Jules Feiffer, Famed Cartoonist and ‘Carnal Knowledge’ Screenwriter, Dies at 95

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Noted satirist, cartoonist, playwright, and 1960s countercultural figure Jules Feiffer has passed away at the age of 95. Known for his provocative work, he penned the screenplays for Mike Nichols’ timeless film “Carnal Knowledge” and Robert Altman’s “Popeye.

Award-winning cartoonist Jules Feiffer passed away on January 17th at his residence in Upstate New York due to complications from congestive heart failure. His wife, JZ Holden, confirmed the news to The Washington Post.

A native of The Bronx, he became part of an illustrious group that included Samuel Beckett, Sam Shepard, John Lennon, and Robert Benton by contributing content to the risqué 1969 Broadway musical revue titled Oh! Calcutta!. His work earned him a nomination for the Tony Award for Best Play in 1976 with the play Knock, Knock, which featured Judd Hirsch. As described by The New York Times, it was a chaotic explosion of jokes, slapstick humor, verbal games, collapsing sets, tumbling actors, and burlesque visual gags.

In 1967, the original comedy “Little Murders” made its debut on Broadway, featuring an ensemble of stars such as Barbara Cook, Elliott Gould, and David Steinberg. Jules Feiffer himself penned the screenplay for the 1971 movie adaptation, which starred Gould and was helmed by Alan Arkin.

As a gamer reflecting on my past, I often pondered what would transpire if a preschooler were conscripted into military service, much like I once served in the U.S. Army. This intriguing concept found its way into the pages of my 1959 book, Passionella and Other Stories, then evolved into a screenplay for the nine-minute short film Munro (1961). I even lent my voice to portray the sergeant in this moving production, which earned an Academy Award nomination.

Passionella” – a reimagining of the classic tale “Cinderella” transposed to the glamorous world of Hollywood – served as the foundation for Act 3 in the 1966 Broadway musical “The Apple Tree“, directed by Nichols and featuring Tony award-winning actress Barbara Harris and Alan Alda.

A candid examination of male sexual perspectives and their influence on relationships with women, Jules Feiffer’s “Carnal Knowledge” (1971) was initially conceived as a stage production. However, when the author submitted it to Nichols, the film director recognized its potential for a cinematic adaptation straight away.

The much acclaimed movie featuring Jack Nicholson, Art Garfunkel, Ann-Margret, and Candice Bergen served as an iconic representation during the sexual revolution. Additionally, Feiffer received a nomination for a Writers Guild of America (WGA) Award.

In his critique, Roger Ebert states that “Carnal Knowledge” effectively conveys certain aspects of its characters’ sexual struggles and experiences. He appreciates that it avoids easy humor, overt symbolism, artificial modernity, and false emotions.

1956 saw the joining of Jules Feiffer, previously tutored by trailblazing cartoonist Will Eisner, with The Village Voice – a publication only a year old at the time. For over forty years, his edgy comic strips adorned its pages.

Newspapers across the nation featured his cartoons too, and as the happenings of the 1960s unfolded, Feiffer’s sharp critiques of the established order and his desire for change resonated strongly with the younger crowd, making him a must-read among them.

During the peak of the civil rights and Vietnam era, I was essentially alone in offering this type of commentary. Regarding civil rights, the only other white cartoonist I’m aware of who was making strong statements was Bill Mauldin, but he was losing many newspapers. So, it was thrilling to be taking a stand in those times. (Said in an interview with Sage Stossel for The Atlantic in 2010)

In those days, I found myself aligned with the iconic figure, Martin Luther King Jr., who was labeled as an extremist by the mainstream, respected white press. My mission, however, wasn’t aimed at the radical or the indifferent. Instead, it was to engage with the well-intentioned white liberal, whose words, unbeknownst to them, were inadvertently hindering the progress of the civil rights movement.

I enjoyed challenging mainstream liberal views, even on issues like the Vietnam War, which was considered a ‘liberal’ conflict at the time. We, as dissenters, were often accused of being uninformed, with the establishment claiming they had access to classified information that we didn’t. However, despite their supposed insights, it turned out that the experts were mistaken and the protesters were vindicated.

Jules Feiffer, born on January 26, 1929, hails from a family where hardship was common during tough economic times. His father, David, struggled to find work due to the Depression, while his mother, Rhonda, was a resourceful fashion designer who sold her watercolor sketches of designs to clothing companies across Manhattan. Feiffer attributes his artistic inclination to his mother, and as a teenager, she played a crucial role in helping him secure admission into the Art Students League of New York.

Back in 1946, I managed to persuade Eisner to bring me on board for his renowned comic book series, “The Spirit,” which graced newspapers nationwide. At first, Eisner wasn’t particularly impressed with my artistic skills, but he appreciated my youthful zest. Consequently, he assigned me tasks that others shied away from – coloring, tidying up – for a wage barely worth mentioning.

