Oliver & Company

Template:ForTemplate:Short description Template:Use American English Template:Use mdy dates Template:Infobox film Oliver & Company is a 1988 American animated musical adventure comedy drama film produced by Walt Disney Feature Animation and inspired by the Charles Dickens novel Oliver Twist. It was directed by George Scribner and written by Jim Cox, Tim Disney and James Mangold. In the film, Oliver 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 1980s New York City, Fagin's gang is made up of dogs (one of which is Dodger), and Sykes is a loan shark.

In late 1984 or 1985, Michael Eisner and Jeffrey Katzenberg held a pitch meeting with the animation staff. After story artist Pete Young pitched the idea to adapt Oliver Twist with dogs, the pitch was quickly approved, and the film quickly went into production under the working title Oliver and the Dodger. Pre-production started with the crew reading Oliver Twist and watching the musical Oliver!, developing the film for six to ninth months. After production began in 1986,<ref name=":0">Template:Cite news</ref> 300 artists and technicians worked on the film within two and a half years of production.<ref>The Making of Oliver & Company: 2:43–2:47</ref><ref name="The Los Angeles Times 1989">Template:Cite news</ref>

Along with The Land Before Time, Oliver & Company was released theatrically on November 18, 1988. Oliver & Company received mixed reviews from critics. The music and vocal performances of celebrities were praised. The animation, designs, and its use of computer-generated imagery (CGI) received divided reviews, while the plot received generally negative reviews. The film performed well at the box office, grossing $121 million worldwide against the budget of $31 million.

The film was re-released in theaters in the United States, Canada, and the United Kingdom on March 29, 1996. It was released on home video in North America on September 24, 1996, on VHS and LaserDisc. A DVD edition followed on May 14, 2002, as a special edition. Oliver & Company was later released on Blu-ray Disc on August 6, 2013, to commemorate its 25th anniversary.

Plot

Outside a shop in New York City, several orphaned kittens are put up for adoption; all of them manage to find homes except for an orange tabby, who begins wandering the streets hoping that someone will take him in. One day, the kitten meets a Jack Russell Terrier named Dodger, who helps him steal food from a hot dog vendor before fleeing with the hot dogs, prompting the kitten to pursue him.

The kitten chases Dodger to a barge, where he watches Dodger sharing the stolen hot dogs with his friends—Tito the Chihuahua, Einstein the Great Dane, Francis the Bulldog, and Rita the Saluki. Their owner, Fagin, a petty thief indebted to Sykes, a nefarious loan shark, who gives him an ultimatum to repay the money in three days. After the other dogs encounter the kitten, they are confronted by Sykes' two Dobermanns, Roscoe and DeSoto, who threaten to eat the kitten until he claws DeSoto's nose, a deed that earns the kitten respect from Fagin and the dogs.

The next day, Fagin goes to pawn some of his stolen goods, while the dogs and the kitten try to steal more money for him. Through a theatrical ruse, the animals stop a limousine belonging to the wealthy Foxworth family, but their attempt to rob the limo fails, and the kitten is discovered by the family's child Jenny, who is worried that her parents, who are on a business trip, won't be able to return home in time for her eighth birthday. Jenny adopts the kitten, whom she names Oliver, and bonds with him, much to the jealousy of Georgette, the Foxworths' spoiled prize-winning poodle.

Meanwhile, Dodger and the other dogs believe that Oliver has been kidnapped, and they go to the Foxworths' house to "rescue" him. With the help of Georgette, the group take Oliver back to their barge, but Oliver tells them that he wants to stay with Jenny, making Dodger feel betrayed. As Oliver attempts to return home, Fagin picks him up and recognizes from Oliver's new collar and gold name tag that he has been adopted by a wealthy family; seeing this as an opportunity to repay his debt, Fagin decides to hold Oliver for ransom, and he informs Sykes of his plan.

Having found Fagin's ransom note, Jenny and a reluctant Georgette set out to get Oliver back. She meets with Fagin, who is shocked to be dealing with a child; bothered by his conscience, Fagin gives Oliver back to Jenny freely. However, Sykes, who was watching the events take place, abducts Jenny with the intention of blackmailing her family, while ending his deal with Fagin. Oliver, Georgette, and the other dogs sneak into Sykes' warehouse to rescue Jenny with Fagin helping them escape via his scooter. Sykes, Roscoe, and DeSoto chase the group into the subway tunnels where Roscoe and DeSoto are fatally electrocuted on the third rail of the subway following a battle between Oliver and Dodger, while Sykes is killed after his car collides with a train on the Brooklyn Bridge.

Following the incident, Jenny and Oliver are reunited. They later celebrate Jenny's birthday with the dogs, Fagin, and the Foxworths' butler, Winston, who learns that Jenny's parents are returning home tomorrow. Oliver opts to stay with Jenny but promises to remain in contact with Dodger and the gang.

