Hey, all. "Moriarty" here. I know we've been running a lot of reviews for CHICKEN RUN so far. I know we're setting your expectations fairly high. I don't think that's a problem in the slightest little bit, because the film delivers like mad. Harry Lime has a lot to say about the film, and he says it very well. Heed his advice and get your ass to a theater this weekend. Anyone getting the idea that I like this one yet?
I can’t talk for very long because there are people looking for me. No, I’m not in any trouble this time. It was merely a misunderstanding with a couple guys over some crates of nitro in Central America. How was I to know those crates were empty? It’s getting so you can’t trust anybody these days. Anyway, I thought I’d take a breather from my rather lucrative shady dealings to drop you a line about a delightful family film I caught the other night: CHICKEN RUN.
First of all, THE WRONG TROUSERS rules the freaking earth. Let’s get that out of the way right up front. I’m a gigantic Nick Park enthusiast and I’m not just saying that because he paid homage to me with that groovy penguin. Wallace & Gromit kick ass. Those expressive toothy mouths have me on the floor every time. GRAND DAY OUT and A CLOSE SHAVE are also fantastic works pop cleverness. From my very first exposure to the creations of Aardman’s ingenious worlds, the hilarious CREATURE COMFORTS (“You tell me. I go.”), I was helplessly hooked. I’ve always known it was just a matter time before Park’s work would make its way to feature length.
A while back Head Geek Harry told me about some rough footage he and Professor Moriarty spied while visiting DreamWorks Studios. If I recall correctly, Moriarty’s reactions to the work-in-progress was quite enthusiastic. Although I haven’t read his review of the finished film, in our brief conversation it was obvious that he’s a big fan. In fact, I’d be willing to wager all my Star Wars Figures that he touches upon many of the points I’ll be making here. Oh, well. That’s what I get for putting it off an extra day or two.
For me this collaboration between DreamWorks, Pathe and Aardman might best be described as Jim Henson’s THE GREAT ESCAPE. While watching, I was reminded of Henson’s golden years –- the way he could create a world that was outrageous and unpredictable yet still be able to effortlessly keep us completely invested in the characters and make us truly care about the outcome of their journey. Here, the plight of caged hens and their only hope, a flying rooster with a haunted past, keeps us engaged all the way to the movie’s climactic finish. Filmmakers Peter Lord and Nick Park must have been channeling the spirit of the late genius to have given birth to such a unique and brilliant piece of entertainment.
The film starts with a scene that makes several direct references to THE GREAT ESCAPE and STALOG 17. It’s here that we meet Ginger, a hen who is determined to break out and live life on her own terms (voiced marvelously by Julia Sawalha). Lord and Park are clearly in on the joke and so are the adults in the audience. It’s amazing how perfectly such a classic mood has been created with miniature sets and plasticine figures. The scene is so well constructed that even the kids who don’t know Steve McQueen from apple butter will have a good time. Towards the end of Act One, though, the tone shifts a bit with a scene that coldly establishes the stakes for the rest of the movie. When an unsuspecting hen who hasn’t been producing her share eggs is taken by Mrs. Tweedy, the wicked farm owner, to a shed called “the chop,” it’s clear to the other hens that they will either escape this tyranny or ultimately be killed. I heard several audience members gasp and then the room fell silent. For a moment, the film stopped being THE GREAT ESCAPE and became as simple and direct as SCHINDLER’S LIST. Although it pushes exactly the right buttons and is essential for the rest of the film, I was blown away that the filmmakers had the guts to take it that far.
The hens’ miracle arrives one night in the form of a flying rooster named Rocky who crash lands in their camp. Mel Gibson lends his voice and persona to the colorful bird. In exchange for hiding him from the circus people who come looking for their star attraction, the hens, lead by Ginger, persuade Rocky to teach them his secrets of flight. He’s reluctant at first, but quickly finds that he has little choice. I would say Gibson’s contribution to the film is more of a supporting role. Even though some of the advertisements may lead you to believe it’s his movie, Ginger is the true star. Gibson does great work, though, and doesn’t overpower the rest of the cast, which would be easy for a star his size. Although I’m looking forward to the usual Mel in Demmerich’s THE PATRIOT, it’s refreshing to occasionally see this kind of work from him (i.e. POCAHONTAS).
There’s an awesome set piece near the middle of the film. It’s not as perfect as the finale from THE WRONG TROUSERS, but what is? The scene is a rescue that’s as exciting as anything I’ve seen in an Indiana Jones or James Bond movie. Mrs. Tweety, the film’s villain (voiced wickedly by Miranda Richardson), puts Ginger in a machine that turns chickens into pies. It’s up to Rocky, who still hasn’t come clean with the hens about his past, to save her. It’s stuff like this as well as the exquisite, quiet character moments that made me completely forget that I was actually watching toy-sized pieces of plastic filmed one painstaking frame at a time.
The rest of the cast (Tony Haygarth, Phil Daniels, Lynn Ferguson, Jane Horrocks, Timothy Spall, Imelda Staunton, and Benjamin Whitrow) delivers exceptionally rich character work. In particular, I enjoyed Haygarth’s performance as Tim Conwayeque Mr. Tweedy, and Ferguson’s spirited portrayal of Mac, a hen that reminded me a lot of Spud from TRAINSPOTTING.
I’m certain this won’t be my only screening of CHICKEN RUN. Mrs. Lime is sure to drag my ass to the theater this Friday. She’s a sucker for this kind of movie when it’s done well. I’m also looking forward to the eventual DVD release so I can go through frame by frame and check out the all the subtle character animation I’ll no doubt only spot a fraction of in theaters. It’s pretty damn impressive and requires multiple viewings to take in an adequate percentage. But that’s cool, ‘cause it’s so bloody enjoyable. That’s pretty much the way I feel about all of DreamWorks’ animated efforts thus far. Since starting their studio, they’ve continually raised the bar higher than Disney seems to be able to. I’m glad somebody in this town is interested in giving them a “run” for their money.
