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* ThisIsGonnaSuck: Fagin's reaction the "ransom" Jenny brought to the docks. The look on his face illustrates the realization that the outcome of the night will not end well at all.
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* ThisIsGonnaSuck: Fagin's reaction to the "ransom" Jenny brought to the docks. The look on his face illustrates the realization that the outcome of the night will not end well at all.
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The earliest film in the Disney canon to be entirely conceived and produced under the helm of Creator/JeffreyKatzenberg, the film is somewhat notable for some early use of CGI (mostly to create New York's traffic), and for being the final film in the Disney canon released before the onset of the Disney Renaissance, preceding ''WesternAnimation/{{The Little Mermaid|1989}}'' by only a year. It staffed many new artists who would rise to popularity with Disney's future releases, such as Andreas Deja, Mark Henn and Mike Gabriel. It was one of the first projects that writer/director Creator/JamesMangold (''Film/WalkTheLine'') worked on before going on to earn an Academy Award nomination for the film ''Film/{{Logan}}''. It's also important to note that the moderate success of this film brought back Disney's will to animate musicals, so if it wasn't for "Why Should I Worry", we likely today wouldn't have songs like "[[WesternAnimation/TheLittleMermaid1989 Under The Sea]]", "[[WesternAnimation/BeautyAndTheBeast Beauty And The Beast]]", "[[WesternAnimation/{{Aladdin}} A Whole New World]]", "[[WesternAnimation/TheLionKing1994 Can You Feel the Love Tonight?]]", [[WesternAnimation/{{Pocahontas}} and so on]], [[WesternAnimation/{{Tarzan}} and so forth]], [[WesternAnimation/Frozen2013 etc.]], ''[[OverlyLongGag ad nauseum]]''. In a further foreshadowing of the imminent Renaissance, the film's opening song, "Once Upon a Time in New York City", featured lyrics by Creator/HowardAshman, presumably leading to his more well-known involvement in ''The Little Mermaid''.
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The earliest film in the Disney canon to be entirely conceived and produced under the helm of Creator/JeffreyKatzenberg, Jeffrey Katzenberg, the film is somewhat notable for some early use of CGI (mostly to create New York's traffic), and for being the final film in the Disney canon released before the onset of the Disney Renaissance, preceding ''WesternAnimation/{{The Little Mermaid|1989}}'' by only a year. It staffed many new artists who would rise to popularity with Disney's future releases, such as Andreas Deja, Mark Henn and Mike Gabriel. It was one of the first projects that writer/director Creator/JamesMangold (''Film/WalkTheLine'') worked on before going on to earn an Academy Award nomination for the film ''Film/{{Logan}}''. It's also important to note that the moderate success of this film brought back Disney's will to animate musicals, so if it wasn't for "Why Should I Worry", we likely today wouldn't have songs like "[[WesternAnimation/TheLittleMermaid1989 Under The Sea]]", "[[WesternAnimation/BeautyAndTheBeast Beauty And The Beast]]", "[[WesternAnimation/{{Aladdin}} A Whole New World]]", "[[WesternAnimation/TheLionKing1994 Can You Feel the Love Tonight?]]", [[WesternAnimation/{{Pocahontas}} and so on]], [[WesternAnimation/{{Tarzan}} and so forth]], [[WesternAnimation/Frozen2013 etc.]], ''[[OverlyLongGag ad nauseum]]''. In a further foreshadowing of the imminent Renaissance, the film's opening song, "Once Upon a Time in New York City", featured lyrics by Creator/HowardAshman, presumably leading to his more well-known involvement in ''The Little Mermaid''.
