這部電影竟然是1988年拍的，感覺還挺現(xiàn)代的，配樂很好。我以為是一部純動畫，結(jié)果是現(xiàn)實的人和卡通人物混居的世界。

這個電影畫風(fēng)就很清奇，卡通人物（類似紙片人）和現(xiàn)實的人物都活在一個維度。里面好多迪士尼的經(jīng)典卡通人物都出場了，兔八哥，米老鼠，唐老鴨啥的都在。我跟劇中偵探一個疑問，為什么一只兔子的老婆這么美，你到底喜歡這個兔子啥?。?/p>

結(jié)局我是沒想到黑暗的法官居然也是個卡通人，最后變身的時候還有點嚇人。

最后，這部電影內(nèi)容和風(fēng)格實在看起來不像是拍給孩子看的。

真的是很cute，88年居然能將動畫和真人聯(lián)系在一起，雖然說真實程度不如現(xiàn)在類似《大偵探皮卡丘》那樣，但是故事水準(zhǔn)依然在。

故事背景設(shè)置在1947年，那時候居然就已經(jīng)有要建高速公路的想法了，對于那個時候還是很超前的。反派的定位不是很明確，他算不上那種極度邪惡的，他居然想要建高速公路來造福人類，但也能看出是典型的功利主義，一切以利益為先，可以殺害與自己同一門的卡通動畫，這足以能看出它的心狠手辣。

兔子羅杰的信條可以讓人值得借鑒，無論遇到什么時候，都要有一顆樂觀的心，如果悲觀面對，向命運屈服，那人生就沒有什么意義了。而且羅杰的妻子長得那么嫵媚，那么性感，但絕對是良家好婦女，一心愛丈夫，絕無二心，你看她拿平底鍋砸暈自己老公并把老公裝進車后備箱的姿勢是多么的瀟灑啊。

主角與反派之間的利益沖突，從現(xiàn)在來說，一個是優(yōu)先發(fā)展經(jīng)濟，一個是保護生態(tài)。沒想到當(dāng)時的美利堅就已經(jīng)提出這樣的議題，但是沒有提出具體的解決方案，能看出美利堅的意識形態(tài)上有一定的缺陷啊，要是早知道這樣就應(yīng)該學(xué)習(xí)《共產(chǎn)黨宣言》，明確一下政治綱領(lǐng)，單靠自由主義過活，是靠不下去的。

首先在形式上就讓人耳目一新，他突破了傳統(tǒng)電影的形式采用動畫與真人結(jié)合的方式，先不講技術(shù)我覺得動畫與真人的結(jié)合彌補了真人表演一些項目無法實現(xiàn)的問題，所有充滿想象力的劇情都可以通過動畫的形式實現(xiàn)，再加上真人的元素讓我們游走在幻想與現(xiàn)實之間。一部電影要想后期剪輯的好首先要拍攝出來，這部1988年的影片中羅杰與真人演對手戲，杰西卡與真人身體接觸，他們創(chuàng)造了一個真人與動畫和諧共存的undefined空間undefined，undefined水乳交融undefined讓我們驚嘆

Who Framed Roger Rabbit discusses the definition of animation by juxtaposing the live characters and animation figures under the same frame. Set aside its interesting narrative, the entire film keeps coming back to the definition of the animated figures in this imaginative world — Who they are; What they do; Where they come from. Essentially, all animated figures in the film are portrayed to approximate human behaviors. They can speak, travel, and interact with humans without any restrictions. What’s more, these animated figures possess emotions—one of the most distinguishing traits to define a human. Sometimes they would get angry and upset just like we do. Sometimes they end up having a relationship with each other as Roger Rabbit fell in love with Jessica. The anthropomorphic figures provide the viewers a justification to rationalize the story, offering them an illusion of reality and in turn focus more on the development of the plot.

At the same time, however, the film does touch base on some intrinsic differences between animated figures and live humans. First of all, most of the animated figures live in Toon Town, an imaginative town where they should belong, despite the fact it seems totally fine when they can live with humans together. (This setting insinuates the segregation in which cartoons are seen as a minority, subordinating to human) Second, most of them are lack of basic thoughts and rationality. The Baby Herman’s actual age is 50 but often acts like a 3-year-old child. Eddie and Roger Rabbit finally got caught, because Roger Rabbit cannot resist the ballad that Judge Doom is chanting. Most importantly, except for the threat of the deadly “dip”, the animated figures seem to be immortal, withstanding the deterioration of age and impact from external forces.

In my opinion, I think it is exactly because the blend of such similarity and difference makes the film so enjoyable to watch. On one hand, viewers are accustomed to such fictional world stem from the similar traits that cartoons share with the human. On the other hand, cartoons’ nonsensical actions and facetious gags keep reminding us that they are ontologically different from humans, alluding to the unavoidable conflicts that the two parties encounter as the narrative progresses.

#豆瓣春日影展#

首先感嘆于1988年就有這樣技術(shù)成熟的真人三維我們叫三次元和卡通動畫即二次元兩個世界的結(jié)合，而且還沒有那么的突兀，想想那時的中國動畫片還在葫蘆娃，不僅羞愧。

其次，真人世界與卡通世界是兩個獨立的世界體系，卡通世界里充滿了歡樂，而真人世界里充滿了爾虞我詐，從最初讓男主去拍照刺激羅杰，到后來屠法官誣陷羅杰殺人，再到男主和羅杰一起破案，再到男主克服自己內(nèi)心的障礙發(fā)現(xiàn)屠法官就是殺了自己哥哥的人，劇情很真人，但是橋段又穿插著卡通性，再加上核心梗是開心是破除一切的法器，于是在真人世界里死在“開心”之上的是那些莫名的黃鼠狼幫兇。

整個電影行文很流暢，節(jié)奏也很快，還致敬了一群卡通人物，留有余味……