Like the first film, The Nine Lives of Fritz the Cat focuses on Fritz (voiced by Hinnant), a fraudulent womanizer and leftist, who is shown in this film to have married an ill-tempered woman named Gabrielle, with whom he shares an apartment room with their infant son. Unlike the first film, The Nine Lives of Fritz the Cat adopts a non-linear narrative and is presented as an anthology of loosely connected short stories, connected as cannabis-induced fantasies which occur as she berates Fritz. The stories depict him as a Nazistormtrooper, a rich playboy, an astronaut heading to Mars, and in an alternate reality in which New Jersey has seceded from the United States as an entirely African American state, China and Russia. Except for the wraparound segment, none of the film's storylines are based on Robert Crumb's comics, and he was not credited on this film.
In contrast to the first film receiving an X rating, the sequel got an R rating, being the first American animated film to do so, and cementing the Fritz films as the holders of the first animated films to receive both ratings.
Plot
Following the events of the first film, it is the 1970s; Fritz the Cat is now married, on welfare, and has a baby named Ralphie, whom Fritz has an influence from. As his wife Gabrielle berates him for being an irresponsible father and husband, Fritz sits on the couch, staring off into space, smoking a marijuana joint. Tired of listening to his wife nag at him, he fades off into his own little world, imagining what life would be like for him if things were different.
The first character he meets on his stoned journey is Juan, a Puerto Rican. The two talk about Juan's sister Chita. The scene fades to Juan's house where Fritz is seen sitting on the couch smoking a joint next to Chita, while Juan is at the store. Chita complains to Fritz when he blows smoke in her eyes. His reaction is to tell her to loosen up and "embrace her fellow man", then he suddenly shoves a joint into her mouth, taking her off into her own hallucinogenic fantasy. The pot makes her horny. Meanwhile, outside, a pair of crows are about to rob the place, but decide to stay outside and watch what happens inside instead. A car pulls up and out comes Chita's father, who sees Fritz and Chita having sex, and blows Fritz apart with a shotgun. This violent display turns off the two crows, who decide to come back at another time.
In his second life, Fritz meets a drunken bum claiming to be God.
In his third life, Fritz imagines that he is a soldier in World War II-era Nazi Germany. After being caught having a ménage à trois with two German girls by a commanding officer (the two girls being the officer's wife and daughter), Fritz escapes, and winds up being an orderly to Adolf Hitler. Fritz takes the form of a therapist, and analyzes Hitler, telling him that his world domination plans were just a way of trying to get attention. In the showers, Hitler "accidentally" drops his soap, and urges Fritz to pick it up, in an attempt to rape him, and ends up getting his single testicle (a reference to the song "Hitler Has Only Got One Ball") blown off. In this segment, Fritz meets his death by way of the United States Army.
The film cuts back to 1970s-era New York in Fritz's fourth life as Fritz attempts to sell a used condom to a liquor store owner, Niki, who bets he knows who Fritz used it on. The two break out laughing as they take turns describing the woman. Fritz at one point blurts out that the woman has got the clap. When Niki asks who her name is, Fritz responds by telling him "Gina". Niki says that that's his wife's name and that she doesn't have the clap. Fritz tells him "she does now," causing Niki to curse and shout at Fritz. As he walks out of the store, Fritz bumps into a pig named Lenny. Fritz tells him that he was an irresistible stud in the 1930s.
Fritz's fifth life is a psychedelic montage of old stock film and animation, vaguely illustrating Fritz's downfall in the 1930s (losing everything to excessive partying and drinking).
In his sixth life, Fritz shows up at a pawn shop run by a Jewish crow named Morris, and tries to get a welfare check cashed. Fritz tries to make a deal with Morris: If Morris will cash Fritz's welfare check, then Fritz will give Morris a toilet seat. Morris doesn't like the deal, but suddenly getting diarrhea from the pickles he has been eating, he reluctantly accepts the deal, but instead of cashing Fritz's welfare check, he gives Fritz a space helmet.
We then see Fritz in his seventh life, as NASA hires Fritz to go into space on the first mission to Mars. While waiting for the shuttle to take off, Fritz decides to have sex with one of the reporters, a black girl. However, the space shuttle takes off a little early, and once in space, it explodes.
In Fritz's eighth life, the film portrays Fritz talking to the ghost of his black crow friend Duke, who was shot to death in the previous film. The film then flash-forwards to a future where New Jersey is a separate country from the rest of the United States, and has been renamed "New Africa", home to all black crows. Fritz is just starting his job as a courier, and he is asked by President Henry Kissinger to deliver a letter to the president of New Africa. In New Africa, Fritz finds a high crime rate, corruption, and violence. Once Fritz is led to "The Black House", he hears the president of New Africa and his vice-president talking about how low his popularity is, and how an assassination attempt would boost his popularity. The president refuses to get shot, but is shot anyway, because the vice president needs his president's popularity to increase so he will not lose the upcoming election. The vice-president blames the assassination on Fritz, because he is the only "white" cat in New Africa. Because of this, America and "New Africa" are at war, and Kissinger eventually admits an unconditional surrender. In the end, Fritz is shot for the crime he did not commit.
