Mowgli's Brothers 1976 Original cel Signed By Chuck Jones! Warner Brothers

Mowgli's Brothers 1976 Original cel Signed By Chuck Jones! Warner Brothers
Mowgli's Brothers 1976 Original cel Signed By Chuck Jones! Warner Brothers

Mowgli's Brothers 1976 Original cel Signed By Chuck Jones! Warner Brothers
Mowgli's Brothers is a 1976 television animated special directed by American animator. It is based on the first chapter of. Rudyard Kipling's "Jungle Book". Matted in an acid-free, mat that measures 15" x 17". (Mat needs in fair condition).

Mowgli's Brothers is a 1976 television animated special directed by American animator Chuck Jones. It is based on the first chapter of Rudyard Kipling's The Jungle Book.

The special was narrated by Roddy McDowall, who also performs the voices of all the male characters in the film. June Foray was the voice of Raksha, the Mother Wolf. It originally aired on CBS on February 11, 1976.

The special was released on VHS, Betamax, and Laserdisc by Family Home Entertainment in 1985, and it was released on VHS again in 1999 and on DVD in 2002 and 2007 by Lionsgate. Jones also directed adaptations of two other The Jungle Book stories, "Rikki-Tikki-Tavi" and "The White Seal", in 1975.

Main article: Mowgli's Brothers. Though largely a faithful adaptation of the story, there are some notable changes in Jones's version. Differences include expanded roles for Baloo and Tabaqui, and that Shere Khan is a white tiger without a lame leg. The characters that don't appear in this adaptation are Kaa, Hathi, The Bander-log and Chil. Charles Martin Jones (September 21, 1912 February 22, 2002) was an American animator, filmmaker, cartoonist, author, artist, and screenwriter, best known for his work with Warner Bros.

Cartoons on the Looney Tunes and Merrie Melodies shorts. He wrote, produced, and/or directed many classic animated cartoon shorts starring Bugs Bunny, Daffy Duck, Wile E. Coyote and the Road Runner, Pepé Le Pew, Porky Pig, Michigan J. Frog, the Three Bears, and a slew of other Warner characters.

After his career at Warner Bros. Ended in 1962, Jones started Sib Tower 12 Productions, and began producing cartoons for Metro-Goldwyn-Mayer, including a new series of Tom and Jerry shorts and the television adaptation of Dr. Seuss' How the Grinch Stole Christmas! He later started his own studio, Chuck Jones Enterprises, which created several one-shot specials, and periodically worked on Looney Tunes related works. Jones was nominated for an Oscar eight times and won three times, receiving awards for the cartoons For Scent-imental Reasons, So Much for So Little, and The Dot and the Line.

He received an Honorary Academy Award in 1996 for his work in the animation industry. Film historian Leonard Maltin has praised Jones' work at Warner Bros. MGM and Chuck Jones Enterprises.

He also said that the "feud" that there may have been between Jones and colleague Bob Clampett was mainly because they were so different from each other. In Jerry Beck's The 50 Greatest Cartoons, ten of the entries were directed by Jones, with four out of the five top cartoons (including first place) being Jones shorts. Jones was born on September 21, 1912, in Spokane, Washington, the son of Mabel McQuiddy (Martin) and Charles Adams Jones. [2] He later moved with his parents and three siblings to the Los Angeles, California area. In his autobiography, Chuck Amuck, Jones credits his artistic bent to circumstances surrounding his father, who was an unsuccessful businessman in California in the 1920s. His father, Jones recounts, would start every new business venture by purchasing new stationery and new pencils with the company name on them. When the business failed, his father would quietly turn the huge stacks of useless stationery and pencils over to his children, requiring them to use up all the material as fast as possible. Armed with an endless supply of high-quality paper and pencils, the children drew constantly. Later, in one art school class, the professor gravely informed the students that they each had 100,000 bad drawings in them that they must first get past before they could possibly draw anything worthwhile. Jones recounted years later that this pronouncement came as a great relief to him, as he was well past the 200,000 mark, having used up all that stationery.

Jones and several of his siblings went on to artistic careers. During his artistic education, he worked part-time as a janitor.

