Eddie & Company

Eddie & Company is a 1988 American animated musical film produced by Amblin Entertainment and released on November 18, 1998, by Universal Pictures. The 27th classic animated feature film, the film is based on the classic Rick Riordan's novel Eddie Twist, which has been adapted many other times for the screen. In the film, Eddie is a homeless kitten who joins a gang of dogs to survive in the streets. Among other changes, the setting of the film was relocated from 19th century London to modern-day Long Beach, Frank's gang is made up of dogs (one of which is Randy), and Victor is a loan shark.

Plot
On Long Beach, California, an orphaned kitten named Eddie is left abandoned after his fellow orphaned kittens are adopted by passersby. Wandering the streets by himself in search of someone to adopt him, Eddie meets a Labrador Retriever named Randy who assists the kitten in stealing food from a French Fries vendor. Randy then flees the scene without sharing his bounty with Eddie. Eddie follows Randy all throughout the streets until they eventually arrive at a barge, where Randy shares his meal with a gang of fellow strays: Digby the Bichon Frise, Alberto the German Shepherd, Sandy the English Springer Spaniel, and Jeff the Pug. Eddie sneaks inside and is discovered by the dogs. After a moment of confusion, he is then received with a warm welcome. The barge's owner, a pickpocket named Frank, is indebted to Jack, a nefarious shipyard agent and loan shark accompanied by his Bull Terrier Parker and Drucker. Victor gives Fagin an ultimatum of repaying the money he had borrowed within three days under the threat of imminent violence.

Frank and the gang, now including Eddie, hit the streets the next morning to carry out petty theft so that Frank may pawn the stolen goods for money. Through a theatrical ruse, the dogs manage to stop a luxurious limousine owned by the wealthy Farmer family. The attempt to pillage the limousine fails and Eddie finds himself in the embrace of the Farmer daughter Lucy, who adopts Eddie to assuage the loneliness brought about by the absence of her vacationing parents. Eddie makes himself at home in Lucy's house, much to the disgust of Charlotte, the Farmer family's pompous and pampered purebred poodle. Randy and the others manage to steal Eddie from the Farmer household and return him to the barge. Frank recognizes from Eddie's new collar that he had been adopted by a wealthy family and desperately decides to hold Eddie for ransom. His anonymously written ransom note reaches Lucy, who sets out to get Eddie back at the pier.

Lucy meets with Frank, who is shocked that he had been dealing with a little girl. Bothered by his conscience after seeing Lucy distraught over losing Eddie, Frank gives Eddie back freely. Victor, whom Frank had informed of the deal beforehand and was watching from the shadows, drives by and kidnaps Lucy, intending to ransom her and declaring Frank's debt paid. Randy rallies Eddie and the other dogs to rescue Lucy from Victor, but the animals are confronted by Victor and his Dobermans after they free her. Fagin saves the group with his scooter and a chase ensues throughout the streets and into the subway tunnels. Eddie and Randy attempt a rescue and struggle with Parker and Drucker, who fall off the car and are electrocuted on the subway's third rail. Victor is killed when his car drives straight into the path of an oncoming train. Later, Jenny celebrates her birthday with the animals, Fagin and the family butler Winston, who receives a phone call from Lucy's parents saying that they will be returning from Lisbon tomorrow. Eddie opts to stay with Lucy, but he promises to remain in contact with Randy and the gang.

