Timeline: 1919-1923
Fast forward five years after
Gertie the Dinosaur had made her mark and established Winsor McCay as the first true animator of cartoons, and you have the debut of a little guy that most of us (certainly people of my age anyway) will be familiar with. Whereas Gertie was a simple creature who responded to commands (though she could disobey, as she does in the cartoon, throwing Jumbo the elephant into the lake and eating trees instead of carrying out her master's commands) Felix the Cat was the first truly anthropomorphic creature to walk across a cinema screen, again, more than a decade before Mickey Mouse.
Felix the Cat (1919-1932, 1953 - )
Although some doubt seems to exist as to who actually created him, it's generally accepted that Felix was the work of Australian cartoonist Pat Sullivan, and his creation became a big hit on the big screen, starring in his own adventures and, even though silent, able to connect to the audience and communicate his feelings through facial expressions. The first film to feature Felix was
Feline Follies, released in 1919.
In this first short he is not called Felix, but Master Tom (one would assume, from tomcat) and initially at least walks on all fours, like a domesticated cat, but is soon standing on his hind legs and behaving more like a human than an animal, as he falls in love with Miss Kitty White and does his best to win her heart. It's a clever if simple little cartoon, with attention paid by Sullivan not only to Tom and his lady, but to extraneous factors, such as the mice popping up out of the floorboards as Tom prepares himself for his date, and then doing a little dance when he's gone. The romance of two cats meeting is given a realistic twist when, as Tom proudly declares to his lady love “I have only nine lives to live, and I'll live them all for you” (how romantic and cute!) the neighbours hear only yowling and screaming, and shout at the two cats to get lost. Undeterred, Tom sets up another date, the following night at the trash can, and this time he brings a banjo and plays it while Kitty White dances happily. Back at home, the mice are wrecking his house and eating all the food.
In a very clever demonstration of what could be even then done with cartoons, and as we already saw could be accomplished in McCay's work, Sullivan makes Tom play notes, then take them out of the air and make go-karts out of them for him and his lady. When he gets home he goes asleep, not noticing or caring about the state of the house, but when his owner wakes up and sees the mess she throws him out of the house. He goes to see Kitty, but is less than happy to see he now has a whole brood of kittens to look after! In a perhaps grim ending, he runs to the local gasworks and lies down, taking his own life.
I didn't expect such a dark ending, but the film did well so people obviously didn't catch on to that, or just laughed at it, I guess the same way we would later laugh at Tom being beaten up by Jerry, or the Coyote falling off a mountain into the distance. That's the thing I guess about cartoons: they're not real, and they don't purport to be (later, more sophisticated animation such as
The Simpsons and
Family Guy etc do, but that's a different matter) and the idea of a character dying, or suffering immense injuries in one scene and then coming back in the next would become a staple of cartoons as the decades wound on. Pure escapism, anything could happen in cartoons and there were no consequences. Pianos, anvils and rocks regularly fell on characters' heads, they suffered all sorts of injuries, even death, but were right as rain the next time we saw them. Still, you'd have to admit that there is a certain darkness in cartoons often, but in general it's not taken seriously. The fact that this one ends with the main character committing suicide rather than face up to his responsibilities as a parent speaks perhaps to the prevalent attitude of the time, and I guess at its heart it's quite brave.
Master Tom was back a week later with a second feature,
Musical Mews, though I can find neither information on nor a video for that, and for the third outing for the little black and white cat – now walking upright like a human – the name was changed to Felix, resulting in
The Adventures of Felix, which debuted just before Christmas 1919. Again, no video appears to be available, but it was immensely successful, and by 1923 Felix was a star. He even had his own film,
Felix in Hollywood, where he got to meet cinema stars such as Douglas Fairbanks and Charlie Chaplin, and was written about by noted author Aldous Huxley. Felix became famous not just for his cuteness and cleverness, but for the sense of surrealism and fantasy that his world occupied. His tail became a tool he could shape to whatever he wished, using it now to make an exclamation mark (remember, this was still the era of silent movies), now a shovel, now turning into a bag to trick his owner into carrying him to Hollywood.
Another thing this movie did (as did the first Master Tom/Felix cartoon) was to use actual speech bubbles in the drawing, though they were more speech rectangles really. Whereas before, any speech had been communicated by a blank screen showing an ornate card – you know the kind of thing – and then cutting back to the character who had said it, here we see the words appear above the heads of Felix and his owner, at the same time as they are spoken. The mouths don't synchronise obviously – I don't think they even move – but it's a much better and more immediate representation of the actions of the characters without having to cut back and forth. The integration into the cartoon of popular themes – sword fights, cowboys etc – was surely another good way to secure the approval of the audience, who would have bought into such a story. The cuteness of Felix himself can't be oversold, and you find yourself rooting for him in every scene, despondent for him when he fails to land a movie role and then delighted when he manages to make his dreams come true.
By now Felix had also become the first cartoon character to metamorphose into a brand, with toys, clocks, all sorts of things sold with his image on them, to say nothing of being sung about and even starring in his own comic strip. His popularity inevitably spawned imitators, and of course he was the template for such later cartoon cats as Sylvester and Tom, while he also amassed his own entourage of co-stars, including Skiddoo the mouse, his nephews Inky, Dinky and Winky (surely the inspiration later for Huey, Dewey and Louie, Donald Duck's nephews) and of course his girlfriend from the early Master Tom cartoons, Miss Kitty White. He also had the honour of being one of the first images to be broadcast on the new television medium, when RCA broadcast the image of a
papier-mache doll of him. Later his image would be co-opted by everyone from the New York Yankees to an American Naval bomber squadron, and as time and technology moved on, he would make the inevitable transition to the small screen as television grew more popular and more widely available.