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Directors: Robert Zemeckis (live action) & Richard Williams (animation)
Release Date: June 22, 1988
Stars: Roger Rabbit, Baby Herman, Bob Hoskins, Jessica Rabbit, Christopher Lloyd, Yosemite Sam, Dumbo, Hyacinth Hippo, Donald Duck, Daffy Duck, Betty Boop, Goofy, Droopy, Tweety, Mickey Mouse, Bugs Bunny, Koko the Clown, Pinocchio, Woody Woodpecker, Pete, Porky Pig a.o.
Rating: ★★★★★ ♕
Review:

Who-Framed-Roger-Rabbit © Touchstone PicturesVery rarely a film comes out that raises great expectations, but also lives up to it. ‘Who Framed Roger Rabbit’ is such a picture.

Brought to us by golden team of film entertainment professionals, producing company Walt Disney, executive producer Steven Spielberg and director Robert Zemeckis, ‘Who Framed Roger Rabbit’ stands among the great fantasy films of the 1980s.

More importantly, however, it heralded a renaissance in the animation world after ca. 20-25 dark years, in which animation got cheaper, lousier, more commercial and more and more directed at kids. ‘Who Framed Roger Rabbit’ showed that once there was a golden age of animation, in which animation was impressive, massively funny and directed at adults. The film clearly pays homage that period. For example, the Baby Herman cartoon with which the film starts, combines Disney-like elongated prop-gags with Tex Averyan takes and Tom & Jerry-like cartoon violence. Indeed, Tom & Jerry seem to be the cartoon’s biggest influence with its household setting, fast pacing and violent takes on Roger.

The film renewed the attention for the golden age (roughly 1930-1955) and spawned a new era, in which Disney found inspiration again. Who Framed Roger Rabbit’ is one of the least typical Disney-features Disney ever made, and the introduction of Warner Bros./MGM-like cartoon humor was a great injection for the company, resulting in genuinely fast and funny animation in its own features, most notably in ‘Aladdin’ (1992) and ‘Hercules’ (1997).

Moreover, in the age following the movie, TV-animation suddenly got interesting (Nickelodeon with series like Ren & Stimpy and Rocko’s Modern Life, Cartoon Network with series like Cow & Chicken and Dexter’s Laboratory), and animation returned to evening television, aimed at adults (The Simpsons, Duckman, South Park). For people like me, who had grown up in the deserts of 1970s and 1980s this change in perception of what animation was and could be was very welcome, and in my perception it all began with this film.

‘Who Framed Roger Rabbit’ is not only a milestone, however, it’s a hugely entertaining movie itself, with a strong plot and great scenes. The animation, led by Richard Williams, is pre-computer, but an enormous improvement on similar earlier films combining animation with live action (e.g. ‘The Three Caballeros‘, ‘Mary Poppins’, ‘Elliott and the dragon’). Not only are the character animated very well, they’re staged stunningly fluently, following the camera, and they’re shaded like they are actually in the set, giving them a 3D quality like no cartoon character in a live-action setting ever had before.

This sense of the cartoon characters being in the same space as the actors is greatly helped by an endless string of very convincing special effects, using real props. For example the weasel gang leader handles a real gun, and when he splashes water, the water is real, too. Meanwhile, of course, the characters remain drawn on cells. To contemporary eyes there’s a great lesson here, in that cartoon characters needn’t be animated in 3D to get a real sense of existential body…

Part of the fun of ‘Who Framed Roger Rabbit’ of course, is the presence of several classic cartoon stars, coming from different animation studios and appearing for the first (and only) time together in one film. It’s a great pleasure to watch Disney characters (a.o. Donald and Mickey) appearing together with Warner Bros. characters (a.o. Daffy, Bugs, Tweety, Yosemite Sam), MGM (Droopy) and even from former Disney-rival Fleischer (Betty Boop, and for a brief moment Koko). Only Walter Lantz’s star Woody Woodpecker doesn’t get the screen time he deserves, and Popeye and Hanna & Barbera’s Tom & Jerry are notably absent. The fun is raised by the presence of two of the original voice talents, Mel Blanc (Bugs Bunny, Daffy Duck, Tweety & Porky Pig) and Mae Questel (Betty Boop).

