oodbye, mom.” Although it’s not exactly intended to present the narrative of how horrific farming can be for animals, “Babe” begins in just that way, commenting on the lightless, joyless, miserable existences of livestock in a piggery, waiting only to be fattened up and then slaughtered. It’s a cruel world for these creatures. But one lucky pigling, Babe (voiced by Christine Cavanaugh), is destined for a different life – on the casual, peaceful property of farmer Arthur Hoggett (James Cromwell) and his wife (Magda Szubanski).

“Pigs are definitely stupid.” Fortunately for this situation, the animals all talk, using a curious yet effective blend of animatronics – courtesy of Jim Henson’s Creature Shop – and animated movements, along with puppets/models and live-action animal actors. It’s an impressive mix, oftentimes seamlessly transitioning from one method to the other without giving away the ruse. The editing in this regard is exceptional (perfectly placed shadows do wonders for the manufactured realism). The visuals never let down, while their intermittent fantasy-like appearance lends to the kid-friendly vibe (also aided by goofy chapter divisions heralded by chirpy, singing, teasing mice), as based on the Dick King-Smith children’s book “The Sheep-Pig.”

Though there’s plenty of time allotted to adorable critters engaging in playful mischief, generating countless humorous, cutesy sequences, also looming in the near-future is talk of Christmas dinner, which just might be pork. After all, one of the locations on the Hoggett farm is a slaughterhouse. Plus, sheepdog Fly (Miriam Margolyes) and her mate Rex (Hugo Weaving) must contend with the day that their puppies are sold off to anxious children – yet another standard occurrence that has a depressing new meaning when the parents are anthropomorphized to such a sympathetic degree. The fact that the Hoggetts don’t have young kids of their own eases the potential for intimate dismay, but that doesn’t stop some of the less subtle realizations – such as a chicken, given the name Roseanna, getting turned into a roasted feast – from becoming nightmare fuel for juvenile audiences.

The first half of the film sets up a few minor adventures for Babe, who behaves as if a dog, having been taken under the wing of Fly. It’s not particularly monumental, though the visual creativity is superb, while the suitable morals of believing in oneself and showing respect crop up, notable when a hierarchy of intelligence and treatment presents itself among the livestock and pets – hinting at darker concepts from “Animal Farm.” Blame, guilt, despondency, and jealousy are also involved; this lot possesses all the qualities of real people, going so far as to engage in uncivil interrogations, mistaken identities, rash judgments, and holding grudges. The farm serves as a microcosm for familial strife in a secluded environment – of the human kind – with the entire range of related emotions. “You haven’t got it in ya.”

“Sooner or later, every pig gets eaten.” The hard truths of farm life eventually come into play, but so do the powerful qualities of compassion, cheer, teamwork, generosity, leniency, and forgiveness. It may be an airy fairy tale, quick and simple, but it’s exquisitely upbeat and sweet (written in part by George Miller of “Mad Max” fame, as hard as that might be to imagine), with a perfectly triumphant finale. “And he was happy. Even in his dreams.”

– Mike Massie