Voice cast

• Joey Lawrence as Oliver, an orange orphaned tabby kitten who is looking for a home. He joins Fagin's gang of dogs before being taken in by Jenny.
• Billy Joel as Dodger, a charismatic, laid-back Jack Russell Terrier. He displays considerable "street savoir-faire." He is the leader of Fagin's gang of dogs, and is Oliver's first acquaintance, as well as his eventual best friend and surrogate big brother.
• Cheech Marin as Tito, a Mexican-accented Chihuahua in Fagin's gang who serves as the comic relief in the film. He is fast-talking and rapidly develops a crush on Georgette, although she is initially repulsed by him. His full name is Ignacio Alonso Julio Federico de Tito.
• Richard Mulligan as Einstein, a gray Great Dane in Fagin's gang. He is named ironically as he is fairly dull-witted.
• Roscoe Lee Browne as Francis, a Bulldog with a British accent in Fagin's gang. He appreciates art and theatre, particularly Shakespeare. He also detests anyone abbreviating his name as "Frank" or "Frankie" (which Tito frequently does).
• Sheryl Lee Ralph as Rita, a female Saluki in Fagin's gang. She is street-wise and very protective of Oliver.
  • Ruth Pointer provided the singing voice for Rita.
• Dom DeLuise as Fagin, a lowly but well-meaning thief who lives on a barge with his dogs. He desperately needs money to repay his debt to Sykes.
• Taurean Blacque and Carl Weintraub as Roscoe and DeSoto, respectively: Sykes's violent Doberman Pinschers who bully Dodger and his friends. Roscoe is the apparent leader, while DeSoto seems to be the more vicious of the two.
• Robert Loggia as Sykes, a cold-hearted, immoral loan shark and shipyard agent who lent a considerable sum of money to Fagin and expects it paid back.
• Natalie Gregory as Jennifer "Jenny" Foxworth, a friendly, rich girl who adopts Oliver.
  • Myhanh Tran provided the singing voice for Jenny.
• William Glover as Winston, the Foxworth family's clumsy but warm-hearted butler.
• Bette Midler as Georgette, the Foxworth family's prize-winning poodle. Vain and spoiled, she becomes jealous of Oliver but eventually accepts him and Fagin's gang.
• Frank Welker (uncredited) as Louie the Sausage Vendor,<ref>Template:Cite web</ref>Template:Better source needed an aggressive, bad-tempered hot dog vendor who appears early in the film when Oliver and Dodger steal his hot dogs. He is described by Dodger as "a well-known enemy of the four-legged world," meaning that he hates both cats and dogs.

Production

Development

Template:Multiple image Oliver & Company was the first animated film developed by The Walt Disney Company to begin production under the supervision of Michael Eisner and Jeffrey Katzenberg; the duo, who had previously worked at Paramount Pictures as chairman and head of production, joined the company in 1984.<ref name="disneytwist">Template:Cite news</ref>

In late 1984 or 1985,Template:Efn Eisner and Katzenberg invited twenty film executives to pitch potential ideas for upcoming animated features, infamously called the "Gong Show".<ref name="Thomas 1988">Template:Cite news</ref>Template:Sfn After Ron Clements had pitched The Little Mermaid (1989) and Treasure Planet (2002) to Eisner and Katzenberg,Template:Sfn story artist Pete Young suggested, "Oliver Twist with dogs."Template:Sfn The next day,<ref name="Walt Disney Home Entertainment 2006">Template:Cite video</ref> Katzenberg, who had previously developed a live-action adaptation of the musical Oliver! at Paramount,<ref name="disneytwist"/>Template:Sfn approved the pitch for possible development, along with The Little Mermaid.<ref name="Walt Disney Home Entertainment 2006" />Template:Sfn

Pre-production started with a table reading of the novel Oliver Twist and watching the musical Oliver!.Template:Sfn George Scribner and Richard Rich were announced as the directors of the project, while Pete Young was appointed as story supervisor.Template:Sfn However, Young died unexpectedly in late 1985,<ref>Template:Cite web</ref>Template:Better source needed and Rich was fired from Disney about six months into production, leaving Scribner as the sole director.<ref>Template:Cite interview</ref>Template:Better source needed Developed for six to nine months,Template:Sfn the first year of production was proved to be difficult.Template:Sfn Some producers, directors, and male storyboard artists felt unhappy with the direction of the film, who thought that "it had lost some of its contemporary edge."Template:Sfn Because of negative feedback, Scribner tried to revise the film to be "less obvious with the material" and include "a more hip, contemporary sensibility" of the period.Template:Sfn

