BABE: PIG IN THE CITY
***1/2 (out of ****)
Rated G
Mrs. Hoggett: Magda Szubanski Farmer Hoggett: James Cromwell The Landlady: Mary Stein
(with the voices of) Babe: E. G. Daily Zootie: Glenne Headly Bob: Steven Wright Ferdinand the Duck: Danny Mann
Directed by George Miller. Produced by George Miller, Doug Mitchell and Bill Miller. Screenplay by Judy Morris, Mark Lamprell and George Miller. Distributed by Universal Pictures. Running time: 96 minutes. Release date: November 25, 1998.
(to read the full text of this review complete with pictures from the film, go to: http://www.impactprod.org/people/huston/babe2.htm )
Making a sequel to a widely beloved film is a weighty proposition indeed, especially when the first film is considered by many to be a masterpiece. When it comes to living up to expectations, a filmmaker is almost doomed to some degree of failure. For a sequel to live up to or even surpass the original's greatness is very rare indeed. And whereas "Babe: Pig in the City" misses equaling the greatness of its Best Picture nominated predecessor Babe, it is a worthy companion piece. More than that, it is a spectacular work of art that deserves to stand alone in its own right. "Babe: Pig in the City" warrants the classification of being recognized with such classics like "The Godfather: Part II" and "The Empire Strikes Back" as being one of the greatest sequels ever produced.
"Babe: Pig in the City" picks up precisely where "Babe" left off. Having won the sheep herding competition, Farmer Hoggett (James Cromwell) and his pig are elevated to fame status. A series of unfortunate circumstances and hilariously freakish events leads to Mrs. Hoggett taking Babe from the small country farm into the big city. In doing so, the film transports us into a wonderfully imaginative world that simultaneously mirrors and exceeds the creative design seen in the original.
"Babe: Pig in the City" flourishes where so many sequels fail. Most sequels simply rehash the events of the first film. Not "Babe: Pig in the City". This is a completely original tale that offers up a story drastically different than the first. Also, by not being content to utilize most of the old characters, this film gives us many new ones to enjoy. In essence, it doesn't attempt to copy itself. Instead, it strives to achieve an originality of its own. And it succeeds.
That's not to say the familiar is absent. "Babe: Pig in the City" retains some of the best core elements and characters from the first film. Along with Babe himself, Ferdinand the Duck comes along for the ride, as does Mrs. Hoggett (one of this decade's best and most underappreciated comic characterizations, hilariously performed by Magda Szubanski). The three singing mice also make the journey, chiming in with their cute high-pitched vocals. The story structure is also similar as each segment is introduced with title cards read by the aforementioned mice. From there, we are guided once again by Roscoe Lee Browne's soothingly deep narrative. Composer Nigel Westlake also returns with his whimsical music style that is perfect for cinematic fables such as these.
But these elements are simply the frame that surrounds an entirely new painting. While staying at the Flealands Hotel, Babe encounters a veritable Ark-full of new animals. Monkeys, kittens, and dogs of various breeds and sizes are some of the new "urbanites" that Babe befriends, as well as some wonderfully comical Pelicans that Ferdinand the Duck happens to encounter. Each character is distinctly unique, some of which are imbued with personal human-like struggles that are endearing and touching.
And while this world focuses largely on these animals, we are introduced to two new human characters as well. Mary Stein plays the owner of the Flealands Hotel, an animal-loving young spinster who harbors these lost creatures much to the dismaying anger of her fellow neighbors. Stein's landlady is a wonderfully odd caricature. We also meet Fugly Floom, an old soft-spoken clown who owns many of the animals in The Flealands Hotel, utilizing them as a part of the act that he performs at different parties and functions. Not having known who portrayed Fugly Floom prior to seeing the film, it came as an unexpected pleasant surprise to see who it was. So as not to ruin this well-kept secret, I won't reveal the actor's identity here. It was a treat indeed to see one of cinema's legends grace the screen again in what was a superbly gentle and heartwarming performance.
