As he often is, Garfield is bored and desperate for something to do. He opens up a closet and is surprised, first when he hears saxophone music coming from inside, and then when he sees a fedora and trench-coat that are just his size hanging up. Deciding to just go with it, he puts the outfit on and is thrust into a monochrome fantasy where he's Sam Spayed, a noirish, second-rate private investigator. At his ramshackle office, where his only company is his new secretary, Kitty, work is slow for Sam, until he gets a visit from the lovely Tanya O'Tabby. She hires him to investigate the death of her husband, a 23-year old professor at St. Morris University. She suspects he was murdered, as he drove off Old Mountain Road despite being an excellent driver and having no reason to be out there to begin with. Immediately smitten with the lovely widow, Sam embarks on the case. He visits the city morgue to look at the body, and while the coroner, Burt Fleebish, insists there's no sign of foul play, Sam notices a yellow-brown stain on the body's torso. Looking through O'Tabby's clothes and personal items, he finds the same stain on his shirt, as well as a colorful "stone" that Fleebish missed. He also speaks with O'Tabby's colleague and advisor, Professor O'Felix, but learns that there was nothing suspicious about the late man's life or personal habits, save for his being addicted to coffee. But, as it turns out, that itself may end up being the key to uncovering the murder.
As noted in my review of Garfield: His 9 Lives, Babes and Bullets started out as a story in the anthology book that that special was based on, one of only three in there that wasn't actually written in some part by Jim Davis himself (in this case, the writer was Ron Tuthill). Deciding that it had enough material for its own cartoon, this special, which was written by Davis, was put into production and aired just seven months after His 9 Lives. Ironically, it beat its predecessor out for an Emmy award, becoming the last Garfield special to win one. While fairly faithful to its source material, there are a couple of noteworthy changes. One, in the story, all of the characters were cats but here, Garfield, aka Sam Spayed, and Odie, who appears as a janitor, are the only anthropomorphic animals in an otherwise human world. They made up for it by retaining many of the feline names from the story. And second, in the story, both the murder victim and the murderer are priests! Small wonder as to why that little detail was changed. While Phil Roman was, as usual, the main director, two directors from His 9 Lives worked with him: John Sparey, who worked on the King Cat, Garfield, and Space Cat segments, and Bob Nesler, who worked on the latter two, as well as Stunt Cat. As I said in that review, each of them would go on to have a part in directing all three of the remaining specials.
Here, Lorenzo Music gives what could very well be his greatest performance in his long career of voicing Garfield. He starts out as the Garfield we all know and love, as he's sitting around the house, bored out of his mind and trying to figure out what he should be doing. Out of curiosity, he opens the closet, and gets the surprise of his life when he hears saxophone music, then sees a fedora and a trench-coat hanging up inside. Again, with nothing else, he puts the outfit on and immediately transitions into the character of Sam Spayed, saying, "Here's lookin' at you, Sam. Play it again." What's so great about Music'sperformance is that he manages to keep the familiar sound of Garfield's voice, but infuses it with the subtle tone and inflections of a world-weary, hard-boiled private detective whose life consists of waiting for the next case to come around. This is especially impressive given how, like in a lot of film noirs, he narrates throughout the story and his inflection never feels unnatural. We formally meet Sam as he's sitting in his cluttered office on a slow day, with his only company being his new secretary, Kitty, whose sole requirement for the job, as far as he's concerned, is that she makes a good cup of coffee. As for himself, he feels he has all the requirements for a private eye: "I like babes and bullets. And I look kinda neat in a trench-coat." This slow day is broken when Tanya O'Tabby, whom he describes as, "One of the most beautiful creatures I'd ever seen," shows up at his door. He asks her, "So what brings you here? And why me? There are a hundred private investigators in town with better offices than mine. Who are you?", and she rapidly answers each question, "My husband was murdered. You're cheap. Tanya O'Tabby," before asking, "Will you take the case?" It takes Sam a fraction of a second to decide to take the job, despite Prof. O'Tabby's profession not being one that would result in his having many enemies, and the circumstances indicating it was a simple accident. And with that, it begins.
