Summary
In this avant-garde amalgamation of live-action and ink-wash whimsy, Alice and her intrepid feline companion stumble into a domestic tableau of anthropomorphic ursines. The narrative catalyst is a linguistic misunderstanding: a juvenile bear, in a literalist pursuit of 'hops' for a culinary endeavor, embarks on a batrachian hunt at a nearby pond. During this absence, Alice’s intrusion into the bears' domicile precipitates a territorial skirmish. The conflict escalates from a mere domestic spat into a high-stakes melodrama involving a sawmill and the metaphysical manifestation of a cat’s nine lives. The resolution, steeped in the era's casual relationship with intoxication, sees a spirit-fueled specter vanquishing the bears, thereby cementing the feline’s status as a savior in Alice’s eyes.
Synopsis
The Three Bears are busy cooking when Baby Bear realizes his recipe requires hops. Naturally his first inclination is to go find some frogs to provide for him his hops, so he runs off and pursues a frog at the local pond. In the meantime Alice and her cat stumble upon the Three Bears' house and sneak inside (Ma and Pa Bear are nowhere to be seen). Baby Bear returns and gets into a fight with the cat, and then calls in his parents to help out. The cat is defeated and the bears make off with Alice, who they throw in a sack and tie to a sawmill. When the cat revives, he calls in reinforcements: his nine lives, who take on the Three Bears and eventually lose. The cat gets another idea: he liquors up one of his nine lives, who is then able to take on all three bears at once. Pleased with himself, the cat hurries into the mill to rescue Alice, who proclaims him her hero.
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