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We see that the tweeting birds encircling Roger Rabbit’s bruised head are a flubbed line (he was supposed to provide circling stars) that his costar Baby Herman is foulmouthed and cigar-craving and that the refrigerator that just flattened Roger has been dropped on him again and again.
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The movie establishes this in one of its most famous turns: following the animated short “Somethin’s Cookin”, a director calls cut, and the camera pulls back to reveal a flesh-and-blood movie set. The story unfolds in a 1947 Hollywood that produces cartoons not through pencil, ink, and paint, but by filming animated stars (called “toons” and segregated from their live-action counterparts) doing their wacky, familiar shtick. That blending of animation and live action, familiar in practice ( Mary Poppins, Pete’s Dragon, etc.) but unprecedented in complexity, must be especially seamless in order to work because the movie, by design, treats it as no big deal. In the documentary, director Robert Zemeckis explains that the movie is really “three elaborate films in one”” a period live-action movie, an animated movie, and a special-effects extravaganza required to blend the two. Even now, two and a half decades later, I’ve learned a lot more about the undertaking from watching “Behind the Ears: The True Story of Roger Rabbit,” a making-of documentary imported from the DVD (and not upgraded to high definition), which includes pre-production test footage and shots of Charles Fleischer (the voice of and on-set stand-in for Roger) performing in a rabbit costume alongside his non-animated costars. I say “casually” because it took many, many years before I fully processed just how impressive a technical feat Who Framed Roger Rabbit actually was. The high-def transfer is substantial, though: the movie’s painstaking pre-computer effects shots still look casually impressive.
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Who Framed Roger Rabbit is now on Blu-ray in a 25th anniversary edition, though as far as I can tell the primary function of the anniversary distinction is to make me feel old (with the secondary function of selling more copies) apart from the upgrade of the movie to high definition, it’s mostly a rehash of the Vista Series DVD that came out a decade ago. Who Framed Roger Rabbit had enormous influence on me, in other words (I may, in fact, be paraphrasing from my college application essays in relating this). It was the movie that turned me from a kid who liked going to the movies to a kid and adult who needed to go to the movies all the time.
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It had pretty much everything I wanted from a movie before I saw it (Bugs Bunny, Donald Duck, cartoon violence), everything I wanted from a movie for the next few years (Steven Spielberg, Christopher Lloyd, in-jokes), and a lot of things I still cherish (all of the above, plus detective stories). But Who Framed Roger Rabbit was different it was, to that point and for many years subsequent, the movie.
It was not the first movie I saw in a theater in fact, I quite liked movies by age seven and had already seen a variety of Disneys, Muppets, and even - sorry, mom and dad - Care Bears. I first saw Who Framed Roger Rabbit when I was seven years old.
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