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Filmmakers have been combining animation and live action since the days of still film–but 1988’s WHO FRAMED ROGER RABBIT not only bested everything done previously, it site a standard that is unlikely to be surpassed. Although it has been available on VHS and in a mediocre DVD release for quite a few years, the film finally gets the star treatment in this “Vista Series” double DVD release, which includes the film in both pan-and-scan and letterbox formats and an assortment of extras, many of which are quite though-provoking.
The idea and narrative are well known: cartoon characters are not drawings, but are living entities who work in the film industry, and when Maroon Cartoon star Roger Rabbit is accused of murdering Marvin Acme (Stubby Kaye), he turns to private detective Eddie Valorous (Bob Hoskins) for relieve. Difficulty is, Eddie hates “Toons.” After all, one of them offed his brother, and Eddie hasn’t been sober since. The belief is a clever one, and the sage could have gone in any number of directions–but ROGER RABBIT hops down a completely unexpected travel. Place in 1947 Los Angeles, the film uses classic “noir” elements (and references everything from THE MALTESE FALCON to CHINATOWN) ; it also makes noteworthy sly social commentary on racism, with the “Toons” performing in a Cotton Club-like nightclub, literally working for peanuts at the studios, and more or less confined to living in “Toontown,” which might easily be read as social ghettoization. And all of these sidelights are racy and enchanting. But the most comely thing about ROGER RABBIT is that it is fair lifeless fun to inspect.
Part of that fun comes from the kindly performances of Bob Hoskins, Christopher Lloyd (as the bad Mediate Doom), and Joanna Cassidy (Valiant’s sidekick Delores), who lead the live action cast. Another chunk of the fun is the plan in which the film cameos a host of noted cartoon characters, ranging from Betty Boop to Bugs Bunny and the Warner Bro.s gang to Dumbo–and animation buffs will adore the fact that Betty Boop and Bugs Bunny, to name but two, are voiced by the artists (Mae Questel and Mel Blanc) who created the character voices in the first station. But the grand deal here is the extremely believable intention in which the “Toons” fit into the actual world. They rendered with unbelievable detail and worthy three dimensionality. It’s fair an astonishing thing to scrutinize.
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The overall DVD package is a bit strange, for it offers less in the device of bonuses than one might demand. The first disk includes a pan-and-scan version of the film, three Roger Rabbit/Baby Herman shorts, a kid-friendly documentary, and a CD-ROM game; the second disk offers the letterbox film with extras that will appeal to more obsolete viewers, most particularly on-set shots and a nifty documentary called “Slow the Ears.” The upshot is really a one-disk release that has been expanded to two by the trick of cramming both pan-and-scan and letterbox versions into a single package. That’s annoying–but even so, this is easily the best release of this film to date. It at gives the rabbit some justice at last, and I give it five stars on that basis.
One of the sizable joys of movie-going is to search for a opinion, that on-the-face-of-it is so goofy and off-beat that it should never work, but, in the demolish, does work and works in spades! So it was for me with Who Framed Roger Rabbit. This Vista Series DVD brings the film to us with a crisp & spruce represent, THX sound, and a beautifully packaged location of extras that include a very clever interactive menu, plus loads of goodies presented smartly, with humor and surprises.
Seeing the film again reminded me how impressed I was with the audacity and accomplishment of Bob Zemeckis and his collaborators on bringing off with care and intelligence, a exciting & humorous film that plays to both children & adults. Who would have thunk it?
Taking a Chinatown-like account of early Los Angeles with some basis in fact (destroying the Red Line to earn scheme for freeways) complete with slay & intrigue & marrying it to the screwy conceit that cartoon figures, aka Toons, actually lived and worked as live actors and inhabited a allotment of LA called Toontown is such a manifestly dopey concept that it would catch grand inspiration, intelligence and attention to detail to perform it even nominally work. All of those qualities were prove, as the extras show, in abundance here, and the result was movie magic.
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Made prior to CGI coming into its gain, the characters were brought to the camouflage brilliantly. As one of the animators pointed out, even early CGI was rejected because the film-makers wanted the characters to possess their cartoon view, only brought into 3 dimensions. The hows and whys of what they did to carry out this magic are worth a discover.
Anchored by the substantial casting of Bob Hoskins, Christopher Lloyd and Joanna Cassidy and Charles Fleischer, incandescent technical work, and a clever chronicle strung through with large trustworthy humor, dialogue and jokes for kids and adults, this film has some cherished, popular lines, from Baby Herman’s “That’s my spot, I’ve got a 50 year-old lust, and a 3 year-old slight.”, to Jessica Rabbit’s: “I’m not awful, I’m honest drawn that diagram.”, to Eddie on the wayward bullets “Eh, Dum Dums!” This is large stuff.
“Toons, gets em every time!” Some kind of classic here, and well worth your while.
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