The 10 Best Animated Movies Of All Time

© 1937 Disney. All rights reserved.
© 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.

Ira Aldridge: The Black Shakespearean Actor Who Broke Theater's Color Barrier

Ira Aldridge as Othello circa 1830
Ira Aldridge as Othello circa 1830
Henry Perronet Briggs, Wikimedia // Public Domain

It's easy to forget that before the dawn of film, stage actors were power players; many of them carried just as much clout as modern Hollywood stars. In 1880, Sarah Bernhardt earned $46,000 for a month of performances on her first New York tour alone (which would be well over $1 million today). In 1895, English actor Henry Irving made enough of a name for himself to become the first actor in history to receive a British knighthood. And way back in 1849, two rival Shakespearean actors, William Macready and Edwin Forrest, caused such a stir with their competing productions of Macbeth that their fans ended up rioting in the streets of Manhattan.

But before all of them, there was Ira Aldridge. Born in New York in 1807, Aldridge made such a name for himself in the theaters of the mid-19th century that he went on to be awarded high cultural honors, and is today one of just 33 people honored with a bronze plaque on a chair at the Shakespeare Memorial Theatre in Stratford-upon-Avon. But what makes Aldridge’s achievements all the more extraordinary is that, at a time of widespread intolerance and racial discrimination in the U.S., he was black.

Young, Gifted, and Black

The son of a minister and his wife, Aldridge attended New York’s African Free School, which had been established by the New York Manumission Society to educate the city's black community. His first taste of the theater was probably at Manhattan’s now-defunct Park Theatre, and before long he was hooked. While still a student, Aldridge made his stage debut—at the African Grove Theatre, which had been established by free black New Yorkers around 1821—in a performance of Richard Brinsley Sheridan’s adaptation of Pizarro. According to some accounts, his Shakespearean debut followed not long after, when he took on the title role in the African Grove Theatre's production of Romeo & Juliet.

These early performances were successes, as was the African Grove Theatre, which quickly proved the most renowned of the few theaters in New York staffed mainly by black actors and attended mostly by black audiences. But despite these early triumphs, both Aldridge and the Grove had their fair share of hardships.

Shortly after its opening, the Grove was forced to close by city officials, supposedly over noise complaints. The project was relocated to Bleecker Street, but this move took the theater away from its core black audience in central Manhattan and planted it closer to several larger, more upmarket theaters, with which it now had to compete. Smaller audiences, coupled with resentment and competition from its predominantly white-attended neighbors, soon led to financial difficulties. And all of these problems were compounded by near-constant harassment from the police, city officials, and intolerant local residents.

Eventually, the situation proved unsustainable: The Grove closed just two years later (and was reportedly burned to the ground in mysterious circumstances in 1826). As for Aldridge, having both witnessed and endured racist abuse and discrimination in America, he decided he'd had enough. In 1824, he left the U.S. for England.

The African Tragedian

Ira Aldridge in the role of Othello, 1854
Ira Aldridge as Othello in 1854
Houghton Library, Wikimedia Commons // Public Domain

By this time, the British Empire had already abolished its slave trade, and an emancipation movement was growing. Aldridge realized that Britain was a much more welcoming prospect for a young, determined black actor like himself—but what he didn’t know was that his transatlantic crossing would prove just as important as his decision to emigrate.

To cover the costs of his travel, Aldridge worked as a steward aboard the ship that took him to Britain, but during the journey he made the acquaintance of British actor and producer James Wallack. The pair had met months earlier in New York, and when they happened to meet again en route to Europe, Wallack offered Aldridge the opportunity to become his personal attendant. On their arrival in Liverpool, Aldridge quit his stewardship, entered into Wallack’s employ, and through him began to cultivate numerous useful contacts in the world of theater. In May 1825 Aldridge made his London debut, becoming the first black actor in Britain ever to play Othello

The critics—although somewhat unsure how to take a "gentleman of colour lately arrived from America"—were won over by Aldridge’s debut performance in a production of Othello at the Royalty Theatre. They praised his "fine natural feeling" and remarked that "his death was certainly one of the finest physical representations of bodily anguish we ever witnessed." Astonishingly, Aldridge was still just 17 years old.

From his London debut at the Royalty, Aldridge slowly worked his way up the city’s playbill, playing ever-more-upmarket theaters across London. His Othello transferred to the Royal Coburg Theatre later in 1825. A lead role in a stage adaptation of Aphra Behn’s Oroonoko followed, as did an acclaimed supporting turn in Titus Andronicus. To prove his versatility, he took on a well-received comedic role as a bumbling butler in an 18th-century comedy, The Padlock. Aldridge’s reputation grew steadily, and before long he was receiving top billing as the “African Roscius” (a reference to the famed Ancient Roman actor Quintus Roscius Gallus) or the renowned “African Tragedian”—the first African-American actor to establish himself outside of America.

