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
2
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