In the film a vision of each animal’s ultimate fate appears during Old Majors speech. The first is of Boxer silhouetted against a dark sky pulling an enormous, overloaded cart. The second is of hands stealing the hens’ eggs, and the third is a vision of hams hanging, and a chopper and block floating across a blood red sky. These visions are the animal’s interpretation of Old Majors Speech, the lighting in these visions is dark to emphasise the ordeal of the animal’s futures and so is the blood coloured sky, as it reminds the audience of the animals being murdered if they do not rebel so that the audience empathise with the animal’s situation.
In the novel Orwell describes Napoleon in some detail. In chapter two it reads, “Napoleon was a large, rather fierce-looking Berkshire boar, the only Berkshire on the farm, not much of a talker, but with a reputation for getting his on way.” This portrays him as sinister and a key character in the future for the reader to watch out for.
Also, further into chapter two, when the rebellion has happened, Napoleon takes it upon himself to give double rations to the animals in celebration. It reads, “Napoleon then led them back to the store-shed and served out a double ration of corn to everybody…” This tells the reader’s that a dictatorship is starting to form. He has no right to take it upon himself to decide how to celebrate and how much each animal should receive for their victory in the rebellion.
Also the fact that Napoleon is not mentioned at all during the battle of the cow shed, tells the readers how much of a coward he is and he only has interests in what benefits him directly and would never in danger himself deliberately no matter the cause, including the fortification of the revolution.
In chapter seven Orwell describes Napoleon as being the same as Jones. I t reads, “…there was a pile of corpses lying before Napoleon’s feet and the air was heavy with the smell of blood, which had been unknown there since the expulsion of Jones.” This tells the readers that the revolution has been a disaster; Napoleon has deceived the animals letting him get away with breaking every rule of Animalism. The situation the animals are in now is just the same as it was in Jones’ days of dictatorship; nothing has changed.
In the film the visual representation of Napoleon implies to the audience that he has something to hide and has alternative motives, by his colouring being predominately black over his face like a mask. An example of this is when Napoleon takes the puppies and trains them to kill his enemies when their parents are killed in the war of the cow shed. Also the darkness of his face and facial expressions mirror those of Mr Jones, so the visual resemblance causes the audience to see how similar the two characters are as well.
The colouring of Napoleon is significant in the film as he is the only pig that has a predominately black body with small amounts of pink. The other pigs are of a uniform pink, so Napoleon is set apart from the rest at the start.
In the film, Halas and Bachelor use gestures upon Napoleons face such as lip-licking and slurping to show the audience the extent of Napoleons greed. These gestures are used in the film at moments when there is a motive of getting food. An example of this is the way in which Mr Whimper is integrated into the farm by him giving Napoleon jam. Jam is definitely a love of Napoleons as he eats his way through the farms whole pantry on his own, when the animals first enter the farm house. Another facial expression that the film makers use on Napoleon is him showing his teeth. An example of this happens during Old Majors speech when a lamb bleats loudly, so to quieten the lamb he sneers viciously. By showing his teeth in such a manor he is portrayed as very aggressive, and the audience gets the impression that he will do anything to get what he wants.
In the novel Orwell describes Snowball as “Pre-eminent among the pigs“, in chapter two. This tells the readers that he is the most excellent and greatest pig on the farm, besides Napoleon that is. This tells the readers that he is a character to watch out for later on in the novel.
Also Orwell describes Snowball as being “… a more vivacious pig than Napoleon, quicker in speech and more inventive, but not considered to have the same depth of character.” This tells the readers that he is a more spirited, a happier character than Napoleon, so he is not as fowl mooded and more energetic in what he believes. An example of this is when the battle of the cow shed happens in chapter four. It reads, “Snowball launched the first attack”, which tells the readers that he is control of the animal’s actions in the battle. Also during the battle Snowball attacks Mr Jones, it reads, “He himself dashed straight for Jones. Jones saw him coming, raised his gun, and fired. The pellets scored bloody streaks along Snowball’s back… Without halting for an instant Snowball flung … against Jones’s legs…” This tells the readers the bravery and selflessness that Snowball is capable of for the sake of the revolution that will change not only his life but animals across the globe if accomplished.
In the film the visual representation of Snowball implies to the audience that he is different from the rest of the pigs as his colouring is of a very pale pink. He is quite fat which implies greed, but not as fat as Napoleon, which tells the audience that he is not as self indulgent or obsessed. Another key fact about Snowball is his chirpy disposition which tells the audience that he is more approachable, but in the battle scenes he is fierce, but he needs to be in such a time.
