You’ll never go in the water again!  That was the tagline of the monumental blockbuster film Jaws (1975) when it first premiered, and was there ever a tagline that hit it’s mark exactly as it did.  Hollywood was no stranger to creature features.  The whole B-Movie Sci-Fi craze of the 1950’s and 60’s was littered with movies about mankind battling the forces of nature as they run amuck.  But, Jaws was very different from those classics of the past.  It was grounded and devoid of campy cheapness.  It was a film that managed to transcend the the creature feature genre and grab a hold of it’s audience in a way that the industry likely did not expect.  It was a movie that made it’s premise feel real, and for a time, it did in fact make people afraid to go into the water.  Jaws was adapted from a novel of the same name by Peter Benchley, who had a part in adapting his own book into the screenplay alongside screenwriter Carl Gottlieb.  While the story had some of the same tropes as many other creature feature stories, Benchley’s novel rooted it’s premise in a far more grounded story about the people charged with saving their town from a rabid great white shark.  It’s a simple story, but enriched with not just the man vs. nature aspect but also with the friction that occurs between the people involved as they embark on their quest.  It’s just as much a character study as it is a story about hunting a shark.  While the movie had a lot of potential to be a fun action adventure, it would achieve a much greater status in the annals of movie history by falling into the right hands at the right time.  Jaws status as a classic is inexorably tied to the personal growth of the filmmaker who made it; Steven Spielberg.  Jaws was the movie that propelled him to the next level as a filmmaker and he wouldn’t be the icon that he is today 50 years later had it not been for the trials the he was put through in the making of this movie.

Steven Spielberg was an ambitious go-getter right from the start of his career in Hollywood.  Legend has it he snuck off of the famous Universal Studios tour when he was a teenager and wandered around on his own.  He was spared from disciplinary action after a film librarian at the studio was impressed by his ambition and he was granted a three day pass to revisit.  That three day pass expanded into a full time gig as Spielberg became a regular assistant on the studio lot.  He used his odd jobs to help finance a short film called Amblin‘ (1968), which got him noticed by a Universal executive named Sid Sheinberg, who signed the then 20 year old filmmaker to a 7 year contract.  Spielberg would direct several episodes of TV series made on the Universal lot, and he won high marks for his professionalism and ability to run productions on time and on budget.  Spielberg eventually got his chance to direct feature films for Universal, which included the critically acclaimed films Duel (1971) and The Sugarland Express (1974).  But while these movies were well regarded, Spielberg hadn’t had that big break out hit that would turn him into a household name and give him the creative freedom to do what he wanted as a filmmaker.  Thankfully, he still had the favor of Sheinberg, who by 1971 had elevated to the position of President at Universal Studios.  And it was not long after that the novel Jaws was optioned by the studio.  Based on Spielberg’s success with the movie Duel, which featured a story about a man being hunted by giant freight truck, Sheinberg believed that Steven had what it took to make this story about a killer shark work on the big screen.  Spielberg was more than happy to take up the challenge, but given what happened over the next couple years, Spielberg may have had some second thoughts about the assignment.

The making of Jaws was to put it lightly a bit of a “shit show.”  As skilled as Spielberg was up to this point, he had yet to make a movie as complicated as this one.  For one thing, half of the film was going to be set out in open water.  While you could do some of that on a studio controlled flood tank, of which Universal actually has one of the largest in the world, Spielberg believed that you needed the authenticity of being stranded out in the middle of open sea to really convey the terror of the shark’s presence.  So, the production set up shop in Martha’s Vineyard, with the small island community playing the part of the fictional Amity Island from the novel.  The sleepy, tightly knit community provided a good setting for the production of this movie, but it also was a crucial lifeline for the film once it moved into it’s oceanic phase.  In order to make it look like they were out in open water, they had to film several miles out in order to make the island disappear over the horizon.  But Martha’s Vineyard also had the benefit of having shallow waters all around it in a twelve mile radius, with the bottom being only 30 feet below the surface, making salvaging much easier if something went wrong.  And that it did.  Not only were they confined to filming on boats for most of the film shoot, but they were also dealing with three mechanical sharks that would be playing the monster.  Two of the sharks were open on opposite sides in order to create greater mechanical movement depending on the shot and the angle they were capturing it from, while the third was fully skinned and meant to bob up and down in the water, mainly for the shots showing it swimming.  But these sharks would prove to be a nightmare to maintain.  Filming out in the open sea meant that the salt water would constantly wreck havoc on the mechanical instruments puppeteering the sharks, and the sharks would constantly experience multiple issues that delayed shooting for extensive lengths of time.  Salvaging the sharks from the sea floor was also a common occurrence.  The shark problems being a constant nuisance throughout the film shoot caused Spielberg to jokingly name the sharks Bruce, which was the name of his lawyer.

Given all the production woes, Spielberg was constantly worried that he might have the project taken away from him.  He had gone from delivering on time and on budget to massively going over schedule by weeks.  But, it was through these trials that Spielberg really found himself as a filmmaker, developing skills that would carry him through the rest of his career.  While the sharks were giving him trouble, Spielberg used this opportunity to become a problem solver.  He would fill the down time between shooting with the sharks by working on shots that would build the atmosphere of the movie.  His team devised a scene that was not in the original script where Richard Dreyfuss’ character Hopper conducts an underwater investigation of a boat that was potentially attacked by the shark.  The scene is famous for a jump scare as a severed head pops out of one of the holes in the haul of the boat.  So while the scene doesn’t show the shark itself, you still get a sense of the terrifying power it holds after seeing what ends up to it’s victims.  And through all of this, Spielberg learned that it actually worked to the movie’s benefit to show as little of the shark as possible, which helped to make the shots later in the film when he does appear have a lot more impact.  They would only be able to get a handful of shots of the sharks actually working, but they would not be wasted, and thanks to the expertly handled building of dread throughout the film, Spielberg achieved his goal in making the shark absolutely terrifying.  It’s all a trick of signaling the presence of the shark without actually seeing him.  There are several underwater shots that signify the shark’s point of view as we see him swim up towards his victims who are bobbing around on the surface.  Then the movie cuts to the actors as they react to the shark capturing them in it’s razor sharp bite.   Couple this with John Williams’ iconic pulse-pounding musical score that signals the dreaded presence of the shark, and you’ve got a perfect recipe for making us forget that this is just some mechanical shark.  In the end he becomes almost as terrifying as the real thing, and we only ever get 4 total minutes of screen time with him.

