All Toons seem to be crazy drivers - Roger can't drive and the weasels can't drive and we don't see Jessica driving. Think about it - if they're used to Toon cars like Benny (who think of themselves as people anyway) doing their driving for them, no wonder they can't drive.
Not that Benny can drive either.
They can't drive by human standards: for humans a 45mph frontal collision is a potential tragedy, for toons it's wacky hijinks.
Since Toons can't die under normal circumstances, they don't have much incentive to be careful about driving—or about anything else, for that matter.
Or, since we do see Jessica driving, maybe Roger and Benny are just crazy drivers and driving skill varies as much as Real Life?
For a toon, she probably drives rather competently, considering her luxury Packard is in mint condition, that is up until that accidental collision into that pile of Toon garbage.
Walt Disney probably justified the crazy way that Toons drive in an episode of the Disneyland TV show called "A Day in the Life of Donald Duck", in which Donald Duck drives crazily through freeway traffic on his way to the Disney studio: "If he seems a bit reckless, you must remember that Mr. Duck drives with a cartoon license."
In the scene where Eddie realizes he's about to fall from that "out-of-order" restroom, there's an airplane that flies by below him. What if that is the same plane Mickey and Bugs jumped from to go sky-diving?
Of course it could just be there simply to enunciate how ridiculously tall that building is.
Judge Doom's insanity makes perfect sense given the timeframe. The theatric shorts would soon go into decline after the animation union got a 25% pay raise and a few prominent figures in the industry got blacklisted. The end result was studios closing down, and the bulk of their efforts beginning to be marketed towards children rather than adults. Doom's behavior is extreme to people primarily familiar with the aftermath of this, but before? Well, bear in mind that this was the same era in which Donald Duck nearly killed and ate Mickey Mouse, and Bugs Bunny's frequent opponents included some of the most offensive racial stereotypes set to film.
Judge Doom seems to have no degree of subtlety, dressing entirely in black and hamming it up a bit. Consider the fact that a toon wouldn't be expected to have any subtlety at all, then look at his reveal. It all makes a lot of sense and it's horrifying if you work it out.
Doom's Large Ham is a bit of Fridge Brilliancewhen Doom pulls off the Big Twist at the end. Suddenly, his exaggerated and over-the-top behavior throughout the movie makes total sense.
Also notice that Judge Doom puts on a rubber glove before liquidizing the shoe. Turpentine, acetone, and benzene are all ingredients in paint thinner, which would be harmless to humans...but fatal to a toon.
Yes, it looks different in hindsight, but it would be normal for a human to prefer a glove to immersing his arm and clothing in the stuff. You wouldn't want it on your shoes, either.
I see what you did there.
Note the scene in the bar where a barrel of Dip gets dumped on the floor - everyone backs away from the puddle. Even if you don't know the ingredients, it kills the unkillable - definitely not something you want on your shoes (and probably something that should probably be in a well-ventilated area, at that). Still counts, though, as Doom invented it and thus would know it's not fatal to humans and would have no reason to protect himself otherwise.
The big bulky rubber glove, particularly when he starts waving it in Eddie's face after the kill, is as much theatrics as protection, which puts it right up Doom's alley.
Then there's that moment in the warehouse when he slips on the fake eyeballs. Even aside from the subtle foreshadowing being pretty clever on its own, he gets up holding his hand over one eye. He just fell on his face, so it seems reasonable before the reveal that he'd just hurt his eye. Then his turn out to be exactly the same kind of fake eyes. He didn't hurt his eye when he fell, he lost a fake—which went unnoticed by the audience when it popped out since he's standing in a pile of them—and he's hiding the real one.
Judge Doom is the sole stockholder of Cloverleaf industries, the logo of which looks suspiciously like a freeway interchange.
Cloverleaf interchanges had been around for over a decade, pre-dating the freeway system.
It could be argued that anachronistic cartoon characters had always existed as residents of Toontown; they just hadn't started working for animation companies until a few years later.
Judge Doom being a Toon also explains most of the bad guy cliches he does throughout the movie (explaining his plan rather than killing Eddie and the Rabbits right away, running Eddie over with a slow deathtrap like a bulldozer rather than stabbing him, going for a giant, evil looking dip truck rather than using other methods to get rid of toons, etc.) As a Toon, presumably he's psychologically forced in some way to act as if he's inside a movie.