Throughout the story, Sam comes up with different possible scenarios to explain what happened to Prof. O'Tabby, the first of which he comes up with seconds after meeting Tanya. Since she's dressed like a woman who doesn't want for money, he figures it's the old cliche of her marrying a wealthy old man, killing him for the inheritance, and hiring a second-rate detective, whom she eventually double-crosses... but then, Tanya tells him that her husband was only 23. Thus, he again comes up with a scenario (saying, "Of course! It all makes sense now," for the second time in a row), this one with Tanya killing her husband because he was unfaithful and she, again, plans to hire and double-cross Sam so she can get off Scott-free. But then, when she tells him that her husband was the head of the history department at a university, that blows. Later, when talking with Prof. O'Felix and learning that O'Tabby often went to visit Maudie O'Purr, an alumnus and wealthy widow who often made donations to the university, Sam again thinks he's got it figured out, that O'Tabby was having an affair Maudie. But he then learns that Maudie is 93, which, again, kills his theory. Sam also takes the old adage of considering everybody a suspect toridiculous extremes. When he and Tanya are having lunch at a diner, he gives her a list of suspects he's put together, and she notes that he himself is on the list. He tells her, "I don't remember where I was last Friday night, Tanya. Therefore, I don't have an alibi. I've been tailin' myself for the last three days." Moreover, when this big thug who's been following him turns out to be his landlord who's demanding he pay his rent, Sam, on his way to meet with O'Felix, tells us, "I was still trying to figure out my landlord's involvement in this caper as I walked up the marble steps to the history building." And, as you can guess, Sam is a bit dim-witted. At the beginning, when he's talking about what a slow day it's been, he goes out to buy a phone, which he didn't already have. Going back to him and Tanya in the diner, they have this exchange: "You must be a very lonely man, Sam Spayed." "You could fix that, Tanya." "What are you tryin' to tell me, Sam?" "Do I have to spell it out?" "Give it a shot." "Y-O-U C-O-U..."Speaking of which, Garfield has a lot of great dialogue in this special, mostly in his noirish narration. While some of it does show how Sam, again, isn't the brightest bulb, he still manages to come off as cool when speaking them. When the story proper starts up, he tells us, "San Francisco's a beautiful city: cable cars, fog rollin' off the bay, Chinatown, the Golden Gate Bridge, the wharf... Gee, I wish I lived there." When talking about his new secretary, Kitty, he says, "Kitty wasn't much on keepin' an office clean but she could make a great cup of coffee. I still remember the day she came in,lookin' for work. She wanted to be a secretary. She had all the requirements: she made a great cup of coffee. I gave her a job. That was yesterday." He describes what a slow day it was with this little metaphor: "The hours seemed to drag by like a New York Giants vs. Brooklyn Dodgers double-header." When considering the case after he's agreed to take it, Sam narrates, "Why someone would murder a 23-year-old college professor was beyond me. Maybe he delivered just one too many lectures on the Boxer Rebellion. Stranger things have happened in this town." At the morgue, coroner Burt Fleebish goes to answer the phone, saying, "I'll be right back, Sam," and Sam, randomly, retorts, "Sure. That's what my ex-wife said." And when Burt then asks him if there's anything else he needs, Sam answers, "A clue, a motive, and a murderer." While talking with Tanya at the diner, she asks what he would think of her if she did turn out to be a murderer and he answers, "I'd wait for ya to get outta prison, baby. It's not like my social calendar's exactly packed. How long can a murder sentence be? Thirty, maybe forty years?" And upon being attacked by his landlord, Sam narrates, "He drug me into a darkened alley and he pounded me into next year." I could go on but I think that's enough to get the point across.It turns out that Sam's love for good coffee is what helps him solve the murder. While at the morgue, he notices familiar-looking yellow-brown stains on both O'Tabby's body and shirt, and also finds a colorful, painted stone in the pocket. After he's got his phone installed and talks with Tanya about what O'Felix told him, something he says causes Kitty to drop a tray containing a hot cup of coffee right onto his lap. When he goes into the bathroom to clean up, he notices the coffee stains on his shirt and realizes those were what O'Tabby's torso and shirt were covered in. He then examines the "stone" he found and realizesit's actually a chip of painted ceramic from a coffee mug. He figures that the coffee O'Tabby was drinking somehow caused him to wreck, but is unable to put it together. He goes to call Tanya and apologize