But it’s not just the shark that makes Jaws an iconic movie.  Steven Spielberg also lucked out in getting the right actors for the part.  An interesting side note about the director’s history with the source novel is that when Spielberg first read it, he found himself rooting for the shark because he found the human characters so unlikable.  One of the great things about this movie adaptation is that Spielberg managed to make the human characters relatable and worth following to the end of the story.  And it mattered to have the right actors in the rolls too.  Roy Scheider was already a well respected up to this point in his career, having already garnered accolades for his work in the Oscar-winning The French Connection (1971).  He would provide the perfect everyman element to the character of Sheriff Brody.  Rising star Richard Dreyfuss would also bring a wonderful kinetic energy to the film as the cocky, self-made shark expert Hooper.  The working experience between Spielberg and Dreyfuss must’ve really been fruitful as Spielberg would cast him as the lead in his next film, Close Encounters of the Third Kind (1977).  But perhaps the most memorable character to come out of the film was the mysterious Captain Quint, played by an absolutely magnetic Robert Shaw.  Quint enters the film with one of the most memorable introductions in movie history, scrapping his nails across a chalk board in order to get the townsfolk’s attention at a community meeting, and with his salty Irish brogue he delivers a character that’s as tough and mean as the shark he hunts.  With echoes of Moby Dick’s Ahab, Quint becomes just as much of a wild card in the story as the shark, and his dynamic in contrast with the two more pragmatic heroes helps to give the movie personalities that are indeed capable of being interesting, independent of the shark.  One of the greatest additions to the film’s story is the scene where the three men have a bonding moment in between shark attacks and share their own stories to each other.  Here, Quint tells the other two about his time on the ill-fated U.S.S Indianapolis; a ship famous for sinking in shark infested waters after delivering the atomic bomb to the navy posted in the Pacific.  The monologue Quint delivers, which was written by an uncredited John Milius, is chillingly told by Robert Shaw, creating one of the movie’s most iconic moments.  Through that and many more moments like it, Spielberg managed to make this more than just a creature feature, but a truly human story about survival in the face of overwhelming terror.

In the end, the movie went overschedule by a staggering 100 days.  Spielberg was worried that this would be the movie to end him, just as he was finally starting to get a foothold as a filmmaker.  No studio would ever hire a director who ended up going three times over schedule like that.  While he still had the favor of Sid Sheinberg at Universal, that might’ve ended as well if the movie failed to recoup it’s costs, which also went massively over budget.  This was going to be the final film on his contract anyways, and there would be no need to renew if they couldn’t trust him anymore.  So, with a lot weighing on his shoulders, Spielberg would assemble his film together in the editing room, hoping that all that hard work translated into a coherent film.  The movie was orignally slated for a Holiday 1974 release, but because of the delays that the film shoot suffered, Universal had to push the release to Summer of 1975.  This was seen as a bad omen for the movie.  Back in those days, summer was seen as a dumping ground for the movie studios as films that were always considered valuable were released towards the end of the year, hoping to garner awards attention.  Summer movies were the throwaway genre flicks that the studios didn’t see much value in since they never grossed as much as the prestige films.  But, things would be different for Jaws.  The delay almost became a blessing in disguise because it not only gave Spielberg the right amount of time to assemble a stronger movie out of his edit, but by the time the film was released, it would be playing in a less crowded field at the box office with no relative competition.  The film opened on June 20, 1975 in one of the widest releases seen up to that point.  Initially wide releases were reserved for maximum saturation for films that studios had no faith behind, but for Jaws, a movie that received instant critical acclaim and wide audience interest, it would be a foundational shake-up for the industry as a whole.  Jaws became a monumental success at the box office, shattering every record in the books, including becoming the first film ever to cross the $200 million mark in it’s original release.  Jaws not only was a success story, it also fundamentally changed Hollywood forever.

If there was anything that has come to define Jaws in the annals of movie history, it’s that it started what would later become known as the era of the Blockbuster.  While Jaws wasn’t the movie that helped to coin the term blockbuster, as previous films like The Sound of Music (1965) and The Exorcist (1973) also were given the label, it was nevertheless seen as the movie that would usher in a new era where movies like it would be the driving force in the commerce of Hollywood.  After the fall of the old studio system and the rise of New Hollywood, the driving force in Hollywood through much of the 60’s and 70’s was auteur driven films from the newest crop of maverick filmmakers like William Friedkin, Brian DePalma and Martin Scorsese.  Spielberg came up through this generation, but he was also set apart from it given his studio connections.  With the success of Jaws, the studios began to fall out of favor with the auteur driven cinema of New Hollywood, which was already starting to see declining returns due to out of control productions like Sorcerer (1977), Apocalypse Now (1979) and Heaven’s Gate (1980).  Now they wanted to have the next Jaws.  There were plenty of cheap copycat movies that tried to capitalize on Jaws success, like Orca (1977) and Piranha (1978), but it wasn’t another Jaws clone that would continue the Blockbuster era into the next decade.  Spielberg’s friend and colleague George Lucas would follow Jaws’ example by releasing his new space opera adventure film Star Wars (1977) in the summer season, and in the end, he too would see a phenomenal success during it’s release, even surpassing the record setting grosses of Jaws.  In the years that followed, the Summer season was no longer viewed as Hollywood’s dumping ground, but would instead be where Hollywood would premiere their biggest tentpoles, capitalizing on audiences off all ages that were out of school and looking to cool off from the summer heat.  And both George Lucas and Steven Spielberg would continue to feed the studios’ appetite for new blockbusters, delivering more in the coming decades with big franchise like Indiana Jones, Back to the Future, and Jurassic Park.  But all of this change was the result of the turning point that Jaws marked with it’s massive success in the face of all the factors that worked against it.

Steven Spielberg may have been the man who sparked the beginning of a new era in Hollywood, where the Blockbuster would come to dominate, but Jaws was also the movie that forged him into the kind of filmmaker that would continue to survive and grow in the changing Hollywood landscape as well.  The challenging and mostly frustrating production of the movie would be his trial by fire as a filmmaker, and out of it he developed problem solving skills that have made him the most consistent and reliable filmmaker in the business.  Spielberg became the great instinctual storyteller that he is today thanks to the creativity he had to rely upon in order to make Jaws come together.  And even after 50 years, Jaws still is the thrill ride that brings you to the edge of your seat and hasn’t lost any of it’s, shall we say, “bite” over the years.  It’s gone on to have this legendary aura around it, becoming one of the most oft-quoted movies in Hollywood history, especially with Roy Scheider’s now iconic ad-libbed line, “You’re gonna need a bigger boat.”  You can still see regular screenings of this film in cinemas all over the world, including a recent one at the TCM Classic Film Festival in April where it played with a pristine 35mm print at the Egyptian.  It also has managed to become a mainstay at the Universal Studios lot in Hollywood, where the Studio Tour has a brief encounter with Bruce the Shark as a part of it’s showcase.  But that’s not the only lasting legacy of Jaws at Universal.  While Spielberg has gone on to make movies at every single studio in Hollywood, he still considers Universal his home base, and when he set up his own production company Amblin Entertainment, he chose to set it up on the Universal lot, next to the bungalows that he once worked out of as a page boy and assistant all those years ago.  You can still see Amblin’s offices just off the main route of the Studio Tour to this day.  Jaws made the Spielberg that we know today, and though it may have been a nightmare at the time, there’s no doubt that Spielberg is proud of what he accomplished with the film.  Those grueling 150 days of shooting set the stage for the next 50 years of Spielberg’s life and he’s still not done yet.  We may have been afraid to go back into the water that fateful summer, but we’ve always returned back to this movie again and again, and that will continue for the next 50 years as well.

