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The 10 Best Animated Movies Of All Time

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© 1937 Disney. All rights reserved.

Animation, it’s frequently been said, is a medium, not a genre. You can use it to tell any number of stories in any number of ways. And it’s certainly not just for kids. So of course our list of the 10 most noteworthy animated features runs the gamut from talking toys to psychedelic orgies.

1. SNOW WHITE AND THE SEVEN DWARFS (1937)

According to Box Office Mojo, the highest-grossing animated film in history is Disney/Pixar’s Finding Dory, which rode a wave of positive reviews and 3D surcharges to a $486.2 million domestic haul last year. But there’s a little thing called inflation to consider. When you factor in rising ticket prices over the last 80 years, the highest-grossing feature length animated movie is still Disney’s first: Snow White and the Seven Dwarfs. Per Business Insider, adjust Snow White’s $184.9 million take and you get a whopping $935.2 million in today’s dollars.

2. THE ADVENTURES OF PRINCE ACHMED (1926)

Though Snow White and the Seven Dwarfs is often cited as the first full-length animated movie, it was beaten to the punch by a good 11 years by German director Lotte Reiniger’s The Adventures of Prince Achmed. (Quirino Cristiani's The Apostle and Without a Trace were released earlier, but have been lost.) The earliest surviving animated feature film and the first—surviving or not—directed by a woman, The Adventures of Prince Achmed is loosely based on One Thousand and One Nights and tells the story of a prince who goes on a series of magical adventures. It took Reiniger and her (uncredited) co-director Carl Koch three years to make the film, cutting silhouettes out of sheets of cardboard and lead and bringing their characters to life using stop-motion animation.

3. BEAUTY AND THE BEAST (1991)

In September 1991, nearly two months before its nationwide theatrical bow, Disney took a gamble by screening an early version of Beauty and the Beast at the New York Film Festival. It was an audience more accustomed to arthouse and foreign films, and on top of that, approximately a third of what was screened was either storyboard art or black and white animation tests. “There was a lot of gulping here,” recalled a Disney executive. “It was a risky but interesting idea to show it before that audience. We knew no one would hate the film. The worst they could say was, ‘Ok, it's an animated film; why is it here?’” But the reaction to the film was far less ambivalent; Beauty and the Beast received a standing ovation from the seasoned crowd of moviegoers. The next year, Beauty and the Beast became the first animated film to be nominated for a Best Picture Oscar. It’s still an exclusive club; Up (2009) and Toy Story 3 (2010) are the only two other animated films that have joined Disney’s tale as old as time in receiving the honor.

4. YOUR NAME (2016)

The most recent film on this list, Your Name shocked box office prognosticators late last year when it blew past anime legend Hayao Miyazaki’s Princess Mononoke and Howl’s Moving Castle to become the second highest-grossing Japanese film of all time. Director Makoto Shinkai’s moving fantasy romance—in which a teenage girl in an out-of-the-way village and a teenage boy from bustling Tokyo find that going to sleep inexplicably causes them to swap bodies—would eventually become Japan’s third highest-grossing film ever, behind only American imports Titanic and Frozen and Miyazaki’s (still reigning champ) Spirited Away.

5. SPIRITED AWAY (2001)

Speaking of Spirited Away: More than 15 years after its initial release, the Miyazaki classic (one of his many) is still Japan’s highest-grossing film, with a total domestic gross of ¥30.4 billion ($300 million). The film, about a sullen young girl who wanders into a fantasy land, was also the first film to gross $200 million before opening in the United States. When it finally did arrive stateside, distributor Disney declined to do much by way of marketing and never released it in more than 151 theaters ... until Spirited Away picked up a surprise Best Animated Feature Oscar, becoming the only Japanese film and only hand-drawn film ever to do so, and beating out two Disney releases (Lilo & Stitch and Treasure Planet) in the process. Disney subsequently pushed Spirited Away into more than 700 theaters.

6. THE IRON GIANT (1999)

Disney’s not the only studio to bungle the release of an animated movie that would go on to be considered a classic. Excited to venture into feature animation after the enormous success enjoyed by Disney in the '90s, Warner Bros. moved ahead with the Cold War-set The Iron Giant, about a young boy (Eli Marienthal) who stumbles upon and befriends a robot (Vin Diesel) from outer space … only to then, according to director Brad Bird, basically drop it after the failure of the studio’s Quest for Camelot.