for what happened when he was talking with her, then remembers that Tanya never gave out her phone number, yet Kitty somehow knew it. As he thinks about it, Sam ponders that Kitty may have been involved with O'Tabby, as she spilled the coffee right when he told Tanya what he learned from O'Felix about O'Tabby's relationship with "another woman." Moreover, since O'Felix mentioned that the womanwho used to make coffee at his office recently quit her job, and he'd hired Kitty just the day before, he figures Kitty must've killed O'Tabby because she couldn't have him. It turns out that he's half-right: when he confronts her, Kitty admits to loving O'Tabby but denies killing him. She also confirms that the little bit of ceramic is from his favorite coffee mug, and that he took very strong sleeping pills for his coffee-induced insomnia. When she says that, even if he took two of them, they wouldn't kick in for an hour, Sam has an epiphany. He correctly deduces that O'Felix is the murderer and goes out to arrest
at the very end (randomly wearing a light purple shirt rather than his usual blue), when he peeks in on Garfield in the closet, temporarily interrupting his fantasy. He asks him, "What're you doing in there?", and Garfield answers, "Getting ready to roll the credits pal," before closing the door again to continue fantasizing, while Jon just looks befuddled.
From a purely stylistic point-of-view, Babes and Bullets is definitely one of the best specials, as it successfully captures the look and feel of classic 40's film noir. First off, it's in monochrome, looks quite lovely in its own right, and second, it's filled with a lot of imagery you associate with those kinds of movies: the first shots of Prof. O'Tabby's car crazily driving along Old Mountain Road in the middle of the night; the impressionistic views of the city skyline, both during the day and at night, with a crescent moon in the sky; Sam sitting in his cluttered office, with the overhead light beaming down on him, casting some shadows; a lone streetlamp on an otherwise dark city street, which Tanya walks under as she leaves Sam's life at the end; and the judge literally looming over the characters when Prof. O'Felix is booked for murder. In fact, the opening credits feature a montage of such imagery, right down to the title screen, which is Sam's shadow up against a brick wall, while Lou Rawls' title song brings it all home (as does the whole music score). The details of the backgrounds and settings further inform this feeling, with the aforementioned cluttered look of Sam's small office, the couch in the one room looking as though it's seen better days, the littered, downtrodden look of the city streets, alleyways, and store fronts, and the small diner where Sam and Tanya have lunch in one scene. The interiors of the morgue definitely feel like they're out of something from the 40's, with the first shot of Burt examining a body looking as though he's standing in a gray void, save for the table with the body and overhead light. And when both Sam and Tanya go back to the spot where O'Tabby crashed on Old Mountain Road, the place does give off a lonely sort of vibe. Finally, as was often the case with movies from that era, the working class lifestyle is contrasted with that of the upper class, like O'Felix's big, fancy office, what we see of Tanya's posh home (which is just her bathroom, with a large bathtub, a big mirror on the wall behind it, and fancy curtains around the windows), and the university chapel where Sam arrests O'Felix.While the aesthetics of the original story and this special are very different, in keeping with this originating from Garfield: His 9 Lives, one thing you've likely noticed is that, like the settings, most of the characters are designed to look like real people, rather than Jim Davis' classic art style. You do have some caricatures with Burt Fleebish, Lt. Washington, and Sam's thuggish landlord, as well as Sam first imagining what O'Tabby may have looked like, but Tanya, Kitty, and O'Felix more or less look like people you might've seen in those old movies this cartoon is parodying. The animation on them is also quite good, as had become the norm for the Garfield specials by this point (I'm showing that image ofTanya playing with her hair not just to emphasize how she comes off as a realistic, lovely woman, but also because that bit of animation is quite smooth). And there are a number of moments where the special itself gets stylistic, such as when the fantasy begins and some headlights come right at Garfield as he stands in front of a black background; the numerous close-ups of Sam's face as he narrates (and, at one point, ponders why he's talking to himself); a series of tight zoom-ins on him as he says the line, "A clue, a motive, and a murderer," punctuating each word; his quick, hazy-framed imaginings of what may have actually happened; and an old-style split-screen effect for when he's talking with Tanya on the phone at one point.
