This is the story of a nine-year-old boy named Hogarth Hughes who makes friends with an innocent alien giant robot that came from outer space. Meanwhile, a paranoid U.S. Government agent named Kent Mansley arrives in town, determined to destroy the giant at all costs. It's up to Hogarth to protect him by keeping him at Dean McCoppin's place in the junkyard.Written by
Anthony Pereyra <firstname.lastname@example.org>
Brad Bird mentions the tonal shifts Michael Kamen had to work with in dealing with the music for the film, how it goes from somber to bittersweet and almost cheerful in the next scene. Bird brings up the problems he had with Bambi (1942) as a child, how the scene after Bambi's mom is shot it goes into birds singing and being happy. "I was always mad at the birds, because I was still feeling bad about the mother dying," he says. He wanted to make sure they eased out of the sad moment rather than shift too much too quickly. See more »
When the Giant is being electrocuted, he causes the power to go out in Rockwell. Annie is in the house, and in the shadow appears to grab a flashlight from the table. However, in the split second before the lights went out, the flashlight was not on the table. See more »
Mayday! Mayday! This is the Annabelle. I've lost my bearings! I'm taking on water. My last good reading is 44 degrees north, 68 degrees... .
[he saw a shooting star zooming down the water]
Portland Station to Annabelle. What is your position?
I don't know exactly. Off the coast somewhere near Rockwell! Wait.
[he saw some lights round the water]
The lighthouse! I see it!
See more »
The Warner Brothers logo is done in 50's art deco, as the Sputnik signal is heard. See more »
In the original, Hogarth finds the Giant's hand watching the TV, showing an advertisement for Maypo Cereal. Director Brad Bird initially wanted an ad for the Disneyland attraction Tomorrowland. Disney would not not grant clearance to use Tomorrowland footage back 1999, when the film was originally shown. Years later for the Signature Edition, Disney allowed the Tomorrowland footage to be used. So in the Signature Edition, the TV shows an ad for Tomorrowland. Oddly enough Brad Bird directed the film version of Tomorrowland for Disney, which was released the same year as the Signature Edition. See more »
What more animated movie should be: a thoughtful, funny, touching story.
After seeing this movie, I was overcome by a strange feeling. I realized that I had found a treasure where I had least expected it. The Iron Giant is intelligent, funny, touching, and visually superb, and should show the world that an animated movie does not need to be A) computer-animated, or B) based on a fairy tale to be successful. One of the best American-made children's movies I have seen in a decade: 8.5/10.0
Now, I'm a 17-year-old who is slowly transitioning into the domain of movie buffdom, which basically means that I am watching a stream of movies based on recommendations from friends, critics, and the IMDb Top 250 list. I got this one almost by accident after the local rental place could not find the movie I was really after, choosing it basically on the knowledge that it was the previous project of Brad Bird, director of The Incredibles (a personal favorite). After watching it, I felt like calling up every mother I knew and telling her to have her children (and herself) watch this.
The Iron Giant revolves around an adventurous young boy in 1950s small-town America who discovers a gigantic robot out in the woods that has arrived on Earth from goodness-knows-where. He befriends the robot, while trying to keep him safe from a nosy government agent. The story seldom lags, with a series of comical adventures connected by the boy's growing relationship with his friend.
This movie is very appealing as entertainment. The voices are well-done, and the scenery is also terrific. Most importantly, though, is the animation, which is a bright spot from this time period. The characters are well-drawn, especially the Giant, who through terrific design, lifelike movements, and clever small touches (i.e., the eyes) seems both alien and human, imposing and childlike. Furthermore, the animation is comical. I don't know when I have ever seen slapstick or punchlines so well-complimented by the animation. The script, written by Bird and based off the book The Iron Man, is also very well done. Though the movie relies upon a few minor crutches common to children's movies, it is still very original and clever.
One thing that I must point out about this movie is its morals. Throughout the movie, the main moral of the story, about the Iron Giant learning and choosing to be good, is actually fairly adroitly handled. At no point when the subject comes up, including standard sentimental climax, does the idea seem contrived. Throughout the movie, evidence of Bird's influence by comic books is quite evident, and his ultimate message about heroes (variations of which will resurface in The Incredibles) is relevant and sincere. However, I do have to say that the secondary moral, about the evils of xenophobia and paranoia, both of which are embodied by the movie's antagonist, the government agent and the military, are very politically charged. While this may sound initially controversial and politically charged for a kids' movie (the second of which I do not deny), I noticed that it was in large part a thoughtful spoof of Cold War America, with jokes as well as valuable lessons about "duck and cover" and 1950s nuclear edginess that I found very clever.
On a final note, I do have to point out that this movie had me laughing hard, but more importantly, it brought me closer to tears than any animated movie I can remember (including Bambi), closer than I like to admit. I wish that I had discovered it sooner, and I hope that everyone gets the chance to experience it the way I did.
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