Office Christmas Party
Another reminder that allowing your cast to madly improvise instead of actually providing a coherent script with a scintilla of inherent logic often leads to…
I stopped off at a hot dog stand before the screening of “Who Framed Roger Rabbit,” and ran into a couple of the other local movie critics. They said they were going to the same screening. I asked them what they’d heard about the film. They said they were going to see it for the second time in two days. That’s the kind of word of mouth money can’t buy.
And “Who Framed Roger Rabbit” is the kind of movie that gets made once in a blue moon, because it represents an immense challenge to the filmmakers: They have to make a good movie while inventing new technology at the same time.
Like “2001,” “Close Encounters” and “E.T.,” this movie is not only great entertainment but a breakthrough in craftsmanship - the first film to convincingly combine real actors and animated cartoon characters in the same space in the same time and make it look real.
I’ve never seen anything like it before. Roger Rabbit and his cartoon comrades cast real shadows. They shake the hands and grab the coats and rattle the teeth of real actors. They change size and dimension and perspective as they move through a scene, and the camera isn’t locked down in one place to make it easy, either - the camera in this movie moves around like it’s in a 1940s thriller - and the cartoon characters look three-dimensional and seem to be occupying real space.