It has become so trite to refer to 1999 as the greatest modern year for cinema; some even view the sentiment as somewhat passé, based on how widespread and commonly discussed this point tends to be. However, there is a reason many consider it to be such a strong period for cinema, since so many of the most influential and iconic works of the contemporary era were produced during this time, and even if they weren’t acclaimed at the time, they’ve developed followings as the years have progressed. One such example is The Iron Giant – initially quite a small film with good (but not brilliant reviews), that was unfortunately eclipsed by both the tail-end of the Disney Renaissance and the rapid, meteoric rise of Pixar Animation, both studios being at their absolute peak at the time, making it very easy for even a film produced by the likes of Warner Bros. to be overlooked. Yet, as time has gone on, more people have been introduced to the story of a rambunctious young boy growing up during the peak tensions of the Cold War, who befriends a sentient robot who may be from outer space, the unexpected pair choosing to take on the authorities to not only dismantle their harsh command over society, but also to defend their friendship, which they find is constantly the source of panic amongst those committed to supposedly defending the country from external influences, but in reality is just a means of control. A labour of love for Brad Bird (someone who could legitimately stake a claim as one of the greatest living animation directors, based on his small but brilliant body of work, of which this film was his first and probably greatest achievement), the film has aged remarkably well as time has progressed and more viewers have been able to get enraptured by the beauty and charm of this delightful and deeply moving work.

The Cold War is not a subject that typically finds its way into family-oriented fare, but like many more mature topics, its complexities can easily be reduced to a level that all viewers can understand without making it seem trivial or overly simplistic. I’d be willing to bet that this film was the first encounter many younger viewers over the past quarter of a century had with the subject, which is perfectly represented in this film, particularly in terms of the aesthetic of the era, and themes such as paranoia, the looming threat of internal interference and the military industrial complex – all subjects that are certainly the very definition of family friendly. In all seriousness, The Iron Giant does quite well in exploring the subject matter, and while it could have feasibly been set in any era, a contemporary version of this story would have lost a lot of the lustre that Bird brings to this film, especially since many of his films are built from a very clear approach to appreciating the past, or at least infusing the present day with ideas and images that could feasibly be part of that era. The character design, as well as the way the film is crafted in terms of its backdrops, is absolutely stellar, and gives the story an additional layer of complexity that can sometimes be quite difficult to overlook, especially when everything we are seeing feels so wholeheartedly compelling. There is a level of detail here that is absolutely striking, and the blend of hand-drawn animation and computer-generated imagery (the latter being still mostly revolutionary technology) gives the film a unique approach that not only makes it immediately recognisable, but consolidates it into the culture as one of the most beautifully endearing works of animation of its era.

Yet, we do need to ask ourselves precisely what it is that makes The Iron Giant so wholeheartedly compelling – this is not only a great technical achievement, but an emotional one as well, and it proves that innovation only means something if deeper ideas are being conveyed, and the process is not solely about pushing boundaries, but also giving viewers something unique in the process. The results are fantastic, and while it is a solid science fiction film, what makes this so incredibly moving is the emotions that are situated right at the core of the film, which is what I assume most viewers will find resonant. The foundation of the story is based around the two main characters – one a rambunctious young boy, the other an extraterrestrial entity – and how they form quite an unconventional friendship that exceeds all expectations and becomes as firm and ironclad as the titular character itself. Bird has always been a filmmaker whose work exists at the perfect intersection between technically impressive and genuinely heartfelt, and while the former may capture our attention, it’s the latter that manages to hold it. It’s a very special little film, albeit one that feels much larger than it was in practice. This is not a sprawling science fiction epic, but rather a charming comedy about two unexpected companions that inadvertently help prevent the United States (and the entire world by extension) from falling into a nuclear apocalypse – these themes are only briefly explored, but it is deliberately done in such a way that it feels extremely genuine, even at when it does veer towards the simple on a few occasions, which are all part-and-parcel of this film and what it represents.

To accompany the deeper message, we find that The Iron Giant has quite a fascinating cast, which includes a blend of newcomers and veterans, who are perfectly placed into the film and given memorable characters, adapted to their strengths but also loose enough to give them the space to develop them on their terms. Eli Marienthal is Hogarth, the ambitious nine-year-old protagonist who knows that he is destined for greatness, even though those around him have not quite managed to see the potential. In one of his only notable performances (albeit one that is genuinely very fantastic), Marienthal delivers a strong vocal performance that captures both the childish innocence and unexpected wisdom that make him such a compelling protagonist, the film benefitting from being led by someone who, despite his young age, found so much honesty and authenticity in this character. Vin Diesel portrays the titular character, and while the character does mostly communicate through noises (and the occasional word, usually coming in some of the film’s more emotional moments), he brings the character to life with such sincerity, a warmth coming through in his iconic, timbrous voice. Supporting roles include those played by Jennifer Aniston, Harry Connick Jr., Christopher MacDonald and John Mahoney, all of whom take on these simple characters and elevate them far beyond the one-dimensional archetypes from which they were initially constructed. Bird tends to create memorable characters, and The Iron Giant is certainly not any exception, with every character-based decision being spellbinding.

The Iron Giant is not only a truly brilliant work in itself, but it is the ideal for what an animated film should be – no sequel was ever commissioned, and it seems to have resisted any attempt to produce a live-action remake, which we can attribute to Bird’s sincere belief that what he created was more than enough, and that any attempts to revisit these characters would just be vulgar. It’s difficult to argue with such a sentiment, or to be dismissive of someone who has spent the last couple of decades committed to defending his work as being entirely self-contained and not wasting his time retreading material that he knows to be as near-perfect as possible. The film is certainly worth every minute of our time – the visuals are stunning and ahead of their time, the performances are strong and memorable, and the emotions are meaningful and have enough sincerity behind them to earn our attention and affection. A charming, well-crafted animated film that has consolidated its place within the culture, as well as earning every bit of acclaim it deserves, The Iron Giant is a magnificent achievement, and quite simply one of the true masterpieces of this banner year for cinema, for reasons that become very clear as we make our way through this compelling narrative.