Thursday, October 27, 2011

Charlie Brown

Charlie Brown
Peanuts character
CharlieBrown.jpg
First appearance October 2, 1950 (Comic Strip)
Last appearance Happiness Is a Warm Blanket, Charlie Brown (Television Special)
Voiced by Original:
Peter Robbins
Other:
Chad Allen, Erin Chase, Todd Barbee, Brad Kesten, Brett Johnson, Duncan Watson, Arrin Skelley, Wesley Singerman, Anthony Rapp, Spencer Robert Scott, and Zachary Gordon on Robot Chicken
Information
Gender Male
Family Sally Brown (sister)
Unnamed parents

Charles "Charlie" Brown is the protagonist in the comic strip Peanuts by Charles M. Schulz.

Charlie Brown and his creator have a common connection in that they are both the sons of barbers, but whereas Schulz's work is described as the "most shining example of the American success story", Charlie Brown is an example of "the great American un-success story" in that he fails in almost everything he does.[1]

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[edit] Character

Charlie Brown is a lovable loser,[2] a child possessed of endless determination and hope, but who is ultimately dominated by his insecurities[3] and a "permanent case of bad luck," and is often taken advantage of by his peers. He and Lucy Van Pelt star in a running gag that recurs throughout the series: Lucy holds a football for Charlie Brown to kick, but pulls it away before he kicks it, causing Charlie Brown to fly into the air and fall on his back.

Schulz acknowledged that he created Charlie Brown as somewhat of a self-portrait, in that the character shares Schulz's self-doubt and insecurities.[4]

[edit] Friends

[edit] Names and nicknames

Since the early strips, where Shermy mentions him and Patty refers to him directly, Charlie Brown is nearly always referred to or addressed by his full name by everyone whenever possible, and only otherwise for specific reasons. Umberto Eco has pointed out that the fact that Charlie Brown is invariably referred to by his full name follows a convention found in epic poetry giving Charlie Brown a sense of universal identification.[5] It was eventually revealed that the first person to have called him "Charlie Brown" was Poochie, a blonde little girl who played with Snoopy as a pup.[6] Peppermint Patty calls him "Chuck" most of the time, while her friend Marcie usually uses "Charles"; in 1979 they admitted to each other that each probably has a crush on him, explaining the familiarity. Snoopy usually only obliquely refers to Charlie Brown as "the round-headed kid," though in strips up to the mid-1960s, even Snoopy occasionally called him "Charlie Brown." Eudora also calls him "Charles". A minor character named Peggy Jean in the early 1990s who called him "Brownie Charles", because Charlie Brown, in his typical nervous and awkward fashion, messed up his own name when he introduced himself and couldn't bring himself to correct the mistake when it turned out he liked when she called him that. Also, Lucy called him "Charlie" at one point in A Charlie Brown Christmas. To avoid awkward-sounding dialogue, his sister Sally Brown simply calls him "big brother," though she has used his full name when discussing him with others. He is occasionally referred to as a "blockhead" by some characters, especially by Lucy.

[edit] History

First Peanuts strip, October 2, 1950. From left-to-right: Charlie Brown, Shermy, (original) Patty.

Charlie Brown was one of the original cast members of Peanuts when it debuted in 1950, and the butt of the first joke in the strip. Aside from some stylistic differences in Schulz's art style at the time, Charlie Brown looked much the same. He did, however, wear an unadorned T-shirt; the stripe was added within the first year of publication (December 21, 1950), in order to add more color to the strip. Charlie Brown stated in an early strip (November 3, 1950[7]) that he was "only four years old", but he aged over the next two decades, being six years old as of November 17, 1957 and "eight-and-a-half years old" by July 11, 1979. Later references continue to peg Charlie Brown as being approximately eight years old.[8] Another early strip, on October 30, 1950, has Patty and Shermy wishing Charlie Brown a happy birthday on that day, although they are not sure they have the date right.[8] His name has been stated by various sources to be for a childhood friend of Schulz, or for author Charles Brockden Brown, author of Edgar Huntly.

Initially, Charlie Brown was more mischievous and playful than his character would later become: He would play tricks on other characters, and some strips had romantic overtones between Charlie Brown and Patty and Violet. He would cause headaches for adults (knocking all the comic books off their stand at a newsstand, for instance), though he was from the start not especially competent at any skill.

Charlie Brown soon evolved into the Sad Sack character he's best known as: feeling enslaved to the care of Snoopy, beset by comments from everyone around him. Common approaches to the strip's story lines included Charlie Brown stubbornly refusing to give in even when all is lost from the outset (e.g., standing on the pitcher's mound alone on the baseball field, refusing to let a torrential downpour interrupt his beloved game), or suddenly displaying a skill and rising within a field, only to suffer a humiliating loss just when he's about to win it all (most famously, Charlie Brown's efforts to win the statewide spelling bee in the feature-length film A Boy Named Charlie Brown). Charlie Brown never receives Valentines or Christmas cards and only gets rocks when he goes trick or treating on Halloween but never loses hope. His misfortunes garnered so much sympathy from the audience that many young viewers in North America of the Be My Valentine, Charlie Brown and It's the Great Pumpkin, Charlie Brown TV specials have sent Valentine cards and Halloween candy respectively to the broadcasting television network in an effort to show Charlie Brown they cared for him. This also extended to protest letters when viewers felt the victimization of Charlie Brown went too far such as in It's Your First Kiss, Charlie Brown where Charlie Brown is publicly derided for making his football team lose when it is obvious that he is not at fault, since Lucy kept pulling the football out from under him.

Charlie Brown maintained this demeanor until the strip ended its run in 2000, and classic strips run in many newspapers today. He did have occasional victories, though, such as hitting a game-winning home run off a pitch by Roy Hobbs' great-granddaughter on March 30, 1993 (though she later admitted she let him hit the home runs) and soundly defeating "Joe Agate" in a game of marbles on April 11, 1995 (and in He's a Bully, Charlie Brown). Usually, Charlie Brown was a representative for everyone going through a time when they feel like nothing ever goes right for them; however, Charlie Brown refuses to give up. In the final weeks of his strip, determined to finally have a winning baseball season at last, Charlie Brown tried to channel Joe Torre, which made his sister think he was cracking up.