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* DarkerAndEdgier: Well, for 1980s animation, anyway. One critic noted that ''Oliver and Company'' was "the grimiest Disney release ever."[[note]]Presumably, they meant at the time, because if the darkness of this movie did not get overshadowed by ''WesternAnimation/TheLionKing1994'', it probably got overshadowed by ''WesternAnimation/{{The Hunchback of Notre Dame|Disney}}'' later on, obviously ignoring ''WesternAnimation/TheBlackCauldron''.[[/note]] All things considered, it ''is'' noteworthy that, while UsefulNotes/NewYorkCity had been portrayed in animated films many times prior to 1988, it had always been depicted as either glamorous or only "nostalgically" gritty, as in ''WesternAnimation/AnAmericanTail''. Considering the urban setting, only Dodger and Oliver being the sympathetic animals drawn to be remotely "cute", and Fagin's remarkable lack of attractiveness for a sympathetic human character, one may wonder which ''Oliver Twist'' adaptation -- this or [[Film/OliverTwist the live-action film]] -- would be more frightening for children.
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* DarkerAndEdgier: Well, for 1980s animation, anyway. One critic noted that ''Oliver and Company'' was "the grimiest Disney release ever."[[note]]Presumably, they meant at the time, because if the darkness of this movie did not get overshadowed by ''WesternAnimation/TheLionKing1994'', it probably got overshadowed by ''WesternAnimation/{{The Hunchback of Notre Dame|Disney}}'' later on, obviously ignoring ''WesternAnimation/TheBlackCauldron''.[[/note]] All things considered, it ''is'' noteworthy that, while UsefulNotes/NewYorkCity had been portrayed in animated films many times prior to 1988, it had always been depicted as either glamorous or only "nostalgically" gritty, as in ''WesternAnimation/AnAmericanTail''.''WesternAnimation/AnAmericanTail'' (which nonetheless contains a significantly higher quotient of overtly-cute anthropomorphized animals and melodrama to offset these stylistic features); the film's brisker pace and harder-edged character dynamics relative to the numerous slower-paced and more focally-sentimental films previously released by the Mouse likewise renders the film's darker elements more direct and overtly-brutal. Considering the urban setting, only Dodger and Oliver being the sympathetic animals drawn to be remotely "cute", and Fagin's remarkable lack of attractiveness for a sympathetic human character, one may wonder which ''Oliver Twist'' adaptation -- this or [[Film/OliverTwist the live-action film]] -- would be more frightening for children.
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Franchise/DisneyAnimatedCanon entry number 27 released in 1988, about [[Main/TalkingAnimal talking animals]], ''very'' loosely based on Creator/CharlesDickens' ''Literature/OliverTwist''. In a break from the slower pacing and turn-of-the-century settings often favored by prior films in the Disney canon, the film is set in contemporary UsefulNotes/NewYorkCity and heavily rooted (both visually and musically) in [[UnintentionalPeriodPiece late-'80s aesthetics]]. Oliver is an unwanted ginger kitten who isn't even named Oliver until well over halfway through the film's runtime, Fagin's gang is now made up of dogs, including a mongrel named Dodger (as in the ArtfulDodger). Fagin himself is still human, and he's a good guy this time; in fact, he's just some poor schmoe trying to pay off LoanShark Bill Sykes (based on Bill Sikes), the BigBad; here a sinister gangster/[[TheMafia Mafia]] type. The part of Mr. Brownlow is taken by Jenny, a 7-year-old girl who adopts Oliver.
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Franchise/DisneyAnimatedCanon entry number 27 released in 1988, about [[Main/TalkingAnimal talking animals]], ''very'' loosely based on Creator/CharlesDickens' ''Literature/OliverTwist''. In a break from the slower pacing and turn-of-the-century historical settings often favored by prior films in the Disney canon, the film is a brisker, slicker narrative set in contemporary UsefulNotes/NewYorkCity and heavily rooted (both visually and musically) in [[UnintentionalPeriodPiece late-'80s aesthetics]]. Oliver is an unwanted ginger kitten who isn't even named Oliver until well over halfway through the film's runtime, Fagin's gang is now made up of dogs, including a mongrel named Dodger (as in the ArtfulDodger). Fagin himself is still human, and he's a good guy this time; in fact, he's just some poor schmoe trying to pay off LoanShark Bill Sykes (based on Bill Sikes), the BigBad; here a sinister gangster/[[TheMafia Mafia]] type. The part of Mr. Brownlow is taken by Jenny, a 7-year-old girl who adopts Oliver.
