Bizarre Noir #1: Who Framed Roger Rabbit?

Welcome to the first entry for A Week Of Bizarre Noir. I hope you enjoy this blog-a-thon. For more information, please check here.

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Who Framed Roger Rabbit?

Year of Origin: 1988.

Director: Robert Zemeckis.

Why it's bizarre: Toons!

What is a week of bizarre noir without mentioning one of the greatest—and most entertaining (especially upon repeat viewings)—available? This universe is unlike any other, as it is a mix of both real live people and cartoon characters. Eddie Valiant (Bob Hoskins) is a drunken detective, depressed over the death of his brother (killed by a toon). After he’s hired to take some incriminating pictures of Jessica Rabbit, Roger Rabbit’s wife, playing patty cake with Marvin Acme (Stubby Kaye), owner of toon town, Roger makes threatening statements toward Mr. Acme. Soon thereafter, Marvin Acme is found dead, and the police, led by Judge Doom (Christopher Lloyd), believe Roger was the murderer. However, Roger, forcing a plea of innocence to Eddie after sneaking into his apartment, begs the detective and toon hater to help him figure out who set him up and why.

This movie really is a classic, and one of my favorites. It has every aspect of a classic noir (except the voice-over narration)—the cinematography of shadows and grit, the smooth jazz-like music, multiple mysteries as of yet unconnected, a drunken detective, a love interest, and a femme fatale. And what young boy didn’t look at Jessica Rabbit with wide-eyed wonderment? The mix between gritty, hardboiled noir and family comedy cartoon is perfect.

Not to mention the animation is seamless. This movie couldn’t have been made today, because they would have mucked it up with crappy CGI that wouldn’t have worked right. This animation is timeless because everything is meant to look the way it does. They’re supposed to be cartoons that look ripped out of their era, not 3D models that look realistic with the real world. And the interaction between real world and cartoon world is perfect, as well. The movie’s mix of live action and animation will never go out of style or look like crappy special effects unlike most movies. And if my word isn’t enough, the movie won three Oscars, two of which were for Best Visual Effects and Best Editing (the other was Best Sound Effects Editing).

The acting is great, too. Bob Hoskins does a great depressed detective, and Christopher Lloyd does a great psychopath. But the movie is really won over by the cartoon cast, specifically Roger and Jessica Rabbit… and the weasels. But mostly Jessica. I mean, look at those… erm… Yeah. And you never know whose side she’s on. As she states, “I’m not bad. I’m just drawn that way.”

So really, if you haven’t seen this movie by now, shame on you. It was released back in 1988. You’ve had at least 20 years now. Go see it (buy, rent, or Netflix; whichever your preference). While the other movies on this list might lose their special appeal after numerous viewings, this one will not. It will always have its charm and magic no matter how many times it is viewed. And that’s what makes it a classic.

Royale With Cheese

DOOMSDAY.

The best way to describe Doomsday is “oddly entertaining.” The first half is like mixing 28 Days/Weeks Later with Mad Max, and the second half is like mixing King Arthur, Gladiator, and Mad Max. Like I said: odd. It’s like a comic-book premise without being a comic book. The plot of Doomsday is thus: Roughly 30 years after a major plague (the Reaper Virus) spread through the upper section of Britain (namely Scotland), the virus has reappeared in the safe zone. The government gets Bill Nelson (Bob Hoskins) to get his best soldier, Eden Sinclair (Rhona Mitra), to head up a team into the quarantined area before the Doomsday Contingency Plan (flooding and killing all of London) is performed. Why? Because they’ve noticed that there are people still alive inside (via satellite images), which means there must be a cure. And the only way there could possibly be a cure is if Dr. Kane (Malcolm McDowell), a scientist/doctor who got stuck behind, had found one. Unfortunately, when they get there, they discover that they really aren't alone... and that's a problem.

As I said, Doomsday is an odd mixture of things. In all honesty, it should have been called Doomsday: Randomness on Screen. The first major section of the movie was a lot like the 28 ___ Later… movies, in a way. It was really a horror/suspense kinda deal. Then, quite a ways in, the punk guys show up, led by a crazy dude named Sol (pronounced Saul). They’re survivors of the initial outbreak who have broken from all law and are living savagely, violently, and sado-masochistically (…seriously, there’s a random dude in all black leather, including a full leather mask over his face, and he’s constantly in chains). They’re also cannibalistic. Not too long after that, the movie gets medieval with people dressed up like they are walking about the Renaissance Festival. But during this stuff, there’s a Gladiator-like coliseum fight (Telamon is freakin awesome looking). After that, there’s a huge and incredibly crazy car chase sequence. For a car chase with no traffic, this sequence is maybe a few notches below Death Proof (because that one was awesome. This one doesn’t come close to that, but it’s still really cool).

Oh, and did I mention the blood and gore? My God, was there a lot of it. Nothing is safe in this movie, from people to bunnies and cows. Blood is excessive (It’s almost a ridiculous amount, as you might find in any Comic Book). The action is pretty cool, for what there is of it. I think my favorite fight was the (too short) sword fight about halfway in. Oh, and the main character can remove her eyeball from her socket and use it like a wireless webcam kinda thing. Nifty (and random). As for music, it was pretty cool, though the main theme reminded me WAY too much of the main theme from the 28 ____ Later… movies. It was almost identical, but with a few differences.

So really, if you shut off your brain and don’t think about all the movies this is ripping off (and don’t mind a bit of blood), this movie is really cool. The acting is done pretty well, for the most part, except for the dude who played Canaris. He got on my nerves with his whispery voice that sounded like he’d had one too many cigarettes, not to mention his stiff acting ability. The movie was over-the-top, random, and pretty fun when you just give yourself in to it.

I Am McLovin!

(Update: Thinking about it... this is a lot like this director's previous film, The Descent, in one specific way: The first half (pre-Punks) has very good atmosphere and is naturally suspenseful. The second half just gets bizarre and introduces random things that almost make the movie worse than it could have been (i.e. the creatures of The Descent).