The film was named under the working title of Oliver and the Dodger,<ref>Template:Cite news</ref>Template:Sfn but it was later changed to Oliver & Company. It was speculated that it could be a homage to Oliver! due to some of the musical numbers being designated to be "performed by Oliver and Company."Template:Sfn Initially, Oliver and Dodger were two kittens, then two dogs, changing back and forth before it was decided that Oliver would be isolated if he was a "different type of character,"Template:SfnTemplate:Sfn turning Oliver into a naïve kitten and Dodger and the gang into dogs in the final adaptation of the film.Template:SfnTemplate:Sfn Considering Tina Turner to voice Rita, Rita's first name was Tina.Template:Sfn Her name was changed twice―Nancy and Rita―the latter name was changed in August 1986.Template:Sfn Georgette was created by Scribner and the film's animators.<ref name="Persico 1988">Template:Cite news</ref> Sykes was the final character to be created for the film.Template:Sfn Initially creating Sykes as a Dobermann,Template:Sfn early story drafts included Sykes developing a relationship between Oliver and Rita to establish the Dobermann's attack.Template:Sfn

Some characters that were intended to appear in the film were also discarded. As work continued on Oliver, Roy E. Disney conceived that Fagin would attempt to steal a rare panda from the Central Park Zoo,Template:Sfn along with the gang,Template:Sfn and that Oliver would have helped a panda return to the zoo.Template:Sfn These concepts were seen in a draft written as late as August 1986.Template:Sfn The writers worked with the idea for approximately nine months before problems arose with the story.Template:SfnTemplate:Sfn The panda subplot was eventually dropped when he suggested to have Fagin hold Oliver for ransom because he was a valuable, rare Asian cat.Template:SfnTemplate:Sfn The panda was also replaced by Jenny.Template:Sfn Jenny was intended to live with her mother, but the story crew changed her mother into a maid, and later, a butler.Template:Sfn A policeman's horse, Kaminski, who would always ask Dodger if he is staying out of trouble, was also intended to appear in the film.Template:Sfn

Writing and story revisions

With story artists and writers working together for the film, twenty people contributed story ideas to the film under supervision of Scribner.Template:Sfn By the end of their labors, the story was set in two forms―a set of several boards and a compact screenplay,Template:Sfn with a million of story sketches created for the film.<ref name="The Los Angeles Times 1989" /><ref>The Making of Oliver & Company: 2:47–2:49</ref> Going through several rewrites during production,Template:Sfn some revision goals include giving Oliver "more attitude" and developing Oliver and his two relationships with Dodger and Rita according to a draft dating September 24, 1985.Template:Sfn

In early story drafts, Dodger was given a smaller role.Template:Sfn Planning Einstein to be a vital character,<ref name="Connery 1988">Template:Cite news</ref> the writers intended for Fagin to visit Sykes' office with Einstein, who was attacked by the Dobermanns and "carried out, bloodied and lifeless."Template:Sfn During the film's climax, Einstein was also intended to shake off Sykes' bandages, leap at the dogs, and fling them back into the car.Template:Sfn In the final film, Dodger took over Einstein's "two big scenes."Template:Sfn Tito, Francis, and Georgette were secondary characters before they were expanded during production, including Tito, whose character's animation footage increased after realizing that Tito "shined the way he did."<ref name="Connery 1988" /> After Cheech Marin was cast as Tito, Tito was given more development, including his relationship with Francis.<ref name=":0" /> During recording sessions, Tito's romance with Georgette was also given development.<ref>Template:Cite news</ref>

Rita initially had a bigger role in early drafts, but her role became smaller in the final cut.Template:Sfn Oliver's most essential relationship was intended to be with Rita (similar to Oliver and Nancy's relationship in the novel and adaptations), but it was changed to focus his relationship with Dodger.Template:Sfn In early drafts of the film, Rita had an implied relationship with one of Sykes's Dobermanns, being referred as "[her] ex".Template:Sfn Their encounters included a sexual undertone during the alley scene and a scene where the Dobermanns romantically see Rita turning on the television "with a sexy bash of the hip".Template:Sfn Rita was also intended to be murdered like in the novel and adaptations.Template:Sfn In a draft dating September 26, 1985, the writers were deciding whether to kill Rita or not.Template:Sfn Later, in a draft dating October 21, 1985, they eventually decided to not kill her.Template:Sfn However, Rita was planned to be injured with bandages, but it was discarded.Template:Sfn

In the novel and several adaptations, Oliver's abandonment was in a workhouse.Template:Sfn For the film, it was moved to the opening scene, depicting Oliver and the kittens in a box instead of a workhouse.Template:Sfn The film's opening was also intended to include Sykes's two Dobermanns murdering Oliver's parents, setting the story to focus on Oliver exacting his revenge as detailed in a draft.Template:Sfn At the end of the film, the birthday party was originally for Georgette,Template:Sfn but it was later changed for Jenny's birthday party to be held instead.Template:Sfn The scene when Tito gets slapped by Georgette was also intended to appear during the film's ending; it was later moved to an earlier scene.Template:Sfn

Casting and recording

Billy Joel (pictured in 2023) was one of the first actors to be cast in the film,<ref name="Cave 1988">Template:Cite news</ref> being cast as Dodger in the film.

