Recently, we’ve been REwatching films that we’ve enjoyed but haven’t seen for a while. This feelgood retro-fest was kicked off with 1995’s BABE - the story of a pig who’d rather be a sheepdog than Sunday dinner (and the farmer that believes in him). I’m pleased to say that it held up very well.
“This is the story of an unprejudiced heart.” - The Narrator
BABE is in that genre of films where someone resists the role that society imposes on them (like BILLY ELLIOT, or BEND IT LIKE BECKHAM). Many such class-struggle parables come from Britain, and though this film was made in Australia the book it was based on, THE SHEEP-PIG by Dick King-Smith, is indeed a British story.
George Miller learned about the book from one of his children 10 years before the movie came out, then searched for a way to bring the many talking animals in this barnyard fable to believable life on screen. What he eventually settled on was a combo of real trained animals with CG animated mouths (by Rhythm & Hues & Animal Logic) and animatronic puppets (handled by the Jim Henson company).
Many people assume that Miller directed it. Although it was his brainchild and he co-wrote it, the film was actually directed by Chris Noonan, who'd worked on several TV mini series produced by Miller's production company (VIETNAM, and THE COWRA BREAKOUT). Sadly, Miller and Noonan fell out during the making of this film, but it is undeniable that Noonan had a huge influence on what the film became.
“From the very first draft of the script that we’d produced, I had absolute and utter faith in it.” - Chris Noonan
A common film structure-trope is a charmingly flawed protagonist who has an epiphany (as in every film I’ve ever worked on). However, in this film the protagonist-pig is a sweet little person who doesn’t change himself, but changes everyone else. The epiphany thus begins not with Babe, but with Farmer Hoggett, charmingly played by James Cromwell, in a largely non-verbal performance.
BABE was filmed in Robertson, a town in the Southern Highlands of New South Wales. Vehicles drive on the right side of the road, and actors speak in a semi-American dialect, creating a mishmash of OZ and the USA (this fairytale every-land concept was pushed even farther in the sequel). Because baby pigs grow so fast, 48 piglets were used for the role of Babe. Each with distinctive toupee & makeup applied for continuity. Animal wrangling was a huge part of the logistics of this film.
“The animals were unbelievable. The trainers—the trainers!—the woman who did the sheep was so brilliant. Of course that was the highlight. I loved every day.” - James Cromwell
The Noonan vs Miller tussle appears to have been partly over credit. Noonan’s name was barely mentioned in the post-release PR, when Miller hogged all the pig-cred. Which is somewhat standard, sadly. The bigger name always gets all the press.
(George) had done Road Warrior and all these pictures, but he thought “Oh, if it doesn’t really work, I’d rather not take the heat, so I’ll give it to Chris Noonan.” But then as they got rushes and they saw how wonderful this thing was, I think George wanted it back. -James Cromwell
BABE starts with our hero’s entire family being eaten. He's under constant threat of being eaten too, even by his pal the farmer, who at one point has Babe in the sights of his shotgun. Farmer Hoggett is the closest thing to a true antagonist - in that he's always on the verge of eating our hero - and yet he is the closest thing to a mentor - in that he allows Babe to fulfil his dream. Weirdly, Hoggett is both Obi Wan and Darth Vader at the same time. This story has both light and dark, but Miller and Noonan also battled over which tone would dominate, and where.
“Chris’s humanity and his heart and his sweetness, his vision, was really imprinted on the way he shot that picture. George thought there should be more edge [to Babe].” - James Cromwell
None of the grim realities of barnyard life are swept under the rug, and the dark themes don’t end with Babe. His canine surrogate mother, Fly, has all her puppies taken from her. Rex the sheepdog is suffering post traumatic stress. Ferdinand the duck (hilariously) pretends to be a rooster simply to dodge the dinner plate. Despite all these grim undercurrents, Noonan’s deft touch prevails, and we leave the theatre feeling uplifted. As if the irrepressibly cheerful little pig had directed the film himself.
So the sheep went toward me and into the gate, and I pushed the gate closed, and you could actually hear the lock go “Cloink.” And the crowd, just like in the movie, erupted. I mean, it was fabulous. - James Cromwell
The simple climax of a pig walking a few sheep through a gate had me wanting to stand up and cheer in the cinema. I didn’t though, as I was on a date. By the way, my date absolutely hated the film. “Why would anyone make a movie like that?!” She spat with utter disgust as we left the theatre.. Happily, her sourpuss attitude was not the prevailing opinion, and BABE was a big hit. So much so that USA pork sales dropped by 20% in the year after the movie came out. BABE received many OSCAR nominations, and won for special effects. It was also nominated for best PIGture but lost to BRAVEHEART.
James Cromwell was nominated too, as supporting actor. At 6 ft 7 in (2.01 m) he was the tallest actor nominated for an Academy Award. He was already a vegetarian but went the whole hog after working on BABE, and became vegan. A jobbing actor for many years, Cromwell's career really took off after BABE, with major roles in LA CONFIDENTIAL, and STAR TREK: FIRST CONTACT. His fee for BABE was a mere $50,000 for 171 spoken words of dialog (plus some singing) but, thankfully, he got a bigger check for the sequel.
“I had such a sweet time on that picture. I adored everyone.” - James Cromwell
Miller got his wish for more darkness when he directed BABE - PIG IN THE CITY. I’m one of the few people I know that enjoyed the sequel. Not as much as the first certainly, but more than most. People cry - “It’s so DARK!” Please go back and watch the other one, the film you love. BABE is shot through with darkness too - as all good fairy tales are - but people seem to forget this.
The earlier Miller vs Noonan PR-battle was won by Miller, but Noonan decisively won the war. BABE cost $30 million and made an impressive $254 million, with a dazzling Rotten Tomatoes score of 97%. Whereas BABE-PIG IN THE CITY cost $90 million and made a paltry $61 million, with a meh Rotten Tomatoes score of 65%. Some critics praised it (both Siskel & Ebert rated it highly) but in Hollywood, money has the deciding vote, and heads rolled in the executive suite at Universal..
“But fate turns on a moment, dear ones, and the pig was about to learn the meaning of those two cruel words of regret: ‘if only’…” - The Narrator
This recent revisiting of old faves was partly inspired by Joel Morris’ COMFORT BLANKET podcast, where his guests talk about the movies, TV shows, books and music that they’ve come back to again & again throughout their lives. Recently, many TV shows and films that are frankly excellent have unsettling undercurrents. Angsty post-apocalyptic stories. Tales of rapacious zombies & vampires. Or holidays in hell. Given that real life has an uneasy vibe at the moment, some lighter fare now & then leavens all that grim stuff.
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