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For whatever this news might represent, Space Jam is turning 20 years old this week. Not 10, mind you, but 20. Hearing that is immediately depressing, as it makes us Old Millennials feel... old. Like when Toy Story turned 20 last year as well, it makes us realise we’re not young anymore, and neither are the things we grew up with. Time flies, and before one can notice, half a decade has passed already. It feels like when we were young, time moved slower, as if we had a different perception of it, as if we were in a state of constant bliss. But once you become an adult, time becomes unforgivably fast.
We aged, but curiously, Space Jam seems to have aged faster than we did. It is deeply a 90’s film, with its gleeful abandon, weirdness and hysterical emotions. A symbol of its time, long before the dark and gritty phenomenon took over Hollywood in the following decade. But it also transcends its age, for it’s a film that endured. It may not be universally beloved, but it has always been there among us after its inception, one way or another. It both is and is not dated.
Space Jam is very much one of "those" movies. It’s weird, it’s unusual, it’s divisive… and yet, it exists. It's that 90's movie people still talk about, that made its mark in pop culture, that wasn’t swallowed by obscurity. Even generations that came after it mention it from time to time, maybe as a token of the previous generation, for better or worst. All in all, Space Jam is one of the most bizarre mainstream films ever made, and if it had been a generic film, it wouldn't have lasted as it did.
To celebrate the 20th anniversary, Warner Bros. is going to re-release the film in selected theatres, after we saw it thousands of times in television – Space Jam definitely became an afternoon session favourite in these last two decades. To see it in a big screen again must be a treat for those who first saw it in theatres back in the day, a nostalgic experience. With its visuals, Space Jam does feel like a perfect film to see in a big screen - in fact, it's a perfect contender for a 3D conversion.
To talk about a movie such as this, we should first talk about its circumstances, of how it came to be in the first place, its background and scenario. The year was 1996, and the world was much more different than it is now: we were not as connected as we are today, for computers and the internet were still on the process of growth, and many families perceived them as luxuries. Bill Clinton was the American president, two years before the whole Monicagate scandal. The twin towers of the World Trade Center were still tall and strong – it was a carefree age, more innocent times, before the threats of the new century came to be.
At that time, Warner was going through an animation revival, with many popular television cartoons such as Pinky and the Brain, Batman: The Animated Series and Animaniacs. But unlike Disney, Warner Animation wasn’t really making that same success on the big screens. The Lion King had just shattered all records in 1994, and Warner didn't want to be left behind; Space Jam may have been its attempt to catch up with Disney... precisely like what is going on now with Marvel and DC. History repeats itself, doesn't it?
Space Jam was meant to be a safe bet, an adventure with the Looney Tunes we all know and love, characters long stabilised in the collective consciousness. So far, so good - you can't go wrong with that. But they would be in a situation even the most creative writer could not possibly come up with. Say it out loud: the Looney Tunes team up with Michael Jordan. How did these two concepts even match? As it turns out, unbeknown to a lot of people, the most likely genesis for such an unique project may have been a Nike commercial from 1993, which first paired Michael Jordan and Bugs Bunny. The commercial was shown at the Super Bowl, and the idea itself may have appealed to executives at Warner enough for them to want a proper plot to make that duo possible and logical in a feature film.
Space Jam was meant to be a safe bet, an adventure with the Looney Tunes we all know and love, characters long stabilised in the collective consciousness. So far, so good - you can't go wrong with that. But they would be in a situation even the most creative writer could not possibly come up with. Say it out loud: the Looney Tunes team up with Michael Jordan. How did these two concepts even match? As it turns out, unbeknown to a lot of people, the most likely genesis for such an unique project may have been a Nike commercial from 1993, which first paired Michael Jordan and Bugs Bunny. The commercial was shown at the Super Bowl, and the idea itself may have appealed to executives at Warner enough for them to want a proper plot to make that duo possible and logical in a feature film.