In his final life, Fritz finds himself living in the sewers of New York, where he meets an Indian guru and the devil. However, Gabrielle snaps Fritz out from his drug-induced reality, who finally throws him out of the apartment room to get him to improve their family for her. After a quick look at all of his lives and realizing what he has done, Fritz sighs and says "This is about the worst life I've ever had," then leaves to make up for his irresponsibility as a father and husband.
The only two people involved in the first film to work on the sequel were Skip Hinnant, who reprises his role as the eponymous protagonist, and producer Steve Krantz. Ralph Bakshi had written and directed Fritz the Cat in 1972, but did not want to direct a sequel, and had absolutely no involvement with the film. However, Bakshi sometimes incorrectly has been credited as having worked on the film, such as in Jeff Lenburg's Who's Who in Animated Cartoons, which claims that Bakshi had been a producer on the film.[3] The concept of a sequel to Fritz the Cat was a point of contention between Bakshi and Krantz, as Bakshi wanted to end his film with Fritz's death, and Krantz wanted Fritz to live at the end, to leave room for sequels.[4]
For the sequel, Krantz hired animator Robert Taylor to direct. Taylor had worked on The Mighty Heroes, a superhero spoof Bakshi created in the 1960s. Stylistically, Taylor attempted to recreate only some of the elements and themes of the original film. The setting of the film's period is similar to that of the first film, with the speaker addressing the audience with "jump back, baby." However, unlike the first film, The Nine Lives of Fritz the Cat was made during the era in which it was set. Because the filmmakers only had three years of history to work with, much of the film diverges into various storytelling directions, including sections focusing on the 1930s, Nazi Germany, and an alternate future. The film's ending credits play over animation of Fritz dancing down the street in tune with Tom Scott's music.
Taylor cowrote the film's screenplay with Fred Halliday and Eric Monte. Steve Krantz would later produce Monte's screenplay Cooley High, which was developed into the television sitcom What's Happening!! The film's title has been seen as ironic, as the character's creator Robert Crumb had previously drawn a story in which the character was killed.[5] Crumb's comics were not generally used as the basis for the screenplay, except for the wraparound segment, and Crumb was not credited on this film, unlike the first film.
The music for this film was performed by Tom Scott and the L.A. Express.
A full soundtrack album was planned for official release, but the album never came out because of the film's failure. However, a 45RPM single featuring two songs from the film, "Jump Back," and "TCB in E" was released in 1974.[8]
Both Fritz the Cat films are available on DVD through MGM Home Entertainment in the U.S., and Arrow Films in the UK as part of a DVD box set titled The Fritz the Cat Collection.
Reception
Time Out described the film as being "woefully inept".[9]
Ralph Bakshi later contrasted Taylor's efforts to how his film might have turned out if prospective distributor Warner Bros. had been allowed to tone down the content of the film,[10] and states that Robert Crumb does not acknowledge The Nine Lives of Fritz the Cat because "He would have to say, 'Well, Ralph did do a better picture than Nine Lives.' So to Robert Crumb, there is no Nine Lives. It doesn't exist."[11] Crumb did acknowledge the sequel in the documentary The Confessions of Robert Crumb (1987).[12]
Ralph Bakshi is an American animator, filmmaker and painter. In the 1970s, he established an alternative to mainstream animation through independent and adult-oriented productions. Between 1972 and 1994, he directed nine theatrically released feature films, predominantly urban dramas and fantasy films, five of which he wrote. He has also been involved in numerous television projects as director, writer, producer and animator.
Robert Dennis Crumb is an American cartoonist who often signs his work R. Crumb. His work displays a nostalgia for American folk culture of the late 19th and early 20th centuries, and satire of contemporary American culture.
Animation in the United States in the television era was a period in the history of American animation that slowly set in with the decline of theatrical animated shorts and the popularization of television animation that started in the late 1950s, reached its peak during the 1970s, and ended around the mid-1980s. This era is characterized by low budgets, limited animation, an emphasis on television over the theater, and the general perception of cartoons being primarily for children. Due to the perceived cheap production values, poor animation, and mixed critical and commercial reception, the era is generally looked back upon negatively by critics and animation historians. The television animation of this period is often referred to as the dark age of American animation, while the theatrical animation from the time is sometimes referred as the bronze age.
The term independent animation refers to animated shorts, web series, and feature films produced outside a major national animation industry.
The Lord of the Rings is a 1978 British-American animated fantasy film directed by Ralph Bakshi from a screenplay by Chris Conkling and Peter S. Beagle. It is based on the novel of the same name by J. R. R. Tolkien, adapting from the volumes The Fellowship of the Ring and The Two Towers. Set in Middle-earth, the film follows a group of fantasy races—Hobbits, Men, an Elf, a Dwarf and a wizard—who form a fellowship to destroy a magical ring made by the Dark Lord Sauron, the main antagonist.