Cast and characters

 * Andrew Lawrence as Eddie, an grey orphaned kitten who is looking for a home. He joins Frank's gang of dogs before being taken in by Lucy. He also saves her life from the black-hearted loan-shark, Victor.
 * Ralph Garman as Randy, a carefree, charismatic Labrador Retriever with in him. He claims to have considerable "street savoir-faire". He is the leader of Frank's gang of dogs, and is Eddie's first acquaintance, as well as his eventual best friend and bodyguard. He is the object of Sandy's affection.
 * Tommy Chong as Digby, a tiny yet passionate Bichon Frise in Frank's gang. He has a fiery temper for his size, and rapidly develops a crush on Charlotte (although she is initially repulsed by him). His full name is Ignacio Alonso Julio Federico de Digby.
 * Harold Gould as Alberto, a German Shepherd and a member of Frank's gang. He is named ironically as he is not particularly bright, representing the stereotype that German Shepherd's are friendly but dim-witted.
 * Michael McKean as Jeff, a Pug with a British accent in Frank's gang. He appreciates art and theater, particularly Shakespeare. He also detests anyone abbreviating his name as "Frank" or "Frankie" (which Tito frequently does).
 * Yvette Wilson (Bonnie Pointer, singing) as Sandy, a English Springer Spaniel and the only female dog in Frank's gang. She is street-wise and takes Eddie under her wing.
 * Burt Reynolds as Frank, a lowly thief who lives on a barge with his dogs. He desperately needs money to repay his debt with Victor. Because of his economic situation, he is forced to perform criminal acts such as pick-pocketing and petty theft, but in truth he is well-meaning and genial most of the time.
 * Michael Warren and Chazz Palminteri as Parker and Pong, respectively: Victor's vicious Doberman Pinschers who have a hostile history with Randy and his friends. Parker is the apparent leader, while his brother Pong seems to be the more savage of the two. Both of them are killed in the climax after falling onto the electric rail tracks while fighting with Randy and Eddie. Parker wears a red collar and Drucker wears one that is blue.
 * Paul Shenar as Jack, a cold-hearted, immoral loan-shark and shipyard agent who lent a considerable sum of money to Frank and expects it paid back. He is ultimately defeated at the film's climax when he indirectly drives his car into a train, killing him in the process.
 * Kellie Martin (Myhanh Tran, singing) as Lucy Farmer, a kind-hearted, rich girl who adopts Eddie.
 * Judith Light as Charlotte, the Farmer family's prize-winning poodle. Vain and spoiled, she becomes jealous of Eddie but eventually accepts him and Frank's gang. When Sandy displays his attraction to her, she initially responds with revulsion. At the end, however, she displays considerable attraction to Sandy, so much, in fact that she sends him running for his life when she tries to bathe, dress and groom him.
 * Jim Cummings as Old Scott, an aggressive, bad-tempered french fries vendor who appears early in the film when Eddie and Randy steal his french fries. He is described by Randy as "a well-known enemy of the four-legged world", meaning that he hates both cats and dogs.

Production
Eddie & Company was the twenty-seventh animated film developed by Walt Disney Feature Animation, and the first one to begin production under the supervision of Chief Executive Officer Michael Eisner and Chairman Jeffrey Katzenberg; the duo, who had previously worked at Paramount Pictures as chairman and head of production, respectively, joined the company in 1984.[4] After the release of The Black Cauldron in 1985, Eisner and Katzenberg invited the animators to pitch potential ideas for upcoming animated features, infamously called the "Gong Show." After Ron Clements and John Musker suggested The Little Mermaid and Treasure Island in Space, story artist Pete Young suggested, "Oliver Twist with dogs." Katzenberg, who had previously planned on producing a live-action adaptation of the musical Oliver! at Paramount,[4] approved the pitch.[5] Under the working title of Oliver and the Dodger,[6][7] the film was originally much darker and grittier with the film opening with Sykes's two Dobermans murdering Oliver's parents, setting the story to focus on Oliver exacting his revenge as detailed in a draft dated on March 30, 1987.[8] George Scribner and Richard Rich were announced as the directors of the project, while Pete Young was appointed as story supervisor,[9] though Rich was fired from Disney about six months into production, leaving Scribner as the sole director.[10] In this adaptation, Scribner turned Oliver into a naïve kitten, Dodger and the gang into dogs, and Fagin into a human, and encouraged the film to be more street smart.[8] Furthermore, Scribner borrowed a technique from Lady and the Tramp by blocking out the scenes on real streets, and then photographing them with cameras mounted eighteen inches off the ground. In this way, the animators would use the photos as templates to provide a real dog's-eye view of the action.[11] As work continued on Oliver, Roy E. Disney came up with an idea that Fagin would attempt to steal a rare panda from the city zoo. However, the writers would have problems with the idea,[6] and the panda sub-plot was eventually dropped when Scribner suggested to have Fagin hold Oliver for ransom because he was a valuable, rare Asian cat.[12][13]

For the film, Disney invested $15 million into a long-term computer system called Computer Animation Production System, otherwise known as CAPS. Unlike The Black Cauldron and The Great Mouse Detective, which used computer imagery for special sequences, eleven minutes of Oliver & Company were computer-generated such as the skyscrapers, the taxi cabs, trains, Fagin's scooter-cart, and the climactic subway chase.[4] Meanwhile, the traditional animation was handled by the next generation of Disney animators, including supervising animators Glen Keane, Ruben A. Aquino, Mike Gabriel, Hendel Butoy, and Mark Henn, as the "Nine Old Men" had retired in the early 1980s.[4] Throughout two and a half years of production, six supervising animators and a team of over 300 artists and technicians worked on the film.[14] Skidmore, Owings & Merrill was the database for the New York City skyline, which was recreated for the film.

