Who Framed Roger Rabbit (1988) (Movie Review)

  There’s a simple driving goal when it comes to family pictures … find a way to appeal to both children and adults in equal measure. For my money, it doesn’t get any more special than 1988’s "Who Framed Roger Rabbit", which is based on the novel “Who Censored Roger Rabbit”. Still to this day, it’s one of my personal favorite movies ever made. When this movie first came out, it was a ground breaking mix of live-action and animation, and one of the very first big crossover events that brought several recognizable characters from various properties together in one picture. 

Needless to say, the film was a smash hit, received critical acclaim, won four Academy Awards, and paved the way for a new renaissance in animation, at a time when neither cartoons or animated pictures were that popular. In the years sense, countless other films tried to recreate what “Who Framed Roger Rabbit” achieved, and most of which barley even came close to recapturing the magic of this film. I freely admit, I have nothing but love for movies in the vein of 1996’s “Space Jam”, but I’d also brand something like that as a “guilty-pleasure”, where by contrast, I’d label “Who Framed Roger Rabbit” as a masterpiece in its own right. While it could have simply coasted on the premise of live-action humans interacting with famous cartoon characters, Director Robert Zemeckis, along with Producer Steven Spielberg, and an ensemble of talented screen-writers, producers, and filmmakers all decided to go the extra mile, and told a thoughtful story, with layered characters, a humble yet simplistic message, no shortage of entertainment, and had a perfectly realized tone that can appeal to both kids and adults on an equal playing field.       

   The setting is Hollywood California, the year is 1947, and it’s a golden age for classic cartoon characters. However, in this reality, cartoons are depicted as lower-class actors, who show-up to work on animated pictures, but don’t have much going for them outside of the studio, as additional work is limited, and their all rounded-up in one single location called Toon Town. One private detective named Eddie Valiant once loved Toons, and dedicated his life to solving cases for them. However, he gradually forms a prejudice against them, as one rouge cartoon murdered his brother. Years later, a popular cartoon character named Rodger Rabbit is framed for the murder of Toon Towns human owner, which is secretly part of a scheme from some bad guys who want to take ownership of the town, only to erase it from existence, and construct a new free-way in its place. Now, detective Valiant has to make a choice between proving the cartoon rabbit’s innocents, or letting his prejudice of Toons keep him from cracking the case. It’s a straight forward mystery plot, with all the classic staples of Film Noir, but with cartoon characters present, along with a splash of comedy, and an overarching theme of prejudice versus justice. It’s simply a brilliant concept all around, and one of those cases where everything in the screenplay just clicked perfectly.

    The most important thing this movie got wright is the dynamic between its two leads … Eddie Valiant and Rodger Rabbit. 

The two have excellent chemistry, and both their story and screen presence are layered in a way that I’m perfectly content to watch them, without relying on the novelty of the films entertaining villain, or attractive eye-candy, or even its round-up of classic cartoons. The character of Roger Rabbit is a perfect example of a silly cartoon done right. The movie begins with a silly animated short, in which Roger puts himself on the line to protect the little Baby Herman from the dangers of a kitchen. While this opening is relentless with its cartoon slapstick, it’s also important for establishing what separates Roger from other classic cartoon characters. 

Whereas others are motivated by ego, or mischievous excitement, Roger is placed in these scenario’s simply by his care and concern for the safety of others. In essence, he may be a clumsy goof … but he has a heart that can rival most other toons. There’s also a great moment when Roger gives a passionate speech to Eddie about the value in making people laugh … all while standing on an actual soup box, which is a great touch. Eddie Valiant is also perfectly casted by the late Bob Hoskins, who walks a perfect middle ground between being the straight man, while also supplying a lot of personality to the role. Whereas someone like Bill Murry would have been a little too animated, Bob Hoskins was able to offset his cartoon costars with both genuine human emotions, and a range of theatrics on display. It also helped that Bob Hoskins went to Mime school, and thus, made it all the more convincing that he was interacting with both characters and items that weren’t really there on the set.   

    However, while the two leads are as perfect as they get … my personal favorite character of the film is the villainess Judge Doom, who’s portrayed brilliantly by the always delightfully theatrical Christopher Lloyd. 

