Pure Magic

Rating: 8/10 (15 March 2007)

It is a little known bit of trivia that, in the early 20th century, General Motors, Standard Oil and Firestone Tires allegedly formed the National City Lines holding company in order to purchase and then dismantle streetcar systems, replacing them with buses and increase the publics reliance on automobiles. Somehow, this tid-bit became the genesis of a movie which was a run away success at the box office, is still widely regarded as the best of its kind and created a renaissance in the way cartoons were made. It's all a little loony.
Who Framed Roger Rabit follows the story of Eddie Valiant (Bob Hoskins), a washed up P.I, and Roger Rabbit (Charles Fleischer), a cartoon rabbit. Obviously. Roger, framed for the murder of Marvin Acme (Stubby Kaye) goes to Eddie for help because, as the Rabbit says, "Everyone knows that when a toon's in trouble, there's only one place to go: Valiant & Valiant." Unfortunately there is one Valiant too many in that sentence, Eddie's brother having been killed by a toon a few years ago. So Eddie, once a happy chap, can no longer stand toons. But like so many heroes in the past his sense of morality will not let him watch an innocent rabbit take the fall, and so he and Roger set out to find out who killed Acme, as well as locate his missing will. Along the way they meet a foul-mouthed, cigar-smoking baby (Lou Hirsch), a smart-talking taxi-cab (also voiced by Fleischer) and Rogers femme fatale wife, Jessica (voiced by an uncredited Kathleen Turner). They also manage to bump into almost every animated star from the first half of the 20th century. The finale sees Eddie taking on Roger's hunters; Judge Doom (Christopher Lloyd) and his goons. We learn that Doom is actually the toon responsible for the death of Eddie's brother, but it's OK, because he dies in a particularly gruesome way in the end.
It boggles the mind just how much love and attention must have gone into the making of this movie. It has constant references to other cartoons (a Tex Avery style opening, citizens of Toontown singing 'Smile, Darn You, Smile'), references to classic movies (an invisible rabbit called 'Harvey', a Maltese Falcon hatstand) as well as a brain-melting number of cameos throughout the movie. This coupled with a huge number of in jokes - my favourite being a sign saying "Porkys: All Beef Sausages" - and you have a movie that has so many hidden gems that you could watch it a hundred times and still not have seen everything. Yet just because it is a cartoon fan-boy's dream that does not mean it is actually any good.
Luckily the quality of the animation, acting, script and direction DO mean it is good. This is the movie that finally took the crown of best combination of live action and animation from the head of Mary Poppins.. The effects are superb, each shot is one of pure quality. Lakfjsoasjfoasj doesn't cheat either, the camera constantly moves, changing the perspective of the animated characters, yet they still hold up perfectly. The live action characters are also a joy. Hoskins plays the part of the gumshoe perfectly, and his cartoonish movements and actions at the end of the film are superb. Lloyd has a field day. An actor who very few would ever accuse of being unafraid to go over the top, here he gets to actually play a live action cartoon, and every moment he is on screen is wonderful. Joanna Cassidy, as Hoskins' love interest Doloris is also fantastic, getting to play the kind of smart talking character made so famous by Mae West all those years ago.
Yet the real stars all all of the characters we love from our childhood. Here on screen are creations from Disney, Warner Brothers and MGM. Highlights for me include the fantastic Donald and Daffy duelling pianos scene, Droopy Dog, whom I adore, and Mae Questel actually voicing Betty Boop. Even as a child in the cinema I was so happy to see both the Warner Brothers ending (Tha-tha-tha-tha that's all folks!) and the Disney Ending (Tinker Bell the fairy) together on screen.
A movie that can appeal to all members of the family, except possiably late teens who take themselves FAR too seriously (an original screen test of 18-19 year olds saw most of the audience walk out) this is a truly masterful film, and one that is yet to be bettered despite todays far superior technology.