and I was forced to watch it with the students.

It was an excruciating ordeal, a humiliating embarrassment. I recall Victor Moscoso was the only one who warned me 'if you don't stop this film from being made, you are going to regret it for the rest of your life'—and he was right.

In a interview, Bakshi referred to Crumb as a "hustler" and stated, "He goes in so many directions that he's hard to pin down. I spoke to him on the phone.

We both had the same deal, five percent. They finally sent Crumb the money and not me. I have no respect for Crumb.

Is he a good artist? Yes, if you want to do the same thing over and over. He should have been my best friend for what I did with Fritz the Cat.

I drew a good picture, and we both made out fine. In addition to other animated films aimed at adult audiences, the film's success led to the production of a sequel, The Nine Lives of Fritz the Cat.

Although producer Krantz and voice actor Hinnant returned for the follow-up, Bakshi did not. Nine Lives was distributed by American International Pictures , and was considered to be inferior to its predecessor.

The film is widely noted in its innovation for featuring content that had not been portrayed in animation before, such as sexuality and violence, and was also, as John Grant writes in his book Masters of Animation , "the breakthrough movie that opened brand new vistas to the commercial animator in the United States", [67] presenting an "almost disturbingly accurate" portrayal "of a particular stratum of Western society during a particular era, Barrier described the films as an effort "to push beyond what was done in the old cartoons, even while building on their strengths".

As a result of these innovations, Fritz was selected by Time Out magazine as the 42nd greatest animated film, [71] ranked at number 51 on the Online Film Critics Society 's list of the top greatest animated films of all time, [72] and was placed at number 56 on Channel 4 's list of the Greatest Cartoons.

From Wikipedia, the free encyclopedia. Theatrical release poster. Ed Bogas Ray Shanklin. Release date. Running time.

Main article: Fritz the Cat soundtrack. British Board of Film Classification. June 2, Retrieved March 12, In Holm, D.

Crumb: Conversations. Press of Mississippi. Funnyworld Retrieved March 2, Unfiltered: The Complete Ralph Bakshi.

Universe Publishing. Television Editorial Corp. The official Ralph Bakshi website. Archived from the original on October 27, Retrieved October 6, New York Times.

Archived from the original on September 14, Retrieved March 21, Retrieved April 4, Archived from the original on January 24, Retrieved March 16, Archived from the original on February 18, Retrieved April 27, Retrieved April 6, Retrieved April 30, Arrow Films.

Fritz the Cat. Crumb's Head Comix. Fritz Bugs Out. Fritz the No-Good. The Daily Cross Hatch. Archived from the original on August 13, Retrieved June 19, January 1, Retrieved April 5, The Onion A.

Archived from the original on October 12, Ralph Bakshi. Archived from the original on August 24, Fulvue Drive-In.

Retrieved March 6, The Animated Movie Guide. Chicago Review Press. Da Capo. Animation World 4. Archived from the original on June 5, Retrieved September 6, Planet Cat: A Cat-Alog.

Houghton Mifflin Harcourt. The Guardian. Rolling Stone. Straight Arrow Publishers, Inc. Rotten Tomatoes.

Retrieved August 30, Fairleigh Dickinson University Press. The R. Crumb Handbook. M Q Publications. Archived from the original on August 27, Masters of Animation.

Archived from the original on January 4, Archived from the original on March 15, Oxford University Press US. Time Out. Archived from the original on December 6, Retrieved November 11, Online Film Critics Society.

Channel 4. Retrieved January 28, Contact Music. Creekmur, Corey H. In Booker, M. Keith ed. Encyclopedia of Comic Books and Graphic Novels. New York Magazine.

The Jew in American Cinema. Indiana University Press. University Press of Mississippi. Palgrave Macmillan. Listen to this article.

This audio file was created from a revision of this article dated , and does not reflect subsequent edits.

Audio help More spoken articles. Skip Hinnant. Book Category. Robert Crumb. Natural The Snoid. Zap Weirdo.

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Suddenly, the crow rebukes the girls with a snide remark, indicates that he is gay and walks away. Fritz invites the girls to "seek the truth", bringing them up to his friend's apartment, where a wild party is taking place.

