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Filmmakers have been combining animation and live action since the days of tranquil film–but 1988′s WHO FRAMED ROGER RABBIT not only bested everything done previously, it space 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 engaging.
The opinion and chronicle 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 Brave (Bob Hoskins) for assist. Inconvenience is, Eddie hates “Toons.” After all, one of them offed his brother, and Eddie hasn’t been sober since. The notion is a clever one, and the sage could have gone in any number of directions–but ROGER RABBIT hops down a completely unexpected crawl. Region in 1947 Los Angeles, the film uses classic “noir” elements (and references everything from THE MALTESE FALCON to CHINATOWN) ; it also makes remarkable 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 piquant and engaging. But the most splendid thing about ROGER RABBIT is that it is honest insensible fun to spy.
Part of that fun comes from the genuine performances of Bob Hoskins, Christopher Lloyd (as the nasty Deem Doom), and Joanna Cassidy (Valiant’s sidekick Delores), who lead the live action cast. Another chunk of the fun is the design in which the film cameos a host of famed cartoon characters, ranging from Betty Boop to Bugs Bunny and the Warner Bro.s gang to Dumbo–and animation buffs will cherish 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 position. But the enormous deal here is the extremely believable plot in which the “Toons” fit into the dependable world. They rendered with improbable detail and much three dimensionality. It’s fair an astounding thing to notice.
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The overall DVD package is a bit queer, for it offers less in the map of bonuses than one might request. 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 broken-down viewers, most particularly on-set shots and a nifty documentary called “Unhurried 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 gargantuan joys of movie-going is to study a thought, that on-the-face-of-it is so goofy and off-beat that it should never work, but, in the waste, 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 & dapper relate, THX sound, and a beautifully packaged station 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 animated & humorous film that plays to both children & adults. Who would have thunk it?
Taking a Chinatown-like record of early Los Angeles with some basis in fact (destroying the Red Line to execute scheme for freeways) complete with cancel & 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 purchase large inspiration, intelligence and attention to detail to construct it even nominally work. All of those qualities were prove, as the extras indicate, in abundance here, and the result was movie magic.
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Made prior to CGI coming into its beget, the characters were brought to the mask brilliantly. As one of the animators pointed out, even early CGI was rejected because the film-makers wanted the characters to enjoy their cartoon leer, only brought into 3 dimensions. The hows and whys of what they did to execute this magic are worth a recognize.
Anchored by the huge casting of Bob Hoskins, Christopher Lloyd and Joanna Cassidy and Charles Fleischer, gleaming technical work, and a clever yarn strung through with stout superior humor, dialogue and jokes for kids and adults, this film has some cherished, celebrated lines, from Baby Herman’s “That’s my scrape, I’ve got a 50 year-old lust, and a 3 year-old slight.”, to Jessica Rabbit’s: “I’m not terrible, I’m unprejudiced drawn that plan.”, to Eddie on the wayward bullets “Eh, Dum Dums!” This is mountainous stuff.
“Toons, gets em every time!” Some kind of classic here, and well worth your while.
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