However, the film’s own stars are hardly less entertaining. Roger Rabbit, voiced by Charles Fleischer, easily carries the film, and Jessica Rabbit is not only a female attraction, but a wonderfully subtle character, with great lines like ‘I’m not bad, I’m just drawn that way‘. The live action stars are equally strong, most notably Bob Hoskins, who brings a very subtle tragic edge to his cynical character Eddie Valiant, the film’s starring role.

The story has surprisingly critical overtones, with its plot circling around the loss of Los Angeles public transport in favor of freeways, something that really happened in the late 1940s (the showing of ‘Goofy Gymnastics‘ places the film’s time setting firmly in 1949). Judge Doom’s vision of what the freeway looks like is the film’s most cynical moment. Especially when his lifeless vision of commerce, cheapness and efficiency is placed against the loss of Toontown – symbol of fun, creativity and the extras of life.

In all, ‘Who Framed Roger Rabbit’ is a great film, a classic which doesn’t fail to entertain. It was not the first film to blend cartoon stars in the real world (the idea is almost as old as animation itself, going all the way back to ‘Gertie the Dinosaur‘ (who interacted with her creator Winsor McCay in a theater), or Fleischer’s Out of the inkwell films from the 1910s) – nor was it the last (less successful successors include ‘Cool World‘ from 1992 and ‘Space Jam’ from 1996), but it is arguably the best in its kind. It’s questionable whether we’ll see a film like this again, as nowadays there’s a tendency of recreating cartoon characters in 3D, with ‘The Smurfs’ (2011) as the most appalling example.

Watch the trailer for ‘Who Framed Roger Rabbit’ yourself and tell me what you think:

Who Framed Roger Rabbit’ is available on DVD.

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Director: George Scribner
Release Date: November 13, 1988
Rating: ★★
Review:

Oliver and Company © Walt DisneyOliver and Company’ is the Walt Disney studio’s third film about dogs, after ‘Lady and the Tramp‘ (1955) and ‘One Hundred and One Dalmations’ (1961). Three of the first film’s characters, Peggy, Jock and Trusty, even have a cameo during Dodger’s song.

‘Oliver and Company’ contains some nice and easy looking dog animation, but it is hardly a worthy successor of the two classics. The opening scenes of ‘Oliver & Company’ introduces Oliver, a cute little orange cat to us, in a scene set to an ugly 1980s song. Oliver teams up with a cool dog called Dodger, who appears to be part of a dog gang. Only when the gang’s owner, the poor tramp Fagin (excellently voiced by Dom DeLuise) is visited by the film’s villain, Sykes, some kind of drama begins. By then the film already is 18 minutes underway.

During a totally incomprehensible framing act Oliver is taken sway by a little rich girl called Jenny, much to the dismay of her house’s star dog, poodle Georgette (voiced by Bette Midler). The gang ‘rescues’ Oliver, which leads to the only continuous and songless story part of the complete film. Surprisingly, the upper class world of Jenny and Georgette and the lower class world of Fagin and his dogs don’t seem to clash at all in this film. As soon Jenny is kidnapped, Georgette naturally teams up with the dog gang. The film ends with a wild and totally unbelievable chase, killing Sykes.

Although released five months after ‘Who Framed Roger Rabbit‘ it’s difficult to regard ‘Oliver & Co.’ as part of the Disney renaissance. It’s not as bleak as ‘The Fox and the Hound‘ or as misguided as ‘The Black Cauldron‘, but the film still feels as a continuation of the 1960s and 1970s, instead of something new, making it part of animation’s dark ages.