It is really quite interesting looking at a movie like Brokeback Mountain (2005) in the context of the 20 years since it’s release in theaters.  For a lot of things, it was a pivotal film for many different things.  It solidified director Ang Lee as one of the industry’s greatest filmmakers, earning him his first Oscar for directing, a landmark as the first Asian filmmaker to win that prestigious honor.  It was also a crucial film in the budding acting careers of Jake Gyllenhaal, Anne Hathaway and Michelle Williams.  It was also a major touchstone in the all too brief body of work for actor Heath Ledger who sadly would be lost to us in a short couple of years after his appearance in this film.  But, above all else, Brokeback Mountain stood as a monumental step forward for queer themed movies in Hollywood.  In the 20 years since this movie came out, there have been many social progressions in queer representation in cinema, with the presence of queer characters and storylines no longer being niche, but rather a natural part of the fabric of the culture.  But, 20 years ago, things were quite different, and Brokeback Mountain stood out much more as a provocative statement in it’s time.  Over the years, we’ve seen attitudes change, and it puts Brokeback into a different frame now in retrospect.  Does it still resonate with a culture that has seen so much change in 20 years, or is it becoming more of a relic of it’s time.  There are many ways to dissect Brokeback Mountain as a work of cinema, but it’s place in queer cinema is where it has stood out the most.  It certainly wasn’t the first movie centered on queer themes to be made, nor even the first mainstream film to center on queer characters.  But it perhaps was the most profound statement made in it’s time about how Hollywood as a whole wanted to deal with queer rights in society which was to be fully supportive of it.  And that was crucial as the fight for queer rights in America were reaching a breaking point.

One of the  most provocative things about Brokeback Mountain was that it was telling an overtly queer story in a genre that typically was associated with hyper masculinity; the Western.  The movie was adapted from a short story written by American author Annie Proulx.  It covers the story of two cowboys named Ennis del Mar and Jack Twist who are hired to herd sheep in a grazing range near the titular Brokeback Mountain in Wyoming.  Out in the middle of nowhere with only each other for company the two form an attachment which eventually turns into sexual desire.  After the weeks long assignment ends, the two men go their separate ways.  They both find new lives and jobs, get married and have children.  But, there’s always that nagging draw in the back of their minds about the time they spent alone at Brokeback Mountain.  They eventually reunite, and sneak away on camping trips which cover for their romantic flings.  Over time, this secretive arrangement they’ve made for themselves takes it’s toll on their relationship as well as on their marriages.  They know that if their secret gets out, it’s more than just public shame for them; in certain parts of the country it also means death.  For the sake of their sanity and what’s left of their relationships with their broken families, they part ways for good.  Years later, Ennis learns that Jack did in fact run afoul of the wrong kinds of people who looked down on their love, and it leaves an empty place in his heart now with no one else to share his secret love with.  Annie Proulx wrote her story as a reflection of what she observed in rural North America.  She would spot lonely men in country bars who often appear to be looking at the other men, but had to put on a rugged exterior in order to throw off suspicion.  She didn’t know for sure what these men were hiding, but it gave her the inspiration for writing about cowboys who had to hide their secret homosexual desires behind the aesthetic of a rugged outdoorsman, as she stated herself in an interview, “I watch for the historical skew between what people have hoped for and who they thought they were and what befell them.”

Her short story was acclaimed when it was first published and immediately garnered the attention of screenwriter Diana Ossana.  Ossana sought Annie Proulx’s approval to adapt the story into a feature script, which Proulx agreed to despite reservations about whether it could be done.  While Ossana was an accomplished writer in her own right, she also had a writing partner on this screenplay that would be crucial for the adaptation; acclaimed writer Larry McMurtry.  McMurtry was very much the godfather of modern Westerns with an impressive body of work that included dozens of novels and short stories.  He’s perhaps best know for his Lonesome Dove series, which was turned into an acclaimed TV mini-series starring Tommy Lee Jones and Robert Duvall.  Movies that were based on his novels have also become classics, including neo-Westerns like Hud (1963) and The Last Picture Show (1971).  McMurtry and Ossana had collaborated on a few novels before and they had a great rapport together.  Larry loved the story that Ossana brought to him with Brokeback Mountain, and he had the Western bona fides to give it that genuine rugged American cowboy flavor.  They completed their screenplay almost a year after the original publication of the story in 1998, but the film would languish in development for a couple years.  Hollywood was still hesitant to invest in a provocative and unapologetic story about gay love, especially as the conservative Bush administration was coming into power.  New Queer Cinema icon Gus Van Sant expressed interest in the script for a while, with the intent of casting Matt Damon and Joaquin Phoenix in the roles of Ennis and Jack.  That eventually fell through as Gus became more intent on filming his Harvey Milk biopic project instead.  Eventually, producer James Schamus at Focus Features decided to take a chance on the film, and he handed it over to his long time collaborator Ang Lee.  Lee was an interesting choice to tackle this project, as he was very versatile filmmaker.  In between this and his Oscar nominated martial arts epic Crouching Tiger, Hidden Dragon (2000), Lee was just coming off his failed attempt at a Marvel super hero movie, Hulk (2002), proving that he was open to making any kind of movie regardless of genre.  It wasn’t Lee’s first attempt at a queer themed storyline, which was 1993’s The Wedding Banquet, but it would be his first attempt at a Western.  Still, Brokeback Mountain had extraordinary luck in not only having a team of prestige writers and filmmakers in their corner, but with Focus Features involved they were getting the backing of a major studio as well.

Brokeback Mountain was released at a very crucial time in American society.  We were entering a hotly contested debate over the matrimonial rights for gay and lesbian couples in the United States.  In 2004, Massachusetts became the first US state to recognize same-sex marriage as a legal right for it’s citizens.  This set off a firestorm from the religious right, saying that it was an affront to “traditional marriage,” and they began to push back on this groundbreaking advancement in gay rights.  Unfortunately for many in the queer community, the anti-gay right wing had the political muscle to get push back.  Republican president George W. Bush and his administration used this as a wedge issue in their re-election campaign and were pushing for more bans on same-sex marriage across the country.  Sadly, the majority of states did ratify these bans into law, including deep blue California with their controversial Proposition 8.  There was even a move to write a ban of same-sex marriage into the Constitution with a “traditional marriage amendment.”  This was the flashpoint that Brokeback Mountain was brought into; a moment where the debate over same-sex marriage was the primary focus of the American “culture wars.”  In a way, this was both a blessing and a curse for the movie.  One, it was a prestige film that was going to garner more attention because the subject it was tackling was very much a focal point of the cultural conversation at the time.  But, it was also going to become the poster child for this same era of conflict, and become the target of the same backlash that the queer community was facing during this time.  The movie would be the talk of the town, but also the focal point of a debate that it may not have been built for.  Regardless, the movie premiered to critical acclaim when it first released in the Fall of 2005, and it was for the longest time seen as the clear front runner in the Oscar race for that year.  It’s eventual loss to Crash (2005) of course would set off another firestorm of it’s own.

