Problem: Background: Ralph Bakshi (born October 29, 1938) is an American director of animated and live-action films. In the 1970s, he established an alternative to mainstream animation through independent and adult-oriented productions. Between 1972 and 2015, he directed ten theatrically released feature films, six of which he wrote. He has been involved in numerous television projects as director, writer, producer and animator.
Context: In 1973, Bakshi and Ruddy began the production of Harlem Nights, which Paramount was originally contracted to distribute. While Fritz the Cat and Heavy Traffic proved that adult-oriented animation could be financially successful, animated films were still not respected, and Bakshi's pictures were considered to be "dirty Disney flicks" that were "mature" only for depicting sex, drugs and profanity. Harlem Nights, based on Bakshi's firsthand experiences with racism, was an attack on racist prejudices and stereotypes. Bakshi cast Scatman Crothers, Philip Michael Thomas, Barry White and Charles Gordone in live-action and voice roles, cutting in and out of animation abruptly rather than seamlessly because he wanted to prove that the two mediums could "coexist with neither excuse nor apology". He wrote a song for Crothers to sing during the opening title sequence: "Ah'm a Niggerman". Its structure was rooted in the history of the slave plantation: slaves would "shout" lines from poems and stories great distances across fields in unison, creating a natural beat. Bakshi has described its vocal style, backed by fast guitar licks, as an "early version of rap". Bakshi intended to attack stereotypes by portraying them directly, culling imagery from blackface iconography. Early designs in which the main characters (Brother Rabbit, Brother Bear and Preacher Fox) resembled figures from The Wind in the Willows were rejected. Bakshi juxtaposed stereotypical designs of blacks with even more negative depictions of white racists, but the film's strongest criticism is directed at the Mafia. Bakshi said, "I was sick of all the hero worship these guys got because of The Godfather." Production concluded in 1973. During editing, the title was changed to Coonskin No More..., and finally to Coonskin. Bakshi hired several African American animators to work on Coonskin, including Brenda Banks, the first African American female animator. Bakshi also hired graffiti artists and trained them to work as animators. The film's release was delayed by protests from the Congress of Racial Equality, which called Bakshi and his film racist. After its distribution was contracted to the Bryanston Distributing Company, Paramount canceled a project that Bakshi and Ruddy were developing, The American Chronicles. Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative; Playboy commented that "Bakshi seems to throw in a little of everything and he can't quite pull it together." Eventually, positive reviews appeared in The Hollywood Reporter, New York Amsterdam News (an African American newspaper) and elsewhere. The New York Times' Richard Eder said the film "could be [Bakshi's] masterpiece [...] a shattering successful effort to use an uncommon form--cartoons and live action combined to convey the hallucinatory violence and frustration of American city life, specifically black city life [...] lyrically violent, yet in no way [does it] exploit violence". Variety called it a "brutal satire from the streets". A reviewer for the Los Angeles Herald-Examiner wrote, "Certainly, it will outrage some and, indeed, it's not Disney. [...] The dialog it has obviously generated--if not the box office obstacles--seems joltingly healthy." Bakshi called Coonskin his best film.
Question: Was the movie a success?
Answer: Coonskin, advertised as an exploitation film, was given limited distribution and soon disappeared from theaters. Initial reviews were negative;

Problem: Background: Seabiscuit (May 23, 1933 - May 17, 1947) was a champion Thoroughbred racehorse in the United States. A small horse, Seabiscuit had an inauspicious start to his racing career, but became an unlikely champion and a symbol of hope to many Americans during the Great Depression. Seabiscuit has been the subject of numerous books and films including Seabiscuit: the Lost Documentary (1939); a Shirley Temple film, The Story of Seabiscuit (1949); a book, Seabiscuit: An American Legend (2001) by Laura Hillenbrand; and a film adaptation of Hillenbrand's book, Seabiscuit (2003) that was nominated for the Academy Award for Best Picture.
Context: Seabiscuit was injured during a race. Woolf, who was riding him, said that he felt the horse stumble. The injury was not life-threatening, although many predicted Seabiscuit would never race again. The diagnosis was a ruptured suspensory ligament in the front left leg. With Seabiscuit out of action, Smith and Howard concentrated on their horse Kayak II, an Argentine stallion. Seabiscuit and a still-convalescing Pollard recovered together at Howard's ranch, with the help of Pollard's new wife Agnes, who had nursed him through his initial recovery. Slowly, both horse and rider learned to walk again (Pollard joked that they "had four good legs between" them). Poverty and his injury had brought Pollard to the edge of alcoholism. A local doctor broke and reset Pollard's leg to aid his recovery, and slowly Pollard regained the confidence to sit on a horse. Wearing a brace to stiffen his atrophied leg, he began to ride Seabiscuit again, first at a walk and later at a trot and canter. Howard was delighted at their improvement, as he longed for Seabiscuit to race again, but was extremely worried about Pollard, as his leg was still fragile. Over the fall and winter of 1939, Seabiscuit's fitness seemed to improve by the day. By the end of the year, Smith was ready to return the horse to race training, with a collection of stable jockeys in the saddle. By the time of his comeback race, Pollard had cajoled Howard into allowing him the ride. After the horse was scratched due to soft going, the pair finally lined up at the start of the La Jolla Handicap at Santa Anita, on February 9, 1940. Seabiscuit was third, beaten by two lengths. By their third comeback race, Seabiscuit was back to his winning ways, running away from the field in the San Antonio Handicap to beat his erstwhile training partner, Kayak II, by two and a half lengths. Under 124 pounds (56 kg), Seabiscuit equalled the track record for a mile and 1/16. One race was left in the season. A week after the San Antonio, Seabiscuit and Kayak II both took the gate for the Santa Anita Handicap and its $121,000 prize. 78,000 paying spectators crammed the racetrack, most backing Seabiscuit. Pollard found his horse blocked almost from the start. Picking his way through the field, Seabiscuit briefly led. As they thundered down the back straight, Seabiscuit became trapped in third place, behind leader Whichcee and Wedding Call on the outside. Trusting in his horse's acceleration, Pollard steered between the leaders and burst into the lead, taking the firm ground just off the rail. As Seabiscuit showed his old surge, Wedding Call and Whichcee faltered, and Pollard drove his horse on, taking "The Hundred Grander" by a length and a half from the fast-closing Kayak II. Pandemonium engulfed the course. Neither horse and rider, nor trainer and owner, could get through the sea of well-wishers to the winner's enclosure for some time.
Question: How was his return to racing?
Answer:
By their third comeback race, Seabiscuit was back to his winning ways,