During the crowd scene at the end, we see cartoon characters such as Wile E. Coyote and Road Runner, who weren't around in 1947. Is this a case of Anachronism Stew, or have they just not been employed yet?
I'd go with the latter.
When Judge Doom and the weasels die at the end, Roger's quote rings well.'"My philosophy is this: if you don't have a good sense of humor, you're better off dead!"'. And of course they all turn out to be deranged toons with a very twisted sense of humor and die because of it. Judge Doom dies by his own Dip because he found too much enjoyment in killing which backfires on him fatally.
While the movie itself pulled off the effect via makeup (and some very impressive focus on the part of Christopher Lloyd), in-universe, Doom's unnatural pallor and unblinking stare make sense as something more than just a dramatic aesthetic, once it's revealed what you've been seeing was prosthetic eyes and a rubber mask...
Eddie's dance number at the climax that offed the Weasels seems out of place for this guy, until you remember the tear jerking sweep of Teddy's desk. One of the pictures show the Valiants in their former work as police officers, dressed as circus clowns.
Why does everyone in the know seem to consider it Jessica who married up to Roger? Toons run on Rule of Funny... and Roger is much funnier than Jessica is!
Also, Roger is a rich, big-name comedian. Jessica is a lounge singer. This makes perfect sense to humans, as Jessica's Impossible Hourglass Figure makes her a prime "trophy wife". But despite her keen mind, sense of the absurd and general Crazy Prepared-ness, Jessica's looks keep her from being funny - this makes the relationship as insensible to them as a football player marrying some mousy nerd. When she's lamenting, "I'm not bad, I'm just drawn that way", it's the same as a human woman lamenting her looks.
It gets better than that: Jessica is drawn to design to what human men think is sexy, not what Toons would find attractive in a woman. That's why Betty Boop flirts with Eddie and remarks on how lucky Jessica is: it's not just because Jessica married up to Roger, it's because Betty, as a fellow cartoon sex symbol designed to be attractive to human men, probably has the same trouble finding a Toon love interest as Jessica did before she met Roger. And that is why they both work at the Ink & Paint Club.
Well, Betty did have a relationship of some kind with a dog named Bimbo, but he'd been phased out of Betty's cartoons by the time the Hayes Code went into effect, which also greatly impeded Betty's career in films, and she'd be out of the movie business long before '47. So to come back to your original point, either Betty and Bimbo were just paired by the studio and didn't really see each other after Bimbo was phased out of the Boop cartoons, or a long dry period without work broke them apart.
Toons are generally driven by whatever is the funniest thing to do in the context of the scene, so to a large extent they don't have much control over how a scene will unfold. For example, Roger usually waits until something is very funny, building up the suspense and humor. Similarly, as soon as there is a timeline placed on Acme's will appearing the toons unwittingly do everything in their power to stretch it out right to the last minute because it's so much funnier to do so. It must have been frustrating for Eddie, but at the back of his mind he probably knew that everything was going to work out alright as soon as he walked into the final showdown. All he had to do was bide his time and keep the toons busy. (This is also the reason that Roger failed so spectacularly in the final scene. It just wouldn't have been funny to win so easily with 15 minutes to spare, so he unwittingly stood under the bricks and delivered a lame pun.)
A YouTube comment once posted an interesting anecdote of the appearance of Lena Hyena. At the Terminal Bar, Judge Doom reminds the Weasels of how their "hyena cousins" died from fatal hilarity. Considering how Toon humans and Toon animals could have relations, it's possible Lena is perhaps the widow or, at least, a relative of one of those cousins. This of course is just speculation and there is really no concrete evidence supporting it, so it could be just a coincidence.
Doom says that it is impossible for a toon to resist the old "shave-and-a-haircut" bit, yet he shows no compulsion to finish it when tapping it out on the wall. He doesn't need to finish it, for 2 reasons:
1. Roger showed that a toon can break the rules when it is funny to do so, and it's funnier for Roger to blast out of the wall than for Doom to start singing.
2. He couldn't resist the song. He was the one that started it in the first place!
Furthermore, he doesn't resist. By the time Roger cracks, Doom has started singing the words himself, if quietly.
Another possibility? Good old-fashioned Loophole Abuse; In this instance, he's playing The Straight Man to Roger, adopting a classic comedy role that rarely gets the punchline, allowing him to set up a classic routine without actually having to finish it.
