Felix The Cat - Popularity and Distribution

Popularity and Distribution

Paramount Pictures distributed the earliest films from 1919 to 1921. Margaret J. Winkler distributed the shorts from 1922 to 1925, the year when Educational Pictures took over the distribution of the shorts. Sullivan promised them one new Felix short every two weeks. The combination of solid animation, skillful promotion, and widespread distribution brought Felix's popularity to new heights.

References to alcoholism and Prohibition were also commonplace in many of the Felix shorts, particularly Felix Finds Out (1924), Whys and Other Whys (1927), Felix Woos Whoopee (1930) to name a few. In Felix Dopes It Out (1924), Felix tries to help his hobo friend who is plagued with a red nose. By the end of the short, the cat finds the cure for the condition: "Keep drinking, and it'll turn blue."

In addition, Felix was one of the first images ever broadcast by television when RCA chose a papier-mâché Felix doll for a 1928 experiment via W2XBS New York in Van Cortlandt Park. The doll was chosen for its tonal contrast and its ability to withstand the intense lights needed. It was placed on a rotating phonograph turntable and photographed for approximately two hours each day. After a one-time payoff to Sullivan, the doll remained on the turntable for nearly a decade as RCA fine-tuned the picture's definition.

Felix's great success also spawned a host of imitators. The appearances and personalities of other 1920s feline stars such as Julius of Walt Disney's Alice Comedies, Waffles of Paul Terry's Aesop's Film Fables, and especially Bill Nolan's 1925 adaptation of Krazy Kat (distributed by the eschewed Winkler) all seem to have been directly patterned after Felix.

Felix's cartoons were also popular among critics. They have been cited as imaginative examples of surrealism in filmmaking. Felix has been said to represent a child's sense of wonder, creating the fantastic when it is not there, and taking it in stride when it is. His famous pace—hands behind his back, head down, deep in thought—became a trademark that has been analyzed by critics around the world. Felix's expressive tail, which could be a shovel one moment, an exclamation mark or pencil the next, serves to emphasize that anything can happen in his world. Aldous Huxley wrote that the Felix shorts proved that "What the cinema can do better than literature or the spoken drama is to be fantastic."

By 1923, the character was at the peak of his film career. Felix in Hollywood, a short released during this year, plays upon Felix's popularity, as he becomes acquainted with such fellow celebrities as Douglas Fairbanks, Cecil B. DeMille, Charlie Chaplin, Ben Turpin, and even censor Will H. Hays. His image could be seen on clocks, Christmas ornaments, and as the first giant balloon ever made for Macy's Thanksgiving Day Parade. Felix also became the subject of several popular songs of the day, such as "Felix Kept Walking" by Paul Whiteman. Sullivan made an estimated $100,000 a year from toy licensing alone. With the character's success also emerged a handful of new costars. These included Felix's master Willie Jones, a mouse named Skiddoo, Felix's nephews Inky, Dinky, and Winky, and his girlfriend Kitty. Felix the Cat sheet music, with music by Pete Wendling and Max Kortlander, featuring lyrics by Alfred Bryan, was published in 1928 by Sam Fox Publishing Company. The cover art of Felix playing a banjo was done by Otto Messmer and was subtitled "Pat Sullivan's Famous Creation in Song."

Most of the early Felix cartoons mirrored American attitudes of the "Roaring Twenties". Ethnic stereotypes appeared in such shorts as Felix Goes Hungry (1924). Recent events such as the Russian Civil War were depicted in shorts like Felix All Puzzled (1924). Flappers were caricatured in Felix Strikes It Rich (1923). He also became involved in union organizing with Felix Revolts (also 1923). In some shorts, Felix even performed a rendition of the Charleston.

In 1928, Educational ceased releasing the Felix cartoons and several were reissued by First National Pictures. Copley Pictures distributed them from 1929 to 1930. He saw a brief three-cartoon resurrection in 1936 by the Van Beuren Studios (The Goose That Laid the Golden Egg, Neptune Nonsense and Bold King Cole). Sullivan did most of the marketing for the character in the 1920s. In these Van Beuren Studios shorts, Felix spoke and sang in a high pitched childlike voice provided by Walter Tetley, a popular radio actor in the 1930s and 1940s ("Julius" on the The Phil Harris-Alice Faye Show, and "Leroy" on The Great Gildersleeve, however best known later in the 1960s as the voice of Sherman on the Bullwinkle Show's Mister Peabody segments.