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Angel Puss
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Angel Puss
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Angel Puss
Directed byCharles M. Jones
Story byLou Lilly
Produced byLeon Schlesinger
Music byCarl W. Stalling
Animation byKen Harris
Color processTechnicolor
Distributed byWarner Bros. Pictures
The Vitaphone Corporation
Release date
  • June 3, 1944 (1944-06-03)
Running time
7 minutes

Angel Puss is a 1944 Warner Bros. Looney Tunes cartoon directed by Chuck Jones.[1] The short was released on June 3, 1944.[2]

The protagonist is a "Li'l Sambo" type blackface character who exhibits common racial stereotypes in speech, intelligence and fear of the supernatural. The African-American weekly newspaper The Pittsburgh Courier objected strongly to the cartoon, especially because it was run in Los Angeles alongside the March of Time short Americans All, on the theme of fighting prejudice and stereotypes. The film press did not acknowledge these concerns.[3]

The short is one of the "Censored Eleven", a group of Warner Bros. animated shorts that are withheld from circulation due to their dated racist stereotyping and portrayals. This is also the only Looney Tunes short in the Censored Eleven, as the other shorts are Merrie Melodies.

Plot

[edit]

A young African-American boy (drawn in blackface style) carries a sack to a river and laments that he has agreed to drown a cat. While the boy stares at the water, the cat slips out of the sack and fills it with bricks. When the boy says that he can't go through with the task, the hidden cat, pretending to be the boy's conscience, says, "Go ahead, Sambo, go ahead, boy," and reminds him that he has been paid "four bits" to do the job. Sambo reluctantly drops the bag in the river rather than return the money.

The cat then disguises itself as its own ghost, painting itself white and donning wings and a halo, and proceeds to "haunt" Sambo by repeatedly sneaking up on him and whispering "boo". Sambo runs away, but the cat rattles a pair of dice, causing Sambo to fall into a trance and unconsciously walk back to the cat (part of a running gag in Warner Bros. cartoons that stereotypes African-Americans as being addicted to gambling).

The hauntings continue until Sambo and the cat fall in a pond, washing off the cat's paint. When Sambo realizes that he has been tricked, he kills the cat with a shotgun blast. Immediately afterward, a line of nine ghost cats (representing a cat's nine lives) marches toward Sambo, saying, "And this time, brother, us ain't kiddin'."

Reception

[edit]

On October 7, 1944, Herman Hill wrote an editorial for the African-American weekly The Pittsburgh Courier titled Angel Puss vs. Americans for All. Hill wrote, "Basis for the spontaneous protest by the long and patient suffering Negro theater-going public were the many forth-right expressions of condemnation regarding Warner Brothers' animated cartoon Angel Puss. Almost in direct irony was the picture's showing in Los Angeles, in that it was sandwiched between the main feature and March of Time's Americans for All, which theme is directly aimed at the lessening of racisms. It has since been learned that the Warner Brothers had ordered the somewhat considered controversial Americans for All to be shown in each of their theatres throughout the country as a contributory effort towards breaking down the evils of race prejudice. In a further attempt to throw light on the subject of caricatures, March of Time offices here were contacted. A spokesman stated that they had nothing to do with the placing of their film on the same program as Angel Puss or any other such picture. It was admitted, however, that in consideration of the type of cartoon, poor taste was shown in the matter."[3]

However, this concern was not expressed in the film press, which echoed and celebrated the film's stereotypes. On June 24, Boxoffice said: "A delectable bit of cartoon animation catches the natural aversion of a Colored boy to any form of supernatural suggestion as represented by a cat that was supposed to be drowned by the boy, but escaped. The cat makes life extremely miserable for the boy by dressing up as a spirit, but comes to an unfortunate end. There are lots of hearty chuckles in the reel."[3]