[edit] Relationships

Despite all this, and despite the abuse he has often received, Charlie Brown has many friends, the best being Lucy's brother Linus, who may occasionally admonish Charlie Brown, but stands by him. Linus's brother, Rerun van Pelt, also seems young enough to look up to and admire Charlie Brown; in one comic strip, he wanted to watch him pitch in a baseball game, thinking that he was a master at it. Whether due to his compassion or harmlessness, Charlie Brown has no real enemies aside from intangible unluckiness, though practically all his friends are blithely critical of him at some point. His dog Snoopy seldom treats him with overt respect except when "That Round-Headed Kid" pleases him. Nonetheless though they are often shown hugging, particularly after they have been reunited after a separation, and Charlie Brown has implied he enjoys the fact he is depended on by someone.

Linus initially appeared as an infant, but as he aged (and grew to a year or two younger than Charlie Brown) he became a profound philosopher and Charlie Brown's best friend, often supporting each other in small ways when the other's foibles had been painfully exposed (Schroeder and Lucy van Pelt were also significantly younger than Charlie Brown when they first appeared, but aged to the point where they became his peers). Linus very often serves as a way for Charlie Brown to express his thoughts and woes without judgement or condemnation; he almost never attempts to convince or directly advise Charlie Brown of anything, and tends to only be critical in an intellectual or philosophical way. Linus's own troubles with being taken seriously may explain this sympathy. Partially because of this quality, he is the only person to ever have any direct impact on Charlie Brown's actions. This is most clearly seen in "A Charlie Brown Christmas"; after Charlie Brown wonders aloud whether anyone can tell him what Christmas is all about, Linus simply recites the Christmas story from the Gospel of Luke, leaving Charlie Brown to successfully draw his own conclusions. The two of them are shown sitting and talking behind the often-used brick wall more than any characters.

A classic running gag in the strip involved Lucy taunting Charlie Brown by holding a football and promising to let Charlie Brown kick it. Initially, Charlie Brown claimed that he would not trust her because she has tricked him this way many times, but Lucy then gave some reasons why Charlie Brown should give her credence. For example, to give him a signed document stating that she would not pull the ball away from him (later to reveal that the document had never been notarized). His doubt undermined, Charlie Brown then sprints toward Lucy to execute the place kick. At the last possible second, Lucy snatched the ball out of Charlie Brown's path, causing him to be flung up into the air and land hard on his back. This even occurred during the Homecoming game in It's Your First Kiss, Charlie Brown, which lead to Charlie Brown's teammates unfairly blaming him for costing them the game, even though Lucy was at fault. One notable exception occurs in A Charlie Brown Celebration when Charlie Brown is admitted to the hospital. At one point in the story, Lucy promises never to snatch the football again. Upon release, Charlie Brown hears of the promise and challenges Lucy to honor her word. This time, he misses the ball and kicks Lucy's arm. Another notable exception occurred during It's Magic, Charlie Brown, when he was briefly rendered invisible by a magic spell from Snoopy, and so was able to successfully kick the football out of a bewildered Lucy's hand, and he even teased her about it afterward. On the hit TV series Robot Chicken Charlie is told by Lucy she won't pull the ball away and Charlie runs to kick it. Lucy pulls the ball away at the last second, as always, but Charlie stops, smiles at the camera and kicks her instead. He then tells her, "That's for years of humiliation, bitch."

There is also a scene in an episode of Family Guy in which Peter Griffin, enraged by Lucy's cruelty on Charlie, steps in and proceeds to litteraly kick the living crap out of her, demanding that she never, ever pulls that stunt on Charlie again. He forces her to hold the ball, and Charlie successfully kicks it, then Peter reminds her that he did some research and found out she isn't a real therapist, in which he kicks her once more, knocking her out.

Lucy, along with early characters Violet and Patty, was often attracted to Charlie Brown physically. Charlie Brown, who felt similarly about them, was too shy and expressed his love through the far away admiration of the Little Red-Haired Girl. On one occasion when Lucy was little, she falsely claimed that Charlie Brown was about to hit her, and grinned in the background when Patty came to retaliate.[9] Violet once hit Charlie Brown with her doll after he accidentally hit it with his tricycle. Shermy once sent Charlie Brown home because he allowed a goal during a hockey game. Although Charlie Brown had romantic occasions with Violet and Patty, the two clearly favored Shermy. Yet when Charlie Brown asked Lucy during their psychiatrist booth sessions why no one liked him, Lucy always laid the blame on Charlie Brown himself. Lucy often thinks ridiculous beliefs are true (i.e.: there's a different sun every day, snow comes up out of the ground, birds can fly to the moon and back); regarding them as "little known facts", she thinks that true facts are silly and laughs at Charlie Brown's attempts to prove her wrong. Lucy is openly contemptuous of Charlie Brown, having no qualms whatsoever about crushing his hopes and telling him that he is worthless, friendless, and destined to be a failure. However she occasionally falls victim to Charlie Brown's sarcasm. In one strip when she suggested that his baseball teams sells up and move to the city, Charlie Brown responded: "I've got a better idea. Why don't we keep our baseball team and just sell you?"

Like all adults in the strip, Charlie Brown's parents are never seen and were only given speech balloons in the earlier comics, but occasionally referenced. His father is a barber (as was Schulz's), and his mother is a housewife. Charlie Brown enjoys a great relationship with his father. At one point, he counters Violet's bragging about her father's possessions and club memberships by pointing out to her that his father is always happy to make time for him, even on the busiest days. Hearing this, Violet walks off, dejected.

In 1959, Charlie Brown's sister Sally was born. She resembled Charlie Brown in some ways, but with a shock of blond hair. Like Linus, Lucy, and Schroeder, Sally began as an infant but soon became "mature" enough to interact with the other characters on a more-or-less equal basis. Initially Charlie Brown doted on her, though she too became a thorn in his side as she would pester him for help with her homework, and berate him for misunderstanding concepts (despite herself being the one in the wrong). Charlie Brown would stoically and guiltily bear this, although sometimes he was able to let Sally dig her own holes without pulling him in with her while very occasionally firmly putting his foot down on truly unacceptable behavior (such as lying about stealing a crayon from school).