An open audition was held to find actors that suited the characters' personalities and designs.Template:Sfn According to Disney's former senior vice president for feature animation Peter Schneider, it was easy to cast pop music artists because they had children on their own.<ref name="Grein 1988">Template:Cite news</ref> Scribner and the executives wanted voices that believably represented a wide range of New Yorkers.<ref name="disneytwist" />

Billy Joel was one of the first actors in the film to be cast<ref name="Cave 1988" /> and the fifth person to audition for Dodger.Template:Sfn Prior to his audition for Dodger, Joel turned down film roles for many years because he was convinced that "cameras would do terrible things for him."<ref name="Portman 1988a">Template:Cite news</ref> His former wife Christie Brinkley tried to convince Joel that he should act because he might be a good actor, but Joel felt miserable.<ref name="BillyJoel">Template:Cite news</ref> Joel also received several film scripts, but he was not interested.<ref name="BillyJoel" /> A few years earlier, he was supposed to audition for Sergio Leone for the film Once Upon a Time in America but felt "too scared."<ref name="BillyJoel" />

During the film's production, Scribner was told to pick someone who is "New York street-smart" with a "savoir-faire attitude".<ref name="BillyJoel" /> Joel was recommended by a music director, but Scribner initially had mixed thoughts, questioning whether he could act.<ref>The Making of Oliver & Company: 1:44–1:52</ref> Because Joel was residing in New York City at the time, Scribner had to choose whether he was right for the part before auditioning him.<ref>The Making of Oliver & Company: 1:53–2:01</ref> Joel auditioned for the role by telephone after being given dialogue,<ref name="BillyJoel" /><ref>The Making of Oliver & Company: 2:02–2:04</ref> with Scribner as Oliver and Joel as Dodger.<ref>The Making of Oliver & Company: 2:04–2:07</ref> When Joel was hired, he was reluctant to perform an animated voice, but Joel wanted his daughter Alexa to relate to something she could see.<ref name="BillyJoel" /> Joel also loved the "old Disney movies" and Oliver Twist,<ref name="Portman 1988a" /> stating that his grandfather read all of Charles Dickens' novels.<ref name="Portman 1988a" /><ref name="Carr 1988">Template:Cite news</ref>

By the time Alexa was born, Joel started to record his lines.<ref name="Portman 1988a" /> Joel's recording sessions were recorded at the Power Station, the Hit Factory, and East Hampton Studios in New York City.<ref name="BillyJoel" /> Others were being held during The Bridge Tour in the United States, Canada, the Soviet Union, and other countries.<ref name="BillyJoel" /><ref>Template:Cite news</ref> His dialogue was recorded for over two years.<ref name="BillyJoel" /> Using "method singing", Joel used Leo Gorcey of the Dead End Kids as an inspiration for his character when he started reading the script, acting as the "epitome of a tough kid who deep down was a nice guy."<ref name="BillyJoel" /><ref name="Carr 1988" /> Scribner wanted Joel to "sound like New York", but Joel responded, "Nah, nah. We're between Broadway and Eighth Avenue."<ref name="Carr 1988" /> Throughout his recording sessions, Joel felt that it was "easier to get into character with each recording session."<ref name="Carr 1988" /> Joel was also comfortable with his sessions and did not feel different from recording his songs.<ref name="BillyJoel" /> Joel suggested changes to his lines throughout several script rewrites.<ref name="BillyJoel" /> Joel's final recording session was held in December 1987.<ref name="BillyJoel" />

Joey Lawrence (pictured in 2024) voiced Oliver for approximately twenty sessions for two and a half years. His voice deepened as he got older.<ref name="Willistein 1988" />

Joey Lawrence auditioned for at least three or four times, had a callback, and was screen-tested before he was cast.<ref name="Davis 1988">Template:Cite news</ref> Assigned for ten sessions to record his lines for Oliver, Lawrence had done approximately twenty sessions.<ref name="Willistein 1988">Template:Cite news</ref> Lawrence recorded his dialogue for two and a half years, starting his first session when he was ten years old.<ref name="Willistein 1988" /> Starting his recording sessions with a pre-pubescent voice, his voice deepened over time, causing a struggle to speak in high pitches of his voice.<ref name="Willistein 1988" /> Although Lawrence recorded his lines solely in most of his sessions, he once worked with Joel for approximately three hours.<ref name="Davis 1988" /> His final recording session was held in February 1988.<ref name="Davis 1988" />

Needing a Puerto Rican to be cast as Tito,<ref name=":0" /> Marin was the fifth person to audition for the character.Template:Sfn Because energy proved to be the key to Tito's personality, Marin was encouraged to ad-lib his lines, but he recorded 75 percent of his lines as written.<ref>Template:Cite news</ref> Marin was assigned for four sessions, but it was estimated that he had done fifteen sessions for the film.<ref name="Willistein 1988" /> Recording his dialogue for a year,<ref name="Willistein 1988" /> Marin overall felt enthusiastic about his role, stating he was in a film his child "[could] watch everyday."<ref>Behind-the-Scenes Featurette of Oliver & Company: 1:38–1:45</ref>