References

[edit]
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Angel Puss

View on Grokipedia
from Grokipedia
is a 1944 American animated short film produced by in the series and directed by . The seven-minute cartoon centers on a young African-American boy hired to drown a white cat in a sack, who instead escapes and later reappears to the boy as a spectral feline adorned with halo and wings, tormenting him with pranks and illusions of damnation. Released on June 3, 1944, the short exemplifies mid-20th-century tropes, including exaggerated , minstrel-style caricatures of characters, and gags rooted in folkloric fears of retribution. It gained notoriety as part of ' "," a 1940s-1960s compilation of shorts pulled from syndication in 1968 due to racial stereotypes, though the film itself features no explicit violence beyond comedic hauntings and has been critiqued for its portrayal of the boy as superstitious and gullible. Despite its technical merits in Jones' early direction—showcasing fluid ghost effects and ironic twists—the cartoon remains largely unavailable on official platforms, circulating primarily through archival or bootleg viewings.

Production and Development

Concept and Scripting

"Angel Puss" originated as a short under the direction of , with the story crafted by screenwriter Lou Lilly, drawing on established animation tropes of pursuit chases between predators and intended prey, reimagined through a haunting motif where the pursued feline enacts vengeful pranks as a spectral figure. The core concept pivoted on the cat's evasion and retaliation, employing elements such as ethereal disguises and psychological torment to invert the typical power dynamic in cat-versus-victim scenarios prevalent in cartoons. Scripting emphasized era-specific comedic exaggeration, incorporating dialect-laden dialogue delivered in an amplified Southern drawl by voice actor , which mirrored the broad, caricature-driven humor of wartime-era shorts aimed at theatrical audiences seeking escapist levity. A key narrative device opened with the protagonist's rendition of the traditional folk tune "," a minstrel-era song rooted in American Southern traditions, to establish setting and character tone through musical folklore integration rather than overt plot exposition. Lilly's writing avoided Jones's later signature character depth, opting instead for stark, gag-driven sequences that prioritized visual shocks over nuanced interplay, reflecting the assembly-line scripting norms at Leon Schlesinger's studio. Pre-production aligned with ' accelerated output demands during , where material rationing and labor shifts constrained animation pipelines, yet the short progressed to completion by early 1944 for a release, produced under Schlesinger's independent operation prior to its sale to later that year. This timeline underscored the studio's reliance on formulaic, low-risk concepts amid wartime uncertainties, favoring quick-turnaround hauntings and chases over experimental narratives.

Direction and Animation Process

Chuck Jones directed Angel Puss in 1944, during an experimental phase in his career where he began shifting from purely gag-driven comedy toward narratives emphasizing character reactions and psychological interplay, though the short retained rapid visual gags central to . This approach built on his prior innovations, such as the stylized, angular designs and motion exaggeration seen in (1942), applying similar principles to heighten the cartoon's chaotic energy. Animation techniques included the pop-and-smear method for depicting high-speed movements, where characters distorted into linear streaks to simulate velocity without requiring excessive frame-by-frame detail, a cost-effective way to maintain dynamism amid wartime material constraints like paper and ink rationing at studios. The production adhered to industry standards of animating on twos—using 12 unique drawings per second of action—while employing full cel animation for fluid expressions and poses, filmed as was typical for post-1943. For the cat's ethereal appearances, animators likely used semi-transparent cel overlays to achieve ghostly translucency, enhancing without complex setups. Voice work by featured dialect-infused performances mimicking the shuffling, drawling style of , synchronized with animation cycles to underscore comedic beats, while Carl Stalling's score provided rhythmic cues that timed gags precisely to character movements and sound effects. This integration of audio and visuals exemplified Jones's focus on precise timing, produced as the final short under before his retirement.

