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Tweet and Sour (1956)

7.1
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Ratings: 7.1/10 from 132 users  
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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)

Tweet and Sour (1956) on IMDb 7.1/10

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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>

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Approved
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Release Date:

24 March 1956 (USA)  »

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Aspect Ratio:

1.37 : 1
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Did You Know?

Goofs

Granny threatens to send Sylvester to the violin factory if he ever harms Tweety while she's gone. While violin strings are made from 'catgut' made from the intestines of sheep or goats those of the cat are not employed. She is just making an idle threat. See more »

Quotes

Tweety: I tawt I taw a putty tat.
Sylvester: You're darn tootin', buster. You did see a pussy cat.
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Soundtracks

Ain't She Sweet
(uncredited)
Music by Milton Ager
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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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