Since the other rooms are crowded, Fritz drags the girls into the bathroom and the four of them have group sex in the bathtub. Meanwhile, two bumbling police officers portrayed as pigs arrive to raid the party.

As they walk up the stairs, one of the party-goers finds Fritz and the girls in the bath tub. Several others jump in, pushing Fritz to the side where he takes solace in marijuana.

The two officers break into the apartment, but find that it is empty because everyone has moved into the bathroom.

Fritz takes refuge in the toilet when one of the pigs enters the bathroom and begins to beat up the partygoers. As the pig becomes exhausted, a very stoned Fritz jumps out, grabs the pig's gun, and shoots the toilet, causing the water main to break and flooding everybody out of the apartment.

The pigs chase Fritz down the street into a synagogue. Fritz manages to escape when the congregation gets up to celebrate the United States' decision to send more weapons into Israel.

Fritz makes it back to his dormitory, where his roommates are too busy studying to pay attention to him. He decides to ditch his bore of a life and sets all of his notes and books on fire.

The fire spreads throughout the dorm, finally setting the entire building ablaze. In a bar in Harlem, Fritz meets Duke the Crow at a pool table.

After narrowly avoiding getting into a fight with the bartender, Duke invites Fritz to "bug out", and they steal a car, which Fritz drives off a bridge, leading Duke to save his life by grabbing onto a railing.

The two arrive at the apartment of a drug dealer named Bertha, whose cannabis joints increase Fritz's libido. While having sex with Bertha, he comes to a realization that he "must tell the people about the revolution!

He runs off into the city street and incites a riot, during which Duke is shot and killed. Fritz hides in an alley where his older fox girlfriend, Winston Schwartz, finds him and drags him on a road trip to San Francisco.

When their car runs out of gas in the middle of the desert, he decides to abandon her. He later meets up with Blue, a methamphetamine-addicted Nazi rabbit biker.

Along with Blue's horse girlfriend, Harriet, they take a ride to an underground hide-out, where several other revolutionaries tell Fritz of their plan to blow up a power station.

When Harriet tries to get Blue to leave with her to go to a Chinese restaurant, he hits her several times and ties her down with a chain.

When Fritz attempts to break it up, the leader throws a candle in his face. Blue, John, and the lizard leader then throw Harriet onto a bed and rape her.

After setting the dynamite at the power plant, Fritz suddenly has a change of heart, and unsuccessfully attempts to remove it before being caught in the explosion.

At a Los Angeles hospital, Harriet disguised as a nun and the girls from the New York park come to comfort him in what they believe to be his last moments.

Fritz, after reciting the speech he used to pick up the girls from New York, suddenly becomes revitalized and has sex with the trio of girls while Harriet watches in astonishment.

Robert Crumb was still a teenager when he created the character Fritz the Cat for self-published comics magazines he made with his older brother Charles.

The character first appeared to a wider public in Harvey Kurtzman 's humor magazine Help! He had countercultural strips published in underground periodicals [12] and in published the first issue of Zap Comix.

Crumb's cartoons became progressively more transgressive, sexually explicit, and violent, [13] and Crumb became the center of the burgeoning underground comix movement.

At the age of 29, Bakshi was hired to head the animation division of Paramount Pictures as both writer and director, where he produced four experimental short films before the studio closed in However, Krantz told Bakshi that studio executives would be unwilling to fund the film because of its content and Bakshi's lack of film experience.

Mark's Place , Bakshi came across a copy of R. Crumb's Fritz the Cat Impressed by Crumb's sharp satire, Bakshi purchased the book and suggested to Krantz that it would work as a film.

As Krantz began to prepare the paperwork, preparation began on a pitch presentation for potential studios, including a poster-sized painted cel setup featuring the strip's cast against a traced photo background, as Bakshi intended the film to appear.

After a week, Crumb left, leaving the film's production status uncertain, [22] but Dana had power of attorney and signed the contract.

With the rights to the character, Krantz and Bakshi set out to find a distributor, but Krantz states that "every major distributor turned it down" [5] and that studios were unenthusiastic about producing an independent animated film due to the prominence of Walt Disney Animation Studios in animation, in addition to the fact that Fritz the Cat would be a very different animated film from what had previously been made.