The significant change that occurs in the film to the novel is that Snowball is killed by the savage dogs, where as in the novel he narrowly escapes with his life. The film makers use visual clues to hint that snowball has been killed. An example of this is the landscape that he runs in is dead as it is winter. The grounds are a snowy white and the trees that grow in the ground are black in colour and their angular branches seem to encage Snowball as he runs away from the dogs, which is a reflection of the situation he is in as he is trapped, he can not escape from the dogs. Another clue is the presence of Moses the tame raven; the raven is a symbol of death, and the gestures that Moses make are of disgust and fear as he observes the murder of Snowball. Another clue is the nod that one of the dogs gives Napoleon which is then replied with an evil smile celebrating the end of Napoleons rival Snowball. The reason why this change has been made in the film is that the film is targeted at a child audience, so it makes it easier for the child audience to know that Napoleon lies when using Snowball as an escape goat, and particularly when he kills animals unjustly with the justification of them, being in league with Snowball.
In the novel Squealer is a persuasive speaker and Orwell describes him as this in chapter twp as, “… he could turn black to white”. This tells the readers that he is able to change the minds of certain group members to agreement instead of disagreement. He could quite easily turn animal’s views against or for something in his favour.
An example of him persuading the other animals is in chapter three, where the mysteriously missing milk had been found in the pigs mash and the apples had been ordered by the pigs to be for them and only them. This caused disagreement amongst the other animals and they had expected it to be shared equally. The pigs know they are wronging the others but they want the milk and apples, so to solve the problem Squealer is sent to persuade and deceive the other animals. It reads, “Milk and apples (this has been proved by Science comrades) contain substances necessary to the well being of a pig. We pigs are brain-workers. The whole management and organization of this farm depend on us.” By using claims that are falsely backed up by science Squealer persuades the other animals. And he manages to increase the importance of the pigs upon the farm by planting seeds of doubt about the capability of the other animals by saying that the pigs are of a far superior intellect. Which then grows into the pigs being the only thing between the other animals and the return of Mr Jones when he says, “Do you know what would happen if we failed in our duty? Jones would come back!” This is emotional blackmail, as he is threatening them with the concept of Jones’ return which is their biggest fear. This puts the pigs in a position to demand what they want and they will receive with no argument. This is the first major situation where the revolution could then turn against the pigs but it does not due to the fear of Jones’ return. Instead it goes in favour of the pigs as the hierarchy of the farm is more defined with pigs on top.
In the film Squealer has pale skin which implies that he is sheepish and a follower. It tells the audience that he does not have the ruthlessness of Napoleon; he is a yes man and he is the paler version of Napoleon. An example of his cowardly behaviour is during the battle of the cow shed where he hides from danger in a barrel with his fat pink bottom sticking out, which is humorous deliberately due to the child audience, so it alleviates the scene of a very dangerous situation.
There is a subtle difference of Squealers role in the film from the novel as he is portrayed as Napoleon’s aid and shadow all way through the film, whereas in the novel he is originally one of the elite. He was an equal to Snowball and Napoleon at the early stages the Hierarchies formation, as they needed him to help their cause. One thing that remains in both is the fact that Squealer is the propagandist spreading the word of Animalism and the party line of Napoleon.
In the novel Orwell describes the dogs in chapter five as being “… huge dogs, and as fierce-looking as wolves.” This tells the readers that the dogs are predators with menacing and wild characteristics.
The dogs are a way of Napoleon ensuring his power over Animal Farm as the other animals all fear that they would face the same fate as Snowball. An example of this is in chapter five when Napoleon had banished Snowball and had taken the role of leader through the persuasive powers of Squealer and bullying tactics enforced by the fearful dogs. It reads, ““Tactics, comrades tactics!”… The animals were not certain what the word meant, but Squealer spoke so persuasively, and the three dogs who happened to be with him growled so threateningly, that they accepted his explanation without further questions.” This tells the readers that the dogs are Napoleons slaves, but the only thing keeping him in charge as the animals are so paranoid about being the next victim that they do as Napoleon says.