It told a fictionalised story about when Jordan retired from basketball and had an unsuccessful turn at baseball. A group of small, abused aliens from a theme park planet are ordered to enslave the Looney Tunes, but the gang however doesn't go out without a fight. The Tunes make a bet with the invaders: they decide to settle their fate in a match of basketball. Bugs Bunny and his friends think this will work on their favour, given how small and weak the creatures are, but the situation takes a turn for the worst when the aliens absolve the powers of top NBA players, becoming massive monstrosities and basketball professionals. So in face of that, the Tunes kidnap Michael Jordan, unaware of his retirement, and beg him to help them. Which he does with little convincing.
The film was directed by prolific director of commercials Joe Pytka, who did the Nike commercial three years earlier. Space Jam was his second and last feature film - apparently, a conscious decision. Ivan Reitman was one of the producers, and this indeed feels like one of his projects: it's not absurd to think that the man who teamed up Arnold Schwarzenegger and Danny DeVito twice was also behind the teaming of Michael Jordan and Bugs Bunny. Besides Michael Jordan, the film also starred other real NBA personalities – none of them even slightly recognisable to foreigner kids, or maybe even to American kids. And it’s interesting to see how their lack of acting skills actually ads up to the infamy of the film. On the other hand, we could say they were actually being themselves, and what we call “realistic acting” is nowhere near how we as humans would act in real life. What we usually see in movies would be a strange reproduction of reality, and we’ve been so used to it that we would believe anyone who’s being actually realistic is acting badly. So take that, Daniel Day-Lewis.
Space Jam wasn’t the hit that Warner may have wanted it to be, as it made 230 million dollars over its budget of 80 millions. The real success however must have come in merchandising: I remember quite well spotting Space Jam lunchboxes and backpacks everywhere at my school. Video games, home video, toys, even pinball… the film really put Bugs Bunny and the rest of the Looney Tunes gang back on the map. And now when I think about it, that may have been an influence for Batman & Robin from the following year to have been so relentlessly juvenile and stupid: to pander to children audiences, so it could also be another merchandising success. But it was way too juvenile and stupid, in a way Space Jam wasn't. And we all know how that ended.
Space Jam wasn’t the hit that Warner may have wanted it to be, as it made 230 million dollars over its budget of 80 millions. The real success however must have come in merchandising: I remember quite well spotting Space Jam lunchboxes and backpacks everywhere at my school. Video games, home video, toys, even pinball… the film really put Bugs Bunny and the rest of the Looney Tunes gang back on the map. And now when I think about it, that may have been an influence for Batman & Robin from the following year to have been so relentlessly juvenile and stupid: to pander to children audiences, so it could also be another merchandising success. But it was way too juvenile and stupid, in a way Space Jam wasn't. And we all know how that ended.
Critics didn’t love it. While it had some defenders, most critics were indifferent over it, and some of them outright hated it. Legendary cartoonist Chuck Jones was particularly angry with how the characters he worked with for decades were presented, declaring Bugs Bunny would have defeated the invading monsters all alone, all easily, with his trademarked wits in around seven minutes.
Space Jam, like Man of Steel or Moulin Rouge!, is one of those polarising films that had many audiences debating over the years. So whatever my opinion about it is, it does not seem to fit into a consensus because there isn't any consensus about it, at least not in what regards if it's good or bad. Well then, from my part, it was a very good film.
It wasn't great, but it was engrossing and very well written, paced and structured. It has some over-the-top moments that are off-putting at times, but they don’t stand in the way of the narrative. Clocking at 88 minutes - with the credits - the film never makes a big show of itself: you get in quickly, and you get out satisfied. With gratifying cameos by Wayne Knight and Bill Murray, self-referential humour (“hey, I didn't know Dan Aykroyd was in this picture!”), and a marvellous soundtrack that is addicting to hear with or without the film, the project was a true triple-threat.