In the spring of , Warner Bros. Krantz intended to release these scenes as a minute short if the film's funding was pulled; Bakshi was nevertheless determined to complete the film as a feature.

I'll remember their faces until I die. One of them left the room. Holy hell, you should have seen his face. This is not the movie you're allowed to make!

The film's budget is disputed. In , The Hollywood Reporter stated that Fritz the Cat recouped its costs in four months following its release.

Warner executives wanted the sexual content toned down, and to cast big names for the voices. Bakshi refused, and Warner pulled their funding from the film, leading Krantz to seek funds elsewhere.

This led to a deal with Jerry Gross, the owner of Cinemation Industries , a distributor specializing in exploitation films.

Although Bakshi did not have enough time to pitch the film, Gross agreed to fund its production and distribute it, believing that it would fit in with his grindhouse slate.

Bakshi was initially reluctant to direct Fritz the Cat because he had spent years working on animated productions featuring animal characters and wanted to make films focusing on human characters.

Which was hysterically funny and, I think, great—like Uncle Remus stuff. But they didn't play down south, and they had to change two black crows to two Englishmen.

And I always told him that the black crows were funnier. So it was a slow awakening. In his notes to animator Cosmo Anzilotti, Bakshi is precise, and even specifies that the crows smoked marijuana rather than tobacco.

Bakshi states that "The weed had to read on screen. It's an important character detail. The setting of the story's period is not only established by a title, but also by a voiceover by Bakshi playing a character giving his account of the s: "happy times, heavy times".

The film's opening dialogue, by three construction workers on their lunch break, establishes many of the themes discussed in the film, including drug use, promiscuity, and the social and political climate of the era.

When one of the workers urinates off of the scaffold, the film's credits play over a shot of the liquid falling against a black screen.

When the credits end, it is shown that the construction worker has urinated on a long-haired hippie with a guitar. Karl F. Cohen writes that the film "is a product of the radical politics of the period.

Bakshi's depiction of Fritz's life is colorful, funny, sexist, raw, violent, and outrageous. Of his direction of the film, Bakshi stated, "My approach to animation as a director is live action.

I don't approach it in the traditional animation ways. None of our characters get up and sing, because that's not the type of picture I'm trying to do.

I want people to believe my characters are real, and it's hard to believe they're real if they start walking down the street singing. Another scene features a reference to the " Pink Elephants on Parade " sequence from Dumbo.

The original screenplay consisted mostly of dialogue and featured only a few changes from Crumb's stories. The script and storyboards went largely unused in favor of more experimental storytelling techniques.

The way you feel about a film on Day One, you may not feel the same way forty weeks down the road. Characters grow, so I wanted to have the option to change things, and strengthen my characters It was sort of a stream of consciousness, and a learning process for myself.

The first part of the film's plot was adapted from a self-titled story published in a issue of R. Animation historian Michael Barrier describes this section of the film as being "much grimmer than Crumb's stories past that point, and far more violent.

It was cute, it was sweet, but there was nowhere to put it. That's why Crumb hates the picture, because I slipped a couple of things in there that he despises, like the rabbis—the pure Jewish stuff.

Fritz can't hold that kind of commentary. Winston is 'just a typical Jewish broad from Brooklyn'. Bakshi's unwillingness to use anthropomorphic characters that behaved like feral animals led him to rewrite a scene in "Fritz Bugs Out" where Duke saves Fritz's life by flying while holding Fritz; in the film, Duke grabs a railing before the car crashes into the river, a solution that Bakshi wasn't entirely satisfied with, but prevented him from having to use any feral animal behavior in that scene.

In the film, there are two characters named "Winston" — one appears at the beginning and end of the film, the other is Fritz's girlfriend Winston Schwartz.

Michael Barrier notes that Winston Schwartz who appears prominently in "Fritz Bugs Out" and "Fritz the No-Good" never has a proper introduction in Bakshi's film, and interprets the naming of a separate character as Bakshi's attempt to reconcile this; however, the two characters look and sound nothing alike.