The Oscar controversy aside, Brokeback Mountain would have a more lasting effect on the industry that did lead to profound change not just in Hollywood, but in the culture as a whole.  With a solid box office and substantial collection of awards to it’s credit, Hollywood was finally seeing that queer themed films were actually quite valuable and worth investing in.  This was helpful for Gus Van Sant’s previously mentioned Milk (2008), which became an Awards season success just a few short years later.  But it wasn’t just with prestige films that we were seeing this change happen.  The stigma of queer representation in movies became less and less of an obstacle and more of a feature of the industry.  Gay characters were popping up more and more on the silver screen and on television, and not just as a stereotype there to be made fun of.  The same evolution was also happening across the country, with a backlash starting to grow against the backlash to queer rights.  The incoming Obama administration took a much different approach towards the LGBTQ population.  While initially playing things down the middle, then Vice President Joe Biden stirred the conversation again by rightly pointing out how absurd these same-sex marriage bans were.  Eventually the administration embraced the idea of decriminalizing same-sex marriage, and California’s Prop 8 was declared unconstitutional by the Supreme Court, thereby nullifying all bans on the books and making it legal in all 50 states.  How much Brokeback Mountain had a hand in this change is uncertain, but the movie certainly put focus on the conversation that was desperately needed, and perhaps helped to strengthen the resolve of Hollywood to no longer ignore this very vital community in the culture at large.

It is a much different world now than it was back when Brokeback Mountain was first released into theaters.  Attitudes towards same-sex relationships have certainly changed.  The stigma around same-sex marriage is almost completely gone, with now a vast majority of Americans having a positive opinion about it, with only the most rabid religious fundamentalists having any issue with it today.  Even still, there is still a lot of people out there trying to silence and erase queer voices in media.  The Trump administration in particular has courted many people intent on rolling back queer rights into his government, while also hypocritically proclaiming himself to be an ally for the queer community.  The times have changed, but a movie like Brokeback Mountain faces a challenge in trying to remain a relevant factor in this conversation.  Does it hold up in these changing times.  One thing that has negatively effected it’s place in queer cinema is surprisingly the way it deals with the relationship between it’s two characters.  One of the ways that Hollywood has dealt with garnering sympathy for the rights of queer people in society is to turn their stories into tragedies.  It does play into the underdog aspect of wringing sympathy from the viewer towards the plight of this persecuted community, but it does also send the wrong message to people who are still struggling with their identity.  This is what a lot of people today identify as the “kill you gays” trope, where a gay character is often doomed in the narrative as motivation for the plot.  Queer people don’t deny that the hardships of their struggle for rights need to be documented, but they also believe that these stories should also be balanced with stories of affirmation and triumph as well.  The fact that Brokeback Mountain ends on such a downer may be crucial for it’s own story, but what kind of message does it send to a young viewer still struggling to come out to see that queer relationships often end in heartbreak or tragedy.  It’s perhaps why much more queer themed movies today try to show more triumphant stories about love and adversity than the tragedies that often flavored their presence on the big screen before.  It also helps that many more of these movies are coming from a more insider perspective, made by queer filmmakers for the purpose of being inspirational.  Annie Proulx, Diana Ossana, Larry McMurty and Ang Lee are all well-meaning in telling this story, but they are also coming at it from an outsider perspective, which comes across as being more about pity than anything else.  It’s a good thing that we are moving beyond movies like Brokeback Mountain and presenting queer characters and storylines that don’t have to be marked by tragedy in order to be successful.

It works much better to look at Brokeback Mountain on it’s own merits as a story about love blossoming in the unlikeliest of places.  Ang Lee’s involvement serves well here, because he is never once trying to thrust the message of the movie to the forefront.  He presents the film as an unexepected love story framed within the aesthetic of the American West, and how that contrast plays out.  There’s no cinematic flourish to the love-making scenes in the movie; they play out in a very realistic way, with both men not really knowing exactly what to do in the situation.  There’s a naturalistic flow to Ang Lee’s direction, with him playing the scenes out as honest to life as possible.  It’s not a titilating movie or a preachy one either.  He’s concerned first and foremost with the lives of these characters, and how the forces of society are weighing down on them.  It helps that his actors approached the material with the same kind seriousness.  The film’s most standout performance, however, belongs to Heath Ledger.  Ledger, who had been a rising star in Hollywood for some time, was finally given the oppurtnity to play a role with great emotional depth, allowing us all to see what he really was capable of as an actor.  And we saw the making of a superstar with this performance.  Ledger’s performance as Ennis del Mar is a total transformation, showing emotional depth and command over a character that is truly impressive.  You also don’t even feel like he’s acting, as he just embodies this character wholly.  It’s through his performance that we especially feel the schism between the way a man like him presents himself publicly, with a stoic cowboy exterior, and how he feels internally with his desire to embrace the man he loves.  Jake Gyllenhaal’s performance is a bit showier and doesn’t quite stand up as well as Ledger’s, but the chemistry between the actors still works.  The real surprise though is Michelle Williams as Ennis’ lovelorn wife Alma.  The actress, who up to that time was most well known for the primetime soap Dawson’s Creek,  was finally given the chance to act in a film where she could really show her dramatic chops, and she has since become one of Hollywood’s most celebrated and awarded actresses.  Sadly, Heath Ledger was unable to see the legacy of his performance play out after his untimely death in 2008.  But there was one positive outcome of his work in this movie that still literally lives on to this day.  Both Ledger and Williams fell in love during the making of this movie, and they had a daughter together named Matilda who was born in 2005, right when the movie was hitting theaters.  Now 19 years old, Matilda is carrying on the torch of her late father and keeping his memory alive.