There are several reasons for this: first, the use of xerox, first used in ‘One Hundred and one Dalmations’ (1961), and defining Disney’s graphic style up to this film. Second, the equally graphic backgrounds, which are uninspired, dull and ugly, as are the all too angular and unappealing cars and machines. Third, the animation, which is erratic and at times downward poor, with the animation of the little girl Jenny, a far cry from the endearing Penny from ‘The Rescuers‘ (1977), being the low point. Fourth, the human designs, which apart from the main characters, look the same as in any generic animated television series from the 1980s. And fifth, the story, which, vaguely based on Charles Dickens’s ‘Oliver Twist’, is ramshackle and formulaic. Moreover, the attempt to ‘modernize’ Disney by moving the setting to contemporary New York is forced, and only a change of setting. There’s no new spirit to the film. And finally, the anonymous 1980s songs have aged the film very quickly.

There are some highlights: the dogs are all good, if not particularly inspired and owing much to ‘Lady and the Tramp’, Jenny’s butler Jenkins is well animated, as is Fagin when he struggles to give Oliver back to Jenny. But overall the film fails to entertain: Oliver himself is not particularly interesting, he is just the straight man, the little girl Jenny is too bland to gain sympathy, the songs are generic and the story (penned by no less than thirteen people) is too erratic to suck the viewer in.

Luckily, ‘Oliver and Company’ was not part of a new era, but the last convulsion of an old one. With its next film, ‘The Little Mermaid’ (1989) Disney would really enter its renaissance.

Watch Dodger’s song from ‘Oliver & Company’ yourself and tell me what you think:

Director: Burny Mattinson
Release date: December 16, 1983
Stars: Mickey Mouse, Scrooge McDuck, Donald Duck, Daisy Duck, Goofy, Jiminy Cricket, Pete, Willie the Giant
Rating: ★★★½
Review:

Mickey's Christmas Carol © Walt DisneyMickey’s Christmas Carol’ is one of countless cinema versions of Charles Dickens’s classic tale, this time using Disney characters.

Star of the film is Scrooge McDuck, which of course comes natural to the old miser as the character was actually named after Dickens’ main protagonist. Unlike the other characters Scrooge McDuck was mainly a comics hero, created by Carl Barks, and he had appeared on the screen only one time before, in the educational film ‘Scrooge McDuck and Money’ (1967). However, only four years later he would be animated extensively, in the highly successful televison series, Ducktales.

Most people however will remember ‘Mickey’s Christmas Carol’ as Mickey’s return to the screen for the first time since his retirement in 1953. But it also marks the return of Donald (as Scrooge’s nephew Fred) and Goofy (as his former partner Jacob Marley) to the screen after a 22 year absence. The film has an all-star cast in any case, reviving many other classic Disney stars, like Jiminy Cricket (as the ghost of Christmas Past), Daisy (as Scrooge’s former love interest) and Pete (as the ghost of Christmas future). Also featured is Willie the giant from ‘Fun and Fancy Free‘ (1948) as the ghost of Christmas present, and several characters from ‘The Wind in the Willows‘ (1949). Apart from these we can see glimpses of the Big Bad Wolf and the three little pigs, Clarabella Cow, Horace Horsecollar, Huey, Dewey and Louie, Minnie Mouse and some characters from ‘Robin Hood‘.

This all-star cast gives the film a nostalgic feel that fits the story. Indeed, with hindsight, one can see ‘Mickey’s Christmas Carol’ as an early example of the Renaissance that was about to happen, in which the classic cartoon style was revived after ca. twenty dark years.

‘Mickey’s Christmas Carol’ is no ‘Who Framed Roger Rabbit‘, however, and it only looks back, not forward. For example, the rather uninspired score is by Irwin Kostal, who had been composing for Disney since ‘Mary Poppins’ (1964). Moreover, the film’s design, using xerox cells and graphic backgrounds, is firmly rooted in the tradition of the 1960’s and 1970’s.

‘Mickey’s Christmas Carol’ is a nice and entertaining movie, but it would take another five years for the Renaissance hitting Disney in full glory, with inspired and innovative films as ‘Who Framed Roger Rabbit’ (1988) and ‘The Little Mermaid’ (1989).

Watch ‘Mickey’s Christmas Carol’ yourself and tell me what you think:

This is Mickey Mouse cartoon No. 126
To the previous Mickey Mouse cartoon: The Simple Things
To the next Mickey Mouse cartoon: The Prince and the Pauper

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