He worked his way up in the animation industry, starting as a cel washer; then I moved up to become a painter in black and white, some color. Then I went on to take animator's drawings and traced them onto the celluloid. Then I became what they call an in-betweener, which is the guy that does the drawing between the drawings the animator makes.

[6] While at Iwerks, he met a cel painter named Dorothy Webster, who later became his first wife. See also: Chuck Jones filmography. Jones joined Leon Schlesinger Productions, the independent studio that produced Looney Tunes and Merrie Melodies for Warner Bros. In 1933 as an assistant animator. In 1935, he was promoted to animator, and assigned to work with new Schlesinger director Tex Avery.

There was no room for the new Avery unit in Schlesinger's small studio, so Avery, Jones, and fellow animators Bob Clampett, Virgil Ross, and Sid Sutherland were moved into a small adjacent building they dubbed "Termite Terrace". When Clampett was promoted to director in 1937, Jones was assigned to his unit; the Clampett unit was briefly assigned to work with Jones' old employer, Ub Iwerks when Iwerks subcontracted four cartoons to Schlesinger in 1937. Jones became a director (or "supervisor", the original title for an animation director in the studio) himself in 1938 when Frank Tashlin left the studio. The following year Jones created his first major character, Sniffles, a cute Disney-style mouse, who went on to star in twelve Warner Bros.

He was actively involved in efforts to unionize the staff of Leon Schlesinger Studios. He was responsible for recruiting animators, layout men, and background people. Almost all animators joined, in reaction to salary cuts imposed by Leon Schlesinger. The Metro-Goldwyn-Mayer cartoon studio had already signed a union contract, encouraging their counterparts under Schlesinger.

[9] In a meeting with his staff, Schlesinger talked for a few minutes, then turned over the meeting to his attorney. His insulting manner had a unifying effect on the staff. Jones gave a pep talk at the union headquarters. As negotiations broke down, the staff decided to go on strike. Schlesinger locked them out of the studio for a few days, before agreeing to sign the contract. [9] A Labor Management Committee was formed and Jones served as a moderator. Because of his role as a supervisor in the studio, he could not himself join the union. [9] Jones created many of his lesser-known characters during this period, including Charlie Dog, Hubie and Bertie, and The Three Bears. Outpost', a Private Snafu cartoon directed by Chuck Jones in 1944. During World War II, Jones worked closely with Theodor Geisel, better known as Dr.

Seuss, to create the Private Snafu series of Army educational cartoons (the character was created by director Frank Capra). Jones later collaborated with Seuss on animated adaptations of Seuss' books, including How the Grinch Stole Christmas! Jones directed such shorts as The Weakly Reporter, a 1944 short that related to shortages and rationing on the home front. During the same year, he directed Hell-Bent for Election, a campaign film for Franklin D.

Jones created characters through the late 1940s and the 1950s, which include Claude Cat, Marc Antony and Pussyfoot, Charlie Dog, Michigan J. Frog, and his four most popular creations, Marvin the Martian, Pepé Le Pew, Wile E. Coyote and The Road Runner. Jones and writer Michael Maltese collaborated on the Road Runner cartoons, Duck Amuck, One Froggy Evening, and What's Opera, Doc? Other staff at Unit A that Jones collaborated with include layout artist, background designer, co-director Maurice Noble; animator and co-director Abe Levitow; and animators Ken Harris and Ben Washam. Jones remained at Warner Bros. Throughout the 1950s, except for a brief period in 1953 when Warner closed the animation studio. During this interim, Jones found employment at Walt Disney Productions, where he teamed with Ward Kimball for a four-month period of uncredited work on Sleeping Beauty (1959). Upon the reopening of the Warner animation department, Jones was rehired and reunited with most of his unit. In the early 1960s, Jones and his wife Dorothy wrote the screenplay for the animated feature Gay Purr-ee. The finished film would feature the voices of Judy Garland, Robert Goulet and Red Buttons as cats in Paris, France.

The feature was produced by UPA and directed by his former Warner Bros. Jones moonlighted to work on the film since he had an exclusive contract with Warner Bros. UPA completed the film and made it available for distribution in 1962; it was picked up by Warner Bros.

