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Oliver & Company (72 min)
Synopsis: “Once Upon a Time in New York City,” the kitten Oliver finds himself abandoned and alone, longing for a warm home. Dodger, a carefree mutt with a certain street savior-faire, soon befriends him and invites him to join his ragtag gang of dogs and their thieving but goodhearted human leader, Fagin. When Fagin is given three days to repay a debt to the ruthless loan shark Sykes, the gang is sent to swipe anything that Fagin can pawn for cash. In a heist gone awry, Oliver is taken in by Jenny, a lonely rich girl – much to the dismay of Jenny’s pampered and spoiled poodle, Georgette. Dodger and the gang want Oliver back. Georgette wants Oliver gone. Together, they smuggle Oliver out of Jenny’s house and bring him back to Fagin’s, where the pickpocket decides to hold Oliver for ransom after noticing his fancy collar and smart address. But when Sykes changes his plan and kidnaps Jenny, it will be up to Oliver and his newfound friends to race to the rescue.
Cast: Joey Lawrence (Oliver), Billy Joel (Dodger), Cheech Marin (Tito), Richard Mulligan (Einstein), Roscoe Lee Browne (Francis), Sheryl Lee Ralph (Rita), Dom De Luise (Fagin), Robert Loggia (Sykes), Bette Midler (Georgette)
Songs: “Once Upon a Time in New York City,” “Why Should I Worry?”, “Streets of Gold,” “Perfect Isn’t Easy,” “Good Company,”
Directed by George Scribner.
Released on November 18, 1988.
US Theatrical Reissue: March 29, 1996
US Home Media Releases: September 24, 1996 (VHS/LD); June 5, 2001 (VHS); May 14, 2002 (DVD); February 3, 2009 (DVD); August 6, 2013 (BR);
Trivia:
• Frames: 103,680
• Six supervising animators and a team of over 300 artists and technicians worked for over two and a half years to create this hand-drawn feature film in the time-honored Disney tradition. More than a million story sketches and drawings were required to produce the 119, 275 hand-painted cels that comprise the finished film.
• Designers went to New York and photographed street scenes from a dog’s perspective—18 inches off the ground—getting stares from passersby but providing excellent reference material for the layout artists.
• To give the backgrounds a contemporary and hard-edged look, Xerox overlays were used, the first time for this approach since One Hundred and One Dalmatians.
• Many of the inanimate objects in the film were created and animated on the computer—cars, cabs, buses, Sykes’s limousine, Fagin’s trike (part scooter and part shopping cart), a cement mixer, a sewer pipe, a spiral staircase, a piano, subway tunnels and trains, cityscapes, and even the Brooklyn Bridge. This was the first film to have its own department set up expressly for the purpose of generating computer animation.
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