This is not to diminish some of the criticism the film received, and certainly not to demerit Jones' issues with it, for indeed the Bugs Bunny of the classic cartoons was a very different character from the Bugs Bunny of this movie. He is no longer that cool character who is always in command, always confident and always assured. However, he still has that swagger: it's just that now, he seems to face an enemy that is beyond his wits. So now, strangely enough, we see a "humanised" Bugs Bunny, genuinely afraid for himself and for his friends. It's almost as if Jordan had become the Bugs Bunny figure in the film: he's the one who's always confident, who's never afraid, who never backs down.
Furthermore, the film introduced one of the best animated characters of the 90’s: Lola Bunny, a badass girl who doesn’t take shit from anyone. One could argue that her creation was pretty sudden, without a proper previous development: the gang needed the most basketball talents they could gather, and she just appears out of the blue. But you have to admit she was a great character to see and to hear, and she made the movie even better. She was voiced with much charisma by Kath Soucie, and there was never a dull moment regarding her. I'm pretty sure that for many boys hitting puberty around the time, Lola must have represented a very confusing sexual awakening - and I would reckon she was created precisely for such boys.
But I think the thing I like the most about this film is its morality. I know this may sound silly, as if I was reading too much into a silly family film. But it did contain a very important message for children and even for adults - a message of solidarity. Jordan seeks to help the Looney Tunes apparently with no rewards in mind. He sees their plight and accepts their challenge - in fact, at one point of the film, he raises the stakes by including himself as part of the deal. And by the end, he realises basketball is his true talent, and how he inspired and connected with millions of people around the world through it. Realising that must have been his reward.
It's kind of funny that I only took best notice of this when I got older: he was a man doing the right thing because it was the right thing, because there were others in need. And in a way, it collaborated to expand the myth of Michael Jordan today as more than just an athlete, but as a transcendental figure like Muhammad Ali or Pelé. A good person within and outside the courts.
Another thing I perceive in this film is a message of union. The Looney Tunes - for all their bickering - put their differences aside and work together for their own freedom. Elmer Fudd is no longer hunting down Bugs or Daffy; Sylvester is no longer chasing Tweety; Coyote and Road Runner put their shenanigans on hold. It was a very important message, and one that more people today should embrace.
Now, its advertisements may be embarrassing, and some of its gags are too over-the-top for adults to embrace, as they fail to hit that spot in which we can all enjoy. But ultimately, Space Jam is a competent film that is both brave while also being formulaic. It's at the same time contrived in some aspects but original in many others. It’s accomplished both visually and substantially; it succeeds much more than it falters. And with the modern boom of CGI animation, it’s refreshing to see real actors interacting with hand-drawn cartoons. It would never be made like this nowadays. In fact, I wouldn't imagine a film like this being made at all.
Space Jam, like Man of Steel or Moulin Rouge!, is one of those polarising films that had many audiences debating over the years. So whatever my opinion about it is, it does not seem to fit into a consensus because there isn't any consensus about it, at least not in what regards if it's good or bad. Well then, from my part, it was a very good film.
It wasn't great, but it was engrossing and very well written, paced and structured. It has some over-the-top moments that are off-putting at times, but they don’t stand in the way of the narrative. Clocking at 88 minutes - with the credits - the film never makes a big show of itself: you get in quickly, and you get out satisfied. With gratifying cameos by Wayne Knight and Bill Murray, self-referential humour (“hey, I didn't know Dan Aykroyd was in this picture!”), and a marvellous soundtrack that is addicting to hear with or without the film, the project was a true triple-threat.
This is not to diminish some of the criticism the film received, and certainly not to demerit Jones' issues with it, for indeed the Bugs Bunny of the classic cartoons was a very different character from the Bugs Bunny of this movie. He is no longer that cool character who is always in command, always confident and always assured. However, he still has that swagger: it's just that now, he seems to face an enemy that is beyond his wits. So now, strangely enough, we see a "humanised" Bugs Bunny, genuinely afraid for himself and for his friends. It's almost as if Jordan had become the Bugs Bunny figure in the film: he's the one who's always confident, who's never afraid, who never backs down.
