Lou Hirsch is utterly memorable as Baby Herman Charles Fleischer voices Roger Rabbit, Benny the Cab and the weasels Greasy and Psycho and Kathleen Turner lends her smoky lungs to Jessica Rabbit, the sexiest cartoon character ever created (OK, as Bill Murray said in Tootsie, “I think we’re getting into a weird area here”). Still, the real stars are the toons, brought to life by some top notch voice talent. Hats off to Hoskins, who flexes his arms to look like he’s pulling actual weight.Īs for the rest of the cast, Zemeckis gives Hoskins some human interaction, including Joanna Cassidy ( Six Feet Under), Stubby Kaye ( Cat Ballou) and Christopher Lloyd, who returns with Zemeckis in between the first and second Back to the Future films. Thus, Hoskins and the other actors underwent mime training, so that they would be able to interact with their non-existent surroundings in a believable way. The real challenge for Hoskins was to act on set all by himself and give the illusion that he was actually interacting with toons. Of course, changing accents is typical actor fare. You wouldn’t know it here, as his voice reeks of Los Angeles grit. To hear Hoskins speak in real life will surprise many Roger Rabbit fans, as he carries a strong British accent. Thrust into the middle of this wildly imaginative plot is Bob Hoskins, who appears just two years after his Best Actor nomination for Mona Lisa (1986). As the film says, “There’s no justice for toons anymore.” (B) Zemeckis has compared this “dip” to Hitler’s Final Solution, which makes for a very interesting reading of the film as a commentary on minority culture. What’s more, Doom has secret plans to wipe Toontown off the map with a special acid, known simply as “The Dip,” which melts all toons on impact. Soon Eddie discovers that highway corporation Cloverleaf may be bidding a Toontown takeover, and unless Acme’s will shows up by midnight, Cloverleaf will have the rights.Īs they unravel the mystery of Cloverleaf, Eddie and Roger must also dodge Judge Doom (Christopher Lloyd) and his Weasel henchmen, who have been hired to capture Roger.
It was Acme who held the deed to Toontown, and though the toons say he promised to leave the town to them, his will has since disappeared. Roger seeks the help of Eddie, who suspects Maroon of killing Acme in a bid to take over Toontown. The very next day, Acme turns up dead and Roger is blamed for a jealous murder. Maroon (Alan Tilvern), who hires him to snap lurid photos of Marvin Acme (Stubby Kaye), manufacturer of all those Acme cartoon props, playing “patty cake” with Jessica Rabbit, wife of Maroon’s most famous star, Roger Rabbit. So it’s with great reluctance that he agrees to work for cartoon studio head R.K. Now it’s 1947 and Eddie runs the office alone while carrying a deep-seeded grudge against toons. Toontown is a playful Los Angeles suburb where “everybody knows when a toon’s in trouble, there’s only one place to go: Valiant and Valiant.” V&V is a private eye biz, founded by Eddie Valiant (Bob Hoskins) and his brother, before an unknown toon assailant dropped a piano on the brother’s head. Not only did they sustain the technique for the entire feature length, they also designed increasingly complex ways of showcasing their mastery of it, all the while supported by a solid story and noir style that amounts to more than just gimmick. But it was Robert Zemeckis and company who redefined the idea with Roger Rabbit. Aside from Disney, you may also remember a real-life boy befriending an animated dragon in the children’s favorite Pete’s Dragon (1977) and Gene Kelly dancing with Jerry (of Tom and Jerry) in the Oscar-winning Anchors Aweigh (1945). Disney revisited it in Song of the South (1946), Mary Poppins (1964) and, after Walt’s death, Bedknobs and Broomsticks (1971). The technique dates all the way back to the 1920s when it was popularized by Walt Disney’s Alice cartoons. Its presentation may be safe for viewers of all ages, but the idea of combining live action with animation for an entire feature length film was just as dangerous as Jessica’s curves. The “bad” she speaks of is a delicious naughtiness, a cleverness that emanates from every pore of this wholly original film.
#WHO FRAMED ROGER RABBIT CAST WEASELS MOVIE#
Wolf (novel)Ĭast: Bob Hoskins, Christopher Lloyd, Charles Fleischer, Kathleen Turner, Joanna Cassidy, Stubby Kaye, Alan Tilvern, Richard LeParmentier, Lou Hirsch, Betsy Brantley, Joel Silver, Paul Springer, Richard Ridings, Edwin Craig, Lindsay Holiday, Mike Edmondsįew lines sum up a movie better than this confession by Jessica Rabbit in Who Framed Roger Rabbit? Not that the film is drawn poorly. Producers: Frank Marshall, Robert Watts (Amblin, Silver Screen, Touchstone)
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