“We were perceived as a film that would be finished and put on the shelf until there was a hole or something in the release schedule in the future," Bird said. "And then we'd be plugged in. They wouldn't give us a release date, they didn't have any hopes. They just thought animation wasn't going to really work for them.” Despite extremely positive test screenings, Warner Bros. “hadn't laid all the groundwork you're supposed to lay, with fast food restaurants, cereals, teasers, posters.” The lack of marketing led to box office disappointment, to the tune of a $23.1 million gross against a $70 million budget. But the film impressed Pixar chief John Lasseter, which in turn enabled Bird to direct The Incredibles.

7. TOY STORY (1995)

When talking about milestones in animation, you can’t leave out Toy Story, the first feature-length computer animated film. Director John Lasseter was the first person to win a Special Achievement Oscar for a 100 percent animated film (though Richard Williams got one for the animated portions of Who Framed Roger Rabbit), and Toy Story was the first animated film to be nominated for a Best Original Screenplay Oscar. (In 2002, Shrek would snag the equivalent honor for Best Adapted Screenplay.) Lasseter showed up to the ceremony in the Oscar Mayer Wienermobile.

8. WHO FRAMED ROGER RABBIT (1988)

Though live-action/animation hybrids are commonplace now—think The Smurfs and the Alvin and the Chipmunks movies, or for that matter motion capture-heavy films like The Jungle Book—when Robert Zemeckis’s Who Framed Roger Rabbit came out in 1988, it was rightly hailed as a groundbreaking work of technological innovation. It wasn’t the first film to combine cartoon characters with live actors (Gene Kelly memorably danced with Jerry the Mouse in 1945’s Anchors Aweigh), but it was the most ambitious. In fact, at the time it came out it was the most expensive movie ever made. The film also gave rise to the animation term “bumping the lamp,” which is when extreme effort is put into something that audiences probably won’t notice. The term comes from a scene where Eddie Valiant (Bob Hoskins) repeatedly bangs his head on a lamp, requiring animators to draw shifting patterns of light and shadow onto scene partner Roger Rabbit (Charles Fleischer).

9. BELLADONNA OF SADNESS (1973)

The most obscure film on this list, Belladonna of Sadness is the work of two anime masters: producer and “godfather of manga” Osamu Tezuka, who created Astro Boy, and his longtime collaborator Eiichi Yamamoto, who directed Belladonna. Decidedly not for children, this third film in Tezuka and Yamamoto’s Animerama trilogy is loosely based on Jules Michelet’s 1862 book La Sorcière, which examines the history of witchcraft through a proto-feminist lens. Aiko Nagayama stars as Jeanne, a French peasant who is raped on her wedding night by the local baron and subsequently turns to sorcery to right the wrongs done to her. (Yes, there is a psychedelic orgy scene.) Done in an unusual style—the bulk of the “animation” is the camera panning across intricate watercolor paintings, Ken Burns-style—Belladonna was all but lost for decades, receiving no home video release and practically no theatrical distribution. Fortunately, a restored 4K version was released last year by Cinelicious Pics, SpectreVision and Cinefamily.

10. SOUTH PARK: BIGGER, LONGER & UNCUT (1999)

There are a lot more, uh, traditional films we could include on this list—Dumbo, Pinocchio, or Fantasia, to name just a few—but none of those ever held the Guinness World Record for most swearing in an animated movie. (“399 swear words, 128 offensive gestures, and 221 acts of violence.”) Dealing with issues of censorship and parental responsibility, South Park: Bigger, Longer & Uncut sees South Park’s famous foul-mouthed kids embark on a mission to save their Canadian comedy idols from execution after they’re blamed for corrupting America’s youth, sparking a war between the United States and Canada. A musical that pulls inspiration from (among others) Oklahoma!, Chitty Chitty Bang Bang, Les Misérables, and the Disney canon, Bigger, Longer & Uncut received an Oscar nomination for the song “Blame Canada.” The film frequently lands on “best of” animation lists, with TIME Magazine’s Richard Corliss calling it the “finest, sassiest full-movie musical score since the disbanding of the Freed unit at MGM” in his 2011 ranking.

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30 Memorable Quotes from Carrie Fisher
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Just days after suffering a heart attack aboard a flight en route to Los Angeles, beloved actress, author, and screenwriter Carrie Fisher passed away at the age of 60 on December 27, 2016. Though she’ll always be most closely associated with her role as Princess Leia in Star Wars, Fisher’s life was like something out of its own Hollywood movie. Born in Beverly Hills on this day in 1956, Fisher was born into show business royalty as the daughter of singer Eddie Fisher and actress Debbie Reynolds.