Discovered that Jones had violated his exclusive contract with them, they terminated him. [11] Jones' former animation unit was laid off after completing the final cartoon in their pipeline, The Iceman Ducketh, and the rest of the Warner Bros. Cartoons studio was closed in early 1963. With business partner Les Goldman, Jones started an independent animation studio, Sib Tower 12 Productions, and brought on most of his unit from Warner Bros.

Including Maurice Noble and Michael Maltese. In 1963, Metro-Goldwyn-Mayer contracted with Sib Tower 12 to have Jones and his staff produce new Tom and Jerry cartoons as well as a television adaptation of all Tom and Jerry theatricals produced to that date.

This included major editing, including writing out the African-American maid, Mammy Two-Shoes, and replacing her with one of Irish descent voiced by June Foray. In 1964, Sib Tower 12 was absorbed by MGM and was renamed MGM Animation/Visual Arts.

His animated short film, The Dot and the Line: A Romance in Lower Mathematics, won the 1965 Academy Award for Best Animated Short Film. Jones directed the classic animated short The Bear That Wasn't. As the Tom and Jerry series wound down (it was discontinued in 1967), Jones produced more for television. In 1966, he produced and directed the TV special How the Grinch Stole Christmas! Featuring the voice and facial models based on the readings by Boris Karloff. Jones continued to work on other TV specials such as Horton Hears a Who! (1970), but his main focus during this time was producing the feature film The Phantom Tollbooth, which did lukewarm business when MGM released it in 1970. Jones co-directed 1969's The Pogo Special Birthday Special, based on the Walt Kelly comic strip, and voiced the characters of Porky Pine and Bun Rab. It was at this point that he decided to start ST Incorporated. MGM closed the animation division in 1970, and Jones once again started his own studio, Chuck Jones Enterprises.

He produced a Saturday morning children's TV series for the American Broadcasting Company called The Curiosity Shop in 1971. In 1973, he produced an animated version of the George Selden book The Cricket in Times Square and would go on to produce two sequels. Three of his works during this period were animated TV adaptations of short stories from Rudyard Kipling's Mowgli's Brothers, The White Seal and Rikki-Tikki-Tavi. During this period, Jones began to experiment with more realistically designed characters, most of which having larger eyes, leaner bodies, and altered proportions, such as those of the Looney Tunes characters. Jones resumed working with Warner Bros.

In 1976 with the animated TV adaptation of The Carnival of the Animals with Bugs Bunny and Daffy Duck. Jones also produced the 1979 film The Bugs Bunny/Road Runner Movie which was a compilation of Jones' best theatrical shorts; Jones produced new Road Runner shorts for The Electric Company series and Bugs Bunny's Looney Christmas Tales (1979), and even newer shorts were made for Bugs Bunny's Bustin' Out All Over (1980). From 1977 to 1978, Jones wrote and drew the newspaper comic strip Crawford (also known as Crawford & Morgan) for the Chicago Tribune-NY News Syndicate.

In 2011 IDW Publishing collected Jones' strip as part of their Library of American Comic Strips. In 1978, Jones' wife Dorothy died; three years later, he married Marian Dern, the writer of the comic strip Rick O'Shay.

On December 11, 1975, [14] shortly after the release of Bugs Bunny Superstar, which prominently featured Bob Clampett, Jones wrote a letter to Tex Avery, accusing Clampett of taking credit for ideas that were not his, and for characters created by other directors (notably Jones's Sniffles and Friz Freleng's Yosemite Sam). Their correspondence was never published in the media.

It was forwarded to Michael Barrier, who conducted the interview with Clampett and was distributed by Jones to multiple people concerned with animation over the years. Robert McKimson claimed in an interview that many animators but mostly Clampett contributed to the crazy personality of Bugs, while others like Chuck Jones concentrated more on the more calmed-down gags.

As far as plagiarism is concerned, McKimson claimed the animators would always be looking at each other's sheets to see if they could borrow some punchlines and cracks. [3] Jones was the creative consultant and character designer for two Raggedy Ann animated specials and the first Alvin and the Chipmunks Christmas special A Chipmunk Christmas. He made a cameo appearance in the 1984 film Gremlins[16] and directed the Bugs Bunny/Daffy Duck animated sequences that bookend its sequel Gremlins 2: The New Batch (1990).

