The film here is taken from Fantastic Mr Fox (1970), a childrens book by the great Roald Dahl, best known as the author of Charlie and the Chocolate Factory (1964). (See below for Roald Dahls other screen adaptations). Fantastic Mr. Fox came about when Wes Anderson hired stop-motion animator Henry Selick to create the sea creature that appears at the end of The Life Aquatic With Steve Zissou. Henry Selick is of course best known as director of stop-motion animated films like The Nightmare Before Christmas (1996), a previous Roald Dahl adaptation with James and the Giant Peach (1996), and Monkeybone (2001). As the two were planning to adapt Fantastic Mr. Fox, funding came through that allowed Selick to get Coraline (2009) off the ground, so Wes Anderson continued with Fantastic Mr. Fox on his own, setting up a stop-motion animation studio in England.
Fantastic Mr. Fox had its world premiere only two days after Where the Wild Things Are (2009). Both films are very similar and the coincidence between the two stretches wider than similarity of timing. Both come from directors who have developed cult followings in arthouse/indie cinema circles Where the Wild Things Are is from Spike Jonze who made the highly eccentric likes of Being John Malkovich (1999) and Adaptation. (2002). There is the sense that both directors are dabbling in making childrens movies as an experiment in style. Equally, they bring with them a set of stylistics honed in indie cinema that transforms either work into far more than the average childrens film. It has been interesting watching the audiences for both Where the Wild Things Are and Fantastic Mr. Fox, which seem composed of just as many if not more adults than children. Both works are, if you like, childrens films that find their true audience with adults. In both films, the directors also introduce a naturalism of style into the voicing of the non-human creatures the dialogue comes with hesitancies and doubts often left in and much more of an everyday cadence and banally ordinary colloquialism than you usually get with animation voiceover work.
Fantastic Mr. Fox emerges as a considerable marvel. Wes Anderson plants tongue in cheek. Where a great many modern animation and childrens films feature animals and non-human characters making smartass pop-culture asides, Wes Anderson simply has his animals living in the equivalent of a modern world going to school, using lawyers, realtors and so on and allowing this to occur with an absurdist everyday nonchalance. The humour of the film comes in its naturalist matter-of-fact cool. And when you want to do cool, there are few people than can project it as effortlessly as George Clooney. Clooney is perfectly cast and brings Mr Fox off with just the right degree of roguish charm, brash panache and aghast hubris. You could almost consider Fantastic Mr. Fox to be akin to the coolly assured caper thriller of George Clooneys Oceans Eleven (2001) as conducted by the denizens of Beatrix Potter stories.
Wes Anderson and co-writer Noah Baumbach remain very faithful to Roald Dahls story with only the addition of the characters of Ash and Kristofferson in a characteristically Anderson-esque subplot about dysfunctional family relations. Anderson also ups the look of the illustrations in the story, placing more emphasis on Mr Fox living the equivalent of a modern metropolitan lifestyle. The dialogue is wry and frequently hilarious memorable throwaway epitaphs like Just another dead rat in a garbage pail behind a Chinese restaurant. Anderson and Baumbach have a good deal of amusement substituting the term cuss for more adults words and get far more mileage out of such a one-note gag than you would expect.
The stop-motion animation gives the appearance of being conducted low-tech without actually being the case. Unlike other modern stop-motion animators such as the aforementioned Henry Selick or the works being put out by Aardman Animation, Wes Anderson happily leaves the animation scrappy and uneven like it was back in the days of Ray Harryhausen and Jim Danforth before the aid of computer massaging noticeably, the fur on the various animals moves awkwardly within the space of a shot. This apparent low-tech look (which one suspects was due to the fact that having to animate every single hair individually would have probably taken something like a decade to conduct) hides the faultless depth of the rest of the show in particular, the amazingly detailed models of the countryside and environs that the animators create. The town was apparently based on the one where Roald Dahl lived and the lead farmer Bean is, if one is not mistaken, fashioned to look like a misanthropic version of Dahl himself. Wes Anderson shoots everything in his customary bold use of colours, giving the film a striking visual look.
Wes Anderson does a fabulous job of taking a childrens tale and one involving a considerable degree of technical minutiae and rather than becoming lost in it, allows the result to emerge as distinctively his own film. Fantastic Mr. Fox is even a Wes Anderson film that transcends the neither quite comedy, neither quite drama meh response that his other films generate. In fact, I am more than happy to cite Fantastic Mr. Fox as being Wes Andersons best film to date.
Roald Dahls other films of genre interest are:- the short-lived anthology tv series Way Out (1961), which Dahl wrote for and hosted; the screenplays for the James Bond film You Only Live Twice (1967), Chitty Chitty Bang Bang (1968) and the psycho-thriller The Night Digger/The Road Builder (1971); the childrens classic Willy Wonka and the Chocolate Factory (1971); the anthology series Tales of the Unexpected (1979-81), which he also hosted and adapted his macabre short stories for. Nicolas Roegs The Witches (1990), Danny DeVitos Matilda (1996), Henry Selicks animated James and the Giant Peach (1996) and Charlie and the Chocolate Factory (2005) are all adapted from Roald Dahls childrens books.