The scientist father of a teenage girl and boy accidentally shrinks his and two other neighborhood teens to the size of insects. Now the teens must fight diminutive dangers as the father searches for them.
'Toon star Roger is worried that his wife Jessica is playing pattycake with someone else, so the studio hires detective Eddie Valiant to snoop on her. But the stakes are quickly raised when Marvin Acme is found dead and Roger is the prime suspect. Groundbreaking interaction between the live and animated characters, and lots of references to classic animation. Written by
Jon Reeves <firstname.lastname@example.org>
The animation production was done mostly in England at Richard Williams' studio. Some fill-in work and production on the "Toontown" sequence was done in Los Angeles. See more »
When the weasels are cutting through the back wall of the ACME, a brick can be seen hovering in the air unsupported. See more »
Mommy's going to the beauty parlor, darling, but I'm leaving you with your favorite friend, Roger. He's going to take very, very good care of you, because if he doesn't... HE'S GOING BACK TO THE SCIENCE LAB.
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After the end of the credits, the Amblin logo plays cut short. See more »
Watching this for the umpteenth time, I am struck by how much this movie resembles Brazil (1985). What, you will say, that was a grim and serious story set in a horrible dystopia. Ah, yes, but one of its main satirical weapons was its over-the-top humour.
Well, Roger Rabbit inverts the formula. We seem to have a zany cartoon comedy. but underlying this is a story about racism and genocide. The cartoon characters, who coexist with humans, are shown as a tolerated subordinated race, good for "singing and dancing and running and jumping". They are called "Toons", which resembles another epithet that used to be a nasty name for black people. And the "solution" is exactly that - a solution of benzene and acetone that will exterminate the Toons by dissolving them.
Both movies are set in something that resembles the 1940's, which gives lots of opportunity for spoofing films noir of the sort that Bogart et al. used to make.
How could something so serious be funny? The best comedy is just a hare's breadth (sorry, couldn't resist) removed from tragedy, which is why Hogan's Heroes is so funny while Disney comedies fall flat from gooey sentiment. Kids love Roger Rabbit, and that should be the ultimate test of whether it's comic or not.
It still amazes me how many grown-ups fail to perceive the underlying message of tolerance and understanding. Perhaps they don't want to...
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