Release and Distribution

Angel Puss was theatrically released on , 1944, in the United States as the ninth entry in the 1943–1944 season of the series. Distributed by and The Corporation, the short reached cinemas through the studio's established network of exhibitors, which relied on pairing animated subjects with feature films to fill double bills. This rollout occurred during the later stages of , when Hollywood shorts like Angel Puss provided brief comedic relief amid newsreels and propaganda efforts, though specific pairing details for this title with particular features are not recorded in contemporary trade documentation. The cartoon entered a saturated market for animated shorts, with competing against established rivals such as MGM's series and Disney's output, all vying for theater playdates under the constraints of wartime film distribution priorities. Produced under Studios before its full acquisition by , Angel Puss exemplified the studio's shift to production for following 1943, enhancing visual appeal for theatrical audiences. No public earnings data survives for individual shorts of this era, as records typically aggregated performance across programs rather than isolating components. Promotional emphasis in trade ads likely centered on the film's premise—a feline feigning spectral haunting for effect—to draw crowds seeking escapist humor.

Synopsis

Plot Summary

A young boy carries a sack containing a to a riverbank, having been tasked with the animal for a reward. As he hesitates, the cat escapes the sack undetected and replaces its contents with bricks to simulate its weight. Disguised momentarily as the boy's , the cat urges him onward, prompting the boy to toss the weighted sack into the water, believing the cat to be drowned. The cat then paints itself white, affixes paper wings and a halo, and reappears as an angelic ghost to haunt the boy, startling him with repeated cries of "boo." The boy flees in terror, but the cat a pair of to induce a , causing the boy to sleepwalk back toward it. Both tumble into a pond, washing away the cat's disguise and revealing the ruse. Enraged, the boy retrieves a shotgun and shoots the cat, from which nine smaller ghost cats emerge and advance menacingly, declaring, "And this time, brother, us ain't kiddin'."

Technical and Artistic Elements

Characters and Voice Acting

The central human character in Angel Puss is an unnamed African-American boy, visually rendered with exaggerated caricatured traits such as oversized lips, bulging eyes, and disheveled clothing, aligning with stylistic conventions prevalent in mid-20th-century . His portrayal emphasizes a hesitant, superstitious demeanor, reinforced through dialogue delivered in a drawling dialect featuring phonetic distortions like "Ise" for "I's" and "gwinter" for "going to," which mimics the indolent, shuffling archetypes associated with performers such as . The , the cat named Angel Puss, is depicted as a anthropomorphic animal with fluid, expressive facial animations conveying sly intelligence and malice, consistent with the scheming animal personas in shorts of the period. After escaping the boy's sack intended for drowning, the cat adopts ghostly white attire and ethereal effects to impersonate a specter, employing tricks like floating and vanishing acts to psychologically torment its pursuer. All vocal performances, including the boy's dialect-inflected speech and the cat's taunting interjections, were supplied by in an uncredited capacity, showcasing his versatility in modulating tones for comedic effect without reliance on established character voices. Unlike many contemporaneous productions, Angel Puss eschews recurring stars such as , instead centering its humor on these bespoke figures to drive the one-off scenario.

Animation Techniques and Style

"Angel Puss" utilizes cel animation standard to Warner Bros. shorts of the era, with director incorporating the pop-and-smear technique to convey rapid motion and heightened expressions, as seen in the boy's bug-eyed reactions and streaked dashes during pursuits. This method, which Jones had begun developing in earlier works like The Dover Boys at Pimento University (1942), allows for efficient depiction of exaggerated speed without requiring excessive in-between frames, marking an evolution toward more stylized and graphic visuals in 1940s animation. Rendered in black-and-white, the short leverages high-contrast lighting and deep shadows to evoke a moody, nighttime setting, amplifying the eerie quality of the cat's ghostly disguise through translucent overlays and angular silhouettes. Surreal effects, such as the cat producing multiple duplicates upon "death," employ multiplane-like layering and transitions to heighten comedic horror, reflecting Jones's interest in psychological exaggeration over realistic physics. Animation pacing emphasizes sustained gags over frenetic action, with deliberate holds and slower in non-chase segments to build dread, contrasting the rapid-fire style of contemporaries like and aligning with Jones's emerging focus on timing for character-driven tension. By 1944, wartime production demands had not curtailed ' commitment to fluid full , enabling refined line work and dynamic poses that prefigure Jones's later character refinements, though still rooted in traditional squash-and-stretch for elastic comedic impacts in evasion sequences.