Furthermore, the film introduced one of the best animated characters of the 90’s: Lola Bunny, a badass girl who doesn’t take shit from anyone. One could argue that her creation was pretty sudden, without a proper previous development: the gang needed the most basketball talents they could gather, and she just appears out of the blue. But you have to admit she was a great character to see and to hear, and she made the movie even better. She was voiced with much charisma by Kath Soucie, and there was never a dull moment regarding her. I'm pretty sure that for many boys hitting puberty around the time, Lola must have represented a very confusing sexual awakening - and I would reckon she was created precisely for such boys.
But I think the thing I like the most about this film is its morality. I know this may sound silly, as if I was reading too much into a silly family film. But it did contain a very important message for children and even for adults - a message of solidarity. Jordan seeks to help the Looney Tunes apparently with no rewards in mind. He sees their plight and accepts their challenge - in fact, at one point of the film, he raises the stakes by including himself as part of the deal. And by the end, he realises basketball is his true talent, and how he inspired and connected with millions of people around the world through it. Realising that must have been his reward.
It's kind of funny that I only took best notice of this when I got older: he was a man doing the right thing because it was the right thing, because there were others in need. And in a way, it collaborated to expand the myth of Michael Jordan today as more than just an athlete, but as a transcendental figure like Muhammad Ali or Pelé. A good person within and outside the courts.
Another thing I perceive in this film is a message of union. The Looney Tunes - for all their bickering - put their differences aside and work together for their own freedom. Elmer Fudd is no longer hunting down Bugs or Daffy; Sylvester is no longer chasing Tweety; Coyote and Road Runner put their shenanigans on hold. It was a very important message, and one that more people today should embrace.
Now, its advertisements may be embarrassing, and some of its gags are too over-the-top for adults to embrace, as they fail to hit that spot in which we can all enjoy. But ultimately, Space Jam is a competent film that is both brave while also being formulaic. It's at the same time contrived in some aspects but original in many others. It’s accomplished both visually and substantially; it succeeds much more than it falters. And with the modern boom of CGI animation, it’s refreshing to see real actors interacting with hand-drawn cartoons. It would never be made like this nowadays. In fact, I wouldn't imagine a film like this being made at all.
After some ups and down, Warner Animation released in 2003 Looney Tunes: Back in Action. As the title suggested, it was something of a sequel to Space Jam. This time, it was directed by veteran director Joe Dante, while starring names such as good old Brendan Freser, Steve Martin and Joan Cusack. It was poised for worldwide success, and it was actually meant to be the hit Space Jam really wasn’t. But the film actually flopped big time, failing to recoup its 80 million dollars budget. Now, I can’t judge this film because I haven’t seen it. However, I would say this is part of my point here, for the film became obscure right at its release. It was left under the radar, people didn’t talk about it, television wouldn't reprise it. It would be something of a generic film, while Space Jam was something absurd yet memorable.
After that, Warner decided to give up on film animation, so to speak. It would make an animated work here and there, like George Miller's Happy Feet, but without maintaining a constant pace. However, in 2014, with all the success of The LEGO Movie, a talk started brewing in Hollywood about a possible Space Jam sequel, even with LeBron James as the main star. In 2015, things started getting more and more real, and in this year, Justin Lin - director of four The Fast and the Furious films and Star Trek Beyond - was approached to direct the film. It's not just small talk anymore - it’s very much likely going to happen, sooner or later.
Nevertheless, we all saw what happened to Independence Day: Resurgence. Nostalgia alone won’t do the trick, and whoever is commanding that film must compromise in doing a distinctive work of art, something great – something even better than the first film. This cannot simply be a cold, heartless studio project. It should, like the original film, have a soul of its own.
It’s nothing short of what Bugs, Daffy and my beloved Sylvester deserve.
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