It’s undeniable that Brokeback Mountain is a pivotal film in the history of queer cinema, but it’s also a good thing that Hollywood has also moved past it.  As queer themes have become more mainstream in movies not just on the outskirts of Hollywood, but by the actual studio system itself, the more provocative films of the past now look like time capsules of a different time period, when things were not so great.  But, that also doesn’t mean that these films should be forgotten either.  We need to still see where we once were to know how far we have come.  Brokeback Mountain was made to make a statement at a crucial time when it almost looked like we were about to enshrine discriminations against same-sex relationships into the Constitution itself.  With gay marriage now not just the law of the land, but also embraced by the vast majority of Americans, the statement made by movies like Brokeback now seem quaint and irrelevant.  But, complacency often leads us to forgetting the importance of our hard fought for rights and it can lead to an erosion of those rights over time if we are not careful.  That’s why movies like Brokeback Mountain are still important, because it reminds us of the struggle and what it took to get where we are as a community.  When it first came out, Brokeback Mountain was undeniably provocative and stirred a conversation worth having.  As a young twentysomething closeted gay man when this movie first came out, I too struggled with how to respond to it.  I shamefully tried to dismiss it too, running away from my own feelings because the movie was very much showing me the struggle that came with being queer in America.  But over time, I saw why the struggle was necessary and I was able to accept who I am without fear, and in turn, I accept the movie much more now as a cinematic milestone.  I acknowledge that I am a better man today, and while I still have some reservations about the movie (particularly with it’s tragic gay tropes), I do now wish to celebrate it for what it did for queer representation in cinema.  Back then, some of us wished we could quit Brokeback Mountain, but now with the world once again challenging our rights in the queer community, we need this movie and the many more films of the Queer Cinema movement to inspire us to fight for a better future again.

Hollywood, like the rest of society, is prone to major moments of upheaval whenever major breakthroughs are made in technology.  Just look at the history of cinema and how it responded to new things like synchronized sound, television, and the internet over the last century.  Some corners of the film industry manage to find their footing by embracing new technology, but there are others who are not so lucky.  The advent of sound put a lot of actors out of work because they didn’t have the right voice for cinema and their style of performance that was geared towards acting through silence was seen as old fashioned.  Computer Animation in the digital age also shook up the world of visual effects, where craftsmen and women who developed elaborate practical effects that were shot live on set were suddenly replaced with blue screens that would later be filled in with CGI by technicians working at a computer stand months later.  Not to say that these new technologies were all a bad thing.  New tools allowed cinema to grow and evolve, which was in the long run a positive for the industry.  But, disruptions aren’t accomplished without a cost to the old ways of doing things, which in of themselves were also instrumental to helping to build the artform.  Sound helped the movies talk, but we also lost the bold experimental storytelling of the silent era movies.  Computer animation brought some amazing visuals to the big screen that couldn’t have been done with just practical effects, but it also has led to a lot more movies feeling artificial compared to the tactile physical effects that were hand crafted.  And the biggest cost of all, big disruptions also put a lot of people out of work; many of whom who were specialized in some fields that sadly phased out.  It’s unfortunate, but that’s the cycle that Hollywood has gone through in it’s entire history.  And there are more disruptions to come in the future.

The one that is especially worrying the industry right now is the beginnings of what is being called an AI Revolution.  Many start-up companies, and also ones with ties to already established tech giants like Google and Meta, are making significant advancements in the development of Artificial Intelligence.  This is far more than the Siri and Alexa assistants on our smart home devices.  The newer AI programs are starting to perform more complex functions including autogenerating text responses to any prompt you give it.  ChatGPT has become a widely used app that people now use for content creation, which can be anything from a text response to a full length speech.  These text prompts are now finding their way into many different written documentation, including term papers, website pages, and most worrying to professionals in the film industry, screenplays.  At the moment, the technology isn’t perfect and some of the robotic sounding phrasing of ChatGPT’s text prompts betrays it’s artificiality.  But, like most artificial intelligence, it learns as it develops, and the imperfections are getting harder to detect.  The presence of an AI that can produce long form amounts of text is one thing, but what is especially worrying is the advancements made in visual AI technology.  Now a text prompt can generate a visual image and more recently, we’ve also seen it create moving images.  There’s talk that this will be the technology that will ultimately destroy Hollywood and the film industry as we know it, and the sad reality is that there is a possibility that it could, depending on how it is used.  It should be noted that AI isn’t advanced enough yet to replace the actual art of physically making a movie, but it’s also a technology that’s still in it’s infancy and growing up very fast.

For those wondering why Hollywood was brought to a standstill 2 years ago with the dual strikes of the WGA and SAG-AFTRA, this was a big reason why.  The guilds of Hollywood were seeing what Silicon Valley was doing with their big push into AI, and they wanted to establish some guardrails before it put a lot of current and future careers in jeopardy.  Thankfully, the studios and the guilds agreed to new standards when it came to due compensation if someone’s likeness or written work was used in any AI programming, but development into AI technology within the industry was still allowed to continue.  It’s not just the main guilds that are getting affected by this new tech, but every other below the line profession as well.  If you could just make a movie in a computer that looks about as real as anything that was shot on a set, well that risks the jobs of camera operators, lighting technicians, set builders, make-up and hair dressers, truck drivers and caterers, all whose livelihoods are dependent on there being a steady stream of new films and shows being made.  But, the big movie studios would also like to cut their costs, and making movies and shows with fewer people involved is something that sounds appealing to them.  The rise of streaming saw a giant ramp up in production across the industry, but it also blew massive holes into the budgets of the companies that own the platforms as they were all in an arms race to have the most “content” available for their customer base to watch.  The promise of AI being a cheap alternative is something that would appeal to lot of studio execs who have had to write a lot more paychecks over the last decade.

There’s one big issue with trying to use AI as a replacement for physical filmmaking, beyond the obvious one that AI made films still look fake.  Artificial Intelligence, in order to function, must assemble data from the internet in order to create the desired product of it’s prompt’s request.  It’s the one thing that AI still is incapable of accomplishing which is an original idea.  It can imitate, but it can’t create something whole cloth that is new.  So, when we see something that resembles a movie that was developed using AI, there’s a noticeable lack of visual ingenuity.  The image we see is a cobbled together amalgamation of many other things.  There was a demo released on the internet a couple months back of a cinematic car chase that was entirely made using AI.  Some AI enthusiasts said that this was the death of Hollywood, but closer inspection of the visuals in the clip showed how visually inconsistent the actual clip was.  The driver behind the wheel changed appearance multiple times and even the model of the car differed in various shots.  And the streets that it was driving through also had various weird things going on in the background.  The technology may advance to a point where these inconsistencies may be smoothed out, but it doesn’t address the big problem all together.  There’s a general lack of authenticity to the visuals that AI creates.  To make a story that connects with an audience, it takes a human touch to know things like the Mise en Scene of the shot they are constructing and how to edit the shots together for emotional impact.  AI only follows what it’s instructed to do, which doesn’t follow an emotional current.  That’s why it’s visual language is random.  Also, by combining data off of the internet, AI also runs the risk of cannibalizing data that was created by other AI programs, and that often leads to corrupted results that can sometimes appear nightmarish.