Initial Reception

Contemporary Reviews and Audience Response

"Angel Puss," released on June 3, 1944, received limited attention in contemporary trade publications, with reviews emphasizing its gags and quality over any thematic concerns. Showmen's Trade Review described it as a seven-minute short produced by , rating it "Good" for its visuals and story by Warren Foster, centered on a cat evading pursuit through comedic tricks, without mentioning racial elements or backlash. This assessment aligned with the era's focus on escapist entertainment amid , where theaters programmed shorts like this for quick laughs in double features. Audience response during the 1940s showed no documented protests or boycotts, contrasting with later reevaluations; exhibitors reported steady play in urban and rural venues as part of ' and slate, appealing to families and service members seeking diversion from wartime newsreels. Boxoffice magazine on June 24, 1944, praised its "delectable bit of cartoon animation," underscoring visual appeal in gags like the cat's ghostly disguises, indicative of formulaic reception similar to other efforts such as "From Hand to Mouse" (August 1944), which garnered mild acclaim for timing but little innovation note. Trade metrics prioritized runtime and humor pacing for filler programming, with no exhibitor complaints on content suitability in period surveys. In comparison to contemporaneous Jones shorts like "" (1945), which earned an Academy Award nomination for inventive character interplay, "Angel Puss" drew formulaic praise for —such as chase sequences and sight gags—but lacked standout critical buzz in outlets like Variety, reflecting its position as a mid-tier release in a prolific output year for . Wartime constraints on resources and distribution favored volume over scrutiny, contributing to uncontroversial initial rollout to theater chains.

Censorship and Availability

Formation of the Censored Eleven

In 1968, United Artists, which managed the syndication of Warner Bros.' pre-1948 color cartoon library, selected eleven shorts for exclusion from television packages, with Angel Puss standing as the most recent and one of the few directed by Chuck Jones in the group. This action stemmed from assessments that the films' portrayals of African American stereotypes risked alienating audiences and advertisers during a period of intensifying civil rights activism and shifting broadcast norms. Rather than edit or contextualize the content, United Artists opted to withhold the package entirely to enhance market appeal, forgoing revenue from potentially controversial airings while preserving the bulk of the catalog for unhindered distribution. The rationale aligned with broader industry trends toward to mitigate public complaints, as television networks increasingly prioritized content free from depictions that could be interpreted as endorsing outdated racial tropes amid legal and social pressures from the . Angel Puss was flagged specifically for its caricatured black child character and minstrel-style elements, which echoed earlier complaints but gained traction only decades later when syndication economics demanded proactive curation. Preceding the 1968 pullback, a 1944 protest by journalist Herman Hill in The Pittsburgh Courier highlighted Angel Puss as exemplary of Hollywood's perpetuation of derogatory racial imagery, urging cartoonists to eliminate such stereotypes; however, released the short undeterred, reflecting the era's tolerance for such conventions absent immediate commercial repercussions. Hill's critique, published shortly after the film's debut, called for interracial goodwill through reformed representations but elicited no formal studio response or recall at the time.

Post-1968 Withdrawal and Legal Context

In 1968, , the then-distributor of the pre-1948 and library, withdrew eleven shorts—including Angel Puss—from television syndication, citing their ethnic stereotypes as unsuitable for broadcast. This decision effectively halted official airings on U.S. networks and later syndicators, with no reintroductions approved. Warner Bros., which reacquired rights to the pre-August 1948 cartoons through its 1996 purchase of Turner Broadcasting, upheld the syndication ban into the home video era. In the 1990s, amid expanding Looney Tunes VHS releases like the Looney Tunes Golden Collection precursors, Angel Puss and the other Censored Eleven shorts were systematically excluded from official distributions, preventing any authorized consumer access or restorations. Unofficial bootleg versions of Angel Puss emerged via tapes traded among collectors and, by the 2000s, proliferated online through file-sharing sites and video platforms, bypassing Warner Bros.' restrictions. No official remastering or high-quality digital transfers have occurred, as the policy persists under . Warner Bros. holds the s to Angel Puss (registered in 1944), enforcing limits on reproduction and public exhibition. provisions under U.S. law have permitted limited academic and archival screenings—for instance, in university film studies or preservation society events—but these remain and subject to potential legal scrutiny, with no court rulings specifically addressing the Censored Eleven's distribution status.

