Betty Boop’s melancholy as she tries to assure Eddie-and by extension, the world-that she’s still got it, is played for sad laughs. Part of what lends Who Framed Roger Rabbit its emotional wallop is the sense of despair and decay-not just in folks like Eddie Valiant, who’s just barely eking out a scuzzy existence on the fringes, but also in cartoon characters who seem cognizant of their fragile place in the show-business ecosystem. Nathan: I like the notion of 1947 being both the high-water mark and the beginning of the end for classic animation. Toontown survived The Dip, but the flood came anyway. UPA’s more-with-less aesthetic worked wonders with expressionistic, stripped-down animation, but also opened the door for cheap-looking (and just cheap) imitators. (Just ask poor Betty Boop.) Animated theatrical shorts may live on forever, thanks to TV, but the format barely survived the 1950s, and by the end of the decade, they were coping with constricted budgets and changing tastes. It lasted a while longer, but not forever. Other outlets, like MGM and Terrytoons, are in their heyday. We’re at the high-water mark for Hollywood animation. I think there’s another reason for the 1947 setting, too, and kind of a melancholy one. of The Big Sleep, but it’s just a parallel universe away. Seaman fill the film with noir trappings. From the boozy, hard-bitten hero to the shadowy doings behind venetian blinds to the femme-fatale heroine (who isn’t bad, just drawn that way), director Robert Zemeckis and screenwriters Jeffrey Price and Peter S. It also had a studio system not unlike the one depicted here, where execs traded stars, though they didn’t always work for peanuts, like Dumbo. The Los Angeles of Who Framed Roger Rabbit also existed onscreen, in the noirs that rose to prominence during and after World War II. The city really did have a trolley system that gave way to roads, even if it wasn’t the result of a conspiracy. These moments are so enchanting that one almost dreads the inevitable return to the central story line.Keith: Who Framed Roger Rabbit takes place in an imagined version of 1947 Los Angeles, where humans and “toons” live side by side, a fantasy grounded in reality. Though the film's sensibility is a resolutely adult one (with plenty of potentially frightening moments for smaller viewers), parents won't be blamed for wanting to show their child the only screen union of Bugs Bunny and Mickey Mouse, or a raucous piano duet between Donald Duck and his WB counterpart, Daffy. At these points, viewers are treated to the (unfortunately brief) interaction of cartoon immortals from the Disney/Warner Brothers, and Fleischer stables. What can be re-seen numerous times are the truly magical sequences when Valiant visits toon territories. Zemeckis and company unfortunately dote on the plot's machinations, slowing the movie's pace down to a crawl at a few points. As with any detective story, the film focuses on a myriad of details and double crosses as with any decent farce, the plot is nothing but a pretext for a number of comic situations. Thought to contain the ultimate in technical innovation at the time of its release, the film's landmark mixture of live action and animation is not as impressive today in light of the more sophisticated and complex computer-generated animation featured in features like Shrek and Finding Nemo.
REAL COOL PICTURES OF JESSICA RABBIT AND ROGER RABBIT MOVIE
The movie that popularized the term "toon," Who Framed Roger Rabbit rightly deserved the four Oscars it won for its imaginative visual effects.
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