[17] Jones directed animated sequences for various features such as a lengthy sequence in the 1992 film Stay Tuned[18] and a shorter one seen at the start of the 1993 film Mrs. [19] Also during the 1980s and 1990s Jones served on the advisory board of the National Student Film Institute. Jones' final Looney Tunes cartoon was From Hare to Eternity in 1997, which starred Bugs Bunny and Yosemite Sam, with Greg Burson voicing Bugs. The cartoon was dedicated to Friz Freleng, who had died in 1995. Jones' final animation project was a series of 13 shorts starring a timber wolf character he had designed in the 1960s named Thomas Timber Wolf.

The series was released online by Warner Bros. [22] From 2001 until 2004, Cartoon Network aired The Chuck Jones Show which features shorts directed by him. The show won the Annie Award for Outstanding Achievement in an Animated Special Project. Jones died of heart failure on February 22, 2002. He was cremated and his ashes were scattered at sea.

[3] After his death, the Looney Tunes cartoon Daffy Duck for President, based on the book that Jones had written and using Jones' style for the characters, originally scheduled to be released in 2000, [24] was released in 2004 as part of disc three of the Looney Tunes Golden Collection: Volume 2 DVD set. Jones was a historical authority as well as a major contributor to the development of animation throughout the 20th century. He received an honorary degree from Oglethorpe University in 1993. [25] For his contribution to the motion picture industry, Jones has a star on the Hollywood Walk of Fame at 7011 Hollywood Blvd.

File:So Much for So Little. So Much for So Little from 1949 won Jones an Academy Award. Jones, whose work had been nominated eight times over his career for an Oscar (winning the award three times: For Scent-imental Reasons, So Much for So Little, and The Dot and the Line), received an Honorary Academy Award in 1996 by the board of governors of the Academy of Motion Picture Arts and Sciences, for the creation of classic cartoons and cartoon characters whose animated lives have brought joy to our real ones for more than half a century.

" At that year's awards show, Robin Williams, a self-confessed "Jones-aholic, " presented the honorary award to Jones, calling him "The Orson Welles of cartoons. , and the audience gave Jones a standing ovation as he walked onto the stage. For himself, a flattered Jones wryly remarked in his acceptance speech, Well, what can I say in the face of such humiliating evidence? I stand guilty before the world of directing over three hundred cartoons in the last fifty or sixty years. Hopefully, this means you've forgiven me.

[27] He received the Lifetime Achievement Award at the World Festival of Animated Film Animafest Zagreb in 1988. Jones' life and legacy were celebrated January 12, 2012, with the official grand opening of The Chuck Jones Experience at Circus Circus Las Vegas. Many of Jones' family welcomed celebrities, animation aficionados and visitors to the new attraction when they opened the attraction in an appropriate and unconventional way.

Among those in attendance were Jones' widow, Marian Jones; daughter Linda Clough; and grandchildren Craig, Todd and Valerie Kausen. Chuck Jones was born in Spokane, Washington. He moved with his family to Southern California when he was only six months old. The family moved often, living at various times in Hollywood and Newport Beach.

In Hollywood, the young boy was able to observe the still-young film industry. He remembers peering over the studio fence to watch Charlie Chaplin at work on his silent comedies. Jones encouraged the artistic leanings of their children, all of whom grew up to be professional artists. At age 15, Chuck dropped out of high school, at his fathers suggestion, to attend Chouinard Art Institute (now known as California Institute of the Arts). The popular cartoon series Wile E.

Coyote and the Road Runner were created by Warner Brothers' animation director Chuck Jones and first appeared on September 17, 1949. Coyote and the Road Runner were created by Warner Brothers animation director Chuck Jones the father of contemporary animation and first appeared on September 17, 1949. Emerging from school in the depths of the Depression, the young artist found work in the fledgling animation industry, working in succession with Ub Iwerks (Walt Disneys original partner), Charles Mintz and Walter Lantz (creator of Woody Woodpecker). He advanced from washing cells to in-betweening, finally landing a job at Leon Schlesinger Productions, the supplier of cartoons to Warner Bothers. Chuck Jones was to continue this association for the next 30 years. During the Golden Age of animation, Chuck Jones helped bring to life many of Warner Brothers' most famous charactersBugs Bunny, Daffy Duck, Elmer Fudd and Porky Pig. The list of characters he created himself includes Road Runner, Wile E. Coyote, Marvin Martian, Pepe le Pew, Michigan J.

