Here far too much of a reliance on flatulence gags and moron humour tends to spread thin the film’s earlier delights. The scenes in the latter half with the cat conspiracy work less well, as the cats only come across as caricatured animation villains. The scenes with he winning his way into the hearts of the family and especially the boat race have plaintive, endearing charms. Despite being 100% created within the environment of a computer, Stuart succeeds in completely engaging sympathy over and above his human counterparts. White purists happy, Stuart Little is a considerable delight. Rather than the book, the film has taken its cue from Babe (1995) and its integration of animatronic/CGI talking animals into realistic settings. The book is something that, as many purists have been quick to point out, the film takes considerable liberties with. White also wrote children’s classics such as Charlotte’s Web (1952), filmed as Charlotte’s Web (1973) and Charlotte’s Web (2006), and The Trumpet of the Swan (1970), filmed as The Trumpet of the Swan (2001). The film is based upon a popular children’s book Stuart Little (1945) written by E.B. Stuart Little, in everything from name to theme and success, seems a film born to make analogies about little guys winning out – it was an independently-released feature from Sony competing against big-name, top-promoted Christmas studio-release fare where it successfully managed to hold its own to become a considerable hit. Night Shyamalan’s The Sixth Sense (1999).
1999 was a year filled with little guys winning out over the big guys – from the massive success of the video-shot The Blair Witch Project (1999) to sleepers like Stuart Little screenwriter M.
It is nice to see an occasion when the little guys win out.
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