GAY PURR-EE: Blu-ray (Warner Bros., 1962) Warner Archive

In 1941, several employees from the Walt Disney Co. broke away to found United Productions of America (UPA), an animation studio to eventually mark a veritable antithesis of Walt’s classical stylings. Initially, UPA did not consider itself as a rival, concentrating its efforts on WWII and industrial training shorts. But by war’s end, UPA had moved into competition in the animated shorts category of mainstream entertainments, producing for Columbia Pictures. And UPA, as Disney, was swift to move into the new medium of television too. So, by 1956, the company had a certifiable hit on their hands with Gerald McBoing Boing, and, in the sixties, continued their upswing and influence with Mr. Magoo and Dick Tracy. Magoo was, in fact, an offshoot of the company’s foray into feature-length theatrical animation with 1959’s 1001 Arabian Nights – starring Magoo. This ought to have been the start of something big, especially since UPA’s next theatrical release, 1962’s Gay Purr-ee, promised to rival Disney on its own turf – creating a big and splashy musical to feature the uber-classic talent of none other than Judy Garland, then cresting on the final act of her career. Gay Purr-ee would, in fact be Garland’s third to last movie.

Co-authored by Dorothy Webster Jones and her ‘more famous’ hubby, Warner animation alumni, Chuck, and, featuring new songs by Harold Arlen and E.Y. Harburg, the team responsible for the memorable score to Garland’s 1939 classic, The Wizard of Oz, Gay Purr-ee ought to have emerged as an chic and sophisticated, song-filled extravaganza. Alas, the resultant spectacle proved a disappointment, more fanatically mired by its truly pedestrian animation, even beneath the quality generally exhibited on Saturday morning TV kiddie fare. Set in the Paris of 1895, we are first introduced to Mewsette (voiced by Garland), a Provence pussy-cat in love with introverted mouser, Jaune Tom (Robert Goulet). Mewsette craves the excitement of the city, and, inspired by stories told to her by a human handler, Mewsette departs, presumably for greener pastures in Paris. But, before long, Mewsette meets Meowrice (Paul Frees) a tuxedo con-kitty who places her in the care of sultry Madame Henrietta Reubens-Chatte (Hermione Gingold) under the guise of improving her prospects to become the toast of Paris. The more dire plot, Meowrice is prostituting his new find as a mail-order bride for a wealthy American cat from Pittsburgh – Mr. Phtt. Meanwhile, Jaune Tom and his resourceful pal, Robespierre (Red Buttons) arrive in the city, in search of Mewsette.

Mewsette proves not to be a quick study. Contemplating her return to the farm, she is coaxed into a night on the town by Meowrice, a frolic to invigorate her resolve. Jaune Tom and Robespierre are waylaid by one of Meowrice's hench-cats and nearly drowning in the underground sewers. By coincidence, Jaune Tom displays his prowess as a mouser. Seeing another opportunity to make a quick buck, Meowrice sells Jaune Tom and Robespierre as mousers to a ship bound for Alaska. Once aboard, Robespierre consoles Jaune Tom who later suffers a vision of Mewsette and redoubles his efforts to return to her. Having sufficiently groomed his young charge, Meowrice commissions paintings to send to Mr. Phtt. Meowrice also double-crosses Reubens-Chatte by writing her a check in disappearing ink. Whisking Mewsette to his hideaway in Notre Dame, Meowrice now reveals his truest intentions to sell her into a loveless relationship abroad.

Disgusted, Mewsette manages a daring escape. In Alaska, Jaune Tom and Robespierre strike gold, returning to France as millionaires. Simultaneously, Mewsette is recaptured by Meowrice while contemplating suicide. Meowrice drags Mewsette to Gare du Nord railway station, determined to ship her to America. Mercifully, Jaune Tom and Robespierre, aided by Madame Reubens-Chatte, seeking revenge for Meowrice’s double-cross, mount a daring rescue of Mewsette aboard the train. Together, they trap Meowrice in the crate meant for Mewsette, ensuring he will be a very unwelcomed surprise for the mysterious Mr. Phtt. As the train departs, Mewsette, Jaune Tom and Robespierre embark upon their lavish escape in the city of light, fulfilling Mewsette’s original dream to live the high life.

Gay Purr-ee is ambitiously scripted. But the UPA style is mostly garish, running counterintuitive to the story. Indeed, this movie plays like one extended nightmare with a tacked-on resolution to satisfy those still seeking a moral uptick from their cartoons. The flat animation lends a cluttery look to virtually every frame. Nothing here is visually arresting. Just loud and confusing. Worse, the Arlen/Harburg score is one of the most mediocre ever contributed to any musical – animated or otherwise.  The least forgettable ditty, Paris is a Lonely Town, is sung with appropriate longing by Garland, who always knows how to sell a song. But the others are as unremarkable as the movie itself, adding nothing except desperate, minor musical interludes as mere connective tissue to advance the storyline from points ‘A’ to ‘B’ and so on. Running a scant 85-mins., Gay Purr-ee seems to drag on for at least twice as long, landing with a sour note or distinct thud at every possible turn. Despite being voiced by some stellar talent, the visualized characterizations of each cat lack…well…character. The villain isn’t mean as much as he is perversely slick without ever being half as stylish. And Mewsette, while given a white coat to mark her purity of heart, is more baby-doll selfish in her pursuit of happiness, and, arguably, wholly undeserving of her legitimate lover’s affections. She does not return to him ‘sadder but wiser.’ Rather, she partakes of his company, but only because he can now afford the luxuries she desires. 

Gay Purr-ee arrives on Blu-ray via the Warner Archive (WAC), cribbing from a 4K master off an original camera negative. If anything, the shortcomings in the animation are exemplified in hi-def. Colors are bold. But the flatness of the backgrounds and primitive nature of the animation are not enhanced as much as they are exposed, with the added attention given to basic clean-up, remastering and restoration. Color saturation is excellent. Contrast too. But the image remains ugly, busy and just plain unattractive from start to finish. The impressionist nature of UPA’s style was always best suited for a 32-inch tube television. Blown up to theatrical proportions it is decidedly out of place. The 5.1 DTS audio allows the girth of Garland’s vocals to shine throughout. But it’s still a mediocre score. So, no great shakes here either. To this, WAC has added 3 Parisian-inspired Looney Toons shorts: Louvre Come Back to Me, French Rabbit and For Scent-imental Reasons, plus isolated demo recordings and an original theatrical trailer. Bottom line: Gay Purr-ee is oft falsely compared to Disney’s own, The Artistocats (1970). And while each contains a tale of cats enjoying the pleasures of Paris, that is where any similarity or critical comparison ought to end. The latter is amusingly featherweight, but highly enjoyable. Gay Purr-ee, frankly, is neither. Had it attempted a more intellectual humor it might have succeeded. But its cheap-jack animation tanks the experience. Best to remember Judy Garland from the height of her iconic MGM film career and not this terrific misfire from the waning days leading up to her final curtain call.

FILM RATING (out of 5 – 5 being the best)

1

VIDEO/AUDIO

5

EXTRAS

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