During the Golden Age of animation, Chuck Jones helped bring to life many of Warner Brothers most famous characters Bugs Bunny, Daffy Duck, Elmer Fudd and Porky Pig. The list of popular cartoon characters he created himself includes Road Runner, Wile E. Coyote, Marvin Martian, Pepé Le Pew, Michigan J. In this company he worked for the great animation directors Friz Freleng, Frank Tashlin and Tex Avery, men he credits with teaching him the comic timing, vivid characterization and jubilant anarchy for which Warner Brothers cartoons were famous. He advanced to animator, working on Bugs Bunny and some of the earliest Daffy Duck cartoons.

At last, he was promoted to animation director. His trademarks include highly stylized backgrounds and a slew of hilarious characters. His own creations include Pepé Le Pew and, most famously, Road Runner and Wile E.

1970: "The Phantom Tollbooth, " also known as "The Adventures of Milo in the Phantom Tollbooth, " is a 1970 live-action/animated film based on Norton Juster's 1961 children's book The Phantom Tollbooth. This film was produced and directed by Chuck Jones at MGM Animation/Visual Arts. 1970: The Adventures of Milo in the Phantom Tollbooth, is a live-action/animated film based on Norton Justers 1961 childrens book The Phantom Tollbooth. The film was produced and directed by Chuck Jones at MGM Animation.

The first Road Runner cartoon was conceived as a parody of the mindless chase cartoons popular at the time, but audiences around the world embraced the series. In the 1940s and 50s he directed some of the most durable and hilarious animated shorts, including Whats Opera, Doc? And Duck Dodgers in the 24-1/2th Century. In 1950, two cartoons produced by Chuck Joness unit won Academy Awards, For Scent-imental Reasons (with Pepé Le Pew) and an animated short (So Much for So Little), which won in the documentary category, the only cartoon film ever to do so.

Portrait of Chuck Jones, circa 1990s. (Courtesy of the Chuck Jones Center for Creativity/SITES). During his artistic education, Chuck Jones worked part-time as a janitor.

After graduating from the Chouinard Art Institute, he was hired by the Ub Iwerks studio. He worked his way up in the animation industry starting as a cell washer. In 1933, Jones joined Leon Schlesinger Productions, an independent studio that produced Looney Tunes. In the 1960s, Jones produced Tom n Jerry cartoons for MGM, and The Pogo Family Birthday Special for television. In 1962, in the waning days of the theatrical cartoon business, Jones loosened his ties to Warner Brothers and wrote an original screenplay for a UPA animated feature, Gay Purr-ee, which featured the voices of Judy Garland, Robert Goulet and other stars of the day.

Jones collaborated with Theodor Geisel a. Seuss on a pair of cartoon specials for television, Horton Hears a Who and The Grinch Stole Christmas. The latter has become a holiday classic. Both won Peabody Awards for Television Programming Excellence.

Chuck Jones won another Academy Award in 1965 for the animated short The Dot and the Line, based on a book by Norton Juster. He also produced, co-wrote and co-directed a feature film based on Justers childrens classic, The Phantom Tollbooth. Golden Plate Awards Council member and Academy Award-winning director and animator Chuck Jones speaking to Pulitzer Prize-winning editorial cartoonist Doug Marlette at 1991 Academy of Achievement Summit in New York. Under the banner of his own production company, Chuck Jones Enterprises, he produced, wrote and directed nine half-hour primetime television specials: The Cricket in Times Square, A Very Merry Cricket, Yankee Doodle Cricket, Rikki-Tikki-Tavi, Mowglis Brothers, The White Seal, Carnival of the Animals, A Connecticut Rabbit in King Arthurs Court, The Great Santa Claus Caper and The Pumpkin Who Couldnt Smile.

