Chicken Run - Hennen rennen

Watching Peter Lord and Nick Park's glorious animation story of a group of chickens escaping from a repressive farm in 1950s Britain, one comes to understand how the script draws on a whole raft of classic war films of the period, including THE COLDITZ STORY (1955), STALAG 17 (1953), and most obviously THE GREAT ESCAPE (1963).

All of the elements are there, treated with a tongue-in-cheek reverence that makes the film a memorable experience. Ginger (voiced by Julia Sawalha) is the lead chicken, desperately trying to devise escape plans from the farm policed by Mr. Tweedy (Tony Haygarth) and his shrewish spouse (Miranda Richardson). The need to escape is paramount; all the chickens have to hope for instead is a life dedicated to laying eggs and a violent death by strangulation, as the Tweedies cook yet another tasty Sunday dinner. The only problem is that Ginger's task is hampered by the well-meaning yet rather clueless inmates, led by Babs (Jane Horrocks) and Mac (Lynn Ferguson). The entire group are 'supervised' (?) by the Brigadier Fowler (Benjamin Whitrow), using the kind of Fifties Received Pronunciation accent that immediately recalls the war films of that period.

Enter Rocky the Rooster (Mel Gibson), a self-assured refugee from the circus, with a cockiness (pun intended) recalling Steve McQueen in THE GREAT ESCAPE. Although eventually helping to create a successful escape, Rocky has to learn how to co-exist with a group of Brits, that requires both races to become more accommodating, and less xenophobic. The script allows for some jokes familiar to viewers acquainted with World War II history (all Americans are "overpaid, oversexed, and over here."

Although only just over eighty minutes long, the film is packed with incident as well as some really funny jokes. CHICKEN RUN is a joyous experience, a tribute both to the talents of animators and script-writers alike.

CHICKEN RUN / (2000) ***1/2 (out of four)

"Chicken Run," DreamWorks Picture's newest animation festival, is an old-fashioned fairy tale with more heart and truth than most movies can even imagine about containing. The film's animated style contains state-of-the-art clay-animation techniques, which make it worth the trip to the multiplex just for feasting your eyes on such brilliant special effects. Directors Peter Lord and Nick Park, with co-writer Karey Kirkpatrick, give the characters depth, reason, and dimension-even if the main star is a feathered farm animal that converges with his companions about political matters.

"Chicken Run" details the miserable lives of a clan of chickens being withheld within a sinister dairy farm in 1950's England. Ginger (voiced by Miranda Richardson) is the central character, who, along with her acquaintances, deeply lust for the sweet smell of freedom that lies beyond the constricting boundaries of their pens. The unhappy farm owners, the smart and devious Mrs. Tweedy and the dumb and precarious Mr. Tweedy, brutally dispose of chickens who fail to produce the amount of eggs they require.

When a overzealous circus Rooster named Rocky (voiced by Mel Gibson) stumbles onto the farm one evening, the other chickens blackmail him into teaching them how to escape. This is also when the Tweetys lurch up a devilish new plan to strike it rich by purchasing a machine that will turn innocent chickens into merchandising pot pies.

The film's plot is steady, solid, and knowing; it portrays a series of events that gradually build tension eventually inducing an exciting climax that is both conclusive and satisfying. "Chicken Run" is a precise piece of filmmaking, an inoffensive family adventure that will entertain audiences of all ages.

Regardless of how well crafted it is or how artful the material, the movie is about chickens escaping out of their pen in order to find genuine independence. No, the stakes are not nearly high enough, and with a plot like this, it is only natural for some audiences to expect a shallow, cheap cartoon publicity stunt. However, the filmmakers make this movie feel original, fresh, suspenseful, and involving, regardless if the main characters are chickens with patriotic instincts.

The great animation director Chuck Jones has often stated that his cartoons "weren't made for children. Neither were they made for adults. They were made for me." Jones's seven-minute shorts were made on a far lower budget than the animated features of today. With features, much more money is at stake, as well as the livelihoods of more people. Because of the pressure to make back the investment, animated features can give an impression of being created by committee, as though tailored to fit some committee's idea of a prefabricated audience segment. It's remarkable, then, that Aardman Animation's "Chicken Run" shows off so much personality, the mark of a film made not for an imagined mass audience, but because it satisfied some need for the filmmakers-besides the need to put food on the table, that is.

The story revolves around an English egg farm designed a lot like a WWII-era prison camp, with overtones of the Nazi concentration camps as well, in that chickens that don't produce end up as dinner. While most of the chickens are resigned to their fate, one plucky hen named Ginger keeps leading escape attempts and keeps getting locked in "solitary" for her pains. Her task takes on new urgency when the Tweedys (the couple who run the farm) prepare to convert their operation into a chicken-pie factory. Hope arrives in the form of an American known (amusingly, in view of the recent "Rocky & Bullwinkle" film) as "Rocky the Flying Rooster", whom Ginger thinks can teach the chickens how to fly. Naturally, Rocky isn't really what he seems to be, and the revelation of his secret threatens to dash all hope of escape, because everyone knows chickens can't fly-or can they?

