Ralph Bakshi’s first feature became entangled in a bitter rights dispute before animation had properly begun. Bakshi discovered Robert Crumb’s Fritz the Cat comics in an East Side bookstore and became convinced that their sex, drugs, racial satire, and urban cynicism could break animation out of its children’s-entertainment cage. Producer Steve Krantz arranged a meeting with Crumb, and Bakshi arrived with drawings imitating Crumb’s distinctive style to prove that he could translate the comic to film. Crumb was initially enthusiastic enough to lend Bakshi a sketchbook, but he refused to sign the contract Krantz prepared. Artist Vaughn Bodē warned Bakshi that Crumb was a particularly slippery negotiator, a judgment Bakshi later echoed in far harsher terms.
Krantz sent Bakshi to San Francisco to stay with Crumb and Crumb’s wife, Dana, in an effort to secure the deal personally. After Crumb abruptly left, the project appeared to be stranded. Two weeks after Bakshi returned to New York, Krantz announced that he had obtained the film rights through Dana, who held Crumb’s power of attorney and signed the agreement. Crumb subsequently became openly hostile toward both Bakshi and the resulting movie. The dispute grew even uglier when Krantz produced The Nine Lives of Fritz the Cat in 1974 without Crumb’s approval; Crumb had wanted Fritz killed off specifically to prevent further film adaptations. The episode left the creator disavowing a film made from his own work and became one of the most contentious author-filmmaker relationships in the history of adult animation.
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