Who Framed Roger Rabbit (1988)

*. There’s no question mark at the end of the title. I didn’t know that. Seems odd. The source (which only provided the basic premise for the film) was a novel by Gary K. Wolf titled Who Censored Roger Rabbit? and it had a question mark.
*. With that important point out of the way, on with the show (this is it).
*. Up until this latest reviewing, I don’t think I’d seen Who Framed Roger Rabbit, at least all the way through, since it first came out thirty years ago. I seem to remember catching bits of it on TV a while back, but that’s it. So I was really wondering how it would hold up.
*. Of course, on one level I think it’s fair to call it a gimmick movie. The mixture of real and animated footage had been done before, but nothing like on this scale, and as such an essential part of the plot. There are two points I want to make about this.
*. In the first place, it was not a technological breakthrough. That would come later, with the digital revolution in computer animation. The animation here is old school. As the director of animation Richard Williams says on the “making of” documentary included with the DVD, there was never any problem with being able to do the animation, the problem was time and money. A studio was going to have to (and in the event did) throw a ton of money at such a project to make it work, including hiring a small army of animators.
*. My second point, following on the first, is that because it’s a movie defined more by its craftsmanship than its use of a new technology it doesn’t fall into the trap of dating as badly as other movies that were all about their new effects. Early CGI, for example, looks pretty awful by today’s standards, but the animation here is something different, rather than something more primitive, than you’d see today.
*. It certainly looks like a different species of animation than CGI. It’s not as crisp and the colours aren’t nearly as bright. Put another way, the figures look dark and blurry to an eye trained to the arcade-style visuals of today’s computer effects. That doesn’t bother me too much, because while I don’t think this makes the animation more “realistic” (whatever that might mean in this context), I do think it fits the film’s noir setting. I only wonder how it plays with younger audiences, the digital natives. To be honest, I don’t even know any young people who have seen it that I could ask. This was a very successful movie when it came out but I don’t know how well known it is today.

*. David Thomson: “one of the last great works of wit and beauty, magic and terror, to come out of a Hollywood studio.” Wow. That’s pretty high praise (I think; but Thomson doesn’t think much of the direction Hollywood was going in around this time). Still, it’s an opinion that I think a lot of people share. I really enjoy it too, but just to register a couple of negative notes . . .
*. I don’t like the character of Roger Rabbit. I don’t like his manic personality, or his voice, or his appearance. He looks strung out most of the time and doesn’t have the same kind of freshness as the classic Disney and Warner Bros. characters we meet still possess. After just a couple of scenes I started finding him irritating, and he never really grew on me.
*. I don’t find the story that interesting. It’s basically just Chinatown with a twist. It seems to me they might have done more.
*. I don’t think there’s anything very funny going on, particularly with the script. It’s littered with groaner gags, the verbal equivalent of the hand buzzers and whoopie cushions put out by Acme. Then there are some adult double entendres that get a smile because they’re coming from ‘toons. But really there’s not a lot of wit to any of it.
*. What makes it so watchable? Bob Hoskins is great. Perhaps no one has ever played against an absent element better, even as stars have had to all become used to it. Jessica Rabbit’s shape was immediately iconic, with the pneumatic bliss of her figure bouncing and swinging in every different direction. Christopher Lloyd is perfect as the villain cartoonish enough to be a ‘toon. And finally, while there’s nothing special about the story, it is all neatly done from start to finish, with no loose ends or excess weight. It was just too expensive a production to be wasteful, so pretty much whatever they shot had to count. The DVD contains only one deleted scene that I’m glad they cut (the rather grim pig head business).
*. There’s been a lot of talk of a sequel over the years, but given the fullness of the closure we get at the end I’m glad they’ve resisted opening it up again. Why bother? I don’t think I’d go so far as David Thomson does in the line I quoted above, but I do agree that there’s something about this movie that stands at the end of something, more so than the change in animation. Even if there were a sequel I don’t think they could ever do something like this again. Why not? Because it’s only fluff.
*. One suggestion: I think this movie really was a labour of love. Sure it’s a send-up of the genre in lots of ways, as so many movies in our own time are, but there isn’t a hint of cynicism about it. Maybe that’s what did the rabbit in.

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