Unlike most cartoon films, "Chicken Run" is animated using clay figures in stop-motion. While this process involves much more labor than drawn animation, it also makes easier the use of many of the tools of live-action filmmaking, such as dramatic lighting and moving camera work. Directors Peter Lord and Nick Park both have considerable experience in this field, Park with "Creature Comforts" and the "Wallace & Gromit" series (perhaps the most popular animated shorts of the 1990's) and Lord as a co-founder (with David Sproxton) of Aardman and director of such shorts as "Adam", "Wat's Pig", and "Early Bird".

The look of "Chicken Run" displays a harmonious blending of Park's and Lord's strengths; the character designs have the cartoony look of Park's work, while the more realistic settings and backdrops (which appear subject to grime and weathering) are typical of those in Lord's films. All the major characters are distinctive and believable on their own terms; even the numerous chickens have their own distinct looks and voices. The only times the illusion of believability fails are when a clay chicken collides with a metal fence; I half expect to see the clay figure sliced up on the way through. (This may be a personal reaction, conditioned by years of exposure to "Tom & Jerry" and "Roadrunner/Coyote" cartoons.) The story moves efficiently and contains much humor and detail that reward close attention, as well as bravura set-pieces such as Rocky and Ginger's dramatic encounter with the Tweedys' pie machine.

While it has justifiably been compared with military prison-camp escape movies such as "Stalag 17" and "The Great Escape", as well as with the revisionist farm-animal melodrama "Babe", the movie "Chicken Run" resembles most is Pixar's computer-animated "A Bug's Life". The resemblence lies partly in certain details of plot (such as the hero[es] who isn't/aren't what he/they seem to be) but mostly in the nature of the story itself. While human prisoners have a life before prison upon which to look back upon, the chickens in this movie have never known such freedom. Thus, when Ginger talks of escape, she not only urges them to change their location but their entire way of thinking. In chicken terms, this is a radical message, the same one put forth by all the great human radical organizers: that those who are exploited have a right to expect a better life. Though the species and the methods of exploitation are different, "A Bug's Life" shares this revolutionary message (with Flik playing the radical visionary part). Both movies also stress the importance of banding together against oppressors whose power turns out to be more apparent than real.

While one could quibble about such commonalities, I'm impressed that two such films exist at all, that they were funded by major Hollywood studios (Disney for "A Bug's Life", Dreamworks for "Chicken Run"), and that kids love them and parents don't mind watching them more than once. One wonders if the parents know exactly what it is they're watching, and letting their kids watch. Then again, maybe they, too, believe they and their children deserve better lives, and enjoy seeing fellow victims of exploitation get such a life in the end.

After watching "Chicken Run," you will become a believer of many things.

You will believe that a bunch of talking hens wearing beads and bandanas can speak with British and Scottish accents, practice martial arts, escape from inside a pie machine and secretly plot their getaway from an egg farm in 1955 England. You will believe that chickens can knit, dance, wear glasses and play the harmonica. You will believe that rats can wear bad suits and have an obsession for eggs. You will believe that roosters can fly airplanes, ride a tricycle and sing "The Wanderer."

Most importantly, you will believe that the otherwise Disney-choked world of animated films has life again, and that a tiny British studio can top the big boys from Japan and the U.S. and turn out the smartest, possibly best work of this genre ever. The one point of light in an otherwise lousy summer movie season, "Chicken Run" is something you'll want to watch over and over again. You could sit through it 31 times (like yours truly) and it never gets boring. The audienced applauded at the end during my first 13 viewings.

Aardman Studios has concocted a recipe consisting of a wonderful (albeit portly and feathered) cast, a funny, intelligent script, a gripping score, excellent cinematography and production design, plus great voice work, all mixed with years of labor and love, and the result is what is easily the best film of 2000. When was the last time you saw a movie with a cast – nearly all-female, no less – so determined and believable in their mission for freedom, and whom you cared so strongly about that you were actually cheering for them to be successful?

"Chicken Run" may be the first animated film that is an absolute joy for both children and adults. Children will be tickled by the jocularity of these hens, while adults will find pleasure in discovering homages to classic prison films – "The Great Escape," "Stalag 17" and even "The Shawshank Redemption," among others.

Screenwriter Karey Kirkpatrick has come up with a sharp script, which has all but become a lost art in the movie world these days. The dialogue is loaded with puns that work so well. The British slang is a delight, and makes the chickens' personalities more endearing and – dare I say it – human.

One of the best lines comes from Mrs. Tweedy talking lovingly about her soon-to-be chicken pie enterprise. When Mr. Tweedy asks why she only will be included in the brand name, her reply is: "Woman's touch. Makes the public feel more comfortable." The other is Fowler's immortal "Pushy Americans, always showing up late for every war." That's simply brilliant writing.

The flawless (yes, flawless) voice cast is the heart of this movie. This is one of those rare films in which both the heroes and the villains are fun to watch. You'll find yourself thinking during the end credits, "I liked this character the best…no, wait a minute, I think I like this one more…no, no, I like that one."

