Beauty and the Beast to make more profits due to having more of an adult appeal than Fievel Goes West. Disney chairman Jeffrey Katzenberg stated in regards to the competition: "We've competed with Amblin before and learned that there's enough room for both. These movies aren't mutually exclusive. There's a big market out there. The success of one doesn't depend on the failure of the other". Opening to 1,400 theaters in the United States, Fievel Goes West has, as of November 30, 2019, the 110th widest G-rated release of all time and the 96th widest G-rated film opening in the United States. It also has the 124th all-time biggest opening weekend for a G-rated film, opening in fourth place with $3,435,625; and has 60th smallest weekend drop for a film in 600-plus theaters thanks to its second week grossing $3,782,080. However, it also holds the record of the 119th post-thanksgiving weekend drops. Fievel Goes West eventually made just over $22 million domestically, and $18 million overseas, for a total of $40,766,041; making it the 60th highest-grossing film of 1991 in the United States and the 37th highest grosser of the year worldwide. As of December 1, 2019, it is the 141st highest domestic-grossing G-rated film of all time and 123rd worldwide. By contrast, the original film made $47.4 million in the U.S. in 1986, a record at the time for a non-Disney animated one, and a further $36 million overseas, for a total of $84 million. According to The Washington Post, Fievel Goes West tied with For the Boys (1991) for "the dubious if unofficial distinction of the fastest failure of a big-budget holiday movie". Some journalists and film executives attributed the film's weak box office to the intense competition it faced with Beauty and the Beast. However, it wasn't competing with the Disney production in Canada, and it failed there too according to a Universal executive, who also blamed Spielberg's lack of involvement in the marketing due to being too busy on Hook. Another official of the company explained that he had little faith in the project, describing it as "charmless" and its animation "pedestrian". Other writers blamed it on the content. Dennis Hunt suggested "the complex story line and the scary villains didn't quite click with the kiddies", and Bernard Weinraub wrote that "even children were not especially interested in an old-fashioned animated movie". Steven Hulett of the