Of course, director Robert Rodriguez just worked with Lloyd in “Back to the Future”, and while Doc Brown will always be his most celebrated character … I think I like his Judge Doom performance just a little more. Considering just how theatrical Christopher Lloyd is as an entertainer, he could have made this villain extremely loud, bombastic, and while he’s certainly hammy in the role, he’s also very reserved, quiet, and puts a lot of character into his physical performance. Seriously, watch his physical movement, how he holds himself, and how animated he makes every turn and jester … it’s brilliant. With a premise that involves live-action humans mixed with animated characters, it’s perfectly fitting to have a villain who’s basically a live-action cartoon character. He hit’s every cartoony villain cliché in the book, as he’s tall, dark, intimidating, keeps a sword in his cane, and even has a cape that’s always blowing around, despite the lack of wind. In general, I love a villain that can cover a wide range of theatrics, and Judge Doom just hits that perfect middle ground. 

I love it when he’s quiet and imposing, as it makes for a great contrast to later when he’s wild and over the top. Also, for as animated and obviously evil as Judge Doom gets, I always loved that he’s still a character who’s in a mindset that he’s doing something good for the world at large. When he talks about his ambitions for the Free Way, he isn’t relishing in the wealth or finance of it, he’s treating it like this great beautiful gift to the world, and I always feel that adds just a little more flavor to a villain. For me, I’ve always put Judge Doom on that exact same high bar as the Wicked Witch of the West as one of the greatest creepy villains in a family picture. Despite being very little when I first saw this movie, I honestly don’t remember him scaring me too much … with the exception of that one scene in which he killed that cute little cartoon shoe ... yeah, that got to me. Whether he actually scared you or not, he’s undeniably a sinister, entertaining presence, and one of my personal favorite movie villains ever. 

   If there was any other character as capable of grabbing the spot-light, it’s Roger’s attractive wife Jessica Rabbit. Keeping with the Film-Noir style of the picture, Jessica is the alluring femme fatale with a mysterious shady side. Her persona and introduction song are also loving nods to the classic Tex Avery cartoons, which commonly featured good looking red-head stage girls winning the attention of the cartoon character Wolfie … something that would be tributed again in 1994’s “The Mask”. While the character of Jessica Rabbit could have easily been some disposable Eye-Candy for the film, she actually carries some substance though her relationship with Roger. It’s one of those classic odd-couples who convey something special through their own distinct simplicity. Roger is the only character who doesn’t view her as eye candy, and see’s something special in Jessica past her design. On the flip side, Jessica doesn’t have much of a personality, and is thus drawn to someone who brings nothing but joy and laughter to those around him. Despite their limited screen time together, there’s still something genuinely nice about their romance, and for me, that’s what gives Jessica Rabbit her beauty.     

   I also like that, despite all the iconic cartoon characters at the films disposal, it also offers a gallery of original characters, who help give the movie its own identity. Benny the Cab became something of a mascot for the movie, and is the figurehead of the film’s promotional material, including the Disneyland theme park ride. Benny’s car chase sequence is another one of the films highlights, and despite being a relatively short chase, it was one of the most challenging segments behind the scenes for the film-crew to pull-off. There’s also Baby Herman, who has the look of a toddler, but the voice and personality of a cranky, middle-aged adult ... something that would get replicated in pop-culture countless times. Rounding-up the cast of originals are the nasty Toon-Patrol Weasels, who are tasked by the villain to capture fugitive cartoons. These characters have become memorable mascots in their own right, and were based on reoccurring Weasel villains in the Disney cartoon line-up. 

  Of course, the big draw to this film is its gargantuan ensemble of iconic characters sharing one movie together. 

Rather than be restricted to the characters of a single studio, this film runs the gambit with Disney characters, Warner Brothers characters, Paramount Characters, and it just creates this inviting childhood-atmosphere in which all your favorites live in the same universe. It’s something I always fantasized about as a kid, and I distinctly remember how much fun it was back in the day pointing out all these recognizable mascots like Wood Woodpecker, Felix the Cat, the Loony Toons, and I was constantly looking around for familiar faces. Naturally, I grew-up with the classic animated Disney movies, so seeing characters like Dumbo, Pinocchio, Bambi, the Snow White cast, and even the extras from “Fantasia” was a real treat. Even obscure Disney characters like Jose Carioca from "The Three Caballeros", and the Golden Harp from "Fun and Fancy Free" can be seen. 

