Review of Animal Farm (1954) by Adam R — 05 Jun 2011

Shot with memorable animation that recalls Tex Avery crossed with German expressionism, British filmmakers John Halas and Joy Batchelor transcend the "kids' stuff" mentality of most cartoons with their animated adaptation of George Orwell's "Animal Farm." And, despite the genre's usual association with whimsy, the author's indictment of Stalinist oppression loses none of its gravitas or power in the jump from printed page to illustration to screen.

Though there are many things done right in "Animal Farm" -- notably the dual characterization of Snowball as a noble if methodical and uninspiring visionary and Napoleon as a craven monster -- the movie is at its best telling the tale of Boxer the horse, easily the most tragic portion of Orwell's book.

As a literal workhorse, Boxer represents the exact target of proletarianism. And, apart from the duplicitous pig masters who craft the messages, no other animal is more enthusiastically receptive of the changes on Manor Farm than Boxer, who puts in extra hours unasked to support the collective effort.

However, as the revolution staggers on and efforts cease and/or are redirected, Boxer's usefulness to the cause begins to dwindle. Soon, he and the other animals find him unable to contribute after exhaustion and battle scars take their toll. Eventually, the mighty horse is put to pasture -- or the glue factory.

Well-done or not, cartoons are often effective sources for instruction on topics both complex and simple. At first blush, it seems that no animated movie could properly encapsulate the complexity and satirical value of "Animal Farm," but Halas and Batchelor manage just that, demonstrating -- through images ranging from charming to unnerving -- that no matter what a political system promises, so long as a certain few enjoy vast benefits over the many, oppression, hardship and violence are bound to -- inevitably and awfully -- follow.