While watching this just-released, kid-targeted film on May Day — a day which socialists since 1886 have celebrated as “International Workers Day” — I knew already from promotional material that it would “flip the script” on George Orwell’s 1945 satirical allegorical novella. The approach was soft-pedaled by the movie’s distributor, Angel Studios (founded by Mormons in 2014), a Utah-based firm specializing in faith-based, Christian-themed content. Perhaps Angel Studios hopes parents will take the revised theme on sheer faith.
This movie recklessly inverts Orwell’s original theme even beyond the public relations billing. Like his more famous, later work — the novel 1984 (which appeared in 1948) — Animal Farm is anti-authoritarian. It vilifies not capitalists, but communists. This movie effectively reverses Orwell’s moral framework and vilifies not communists (or even collectivists) but capitalists.
When the animals arrive on the farm, they first sense fun upon seeing signage that reads “Laughterhouse,” but they soon realize the full sign reads “Slaughterhouse.” The antagonist is not the cruel and corrupt Napoleon, but a greedy billionaire and a corporation intent on shutting down the farm. It is a clever but not-too-subtle hint — carried throughout the film — that these animals, like workers, will not merely be corralled but exploited. Filmmaker Andy Serkis appears to view this as a good and peaceful message for kids.
Not only is the original (anti-communist) theme of Animal Farm clear to anyone who bothers to read it, but Orwell himself was clearer still in his 1947 preface to the Ukrainian version, that “its various episodes are taken from the actual history of the Russian Revolution.” Orwell also knew, of course, that the 1917 revolt in Russia was not of workers against capitalists but of Bolsheviks and disgruntled (because unpaid) soldiers against the royalist-Czarist regime. Although Bolsheviks were inspired by Marxism and Marx was anti-capitalist, it didn’t follow that the Bolshevik Revolution was an overturning of capitalism. Russia in 1917 was more feudal-agrarian than it was capitalist-industrial.
Other accounts of Animal Farm are clear about its meaning. Per Britannica, it’s a “political fable based on the events of Russia’s Bolshevik revolution of 1917 and the betrayal of the cause by Joseph Stalin. The book concerns a group of barnyard animals who overthrow and chase off their exploitative human masters and set up an egalitarian society of their own, based on the founding principle “All animals are equal.” Eventually, the animals’ intelligent and power-loving leaders, the pigs, subvert the revolution. Concluding that “all animals are equal, but some animals are more equal than others,’ the pigs form a dictatorship even more oppressive and heartless than that of their former human masters.”
In his essay for the Times of London in 2023 — “Animal Farm is Still Horribly Relevant Today” — A.N. Wilson described the novella as an “incomparable masterpiece” that still “resonates today” and “not just as a terrible indictment of left-wing idealism and Communist tyranny” — as it illustrates “exactly what Lenin, and then Stalin, did to the population of the USSR” at the beginning of the last century — but because like many people still today, the characters exhibit “a pathetic weakness to believe political mantras.” Again, it’s an obvious indictment of socialism, not capitalism.
Orwell (a lifelong Englishman, born Eric Arthur Blair in 1903) said he was apolitical in his youth, then saw poverty and became a democratic socialist. This committed him to being anti-fascist, but he was also candid enough to criticize non-democratic, oppressive forms of socialism. His mistake was to believe that mere voting could soften socialism’s blows. In the 1930s German voters elected the National Socialist German Workers Party (Nazis) and soon got years of tyranny. Conveniently, Orwell blamed that not on the democratic or socialist part of the mix but the nationalist part. In 1998 (and a few times thereafter), Venezuelan voters elected democratic socialists and before long, also got tyranny. They still suffer it. What would Orwell say about that? Probably something close to what’s now said by the Democratic Socialists of America: Venezuela isn’t “genuine” socialism. As New York City mayor and democratic socialist Zohran Mamdani has said, an ideal, “genuine” socialism remains the goal, such that America must “replace the frigidity of rugged individualism with the warmth of collectivism.” Orwell warned of the “excesses” of collectivism, but being socialist surely undermined his message.
Returning to Orwell’s preface to the 1947 Ukrainian edition of Animal Farm, we learn that he did, in fact, initially envision the novella as a parable about the evils of capitalism. He recalls that the “details of the story did not come to me for some time, until one day (I was then living in a small village) I saw a little boy, perhaps ten years old, driving a huge cart-horse along a narrow path, whipping it whenever it tried to turn. It struck me that if only such animals became aware of their strength, we should have no power over them, and that men exploit animals in much the same way as the rich exploit the proletariat.” How then did Animal Farm become instead a parable not about capitalist “exploitation” but about socialism gone awry? As mentioned, Orwell says the novella’s episodes were taken from the Russian Revolution and its disastrous aftermath. “Up to 1930, I did not look upon myself as a Socialist,” he recounts, as he had “no clearly defined political views.” He says he “became pro-Socialist more out of disgust with the way the poorer section of the industrial workers were oppressed and neglected than out of any theoretical admiration for a planned society.”