His books include his autobiography, Chuck Amuck; a childrens book, William, the Backwards Skunk; and How to Draw from the Fun Side of Your Brain. Cartoonist Chuck Jones attends the 68th Annual Academy Awards on March 25, 1996 at Dorothy Chandler Pavilion in Los Angeles, California.

Photo by Ron Galella, Ltd. 1996: Chuck Jones created the characters of Wile E. Coyote, Pepé Le Pew, and the Road Runner, among other classics.

Three of his animated films won Academy Awards: For Scent-imental Reasons, So Much for So Little (both 1949), and The Dot and the Line (1965). His TV specials How the Grinch Stole Christmas (1966) and Horton Hears a Who (1971) both won Peabody Awards. Jones won a fourth Oscar for Lifetime Achievement in 1996. Chuck Jones made more than 300 animated films in a career that spanned over 60 years. In 1996, he received an Honorary Academy Award for Lifetime Achievement for his work in the animation industry.

In February 2002, he died at the age of 89, leaving behind a legacy of comic brilliance that will live on forever. Chuck Jones, 89; Animation Pioneer. Chuck Jones, the animator who helped give life to that wascally wabbit, the portly pig, the lisping duck and the tormented coyote, died Friday in his Corona del Mar home. The three-time Oscar winner, whose career spanned more than 60 years and involved the creation of more than 300 animated films, died of congestive heart failure.

His wife of 20 years, Marian, was at his side. While he will always be remembered as the animator who helped create Bugs Bunny, Daffy Duck, Porky Pig and Wile E. Coyote, among many others, he most recently began to dedicate himself to fine art drawing.

His work has been exhibited at galleries and museums worldwide, including a retrospective at the Museum of Modern Art in New York City. Still, Jones considered his cartoon characters as real as any subject he depicted in his museum pieces. "Animation isn't the illusion of life, " he said in a biography on his Internet page. Jones' wife said Bugs Bunny, Daffy Duck and other characters all represented a part of her husband and his fun-loving sense of humor.

"All the characters came from inside of him, " she said Friday night. That was him, and he was amazing. In recent weeks, Jones had become confined to a wheelchair. But he retained his famously wry humor, his wife said.

"A week and a half ago, " Marian Jones said, several family members were standing around his house, and he came in on a wheelchair. He took one look and said,'This is quite a confab of people.

Jones' fans included such contemporary filmmakers as George Lucas and Steven Spielberg. Film director Peter Bogdanovich described Jones' work as like all good fables and only the best of art, both timeless and universal. Just last year, Jones was inducted into the Animation Hall of Fame in Los Angeles, along with Walt Disney. Among animators, Jones was considered "the father of contemporary animation, " said Terry Thoren, a longtime friend who heads the animation studio that produces the Rug Rats cartoons. "He was the true leader of our industry after Walt Disney passed away, " Thoren said. The fact that he is gone creates a big void in our industry. In 1996, he was presented an honorary Oscar for Lifetime Achievement. Among his many awards and recognitions, one of those he most valued was the honorary life membership from the Directors Guild of America, according to a family representative. He also produced, directed and wrote the screenplays for Dr. Seuss' How the Grinch Stole Christmas, " as well as the feature film "The Phantom Tollbooth. The animation pioneer stayed active. In 2000, he launched a new character, Timber Wolf, who appeared in a series on Warner Bros. 21, 1912, in Spokane, Wash. Jones grew up in Hollywood, occasionally working as an child extra in Mack Sennett comedies. After graduating from Chouinard Art Institute, which evolved into the California Institute of the Arts in Valencia, Jones drew pencil portraits for a dollar apiece on Olvera Street for a time. In 1932, he got his first job in the fledgling animation industry as a cel washer for former Disney animator Ub Iwerks. And in 1938 directed his first film, The Night Watchman.

Heading his own unit, Jones remained at Warner Bros. Animation Department until it closed in 1962. During that time, he and animators such as Tex Avery and Bob Clampett developed and refined Bugs Bunny, Porky Pig, Daffy Duck and many others. The three men, whom Thoren called "the Beatles of animation, " came up with their own scripts while working in cramped bungalows on the back lot of Warner Bros. Jones was the last surviving member of the trio.