Casting
Because personalities are considered the greatest strength of Disney animated films, the filmmakers sought believable voices to match the movement of the animation.[4] For this film, the filmmakers cast fellow New York natives including Bette Midler for Georgette, Sheryl Lee Ralph for Rita, and Roscoe Lee Browne for Francis.[4] Comedian Cheech Marin was cast as the chihuahua Tito. Because energy proved to be the key to Tito's personality, Marin claimed "I was encouraged to ad-lib, but I'd say I just gave about 75% of the lines as they were written. The natural energy of a Chihuahua played right into that feeling. George [Scribner] was very encouraging as a director: He kept the energy level high at the recording sessions."[15] Pop singer Billy Joel was recommended for the voice of Dodger by Scribner because of his "New York street-smart, savoir-faire attitude," and auditioned for the role by telephone after being given dialogue. Additionally, Joel confirmed he did the role because it was a Disney movie, saying: "I had just had a little girl. It's a great way to do something that my little girl could see that she could relate to right away," referring to daughter Alexa, born in 1985.

Music
The soundtrack of Eddie & Company contains an instrumental score by J. A. C. Redford under the supervision of Carole Childs, while Jeffrey Katzenberg had the idea to bring in big-name singer/songwriters, each of whom would contribute a song into the film including Billy Joel, Barry Manilow, and Huey Lewis. At his suggestion of his friend David Geffen, Katzenberg brought in lyricist Howard Ashman, who composed the song "Once Upon a Time in New York City."[17] Musical composer J.A.C. Redford was brought to compose the score who had a working relationship with Disney music executive Chris Montan on the series St. Elsewhere.[18] Ashman, who, with Alan Menken, would write the songs for the next three Disney films. Billy Joel, in addition to voicing Dodger, performed the character's song ("Why Should I Worry?") in the film.[19]

The track list below represents the 1996 re-release of the Oliver & Company soundtrack. The original 1988 release featured the same songs, but with the instrumental cues placed in between the songs in the order in which they appeared in the film. Using the numbering system in the list below, the order the tracks on the 1988 release would be: 1, 2, 6, 7, 3, 4, 5, 8, 9, 10, and 11. The reprise of "Why Should I Worry?", performed by the entire cast, remains unreleased on CD.
 * Track listing
 * 1) "Once Upon a Time in New York City" - Huey Lewis; written by Barry Mann and Howard Ashman
 * 2) "Why Should I Worry?" - Billy Joel; written by Dan Hartman and Charlie Midnight
 * 3) "Streets of Gold" - Ruth Pointer ; written by Dean Pitchford and Tom Snow
 * 4) "Perfect Isn't Easy" - Bette Midler ; written by Barry Manilow, Jack Feldman, and Bruce Sussman
 * 5) "Good Company" - Myhanh Tran ; written by Ron Rocha and Robert Minkoff
 * 6) "Sykes" (score)
 * 7) "Bedtime Story" (score)
 * 8) "The Rescue" (score)
 * 9) "Pursuit Through the Subway" (score)
 * 10) "Buscando Guayaba" - Rubén Blades
 * 11) "End Title" (instrumental)

Release
Eddie & Company premiered theatrically in North America on November 18, 1988―the same day on which Disney celebrated the 60th anniversary of the Mickey Mouse short, Steamboat Willie.[20] It was also the first to be released as a part of a brand new schedule requested by Katzenberg, which called for a new animated Disney film to be released every single year, similar to Walt Disney's intentions for his animated features during the 1940s.