In addition to her work in front of the camera, Fisher built up an impressive resume behind the scenes, too, most notably as a writer; in addition to several memoirs and semi-autobiographical novels, including Wishful Drinking, Surrender the Pink, Delusions of Grandma, The Best Awful, Postcards from the Edge, and The Princess Diarist (which was released last month), she was also an in-demand script doctor who counted Sister Act, Hook, Lethal Weapon 3, and The Wedding Singer among her credits.

Though she struggled with alcoholism, drug addiction, and mental illness, Fisher always maintained a sense of humor—as evidenced by the 30 memorable quotes below.

ON GROWING UP IN HOLLYWOOD

“I am truly a product of Hollywood in-breeding. When two celebrities mate, someone like me is the result.”

“I was born into big celebrity. It could only diminish.”

“At a certain point in my early twenties, my mother started to become worried about my obviously ever-increasing drug ingestion. So she ended up doing what any concerned parent would do. She called Cary Grant.”

“I was street smart, but unfortunately the street was Rodeo Drive.”

“If anything, my mother taught me how to sur-thrive. That's my word for it.”

ON AGING

“As you get older, the pickings get slimmer, but the people don't.”

ON INSTANT GRATIFICATION

“Instant gratification takes too long.”

ON THE LEGACY OF STAR WARS

“People are still asking me if I knew Star Wars was going to be that big of a hit. Yes, we all knew. The only one who didn't know was George.”

“Leia follows me like a vague smell.”

“I signed my likeness away. Every time I look in the mirror, I have to send Lucas a couple of bucks.”

“People see me and they squeal like tropical birds or seals stranded on the beach.”

“You're not really famous until you’re a Pez dispenser.”

ON THE FLEETING NATURE OF SUCCESS

“There is no point at which you can say, 'Well, I'm successful now. I might as well take a nap.'”

ON DEALING WITH MENTAL ILLNESS

“I'm very sane about how crazy I am.”

ON RESENTMENT

“Resentment is like drinking poison and waiting for the other person to die."

ON LOVE

“Someone has to stand still for you to love them. My choices are always on the run.”

“I've got to stop getting obsessed with human beings and fall in love with a chair. Chairs have everything human beings have to offer, and less, which is obviously what I need. Less emotional feedback, less warmth, less approval, less patience, and less response. The less the merrier. Chairs it is. I must furnish my heart with feelings for furniture.”

“I don’t hate hardly ever, and when I love, I love for miles and miles. A love so big it should either be outlawed or it should have a capital and its own currency.”

ON EMOTIONS

“The only thing worse than being hurt is everyone knowing that you're hurt.”

ON RELATIONSHIPS

“I envy people who have the capacity to sit with another human being and find them endlessly interesting, I would rather watch TV. Of course this becomes eventually known to the other person.”

ON HOLLYWOOD

“Acting engenders and harbors qualities that are best left way behind in adolescence.”

“You can't find any true closeness in Hollywood, because everybody does the fake closeness so well.”

“It's a man's world and show business is a man's meal, with women generously sprinkled through it like overqualified spice.”

ON FEAR

“Stay afraid, but do it anyway. What’s important is the action. You don’t have to wait to be confident. Just do it and eventually the confidence will follow.”

ON LIFE

“I don’t want life to imitate art. I want life to be art.”

“No motive is pure. No one is good or bad-but a hearty mix of both. And sometimes life actually gives to you by taking away.”

“If my life wasn't funny it would just be true, and that is unacceptable.”

“I shot through my twenties like a luminous thread through a dark needle, blazing toward my destination: Nowhere.”

“My life is like a lone, forgotten Q-Tip in the second-to-last drawer.”

ON DEATH

“You know what's funny about death? I mean other than absolutely nothing at all? You'd think we could remember finding out we weren't immortal. Sometimes I see children sobbing at airports and I think, 'Aww. They've just been told.'”

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12 Surprising Facts About Bela Lugosi
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On October 20, 1882—135 years ago today—one of the world's most gifted performers was born. In his heyday, Bela Lugosi was hailed as the undisputed king of horror. Eighty-five years after he first donned a vampire’s cape, Lugosi's take on Count Dracula is still widely hailed as the definitive portrayal of the legendary fiend. But who was the man behind the monster?