Even in the more-accepting society of abolitionist Britain, however, Aldridge still had mountains to climb. When his portrayal of Othello later moved to Covent Garden in 1833, some reviewers thought a black actor treading the boards on one of London’s most hallowed stages was simply a step too far. The critics soured, their reviews became more scathing—and the racism behind them became ever more apparent.

Campaigns were launched to have Aldridge removed from the London stage, with the local Figaro newspaper among his vilest opponents. Shortly after his Covent Garden debut, the paper openly campaigned to cause “such a chastisement as must drive [Aldridge] from the stage … and force him to find [work] in the capacity of footman or street-sweeper, that level for which his colour appears to have rendered him peculiarly qualified.” Fortunately, they weren’t successful—but the affair temporarily ruined the London stage for Aldridge.

"The Greatest of All Actors"

Portrait of Ira Aldridge by Taras Shevchenko in 1858
Portrait of Ira Aldridge in 1858
Taras Shevchenko, Wikimedia Commons // Public Domain

Instead of accepting defeat, Aldridge took both Othello and The Padlock on a tour of Britain’s provincial theaters. The move proved to be an immense success.

During his national tour, Aldridge amassed a great many new fans, and even became manager of the Coventry Theatre in 1828, making him the first black manager of a British theater. He also earned a name for himself by passing the time between performances lecturing on the evils of slavery, and lending his increasingly weighty support to the abolitionist movement.

Next, he took his tour to Ireland, and on his arrival in Dublin became a near-instant star. With the island still locked in a tense relationship with Britain at the time, he was welcomed with open arms when Irish theatergoers heard how badly he had been treated in London. (In one flattering address in Dublin, Aldridge told the audience: “Here the sable African was free / From every bond, save those which kindness threw / Around his heart, and bound it fast to you.”)

By the 1830s, Aldridge was touring Britain and Ireland with a one-man show of his own design, mixing impeccable dramatic monologues and Shakespearean recitals with songs, tales from his life, and lectures on abolitionism. As an antidote to the blackface minstrel shows that were popular at the time, he also began donning “whiteface” to portray roles as diverse as Shylock, Macbeth, Richard III, and King Lear. When the notorious Thomas Rice arrived in England with his racist “Jump Jim Crow” minstrel routine, Aldridge skillfully and bravely weaved one of Rice’s own skits into his show: By parodying the parody, he robbed Rice’s performance of its crass impact—while simultaneously showing himself to be an expert performer in the process.

Such was his popularity that Aldridge could easily have seen out his days in England, playing to packed theaters every night for the rest of career. But by the 1850s, word of his skill as an actor had spread far. Never one to shy away from a challenge, in 1852 he assembled a troupe of actors and headed out on a tour of the continent.

Within a matter of months, Aldridge had become perhaps the most lauded actor in all Europe. Critics raved about his performances, with one German writer even suggesting that he may well be “the greatest of all actors.” A Polish reviewer noted, "Though the majority of spectators did not speak English, they did, however, understand the feelings portrayed on the artist's face, eyes, lips, in the tones of his voice, in the entire body." Celebrity fans were quick to assemble, including the Danish author Hans Christian Andersen, and the renowned French poet Théophile Gautier, who was impressed by Aldridge's portrayal of King Lear in Paris. Royalty soon followed, with Friedrich-Wilhelm IV, the King of Prussia, awarding Aldridge the Prussian Gold Medal for Art and Science. In Saxe-Meiningen (now a part of Germany), he was given the title of Chevalier Baron of Saxony in 1858.

Aldridge continued his European tours for another decade, using the money he earned to buy two properties in London (including one, suitably enough, on Hamlet Road). But by then, the Civil War was over and America beckoned. Now in his late fifties—but no less eager for a challenge—Aldridge planned one last venture: a 100-date tour of the post-emancipation United States. Contracts and venues were hammered out, and the buzz for Aldridge’s eagerly-awaited homecoming tour began to circulate.

Alas, it was not meant to be. Just weeks before his planned departure, Aldridge fell ill with a lung condition while on tour in Poland. He died in Łódź in 1867, at the age of 60, and was buried in the city’s Evangelical Cemetery.

After his death, several theaters and troupes of black actors—including Philadelphia's famed Ira Aldridge Troupe—were established in Aldridge’s name, and countless black playwrights, performers, and directors since have long considered him an influence on their work and writing.

In August 2017, on the 150th anniversary of Aldridge's death, Coventry, England unveiled a blue heritage plaque in the heart of the city, commemorating Aldridge's theater there. Even this long after his death, the extraordinary life of Ira Aldridge has yet to be forgotten.