Looking for an actress with a "brassy, extroverted voice" for Georgette,<ref name=":0" /> 34 actresses auditioned before it was offered to Bette Midler.<ref name="Persico 1988" /> Turner was initially considered to be the voice of Rita,Template:Sfn but Sheryl Lee Ralph was cast as the speaking voice of Rita in the final cut.<ref name="disneytwist" /><ref name="Willistein 1988" /> Ralph recorded her dialogue for a year and six months.<ref name="Willistein 1988" /> William Glover was cast as the Foxworth's family butler, Winston. In 1989, Scribner talked about Glover in an interview, stating "He was great to work with; he was very professional, and he gave readings you'd never expect."Template:Sfn

Under the supervision of Scribner,<ref name="Willistein 1988" /> a lot of sessions were recorded while the film went through several rewrites, causing the voice cast to re-record scenes they already done.Template:Sfn The cast recorded for two years, with each recording session lasting nearly two to three hours.Template:Sfn According to Scribner, the actors enjoyed recording their lines, though some had to be shown early animation tests to know what the characters were doing.Template:Sfn

Character designs

Andreas Deja and Mike Gabriel were the main character designers of the film.Template:Sfn Deja designed the basic look of the characters while Gabriel added extra features to the characters.Template:Sfn An animal trainer brought each of the dogs' breeds in a small area of Walt Disney Feature Animation as a guide for the animators.Template:Sfn After the characters were cast, the character models were redesigned to match their vocal performances.Template:Sfn

Oliver's character design was based on the kitten from the Mickey Mouse short "Lend a Paw" (1941).Template:Sfn Starting off as thin,<ref name="Portman 1988b">Template:Cite news</ref> Dodger's design resembled Joel after his lines were recorded.<ref name="Cave 1988" /><ref>Behind-the-Scenes Featurette of Oliver & Company: 1:06–1:11</ref> Tito was animated and designed by directing animator Hendel Butoy.Template:Sfn Fagin and Sykes were designed by character animator Glen Keane.Template:Sfn Winston was redesigned after William Glover had recorded his lines, giving the character a slightly heavier stature.Template:Sfn His features were also revised, including his head being drawn slightly smaller, his "rear end" becoming slightly larger, and his hands and feet being slightly more delicate.Template:Sfn Jenny's character design was changed three or four times.<ref name="Connery 1988" />

Animation

When development began, Scribner initially ignored colloquialisms and references to the period at the time, which were done to avoid Oliver being topical and dated.Template:Sfn Scribner reversed his decision when he thought that the "feeling that [Oliver] is really occurring" would decline if it was not true to the period, which included the art of New York City and several billboards, advertisements, and etcetera.Template:Sfn Scribner borrowed a technique from Lady and the Tramp (1955) by blocking out the scenes on real streets and photographing them with cameras mounted Template:Convert off the ground.<ref name=":14" /> The animators used the photos as templates to provide a dog's-eye view of the action.<ref name=":14">Template:Cite news Template:Open access</ref> Many animators also shot references on videotape and printed them out with a Minolta printer,Template:Sfn including animator Leon Joosen, who held a videotape camera and carefully gathered through a busy street for the scene where Oliver wakes up and wanders around while being abandoned.<ref name="Connery 1988" />

As of April 20, 1988, Oliver & Company was already in the phase of animation.<ref name="Gelmis 1988">Template:Cite news</ref> With 119,275 animation cels produced,<ref name="The Los Angeles Times 1989" /> the traditional animation was handled by a younger generation of Disney animators, including supervising animators Ruben A. Aquino, Butoy, Keane, Gabriel, and Mark Henn, as the "Nine Old Men" had retired in the early 1980s.<ref name="disneytwist" /> The characters' movements were based on their actors' movements, which were sketched by artists<ref name="Willistein 1988" /> from videotape recordings of the movements of the actors, including Billy Joel,<ref name="BillyJoel" /> Cheech Marin,<ref name="Portman 1988b" /> and Joey Lawrence.<ref name="Davis 1988" /> The walking and running movements of the animals were timed from the animated works of cats and dogs in Lady and the Tramp and One Hundred and One Dalmatians (1961), which included work from Ollie Johnston, Marc Davis, Frank Thomas, and Milt Kahl.Template:Sfn Preparing to animate humans for The Little Mermaid, animators cite Jenny as the most difficult character to animate, noting that audiences are more critical about the animation of humans than animals.<ref name="disneytwist" />

File:Fagin's trike.jpg

Eleven minutes of the film used computer-generated imagery (CGI),<ref name="disneytwist" /> including Fagin's trike.<ref name="disneytwist" /><ref name="The Making of Oliver" />Template:Sfn It was the first animated object to be tested with CGI,Template:Sfn consisting of 18 parts.<ref name="The Making of Oliver 2" />