In the film the dogs start off as being very cute, grey balls of fur that whimpered helplessly when their mother was killed in the battle of the cowshed. The fact that they are grey in colour implies to the audience that they are neutral; they are ignorant to the goings on in the farm with Mr Jones and the revolution. When they are taken away and brought up by Napoleon they are his slaves, his army that protect by any means. The film illustrators use demonic imagery for the appearance of the dogs as they have no individual features to differentiate one from the other, and only their white sharp teeth and their cool, cunning eyes upon their expressionless faces can be seen. When they are chasing Snowball over the snowy ground the dogs look like intensely black silhouettes. Also occasionally the dogs are shown with their tongue hanging out, which tells the audience of the dogs’ appetite and reminds the audience of their savage eating and their predatory instincts making them threatening just to look at. An example of this is when they have killed Snowball; they are seen with blood red tongues and salivary jaws, which in itself provoke an image in the audience’s minds of the savage ripping and tearing of Snowballs throat.
The film makers also make it apparent that the dogs are Napoleons private army by they all looking the same, as if they wear a black uniform; black being symbolic of evil, which mirrors Napoleons character. Also the way the dogs move in packs and formations of two, enforces the audience’s sense of them being predators and also more like machines as they serve a purpose with no emotion.
In the novel Orwell describes the hens as rebelling against the order from Napoleon of giving their eggs to Mr Whimper for money. In chapter seven it reads, they “…must surrender their eggs…When the hens heard this, they raised a terrible outcry…they protested that to take the eggs away now was murder. For the first time since the expulsion of Jones there was something resembling a rebellion. Led by three young Black Minorca Pullets, the hens made a determined effort to thwart Napoleon’s wishes.” This tells the reader how brave and how sick they are of being under Napoleons rule and that he had gone too far this time. They carry on the fight which they are doomed to lose with valiant attacks that have no effect. It reads, “Their method was to fly up to the rafters and there lay their eggs, which smashed to pieces on the floor.” This is a great tactic as it gets right under Napoleons skin because he will lose money and face, but the repercussions are his wrath. The hens’ punishment being no rations, until they lay their eggs in agreement to Napoleons orders. This is also a point of frustration for the reader as this could easily go either way if the hens had more help from the other animals. There was the drive for a rebellion as Napoleon was telling the chickens to sacrifice their children for money, which is exactly what Jones did before his expulsion. Sadly the chickens are killed by starvation and the survivors carry out the orders. The first dissentients of Napoleon are crushed, which is distressing as it shows the readers the lack of hope in this situation.
In the film the hens are depicted dramatically in the raid during their strike. The only facial features that you see are their big, white, blinking eyes, as the barn is so stooped in shadow. Their presence in the barn is made apparent by the elongated shadows scurrying from hiding place to hiding place in fear of being killed by the dogs. When the hens are ambushed by the dogs, the hens flap up to the rafters and attack with a triumphant bombardment of eggs that land upon the pigs faces, making the pigs run straight out of the barn in fear. This is a literal image of the phrase, “egg on their faces”, which is an attempt to lighten the heavy mood of this scene. Sadly the hens can’t win, with every attempt to fight with apathetic pecking of the dog’s noses, many are savagely killed by the dogs biting and tearing of the hens throats.
In the novel Orwell portrays Boxer’s character repeatedly as the gentle giant, but could also be very violent but only when threatened with his life. An example of this is in chapter one where it reads, “…walking very slowly and setting their vast heavy hoofs with great care lest there should be some small animal concealed in the straw.” This tells the readers that he is conscious of those around him and of a very gentle nature.
An example of Boxer’s violent side is in chapter seven where Napoleons dogs have attacked Boxer with no reason at all. It reads, “Boxer saw them coming and put out his great hoof, caught a dog in mid-air, and pinned him to the ground. The dog shrieked for mercy and the other two fled with their tails between their legs.” This tells the readers of Boxer’s immense physical strength and of character as he fights off the one thing keeping Napoleon in power. This sends a very powerful message of hope for the future to the readers, as it is another reminder that the animals have a chance to win over Napoleons regime. This is frustrating, because in the end, although they have had these chances to defeat him with force, they never take it and are left with an evil dictator and regime, so they are no better off with their current existence than their previous one with Mr Jones.
Orwell portrays Boxer consistently as a very hard working and loyal character, as well as an inspiration to the other animals upon the farm. In chapter seven it reads, “… the other animals found more inspiration in Boxer’s strength and his never-failing cry of “I will work harder!”” This tells the readers that he could easily encourage the other animals to revolution as he is the most respected on the farm deservedly.