Marketing
Eddie & Company was the first Disney animated film to include real world advertised products. More than 30 company logos and brand names were shown in the film, including Kodak, Dr. Scholls, Sony, Diet Coke, Tab, McDonald's, Yamaha, Ryder, and USA Today.[21] However, the filmmakers commented on ABC's The Magical World of Disney that this was done for realism, was not paid product placement, and that it would not be New York City without advertising.[22] Instead, Katzenberg urged the marketing campaign to focus on the classic Dickens novel and the pop score,[17] and promotional tie-ins included Sears, which produced and manufactured products with themes inspired from the film, and McDonald's which sold Christmas musical ornaments based on Oliver and Dodger, and small finger puppets based on the characters in a Happy Meal.[22][23] For its theatrical re-release in 1996, the film was accompanied with a promotional campaign by Burger King.[24]

In the United Kingdom, Oliver & Company was not distributed by Buena Vista International, but by Warner Bros.[25] Buena Vista International did, however, release the film on home video.

Home media
Despite its financial success at the box office, Oliver & Company was not released on home video despite being one of the most requested Disney films.[26] After its theatrical re-release, Oliver & Company was released on VHS and Widescreen LaserDisc in the United States on September 25, 1996, for a limited time,[27] and in the United Kingdom in 1997.[28] It was later released on DVD on May 14, 2002. A 20th Anniversary Edition DVD was released on February 3, 2009, and a 25th Anniversary Edition Blu-ray was released on August 6, 2013.[29]

Box office
Opening on the same weekend as Don Bluth's The Land Before Time, which debuted at number-one grossing $7.5 million, Oliver & Company opened at fourth, grossing $4 million.[30] Nevertheless, Oliver & Company out-grossed The Land Before Time with domestic gross estimates of $53 million compared to the latter's $46 million.[31] It became the animated film with the highest gross from its initial run.[32] Its success prompted Disney's Senior Vice President of Animation, Peter Schneider, to announce the company's plans to release animated features annually.[6]

On March 29, 1996, Disney re-released the film in direct competition with All Dogs Go to Heaven 2,[33] grossing $4.5 million in its opening weekend.[34] In its total box office lifetime, Oliver & Company made a total domestic gross of $74 million at the U.S. box office.[35]

Critical response
The review aggregator website Rotten Tomatoes reported that 51% of critics gave the film positive reviews based on 49 reviews with an average rating of 5.33/10. Its consensus states, "Predictable and stodgy, Oliver & Company isn't one of Disney's best, though its colorful cast of characters may be enough to entertain young viewers looking for a little adventure."[36]

On the television program, Siskel & Ebert, Gene Siskel gave the film a thumbs down. Siskel stated, "When you measure this film to the company's legacy of classics, it doesn't match up" as he complained "the story is too fragmented…because Oliver’s story gets too sidetracked from the story in the film that gets convoluted, too calculated for the Bette Midler, Billy Joel crowd as well as little kids." Roger Ebert gave the film a "marginal thumbs up" as he described the film as "harmless, inoffensive."[37] Animation historian Charles Solomon wrote a favorable reviewing concluding that the film "offers virtually ideal family holiday fare. The cartoon action will delight young children, while older ones, who usually reject animation as 'kid stuff,' will enjoy the rock songs and hip characters, especially the brash Tito."[38] Writing for People, Peter Travers opined in his review, "Too slight to rank with such Disney groundbreakers as Pinocchio and Fantasia, the film is more on the good-fun level of The Lady and the Tramp and 101 Dalmatians. But why kick? With its captivating characters, sprightly songs and zap-happy animation, Oliver & Company adds up to a tip-top frolic."[39] Desson Howe of The Washington Post noted that the film "retrieves some of the old Disney charm with tail-wagging energy and five catchy songs." Likewise, fellow Washington Post film critic Rita Kempley praised the songs and animation, and called it a "happy adaptation of the Victorian classic."[3] Writing for Common Sense Media, Nell Minow gave the film 3 stars out of 5, concluding that the film "can't compete with Disney classics, but [is] still fun."[40]

Barry Walters, reviewing for The San Francisco Examiner, panned the film as "a rather shabby transitional work, one that lacks the sophistication of today's 'toons and doesn't hold up to the Disney classics of yesteryear."[41] Halliwell's Film Guide called Oliver & Company an "episodic film, short on charm, that only now and then provides glimpses of stylish animation."[25] The Ren & Stimpy Show creator John Kricfalusi suggested that the film was derivative of Ralph Bakshi's works, and jokingly suggested its use as a form of punishment.[42] Likewise, even some of the Disney animators viewed the film unfavorably considering it "another talking dog-and-cat movie."[43]