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Damon's character is, of course, a product of horrific physical abuse by his foster parents. Men, even the good ones, say and do shit like this all the time. Yes, there is certainly something to be said for flawed characters, and even for sympathetic and otherwise likable ones like those played by Williams and Damon. If much of this sounds like nit-picking what was permissible 20 years ago, that’s exactly the point. “Nail them while they're vulnerable, that’s my motto,” he jokes to his class. Even Williams’s sage and sensitive Sean Maguire traffics in questionable sexual humor. Later, during a love scene, she spells it out for Will: “Men are shameless,” she says. Why did we ever consider that a heroic victory? That’s the corniest thing I’ve ever heard in my life. "How do you like them apples?" Will taunts another man after getting Skylar's number. Mel Gibson, of all people, was originally set to direct. Casey Affleck, the likable, goofy, put-upon character of Morgan in the film, has settled his own harassment cases, as well. Both he and Damon have spoken out against Weinstein, saying they were aware to some extent of his reputation, although not the criminal aspect of it, including an incident of harassment against Gwyneth Paltrow, whom Affleck would later date. Since the Weinstein story broke, Affleck, too, has been accused of varying degrees of inappropriate behavior. At the time of its release, Weinstein was allegedly harassing three of the most prominent women among a lengthy list to have come forward against him: Asia Argento, Rose McGowan, and Ashley Judd.
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Miramax, the studio headed up by Harvey Weinstein at the time, is the first word to appear on the screen. Which is another reason why the film is harder to watch now than it was in 1997. And when they’re your guys, you let them get away with things. None of the forced references or the embarrassing dropped r’s, because these were our guys. None of the logistical and geographical inconsistencies mattered. Near there." I didn’t grow up in the city, but I spent many of my weekends coming here as a teenager, and would move here for the first time that summer, making the Harvard Square of the film the center of my universe, much as it still is today. I even had the stupid swooping blonde undercut. It didn’t hurt that I bore a decent enough resemblance to Damon (trust me on that one).
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"Get off mothers, I just got off yours." For a couple years after, I eagerly let the film identify me for people I’d meet from around the world in college and elsewhere. "Morgan, yah going," we’d say when it was time for someone to make a beer run. My friends and I quickly incorporated the dialogue into our lexicon, alongside Swingers and The Big Lebowski quoting that passes for conversation among young men in place of emotional openness. When you see yourself being seen for the first time, even if through a filter, it’s a hell of a drug. Especially for a suburban kid who was desperate to begin the part of his life defined by living in Boston. It was a thrill to see that city reflected onscreen for the first time, to have your provincial identity reflected back at you. Let me put it this way: You didn’t hate Boston in 1997. At the time, we were still the underdogs, known, if for anything besides history, for being a hard-scrabble city of lovable losers, defined by the failure of our sports teams rather than the largesse of their victories as we are now. Twenty years ago, “Boston” as a genre of entertainment was a relatively unique idea, Cheers notwithstanding. The coming of age film seemed like a classic. The 1997 Gus Vant Sant film saw Robin Williams earn his only Oscar win and made Matt Damon and Ben Affleck household names (while netting each of them a screenwriting Oscar, too). Under normal circumstances, Good Will Hunting, released 20 years ago this week, would be taking a victory lap.