![]() ![]() ![]() Wolf’s mystery novel), one can never take for granted how the source material would be molded and redefined in the hands of a visionary like Zemeckis. ![]() Even though Who Framed Roger Rabbit has a clear point of origin (it was adapted from Gary K. This search has led Zemeckis to formulate not only a uniquely jovial interpretation of film (neo-)noir - family-friendly visualism canvassed over the latter’s aesthetic grittiness - but also straddle, in terms of escapist entertainment, the fine line between hard-boiled pulp fiction and comic strip narrative. In fact, it’s apparent that the film’s very premise divulges its search for a more intrinsic connection between live-action and cartoon. Although its huge box office success - Who Framed Roger Rabbit was the second-highest-grossing film of the year - paved the way for the posterior, and perhaps more popular, cultural phenomenon of Space Jam, the laborious production process and financial unpredictability of the genre has curtailed its induction into the American, and perhaps global, cinematic consciousness as a ubiquitous fixture.īut considering Zemeckis’ work in Who Framed Roger Rabbit, one could make the claim that the synthesis of these two modes of filmmaking goes beyond either spectacle or commercialism. ![]() It wasn’t until 1988 when Robert Zemeckis’ Who Framed Roger Rabbit premiered, however, that a feature live-action-cum-animated film proved itself simultaneously as a technical marvel and groundbreaking filmic achievement of singular prestige and quality. Such a composition responds to the secret desires, of both adults and children, to live among their imaginary childhood friends in some surreal world. In the wake of the early experiments of Georges Meliès, Max Fleischer, or Dudley Murphy’s Danse Macabre during the silent era, it would not be just Walt Disney who would dream of combining the representational aspects of our human world with the imaginary facets of cartoons (like in Alice Comedies ) every so often, viewers could be immersed in dreamy, fantasy-like states wherein a beloved star like Gene Kelly would share the screen with an amicably animated character such as Jerry Mouse in George Sidney’s Anchors Aweigh. For its film adaptation, it was quickly decided to water down the script to make it suitable for a younger audience.Even though, to many audiences today, the eclecticism of live-action and animation may appear as a sort of a postmodernist achievement in the realm of film, the truth is that this mélange is actually as old as the history of cinema itself. Wolf, the story is darker as Roger dies and it is his ghost who asks Eddie Valiant to find his killer. In the original novel Who Censored Roger Rabbit by Gary K. The latter do not hide their joy to find their owner, several years after having hung up with the investigations involving toons. In front of the entrance, he stops to take out his old Toon gun and reload it with his Mexican bullets. Valiant chases her through Griffith Park to the Toonville tunnel. Eddie decides to go after the woman believing she is the murderer. – I ain’t seen you for nigh onto five years!” Toon Gun BulletĮddie Valiant (Bob Hoskins) witnesses the murder of Maroon (Alan Tilvern). “- Eddie Valiant! Well you’re a sight for sore eyes. Jessica Rabbit flees in the direction of Toonville, Eddie Valiant (Bob Hoskins) has no choice but to go through the tunnel to get to this famous city. ![]()
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