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Music plays a very important part in the shorts, emphasizing the action, filling in for traditional sound effects, and lending emotion to the scenes. Musical director Scott Bradley created complex scores that combined elements of jazz, classical, and pop music; Bradley also often used contemporary pop songs and songs from other films, including MGM films like The Wizard of Oz and Meet Me in St. Louis, which both starred Judy Garland in a leading role.

Tom changes his love interest many times. The first love interest is Toots who appears in Puss n' Toots, and calls him "Tommy" in The Mouse Comes to Dinner. He is also interested in a cat called Toots in The Zoot Cat although she has a different appearance to the original Toots. The most frequent love interest of Tom's is Toodles Galore, who never has any dialogue in the cartoons.

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In his attempts to catch Jerry, Tom often has to deal with Spike (known as "Killer" and "Butch" in some shorts), an angry, vicious but easily duped bulldog who tries to attack Tom for bothering him or his son Tyke while trying to get Jerry. Originally, Spike was unnamed and mute (aside from howls and biting noises) as well as attacking indiscriminately, not caring whether it was Tom or Jerry though usually attacking Tom. In later cartoons, Spike spoke often, using a voice and expressions (performed by Billy Bletcher and later Daws Butler) modeled after comedian Jimmy Durante. Spike's coat has altered throughout the years between gray and creamy tan. The addition of Spike's son Tyke in the late 1940s led to both a slight softening of Spike's character and a short-lived spin-off theatrical series (Spike and Tyke).

Most cartoons with Spike in them conform to a theme: usually, Spike is trying to accomplish something (such as building a dog house or sleeping) when Tom and Jerry's antics stop him doing it. Spike then (presumably due to prejudice) singles out Tom as the culprit, and threatens him that if it ever happens again, he will do "something horrible" to him (effectively forcing Tom to take the blame) while Jerry overhears; afterward, Jerry usually does anything he can to interrupt whatever Spike is doing while Tom barely manages to stop him (usually getting injured in the process). Usually, Jerry does eventually wreck whatever Spike is doing in spectacular fashion and leaves Tom to take the blame, forcing him to flee from Spike and inevitably lose (usually because Tom is usually framed by Jerry and that Spike just dislikes Tom). Off-screen, Spike does something to Tom and finally, Tom is generally shown injured or in a bad situation while Jerry smugly cuddles up to Spike unscathed. Tom sometimes gets irritated with Spike (an example is in That's My Pup!, when Spike forces Tom to run up a tree every time his son barked, causing Tom to hang Tyke on a flag pole). At least once, however, Tom does something that benefits Spike, who promises not to interfere ever again; causing Jerry to frantically leave the house and run into the distance (in Hic-cup Pup). Spike is well known for his famous "Listen pussycat!" catchphrase when he threatens Tom, his other famous catchphrase is "That's my boy!" normally said when he supports or congratulates his son.

Butch is a black, cigar-smoking alley cat who also wants to eat Jerry. He is Tom's most frequent adversary. However, for most of the shorts he appears in, he is usually seen rivaling Tom over Toodles. Butch was also Tom's chum as in some cartoons, where Butch is leader of Tom's alley cat buddies, who are mostly Lightning, Topsy, and Meathead. Butch talks more often than Tom or Jerry in most shorts.

Mammy Two Shoes is a heavy-set, middle-aged black woman who often has to deal with the mayhem generated by the lead characters. Voiced by character actress Lillian Randolph, she is often seen as the owner of Tom. Her face was only shown once, very briefly, in Saturday Evening Puss. Mammy's appearances have often been edited out, dubbed, or re-animated as a slim white woman in later television showings, since her character is a mammy archetype that had been protested as racist by the NAACP and other civil rights groups since the 1940s.[7][8] She was mostly restored in the DVD releases of the cartoons, with an introduction by Whoopi Goldberg on the Tom and Jerry Spotlight Collection: Vol. 2 DVD set explaining the importance of African-American representation in the cartoon series, however stereotyped.