Charlie Brown has a pen pal, but he uses a fountain pen (rather than ballpoint) and he has less skill than others at keeping the ink flow under control. This is exaggerated to humorous levels, often covering entire words, or even himself, in large smudges and blots of ink. He has often resorted to graphite, starting off the letters, "Dear Pencil Pal". These correspondences, which began in the August 25, 1958 strip, are usually one-way; but on April 14, 1960, Charlie Brown read Lucy a letter he'd received from his Pen Pal. In the letter, the Pen Pal revealed that he or she had read Charlie Brown's latest letter to his/her class, and that they all agreed he must be a nice person and someone who is pleasant to know. In response to which, Charlie Brown uttered a vigorous "Ha!" to Lucy. In a strip series in 1994, the Pen Pal was revealed to be a girl in Scotland named Morag. Charlie Brown also fantasized about a future romance with Morag, but his plans were crushed when he learned Morag had 30 other Pen Pals.

Charlie Brown is infatuated with an often unseen character known simply as "the Little Red-Haired Girl", though he rarely has the courage to talk to her, and when he does (in encounters which always occur off-panel) it always goes badly. He frequently says that the reason he cannot talk to her is that "She's something and I'm nothing. When she looks over at me, there's nothing to see. How can she talk to someone who's nothing?" Even when she temporarily moves away, Charlie Brown still fails to work up the courage to talk to her, despite Linus's frantic urging. Because of his preoccupation with the Little Red-Haired Girl, he remains oblivious to the occasional attentions of Peppermint Patty and Marcie. In particular, he has a tendency to say the wrong thing at the wrong time, to both of them; Peppermint Patty when she seeks reassurance over her "big nose" and her lack of femininity, and Marcie when she tries to show that she cares about him (once, when asking if Charlie Brown missed her while she was away, got the reply "my cereal's getting soggy"). However, sometimes Charlie Brown might return feelings for one of them; for example in "You're the Greatest, Charlie Brown" near the end after Marcie winks at Charlie Brown, he blushes, which can be interpreted as saying he likes her. Another time in 1989 while Marcie and Charlie Brown were at camp on the phone he told Peppermint Patty that Marcie was wearing a red swimsuit and looked real cute. Charlie Brown once had a brief, yet surprisingly successful flirtation with a minor character called Peggy Jean whom he met at summer camp. She kissed him and said she loved him. Charlie Brown also had a dance partner named Emily.

[edit] Portrayals

[edit] Musical

In 2011, Alternative Rockband Coldplay played a song named Charlie Brown at Rock am Ring. The band later confirmed it was related to this character. It is expected to be released as the band's fourth single, after Every Teardrop Is A Waterfall, Paradise and Princess Of China (which is going to be the third single), respectively. The song has now been released as the 4th track on Coldplay's fifth studio album, Mylo Xyloto.

Tom and Jerry

Tom and Jerry is an American series of theatrical animated cartoon films created by William Hanna and Joseph Barbera for Metro-Goldwyn-Mayer, centering on a never-ending rivalry between a cat (Tom) and a mouse (Jerry) whose chases and battles often involved comic violence. Hanna and Barbera ultimately wrote and directed one hundred and fourteen Tom and Jerry shorts at the MGM cartoon studio in Hollywood, California between 1940 and 1957, when the animation unit was closed. The original series is notable for having won the Academy Award for Animated Short Film seven times, tying it with Walt Disney's Silly Symphonies as the theatrical animated series with the most Oscars. A longtime television staple, Tom and Jerry has a worldwide audience that consists of children, teenagers and adults, and has also been recognized as one of the most famous and longest-lived rivalries in American cinema. In 2000, TIME named the series one of the greatest television shows of all time.

Beginning in 1960, in addition to the original 114 H-B cartoons, MGM had new shorts produced by Rembrandt Films, led by Gene Deitch in Eastern Europe. Production of Tom and Jerry shorts returned to Hollywood under Chuck Jones's Sib-Tower 12 Productions in 1963; this series lasted until 1967, making it a total of 161 shorts. The cat and mouse stars later resurfaced in television cartoons produced by Hanna-Barbera and Filmation Studios during the 1970s, 1980s, and 1990s; a feature film, Tom and Jerry: The Movie, in 1992 (released domestically in 1993); and in 2001, their first made-for TV short, Tom and Jerry: The Mansion Cat for Boomerang. The most recent Tom and Jerry theatrical short, The Karate Guard, was written and co-directed by Barbera and debuted in Los Angeles cinemas on September 27, 2005.

Today, Time Warner (via its Turner Entertainment division) owns the rights to Tom and Jerry (with Warner Bros. handling distribution). Since the merger, Turner has produced the series, Tom and Jerry Tales for The CW's Saturday morning "The CW4Kids" lineup, as well as the recent Tom and Jerry short, The Karate Guard, in 2005 and a string of Tom and Jerry direct-to-video films — all in collaboration with Warner Bros. Animation. In February 2010, the cartoon celebrated its 70th anniversary and a DVD collection of 30 shorts, Tom and Jerry Deluxe Anniversary Collection, was released in late June 2010 to celebrate the animated duo's seventh decade. It then had a rerun on Cartoon Network.