Another trait of Boxer’s character that Orwell makes apparent to the reader is that he is not very intelligent. In chapter seven Boxer’s disagreement of Snowball being a traitor is quietened by Squealer saying “Our Leader, Comrade Napoleon, “announced Squealer, speaking very slowly and firmly, “has stated categorically---categorically comrade---that Snowball was Jones’s agent from the very beginning---yes, and from long before the Rebellion…””Ah, that is different!” said Boxer. “If Comrade Napoleon says it, it must be right.” This shows the readers how naive and gullible he is and also how he likes to see the best in a situation all the time. If only he pushed his arguments instead of take Squealer’s poor explanations without further questioning, and then the other animals would see the reality of Napoleon’s rule. Once again, a point of frustration for the reader as it could easily go to the direction of the other animals fighting and defeating Napoleon through another revolution, but never happens.
The film is faithful to the textual version of Boxer as he is such an essential character. In the film, visually, Boxer is the largest of all the animals and his immense strength is repeatedly shown throughout the building of the windmill, as he pulls enormous boulders up to the building site one after another the whole day through with the help of his trusted friend Benjamin. This is also a reflection of Boxers character as he never gives up doing what he has to do; he is a worker, not a thinker.
Evidence of Boxer not being a thinker is in a scene a pig is trying to teach Boxer and Benjamin the alphabet, but because Boxer is not intelligent he can only get as far as D in every attempt. The pig points at E on the blackboard and shakes his head with disappointment.
The film makers make use of pathetic fallacy during the scene where Boxer finally collapses. There is a huge thunderstorm that breaks out and it is lashing down from the very dark and heavy skies above with rain. This heightens the visual drama of Boxer slipping in the wet mud as he desperately tries to pull the boulder up the hill. It is a definite upward struggle, you can see the intense straining of his neck; he can hardly cope with the weight as he not as strong as he used to be. The audience is just cringing as they know something bad is going to happen as it is implied by the terrible weather and the darkness of the scene. The only light is from the lightning bolts that jump in the sky. All of this darkness and tumult of the storm is a reflection of the effect that Boxers death will have upon the other farm animals. Boxer is their inspiration to carry on working, to carry on the now some what crushed beliefs of the revolution and their existence upon the farm. When the boulder crushes him there is a view of his head on the ground with his tongue hanging out and his eyes barely open as he has not got the strength. The rain hits his face in such a way that it creates the effect of him crying tears of sadness. The boulder represents the weight of the other animals; he has been pulling their troubles since the start, through being inspiring to the extent of keeping the dream alive of revolution and the only hope left in this story for the overthrowing of Napoleon. The second he let go of the rope, is the second when hope was lost.
In the novel Clover is described as a maternal figure in chapter one. It reads, “Clover was a stout motherly mare approaching middle life, who had never quite got her figure back after her fourth foal.” This tells the readers that she is of a caring nature and of a similar character to Boxer.
Also an example of her kindness and motherly instincts in is chapter one where she shelters ducklings from danger. It reads, “…a broad of ducklings, which had lost their mother… Clover made a sort of wall round them with her great foreleg, and the ducklings nestled down inside it, and promptly fell asleep.” This reinforces the reader’s indications from the previous quote that she is protective over those in danger and those who are vulnerable. The fact that the ducklings are so at ease being in Clover’s presence indicates that she is a comfort to their troubles.
In the Novel Muriel is a goat and one of the only few that can read, making her one of the animals of a higher intellect. Clover on the other hand is unable to read like Boxer and the majority of the other animals on the farm. Evidence of this is in chapter six when Clover vaguely remembers a commandment about sleeping in a bed but is unable to read the rules on the barn wall to confirm her belief. It reads, “Finding herself unable to read more than individual letters, she fetched Muriel…”read me the Fourth Commandment. Does it not say something about never sleeping in a bed?” With some difficulty Muriel spelt it out. “It says, “No animal shall sleep in a bed with sheets””. This tells the readers that although Muriel can just about read, she is not a particularly clever individual either as she does not figure out the con the pigs have pulled off, of changing the commandments to suit them. It also tells the readers that the animals have very short memories, which has always lead to their down fall in this story as they believe that the pigs are right as they can not remember the commandments confidently enough for them to make any difference.