The scene that had my jaw-drop when I was a kid was seeing Donald Duck in a musical duel with Daffy Duck. Back then, seeing my favorite Disney character, battle the other famous cartoon duck was just the coolest thing. Of course, seeing the two most iconic cartoon characters Mickey Mouse and Buggs Bunny on screen together was one of those special moments when it felt like the world just stopped moving for a second. I also have fond memories of watching Droopy Dog cartoons with one of my best childhood friends, so seeing Droopy Dog as an elevator Bellhop was always a delight. However, I think the best utilized iconic character in the whole film is Betty Boop, who was the only Toon to stir-up nostalgic feelings in Eddie Valiant, and the little exchange between the two is one of the most delightful moments of the whole film. On a side note, this marked the last time the original voice actress Mae Questel played Betty Boop … who even at her old age … “She’s still got it”. This film also marked the last time Mel Blank would voice his signature Loony Toons characters.

  Now, if I was to nit-pick at some details, it would be that some of the cartoon characters on display weren’t around yet in the films setting of 1947. For example, cartoon characters like Tinker Belle, Mr. Toad, and those Waiter Penguins from “Marry Poppins” are seen in the film, but they weren’t created until years later. Also, the one scene I’ve got mixed feelings on is the Toon Town segment. Back when I was a kid, this was my favorite scene of the film, and I still love all the tinny details on display. I also love that the entrance to the city is this giant, dark imposing tunnel, which is a great contrast to the bright and colorful cartoon world on the other end. However, I feel that prior to this sequence, the film had a consistent tone, which drops a little at this point. Granted, the scene should be more manic and over the top, but I still think they could have toned it down just a little. Personally … I never liked that insane Jessica Rabbit double-ganger, and I wish that was just removed all together. Regardless, the Toon Town sequence never overstayed it’s welcome, is an okay scene overall, and it made for an awesome Disneyland location to visit when I was a kid.

  The breakthrough animation on display was done by one Richard Williams, who was one of the great animation directors of his time, and I feel his work on “Who Framed Roger Rabbit” is his best work by far. While the blending of live-action and animation had been accomplished a number of times before this film … the craft was perfected here, and still has yet to be surpassed. The cartoons never looked too digital, but they also didn’t look like flat 2D cut-outs either, it was a perfect middle ground. Also, the details on display are extraordinary, as the animation is mixed with a number of practical effects and puppetry. I love seeing how the Toon’s manipulate live-action objects around them, and it further gives them a sense of really being there. They leave prints in the dust, they interact with real water, they cast shadows, they carry practical objects, there’s a moment when Jessica grabs a guy’s face, and the movement is perfectly in-sink with the animation. Naturally, the film won the Academy Award for Best Special Effects, as well as Best Film Editing, Best Sound Effects Editing, and Richard Williams received a Special Achievement Award for Directing the Animation. The film was also nominated for Best Art Direction, Best Original Sound Design, and Best Cinematography.  

  However, putting aside all the impressive effects and animation on display, there’s so much to admire just from the live-action segments. The film creates a lived-in breathable atmosphere, and there’s so much personality on display. When Eddie arrives in his wife’s rundown-bar, it feels like you walked into one of many reoccurring days in the lives of these people. Regular customers are on a first-name bases with the owners, and you instantly get this community sense that everyone knows each other. There’s also a number of adult jokes that went over my head as a kid, and not just innuendos, but pop-cultural references that are more accessible to adult viewers … “Say Hello Harvey!”. Although, there are still plenty of innuendos for adults to laugh at … and I always laughed at Jessica Rabbits “Booby-Trap”. It’s also cool as an adult noticing the select real world parallels laced throughout the story. For example, the Ink and Paint Club, where Toons serve humans, but aren’t allowed to watch the performances is influenced by New York’s 1920’s Cotton Club. Also, the villains plan to construct a Free-Way was influenced by the downfall of the Pacific Electric Railway in the 1940’s. Aside from all that, there’s so much beauty in the filmmaking on display that I really admire viewing through an adult lens.