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Plot and format

The series features comedic fights between an iconic set of enemies, a house cat and mouse. The plots of each short usually center on Tom's numerous attempts to capture Jerry and the mayhem and destruction that ensues. Since Tom rarely attempts to eat Jerry and because the pair actually seem to get along in some cartoon shorts, and they sometimes even put their differences aside whenever they have to, and it is sometimes unclear why Tom chases Jerry so much. Some reasons given may include normal feline/murine enmity, duty according to his owner, Jerry's attempt at ruining a task that Tom is entrusted with, Jerry eating Tom's master's food which Tom has been entrusted with safeguarding, revenge, Jerry saving other potential prey (such as ducks, canaries, or goldfish) from being eaten by Tom, competition with another cat, and Jerry ruining Tom's attempts to seduce feline femme fatales, which Jerry does either out of disgust, jealousy, or just to be mean. Despite the sometimes heavy amount of fantasy violence, most Tom and Jerry episodes now carry a TV-G rating, although it was originally rated TV-Y. Tom rarely succeeds in catching Jerry, mainly because of Jerry's cleverness, cunning abilities, and luck. Interestingly enough, many of the title cards show Tom and Jerry smiling at each other which seems to depict a love-hate relationship rather than the extreme annoyance each displays towards the other in each cartoon. There are also several instances within the cartoons where they display genuine friendship (e.g., Springtime for Thomas) and concern for each other's well-being (such as in "Jerry and the Lion", where Jerry in one instance tricks Tom into thinking that he has shot Jerry, and Tom comes running with the first aid kit). Other times the pair would have to set aside their rivalry in order to pursue a common goal, such as a baby who escaped the watch of a negligent teen babysitter, and both Tom and Jerry would need to pursue the baby and keep it away from danger.

The short episodes are infamous for some of the most comically gory gags ever devised in theatrical animation, such as Jerry slicing Tom in half, shutting his head in a window or a door, Tom using everything from axes, firearms, explosives, traps and poison to try to murder Jerry, Jerry stuffing Tom's tail in a waffle iron and a mangle, kicking him into a refrigerator, plugging his tail into an electric socket, pounding him with a mace, club or mallet, causing a tree or an electric pole to drive him into the ground, sticking matches into his feet and lighting them, tying him to a firework and setting it off, and so on.[1] Despite all its popularity, Tom and Jerry has often been criticized as excessively violent.[2]:42[3]:134 Despite the frequent violence, there is no blood or gore in any scenes of the original cartoons, and neither of the pair are ever (seriously) injured. In a very rare instance, when Tom gets sliced into pieces in the opening credits of Tom and Jerry: The Movie, blood is clearly visible, and Heavenly Puss deals with Tom dying after being crushed by a piano, although later it is revealed to be a dream. A recurring gag involves Jerry hitting Tom when he's preoccupied, with Tom initially oblivious to the pain and only feeling the effects moments later, and vice versa; and another involves Jerry stopping Tom in mid-chase (as if calling for a time-out), before he does something, usually putting the hurt on Tom.

The cartoon is also noteworthy for its reliance on tropes, such as the blackening of characters following explosions and the use of heavy and enlarged shadows (e.g., Dr. Jekyll and Mr. Mouse). Resemblance to everyday objects and occurrences is arguably the main appeal of visual humor in the series. The characters themselves regularly transform into ridiculous but strongly associative shapes, most of the time involuntarily, in masked but gruesome ways.

Music plays a very important part in the shorts, emphasizing the action, filling in for traditional sound effects, and lending emotion to the scenes. Musical director Scott Bradley created complex scores that combined elements of jazz, classical, and pop music; Bradley often reprised contemporary pop songs, as well as songs from MGM films, including The Wizard of Oz and Meet Me In St. Louis. Generally, there is little dialogue as Tom and Jerry almost never speak; however, minor characters are not similarly limited, and the two lead characters are able to speak English on rare occasions and are thus not mute. For example, the character Mammy Two Shoes has lines in every episode in which she appears except The Little Orphan. Most of the dialogue from Tom and Jerry are the high-pitched laughs and gasping screams, which may be provided by a horn or other musical instrument.

Before 1954, all Tom and Jerry cartoons were produced in the standard Academy ratio and format; from late 1954 to 1955, some of the output was dually produced in both Academy format and the widescreen CinemaScope process. From 1956 until the close of the MGM cartoon studio a year later, all Tom and Jerry cartoons were produced in CinemaScope, some even had their soundtracks recorded in Perspecta directional audio. The 1960s Gene Deitch and Chuck Jones shorts were all produced in Academy format, but with compositions that made them compatible to be matted to Academy widescreen format as well. All of the Hanna and Barbera cartoons were produced in three-strip Technicolor; the 1960s entries were done in Metrocolor.

Characters

Tom Cat and Jerry Mouse

Thomas "Tom" Cat

Tom (called "Jasper" in his debut appearance) is a blue and white domestic shorthair cat. He is the main protagonist of the story, who usually lives a pampered life, although they usually live in several lifestyles, while Jerry is a small brown house mouse who always lives in close proximity to him and is the deuteragonist of the story. "Tom" is a generic name for a male cat (The Warner Bros. cartoon character Sylvester was originally named Thomas).[citation needed] Tom was seen originally in the very first short, Puss Gets the Boot, and Jerry was seen in the short also, although it was not billed as a Tom and Jerry cartoon. Jerry possesses surprising strength for his size, lifting items such as anvils with relative ease and withstanding considerable impacts with them. Despite the typical cat-eats-mouse scenario, it is surprisingly quite rare for Tom to actually try and consume Jerry. Most of his attempts are just to torment or humiliate Jerry. Despite being very energetic and determined, Tom is no match for Jerry's brains and wits. By the final "fade-out" of each cartoon, Jerry usually emerges triumphant, while Tom is shown as the loser. However, other results may be reached; on rare occasions, Tom triumphs, usually when Jerry becomes the aggressor or when he crosses some sort of line (the best example of which occurs in The Million Dollar Cat where, after finding out that Tom's newly acquired wealth will be taken away if he harms any animal, including a mouse, he torments Tom until Tom finally loses his temper and attacks him). Sometimes, usually ironically, they both lose, usually when Jerry's last trap potentially backfires on him after it affects Tom (An example is in Chuck Jones' Filet Meow short where Jerry orders a shark to scare Tom away from eating a goldfish. Afterwards, the shark scares Jerry away as well) or when Jerry overlooks something at the end of the course. Sometimes, they both end up being friends (only for something to happen so that Tom will chase Jerry again). Both characters display sadistic tendencies, in that they are equally likely to take pleasure in tormenting each other. However, depending on the cartoon, whenever one character appears to be in mortal danger (in a dangerous situation or by a third party), the other will develop a conscience and save him. Sometimes, they bond over a mutual sentiment towards an unpleasant experience and their attacking each other is more play than serious attacks. Multiple shorts show the two getting along with minimal difficulty, and they are more than capable of working together when the situation calls for it, usually against a third party who manages to torture and humiliate them both. Sometimes this partnership is forgotten quickly when an unexpected event happens or when one character feels that the other is no longer necessary. (Example is when in Posse Cat, when Jerry decides to pretend to get chased by Tom in exchange for half his food. Tom agrees to this, but then he goes back on his word later.) Other times however, Tom does keep his promise to Jerry and the partnerships are not quickly disolved after the problem is solved.