Jones moved to MGM, where he created new episodes for the Tom and Jerry cartoon series. While there, he directed the Academy Award-winning film The Dot and the Line.

He later started Chuck Jones Enterprises and produced nine half-hour animated films for television including Rudyard Kipling's "Rikki-Tikki-Tavi" and The White Seal. One of those films was the 1957 Wagnerian mini-epic What's Opera, Doc? " The film was inducted in 1992 into the National Film Registry, being praised as "among the most culturally, historically and aesthetically significant films of our time. Two years ago, Jones established the Chuck Jones Foundation to recognize, support and inspire continued excellence in the art of classic character animation.

Jones also is survived by daughters Linda and Rosalin Bellante; son Peter Dern; brother Richard Kent Jones; by his first wife, Dorothy Webster, and by grandchildren Todd Kausen, Craig Kausen and Valerie Ericsen, and Jason, Scott, and Kevin Bohrer of his wife by her previous marriage. He also is survived by six great-grandchildren.

A memorial is being planned in Newport Beach. In lieu of flowers, the family asked that contributions be made in the name of Chuck Jones to the Motion Picture & Television Fund or to the Chuck Jones Foundation. "Mowgli's Brothers" is a short story by Rudyard Kipling. Chronologically it is the first story about Mowgli although it was written after "In the Rukh" in which Mowgli appears as an adult.

The story first appeared in the January 1894 issue of St. Nicholas Magazine [1] and was collected as the first story in The Jungle Book later in 1894 where it is accompanied by the poem "Hunting Song of the Seeonee Pack". The story also appears in All the Mowgli Stories. In 1992 it was published as a separate volume with woodcut illustrations by Christopher Wormell. The text is available on-line from several sources as part of The Jungle Book.

The story was adapted as a 25-minute animated television cartoon by Chuck Jones in 1976. Jones also directed adaptations of "Rikki-Tikki-Tavi" and "The White Seal". Father Wolf and Mother Wolf (Raksha), a pair of Indian wolves raising a family of cubs, are furious to learn from Tabaqui the jackal that Shere Khan the lame tiger is hunting in their territory because he might kill men and bring human retribution upon the jungle. But when Father Wolf hears something approaching their den, it turns out to be not the tiger, but a naked human baby. Mother Wolf decides to adopt the hairless "man-cub".

Her determination is only strengthened by the arrival of Shere Khan, who demands the cub for his meal. The wolves drive off the tiger, and Raksha names him Mowgli the Frog because of his hairlessness. At the wolf pack's meeting at Council Rock, Baloo the bear speaks for the man-cub, and Bagheera the panther buys his life with a freshly killed bull. Baloo and Bagheera undertake the task of educating Mowgli as he grows. Meanwhile, Shere Khan plans to take revenge on the wolf pack by persuading the younger wolves to depose their leader Akela.

When Mowgli is about 11 years old, Bagheera tells him of Shere Khan's plan. Mowgli, being human, is the only creature in the jungle that does not fear fire, so he steals a pot of burning coals from a nearby village in order to use it against Shere Khan. The young wolves prevent Akela from catching his prey, and at that night's meeting, Shere Khan demands that Akela be killed and the man-cub given to him. Mowgli, despite being naked and unprotected, relentlessly attacks Shere Khan with a burning branch and drives him and his allies away, but realises to his sorrow that he must now leave the pack and return to humanity. As he leaves, he vows to return one day and lay Shere Khan's hide upon the Council Rock.

Main article: Mowgli's Brothers (TV special). In 1976 Mowgli's Brothers was adapted and directed as a half-hour television animated special of the same name by veteran animator Chuck Jones, with narration by Roddy McDowall (who also provided the voices of the characters).

Differences include expanded roles for Baloo and Tabaqui, and that Shere Khan is a white tiger and there is no reference to his lame leg. The item "Mowgli's Brothers 1976 Original cel Signed By Chuck Jones! Warner Brothers" is in sale since Monday, August 31, 2020. This item is in the category "Collectibles\Animation Art & Characters\Animation Art\Production Art". The seller is "collectiblecollectiblecollectible" and is located in Ann Arbor, Michigan.

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Mowgli's Brothers 1976 Original cel Signed By Chuck Jones! Warner Brothers

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