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Tweet and Sour (1956)

7.1
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Sylvester Cat tries to catch Tweety Bird in Granny's farm house, but Granny catches Sylvester and warns him if anything ever happens to Tweety, she will have Sylvester turned into violin ... See full summary »

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Title: Tweet and Sour (1956)

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Cast

Complete credited cast:
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Sylvester / Tweety (voice)
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Storyline

Sylvester Cat tries to catch Tweety Bird in Granny's farm house, but Granny catches Sylvester and warns him if anything ever happens to Tweety, she will have Sylvester turned into violin strings. A one-eyed orange tabby makes off with Tweety, and Sylvester must rescue the canary to avoid being sent by Granny to the violin string factory. Written by Kevin McCorry <mmccorry@nb.sympatico.ca>

Plot Summary | Add Synopsis


Certificate:

Approved
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Details

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Release Date:

24 March 1956 (USA)  »

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(Technicolor)

Aspect Ratio:

1.37 : 1
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Did You Know?

Goofs

At the beginning, Granny is wearing a plain red hat and a square G-shaped brooch. When she returns at the end of the film, her hat has white flowers around its brim, and the brooch is circular. See more »

Quotes

Tweety: If anything happens to me, Sylvester, it'll be too bad for you. You'll be made into violin strings.
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Soundtracks

Chicken Reel
(uncredited)
Traditional
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Frequently Asked Questions

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User Reviews

 
Tweety & Sylvester: 3% Better than Coyote and the Roadrunner
4 July 2014 | by (New York City) – See all my reviews

In many ways, there is little difference between Friz Freleng's Tweety & Sylvester cartoons and Chuck Jones' Roadrunner & Coyote movies. In each, the predator is trying desperately to capture and eat the bird.

Of course, the two directors' methodology were different. Jones was a more psychological director -- if that sounds weird when talking about cartoons, sorry -- while Freleng cared only about the gags and their timing. The Coyote's techniques for capturing the Roadrunner grew increasingly grandiose and complicated, requiring the industrial might of Acme, while Sylvester relied on relatively low-tech anvils and generic balloons.

In terms of comedy construction, then, we can conclude that Jones' techniques were like Buster Keaton's, with his immense gags; and Freleng's were like Charlie Chaplin's. Which was better? Purely a matter of taste. Mine runs towards Keaton -- but it also prefers Freleng's series to Jones.

This is a pretty good entry in the series. Enjoy.


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