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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.
I personally like Sylvester and Tweety, while their cartoons are hit and miss I do kind of have a soft spot for them as they were among the first Looney Tunes cartoons I watched. Tweet and Sour is one of my favourites of theirs alongside Red Riding Hoodwinked, Tweety and the Beanstalk and especially Hyde and Go Tweet. The animation is of great quality and the video quality(picture and sound wise) when I watched the cartoon did it justice. The colours look beautiful, the characters look good and the backgrounds are done with care. Milt Franklin's music has an infectious amount of energy, especially the Chicken Reel while the repeated use of Chopin's funeral march is done to very funny effect especially at the end. The story at hindsight may be standard, but it is interesting and moves quickly, while the gags especially the chases in getting Tweety back and the part with the chicken hut are well-timed and are memorable. In regards to the latter, not only was it unpredictable when you thought it would be predictable but somehow the writers made it work by letting the eye- patched cat have it instead, but the rooster featured reminded me of a made-over Foghorn Leghorn on steroids. The dialogue also manages to be witty and fresh, with the referrals of Sylvester facing the prospect of going to the string factory being too the point and not feeling too hammered in. Tweety is good with some good writing and not too much of a plot device and nothing more like he was in Catty Cornered for example, and Sylvester and the eye-patched cat really make it work with the physical comedy, but the biggest surprise of Tweet and Sour is Granny. This is not the benevolent and mother-figure Granny you see nowadays, this Granny is tough and means business and isn't she funny as well. So all in all, hugely enjoyable and for me by far one of the better Sylvester and Tweety cartoons. 10/10 Bethany Cox
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