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When I first saw Don Bluth’s animated movie ‘All Dogs Go to Heaven’, the first thing that caught my attention was the colours rich vivid colours that mark every classic animated feature. The closing maintenance of the Technicolor colour process float system led to a shift in the motion picture industry, as it was more expensive, but also inferior to the live-action films. Animated films were affected more than live-action films because the vibrant primary colours used in animated films were key components to the overall effect the film had. Most movies made in the 1960s to the late 70s suffered from severe color fading, but the animated movies, even at their peak, looked pale.
Now, Technicolor is back and even better with a new system, and with the addition of the new colour system in ‘All Dogs Go to Heaven’ he enables such overzealous use of colours, providing a refreshing visual experience. The bright palette is also used to paint animated characters who are equally as beautiful. In his latest animated feature, Don Bluth has allowed his characters to behave and appear more eccentric than normal. Bluth showcases a lot of individuality in the movie, both in the storytelling and the characters.
In 1979, Bluth and a few other animators set up their own studio. Why? Because he was a Disney animator, the company was going through a rough patch and he decided to take matters into his own hands. Ever since setting up his own studio, he has worked on “The Secret of NIMH,” the dinosaur adventure “The Land Beyond Time,” and “An American Tail,” an animated film that broke box office records. Bluth is now actively working on a project that involves a low-life who is a canine and resides in New Orleans.
The movie follows the character Charlie B. Barkin, who not only possesses the voice of Burt Reynolds but also shares some of his mannerisms. Barkin is an infamous criminal who is partnered with a pitbull named Carface. Carface however, proceeds to murder Barkin and subsequently, he ends up in heaven. If he had read the title of the film prior to this, he should not have been surprised. This leads us to the central plot of the movie, which occurs when Barkin, who now seeks revenge, comes back to earth and makes friends with a little girl who has an extraordinary talent of effortlessly predicting race winners.
The plot includes breaks for songs and dances, one of which includes an alligator imitating Esther Williams. Although the plot is lacking in creativity (besides very young children, everyone should be able to anticipate most of the major twists), the film’s style and mood are different. While Walt Disney’s earliest films were extremely creative with their approach to animation, the majority of modern animated characters are literally copies of one another.
More or less, they appear to be inhabitants of the same imaginary world. Bluth’s contribution in “All Dogs Go to Heaven” was to allow characters to be drawn much more openly and in a mildly freakish manner that, in some form, makes their very figures seem to shift to complement their feelings. This is interesting.
In Hollywood, there seems to be some unwritten rule that rivals in the same category have to release on the same date. This would explain why on the same day “All Dogs Go To Heaven” opens, Disney’s new mini-epic “The Little Mermaid” is released simultaneously. Of the two, I prefer the Disney production, which I consider the studio’s most inspired feature cartoon in years. But “Dogs” is also bright and inventive and it was Bluth’s revolt that shocked Disney out of its production-line lockstep a decade ago. It’s great that both films are going to be around for a while, as this will give parents an unusual choice in G material. And they will both, of course, be around for a very long while on video.
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