Clover and Muriel do not feature in the film mainly because they are not needed as the film-makers have slightly changed the behaviour of Boxer and Benjamin in the film. There is no need for Clover as there is already a dopey character portrayed by Boxer and there is no need for another reading animal like Muriel as Benjamin can read perfectly well. So the characteristics of Boxer and Benjamin fulfil the void of Clover and Muriel’s absence.
In the novel Benjamin is portrayed as having a bitter and pessimistic view on life. In chapter six it reads, “Only Benjamin refused to grow enthusiastic about the windmill, though, as usual he would utter nothing beyond the cryptic remark that donkeys live a longer time.” This tells the readers that Benjamin has lived longer than the rest of the other animals and with time comes wisdom. He is thoroughly unimpressed with the turnout of the revolution which implies he knows the reality of the situation on the farm. He never says anything though, not out of spite he does it for the simple fact that he believes it would make no difference to the situation; it does not matter if they overthrow the pigs, as there is always going to be somebody with the ambition to have power over the farm. There will always be somebody to fill that void, even if they are not wanted by the other animals. He has a very icy and cynical outlook upon life because of his wisdom, he is not he is not blinded by dreams and hope or a faith that is not there.
Also in the novel Orwell portrays Benjamin as being the cleverest as he can see right through the pigs. Particularly in chapter nine where he attempts to save Boxer but fails. It reads, ““Fools! Do you not see what is written on the side of that van?”…in the midst of the deadly silence he read:’ ”Alfred Simmonds, Horse Slaughterer and Glue-Boiler, Willingdon. Dealer in Hides and Bone-Meal. Kennels Supplied.” Do you not understand what this means? They are taking Boxer to the Knackers!” This tells the readers the bond that he had with Boxer was strong and also that he could not win this battle as those around him are to slow and ignorant to the pigs plans.
In the film he plays a bigger part than he did in the novel as he takes over clovers role of a companion to Boxer. He is a loyal and constant friend to Boxer up to the point of death. They were always shown working side by side together and both of them giving above and beyond the call of duty. One very obvious change in Benjamin’s character is that he is less pessimistic in the film, where as in the novel his role is to be the sceptical observer. In the film he is crucial in leading the rebellion against the pigs at the end of the film as he snaps due of the pigs murdering and selling Boxer for Whisky as well as everything else that they have put the other animals through.
The film-makers have made these changes as there is no need for Clover and Muriel as Benjamin fulfils the role of the questioning Clover and the thinker Muriel. Due to his new found character traits, he investigates the visiting pig delegates and alerts the other animals what is going on, leading them into the next rebellion.
The duckling is only mentioned very briefly in the novel in chapter one, but is used as a recurring motif in the film. The film makers make use of the duckling as it is a sign of new life. The revolution was for the future generations like the duckling; the frail and vulnerable creature is what they are fighting for, which makes it even more painful to see them fail. In the film the duckling is seen a lot in the first half, but then vanishes as if it has been forgotten. This is ironic as the reason they are rebelling is gone and forgotten by them.
In the novel Orwell portrays the cat as being uninterested in others and only had interest in herself. In chapter one it reads, “Last of all came the cat, who looked round, as usual, for the warmest place, and finally squeezed herself in between Boxer and Clover; there she purred contently throughout Major’s speech without listening to a word of what he was saying.” This tells the readers that she is self obsessed and has no respect for those around her. The fact that she was the last to arrive at such a pressing meeting with Old Major implies that she does not care for what he has to say unlike the other animals.
Also in chapter three Orwell describes the cat’s behaviour as peculiar, with an obvious solution hidden from the rest of the animals. It reads, “It was soon noticed that when there was work to be done the cat could never be found. She would vanish for hours on end, and then reappeared at meal-times or in the evening after work…” This tells the readers that the cat is not happy in the revolutionised farm. The reason for this unhappiness is that she is house hold pet she has never worked for anything in her life, she is used to being looked after by humans and liked her life before the revolution as she got attention.
In the film the cat plays the situation that she is in cleverly as she still lives on the farm but does not work. She does exactly what she wants and does not care about the rebellion and lives well.
The cat’s purpose is to show the audience the savage nature of the dogs as she gets grabbed and shaken to death leaving her limbs twisted and broken. The reason it happened is she was in the wrong place at the wrong time; she got in the way during the chickens strike. This does not happen in the novel, but is effectively used by the film-makers to kill the cat in such away for dramatic tension.