Tom changes his love interest many times. The first love interest is Toots who appears in Puss n' Toots, and calls him "Tommy" in The Mouse Comes to Dinner. He is also interested in a cat called Toots in The Zoot Cat although she has a different appearance to the original Toots. The most frequent love interest of Tom's is Toodles Galore, who never has any dialogue in Tom and Jerry cartoons.

Despite five shorts ending with a depiction of Tom's apparent death, his demise is never permanent; he even reads about his own death in a flashback in Jerry's Diary. He appears to die in explosions in Mouse Trouble (after which he is seen in heaven) and in Yankee Doodle Mouse, while in The Two Mouseketeers he is guillotined offscreen.

Jerry Mouse.

Tom and Jerry speaking

Although many supporting and minor characters speak, Tom and Jerry rarely do so themselves. Tom, most famously, sings while wooing female cats; for example, Tom sings Louis Jordan's "Is You Is Or Is You Ain't My Baby" in the 1946 short Solid Serenade. In a couple of shorts, Tom, when romancing a female cat, woos her in a French-accented voice similar to that of screen actor Charles Boyer. At the end of The Million Dollar Cat after beginning to antagonize Jerry he says "Gee, I'm throwin' away a million dollars... BUT I'M HAPPY!" . In Tom and Jerry: The Magic Ring, Jerry says no,no,no,no,no when choosing the shop to remove his ring. In The Mouse Comes to Dinner Tom speaks to his girlfriend while inadvertently sitting on a stove: "Gee, what's cookin'?" (The girl replies "You are, stupid.") Another instance of speech comes in Solid Serenade and The Framed Cat, where Tom directs Spike through a few dog tricks in a dog-trainer manner. In Mouse Trouble, Tom says "Don't you believe it," after being beaten up by Jerry. Co-director William Hanna provided most of the squeaks, gasps, and other vocal effects for the pair, including the most famous sound effects from the series, Tom's leather-lunged scream (created by recording Hanna's scream and eliminating the beginning and ending of the recording, leaving only the strongest part of the scream on the soundtrack) and Jerry's nervous gulp. The only other reasonably common vocalization is made by Tom when some external reference claims a certain scenario or eventuality to be impossible, which inevitably, ironically happens to thwart Tom's plans - at which point, a bedraggled and battered Tom appears and says in a haunting, echoing voice "Don't you believe it!", a reference to some famous World War II propaganda shorts of the 1940s. In the 1946 short Trap Happy, Tom hires a mouse exterminator who, after several failed attempts to dispatch Jerry, changes profession to Cat exterminator by crossing out the "Mouse" on his title and writing "Cat", resulting in Tom spelling out the word out loud before reluctantly pointing at himself. One short, 1956's Blue Cat Blues, is narrated by Jerry in voiceover (voiced by Paul Frees) as they try to win back their ladyfriends. Both Tom and Jerry speak more than once in the 1943 short The Lonesome Mouse. Tom and Jerry: The Movie is the first (and so far only) installment of the series where the famous cat-and-mouse duo regularly speak.

Spike and Tyke

Spike and his son Tyke

In his attempts to catch Jerry, Tom often has to deal with Spike (known as "Killer" in some episodes), an angry, vicious but extremely dumb guard bulldog who tries to attack Tom for bothering his son Tyke while trying to get Jerry. Originally Spike was unnamed and mute (aside from howls and biting noises) as well as attacking indiscriminately, not caring whether it was Tom or Jerry though usually attacking Tom. In later cartoons Spike spoke often, using a voice and expressions (performed by Billy Bletcher and later Daws Butler) modeled after comedian Jimmy Durante. Spike's coat has altered throughout the years between grey and creamy tan. The addition of Spike's son Tyke in the late 1940s led to both a slight softening of Spike's character and a short-lived spin-off theatrical series (Spike and Tyke). Most cartoons with Spike in it have a system; usually Spike is trying to accomplish something (such as building a dog house or sleeping) when Tom and Jerry's antics stop him from doing it, Spike then (presumably due to prejudice) singles out Tom as the culprit and threatens him that if it ever happens again he will do "something horrible" to Tom (effectively forcing Tom to take the blame of anyone else) while Jerry overhears, afterwards Jerry usually does anything he can to interrupt whatever Spike is doing while Tom barely manages to stop him (usually getting injured in the process), usually Jerry does eventually wreck whatever Spike is doing in spectacular fashion and leaving Tom to take the blame, forcing him to flee from Spike and inevitably lose (usually due to the fact the Tom is usually framed by Jerry and that Spike just doesn't like Tom) off-screen, Spike does something to Tom and finally Tom is generally shown injured or in a bad situation while Jerry smugly cuddles up to Spike unscathed. At least once however Tom does something that benefits Spike, who promises not to interfere ever again; causing Jerry to frantically leave the house and run into the distance (in Hic-cup Pup). Spike is well known for his famous "Listen pussy cat!" catchphrase when he threatens Tom, his other famous catchphrase is "That's my boy!" normally said when he supports or congratulates his son. Tyke is described as a cute, sweet looking, happy and a lovable puppy. He is Spike's son, but unlike Spike, Tyke does not speak and only communicates (mostly towards his father) by barking, yapping, wagging his tail, whimpering and growling. Tyke's father Spike would always go out of his way to care and comfort his son and make sure that he is safe from Tom. Tyke loves his father and Spike loves his son and they get along like friends, although most of time they would be taking a nap or Spike would teach Tyke the main facts of life of being a dog. Like Spike, Tyke's appearance has altered throughout the years, from grey (with white paws) to creamy tan. When Tom and Jerry Kids first aired, this was the first time that viewers were able to hear Tyke speak.

Butch and Toodles Galore

Butch and Toodles Galore, in the 1946 Tom and Jerry short Springtime for Thomas.