Leading the way is Julia Sawalha, playing another character with a spicy name (from "AbFab's" Saffy to CR's Ginger), and providing the ideal heroine we moviegoers have yearned for so long. She's so convincing in this role; you're deeply immensed in Ginger's quest for free range living that you forget she's a Plasticine chicken.

It's safe to say that 2000 has been the summer of one Melvin Gibson. He doesn't disappoint with "The Patriot" or with his role as Rocky, the vagabond flying rooster (listen to his hysterical rendition of Dion's "The Wanderer"), who easily bested his squirrel namesake at the box office. The film pokes fun at him in a good-natured way, from his opening "Braveheart" gag to his nationality.

Rounding out the supporting cast is Lynn Ferguson as the genius Mac, she of the wild hen's comb and odd spectacles. Jane Horrocks is a show-stopper as the innocent yet…well, bubbleheaded, knitter Babs. She doesn't have much dialogue, but definitely does the most with the least as she delivers the funniest lines in the movie with aplomb. Perhaps the film's most famous line is when she bawls "I don't want to be a pie!" Why? "I don't like gravy."

Ben Whitrow's Fowler, the old military rooster, had me in stitches with his constant rambling about his glory days in the Royal Air Force. Seriously, wouldn't we all want to be awakened by a rooster who hollers, "Cock-a-doodle-doo, what what"?

Timothy Spall and Phil Daniels are a hoot as Nick and Fetcher, the Laurel & Hardy-style farm rats. Tony Haygarth and Miranda Richardson (not straying very far from her "evil wife" role in "Sleepy Hollow") are perfect as Willard and Melisha Tweedy, the cruel owners of the prison camp…er, egg farm. The loving couple is an evil version of American Gothic rendered in clay. Mrs. Tweedy is the best animated villain since Maleficent from "Sleeping Beauty."

But my favorite (and this was a tough choice) was Imelda Staunton as the brusque, oversized and argumentative, yet lovable, Bunty. She was the character I related to most because my personality is sometimes like hers…I think I may have finally found my role model! My favorite part in the film was watching Bunty getting down to "Flip Flop and Fly."

The ending contains the most thrilling action sequence I've seen all year. I won't dare describe it here…go and experience the magic for yourself. What I will say is that I haven't had this much side-splitting fun with an ending since "Mrs. Doubtfire."

I haven't enjoyed a film like this since "Sleepy Hollow" was released 7 months earlier…needless to say, this has been a period of movie ecstasy that is as rare as hens' teeth, so to speak. I'm sure nobody will care, but what I found interesting about "Chicken Run" was that it bore a striking resemblance to SH in terms of the plot: a small citizenry, kept prisoner by a villain who has a fetish for decapitation, pins their hopes of freedom on an outsider who is brash and sure of himself on the outside, yet soft and bewildered on the inside. Both movies are in my personal top 10 of all time.

After watching this, I dare anyone to find another movie that is as heartwarming, witty, suspenseful and funny as "Chicken Run." To those who feel the need to criticize this film for any reason…I deeply sympathize with your lack of soul. 10/10

Hailing from the animation house that brought us such jems as Morph, the Wallace and Gromit series and Rex the Runt, Chicken Run is the first ever feature length claymation ever attempted.

Set on a chicken farm in Yorkshire some time in the middle of the century, our plucky (sorry) heroines face a lifetime of hard labor laying for the farmers, and if their performance is not up to par they quite literally face the chop. Ginger, making her way to the top of the pecking order (sorry again) attempts jailbreak after farcical jailbreak, but success is less than forthcoming.

Enter Rocky The Rhode Island Red, (Rocky Rhodes for short, and you can't blame me for that one, the writers came up with it) apparently able to fly, the chickens look to him to help them bust this chicken coup, but Rocky is not what he may appear to be.

That's the plot in a nut (egg?) shell, and as you can imagine the subject matter made for perfect "salutes" to the classic world war 2 escape movies, references to which abound throughout. From Ginger tossing a baseball (actually a sprout) in the "cooler" (coal bunker), to Fowler's incessant ramblings about his old RAF days.

The lead characters are deep and endearing enough for you to care about what happens to them, if a little stereotypical at times. The interaction between them is fluid and believable, all the more amazing considering that Mel Gibson never even set foot in the same recording studio as the other actors, reading his lines in a studio in America instead. The supporting cast provide plenty of humour and Mrs. Tweedy substitutes quite nicely for the Nazi camp commandant.

The animation is lively and colourful the characters wonderfully expressive in that unmistakable style developed in the Wallace and Gromit shorts, and thanks to the fact the sets are real models there is plenty of scope for dramatic lighting effects.

The only real fault I could find in the film was that it just seemed a little too... American at times. Hollywood's involvement showed through the English setting to some degree, especially as you get to the movie's climax which seems to go a bit overboard, especially compared to the utterly hysterical ending to The Wrong Trousers. But all in all I have to say I really enjoyed this movie. Now all we need is a Wallace and Gromit movie.