The first short, Puss Gets the Boot, features a cat named Jasper and an unnamed mouse,[13] named Jinx in pre-production, and an African American housemaid named Mammy Two Shoes. Leonard Maltin described it as "very new and special [...] that was to change the course of MGM cartoon production" and established the successful Tom and Jerry formula of comical cat and mouse chases with slapstick gags.[14][12] It was released onto the theatre circuit on February 10, 1940, and the pair, having been advised by management not to produce any more, focused on other cartoons including Gallopin' Gals (1940) and Officer Pooch (1941).[12] Matters changed, however, when Texas businesswoman Bessa Short sent a letter to MGM asking whether more cat and mouse shorts would be produced, which helped convince management to commission a series.[15][11] A studio contest held to rename both characters was won by animator John Carr, who suggested Tom the cat and Jerry the mouse. Carr was awarded a first-place prize of $50.[16] It has been suggested, but not proven, that the names were derived from a 1932 story by Damon Runyon, who took them from the name of a popular Christmastime cocktail, itself derived from the names of two characters in an 1821 stage play by William Moncrieff, an adaptation of 1821 Egan's book titled Life in London where the names originated, which was based on George Cruikshank's, Isaac Robert Cruikshank's, and Egan's own careers.[17] Puss Gets the Boot was a critical success, earning an Academy Award nomination for Best Short Subject: Cartoons in 1941 despite the credits listing Ising and omitting Hanna and Barbera.[14][12]

Hanna and Barbera produced 114 cartoons for MGM, thirteen of which were nominated for an Academy Award for Best Short Subject and seven went on to win, breaking the winning streak held by Walt Disney's studio in the category. Tom and Jerry won more Academy Awards than any other character-based theatrical animated series. Barbera estimated the typical budget of $50,000 for each Tom and Jerry cartoon which made the duo take "time to get it right".[12] A typical cartoon took around six weeks to make.[13]

As per standard practice for American animation production at the time, Barbera and Hanna did not work with a script beforehand.[11] After coming up with a cartoon idea together, Barbera would flesh out the story by drawing a storyboard and provide character designs and animation layouts.[19] Hanna did the animation timing - planning the music and temporal beats and accents the animation action would occur on - and subsequently assigned the animators their scenes and supervised their work.[19] In addition, Hanna provided incidental voice work, in particular Tom's numerous screams of pain.[19] Despite minimal creative input,[19] as head of the MGM cartoon studio, Quimby was credited as the producer of all cartoons until 1955.[13]

The rise in television in the 1950s caused problems for the MGM animation studio, leading to budget cuts on Tom and Jerry cartoons due to decreased revenue from theatrical screenings. In an attempt to combat this, MGM ordered that all subsequent shorts be produced in the widescreen CinemaScope format; the first, Pet Peeve, was released in November 1954. However, the studio found that re-releases of older cartoons were earning as much as new ones, resulting in the executive decision to cease production on Tom and Jerry and later the animation studio on May 15, 1957.[11] The final cartoon produced by Hanna and Barbera, Tot Watchers, was released on August 1, 1958.[13] The pair decided to leave and went on to focus on their own production company Hanna-Barbera Productions, which went on to produce such popular animated television series including The Flintstones, Yogi Bear, The Jetsons and Scooby-Doo.[13]

Before 1954, all Tom and Jerry cartoons were produced in the standard Academy ratio and format; in 1954 and 1955, some of the output was dually produced in dual versions: one Academy-ratio negative composed for a flat widescreen (1.75:1) format and one shot in the CinemaScope process. From 1955 until the close of the MGM cartoon studio a year later, all Tom and Jerry cartoons were produced in CinemaScope; some even had their soundtracks recorded in Perspecta directional audio. All of the Hanna and Barbera cartoons were shot as successive color exposure negatives in Technicolor.

In 1961, MGM revived the Tom and Jerry franchise, and contracted European animation studio Rembrandt Films to produce 13 Tom and Jerry shorts in Prague, Czechoslovakia.[20][21][22][23] All were directed by Gene Deitch and produced by William L. Snyder.[20][23] Deitch himself wrote most of the cartoons, with occasional assistance from Larz Bourne and Eli Bauer. tpn Konek provided the musical score for the Deitch shorts. Sound effects were produced by electronic music composer Tod Dockstader and Deitch. The majority of vocal effects and voices in Deitch's films were provided by Allen Swift and Deitch.[24]

Deitch states that, being a "UPA man", he was not a fan of the Tom and Jerry cartoons, thinking they were "needlessly violent".[25][26] However, after being assigned to work on the series, he quickly realized that "nobody took [the violence] seriously", and it was merely "a parody of exaggerated human emotions".[25] He also came to see what he perceived as the "biblical roots" in Tom and Jerry's conflict, similar to David and Goliath, stating "That's where we feel a connection to these cartoons: the little guy can win (or at least survive) to fight another day."[25] 17dc91bb1f