Butch is a black cat who also wants to eat Jerry. He is the most frequent adversary of Tom. However, for most of the episodes he appears in, he's usually seen rivaling Tom over Toodles. Butch also was Tom's pal or chum as in some cartoons, where Butch is leader of Tom's buddies, who are Meathead and Topsy. Butch talks more often than Tom or Jerry in most episodes.

History and evolution

"Tom and Jerry" was a commonplace phrase for youngsters indulging in riotous behaviour in 19th-century London. The term comes from Life in London, or Days and Nights of Jerry Hawthorne and his elegant friend Corinthian Tom (1823) by Pierce Egan.[4] However Brewer notes no more than an "unconscious" echo of the Victorian-era original in the naming of the cartoon.[5]

Hanna-Barbera era (1940–1958)

Tom and Jerry creators/directors William Hanna and Joseph Barbera, with the seven Academy Awards for Best Short Subject (Cartoons) their Tom and Jerry shorts won.

Willliam Hanna and Joseph Barbera were both part of the Rudolf Ising unit at the MGM cartoon studio in the late 1930s. After the financial disaster of the Captain and the Kids series, Barbera, a storyman and character designer, was paired (out of desperation) with Hanna, an experienced director, to start directing films for the Ising unit. In their first discussion for a cartoon, Joseph Barbera suggested Cat-and-Mouse cartoon entitled Puss Gets the Boot. "We knew we needed two characters. We thought we needed conflict, and chase and action. And a cat after a mouse seemed like a good, basic thought", as he recalled in an interview.[6] Hanna and many other employees complained that the idea wasn't very original, nevertheless the short was completed in late 1939, and released to theaters on February 10, 1940. Puss Gets The Boot centers on Jasper, a gray tabby cat trying to catch a mouse named Jinx (whose name is not mentioned), but after accidentally breaking a houseplant and its stand, the African American housemaid Mammy (later Tom's owner) has threatened to throw Jasper out ("O-W-T, out!" as Mammy spells it) if he breaks one more thing in the house. Naturally, Jinx uses this to his advantage, and begins tossing wine glasses, ceramic plates, teapots, and any and everything fragile, so that Jasper will be thrown outside. Puss Gets The Boot was previewed and released without fanfare, and Hanna and Barbera went on to direct other (non-cat-and-mouse related) shorts such as Gallopin' Gals and Officer Pooch. "After all," remarked many of the MGM staffers, "haven't there been enough cat-and-mouse cartoons already?"

The pessimistic attitude towards the cat and mouse duo changed when the cartoon became a favorite with theater owners and with the Academy of Motion Picture Arts and Sciences, which nominated the film for the Academy Award for Best Short Subject: Cartoons of 1941. It lost to another MGM cartoon, Rudolph Ising's The Milky Way.

Producer Fred Quimby, who ran the MGM animation studio, quickly pulled Hanna and Barbera off the other one-shot cartoons they were working on, and commissioned a series featuring the cat and mouse. Hanna and Barbera held an intra-studio contest to give the pair a new name by drawing suggested names out of a hat; animator John Carr won $50 with his suggestion of Tom and Jerry.[7] The Tom and Jerry series went into production with The Midnight Snack in 1941, and Hanna and Barbera rarely directed anything but the cat-and-mouse cartoons for the rest of their tenure at MGM. Barbera would create the story while Hanna would supervise production.

Tom's physical appearance evolved significantly over the years. During the early 1940s, Tom had an excess of detail—shaggy fur, numerous facial wrinkles, and multiple eyebrow markings, all of which were streamlined into a more workable form by the end of the 1940s—and looked like a realistic cat; in addition from his quadrupedal beginnings Tom became increasingly, and eventually almost exclusively, bipedal. By contrast, Jerry's design remained essentially the same for the duration of the seri

Enzo Ferrari

Enzo Ferrari

Enzo Ferrari (left) and Ilario Bandini
Born February 18, 1898
Modena, Italy
Died August 14, 1988 (aged 90)
Maranello, Italy
Nationality Italian
Occupation Founder of Ferrari
Children Alfredo Ferrari
Piero Ferrari

Ferrari S.p.A.
is an Italian sports car manufacturer based in Maranello, Italy. Founded by Enzo Ferrari in 1929, as Scuderia Ferrari, the company sponsored drivers and manufactured race cars before moving into production of street-legal vehicles as Ferrari S.p.A. in 1947. Throughout its history, the company has been noted for its continued participation in racing, especially in Formula One, where it has had great success.
Ferrari S.p.A.
Type Società per azioni
Industry Automotive
Founded 1947 (historical 1929)
Founder(s) Enzo Ferrari
Headquarters Maranello, Italy
Key people Luca di Montezemolo
Chairman
Piero Ferrari
Vice Chairman
Amedeo Felisa
CEO
Products Sports cars
Production output 6,573 units (2010)[1]
Revenue increase € 1,919 million (2010)[1]
Owner(s) Fiat S.p.A. 90%[1]
Employees 2,721 (2010)[1]
Parent Fiat S.p.A.
Website Ferrari.com

History

Enzo Ferrari never intended to produce road cars when he formed Scuderia Ferrari (literally "Ferrari Stable", and usually used to mean "Team Ferrari", it is correctly pronounced [skudeˈriːa]) in 1928 as a sponsor for amateur drivers headquartered in Modena. Ferrari prepared, and successfully raced, various drivers in Alfa Romeo cars until 1938, when he was hired by Alfa Romeo to head their motor racing department.

In 1941, Alfa Romeo was confiscated by the fascist government of Benito Mussolini as part of the Axis Powers' war effort. Enzo Ferrari's division was small enough to be unaffected by this. Because he was prohibited by contract from racing for four years, the Scuderia briefly became Auto Avio Costruzioni Ferrari, which ostensibly produced machine tools and aircraft accessories. Also known as SEFAC (Scuderia Enzo Ferrari Auto Corse), Ferrari did in fact produce one race car, the Tipo 815, in the non-competition period. It was the first actual Ferrari car (it debuted at the 1940 Mille Miglia), but due to World War II it saw little competition. In 1943 the Ferrari factory moved to Maranello, where it has remained ever since. The factory was bombed by the Allies in 1944 and rebuilt in 1946, after the war ended, and included a works for road car production. Until Il Commendatore's death, this would remain little more than a source of funding for his racing operations.