  While my favorite sense as a kid was the Toon Town segment, my favorite scene as an adult is simply the moment focusing on Eddies Desk. This is a perfect example of a filmmaker using the camera as a means to tell the story. Not a single word is verbally spoken, yet this little scene speaks a thousand words, and gives great insight to our lead character. He’s looking through photos tied into his current assignment, then stumbles upon old vacation photos, he’s smiling, but then he comes across a photo of him with his late brother, and the look on his face is a perfect example of why Bob Hoskins was such an important casting choice for this movie, as his reaction conveys everything you need. The camera then pans over to the desk, the pile-up of dust tells us it hasn’t been touched once, we then see in another photo that Eddie and his brother were once circus performers … which will explain Eddies acrobatics during the climax. We also see that they were the silly members of a police force, and we see little snippets of all the cases they took helping other Toons … and on a side note, who else wants to know more about “Goofy on Spy Charges” ... that's hilarious. This is simply visual storytelling at its finest, and it makes the backstory exposition during the theater sequence feel both earned and satisfying. Alan Silvestri’s music score also caries so much emotion, and triggers so much nostalgia. I’ve loved smooth Jaz my whole life, and Alan Silvestri’s music balled for Eddie Valiant in “Who Framed Roger Rabbit” has always had a special place in my heart.                    

   Let’s finally talk about the exciting climax at the ACME Warehouse, which is absolutely the icing on the cake. It’s really no surprise that a bad guy named Judge Doom has a Doom’s Day machine, one that will erase Toon Town off the map, leaving space enough for the villains to expand their vision of transportation. 

With Roger and Jessica strung-up to be the first victims, Eddie has to return to his goofy roots, and get the Weasels to laugh themselves to death ... which is a very unique and creative method to do away with the crones. It all builds to a thrilling final showdown between Eddie and Doom, which knocked my socks off back when I was a little kid. When I first saw this, my high-bar for a climax was seeing Disney’s Aladdin fight a giant Snake, so this climax felt like the next coolest thing. The layout of the Warehouse was a perfect set-piece, and offered a fun supply of different items, weapons and vehicles to be utilized ... and all of which were established in an earlier scene. Some of it got brutal, and even a touch creepy when the villain reveals his true colors. In a surprise twist, Judge Doom was in-fact the same wicked toon that killed Eddies brother, and he takes on a new appearance as a half-man, half-toon psychopath. It’s an awesome sequence, and while I don’t remember it scaring me, I was never the less on the edge of my seat with excitement. For a time, this seemed like one of the spookiest finales to a family film, but in the years sense, it feels kind of tame compared to other things kids get exposed to. My favorite part was always the villain’s death, which gave a loving nod to the Wicked Witches demise from “The Wizard of Oz”.           

  In general, there’s no such thing as a perfect movie … as every individual viewer will have different tastes and appeals. However, when judged in the context of a specific genera, I feel a movie can be regarded as perfect by its own standards. As far as family pictures are concerned … I say with no shame … 1988’s “Who Framed Rodger Rabbit” is a perfect movie. 

It’s honestly one of those special cases in which everything just worked … the characters are fantastic … the story is great … the concept is unique … the effects, both practical and animated are still impressive several years later … and after all of that, it has the novelty of one of the largest gatherings of pop cultural icons all together in one film. It’s challenging to walk that middle ground, and offer something of both enjoyment and substance to both children and adults in an equal measure … but this film just hits it out of the park. It offers very simple, yet timeless morals, along with a brilliantly arranged screenplay, a consistent level of engagement, and a perfectly balanced tone that’s never too silly for adults or too mature for kids not to have fun while watching. After all these years, “Who Framed Roger Rabbit” has a secure spot among my personal all-time favorite movies. I adored it when I was a child, I love it even more as an adult, and I couldn’t recommend it more. It might give kids a sense of stepping-up in mature content, and for adults, it might just reawaken that little kid who may still reside within all of us.

Thanks for reading my review of 1988’s “Who Framed Roger Rabbit” … and continue to enjoy the movies you love!