It's surprising how truly engrossing the mystery is, with several twists, turns, and even some red herrings. First off, as Sam himself says, it's strange that a 23-year old college professor would have an enemy who hated him enough to kill him, and while Tanya's possible involvement in his death is initially dismissed when Sam learns the facts, she still comes off as suspicious when she's watching him from her car and when he finds her at the scene of the crime. Burt also comes off as suspicious but, like I said, he turns out to be totally clear. Like Sam, you also wonder what the significance is of the stains on both O'Tabby's corpse and shirt, and the little colored stone he finds in the pocket. A funny and clever red herringamid this is when the big brute who's following Sam around for a little bit and attacks him on the street after his lunch with Tanya turns out to be his landlord who wants his rent, rather than the killer's crony. Afterward, when Prof. O'Felix discusses how O'Tabby would go visit Maudie O'Purr every Friday night, like Sam, you're likely to deduce that O'Tabby was having an affair, given how Maudie is a wealthy widow, until you learn that she's 93. And speaking of O'Felix, while he is suspicious when you first meet him, when Sam learns of Kitty's link to O'Tabby, as well as her knowing his home phone number despite Tanya never giving it, the way she reacts when she overhears Sam tell Tanya what O'Felix said about O'Tabby's "woman trouble," and Sam realizing what the stains and little stone are, it does seem to point to her as the killer, even if Sam's theory about her pouring coffee on O'Tabby's lap and then pushing him over a cliff doesn't add up. In the end, while Kitty provides Sam with the clues he needs to deduce that O'Felix is the murderer, we don't see or hear him make that deduction, and it's not until the end, when he lays it all out for Kitty, that we get the whole picture. Still, this is a fairly complex mystery for an animated spoof.Also, while this cartoon, like all of them, is as G-rated as they come, and everything that happens is, possibly, just Garfield fantasizing, there are some fairly adult elements to it. O'Tabby is definitively dead at the start of the story, and we see it happen a couple of times, first without any context and later when Sam is laying it out for Kitty. Sam visits a morgue, where Burt is working on another body, and when asked, he pulls O'Tabby's sheet-covered body out on a slab, with Sam looking at the face and saying, "O'Tabby looked like he'd been worked over by the maulers of the Midway." He also asks Burt when the autopsy is scheduled and looks through O'Tabby's removed clothes and items, where he finds his first pair of clues. As you've n doubt noticed, Tanya and Kitty are drawn in a very attractive manner, and there's even a scene of Tanya in her luxurious bathtub at home. As she's talking to Sam on the phone while taking a bubble bath, you actually see her bare leg lean out over the rim of the tub! There's also Sam's initial theory about O'Tabby having an affair with Maudie O'Purr, which we see him construct in his head, his own infatuation with Tanya, and the way the cartoon ends with Kitty pouring her and Sam some glasses of milk, before letting her hair
down and, in silhouette behind his office door, picking him up, kissing him, and turning out the lights. Speaking of milk, when Sam is first describing the clutter of his office, he notes, "An empty bottle of milk lay on the floor next to the couch where I had a... 'business engagement' the night before." While they may have eliminated both O'Tabby and O'Felix being priests like in the story, Sam does find O'Felix in the university chapel, praying, when he goes to arrest him. And O'Felix's method for killing O'Tabby with his insomnia medicine and his motive for doing so, being jealous of his former students success and wanting his vaunted position at the university, is pretty heady stuff for something like this.Even the humor is sometimes a bit more adult than you might expect. Some mileage is gotten out of Sam's last name, with him and Tanya having this exchange when they first meet: "Are you Spayed?" "I never know how to answer that question." And after Kitty spills the coffee on Sam's lap, he narrates, "That hot coffee in the lap was enough to give a literal meaning to my last name." When he finds Kitty at the scene of the crime and stands behind her, as her skirt blows in the wind, he narrates, "I was tryin' to keep my mind on business, but I couldn't help but notice the lovely view." Finally, when narrating about Tanya, sometimes what she does and what he says don't quite