Eventually, Feiffer assumed greater roles in storytelling and drawing, but these duties were halted in 1951 when he was conscripted into the Army Signal Corps during the Korean War. The two years he spent in military service intensified his dislike for authority and bureaucracy, ultimately igniting a lifelong passion for dissent.

Following his discharge, Feiffer embarked on a solo journey with self-generated content. However, amidst a climate where the affectionate Peanuts comic strip reigned supreme as the day’s popular cartoon, there were no buyers for his unconventional cartoons that skewered societal anxieties and hypocrisies – until the Voice newspaper was established.

Back in the day, I penned down my debut comic strip titled “Sick, Sick, Sick,” which later evolved into a series known as “Feiffer’s Fables” and simply as “Feiffer.” In 1958, my work was compiled into a best-selling book, and before long, I found myself contributing to The Observer in London and Playboy. (As a gamer, I might say: Back in the day, I created my first comic strip called “Sick, Sick, Sick,” which later turned into the series “Feiffer’s Fables” and just “Feiffer.” In 1958, a collection of my work became a smash hit, and before you knew it, I was publishing in The Observer in London and Playboy.)

Hall Syndicate secured his services, and his comic strips started showing up nationwide across the United States. By this time, Feiffer was already making significant contributions to the unfolding daily happenings.

His unique drawing method often showcased blank backdrops, yet the impact resided within the message itself and the expressive manner in which his characters conveyed it. The emotional intensity of each character’s countenance served as a powerful vehicle for expressing the artist’s intended meaning.

Presidents often faced criticism and controversy: Lyndon Johnson expressed difficulties in implementing his Great Society, Richard Nixon proposed banning football following a protest against Vietnam during an NFL game’s halftime, and Ronald Reagan drew comparisons to Mickey Mouse when he spoke of transforming America into a Disneyland.

Feiffer’s cartoons were published not only in publications like Esquire and The New Yorker but also in The Voice, which was honored with a Pulitzer Prize for editorial cartooning in 1986. A decade later, he made history as the first cartoonist to be featured on the op-ed pages of The New York Times.

Back in 1961, I contributed captivating illustrations to the timeless classic for kids, “The Phantom Tollbooth” by Norton Juster. Fast-forward over three decades, and I expanded my diverse portfolio with a new chapter when I penned and illustrated a series of children’s books. This collection began with “The Man in the Ceiling,” continued with “A Barrel of Laughs, a Vale of Tears” from 1995, followed by “I Lost My Bear” in 1998, “Bark, George” in 1999, “I’m Not Bobby” in 2001, and most recently, “Rupert Can Dance” in 2014. As a gamer, I found joy in creating these worlds for young minds to explore!

In his autobiography published by HarperCollins, Feiffer expressed that writing for young readers rekindled a professional aspect of himself that he hadn’t realized he could express until he turned 60. This was the child within him who lived a life filled with innocence, yet also confusion, frustration, and humor that bordered on silliness. As a kid, he created comic strips and sought companionship through cartoons and children’s books because the adults in his life didn’t provide all the answers. Reading had been a solace for him when he was young. Now, he aims to reciprocate that comfort by offering the same escape to others.

In addition, Feiffer collaborated on several children’s books authored by his daughter Kate, such as “Henry the Tail-less Dog” published in 2007, “Which Puppy?” from 2009, and “No Go to Sleep!” from 2012.

Additionally, he penned plays such as “Feiffer’s People” (1969), “The White House Murder Case” (1970), and “Grown Ups” (1981) for the stage in Broadway.

He composed the scripts for “Feiffer’s People” (1969), “The White House Murder Case” (1970), and “Grown Ups” (1981) to be staged on Broadway.

Or, more informally:
He wrote plays like “Feiffer’s People” (1969), “The White House Murder Case” (1970), and “Grown Ups” (1981) that were performed on Broadway.

Beyond penning the witty screenplay for Altman’s offbeat live-action adaptation of Popeye (1980), I, Jules Feiffer, also penned the comedy I Want to Go Home (1989), a film about a cartoonist, for Alain Resnais. Additionally, I authored the independent movie Bernard and Huey (2017).

He received a Lifetime Achievement Award from the WGA in 2010.

Feiffer was previously married to three women: Judy Sheftel, a book editor known for working on “Mommie Dearest” and Maya Angelou’s “I Know Why the Caged Bird Sings,” Jenny Allen, a writer and comedian, and most recently, author JZ Holden. This union took place in September 2016.

In addition to the survivors, there’s also Halley Feiffer, a screenwriter and actress known for her work in shows like “Bored to Death”, “What’s Your Emergency”, and “The Squid and the Whale”.

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2025-01-21 18:25