✼ “The story’s ingenious conceit is that human-created cartoons, including some of the most recognizable characters in the animated species, coexist with Homo sapiens — off-screen and three-dimensionally, that is. These “toons,” as they’re called, make up a kind of movie-industry underclass that is exploited for profit-making laughs. That’s a pretty audacious motif in a work ostensibly for children, and when you add the superimposition onto the crowded thematic canvas of a top-notch spoof on film noir, you’ve got a movie working overtime in the ideas department.”
✼ “Casablanca, The Maltese Falcon, Vertigo, and especially Chinatown — Roger Rabbit borrows from them all. There’s even a great bit of economical storytelling lifted from Rear Window, in which we’re brought up to speed on Eddie’s entire history solely through photographs and newspaper clips.
The technical virtuosity is even more impressive. As director Zemeckis recently explained on Fresh Air, the animators devised a process that endowed each cel with the same lighting as in the corresponding live-action scene. The film also breaks a longstanding rule of hybrid human-cartoon projects by allowing the camera to roam. In films like Mary Poppins, Zemeckis said, the recording device was always static “because it would be so difficult to draw different changes of perspective as the camera moves.” But he shot the film “like I would any live action movie. And the animators actually found that it worked better by having the camera moving. That they were able to actually give more life to the cartoon characters and have them feel like they’re more integrated into the actual two-dimensional set.””