In the film, the film-makers highlight moments or events of dramatic tension by the use of colour. An example is the scene of Snowballs death as the landscape is made up of white snow and black trees, and the dogs that chase him look like black shadows moving across the snow. Also Moses the black raven sits upon the black branches against a threatening dark orange sky.
Also when Napoleon has carried out the executions the colour of the paint used to write the additional words to commandment six is red. This is a strong image as the red represents and highlights the bloodshed that had taken place. And just for additional drama, the red paint dripped and ran down the walls like blood does from a wound, and also reflects the carelessness of Napoleons actions as well as the rushed cover-up job.
The film-makers also use music to highlight an event; in particular music is used during the Battle of the cow shed and Windmill as well as the scene when Boxer is taken away to his death. The music effective as it provokes the desired emotion, for example when Boxer is taken away the music is very sad and frantic to highlight the animal’s desperation to save Boxer and how they feel when they fail. In the battle of the cow shed the music is fast and energetic and full of power like the animals, and ends with a victorious tone because they win. In the Battle of the Windmill the music is more frantic, desperate in tone than the other music, and ends with a very sorrowful tone as the windmill is destroyed for a second time and more are killed.
The film-makers also make use of pathetic fallacy during the scene of Boxer’s final collapse. The sky is dark with thunderous clouds, and because it is night; the rain pours relentlessly all of which reflect Boxer’s situation. The darkness of the scene represents the dark times that have suffocated the farm animals like himself for so long. Also the fact that is night, the end of day and soon the beginning of another implies it is the end of Boxer, and soon it will be his death, the only way out of the farm. The storm represents the upheaval caused by his death and the powerfulness of the storm is the power of these emotions of rage.
The film-makers use of camera shot perspective also highlights moments of dramatic tension. An example of this being used is when the animals attack Mr Jones there is an aerial shot of the scene emphasising upon the ever closing positions of the animals around Mr Jones. Another is just before Squealer announcement of Boxer’s death, you have a close up image of tears falling to a wreath, causing the audience to believe an animal is crying, until the camera pans up and the audience see that the tears belong to Squealer, and the tears are fake and badly acted.
Throughout the film the film-makers use clear Nazi military imagery such as the barbed wire on fences; having a “Halt” sign manned by dog sentries; black-suited pigs in the limousine; the goose stepping pigs on parade; triumphant rally with a brass band playing, and clerks at typewriters. All of which appear near to the end, but none of this appears in the novel. As the novel is an allegory about the Russian Revolution, Nazi imagery is used because Hitler was involved in the Revolutions downfall. In 1939, Russia and Germany signed a treaty of non-aggression, but later attacks Russia in 1941 breaking the treaty and causing heavy destruction to its factories. Another reason for the nazi imagery in the film is that it is very recognisable, so the message of Napoleon being an evil and corrupt dictator is easily seen. This takes into consideration the audience who are of a young age. Also is does keep in mind the original sentiment of Orwell’s novel as it does work as a warning about the misuse of power in general.
The ending of the novel ends with the pigs completely victorious, they have absolute power of the farm through their corrupt morels leaving them resembling their enemy; humans. In chapter ten it reads, “The creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already it was impossible to say which was which.” This tells the readers that the pigs have become their enemies, the enemy that persecuted and slaughtered them for lifetimes. This gives the reader a strong message of with power comes corruption regardless of who it is, weather it is a Jones, or a Napoleon, power corrupts.
The overall message of the novel is society has to be on its guard from such characters like Jones and Napoleon to prevent them from becoming too powerful and abusing their position. There is no point in having good intentions, society has to be on its guard and can not afford to be naïve, because there will always be a Napoleon and a Jones ready to take advantage. Society has to identify and has to deal with individuals like Jones and Napoleon. The animals in the novel have made the classical mistake of trusting too much. They take too much in good faith until it is too late for change. The fact that the animals lost out in this story means that somebody else can profit from their experience and use it to their advantage.
The film has a far more optimistic ending than Orwell’s novel as it still manages to give the warning and message of the novel but has a happy ending. With the film, it goes that one step further by saying that it is possible to stop the tyrant, but society has to be brave; see what has to be done and do what ever it is. The rampage of the farm house by the other animals is carried out symbolically. The main symbol is the destruction of Napoleons picture; it is a repeated symbol from the very first revolution, as a picture of Jones was smashed. The destruction of the dictator’s pictures is symbolic of assassination, showing clearly that sometimes society has got to bite the bullet and get rid of these people.
