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The first thing that struck me regarding Don Bluth’s “All Dogs Go to Heaven” is the colors. They are rich and saturated. Technicolor classic color system made animated features appealing. After their monopoly was broken, animated films were produced in pale colors. As for live action films, they were less affected. From the 1960s to the 70s, there was a serious decline in quality of most films produced during these periods. It was noticeable even to the untrained eye.
Now, most films made after the 80s have improved graphics as well as color saturation. In “All Dogs Go to Heaven,” the color saturation is refreshing to watch, while the plot line paints a fuller picture for the eyes. Don Bluth undeniably has a knack for creating well performing animated characters. In “All Dogs Go to Heaven,” he has undoubtedly incorporated galore of eccentric features in the characters. Everything about this film proves that individualism is UNLIMITED.
Bluth is a former Disney animator who, in 1979, brought a team of artists out of the studio during its hard times and set up an animation business of his own. So far his feature credits include “The Secret of NIMH,” the dinosaur adventure flick “The Land Beyond Time,” and “An American Tail” the story of an immigrant mouse who set animated film box office records. Now he has ventured into the world of fantasy animated films with dogs as a low life character from New Orleans.
The film concerns the adventures of one Charlie B. Barkin, who is not only voiced by Burt Reynolds, but has also incorporated some of his mannerisms as well. Barkin is a hitman who has previously worked with Carface, a pitbull. Carface has Barkin taken out and Barkin finds himself in heaven, which, if he has seen the title of the film, should not come as a surprise. Barkin sets out to exact his revenge, and part of the story begins as he meets a girl who can predict the winners at the track.
This film narrates its story with multiple pause breaks for choreographed songs and dance sequences. In particular, one of the alligators performs an imitation of Esther Williams. As a whole, the storyline feels rather unoriginal (with the possible exception of the younger viewers, most adults should expect the major twists), but the tone and style of the movie is different and new. While Disney’s initial films were very enjoyable to watch due to the creativity applied in the animation, almost any contemporary animated character seems to come from the same image bank.
People from varying standards of living tends to use “passable” in describing something. Despite a great deal of work in “All Dogs Go to Heaven,” Bluth managed to let the characters look decidedly more mean-spirited and even a tad grotesque. Their very contours seem to shift and modify in order to reflect what they are feeling. It’s fun.
It seems as though Hollywood has its own unwritten law dictating that movies of the same genre be released on the same day. Why else is it that “All Dogs Go to Heaven” is being released on the same day as Disney’s “The Little Mermaid,” which is a new addition in Disney’s animated feature list? Of those two, I like the Disney one more, and which is the studio’s most inspired feature cartoon in years. But dogs is also bright and inventive and it was Bluth’s revolt that helped change Disney’s production line mode about ten years ago. Since both films are likely to be around for quite some time gives parents an unusual choice valuable G-rated material. And they are sure to be available on video for a long time.
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