Watching Enchanted, 10:39pm. It's a real good movie. When a world icon like Disney can make fun of itself, and do it with a great picture, you've got something there, kid. The heroine right now is singing A Happy Working Song. Think Whistle While You Work, but more real.

We’ll keep singing without fail
Otherwise we’d spoil it
Hosing down the garbage pail
And scrubbing up the toilet
Ooh!

Disney should, however, fall back on its original feature animation style. Check out the animation in Snow White vs. Enchanted. Pay attention to the character animation. More on this after the videos.



Pigeons are not ok to kiss. . .



One wonders if rabies exists in these animated worlds. . .

The contemporary style found in Enchanted focuses on sharp and dynamic lines, turning the animation into something that looks sleek. And caricatured. One can definitely see the influence from Japanese animation--note the enlarged eyes and elongated features such as arms and legs, the neck, the sharp angle of the face's T-Line (a new vocabulary word I learned from watching women apply make-up. Long story). Whereas the older style looks like there were real actors filmed, and the animators drew over that film. This is called Rotoscopy party people.

In the past, one saw a very different relationship between cultures and animation. It was American animation, namely Disney animation, that influenced other nations. If one were to look at Disney's biography, a definite power emanated from the Disney studio while Walt was himself closely involved in the animation . As the studio became bigger, more staff, more ideas, more in-house rebellion against Walt Disney's vision of animation as art, animation married with realism, he became distant and lost control and thus the animation changed. Take a look at the vast differences between Snow White and the next few features: Pinocchio, Dumbo, Bambi, a difference of only four years. I'd say, the Disney vision ended early, with Fantasia.

Irony: as Walt Disney became more successful and gained more power, Disney quality as Walt himself strived for, and subsequently Walt's power over animation, became something he could no longer control.

Sorcerer's Apprentice

Party People,

This film is a classic in every sense of the word. As we are on the subject of films today, let's get down with this film.



When talking about Roger Rabbit, we're talking about the greatest collaboration between Disney and Warner Bros. For those of you who have seen this film when you were young, you may remember the classic scene where the detective, Eddie Valiant, winds up in toon town and somehow finds himself free falling from a building. Who does he meet there? Homeboys Mickey Mouse and Bugs Bunny.

But this is no regular cameo appearance. In terms of story and plot, the cartoons and their partnerships play a significant role in the film. From a storyteller's standpoint (who do you think I am, anyway) every element you see has a purpose. It's solid storytelling, party people. The fictional RK Maroon film company actually contracts cartoon characters to star in their films.

The best line that illustrates this is when Maroon tells Eddie about Dumbo, "we got him on loan from Disney along with the rest of the cast from Fantasia. The best thing about it," he picks up a handful of nuts, "they work for peanuts." Then, he tosses them out the window at my man Dumbo. Dumbo goes crazy.



What's wild about this film is that it has a strong story. Similar to the film noir story, you have a sullied protagonist, a washed out private detective without much of a conscious, hired to take blackmail pictures of Roger Rabbit's wife together with Marvin Acme. The idea is to blackmail Acme, the owner of toontown, to give up the property and the toons. What ensues is murder and mystery and sexual innuendo and trash talking, cigar smoking, gun toting character action which happens to be carried out mostly by toons. Despite the color and cell characters, it's a mature story line. Party people, if you're looking for drama and a captivating story, look no further.



What made this movie monumental outside the partnership with Disney and Warner Bros. are its marketing campaign and its innovation in special effects.

For marketing, the film released a series of Roger Rabbit shorts to play before such films released at the time as Dick Tracy. With Warner Bros. and Disney behind the animation, it set a hype like no other. Of note, the shorts 'Tummy Trouble' and 'Roller Coaster Rabbit'.





By the time the actual film was released, the audience had a frame of what to expect. The film did not disappoint. What's more is that the film gave the audience a chance to see the cartoon actors when they weren't 'working'. Baby Herman, the cigar smoking, deep voiced, ass slapping baby says, "the problem is I've got a 50 year old lust with a one year old dinkie." Once again, a mature story line.



In terms of special effects for cartoon/live action hybrids, before this film the actors would act with markers, such as a stick, to show where the cartoon characters should be. Then, the artists would draw the characters in on the actual film making sure to cover up the stick marker. The film was then filmed again to create the final. This made the appearance grainy and super ugly.

Party people, Roger Rabbit was made before computer technology was reliable enough to imprint cartoons on live action film.

For Roger Rabbit, Bob Hoskins, the actor playing Eddie Valiant, acted with no marker showing where the character would be. The artists then merged the cartoon action with the film to give it a more polished look than it would have been with the artists drawing over the markers. Part of the trademark Disney innovation and part great acting. Hoskins' ability to focus essentially on air gave the illusion that he was actually looking at the cartoon that was later drawn in.



Party People, this is Who Framed Roger Rabbit. The ride you ride when you go to Disneyland's Toon Town. Toon Town, after the place in the movie. It set the standard for all cartoon/live action films that came after it and since then none has come close to the innovation, story and legend status of this film.

Let's end with another line.

"I'm not bad. I'm just drawn that way."
--Jessica Rabbit



Peace, Party People. Be safe!