Fritz the Cat may have lost one of his lives in the comics, but in his new movie, he has eight more lives left to go! While his wife screams at him, Fritz lights up a joint and reminiscences about what could have been.
From their stronghold in Icepeak, the evil Queen Juliana (Eileen O'Neill) and her son, Nekron (Stephen Mendel), send forth a wave of glaciers, forcing humanity to retreat south towards the ... See full summary »
A persiflage on the protest movements of the 60s. Its hero is the bold and sex-obsessed tom-cat Fritz the Cat, as created by the legendary underground artist Robert Crumb. Quitting university Fritz the Cat wanders through the hash, Black Panther and Hell's Angels scenes to find to himself.Written by
Tom Zoerner <Tom.Zoerner@informatik.uni-erlangen.de>
According to Fritz's creator Robert Crumb, when Ralph Bakshi and Steve Krantz approached him for permission to a film on his character, Fritz the Cat, he refused, so Bakshi and Krantz made the film without his permission. Ralph Bakshi, however has a different account of the story: "He [Crumb] wanted to take credit for the entire thing. Luckily, film doesn't work that way." Bakshi's account seems more realistic, considering R. Crumb's ego problems. Crumb later killed off Fritz in a story titled "Fritz the Cat - Superstar," in which Fritz was a burnt out superstar, being exploited by characterizations of Krantz and Bakshi, who have already signed him up to do a line of sequels. Fritz winds up being stabbed in the back of the head by a female ostrich. R. Crumb thought that this would stop the further production of sequels to "Fritz the Cat." Ralph Bakshi, who had said all he had to say with the first "Fritz the Cat" movie, moved on to Heavy Traffic (1973). Krantz, who wanted to continue to make money off of the character signed 'Robert Taylor' to write and direct The Nine Lives of Fritz the Cat (1974) for him. See more »
When Duke and Fritz leave the bar, the knife on the floor disappears. See more »
Hey, yeah - the 1960s? Happy times, heavy times.
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I came across the recently released DVD of this film in, of all places, the children's video section of Virgin Megastore. Whether or not this poorly miscategorized placement was of simple ignorance or whether the intent weas subversive and it was intentionally and deliberately placed in the children's section, I found myself grinning and reluctant inform anyone of the error. After all, nobody gave me any forewarnings when I was a kid either, as some things you just have to discover on your own, and the thought of some poor innocent parents popping this film on for their kid only to look on in horror at the visions that would soon unfold sounded dastardly and funny indeed.
I was 7 years old when Fritz the Cat first hit the screen, and while I didn't see the film for the first time until I was well into my twenties, the film nevertheless had a lasting impact on my childhood. This film had taken on a reputation of mythical proportions in my Brooklyn hometown neighborhood, partly due to the older teens on my street who were all too eager to share shocking details contained therein, as only the best subversive intentions can do, and further securing the film's status as "every parent's nightmare". To a child about to undergo serious growing pains and a naturally growing curiosity towards all things "adult-related", Fritz the Cat was very much my earliest childhood memory of the themes of sex, drugs, rock-n-roll, racism, you name it, and it was a symbol for naughtiness that all coming of age kids couldn't wait to catch a sneak peak of, or at least couldn't wait to reach the age when we could view such subject matter freely.
As a movie, it hasn't lost any of it's impact in 30 years, and fewer films truly capture the grittiness and raw edge of New York city in the 70's (French Connection is another good example). I dare say that it could be considered more offensive now than ever, as I fear that today many just might not "get it," despite our self-proclamation that we've come a long way in maturity and tolerance of such sensitive issues. Modern society has become so politically correct and desensitized to controversial issues that we're less tolerant and understanding of the original intent of a film such as this, especially when it's messages are not consistent with our modern value system. Thus, some of the obvious stereotypes presented in this film (such as the pigs portraying cops and the crows portraying blacks, for example), could never be presented in a film today. Granted, these images were meant to be offensive in the 70's as well, but they were obviously taken in a different light back then, as they were indicative of a specific brand of biting satire found in the 70's and hippie culture and a reflection of how that particular generation could openly address such social issues. These issues, such as racism, are clearly still relevant today, we just address them in a different manner, which is why Fritz the Cat still has potency yet is more or less looked upon as a curious time capsule of a bygone era today.
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