One Fine Day, SkoopaTroopa Was Peeing In A Pond...

This is, how you say, a "cop out" post. I haven't blogged in a while (shame on me) because I've been busy enjoying life and it's little quirks.

Currently, my English Composition students are studying "film" and their assignment is to essentially write a rhetorical analysis / literary criticism of their favorite film. I like to provide students with imperfect, but strong examples of what I'm looking for. However, when an assignment is new, I find that I've got to come up with my own "imperfect, but strong" example of what I might be looking for. I like to ask students permission to use their work as examples (name redacted, of course), but you can't do that if you just created the assignment. 

So, I took to writing my own college freshman analysis. Now, it's been a while since I've actually been a college freshman, but I think I see enough work to write something that might pass (or I'm a pedantic asshole... who knows... it's probably this option).

I decided to write about "Labyrinth" because I love the film. It's something my Aunt Tina passed down to me.... and something I plan to pass down to my nieces and nephews. Corrupt them young, I always say. 

If you're wondering about the title, and you might be.... the opening sequence of the Labyrinth portion of the film shows Hoggle peeing in a pond. This was something I found HILARIOUS as a child... and also today because I am, in fact, an overgrown child. My Aunt and I used to play a story game that often started out with "One fine day, Hoggle was peeing in a pond..." and went off in all sorts of fun and inappropriate directions.

 

“Labyrinth”

 The film “Labyrinth” was not a box office hit. It did not gain popularity until it found its way into the homes of potential viewers via VHS, DVD and now BluRay. The movie is widely regarded as a “cult classic,” which warmed the hearts of viewers through its opposition and derivation from mainstream cinema. While the film did not originally strike a chord with its intended audience, it has fought against the odds to attain a “cool” status. Today, the film is seen as revolutionary and is often ironically enjoyed. Though, in regards to popularity and quality, “Labyrinth” rivals some of today’s best films with its message of female empowerment, promotion of fostering strong friendships, use of trademark Henson puppetry, and inclusion of musical icon David Bowie.

 

The premise of the film is a simple one. A teenage girl, fed up with the way the world treats her (as so many teenagers are), wishes for the Goblin King to come and take her crying baby brother away. Not knowing that the Goblin King is real, the girl winds up going on a journey through the labyrinth to find and save her baby brother from becoming a goblin (Rattray & Henson, 1986). It is hokey. Though, it is meant to be. The film was aimed toward children. What wasn’t intended was the message of female empowerment that the film conveys.

The teenage girl, Sara, starts out as whiney. She is weak and absentminded. She believes the world is cruel and that her step-mother is “an evil witch from some fairy story” (Rattray & Henson, 1986). Though, as she gains determination while fighting to save her little brother, her childish attitude falls away. At the end of the film, she battles with the Goblin King and walks away the winner. She is stronger. The film conveys the idea that the Goblin King has no power over the young girl (Rattray & Henson, 1986). This was a newer approach used in the 80’s films. So, as time progressed, female viewers grabbed on to this character and the feats she managed to accomplish in the film. 

The film also conveys a warm fuzzy message about the enduring power of friendship. Sara enters the labyrinth alone. But, as she gets closer and closer to the center of the maze, she starts to pick up a colorful cast of friends. By the end of the film, they bonded through their adventures. Emotionally, this concept of friendship tugs at the heart strings of viewers. The resounding mantras of, we will be there whenever you call, whenever you need us and you’re not alone, even when you think you are connect to the sentiments of viewers. The characters are entertaining, grouchy, indignant and feisty. But, they are friends. They’re loving and supportive. This is something that all viewers want, that they can relate to. So, regardless of demographic, the film is able to bridge the gap between story and audience (Rattray & Henson, 1986).

However, it is not only the message and cast of characters that are compelling. The film itself relies on the creativity and design work of Jim Henson. Over time, Henson’s work has become a thing of legend. It’s also something that many people of many generations associate with their childhood. The vibrantly colored and imaginative puppetry that earned Henson his fame is ever present in this film. Henson, coupled with the artwork of Brian Froud, created fairies, goblins, henchmen, giant wooly beasts and even a tiny British snail. These iconic characters now adorn all sorts of merchandise. They are interesting to look at and aesthetically pleasing in a way that only Jim Henson was able to create. But, realistically, Jim Henson’s creations bring back fond memories of childhood of a time when things seemed simpler. This is the feeling that many viewers associate with “Labyrinth”. The film work and technology is limited by what was available in the mid-eighties, but still holds that signature Henson charm. 

 All of this, coupled with the choice of leading man, makes for a well-defined film. This, of course, refers to the iconic David Bowie. Bowie was a trendsetter. He was outspoken, bold, and talented. He was revered as the epitome of cool. Bowie brought an essence of 80’s glam to a children’s film. The world that knew him as this edgy musical pariah, but Bowie’s work in front of the camera only added to his repertoire. He went on to star in several films. 

Furthermore, he penned the soundtrack for the film. And, while it was a little tamer than some of his more experimental music, his vocal abilities and lyricism added another dimension to the film. He writes of love and greed and insanity. He portrays the Goblin King as a flawed individual in need of love, but also as someone who needs to control others. When all was said and done, the inclusion of David Bowie widened the scope of who the movie could or would eventually reach. Bowie fans, as adults, can watch the film and appreciate the talent and performance that he brought to the character, the music, and to the screen.
 

So, while “Labyrinth” was not initially the success that studios had anticipated, it is still a quality film. The way it has gained popularity against all odds is telling. The initial failings of “Labyrinth” were more due to an inability or confusion about how to market the film and who to sell it to. Does it appeal to children? Of course. Could it have been marketed to an older audience? Yes. It was a film that didn’t quite fit into the confines of traditional cinema. But, with an aire of coolness and a strong concept, the film has wormed its way into the hearts of viewers of all ages. The story is strong. The ideas are compelling. The puppetry is iconic. And, of course, David Bowie is David Bowie.

References

Rattray, E. (Producer) & Hensen, J. (Director). (1986) Labyrinth [Motion Picture]. United States

of America: TriStar Pictures