The big question is, will audiences care if they are fed more content that is AI generated.  We are seeing a test run of this phenomenon play out currently in our media landscape.  Social media has been flooded with a ton of AI generated images.  Many of them are absurdly artificial and can be easily identified, but the worrying ones are the ones that are trickier to spot.  The especially worrying aspect of AI is how it’s seeping into the world of politics.  Many bad faith actors are using AI for propaganda purposes, creating false images that can feed into misinformation campaigns.  A lot of altered images are easy to swat down now, but as technology improves, it will be more difficult and we will find ourselves living more in a post-truth world.  It becomes even scarier when moving images come into play.  Are people more discernable when it comes to noticing things that aren’t real in visual media?  There’s this thing in computer animation known as the “uncanny valley” where the animation that’s created in a computer attempts to feel as lifelike as possible but reaches a state where the likeness becomes off-putting and repulsed by the viewer.  This was a big reason why motion-capture animation never was able to take off; at least as a replacement for standard computer animation.  The brief period where Hollywood tried to make motion capture a thing, which was spear-headed by filmmaker Robert Zemekis with films like The Polar Express (2004) and Beowulf (2007) is not looked back upon with favorability and thankfully died off pretty quick.  But, motion capture does survive in a way as a tool to mix realistic digital characters with live action ones; such as those in the Avatar movies.  AI’s future could run a similar course where audiences reject it as a full replacement for the art of cinema and instead sees it used as a tool in the arsenal of digital artists in the future of visual effects.  The future either way is still uncertain, but for everyone’s sake, it’s better if AI on it’s own is not a catch all fix for all of Hollywood’s problems.

The thing with AI technology is that it’s only bad when used in a bad way.  There are ways that Hollywood could implement AI technology in a beneficial way.  Streamlining the visual effects process is one example where it’s benefits can be useful.  One of the big problems facing the film industry today is the overworked and underpaid labor in visual effects.  So many digital artists are forced into this “crunch” culture of digital rendering, meaning that many of them are working round the clock in order to deliver their rendered shots on time under sometimes unrealistic deadlines.  Many digital artists find it difficult to work under these conditions and it’s only gotten worse in the rise of streaming.  Over time, it’s led not just to a downgrade in quality visual effects for many projects, but a workforce that often has succumbed to bad health due to the long hours as well as a more toxic work environment.  Some AI programs that can carry some of the workload in limited areas could indeed help many of these digital artists meet their deadlines without there being a dip in quality as well as giving them a better work experience as a whole.  There are a lot of applications where it does seem like a little AI assistance could be beneficial, but because people in the industry are wary of what the introduction of these tools may end up replacing, it’s difficult to be nuanced about the good aspects of AI.  We saw one controversy erupt last year when it was revealed that AI was used by the film The Brutalist (2024) in it’s production.  The Brutalist, which was a mostly hand-crafted low budget film, used AI for one specific reason, which makes sense when you learn more about it.  The film’s editor, David Jancso, wanted to have the lead actors sound more authentically Hungarian like their characters should.  Jancso, who is Hungarian himself, used an AI program named Respeecher, which allows someone to mask their own voice with another one entirely.  This is a program that has been used before by Lucasfilm to replicate James Earl Jones’ voice for new lines for Darth Vader, and in The Brutalist’s case, Jancso used his own correct annunciation of Hungarian vowels to fix the line readings of Adrain Brody and Felicity Jones in the movie.  Their performances are still authentically their own, but Respeecher allowed their Hungarian to sound closer to what it should be.  Still, this stirred a bit of controversy and it’s a small possibility that it might have cost the film the Best Picture award at the Oscars.

It is healthy for the Hollywood community to be skeptical.  This is something that if put into the wrong hands could end up ruining cinema as we know it.  The big concern is that the studios are going to do whatever they can to make more money, and the belief is that investing more into AI would be worth it in the long run if it meant that they would have a tighter control over how much money they’ll be spending.  But there are a massive amounts of unseen costs that could lead to more trouble down the road.  To replace the amount of production that is involved in making a full length movie, it would take a massive amount of data processing, which means using a significant amount of server space in data centers across the world.  Using data centers is not cheap, and it also uses up a lot of energy to run them, which could also lead to significant environmental impacts as well.  And all this for something that is not going to be new and original, but rather a faint reproduction of many other things that we’ve already seen.  It all depends then on if the audience is eager to buy the product they are serving up.  It’s hard to say what that result may be.  We are already in a moment of cultural stagnation where the majority of new movies out there are either sequels or remakes.  Hell, we just witnessed A Minecraft Movie gross nearly a billion dollars at the global box office, which kind of tells you that we may be already primed to accept AI slop at our local movie theaters.  But, there are signs that people have more discerning tastes than that.  Take a look at the rise and fall of other tech advancements in the last couple years.  The NFT market thankfully died a quick death after people realized that owning digital art was fairly pointless and also a scam, and people are also opening up their eyes to the fraudulent nature of crytocurrency as well.  We’ll have to see if people call the bluff of those pushing AI generated media on us as well.  What may ultimately decide things one way or another is how many creative people may end up using the technology.

Strangely enough, we have been programmed to distrust AI over the years by Hollywood itself.  From HAL 9000, to Skynet, to Ultron, Hollywood has made AI feel like a very sinister force that often intends to eliminate humanity altogether.  And it’s understandable to be fearful of the technology.  The biggest threat that it currently possess is the possibility that it may replace us in the workplace, and in many professions it already has.  The sad thing is, we are largely responsible for all of the threats that AI poses for our future because we are addicted to convenience.  We like using self-checkouts at the grocery store and using Google to help us with our research instead of going out to the library.  Streaming has also caused us to move away from attending the movie theater, and pretty soon it will try to replace the very act of movie-making itself.  But, it’s something that we can still have the power to push back on if we still value movies as they are.  There are thankfully many filmmakers out there who are still making movies that are as practically constructed as they can be and are still able to find their audience.  The recent success of Ryan Coogler’s Sinners (2025), a fully original film made by real artists and utilizing actual, physical film stock in it’s making and presentation is a good sign that audiences are still hungry for true cinematic experiences.  Even with a million detailed prompts AI could never make something as new and original as Sinners because it took a lifetime of human experience to craft that kind of story and make it connect with audiences.  There’s hope that this will convince the studios that they need to still invest in original films made by actual people.  The AI encroachment will always be there as the technology continues to be refined.  But like how music lovers rediscovered the beauty of vinyl in recent years and the steadily increasing loyal fan base of physical media shoppers out there, there will always be an appetite for something that’s real and that’s what will ultimately be what drives the future of cinema.  AI at best is a tool that can help the business improve beyond it’s shortcomings, but it can’t motivate change in the same way that a new voice and original idea can.