Using the xeroxgraphic process,Template:Sfn backgrounds were made with "very simple washes without an acetate line on the top" to match the main setting and the characters.Template:Sfn Skidmore, Owings & Merrill was the database for the New York City skyline, which was recreated for the film.<ref name="disneytwist3">Template:Cite news</ref> The backgrounds of Jenny's apartment were intended to include gray Xerox lines to balance a distinction between the environment of Fagin's barge and the wharf, and Jenny's apartment, but the idea was discarded.Template:Sfn

Eleven minutes of the film used computer-generated imagery (CGI) animated by Michael Cedeno and Tina Price,<ref name="disneytwist" />Template:Sfn such as the Brooklyn Bridge,<ref name="disneytwist" /> cars,Template:Sfn cityscapes,<ref name="disneytwist" /> construction equipment,Template:Sfn Fagin's trike,<ref name="disneytwist" /><ref name="The Making of Oliver">The Making of Oliver & Company: 3:14–3:33</ref>Template:Sfn the interior of the tunnel,Template:Sfn the New York City Subway,Template:Sfn the stairway scene during "Perfect Isn't Easy",<ref>The Making of Oliver & Company: 3:34–4:26</ref><ref>Template:Cite news</ref> and Sykes's limo.<ref name="disneytwist" /> With the backgrounds lined over and painted,Template:Sfn the CGI was generated with small pieces and hooked together by a computer with "time-consuming effects".Template:Sfn The first object to be tested with CGI was Fagin's trike,Template:Sfn consisting of 18 parts.<ref name="The Making of Oliver 2">The Making of Oliver & Company: 3:22–3:23</ref>

Music

Early in production, there was an attempt to involve the music with the film.Template:Sfn Scribner wrote a "mental note" to not treat Oliver as a musical where the story would "abruptly stop" and "go into a song."Template:Sfn Each song of the film was instead written as an extension of a character.Template:Sfn With each song written with a different composer and producer and a different arrangement date, several producers worked on the soundtrack of Oliver & Company.Template:Sfn Various songwriters submitted songs in different musical styles, but many of them did not fit with the film's premise and were discarded.Template:Sfn

Katzenberg wanted to hire a team of singer-songwriters to provide a song, which included Billy Joel, Barry Manilow, and Huey Lewis.Template:Sfn Schneider felt Katzenberg's idea was a wrong way to approach a musical.Template:Sfn According to Schneider, The Little Mermaid, which was concurrently in development, was the right approach as the film needed "a unifying score and lyrics."Template:Sfn Billy Joel and Bette Midler, who voiced Dodger and Georgette, also performed their characters' songs, "Why Should I Worry?" and "Perfect Isn't Easy".<ref name="Willistein 1988" />

Release

Oliver & 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 (1928).<ref>Template:Cite news</ref> 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.<ref name="disneytwist"/>

Marketing

Oliver & 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.Template:Sfn<ref>Template:Cite news</ref> Katzenberg urged the marketing campaign to focus on the classic Dickens novel and pop music score.Template:Sfn Sears produced and manufactured products to promote the film,<ref name="Fabrikant 1988" /> including Oliver & Company-themed clothes that were mailed in Sears's Christmas catalogs prior to the film's release.<ref>Template:Cite news</ref> McDonald's promoted Christmas musical ornaments of Oliver and Dodger and small finger puppets of the characters in a Happy Meal.<ref name="Fabrikant 1988">Template:Cite news</ref>

For its theatrical re-release in 1996, the film was accompanied with a promotional campaign by Burger King.<ref>Template:Cite news</ref> For the debut home video release, the film was also promoted with consumer rebate and refund offers up to $15 from Kodak, Con Agra Cuisine, and Walt Disney Home Video.<ref name="McCormick 1996">Template:Cite magazine</ref>

Home media

Despite its successful box office performance, Oliver & Company was initially not released on home video, becoming one of the most requested Disney films for a home video release.<ref>Template:Cite news</ref> After its theatrical re-release, Oliver & Company was released on VHS and widescreen LaserDisc in the United States on September 24, 1996, for a limited time,<ref name="McCormick 1996" /> selling ten million copies as of 1997.Template:Sfn The film was also released on home video in the United Kingdom in 1997.<ref name="ukhomevideorelease"/>

On May 14, 2002, it was released on VHS and for the first time on DVD.<ref>Template:Cite news</ref> A 20th Anniversary Edition DVD was released on February 3, 2009,<ref>Template:Cite news</ref> and a 25th Anniversary Edition Blu-ray was released on August 6, 2013.<ref>Template:Cite web</ref>Template:Better source needed Oliver & Company became available for streaming on Disney+ since it launched on November 12, 2019.<ref>Template:Cite news</ref>