Some scenes used documentary recordings which were made by Bakshi and edited to fit the scene; [39] these were used because Bakshi wanted the film to "feel real".

When I went to have the film mixed, the sound engineers gave me all kinds of crap about the tracks not being professionally recorded; they didn't even want to mix the noise of bottles breaking in the background, street noise, tape hiss, all kinds of shit.

They said it was unprofessional, but I didn't care. Almost all of the film's dialogue, except for that of a few of the main characters, was recorded entirely on the streets of New York City.

For the voices of the rabbis, Bakshi used a documentary recording of his father and uncles. This scene continued to have a personal significance on Bakshi after his father and uncle died.

Bakshi states, "Thank God I have their voices. I have my dad and family praying. It's so nice to hear now. The film's score was composed by Ed Bogas and Ray Shanklin.

Those who entered with a smirk, "wanting to be very dirty and draw filthy pictures", did not stay very long, and neither did those with a low tolerance for vulgarity.

One cartoonist refused to draw a black crow shooting a pig policeman. Two female animators quit; one because she could not bring herself to tell her children what she did for a living, the other because she refused to draw exposed breasts.

In order to save money by eliminating the need for model sheets, Bakshi let animator John Sparey draw some of the first sequences of Fritz.

Bakshi states that he knew that "Sparey would execute them beautifully. According to Bakshi, "We pencil tested I'd say a thousand feet [of footage], tops.

We do a major feature without pencil tests—that's tough. The timing falls off. I can always tell an animator to draw it better, and I know if the attitude of the characters is right, but the timing you really can't see.

In May , Bakshi moved his studio to Los Angeles to hire additional animators there. Turek inked the outlines of these photographs onto cels with a Rapidograph , the technical pen preferred by Crumb, giving the film's backgrounds stylized realism that had never been portrayed in animation before.

When Vita finished his painting, Turek's original drawing, on the cel, would be placed over the watercolor, obscuring the photocopy lines on the painting.

However, at the time, the rating was associated with more arthouse fare, and since the recently released Melvin Van Peebles film Sweet Sweetback's Baadasssss Song , which was released through Cinemation, had received both an X rating and considerable success, the distributor hoped that Fritz the Cat would be even more profitable.

Cinemation's advertising style and the film's rating led many to believe that Fritz the Cat was a pornographic film. When it was introduced as such at a showing at the University of Southern California, Bakshi stated firmly, " Fritz the Cat is not pornographic.

Before the film's release, American distributors attempted to cash in on the publicity garnered from the rating by rushing out dubbed versions of two other adult animated films from Japan, both of which featured an X rating in their advertising material: Senya ichiya monogatari and Kureopatora , re-titled One Thousand and One Arabian Nights and Cleopatra: Queen of Sex.

However, neither film was actually submitted to the MPAA, and it is not likely that either feature would have received an X rating.

In Michael Barrier's article on its production, Bakshi gives accounts of two screenings of the film. Of the reactions to the film by audiences at a preview screening in Los Angeles, Bakshi stated, "They forget it's animation.

They treat it like a film. This is the real thing, to get people to take animation seriously. The point is, animation was making people get up off their asses and get mad.

The film also sparked negative reactions because of its content. The younger people, the people who could take new ideas, were the people I was addressing.

I wasn't addressing the whole world. To those people who loved it, it was a huge hit, and everyone else wanted to kill me. Critical reaction was mixed, but generally positive.

Lee Beaupre wrote for The New York Times , "In dismissing the political turbulence and personal quest of the sixties while simultaneously exploiting the sexual freedom sired by that decade, Fritz the Cat truly bites the hand that fed it.

Crumb first saw the film in February , during a visit to Los Angeles with fellow underground cartoonists Spain Rodriguez , S.

According to Bakshi, Crumb was dissatisfied with the film. There's something real repressed about it. In a way, it's more twisted than my stuff.

It's really twisted in some kind of weird, unfunny way. I didn't like that sex attitude in it very much. It's like real repressed horniness; he's kind of letting it out compulsively.

Reportedly, Crumb filed a lawsuit to have his name removed from the film's credits. Morse said that no suit was filed, but an agreement was reached to remove Crumb's name from the credits.

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