The Disney Renaissance ushered in a Golden Age for the art of animation.  After many decades of being a niche market for little kids, animated movies were suddenly becoming big blockbusters once again; films that all ages were enjoying equally.  But it wasn’t just on the big screen that Disney Animation was succeeding.  Their TV animation department was also blossoming alongside the Renaissance films of the late 80’s and early 90’s.  Disney had developed a number of hugely successful Saturday morning cartoon shows that also became highly influential.  They often featured already established Disney characters, such as Chip and Dale’s Rescue Rangers and Tail Spin, which starred Baloo from The Jungle Book (1967).  They were also developing hit shows with original characters too, like Darkwing Duck and Gargoyles.  One show in particular, the Scrooge McDuck centered Duck Tales became such a huge hit that it even spawned it’s own theatrical film.  Duck Tales: Treasure of the Lost Lamp (1990) was certainly more ambitious than the average episode of the show, but it was also limited by a slightly larger than TV sized budget that the studio allocated for it.  Needless to say, the Duck Tales movie didn’t light up the box office the same way that the TV series had on the airwaves.  But, the attempt to make it work did garner the attention of the new regime that was in charge at Disney during the 1980’s.  In particular, Animation head executive Jeffrey Katzenberg believed that the popularity of the shows made for strong contenders of a new plan he had for his animation feature department.  As the studio was buzzing with the development of their A-list projects like Beauty and the Beast (1991) and Aladdin (1992), Katzenberg was looking for a way to put more films in development that were smaller in scale but still retained that high quality Disney style to them, essentially creating a B-move department.  There were plenty of good shows to choose from to jumpstart this new project pipeline at Disney, but which one would be the movie to get the first green light.

The block of Disney cartoon series became so popular that even the programming block it spawned was given it’s own name: The Disney Afternoon.  The Disney Afternoon block of shows would switch once a new program was launched each year, keeping the line-up fresh over many years.  The first new show to jump into the line-up was very unlike the others.  After giving the spotlight to many secondary characters from the Disney stable, or entirely new ones as well, it was decided to give one of the Fab Five Disney characters their own show.  And who better to headline a new series than Goofy himself.  The character, who first launched in 1932 with the name Dippy Dawg, had been a popular mainstay in Disney’s many theatrical shorts over the years.  And Goofy was also a character who could be re-molded for any time period as well, which has helped him to stay relevant all these years while still maintaining his core characteristics.  His new show would be called Goof Troop, which followed the everyday adventures of Goofy and his son Max, as well as their neighbors, the Pete family.  Goof Troop was very different from all the other Disney Afternoon shows, which were often more action adventure based.  Goof Troop by contrast was much more grounded, choosing instead to be a domestic, situational comedy.  It was a show about the quirks of suburban life, with Goofy often getting himself and others into some very silly situations.  And it was a huge hit for the Disney Afternoon.  While people enjoyed all of Goofy’s trademark goofiness, it was also the relatable day to day issues that the characters dealt with that helped to make it a favorite with audiences.  And what’s more, it was a premise that could easily translate into a theatrical story as well.  And that’s what the newly formed B-team at Disney thought as well.  It all depended on if Jeffrey Katzenberg thought the same way they did, so a story team was assembled to pitch the idea of a Goof Troop movie.

Some of the earliest people involved on the project included producer Brian Pimental and story writer Jymn Magon.  Magon had worked as a writer for Disney Television for some time, including on Goof Troop, so he was an ideal choice to put together the first draft of what would be the script for the movie.  Eventually, the team had the script storyboarded out and was ready to present to Katzenberg.  However, it didn’t take very long for Katzenberg to see the problems with the story right away.  The initial story was too close the original show, and Katzenberg thought it lacked heart.  It was just a 80 minute collection of shenanigans with Goofy, and Jeffrey wanted something deeper that he believed would connect more with an audience.  So, despite feeling dejected, the Goofy movie team went back and streamlined their script even more.  Eventually, most of the side characters from the animated series would be excised from the story, including Pete’s wife Peg and his daughter Pistol.  In the end, much of the Goof Troop elements would be left out and this new movie would become more of it’s own entity, with only the characters of Goofy, Max, Pete and his son P.J. being the connecting threads.  And even they would be different to their TV counterparts.  The character who went through the most significant change was Max.  Max has more or less been around since the 1950’s in Disney cartoons, where he was known as Junior in his earliest appearances.  He was renamed Max for the series Goof Troop, was was given a very contemporary, 90’s style personality.  But for the movie, he would be changed even further.  The movie aged Max up to his teenage year, made him less self confident and more at odds with his father.  And it was in exploring this aspect of Max beginning to mature and growing in more contrast with his father that the filmmakers found the heart of the film they were looking for.

What was important in getting this story to work was having a vision that could make the more dramatic themes feel natural, which was not easy for a film that starred a character like Goofy.  A rising star in Disney’s animation department, Kevin Lima, was tapped to direct the film.  This wouldn’t just be his first time directing a feature; it would be his first time directing anything ever.  To make it even more daunting, he would have to supervise production across three different studios in three different continents.  The Burbank studio would be the main base of operations, but most of the animation would be done off-site at Disney’s international animation studios in France and Australia.  While this would’ve normally been a recipe for disaster for a first time director, Kevin Lima proved that he could indeed pull a project like this together.  One thing that helped to make him an ideal choice in guiding this project was the fact that he had a personal connection to the story.  As revealed in the recent Disney+ documentary about the making of the film, Lima had an estranged relationship with his own father, who abandoned him and his family when he was still young.  Taking on this story about a father and son reconnecting through a road trip experience was therapeutic in a way for him, and it motivated him towards getting that sense of bonding across in the story.  He also had the benefit of a team of animators who wanted to show that they were more than just the B-team at Disney.  While it didn’t have the same budget as say Aladdin, the Goofy Movie would still have some of the best rising talents at the studio eager to show off what they could do.  The French studio in fact had a team of twin artists named Paul and Gaetan Brizzi who would later go on to create some of the studio’s most artistically daring sequences in the years ahead.  With a story that had emotional resonance in place and the full blessing of Jeffrey Katzenberg, A Goofy Movie was finally set into motion.  But it’s success wasn’t always a guarantee.

Unlike all of the other animated features made by Disney at the time, A Goofy Movie was not a fantasy or a grand adventure.  It was a road trip movie.  The story involves Goofy wanting to take his son Max on a fishing trip in the hopes that it will mend their strained relationship.  Meanwhile, Max has become increasingly resentful of the traits he’s gotten from his father, fearing that he’s going to grow up to be just like him, so he’s been trying to reinvent himself in the pursuit of impressing a girl that he a crush on at school; Roxanne.  The majority of the movie has the two of them at odds over how they should deal with their relationship; Max wants to break free and Goofy wants to stay connected.  Eventually things come to a head when Max deceives his father, having them steer away from Goofy’s plan to go fishing and instead pointing them in the direction of a concert for Max’s favorite singer that he lied to Roxanne about knowing personally in a desperate ploy to impress her.  But, through the friction, Goofy and Max come to a realization that they can’t stop either from being who they are. Goofy realizes that Max has his own path in life to follow, and Max realizes that his father is always there for him and that being his son is not a curse like he believed it was.  Kevin Lima pointed out one scene in particular where we see this dynamic really coalesce in the story, and that in what he calls the “Hi Dad” soup sequence.  In that scene, where the two are forced to take refuge in their car after an encounter with Bigfoot, they start to break down their defenses and find common ground for the first time.  It’s a scene that you rarely see in any animated feature, let alone one from Disney.  It’s just a parent and their child reflecting on their relationship and getting to the root of why they’ve grown apart.  The fact that they managed to make a scene like this work with a character as inherently cartoonish and silly as Goofy is really a testament to how well the filmmakers handled tone and character in their film.  It’s not too serious, or too silly; it’s just like a conversation you would see in real life, and that was kind of revolutionary in animation.  There’s no wishing on a star to solve these characters problems; this was as true to life as any Disney Animated movie ever got in terms of their storytelling.

