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The first thing that caught my attention in Don Bluth‘s “All Dogs Go To Heaven” was its colors, especially the rich saturated colors. They bring to my mind the era of feature-length Animated films. An important thing to note is that when Technicolor went down, controlling classic colors, animation films suffered considerably more than live-action films. This is mostly due to the primary vivid colors that animations had. From the 1960s to the late 70s, most films including pale animated movies suffered severe color fading.
The wonderful news is that now Technicolor is back, and is being used in “All Dogs Go To Heaven”. All the color is a feast for the eyes as the newly revived Technicolor has an improved use of color system. Because of this, the animated characters in the film look and taste delightful. In his latest animated feature, Don Bluth has allowed his characters to look and behave a little more strangely. There is a lot of individualism in this movie, both in the filmmaking and in the characters.
The Bluths are former Disney animators who, bored with life at Disney Studios, led an exodus of none-too-happy employees from the company in 1979 to start their own animation studio. His previous films include the animated classics “The Secret of NIMH,” “The Land Before Time,” and “An American Tail,” which shattered box office records for animated films. Now, he is working on the low-down French fantasy about canines set in New Orleans.
This movie stars the adventures of Charlie B. Barkin who is voiced by the one and only Burt Reynolds. Barkin is a crook who, at one time, partnered with a Pitbull named Carface. However, Carface has Barkin murdered so that he can ascend to heaven, something that shouldn’t be shocking if he has watched the title of the movie. With a burning desire for revenge, Barkin makes his way back to earth, where the main story unfolds as he meets a little girl who has an uncanny ability to predict the winners at the racetracks.
Between instances of multiple song and dance breaks– a favorite precisely one wherein an alligator one recreates an imitation of Esther Williams– the movie unfolds its narrative. The plot lacks a specific creativity (apart from the younger audiences, most should be able to predict the significant twists), but the film has a coherent look and feel. While Walt Disney’s earliest films were brimming with creative animation work, most modern cartoons seem to stem from a singular source.
They all appear to belong to but a single dimension. In “All Dogs Go to Heaven, Bluth completely permits the actors to be drawn in a far more exaggerated and even strangely comical way which results in some of their features morphing in harmony with their feelings. That is enjoyable.
Hollywood must have some unwritten rule of competition since it is difficult to explain how two newly released animated movies, rare to come by, “All Dogs Go to Heaven” and Disney’s “The Little Mermaid,” are released on the same day. Since both movies are likely to be around for a while, I prefer Disney’s more recent release in comparison to their older features as it gives parents’ children an abundant amount of great G-rated content. That being said, Bluth’s Dogs are also quite brilliant and made many innovative changes that pulled Disney out of their monotonous productions. Without a doubt, both will be available on video for a long time.
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