Fritz the Cat is a comic strip created by Robert Crumb. Set in a "supercity" of anthropomorphic animals, it focused on Fritz, a tabby cat who frequently went on wild adventures that sometimes involved sexual escapades. Crumb began drawing the character in homemade comic books as a child, and Fritz would become one of his best-known characters.
Wizards is a 1977 American animated post-apocalyptic science fantasy film written, directed and produced by Ralph Bakshi and distributed by 20th Century-Fox. The film follows a battle between two wizards of opposing powers, one representing the forces of magic and the other representing the forces of technology.
Heavy Traffic is a 1973 American live-action/adult animated drama film written and directed by Ralph Bakshi. The film, which begins, ends, and occasionally combines with live-action, explores the often surreal fantasies of a young New York City cartoonist named Michael Corleone, using pinball imagery as a metaphor for inner-city life. Heavy Traffic was Bakshi and producer Steve Krantz's follow-up to the film Fritz the Cat. Though producer Krantz made varied attempts to produce an R-rated film, Heavy Traffic was given an X rating by the MPAA. The film received largely positive reviews and is widely considered to be Bakshi's biggest critical success.
Crumb is a 1994 American documentary film about the noted underground cartoonist R. Crumb and his family and his outlook on life. Directed by Terry Zwigoff and produced by Lynn O'Donnell, it won widespread acclaim. It was released on the film festival circuit in September 1994 before being released theatrically in the United States on April 28, 1995, having been screened at film festivals that year. Jeffery M. Anderson placed the film on his list of the ten greatest films of all time, labeling it "the greatest documentary ever made." The Criterion Collection released the film on DVD and Blu-ray on August 10, 2010.
Stephen Falk Krantz was a film producer and writer, most active from 1966 to 1996.
Joseph Howard "Skip" Hinnant is an American actor.
Cool and the Crazy is a 1994 American made-for television drama film written and directed by Ralph Bakshi and starring Jared Leto and Alicia Silverstone. The story revolves around an unhappily married couple in the late 1950s who both lead separate affairs. The film was Bakshi's first feature-length live-action film, being primarily known as a director of animated films which heavily utilize live-action sequences, such as Fritz the Cat, Heavy Traffic, Wizards, American Pop and The Lord of the Rings.
Down and Dirty Duck, promoted under the abbreviated title Dirty Duck, is a 1974 American adult animated comedy film written and directed by Charles Swenson and starring Mark Volman and Howard Kaylan as the voices of a strait-laced, low-level white-collar worker named Willard and an unnamed duck, among other characters. The plot consists of a series of often abstract sequences, including plot material created by stars Kaylan, Volman, Robert Ridgely, and, according to the film's ending credits, various people Swenson encountered during the making of the film. It was the first animated movie to star LGBT characters. The film received mostly negative reviews.
Hey Good Lookin' is a 1982 American adult animated coming of age comedy-drama film written, directed, and produced by Ralph Bakshi. The film takes place in Brooklyn during the 1950s and focuses on Vinnie, the leader of a gang named 'the Stompers', his friend Crazy Shapiro, and their respective girlfriends Roz and Eva. The film stars the voices of Richard Romanus, David Proval, Tina Bowman, and Jesse Welles.
Fritz the Cat is a 1972 American adult animated black comedy film written and directed by Ralph Bakshi in his directorial debut. Based on the comic strip of the same name by Robert Crumb, the film focuses on its Skip Hinnant-portrayed titular character, a glib, womanizing and fraudulent cat in an anthropomorphic animal version of New York City during the mid-to-late 1960s. Fritz decides on a whim to drop out of college, interacts with inner city African American crows, unintentionally starts a race riot and becomes a leftist revolutionary. The film is a satire focusing on American college life of the era, race relations and the free love movement, as well as serving as a criticism of the countercultural political revolution and dishonest political activists.
Fritz the Cat is the 1972 soundtrack album to the Ralph Bakshi directed animated film of the same name.
Harry Love was an American animator, effects animator, director, producer, production coordinator, and writer.
Emmanuel Gould was an American animated cartoonist from the 1920s to the 1970s, best known for his contributions as a director, writer and animator for Screen Gems, and solely an animator for Warner Bros. Cartoons and DePatie–Freleng Enterprises.
Volus Carson Jones was an American animator. He was best known for his work at the Disney cartoon studio, but amassed credits at numerous other studios including Bakshi Animation, Columbia, DePatie-Freleng Enterprises, King Features Productions, Steve Krantz Productions, Warner Bros.-Seven Arts Animation, Harman-Ising Productions, Walter Lantz Productions, Format Films, Hanna-Barbera, Famous Studios and UPA.
The People's Comics is a single-issue underground comic book drawn and written largely by Robert Crumb, with a young Harvey Pekar writing a back cover feature. The book is notable for containing the death sequence of Fritz the Cat following Crumb's disappointment with Ralph Bakshi's 1972 film involving the character.
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