Garfield 2: A Tail of Two Kitties - More Than Just a Kids’ Movie
“Garfield: A Tail of Two Kitties” (2006) isn’t just for cat lovers, nor is it solely for children. This computer-animated comedy, a tale of two cats in Britain playing “the prince and the pauper,” is not only entertaining but also subtly explores themes of human sexuality.
Jon Arbuckle (Breckin Meyer), is about to propose to Liz (Jennifer Love Hewitt), but she jets off to England for a business trip. He follows, leaving Garfield and Odie at a kennel they despise. They much prefer his suitcase, after they’ve evicted all his clothes, of course. Meanwhile, in England, Lady Eleanor, the owner of the castle Liz is visiting, passes away, leaving her entire estate to her beloved cat, Prince. Her nephew, Lord Dargis (Billy Connolly), is furious and plots to eliminate Prince, seize the inheritance, destroy the park, clear out the farmyard, and serve its inhabitants (cows, horses, geese, ducks, mice, ferrets, and donkeys) as tourist fare. But Prince is resilient and ends up in the London sewers, where Garfield and Odie happen to be strolling. The old English butler, searching for Prince, stumbles upon Garfield and mistakes him for the missing feline. Odie helps the real Prince emerge from the sewer. Jon arrives and “returns” Garfield to his hotel, as Prince and Garfield are virtually identical.
Once the confusion subsides, you realize you’ve been watching something beyond a typical children’s story. The plot, with its villainous nephew, animal friends, noble Prince, and mischievous Garfield, is cleverly constructed to fade into the background. Instead, you focus on the elegant gags: the curtain-climbing antics, the lasagna gorging, the farmyard meetings, and the overall character portrayals. The bulldog master of ceremonies is charming, the mice are adorable, and the cats and dogs surprisingly coexist peacefully. The film is packed with gags, enhanced by the same technique from the first “Garfield” movie, where the cartoonish cat seamlessly integrates into the “live” environment. It’s still a mystery how director Tim Hill managed to make a cartoon cat appear so alive and real alongside chickens and ducks. This time, even the horses seem to whinny with intention.
The Allure of Garfield: Beyond the Visuals
The most significant observation isn’t about the technical aspects. Regardless of how Garfield poses against Big Ben, wakes up on silk sheets under a canopy bed, or feasts in a personal dining room, the essence lies in his movement. His rear end struggles to fit into a dollhouse. His backside jiggles on the castle steps. He struts through the suite of rooms accompanied by the bulldog. His graceful fluidity is captivating, perhaps in the same way as “shapely female legs,” “a heaving bosom,” or “flirty eyes.” As a woman who appreciates “hearing,” it’s often difficult to understand how “men love with their eyes,” but Garfield makes it clear. It once seemed that “catwomen” were merely a poetic comparison. But here, you instinctively understand how sex appeal arises. You simply want to touch him. The ginger one. The cartoon. With the fat thighs and arrogant face. He awakens purely physical instincts.
Tabakov’s Transformation
Oleg Tabakov’s voice acting is remarkable, finding completely different intonations for the American Garfield than he did for the Russian Matroskin, despite both being feline characters.