add up. When they first meet, he takes her hands in his, saying, "Her lips started to tremble," though they aren't in reality. And at the end, when he comes back to his office after taking O'Felix in, and finds Tanya there, waiting for him, he narrates, "She stood up sobbing and gently put her arms around me. She didn't say anything. She didn't have to. I understood." In reality, while she does stand up sobbing, he throws his arms around her legs without being prompted to and tells her, "I don't understand." For one last bit of humor that may make you go, "Whoa," when they talk about the possibility of a relationship between them, Tanya tells him, "Wouldn't work, Sam. We're different," and Sam responds, with a big smile on his face, "That's the part I like."
Once again, Desiree Goyette and Ed Bogas knocked it out of the park with the music. Even before we get into the main, film noir section of the cartoon, the music it opens up with, as we see a slow panning shot of the neighborhood before settling on Garfield's house, is very nice, getting across the feeling that it's a lazy day, and playing into Garfield's boredom. But when he opens up the closet, we first hear the smooth, sultry saxophone that plays throughout the story, often as a leitmotif for Tanya and instrumental of the title song. And once he begins fantasizing about being Sam Spayed, the music takes on the feeling of the period and genre for much of the duration, with more jazzy saxophone action mixed in with nice piano and keyboard sounds. It mostly acts as atmospheric underscoring (I especially like the music that plays when Sam speaks with Prof. O'Felix, which is a constant rhythm of quick piano keys followed by a low key on an electric keyboard), but it is sometimes used to emphasize action, like when Prof. O'Tabby's car crashes at the beginning, Sam's landlord beats on him, and when Kitty spills the hot coffee on him. Also, when Sam, after piecing together who the murderer is, tells Kitty that he's going, "To pick up a murderer, baby," this is emphasized by a dramatic horn blast, prompting him to say his expected line of, "Nice touch." The only time the music diverts from the overall period and theme is in the scene at the morgue, which is played with some quirky music to go with how strange of a character Burt Fleebish is. It's such a great score overall that you could easily enjoy it on its own, without even watching the cartoon. And Lou Rawls' title song brings home what the special is satirizing, as it gets into the lonely life of a private eye like Sam Spayed, who doesn't have much to look forward to each day, except his job and the next case.
Garfield's Babes and Bullets is definitely a highlight of the franchise, as it manages to accomplish what it sets out to do quite successfully, which is send up the 1940's film noir/detective genre. From the black-and-white, and the look of the settings and backgrounds, to Garfield's narration, and the great score and theme song, it has everything down, and also manages to deliver a fairly engrossing mystery all its own, as well as some adult aspects and jokes that you might not expect. In addition, the animation is very well done, as is the blending of a completely different art style with Jim Davis' familiar one, Lorenzo Music's performance as Garfield/Sam Spayed is one of his best, and the special manages to be just as clever in its writing as it is everywhere else. Overall, it's a testament to what a flexible character Garfield is and it's a shame that they didn't try anything else as radical as this and His 9 Lives (which, after thinking about, I do think this one is superior to) afterward.