Controversies

Depictions of Racial Stereotypes

The central character, a young African-American boy referred to as Sambo, is visually rendered in a style reminiscent of minstrelsy, featuring exaggerated traits such as large lips, half-closed eyes that enlarge dramatically during moments of fright, and bug-eyed expressions of terror. His physical design and demeanor evoke the shuffling, indolent archetype embodied by actor Lincoln Perry, known professionally as , whose portrayals in 1930s films emphasized slow, hesitant movement and wide-eyed apprehension. Behavioral elements reinforce these stereotypes, including Sambo's reluctance and fearfulness in attempting to drown , culminating in panic-stricken flight where he implores his feet with the line "Get goin’, feet"—a direct nod to Fetchit's signature "Feet, don't fail me now." throughout employs phonetic to caricature Southern Black speech patterns, as in 's taunt "Us ain’t kiddin’," aligning with traditions of phonetic exaggeration for comedic effect. These portrayals reflect conventions drawn from 19th-century minstrel shows, which persisted into mid-20th-century animation through formulas emphasizing laziness, cowardice, and dialect-driven humor. Comparable stereotypes appeared in contemporaneous shorts from other studios, such as MGM's depictions of shuffling Black servants and Disney's use of wide-eyed, lip-exaggerated figures in films like Mickey's Mellerdrammer (1932), indicating a shared industry reliance on such tropes prior to post-World War II shifts.

Arguments For and Against Censorship

Proponents of the 1968 withdrawal by argued that the cartoons' uneditable depictions of African American stereotypes, including and exaggerated dialects in Angel Puss, risked reinforcing negative racial imagery amid heightened civil rights sensitivities following events like the 1965 Selma marches and 1967 urban riots. They posited that repeated exposure to such content could normalize caricatures rooted in minstrelsy traditions, potentially impeding progress toward racial equity by embedding distorted perceptions in viewers, a concern echoed in broader critiques of media's role in perpetuating inequality. While direct empirical studies linking 1940s shorts to discriminatory behavior are absent, advocates drew on contemporaneous analyses of entertainment media's influence, such as comic strips and films, which were seen as culturally embedding biases that mirrored and sustained segregationist attitudes. Critics of censorship, including director , maintained that altering or suppressing the films destroys their artistic integrity and contextual humor, rendering them "senseless" without the era's comedic conventions of exaggeration for parody rather than literal endorsement. Animation historians like have emphasized that such works represent unaltered historical artifacts, where racial , though offensive by modern standards, reflected 1940s societal norms without evidence of inciting real-world beyond mirroring preexisting prejudices. , an archivist, has advocated screenings with disclaimers to educate on past practices, arguing that concealment hinders comprehension of how evolved from vaudeville-derived tropes—common in popular entertainment attended by diverse audiences who perceived them as escapist fantasy, not prescriptive guides. Empirical reviews of media effects, including analyses of animated content, find no robust causal pathway from isolated cartoon viewings to sustained discriminatory acts, attributing ' persistence more to entrenched social structures than ephemeral broadcasts. Withholding access, they contend, prioritizes selective over evidentiary understanding of cultural shifts, as the shorts' wartime-era production coincided with declining minstrelsy appeal yet no contemporaneous backlash indicating perceived harm.