One of the major contributors to making A Goofy Movie work as well as it does was the voice cast assembled.  Strangely enough, this is also where things could’ve gone disastrously wrong as well.  Jeffrey Katzenberg had seen what putting Robin Williams in the role of the Genie in Aladdin did for that film’s record-breaking box office, and he believed that the best way to sell a animated film was to put a celebrity name behind it; something that he would pursue more when he left to start Dreamworks Animation years later.  Kevin Lima revealed in recent years that there was a possibility for a while that Goofy was going to be given a celebrity voice.  In particular, he had Steve Martin in mind.  This distressed Goofy’s official voice at the time; veteran vocal artist Bill Farmer.  Farmer had been voicing Goofy since 1987, including in every episode of Goof Troop.  He was hoping to also carry that over into A Goofy Movie, but this plan to change Goofy’s voice left him shocked, making him wonder why someone didn’t want Goofy to sound like Goofy.  A test sample was made, with Bill voicing Goofy in his normal voice to show Katzenberg how it would actually sound in practice, and thankfully Jeffrey saw the error in his plan and allowed Bill Farmer to continue playing the character the right way.  And Farmer’s performance is really extraordinary  in the movie, with him finding nuance in Goofy’s voice that no one had even heard before, allowing him to excel in the film’s more dramatic moments.  His performance also works perfectly against the vocal performance of Jason Marsden as Max.  Marsden was a budding teen actor at the time and Max would be his second major voice role after Binx the Cat in Disney’s Hocus Pocus (1993).  What’s great about his performance is that it feels so natural against the shiny personality of Goofy.  He doesn’t take the teenage angst too far, nor does he try too hard to sound like a cartoon character’s son.  He plays the part naturally, and it makes Max a fully rounded and relatable person.  You really get the sense that you would’ve known someone like Max in school or were him yourself.  In addition to the leads, voice acting veterans Jim Cummings and Rob Paulsen carried over their roles as Pete and P.J. from Goof Troop without missing a beat, and were joined by an impressive collection of character actors like Wallace Shawn, Kellie Martin, Jenna von Oy, and an uncredited Pauley Shore in the cast.

However, there was a speedbump in the film’s road to the big screen.  Jeffrey Katzenberg, who had been the film’s biggest ally at the studio, abruptly left Disney after a succession dispute with CEO Michael Eisner.  Apart from Katzenberg, there was no one else at the Disney Studios that was enthusiastic about having a B-picture production line, so little effort was put into marketing the movie.  The film was too far along to cancel, so Disney ended up treating it as an obligation rather than a movie to be treasured as a well as any of their others.  The film was quietly dumped into theaters in April of 2025 to little fanfare, and this resulted in low box office results.  Critics were also split, because they weren’t sure what to make of it because A Goofy Movie didn’t fit the typical Disney Animation mold.  At least their Spring 1995 release helped them to escape the long shadow of the previous year’s hit, The Lion King (1994), which would have buried the film even more.  But, even with it’s lackluster launch, this was not the end of the movie’s story, but rather it’s beginning.  The movie slowly developed a following during it’s home video release.  People gravitated to the more grounded, realistic story at it’s center, especially in the way it tackled the issues of family and fatherhood.  The fanbase for this movie grew steadily over the years, and in some surprising demographics as well.  One of the biggest areas of support for this film was found in the African-American community.  You’ve got to remember that this was long before The Princess and the Frog (2019) and Disney still had not featured any significant character of color in their movies up until the 90’s.  Despite all of the characters having a Goofy like appearance, black audiences still saw themselves identified in this film, particularly with the pop singer character in the movie named Powerline, who was primarily based off of singer Bobby Brown, with a little Michael Jackson and Prince thrown in.  This was also the first Disney film to ever feature hip hop in it’s soundtrack, which probably also contributed to it’s popularity in the black community.  The soundtrack overall is another factor in the movie’s success over the years.  It’s a musical, but not in the standard Disney fairy tale style.  Each song is unique, mixing rock, country, hip hop, and pop all into one.  The finale song, I 2 I, sung by Powerline (who was voiced by recording artist Tevin Campbell) in particular has become one of Disney’s biggest hits over the years, receiving it’s own fair share of remixes and covers in the YouTube era.  What is especially great about the re-discovery of this film is that it has shown Disney that not every animated classic needs to be based on a legendary story.  Sometimes, a simple father and son road trip is enough to yield a great universal experience for everyone.

Over 30 years the movie has grown in esteem in Disney history; greatly over-coming it’s B-movie status.  It’s especially funny seeing how much Disney’s own social media machine is spotlighting this film’s anniversary this year, and not even mentioning once the anniversary of their “A-list” movie from the same year; Pocahontas (1995).  It shows that even the B-team could create something that could lay claim to being a masterpiece.  And indeed, over time the B-team got to be rewarded for their efforts.  Kevin Lima got to move on to directing an “A-List” feature as co-director of Tarzan (1999), and afterwards he even found success as a live action filmmaker, getting the chance to direct the film Enchanted (2007), starring Amy Adams.  Though their Paris based studio was closed shortly after the making of A Goofy Movie, the Brizzi Brothers would get to direct some of the most beautiful moments in future Disney features, including the “Hellfire” sequence in The Hunchback of Notre Dame (1996) and the “Firebird Suite” segment of Fantasia 2000 (2000).  Bill Farmer continues to voice Goofy exclusively to this day and has been honored as a Disney Legend for his efforts over his 37 years in the gig.  Jason Marsden also continues to voice Max occasionally, and has been an in demand voice actor all of these years as well.  One of the pleasing things about this anniversary in particular is that it’s showing just how big this movie has gotten.  Disney was especially taken by surprise 10 years ago when they held a 20th anniversary panel at the D23 Expo in 2015.  Demand was so high that they had to turn away hundreds of people at the door after the room had reached capacity, and the audience that did make it was electric.  After attending last year’s D23, I can tell you that the fanbase has grown even stronger since then.  Powerline was an especially popular cos-play at D23, even rivaling people in Jedi or Mickey Mouse dress-ups.  It makes sense because all the children who grew up over these 30 years with the movie are now having children of their own, and they are probably re-watching the film with them in a new perspective.  Those who originally identified with Max are now finding more in common with Goofy.  And one of the greatest legacies that this movie has had is that it’s helped people from multiple generations, fathers and sons, learn to communicate with one another.  It’s more than just a goof, it’s a movie that brings people together and that’s why it holds such a special place in Disney history.  And that is definitely something worthy to “hyuck” about.