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When one of the workers urinates off of the scaffold, the film's credits play over a shot of the liquid falling against a black screen.

When the credits end, it is shown that the construction worker has urinated on a long-haired hippie with a guitar.

Karl F. Cohen writes that the film "is a product of the radical politics of the period. Bakshi's depiction of Fritz's life is colorful, funny, sexist, raw, violent, and outrageous.

Of his direction of the film, Bakshi stated, "My approach to animation as a director is live action. I don't approach it in the traditional animation ways.

None of our characters get up and sing, because that's not the type of picture I'm trying to do. I want people to believe my characters are real, and it's hard to believe they're real if they start walking down the street singing.

Another scene features a reference to the " Pink Elephants on Parade " sequence from Dumbo. The original screenplay consisted mostly of dialogue and featured only a few changes from Crumb's stories.

The script and storyboards went largely unused in favor of more experimental storytelling techniques. The way you feel about a film on Day One, you may not feel the same way forty weeks down the road.

Characters grow, so I wanted to have the option to change things, and strengthen my characters It was sort of a stream of consciousness, and a learning process for myself.

The first part of the film's plot was adapted from a self-titled story published in a issue of R. Animation historian Michael Barrier describes this section of the film as being "much grimmer than Crumb's stories past that point, and far more violent.

It was cute, it was sweet, but there was nowhere to put it. That's why Crumb hates the picture, because I slipped a couple of things in there that he despises, like the rabbis—the pure Jewish stuff.

Fritz can't hold that kind of commentary. Winston is 'just a typical Jewish broad from Brooklyn'. Bakshi's unwillingness to use anthropomorphic characters that behaved like feral animals led him to rewrite a scene in "Fritz Bugs Out" where Duke saves Fritz's life by flying while holding Fritz; in the film, Duke grabs a railing before the car crashes into the river, a solution that Bakshi wasn't entirely satisfied with, but prevented him from having to use any feral animal behavior in that scene.

In the film, there are two characters named "Winston" — one appears at the beginning and end of the film, the other is Fritz's girlfriend Winston Schwartz.

Michael Barrier notes that Winston Schwartz who appears prominently in "Fritz Bugs Out" and "Fritz the No-Good" never has a proper introduction in Bakshi's film, and interprets the naming of a separate character as Bakshi's attempt to reconcile this; however, the two characters look and sound nothing alike.

Some scenes used documentary recordings which were made by Bakshi and edited to fit the scene; [39] these were used because Bakshi wanted the film to "feel real".

When I went to have the film mixed, the sound engineers gave me all kinds of crap about the tracks not being professionally recorded; they didn't even want to mix the noise of bottles breaking in the background, street noise, tape hiss, all kinds of shit.

They said it was unprofessional, but I didn't care. Almost all of the film's dialogue, except for that of a few of the main characters, was recorded entirely on the streets of New York City.

For the voices of the rabbis, Bakshi used a documentary recording of his father and uncles. This scene continued to have a personal significance on Bakshi after his father and uncle died.

Bakshi states, "Thank God I have their voices. I have my dad and family praying. It's so nice to hear now.

The film's score was composed by Ed Bogas and Ray Shanklin. Those who entered with a smirk, "wanting to be very dirty and draw filthy pictures", did not stay very long, and neither did those with a low tolerance for vulgarity.

One cartoonist refused to draw a black crow shooting a pig policeman. Two female animators quit; one because she could not bring herself to tell her children what she did for a living, the other because she refused to draw exposed breasts.

In order to save money by eliminating the need for model sheets, Bakshi let animator John Sparey draw some of the first sequences of Fritz.

Bakshi states that he knew that "Sparey would execute them beautifully. According to Bakshi, "We pencil tested I'd say a thousand feet [of footage], tops.

We do a major feature without pencil tests—that's tough. The timing falls off. I can always tell an animator to draw it better, and I know if the attitude of the characters is right, but the timing you really can't see.

In May , Bakshi moved his studio to Los Angeles to hire additional animators there. Turek inked the outlines of these photographs onto cels with a Rapidograph , the technical pen preferred by Crumb, giving the film's backgrounds stylized realism that had never been portrayed in animation before.

When Vita finished his painting, Turek's original drawing, on the cel, would be placed over the watercolor, obscuring the photocopy lines on the painting.

However, at the time, the rating was associated with more arthouse fare, and since the recently released Melvin Van Peebles film Sweet Sweetback's Baadasssss Song , which was released through Cinemation, had received both an X rating and considerable success, the distributor hoped that Fritz the Cat would be even more profitable.

Cinemation's advertising style and the film's rating led many to believe that Fritz the Cat was a pornographic film.

When it was introduced as such at a showing at the University of Southern California, Bakshi stated firmly, " Fritz the Cat is not pornographic.