Impact on Historical Preservation

The removal of Angel Puss from circulation as part of the Censored Eleven in 1968 by United Artists, a decision upheld by subsequent Warner Bros. rights holders, has restricted archival access to this 1944 Looney Tunes short, limiting empirical examination of pre-1948 Warner Bros. animation practices. Official releases, such as DVD collections like the Looney Tunes Golden Collection series starting from 2003, systematically exclude these eleven shorts, forcing researchers and educators to depend on unofficial bootleg copies or private collector archives, which lack standardized preservation quality and legal distribution. This scarcity impedes detailed studies of early black-and-white animation techniques, sound design innovations by composers like Carl Stalling, and the stylistic transitions in Chuck Jones's direction during the 1940s, as evidenced by the short's unique plot structure involving guilt and supernatural elements absent from later color-era canon works. Such inaccessibility contributes to an incomplete historical record, hindering causal analysis of how societal attitudes influenced content and evolved post-World War II, when shifted toward less regionally specific stereotypes in response to domestic production changes and audience feedback. Without broad archival integration, educational curricula on often overlook these shorts' role in documenting mid- production norms, such as the persistence of black-and-white formats amid adoption elsewhere in the series after 1943, potentially distorting understandings of technological and narrative development. Debates among animation preservationists emphasize that contextual restoration—pairing originals with factual disclaimers on production era and cultural shifts—facilitates truth-seeking by enabling direct evidence of historical attitudes, rather than suppression, which risks epistemic erasure akin to unpreserved wartime media. For instance, while Warner Bros. has prioritized sanitized post-1948 compilations in home media, selective canonization overlooks how early shorts like Angel Puss reflect unfiltered pre-civil rights era influences, contrasting with preserved controversial films such as D.W. Griffith's (1915), archived by institutions like the for scholarly scrutiny despite ethical concerns. This approach, proponents argue, better supports long-term education on media evolution without implying endorsement.

Legacy

Influence on Later Works

Despite its controversial reception and removal from official distribution in 1968, Angel Puss contributed to Chuck Jones's stylistic experimentation with supernatural gags and character-driven pranks during the mid-1940s, elements that persisted in his evolving approach to animation comedy. The short's central motif of a using a spectral disguise to torment a would-be killer prefigures the tension between feline cunning and eerie threats in Jones's subsequent horror-tinged works, particularly the Porky Pig-Sylvester trilogy. In Scaredy Cat (released December 18, 1948), Jones refined haunting scenarios through Sylvester's encounters with murderous felines and ghostly hotel perils, shifting from Angel Puss's simplistic chase to more layered interplay between oblivious victim and resourceful protector. This evolution marked Jones's transition toward deeper character dynamics, evident in the trilogy's progression—Claws for Alarm (1954) and Jumpin' Jupiter (1955)—where absurdity amplified comedic timing over rote stereotypes. The short's obscurity, amplified by , precluded widespread emulation by other studios, yet bootleg circulation among enthusiasts informed retrospective analyses of Jones's oeuvre, highlighting his early forays into blending whimsy with mild horror as foundational to ' genre versatility. Jones himself later distanced from Angel Puss, viewing it as a misstep amid his maturation toward iconic personalities like , underscoring indirect rather than formative influence.

Modern Accessibility and Discussions

Following ' longstanding policy established in 1968, "Angel Puss" remains excluded from official home video compilations, streaming platforms, and broadcast reruns as part of the shorts deemed unsuitable for general audiences due to ethnic . Public viewings are thus confined to unofficial uploads, which periodically appear despite potential takedown risks, or rare screenings at animation festivals and film archives preserving pre-1950s material. In 21st-century online discourse, the short elicits debates on platforms like review channels and forums, where commentators weigh its technical animation merits—such as ' early direction—against its offensive caricatures, often concluding the latter overshadows the former. User-generated ratings reflect this ambivalence; on , it holds a 4.6/10 average from over 600 votes, with reviews praising period-specific humor in some cases while decrying the content as irredeemable. Similar threads on groups balance nostalgic appreciation for history with calls for contextual caveats rather than outright prohibition. Animation historians advocate for measured accessibility in scholarly works, positing that withholding such cartoons forfeits opportunities to examine evolving cultural norms in early Hollywood animation without endorsing . Analyses in outlets like Cartoon Research emphasize educational value through disclaimers, arguing erasure distorts historical comprehension of industry practices from the , a stance echoed in broader discussions of preserving flawed artifacts for critical study over perpetual suppression.

References

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