1. HE WORKED WITH THE NATIONAL THEATER OF HUNGARY.

To the chagrin of his biographers, the details concerning Bela Lugosi’s youth have been clouded in mystery. (In a 1929 interview, he straight-up admitted “for purposes of simplification, I have always thought it better to tell [lies] about the early years of my life.”) That said, we do know that he was born as Béla Ferenc Dezső Blaskó on October 20, 1882 in Lugoj, Hungary (now part of Romania). We also know that his professional stage debut came at some point in either 1901 or 1902. By 1903, Lugosi had begun to find steady work with traveling theater companies, through which he took part in operas, operettas, and stage plays. In 1913, Lugosi caught a major break when the most prestigious performing arts venue in his native country—the Budapest-based National Theater of Hungary—cast him in no less than 34 shows. Most of the characters that he played there were small Shakespearean roles such as Rosencrantz in Hamlet and Sir Walter Herbert in Richard III.

2. HE FOUGHT IN WORLD WAR I.

The so-called war to end all wars put Lugosi’s dramatic aspirations on hold. Although being a member of the National Theater exempted him from military service, he voluntarily enlisted in the Austro-Hungarian Army in 1914. Over the next year and a half, he fought against Russian forces as a lieutenant with the 43rd Royal Hungarian Infantry. While serving in the Carpathian mountains, Lugosi was wounded on three separate occasions. Upon healing from his injuries, he left the armed forces in 1916 and gratefully resumed his work with the National Theater.

3. WHEN HE MADE HIS BROADWAY DEBUT, LUGOSI BARELY KNEW ANY ENGLISH.

In December 1920, Lugosi boarded a cargo boat and emigrated to the United States. Two years later, audiences on the Great White Way got their first look at this charismatic stage veteran. Lugosi was cast as Fernando—a suave, Latin lover—in the 1922 Broadway stage play The Red Poppy. At the time, his grasp of the English language was practically nonexistent. Undaunted, Lugosi went over all of his lines with a tutor. Although he couldn’t comprehend their meaning, the actor managed to memorize and phonetically reproduce every single syllable that he was supposed to deliver on stage.

4. UNIVERSAL DIDN’T WANT TO CAST HIM AS COUNT DRACULA.

The year 1927 saw Bela Lugosi sink his teeth into the role of a lifetime. A play based on the novel Dracula by Bram Stoker had opened in London in 1924. Sensing its potential, Horace Liveright, an American producer, decided to create an U.S. version of the show. Over the summer of 1927, Lugosi was cast as the blood-sucking Count Dracula. For him, the part represented a real challenge. In Lugosi’s own words, “It was a complete change from the usual romantic characters I was playing, but it was a success.” It certainly was. Enhanced by his presence, the American Dracula remained on Broadway for a full year, then spent two years touring the country.

Impressed by its box office prowess, Universal decided to adapt the show into a major motion picture in 1930. Horror fans might be surprised to learn that when the studio began the process of casting this movie’s vampiric villain, Lugosi was not their first choice. At the time, Lugosi was still a relative unknown, which made director Tod Browning more than a little hesitant to offer him the job. A number of established actors were all considered before the man who’d played Dracula on Broadway was tapped to immortalize his biting performance on film.

5. MOST OF HIS DRACULA-RELATED FAN MAIL CAME FROM WOMEN.

The recent Twilight phenomenon is not without historical precedent. Lugosi estimated that, while he was playing the Count on Broadway, more than 97 percent of the fan letters he received were penned by female admirers. A 1932 Universal press book quotes him as saying, “When I was on the stage in Dracula, my audiences were composed mostly of women.” Moreover, Lugosi contended that most of the men who’d attended his show had merely been dragged there by female companions.   

6. HE TURNED DOWN THE ROLE OF FRANKENSTEIN’S MONSTER.

Released in 1931, Dracula quickly became one of the year's biggest hits for Universal (some film historians even argue that the movie single-handedly rescued the ailing studio from bankruptcy). Furthermore, its astronomical success transformed Lugosi into a household name for the first time in his career. Regrettably for him, though, he’d soon miss the chance to star in another smash. Pleased by Dracula’s box office showing, Universal green-lit a new cinematic adaptation of Mary Shelley’s Frankenstein. Lugosi seemed like the natural choice to play the monster, but because the poor brute had few lines and would be caked in layers of thick makeup, the actor rejected the job offer. As far as Lugosi was concerned, the character was better suited for some “half-wit extra” than a serious actor. Once the superstar tossed Frankenstein aside, the part was given to a little-known actor named Boris Karloff.

Moviegoers eventually did get to see Lugosi play the bolt-necked corpse in the 1943 cult classic Frankenstein Meets the Wolf Man. According to some sources, he strongly detested the guttural scream that the script forced him to emit at regular intervals. “That yell is the worst thing about the part. You feel like a big jerk every time you do it!” Lugosi allegedly complained.