The greatest triumph of "Babe: Pig in the City" is the art direction. Simply put--it bleeds creativity, taking the look of the original film to a whole new level. Restricted primarily to a farm the first time around, this second installment creates an entire city, dazzling us with unique fable-like architecture. But the stroke of pure genius by Production Designer Roger Ford is his use of our world's architectural landmarks. Designing a skyline that includes the Statue of Liberty, the Sydney Opera House, the Brooklyn Bridge, the Hollywood sign and the Eiffel Tower, Ford has created a singular city that encompasses all of our cities (as seen in the film photo and pre-production drawing to your right). Added to that, many of this city's streets are the twin siblings of Venice's gondola-trekked rivers. The Metropolis that has sprung from Ford's vision is a wondrous sight to behold. It is a world that you want to walk around in.
Norma Moriceau's costume designs belong in this world, vibrant in color and style equal to that of the Ford's landscape. Most of the costumes are imaginatively cartoonish, with the most exotically grand design going to that of Fugly Floom's clown outfit. Andrew Lesnie's photography captures these elements with various lighting moods that are beautifully effective in creating the film's multiple emotional tones.
Much press fodder has been made over the weeks leading up to the release of "Babe: Pig in the City". Reports stated that its original cut was branded with a PG-13 rating. These reports were discovered to be false as it was assigned a PG rating. But even so, to be anything harsher than the original' s G rating had many parents and fans up in arms. By deleting a minimal number of shots, "Babe: Pig in the City" was eventually given the coveted G rating.
Although appeased, many fans were still concerned that it would be too dark, fearing that the film may have come to be possessed by Tim Burton himself. Well, to coin a phrase, the reports of "Babe: Pig in the City"'s death at the hands of a dark, scary, Felliniesque interpretation have been greatly exaggerated. Granted it has its moments of pseudo-morbidity, but all-in-all "Babe: Pig in the City" is the funny and charming adventure that everyone was hoping it would be.
Whatever "dark" moments it may have can be attributed to director George Miller (the "Mad Max" trilogy, "The Witches of Eastwick", "Lorenzo's Oil"). Having served as a producer and co-writer on the first film, Miller moves into the director's chair for this one, putting his own unique sense of style into this budding franchise.
The story of "Babe: Pig in the City" is an enchanting yarn, but one that doesn't achieve the emotional or character depth of the original. Missing here is the attempt to broach such heady themes as personal identity, an individual's worth, challenging conformity, and one's purpose in life. "Babe" dealt with this weighty subject matter, creating a timeless fable. "Babe: Pig in the City" should not have rehashed these themes, but I do wish it would have attempted to explore new ones.
This film is not bereft of moral or message as it parallels such issues as urban strife, class differences, sacrificial courage, and so on. But this film's goals aren't as lofty as the first's, instead choosing to take a more straightforward approach, allowing its themes to take a back seat to an exciting, sometimes intense, fable adventure that is undeniably clever and inventive.
"Babe: Pig in the City" also decides against developing a relationship to the level of which was present in the first film, specifically the one between Farmer Hoggett and Babe. Hoggett's love for Babe, which grew ever so gently, is what gave that film its charming and endearing quality. Best exemplified in Hoggett's dance for Babe, this moving relationship was truly unique. It is something that I wish would have been present again (and could have through Fugly Floom), but was not.
Please understand, these are not negative criticisms, per se', but simply statements of what I see as the differences between "Babe: Pig in the City" being a very good film and the original being a great one. But having said that, these observations are minor critiques at best. As an overall piece, "Babe: Pig in the City" is a thoroughly enchanting and entertaining fable from beginning to end. Sure, it isn't a great film, but it is an excellent one that possesses elements of greatness. It is a film that is magical with its charm and humor, exciting in its adventurous exploits, funny with its dry wit and cute voices, and breathtaking in its presentation.
"Babe: Pig in the City" may not be moviemaking at its absolute best, but it is on level of cinematic quality that is rarely achieved or seen in cinema. As a result, if you choose to let this film pass you by, you will be missing of the year's best cinematic treats.
(to read other reviews by Jeffrey Huston, visit his film review page "Believe Me" at: http://www.impactprod.org/people/huston/core.htm )
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