| rdfs:comment | - These clawed cats were mostly similar in appearance and temperament, with black fur and anxious personalities. For example, in the 1943 film The Aristo-cat (the character's first speaking role), Chuck paired his unnamed clawed cat against the mind-manipulating mouse duo, Hubie and Bertie. Chuck redesigned the neurotic feline for the 1949 film Mouse Wreckers (perhaps to distinguish him from Friz Freleng's popular puss, Sylvester). The short is another Hubie and Bertie vehicle, only this time, the antagonist they antagonize is Claude the clawed cat, drawn as he would appear in all future cartoons: yellow, with a red shock of hair and a white belly (his exact markings would vary from cartoon to cartoon). In this as in all future Claude Cat cartoons, Chuck's careful attention to personality is
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| abstract | - These clawed cats were mostly similar in appearance and temperament, with black fur and anxious personalities. For example, in the 1943 film The Aristo-cat (the character's first speaking role), Chuck paired his unnamed clawed cat against the mind-manipulating mouse duo, Hubie and Bertie. Chuck redesigned the neurotic feline for the 1949 film Mouse Wreckers (perhaps to distinguish him from Friz Freleng's popular puss, Sylvester). The short is another Hubie and Bertie vehicle, only this time, the antagonist they antagonize is Claude the clawed cat, drawn as he would appear in all future cartoons: yellow, with a red shock of hair and a white belly (his exact markings would vary from cartoon to cartoon). In this as in all future Claude Cat cartoons, Chuck's careful attention to personality is easily evident. Claude is a nervous and lazy clawed animal. His attempts to protect his home from the manipulative mice Hubie and Bertie prove futile as the rodents torment him by (among other things) putting aquariums in all the windows to make Claude think he's underwater or by nailing his furniture to the ceiling. Chuck set the mice on Claude once more in the 1950 film The Hypo-Chondri-Cat. This time, the miniature Machiavellis convince the neurotic Claude that he's dead. Claude would run afoul of the mice once more in 1951's Cheese Chasers and against another mouse duo in Mouse Warming in 1952. Jones added another idiosyncrasy to Claude's in in another 1950 film, Two's a Crowd. Here, Claude is scared out of his mind by a diminutive dog named "Frisky Puppy," newly adopted by Claude's owners. The main theme, however, is jealousy as Claude's attempts to oust the intruder repeatedly fail due to the cat's intense cowardice - a running gag has Claude repeatedly shooting up and clinging to the ceiling after the pup playfully comes up behind him and barks. Jones repeated the scenario with slight variations in Terrier Stricken in 1952 and No Barking in 1954 (the latter featuring a cameo by Tweety Bird). In future cartoons, Jones recast Claude as a silent villain, still possessing his full set of neuroses. This stage of the character's evolution is best exemplified by the 1954 film Feline Frame-Up. Here, Claude convinces his owner that fellow pet Marc Antony is trying to eat the clawed kitten Pussyfoot. Marc Antony is tossed out, allowing Claude the run of the house. That is, until Marc Antony outwits the clawed cat and makes him sign a confession admitting to his crimes. Claude final cartoon was in 1962's Louvre Come Back To Me! who is a French cat (named Pierre) that he loved Penelope Pussycat, when he is insult by Pepé Le Pew. Claude was played by voice actor Mel Blanc and after classic films, Joe Alaskey using a quirky, strangulated voice similar to that of Marvin the Martian (but without Marvin's precise enunciation). Jones retired Claude in the late mid 1960s. He was concentrating on other characters, such as Wile E. Coyote. Nevertheless, the character enjoys some popularity as one of Jones' more humorous, if forgotten, creations. In the 2006 Bah, Humduck! A Looney Tunes Christmas Claude cat has a very brief cameo as an employee going home for Christmas.
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