Animated tale, produced by a staff of Disney-trained artists led by "American Tail's" Bluth; concerns a newly widowed mouse who discovers a secret agency of superintelligent rats (they've escaped from a science lab) who aid her in protecting her family. Film 1: For an animated movie about talking animals, The Plague Dogs is a surprisingly bleak and messed up film, from beginning to end. Where a Disney movie would now turn into a sort of road-picture adventure, Plague Dogs takes a more realistic and miserable approach. This is a straight up PG-13 cartoon, and many parents would probably not feel good about showing it to their kids. Film 2: The birth of The Secret of NIMH is one of the great fuck-you success stories of Hollywood. It was surely this ballsy partnership that set them on the path to making The Secret of NIMH, a film that outwardly looks and moves like a Disney film, but is so much darker and weirder than anything the Mouse House would ever have allowed.
Whereas Plague Dogs feels like a thoroughly sophisticated animated film, meant for adults, NIMH is almost more fucked up for kids because it seems so similar to classic Disney. As is usually the case with Bluth films, the animation is superb while the socially aware plot struggles to keep pace.
Brisby, a shy and timid field mouse, lives in a cinder block with her children on the Fitzgibbons' farm.
Unsurprisingly, it is based on a book by Richard Adams, who is best remembered for a certain other bleak and messed up book about animals, Watership Down. We begin in an animal testing facility in Northern England, where vivisection and other experimentation for its own sake is being carried out on canines. Dogs, like Watership Down, has very stripped down style that serves to accentuate the bleak nature of the film. Having no one to help her with her problems, a widowed mouse visits the rats whose former imprisonment in a laboratory made them wise and civilized.
Frisby's name is changed to "Brisby" in the film due to trademark concerns with Frisbee discs), written by author Robert C. She is preparing to move her family out of the field they live in as plowing time approaches; however, her son Timothy has fallen ill.
It only makes sense that Martin Rosen, the same man who destroyed countless childhoods with his Watership adaptation in 1978, is responsible for this film too. Snitter (voiced with croaky despair by John Hurt), a small terrier, has undergone repeated brain surgeries and has a gnarly scar on the top of his head from where he’s been opened up. They don’t know much of anything about surviving in the wild, and hunger is a constant issue.
It is a utilitarian style, as though the filmmaker were using animation purely because it was the only means possible to accurately tell the story of two dogs and a fox.
The upside of the graphic reproduction was a speedier process, plus a preservation of some of the spontaneity found in the pencil sketches. Plague Dogs is bleak misery, with the lab scenes having a similar kind of wanton, pointless cruelty as a concentration camp, and the film can easily be taken as a piece of anti-animal testing propaganda.


When she turns to a society of super-intelligent rats for help, a tense adventure is set in motion. You pay attention to new aspects and journey down unfamiliar avenues when you view films through Double Feature Goggles. Rowf (Christopher Benjamin), a black lab, has been repeatedly thrown in a water tank and left to swim around until he drowns from exhaustion, only to be revived and tossed in again on a future day.
They end up befriending a wily fox, who helps them find food, but the fox can do little help their problems with humans (amongst whom rumors are erroneously spreading that the dogs are carrying the bubonic plague).
Bluth left Disney in the late 70’s and took with him ten other animators to form Don Bluth Productions. Brisby (Elizabeth Hartman), a timid field mouse caught in a horrible bind (the character’s name was changed so as not to be confused with the Frisbee toy).
Brisby visits the Great Owl, (goddamn Carradine and that haunting, resonating voice of his). Though the film used zero rotoscoping (the tracing of live-action footage), the film has a very natural, real feel to it.
But it also deprived the animation of some of its class (Walt apparently hated it, but couldn’t argue with all the money he was saving by cutting the inking stage). The film doesnt talk down to a younger audience or smooth over its darker moments, but should be fine for kids who can handle strong suspense.
Ages, another mouse and old friend of her late husband, who provides her with some medicine from his laboratory. After successfully creating a couple shorts, Bluth was looking for financial backing to make a feature. She needs to move her family before a farmer destroys her home, but her youngest son is too sick to be moved. Bluth really went bonkers with backlit animation techniques, which he used to make the amulet Nicodemus gives Mrs. There is nothing impressionistic or expressionistic in the character design, character animation, or backdrops. NIMH was Bluth’s chance to return animation to its glory days, he felt, and the painstaking work he and his team put in shows. Seen only in flashbacks, the lab is scary, but it is also the genesis story for all our hyper-intelligent characters.
It was directed by Don Bluth, produced by Aurora Pictures, and released by United Artists, in the summer of 1982.
And I’m the kind of guy who derives just as much pleasure from creating a double feature as I do from watching one. He found the perfect partner in Aurora Productions, a production company founded by some disenchanted former Disney executives.
So she seeks the wisdom of the Great Owl (John Carradine lending his ominously craggy pipes), who tells her to find the secret cabal of hyper-intelligent rats that live beneath the farm’s rose bush and speak with Nicodemus (Derek Jacobi).


Brisby glow, but also to make all the eyeballs of the creepier character glow ominously too. The color palette of NIMH is ridiculous, the likes of which had not been seen in an animated film in decades – as Disney had moved towards a fairly bland coloring scheme. So in a sense, it is anti-animal testing in the same way the Incredible Hulk was anti-gamma radiation testing. Aside from amusing myself, hopefully I can give some people ideas for their next movie night. She does, finding a whole technologically advanced civilization of rats who steal electricity from the farmer. Story adaptation by Don Bluth, Gary Goldman, John Pomeroy and Will Finn (from the book Mrs. On her way back home she encounters Jeremy, a clumsy but compassionate crow.The next day spring plowing begins, and though Mrs. There’s just something about the rhythm of this film that feels dark and off-putting.
See, this isn’t just a standard animated animal tale with anthropomorphic rats and mice. With the help of Jeremy she visits the Great Owl, a wise creature living in the nearby woods, to ask for help. These particular rodents came from a testing facility called NIMH (National Institute of Mental Health).
He tells her to visit a mysterious group of rats who live beneath a rose bush on the farm and ask for Nicodemus.
Because of experiments done to the rodents, the rats and mice learned to read and eventually escaped. Brisby, the widowed head of a family of field mice, that her youngest son must die, either by the farmers spring plough or of pneumonia in his flight to safety.
In her quest for a cure she frees a young crow from some string in which he has "For I looked upon the words under the cage door, and understood them. It is: What if a group of laboratory animals were injected with an experimental drug that made them as intelligent as humans?
There have been smart animals in the movies for years of is a 1982 animated feature film made by Don Bluth. In 1998 - a Direct to Video Sequel to the of was made by MGM (Without Don Bluths Permission).



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