When I first saw the movie, Doom's line "I bought the Red Car so I could dismantle it!" seemed like the ridiculous toon villain scheming Doom is known for. Then I learned about the General Motors streetcar conspiracy— they bought the Red Car (through a front company) so they could dismantle it. Which makes Valiant's line that the freeway idea could only have been thought up by a toon even more funny somehow.
Roger's improvised lyrics for "Merry-Go-Round Broke Down" is foreshadowing Eddie's antics during his confrontation with Doom at the end of the film:
My buddy's Eddie V.
A sourpuss, you see
But when I'm done he'll need no gun
What a joker he will be!
Roger and to an extent toons reacting violently to Alcohol seems strange on the surface. However Turpentine one of the main ingredients for Dip has alcohol in it. So the reason why Roger reacted to it the way he did was because his body was trying to reject the alcohol that was harming him.
Why Marvin confided to Jessica Rabbit in regards to Doom's plan aside from obviousreasons? Because she was the only sane toon of the bunch that could take the news seriously.
Jessica knocking Roger unconscious to "keep him from getting hurt". Eddie makes a sarcastic remark about how that "makes perfect sense", and it seems to be intended to show the audience that the humanoid Jessica actually has some Toonier/illogical tendencies. But konking Roger on the head to keep him from harm actually does make perfect sense; physical violence can't hurt Toons, and Jessica was trying to protect Roger from someone carrying Dip, the one thing that can hurt a Toon.
Well, more like Fridge Squick, but hey: The pattycake thing becomes instant Squick when you see a cartoon which features small children playing it. (Lisa Simpson has played it with a friend onscreen, among other cases.) One can only assume that either the humourously metaphorical type is just a specific variation on the game and that Toons can tell the difference, or it's just Roger and Jessica sharing a Conveniently Common Kink.
Or such characters are actors and are old enough to be of legal age.
Also, it would appear that Acme is more than a friend to toons, if you follow my meaning. Especially since it was his idea to play pattycake. Raising the question if it is only Acme's kink, based on Roger's reaction to the photos.
It's possible that pattycake is only Acme's kink, but that Roger knew that it was, so seeing his wife playing along and satisfying Acme's kink was pretty disturbing.
It could be a Morse code, telling Jessica that Acme learned of Doom's plan.
What happened to the studio crew member that was launched high into the air after the bench he was on collapsed under Hyancith Hippo (from Fantasia)? We don't know if he came back down and a fall from that height is almost not worth the thought. The freezing high altitudes alone could've killed him.
He may have ended up falling to Toontown.
When the Weasels die, they turn into Toon angels and float away. Except for the one who fell into the vat of dip. Maybe the dip dissolved his.
As mentioned by someone in the headscratchers, this also implies that the shoe won't go to heaven either. Poor little bugger.
Worse, not only will the shoe not go to heaven, the weasels will!
Or at least they will make it to the pearly gates before being kicked down to the other place.
Maybe we just plan don't see them. We didn't even see Weasy as an angel. Maybe it's not true death, like humans.
Forgetting Rule of Funny, but why did Bugs have a "spare tire" as a spare parachute? It's not like he and Mickey were planning to run into some poor detective on the way down, falling to his death. Unless, Bugs intended it to be given to Mickey, in case Mickey's parachute didn't open...
Sorry, but I think Rule of Funny can't be ignored in this case, because no one can plan something like that beforehand except if you were a Toon who would take every opportunity to be a 'stinka''! Bugs probably materialized that tire at that very second!
Forgetting Rule of Funny while in Toon Town is like forgetting the Law of Gravity or the Laws of Thermodynamics in the real world; if you ignore them, then the place cannot funtion at all.
They didn't forget the laws, in fact Mickey flat out said that Eddie could get killed by the fall he's taking.
Because Toons just exist as normal people do... that means nobody has to draw them. Which means, no work for animators. *shudders*
Perhaps hand-animation in that universe is like CGI today; for example you could have a real toon dragon in your film, with the fire breath drawn in by an animator due to safety concerns or a need for a bigger fire.
If this is the case then there never were any animators and the profession just never existed. Not exactly the stuff of nightmares.
Remember Jessica saying : 'I'm not bad, I'm just drawn that way'. Well, that has to mean she was drawn by someone, doesn't it?