Before the film's release, American distributors attempted to cash in on the publicity garnered from the rating by rushing out dubbed versions of two other adult animated films from Japan, both of which featured an X rating in their advertising material: Senya ichiya monogatari and Kureopatora , re-titled One Thousand and One Arabian Nights and Cleopatra: Queen of Sex.

However, neither film was actually submitted to the MPAA, and it is not likely that either feature would have received an X rating.

In Michael Barrier's article on its production, Bakshi gives accounts of two screenings of the film. Of the reactions to the film by audiences at a preview screening in Los Angeles, Bakshi stated, "They forget it's animation.

They treat it like a film. This is the real thing, to get people to take animation seriously. The point is, animation was making people get up off their asses and get mad.

The film also sparked negative reactions because of its content. The younger people, the people who could take new ideas, were the people I was addressing.

I wasn't addressing the whole world. To those people who loved it, it was a huge hit, and everyone else wanted to kill me. Critical reaction was mixed, but generally positive.

Lee Beaupre wrote for The New York Times , "In dismissing the political turbulence and personal quest of the sixties while simultaneously exploiting the sexual freedom sired by that decade, Fritz the Cat truly bites the hand that fed it.

Crumb first saw the film in February , during a visit to Los Angeles with fellow underground cartoonists Spain Rodriguez , S. According to Bakshi, Crumb was dissatisfied with the film.

There's something real repressed about it. In a way, it's more twisted than my stuff. It's really twisted in some kind of weird, unfunny way.

I didn't like that sex attitude in it very much. It's like real repressed horniness; he's kind of letting it out compulsively.

Reportedly, Crumb filed a lawsuit to have his name removed from the film's credits. Morse said that no suit was filed, but an agreement was reached to remove Crumb's name from the credits.

The last time I saw it was when I was making an appearance at a German art school in the mids, and I was forced to watch it with the students. It was an excruciating ordeal, a humiliating embarrassment.

I recall Victor Moscoso was the only one who warned me 'if you don't stop this film from being made, you are going to regret it for the rest of your life'—and he was right.

In a interview, Bakshi referred to Crumb as a "hustler" and stated, "He goes in so many directions that he's hard to pin down.

I spoke to him on the phone. We both had the same deal, five percent. They finally sent Crumb the money and not me.

I have no respect for Crumb. Is he a good artist? Yes, if you want to do the same thing over and over. He should have been my best friend for what I did with Fritz the Cat.

I drew a good picture, and we both made out fine. In addition to other animated films aimed at adult audiences, the film's success led to the production of a sequel, The Nine Lives of Fritz the Cat.

Although producer Krantz and voice actor Hinnant returned for the follow-up, Bakshi did not. Nine Lives was distributed by American International Pictures , and was considered to be inferior to its predecessor.

The film is widely noted in its innovation for featuring content that had not been portrayed in animation before, such as sexuality and violence, and was also, as John Grant writes in his book Masters of Animation , "the breakthrough movie that opened brand new vistas to the commercial animator in the United States", [67] presenting an "almost disturbingly accurate" portrayal "of a particular stratum of Western society during a particular era, Barrier described the films as an effort "to push beyond what was done in the old cartoons, even while building on their strengths".

As a result of these innovations, Fritz was selected by Time Out magazine as the 42nd greatest animated film, [71] ranked at number 51 on the Online Film Critics Society 's list of the top greatest animated films of all time, [72] and was placed at number 56 on Channel 4 's list of the Greatest Cartoons.

From Wikipedia, the free encyclopedia. Theatrical release poster. Ed Bogas Ray Shanklin. Release date. Running time. Main article: Fritz the Cat soundtrack.

British Board of Film Classification. June 2, Retrieved March 12, In Holm, D. Crumb: Conversations. Press of Mississippi. Funnyworld Retrieved March 2, Unfiltered: The Complete Ralph Bakshi.

Universe Publishing. Television Editorial Corp. The official Ralph Bakshi website. Archived from the original on October 27, Retrieved October 6, New York Times.

Archived from the original on September 14, Retrieved March 21, Retrieved April 4, Archived from the original on January 24, Retrieved March 16, Archived from the original on February 18, Retrieved April 27, Retrieved April 6, Retrieved April 30, Arrow Films.

Fritz the Cat. Crumb's Head Comix. Fritz Bugs Out. Fritz the No-Good. The Daily Cross Hatch. Archived from the original on August 13, Retrieved June 19, January 1, Retrieved April 5, The Onion A.

Archived from the original on October 12, Ralph Bakshi. Archived from the original on August 24, Fulvue Drive-In. Quitting university Fritz the Cat wanders through the hash, Black Panther and Hell's Angels scenes to find to himself.

Zoerner informatik. 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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Rate This. A hypocritical swinging college student cat raises hell in a satiric vision of various elements on the s. Director: Ralph Bakshi.

Fritz The Cat Sex Scenes

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