Ulysses—the cat from Inside Llewyn Davis (2013). There’s an entire body of literature dedicated to unpacking the significance of this orange fur ball. Much like the unnamed kitty in the recent TV miniseries The Night Of, theories abound, and I won’t begin to explain them all here. Let’s just say that critics agree Ulysses (even his name may be a clue) is more than he seems.

Si and Am—the cats from Lady and the Tramp (1955). These devious chanteuses carry the tradition of evoking something sinister and dark, especially in comparison to lovely Lady. Their stereotypically bad cat behavior also serves the plot—how else could Lady possibly end up in a muzzle if she wasn’t framed?!

Irena Dubrovna—the leading lady of Cat People (1942). (Presumably the cat she turns into is also named Irene Dubrovna.) The symbolism is so blatant it hardly needs explanation: Irene belongs to an ancient tribe of Serbian woman who turn into dangerous cats when aroused. Cats = danger. Sex = danger!

Pyewacket—Kim Novak’s spiritual companion in Bell Book and Candle (1958). Curiously similar in plot themes to Cat People (and arguably the most ill-suited Christmas movie ever made), it’s really not worth explaining the plot to explain Pyewacket’s role. Suffice it to say, the opinion of the cat mirrors Ms. Novak’s fears of falling in love and what the results could be.

Cat—the critter Holly doesn’t have the right to name in Breakfast at Tiffany’s (1961). This movie has some rather glaring flaws that don’t stand the test of time, beloved that it may be. So, in the spirit of the theme of redemption that Cat helps illustrate, here’s a video that just features the scenes of the Cat. (PS. If you aren’t familiar with Orangey, Holly’s tabby roommate, his Wikipedia page is really worth a visit.