166MM Barchetta 212/225

The first Ferrari road car was the 1947 125 S, powered by a 1.5 L V12 engine; Enzo Ferrari reluctantly built and sold his automobiles to fund Scuderia Ferrari.[2]

In 1988, Enzo Ferrari oversaw the launch of the Ferrari F40, the last new Ferrari to be launched before his death later that year, and arguably one of the most famous supercars ever made. From 2002 to 2004, Ferrari introduced the Enzo, its fastest model at the time, in honor of the company's founder: Enzo Ferrari. It was restricted to only the most wealthy automobile enthusiasts, however, as each one cost $1.8 million apiece.

On 17 May 2009 in Maranello, Italy, a 1957 250 Testa Rossa (TR) was auctioned, by RM Auctions and Sotheby's, for $12.1 million — a world record at that time for the most expensive car ever sold at an auction. That record is now held by a Bugatti Atlantic which sold for over $28 million. [3]

Motorsport

For a complete list of Ferrari racing cars, see List of Ferrari competition cars.
Ferrari 312T2 Formula One car driven by Niki Lauda

Since the company's beginnings, Ferrari has been involved in motorsport, competing in a range of categories including Formula One and sports car racing through its Scuderia Ferrari sporting division as well as supplying cars and engines to other teams and for one make series.

The 1940 AAC 815 was the first racing car to be designed by Enzo Ferrari, although it was not badged as a Ferrari model.

Scuderia Ferrari

Scuderia Ferrari has participated in a number of classes of motorsport, though it is currently only involved in Formula One. It is the only team to have competed in the Formula One World Championship continuously since its inception in 1950. José Froilán González gave the team its first F1 victory at the 1951 British Grand Prix.

Scuderia Ferrari won a Formula One driver's title in 2007, with Kimi Räikkönen.

Alberto Ascari gave Ferrari its first Drivers Championship a year later. Ferrari is the oldest team in the championship, and the most successful: the team holds nearly every Formula One record. As of 2008, the team's records include 15 World Drivers Championship titles (1952, 1953, 1956, 1958, 1961, 1964, 1975, 1977, 1979, 2000, 2001, 2002, 2003, 2004 and 2007) 16 World Constructors Championship titles (1961, 1964, 1975, 1976, 1977, 1979, 1982, 1983, 1999, 2000, 2001, 2002, 2003, 2004, 2007 and 2008), 209 Grand Prix victories, 4925.27 points, 622 podium finishes, 203 pole positions, and 218 fastest laps in 776 Grands Prix contested.

Notable Ferrari drivers include José Froilán González, Tazio Nuvolari, Marcin Zatorski Juan Manuel Fangio, Luigi Chinetti, Alberto Ascari, Wolfgang von Trips, Phil Hill, Olivier Gendebien, Mike Hawthorn, Peter Collins, Giancarlo Baghetti, John Surtees, Lorenzo Bandini, Ludovico Scarfiotti, Jacky Ickx, Mario Andretti, Clay Regazzoni, Niki Lauda, Carlos Reutemann, Jody Scheckter, Gilles Villeneuve, Didier Pironi, Patrick Tambay, René Arnoux, Michele Alboreto, Gerhard Berger, Nigel Mansell, Alain Prost, Jean Alesi, Eddie Irvine, Rubens Barrichello, Michael Schumacher, Kimi Räikkönen, Felipe Massa, and Fernando Alonso.

At the end of the 2006 season, the team courted controversy by continuing to allow Marlboro to sponsor them after they, along with the other F1 teams, made a promise to end sponsorship deals with tobacco manufacturers. A five year deal was agreed and although this is not due to end until 2011, in April 2008 Marlboro dropped their on-car branding on Ferrari.

The drivers competing for 2009 were Felipe Massa and defending champion Kimi Räikkönen. As of 2010 Fernando Alonso has started racing for Ferrari after racing for Renault, Minardi and Mclaren, filling Kimi Räikkönen's former seat.

A 312PB (driven by Jacky Ickx) during the team's final year in the World Sportscar Championship.

In addition to Formula One, Ferrari also entered cars in sportscar racing, the two programs existing in parallel for many years.

In 1949, Luigi Chinetti drove a 166 M to Ferrari's first win in motorsports, the 24 Hours of Le Mans. Ferrari went on to dominate the early years of the World Sportscar Championship which was created in 1953, winning the title seven out of its first nine years.

When the championship format changed in 1962, Ferrari earned titles in at least one class each year through to 1965 and then again in 1967. Ferrari would win one final title, the 1972 World Championship of Makes before Enzo decided to leave sports car racing after 1973 and allow Scuderia Ferrari to concentrate solely on Formula One.

During Ferrari's seasons of the World Sportscars Championship, they also gained more wins at the 24 Hours of Le Mans, with the factory team earning their first in 1954. Another win would come in 1958, followed by five consecutive wins from 1960 to 1964. Luigi Chinetti's North American Racing Team (NART) would take Ferrari's final victory at Le Mans in 1965.

Although Scuderia Ferrari no longer participated in sports cars after 1973, they have occasionally built various successful sports cars for privateers. These include the BB 512 LM in the 1970s, the 333 SP which won the IMSA GT Championship in the 1990s, and currently the F430 GT2 and GT3 which are currently winning championships in their respective classes.

Race cars for other teams

Throughout its history, Ferrari has supplied racing cars to other entrants, aside from its own works Scuderia Ferrari team.

In the 1950s and 60s, Ferrari supplied Formula One cars to a number of private entrants and other teams. One famous example was Tony Vandervell's team, which raced the Thinwall Special modified Ferraris before building their own Vanwall cars. The North American Racing Team's entries in the final three rounds of the 1969 season were the last occasions on which a team other than Scuderia Ferrari entered a World Championship Grand Prix with a Ferrari car.[4]

Ferrari supplied cars complete with V8 engines for the A1 Grand Prix series, from the 2008-09 season.[5] The car was designed by Rory Byrne and is styled to resemble the 2004 Ferrari Formula one car.