7. LUGOSI’S RELATIONSHIP WITH BORIS KARLOFF WAS MORE CORDIAL THAN IT’S USUALLY MADE OUT TO BE.

It’s often reported that the two horror icons were embittered rivals. In reality, however, Karloff and Lugosi seemed to have harbored some mutual respect—and perhaps even affection for one another. The dynamic duo co-starred in five films together, the first of which was 1934’s The Black Cat; Karloff claimed that, on set, Lugosi was “Suspicious of tricks, fearful of what he regarded as scene stealing. Later on, when he realized I didn’t go in for such nonsense, we became friends.” During one of their later collaborations, Lugosi told the press “we laughed over my sad mistake and his good fortune as Frankenstein is concerned.”

That being said, Lugosi probably didn’t appreciate the fact that in every single film which featured both actors, Karloff got top billing. Also, he once privately remarked, “If it hadn’t been for Boris Karloff, I could have had a corner on the horror market.”

8. HE LOVED SOCCER.

In 1935, Lugosi was named Honorary President of the Los Angeles Soccer League. An avid fan, he was regularly seen at Loyola Stadium, where he’d occasionally kick off the first ball during games held there. Also, on top of donating funds to certain Hungarian teams, Lugosi helped finance the Los Angeles Magyar soccer club. When the team won a state championship in 1935, one newspaper wrote that the players were “headed back to Dracula’s castle with the state cup.” [PDF]

9. HE WAS A HARDCORE STAMP COLLECTOR.

Lugosi's fourth wife, Lillian Arch, claimed that Lugosi maintained a collection of more than 150,000 stamps. Once, on a 1944 trip to Boston, he told the press that he intended to visit all 18 of the city's resident philately dealers. “Stamp collecting,” Lugosi declared, “is a hobby which may cost you as much as 10 percent of your investment. You can always sell your stamps with not more than a 10 percent loss. Sometimes, you can even make money.” Fittingly enough, the image of Lugosi’s iconic Dracula appeared on a commemorative stamp issued by the post office in 1997.

10. LUGOSI ALMOST DIDN’T APPEAR IN ABBOTT AND COSTELLO MEET FRANKENSTEIN—BECAUSE THE STUDIO THOUGHT HE WAS DEAD.

The role of Count Dracula in this 1948 blockbuster was nearly given to Ian Keith—who was considered for the same role in the 1931 Dracula movie. Being a good sport, Lugosi helped promote the horror-comedy by making a special guest appearance on The Abbott and Costello Show. While playing himself in one memorable sketch, the famed actor claimed to eat rattlesnake burgers for dinner and “shrouded wheat” for breakfast.

11. A CHIROPRACTOR FILLED IN FOR HIM IN PLAN 9 FROM OUTER SPACE.

Toward the end of his life, Lugosi worked on three ultra-low-budget science fiction pictures with Ed Wood, a man who’s been posthumously embraced as the worst director of all time. In the 1953 transvestite picture Glen or Glenda?, Lugosi plays a cryptic narrator who offers such random and unsolicited bits of advice as “Beware of the big, green dragon who sits on your doorstep.” Then came 1955’s Bride of the Monster, in which Lugosi played a mad scientist who ends up doing battle with a (suspiciously limp) giant octopus.

Before long, Wood had cooked up around half a dozen concepts for new films, all starring Lugosi. At some point in the spring of 1956, the director shot some quick footage of the actor wandering around a suburban neighborhood, clad in a baggy cloak. This proved to be the last time that the star would ever appear on film. Lugosi died of a heart attack on August 16, 1956;  he was 73 years old.

Three years after Lugosi's passing, this footage was spliced into a cult classic that Wood came to regard as his “pride and joy.” Plan 9 From Outer Space tells the twisted tale of extraterrestrial environmentalists who turn newly-deceased human beings into murderous zombies. Since Lugosi could obviously no longer play his character, Wood hired a stand-in for some additional scenes. Unfortunately, the man who was given this job—California chiropractor Tom Mason—was several inches taller than Lugosi. In an attempt to hide the height difference, Wood instructed Mason to constantly hunch over. Also, Mason always kept his face hidden behind a cloak.

12. HE WAS BURIED IN HIS DRACULA CAPE.

Although Lugosi resented the years of typecasting that followed his breakout performance in Dracula, he asked to be laid to rest wearing the Count’s signature garment. Lugosi was buried under a simple tombstone at California's Holy Cross Cemetery.

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