8 Enlightening Facts About Dr. Ruth Westheimer

Rachel Murray, Getty Images for Hulu
Rachel Murray, Getty Images for Hulu

For decades, sex therapist Dr. Ruth Westheimer has used television, radio, the written word, and the internet to speak frankly on topics relating to human sexuality, turning what were once controversial topics into healthy, everyday conversations.

At age 90, Westheimer shows no signs of slowing down. As a new documentary, Ask Dr. Ruth, gears up for release on Hulu this spring, we thought we’d take a look at Westheimer’s colorful history as an advisor, author, and resistance sniper.

1. The Nazis devastated her childhood.

Dr. Ruth was born Karola Ruth Siegel on June 4, 1928 in Wiesenfeld, Germany, the only child of Julius and Irma Siegel. When Ruth was just five years old, the advancing Nazi party terrorized her neighborhood and seized her father in 1938, presumably to shuttle him to a concentration camp. One year later, Karola—who eventually began using her middle name and took on the last name Westheimer with her second marriage in 1961—was sent to a school in Switzerland for her own protection. She later learned that her parents had both been killed during the Holocaust, possibly at Auschwitz.

2. She shocked classmates with her knowledge of taboo topics.

Westheimer has never been bashful about the workings of human sexuality. While working as a maid at an all-girls school in Switzerland, she made classmates and teachers gasp with her frank talk about menstruation and other topics that were rarely spoken of in casual terms.

3. She trained as a sniper for Jewish resistance fighters in Palestine.

Following the end of World War II, Westheimer left Switzerland for Israel, and later Palestine. She became a Zionist and joined the Haganah, an underground network of Jewish resistance fighters. Westheimer carried a weapon and trained as both a scout and sniper, learning how to throw hand grenades and shoot firearms. Though she never saw direct action, the tension and skirmishes could lapse into violence, and in 1948, Westheimer suffered a serious injury to her foot owing to a bomb blast. The injury convinced her to move into the comparatively less dangerous field of academia.

4. A lecture ignited her career.

 Dr. Ruth Westheimer participates in the annual Charity Day hosted by Cantor Fitzgerald and BGC at Cantor Fitzgerald on September 11, 2015 in New York City.
Robin Marchant, Getty Images for Cantor Fitzgerald

In 1950, Westheimer married an Israeli soldier and the two relocated to Paris, where she studied psychology at the Sorbonne. Though the couple divorced in 1955, Westheimer's education continued into 1959, when she graduated with a master’s degree in sociology from the New School in New York City. (She received a doctorate in education from Columbia University in 1970.) After meeting and marrying Manfred Westheimer, a Jewish refugee, in 1961, Westheimer became an American citizen.

By the late 1960s, she was working at Planned Parenthood, where she excelled at having honest conversations about uncomfortable topics. Eventually, Westheimer found herself giving a lecture to New York-area broadcasters about airing programming with information about safe sex. Radio station WYNY offered her a show, Sexually Speaking, that soon blossomed into a hit, going from 15 minutes to two hours weekly. By 1983, 250,000 people were listening to Westheimer talk about contraception and intimacy.

5. People told her to lose her accent.

Westheimer’s distinctive accent has led some to declare her “Grandma Freud.” But early on, she was given advice to take speech lessons and make an effort to lose her accent. Westheimer declined, and considers herself fortunate to have done so. “It helped me greatly, because when people turned on the radio, they knew it was me,” she told the Harvard Business Review in 2016.

6. She’s not concerned about her height, either.

In addition to her voice, Westheimer became easily recognizable due to her diminutive stature. (She’s four feet, seven inches tall.) When she was younger, Westheimer worried her height might not be appealing. Later, she realized it was an asset. “On the contrary, I was lucky to be so small, because when I was studying at the Sorbonne, there was very little space in the auditoriums and I could always find a good-looking guy to put me up on a windowsill,” she told the HBR.

7. She advises people not to take huge penises seriously.

Westheimer doesn’t frown upon pornography; in 2018, she told the Times of Israel that viewers can “learn something from it.” But she does note the importance of separating fantasy from reality. “People have to use their own judgment in knowing that in any of the sexually explicit movies, the genitalia that is shown—how should I say this? No regular person is endowed like that.”

8. She lectures on cruise ships.

Westheimer uses every available medium—radio, television, the internet, and even graphic novels—to share her thoughts and advice about human sexuality. Sometimes, that means going out to sea. The therapist books cruise ship appearances where she offers presentations to guests on how best to manage their sex lives. Westheimer often insists the crew participate and will regularly request that the captain read some of the questions.

“The last time, the captain was British, very tall, and had to say ‘orgasm’ and ‘erection,’” she told The New York Times in 2018. “Never did they think they would hear the captain talk about the things we were talking about.” Of course, that’s long been Westheimer’s objective—to make the taboo seem tame.

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