Could be a reference to God drawing her that way (which we have similar phrases for).
A comic explicitly shows a toon being drawn into existence. It was slightly more about involved than the creation of [[Western Animation/The Warner Siblings]].
In the logic of this universe, though, Bambi, the hunter, and the pheasant are all actors. It doesn't make much sense that they'd be filming Doom's attempts to get test subjects.
Unless Doom tricked them that the bullets (probably loaded with Dip) were harmless. Thus Doom is not framed, and Bambi's mom dies.
So... does that mean Bambi was a snuff film?!
An early draft of the script had Doom be the one that shot Bambi's mother.
It's just paint thinner. It breaks down the ink that the toons are made from until there's nothing recognizable left. The equivalent for humans would be... maybe... fire. Lots of fire.
I'd say acid rather than fire.
Returning to the original premise, somewhere out there is Doom's Laboratory - I'm picturing a smelly basement with lots of Escape-Proof Rope and cauldrons. Gee, I sure hope nobody's still hanging from the walls.
Just look for one second at the colossal damage these nearly-omnipotent Toons can cause without even trying. In a cartoon watching Donald Duck pull a cannon out of nowhere is hilarious... in real life, in a real packed-out nightclub surrounded by real flesh and blood people? Oh my God. How much do you want to bet the government is probably secretly working on its own version of Dip in order to try and protect us against a race of people that have no other weaknesses?
When Eddie attempted to duel Doom he took out a singing sword by mistake and then tost it aside, shortly after he flooded the hole room with dip which may lead you to thinking what happed to that that sword, (if it did or didn't end up like the shoe, Smarty and Doom.)
One that hit This Troper as a very young child first watching this movie: He had never heard of Toontown before, but had seen plenty of freeways.
Best ignored when viewing this film. (Specifically, the whole idea of who draws the toons and/or how they get created and by whom is never addressed.) Also, why would Doom simply destroy Toontown to make a freeway when he could probably enslave the toons to do his bidding (using the threat of the Dip as a means of controlling them) or bring in millions of tourists from all over the world to view them and charge admission? (One imagines that alone would bring in a lot more money than a simple freeway and a few gas stations.)
As Eddie Valiant said, it was a plan so crazy only a toon could come up with it. Doom probably wasn't the most rational toon ever created. And considering the other toons, that's saying something!
Why would Doom possibly think enslaving the toons would lead to anything useful? He could barely keep the weasels under his control.
About the "where do Toons come from" question: Toons are not created by Humans. Toons come into being when a Toon mommy and a Toon daddy love each other very much. This is explicitly stated in the books (specifically Who Plugged Roger Rabbit?), and cartoon characters being a real ethnic minority instead of doodles flipping quickly through the celluloid is the entire "gimmick" of the film anyway. In any case, leaving the question untouched in the film adds to its aura of "realism".
The Marvel comic book "Resurrection of Doom" has Doom (originally named Baron von Rotten) revived via animation cel. To make things more confusing, the weasels who schemed to bring him back first find an old model sheet. Next, they had a Toon named Evil Aurel paint Doom's cel. Finally, they used a multi-plane camera (aided by lightning) to shoot the cel and revive Doom. So Toons have to be animated (or drawn once in this case). However, the idea that some Toons are capable of doing this is a scary one.
What is so scary about Toons being able to create more Toons like the humans can?
Because they're not creating more Toons like humans do. They have a means of reviving their dead.
Since 'patty cake' is the equivalent of a Toon having an affair, it's been suggested that for Toons, kissing really can get you pregnant.
Hey if that were true, Eddie and Roger might be having a little bundle of joy soon. They did kiss twice, guys...so...twins?
Nah. Eddie's a human. It doesn't work that way.
The Roger Rabbit comic book apparently explains in detail where baby toons come from... a stork, of course.
Good thing for that. Toons are infinitely flexible, immune to conventional damage, able to pull things out of Hammer Space, and otherwise run by well established Cartoon Physics. Which leads straight to... there.
Regarding Betty Boop and the transition to color; is colorization an outpatient procedure, and do you need to catch a ride down to Tijuana to have it done?
My guess is that cameras used to only be able to film in black and white, so it didn't matter the color of Toon. Once they went color, no one wanted to see black and white Toons anymore, so they lost their jobs, because only colorful Toons were filmed.