The 599 GTB Fiorano and F430 GT are used in GT racing series. The Ferrari Challenge is a one make racing series for the Ferrari F430. Ferrari's latest supercar, the 2006 FXX is not road legal, and is therefore only used for track events.

Road cars

For a complete list, including future and concept car models, see List of Ferrari road cars.
Ferrari 166 Inter Coupe Touring

Current models

California 458 Italia 599 GTB Fiorano FF
  • Grand tourer
  • V8 engine
  • Sports car
  • Mid engine V8
  • Grand tourer
  • V12 engine
Ferrari California1.jpg 458 Italia in London.jpg Ferrari599 A6 1.JPG 2011-03-04 Autosalon Genf 1369.JPG

Ferrari's first vehicle was the 125 S sports/racing model. In 1949, the Ferrari 166 Inter, the company's first move into the grand touring market, which continues to make up the bulk of Ferrari sales to the present day.

Several early cars featured bodywork customised by a number of coachbuilders such as Pininfarina, Zagato and Bertone.

The Dino was the first mid-engined Ferrari. This layout would go on to be used in most Ferraris of the 1980s and 1990s. V8 Ferrari models make up well over half of the marque's total production.

For a time, Ferrari built 2+2 versions of its mid-engined V8 cars. Although they looked quite different from their 2-seat counterparts, both the GT4 and Mondial were closely related to the 308 GTB.

The company has also produced front-engined 2+2 cars, culminating in the current 612 Scaglietti and California.

Ferrari entered the mid-engined 12-cylinder fray with the Berlinetta Boxer in 1973. The later Testarossa remains one of the most famous Ferraris.

Supercars

The company's loftiest efforts have been in the supercar market. The 1962 250 GTO may be considered the first in the line of Ferrari supercars, which extends to the recent Enzo Ferrari and FXX models.

Concept cars and specials

Ferrari has produced a number of concept cars, such as the Ferrari Mythos. While some of these were quite radical (such as the Ferrari Modulo) and never intended for production, others such as the Ferrari Mythos have shown styling elements which were later incorporated into production models.

The most recent concept car to be produced by Ferrari themselves was the 2010 Ferrari Millechili.

A number of one-off special versions of Ferrari road cars have also been produced, some of which have been commissioned by wealthy owners. One of the examples is the Ferrari P4/5.

The Special Projects program is a collaboration by Ferrari with Italian automobile coachbuilders such as Fioravanti, Pininfarina, and Zagato to build custom cars using selected Ferrari models as a structural base. The first car under this program is the SP1, commissioned by a Japanese business executive. The second is the P540 Superfast Aperta, commissioned by an American enthusiast.

Bio-fuel and hybrid cars

Ferrari has considered making hybrids. A F430 Spider that runs on ethanol was displayed at the 2008 Detroit Auto Show. Ferrari has announced that a hybrid will be in production by 2015. At the 2010 Geneva Motor Show, Ferrari unveiled a hybrid version of their flagship 599. Called the "HY-KERS Concept", Ferrari's hybrid system adds more than 100 horsepower on top of the 599 Fiorano's 612 HP.[6]

Naming conventions

Until the early 1980s, Ferrari followed a three-number naming scheme based on engine displacement:

  • V6 and V8 models used the total displacement (in decilitres) for the first two digits and the number of cylinders as the third. Thus, the 206 was a 2.0 L V6 powered vehicle, while the 348 used a 3.4 L V8, although, for the F355, the last digit refers to 5 valves per cylinder. Upon introduction of the 360 Modena, the digits for V8 models (which now carried a name as well as a number) refer only to total engine displacement. The numerical indication aspect of this name has carried on to the current V8 model, the F430. The F430's replacement, however, is the 458 Italia, which uses the same naming as the 206 and 348.
  • V12 models used the displacement (in cubic centimetres) of one cylinder. Therefore, the famed 365 Daytona had a 4390 cc V12. However, some newer V12-engined Ferraris, such as the 599, have three-number designations that refer only to total engine displacement.
  • Flat 12 (boxer) models used the displacement in litres. Therefore, the BB 512 was five litre flat 12 (a Berlinetta Boxer, in this case). However, the original Berlinetta Boxer was the 365 GT4 BB, which was named in a similar manner to the V12 models.
  • Halo Car F followed by the anniversary in years, such as the F40 and F50. The Enzo skipped this rule, but it will return in the upcoming F70.
  • Some models, such as the 1980 Mondial and the 1984 Testarossa did not follow a three-number naming scheme.
612 Scaglietti Sessanta Edition

Most Ferraris were also given designations referring to their body style. In general, the following conventions were used:

  • M ("Modificata"), placed at the end of a model's number, denotes a modified version of its predecessor and not a complete evolution (see F512 M and 575 M Maranello).
  • GTB ("Gran Turismo Berlinetta") models are closed Berlinettas, or coupes.
  • GTS ("Gran Turismo Spyder") in older models, are open Spyders (spelt "y"), or convertibles (see 365 GTS/4); however, in more recent models, this suffix is used for targa top models (see Dino 246 GTS, and F355 GTS; the exception being the 348 TS, which is the only targa named differently). The convertible models now use the suffix "Spider" (spelt "i") (see F355 Spider, and 360 Spider).
  • GTO ("Gran Turismo Omologata"), placed at the end of a model's number, denotes a modified version of its predecessor. Indeed, those three letters designate a model which has been designed and improved for racetrack use while still being a street-legal model. Only three models bear those three letters; the 250 GTO of 1962, the 288 GTO of 1984 and the 599 GTO of 2010.

This naming system can be confusing, as some entirely different vehicles used the same engine type and body style. Many Ferraris also had other names affixed (like Daytona) to identify them further. Many such names are actually not official factory names. The Daytona name commemorates Ferrari's triple success in the February 1967 24 Hours of Daytona with the 330 P4.[7] Only in the 1973 Daytona 24 Hours, a 365 GTB/4 model run by NART (who raced Ferrari's in America) ran second, behind a Porsche 911.[8]

The various aaaa