In 1936, Orwell raced to Spain to fight in its civil war — against the fascist regime and on the side of Trotskyites, who opposed Stalin for his “impure” (brutal) form of socialism. Then Orwell heard about Stalin’s gruesome, murderous purges of top military officials in 1936-38. “To experience all this was a valuable object lesson,” he recalled (in the 1947 preface), for “it taught me how easily totalitarian propaganda can control the opinion of enlightened people in democratic countries. I saw innocent people being thrown into prison merely because they were suspected of unorthodoxy.” “I understood, more clearly than ever, the negative influence of the Soviet myth upon the Western Socialist movement.” Notice how he refused to critique socialism per se. He insisted that its authoritarian versions should not be counted as genuine versions. Socialists have made this unsubstantiated assertion repeatedly since 1917. For some odd reason, Orwell didn’t consider such brazen, defensive, apologetic whitewashing as part of what he labeled “totalitarian propaganda to control opinion.”
It may be said that Orwell’s two main books weren’t really warnings about the dangers of socialism but rather attempts to salvage its terrible reputation, which he somehow presumed was unearned. In the 1930s, per Orwell, “it was of the utmost importance to me that people in western Europe should see the Soviet regime for what it really was. Since 1930 I had seen little evidence that the U.S.S.R. was progressing towards anything that one could truly call Socialism. On the contrary, I was struck by clear signs of its transformation into a hierarchical society, in which the rulers have no more reason to give up their power than any other ruling class.” Nevertheless, he recalled, “even if I had the power, I would not wish to interfere in Soviet domestic affairs” and “would not condemn Stalin and his associates merely for their barbaric and undemocratic methods. It is quite possible that, even with the best intentions, they could not have acted otherwise under the conditions prevailing there.”
The above passage is quite an ugly admission by Orwell. He “would not condemn barbaric and undemocratic methods” — even as a supposed democratic socialist — nor would he condemn socialism as necessitating such methods, especially given Marx’s distinctive expectation that revolution would launch with a mass expropriation of private property and a “dictatorship of the proletariat.” These were two crucial aspects of the original idea of socialism and they were actually instituted by Lenin and Stalin — socialism by revolution and bullets, not evolution and ballots. Orwell insisted that “nothing has contributed so much to the corruption of the original idea of Socialism as the belief that Russia is a Socialist country and that every act of its rulers must be excused, if not imitated.” But Orwell did excuse those acts. He told us he “would not condemn barbaric and undemocratic” acts.
It’s fair to conclude that Orwell’s self-admitted motivation for writing his two anti-authoritarian books in 1945 and 1948 was a worry that socialism wouldn’t advance in his native Britain, where he lived from 1928 onward, as long as Stalin’s Soviet Union was seen as the role model. Again, from the 1947 preface, we find him declaring that “for the past ten years (1938-47) I have been convinced that the destruction of the Soviet myth was essential if we wanted a revival of the Socialist movement.” What is the “Soviet myth”? That the “Union of Soviet Socialist Republics” (USSR) was real socialism.
How does Andy Serkis, the producer of the new animated film, explain his desecration of the classic satire? In a recent episode of the Reason Interview, “What Orwell Understood About Tyranny,” libertarian host Nick Gillespie praises him and lightly questions but doesn’t criticize him for bizarrely transforming the bad guys from socialists into capitalists. Serkis says it’s an innocent “adaptation” of the original story and claims he got approval from the Orwell Estate. Serkis insists that his version’s theme isn’t different from the original novella but merely “broader,” as it’s about the “corrupting nature of power.” What does he mean by “power?” As is common among socialists — Orwell included — Serkis improperly conflates opposites: economic power (the power to produce) and political power (the power to coerce). In effect, Henry Ford and Joseph Stalin are both deemed dangerous because “powerful.” If you can so easily conflate opposites, you can also easily invert story plots and characters, switch the good guys and bad guys. Serkis does both. On his account, capitalism is no less “dangerous” than socialism. Why then prefer the latter over the former? Each is supposedly constrained by democracy, by a majority vote of whoever for whatever. Anything goes. In fact, history teaches that unlimited democracy, devoid of any real protection of genuine rights (especially property rights), degrades capitalism’s inherent safety, security, and prosperity, while it also enables the rise and spread of socialism. Of course, that’s the aim of “democratic socialists.” Democracy for them is a way to get socialism, not confine it. They know the cocktail is both possible and dangerous.
For those interested in accuracy and fidelity to the original source material of Animal Farm, the only visual alternatives to the current film are the British-American animated version of 1954 and the live-action film from 1999, using the puppetry of the late, great Jim Henson.