Reception

Box office

Oliver & Company and Don Bluth's The Land Before Time opened on the same weekend in the United States and Canada; the latter film debuted at number one grossing $7.5 million in 1,395 theaters while the former opened in fourth place, grossing $4 million in 952 theaters.<ref name="Thomas 1988" /><ref>Template:Cite news</ref> Nevertheless, Oliver & Company out-grossed The Land Before Time with a total gross in the United States and Canada of $53 million<ref>Template:Cite web</ref> compared to the latter's $46 million.<ref>Template:Cite news</ref> In the United States, the film surpassed Bluth's An American Tail as the highest grossing animated film from its initial run.Template:Sfn<ref>Template:Cite news</ref> It was also the first animated film to gross $100 million worldwide in its initial release.<ref>Template:Cite magazine</ref> The success prompted former Disney animation executive Peter Schneider, to announce the company's plans to release animated features annually.Template:Sfn

On March 29, 1996, Disney re-released the film in direct competition with All Dogs Go to Heaven 2,<ref>Template:Cite news</ref> grossing $4.5 million in its opening weekend.<ref>Template:Cite news</ref> It went on to earn $21 million in total taking its lifetime domestic gross to $74 million<ref>Template:Cite web</ref> and its worldwide total to over $121 million.

Critical response

Template:Multiple imageUpon its theatrical releases in 1988 and 1996, Oliver & Company received polarizing reviews from critics. The review aggregator website Rotten Tomatoes reported that Template:RT data of critics gave the film positive reviews based on Template:RT data reviews, with an average rating of Template:RT data, while 69% of audience users gave the film a more positive reception. 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."<ref>Template:Cite webTemplate:RT data</ref> On Metacritic, the film has a score of 58 out of 100, based on 15 critics, indicating "mixed or average" reviews.<ref>Template:Cite web</ref>

The music received widespread acclaim from critics. Many critics, such as Joe Baltake of The Sacramento Bee,<ref name=":1">Template:Cite news</ref> Desson Howe and Rita Kempley of The Washington Post,<ref name="WashingtonPost">Template:Cite news</ref> Bob Ross of The Tampa Tribune,<ref name=":2">Template:Cite news</ref> and Ben Yagoda of Philadelphia Daily News, described the songs as catchy, delightful, and sappy.<ref name=":3">Template:Cite news</ref> Beth Dunlop of The Miami Herald praised the range of the music,<ref>Template:Cite news</ref> while Jack Daugherty of Record-Journal commended it as "one of the most contagious musical scores of any of Disney movie in recent memory."<ref name=":5">Template:Cite news</ref> Why Should I Worry?" by Billy Joel and "Perfect Isn't Easy" by Bette Midler also received universal acclaim. Many critics commended "Why Should I Worry?" and picked the song as a highlight,Template:Efn with Howe picking it as the catchiest song in the film.<ref name="WashingtonPost" /> Others, such as Dave Jewett of The Columbian and Gannett News Service, either reviewed that the song sounded like Joel's "next hit" or deserved to become a single.<ref name=":9">Template:Cite news</ref><ref>Template:Cite news</ref> Critics lauded "Perfect Isn't Easy" for being a show-stopper,<ref name=":5" /><ref name="Canby 1988" /><ref name=":7" /><ref name=":6" /> deeming the song funny, memorable, and petulant.<ref name="Canby 1988" /><ref name=":7" /><ref name=":9" /><ref name=":10">Template:Cite news</ref> Other songs in the film were also highlighted. Along with "Why Should I Worry?", Malcolm L. Johnson of Hartford Courant described "Once Upon a Time in New York City" by Huey Lewis as a "boffo opening number".<ref name=":6" /> Bruce R. Miller of The Sioux City Journal also praised "Once Upon a Time in New York City", considering it an Academy Award contender.<ref name=":4">Template:Cite news</ref> Strickler highlighted "Streets of Gold" by Ruth Pointer as one of the other songs that "stood out" in the film.<ref name=":8" />

Most critics praised the vocal performances by celebrities. Joel's vocal performance as Dodger was generally praised.<ref name="WashingtonPost" /><ref name=":3" /><ref name=":6" /> Animation historian Charles Solomon of The Los Angeles Times and Peter Travers of People praised his performance for giving depth, essence, and tension.<ref name=":11">Template:Cite news</ref><ref name=":12">Template:Cite magazine</ref> Ross commented that Joel played as Dodger "perfectly", highlighting "his New York accent and wise-guy attitude."<ref name=":2" /> However, Miller criticized his vocal performance for having "no real character quirk or a storyline that deserves someone of Joel's caliber," declaring it as the biggest disappointment of the film.<ref name=":4" /> Marin's vocal performance as Tito received acclaim, with many critics highlighting his vocal performance.Template:Efn Miller commended his vocal performance for "giv[ing] life" and twists to the character,<ref name=":4" /> while Connery and Glenn Lovell of Knight-Ridder deemed it flawless and perfectly matched.<ref name=":7" /><ref name=":10" /> Baltake and Lovell (along with Dom DeLuise's performance as Fagin) ranked it as the best vocal performance in the film.<ref name=":1" /><ref name=":10" /> Midler's vocal performance as Georgette also received acclaim. Many critics highlighted Midler's performance, particularly in the musical number "Perfect Isn't Easy".<ref name=":5" /><ref name="Canby 1988" /><ref name=":7" /><ref name=":6" /> with a few critics finding Midler's voice impression of Georgette similar to Ethel Merman.<ref name=":10" /><ref name=":4" /> Vocal performances of other cast members were also highlighted, including Lawrence as Oliver,<ref name=":3" /><ref name=":12" /> Robert Loggia as Sykes,<ref name=":3" /><ref name=":5" /><ref name=":12" /> DeLuise as Fagin,<ref name=":3" /><ref name=":5" /><ref name="Canby 1988" /><ref name=":10" /> Ralph as Rita,<ref name=":3" /><ref name=":5" /> Roscoe Lee Browne as Francis,<ref name=":3" /><ref name=":5" /> and Richard Mulligan as Einstein.<ref name=":3" /><ref name=":5" />

The animation, designs, and its use of computer-generated imagery received mixed reviews. Some reviewers praised the animation for its details and style, including the backgrounds, characters, and the New York City setting.Template:Sfn<ref name=":3" /><ref name=":4" /> Others, such as Vincent Canby of The New York Times,<ref name="Canby 1988" /> Johnson,<ref name=":6" /> and TV Guide, found the animation superior to Saturday-morning cartoons and animation in television.<ref name=":13">Template:Cite web</ref> Miller also lauded the computer-generated imagery in the musical number "Why Should I Worry?".<ref name=":4" /> Other reviewers found the animation uninspired,Template:Sfn with some dismissing the animation and backgrounds as bland, cheap, ugly, and uninviting.<ref name=":1" /><ref name=":2" /><ref name="Canby 1988" /><ref name="Walters 1996">Template:Cite news</ref> Lovell highlighted the inconsistency of the animation, noting that the scene located at the barge "manages the texture and rowdy appeal of some of Disney's animated triumphs", but it became "sketchier and more impressionistic" in scenes featuring the streets and the Foxworth's house.<ref name=":10" /> TV Guide found the computer-generated imagery "relatively stiff and inexpressive".<ref name=":13" />

The film's plot received generally negative reviews. Many critics found the storytelling "witless".Template:Sfn In a divided review, Canby panned the screenplay as "not great", but deemed it serviceable enough to allow the cast to express their distinctive personalities.<ref name="Canby 1988" /> In less complimentary reviews, Johnson and Lovell commented that the story begins to decline in quality throughout the film.<ref name=":6" /><ref name=":10" /> Johnson cited that after "Why Should I Worry?", the film begins to "sink into mediocrity",<ref name=":6" /> while Lovell stated that the story "begins to tread water" in the scenes located in streets and the Foxworth's house.<ref name=":10" /> Walters lamented the "uninvolving" story, highlighting that the "only interesting aspect of the story is how the dogs through their playfully deviant nature tell kids it's [okay] to steal as long as your motives are good and you do it with style."<ref name="Walters 1996" /> In positive reviews, Baltake lauded the story as "one of the liviest for a Disney [animated film] since [One Hundred and One Dalmatians]."<ref name=":1" /> Ross reviewed that the story "moves riotously if not smartly."<ref name=":2" />

In 1991, film historian Bob Thomas wrote that some of the Disney animators he interviewed unfavorably viewed the film as "another talking dog-and-cat movie."Template:Sfn Nell Minow of Common Sense Media gave the film three out of five stars, commenting that the film "has some scary moments, but kids will appreciate the way that Oliver takes care of himself and the way that the dogs take care of him, each other, and their human friend, the hapless Fagin."<ref>Template:Cite web</ref>

Accolades

Award	Category	Result
Golden Globes	Best Original Song	Template:Nominated
Young Artist Award	Best Family Feature Film – Animation	Template:Nominated
Golden Reel Awards	Best Sound Editing	Template:Won

Legacy

Like other Disney animated characters, the characters of the film have recurring cameo appearances in the television series House of Mouse. In the episode "Pluto Saves the Day", Dodger (voiced by Jess Harnell instead of Billy Joel) leads a musical group known as Pet Shop Dogs, formed by other dogs of Disney animated films, also including Tito, Francis and DeSoto, performing the song "Everybody Wants to Be a Woof" (a parody of the song "Everybody Wants to Be a Cat" from The Aristocats).<ref>Template:Cite episode</ref>

Along with other Walt Disney Animation Studios characters, the characters of the film have cameo appearances in the 2023 short film Once Upon a Studio.<ref>Template:Cite web</ref>Template:Better source needed

Bibliography

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