April 26, 2004: Another Jareth's Realm exclusive, this has to be the most drooling review of Labyrinth ever. Whaddaya mean -- there's nothing wrong with it?! It makes me wanna laugh.

Many many thanks to my friend, Solea, who permitted me to scan and translate the precious original copy of this mag.

Story

Sarah’s little brother is kidnapped by the minions of Jareth, the omnipotent, irresistible Goblin King. To free Toby, Sarah is given this task: to reach Jareth’s castle. But there’s only one way to get there: through the Labyrinth, a place filled with creatures each stranger than the last, gnomes, monsters… Some may be allies, even friends, while others may be formidable enemies…

Supplementary comments

Despite excellent reviews, this George Lucas production was a terrible commercial flop in the U.S. After two and a half weeks of small box-office receipts, it had to be removed from all but select theaters. Especially since another Lucas production, Howard [the Duck], earned disastrously little against its high production costs, people started asking themselves if the famous producer could produce anything but crap.

To bring out the magical side of the story, Henson created characters completely different from the heroes of The Muppet  Show or The Dark Crystal, his preceding film. No detail was spared to render the creatures as “life-like” as possible. Animation experts created control units and technologically advanced mechanisms to control the marionettes’ expressions. A choreographer, Cheryl McFadden, was called in to work with the technicians to fine-tune the characters’ movements.

The Goblin City was constructed on the largest sound stage in Europe at Elstree Studios in London, which belongs to Thorn Group EMI. Under the direction of decorator Elliot Scott, the largest panoramic backdrop ever filmed was made. The construction of the city itself, with its bizarre architecture, highlights the attention to detail, just like the forest, made of about 40,000 branches that support artificial leaves, specially created for the film and affixed one by one on each tree. Other challenges also appeared, especially the simultaneous movement of about 350 hands that were supposed to grab Sarah during one sequence.

Appreciation

Jim Henson and George Lucas need no introduction. The first, of course, is no other that the celebrated producer of The Muppet Show and the director of Dark Crystal, the second the creator of Star Wars and Indiana Jones. Two serious guys, who, together, could only make a fantastic movie infused with their genius.

There’s nothing special to be said for the plot. Not that it’s lacking or weak. It’s fine, but, obviously, Labyrinth’s originality doesn’t come from this level. Its sole purpose is to open the doors on a strange world were everything is turned upside-down, where nothing behaves according to our everyday rules, where rules of logic, space and time are befuddled. But not to fear – this strange universe becomes familiar quickly.

The strong point of Labyrinth lies in its production. Everything about it is remarkable: the richness of the characters, the animation, the attention to detail, the intricate scenery… Any qualifications, in fact, are negligible. Trust me – it’s mind-blowing. Not a false step, not a false note. And, to “musicalize” the whole thing, there are five original songs by multi-talented rock star David Bowie, who, along with Jennifer Connelly, that cute 15-year-old New Yorker who debuted in Once Upon a Time in America, provides the human element in the tale.

Labyrinth is not a dream, not in the strictest sense. It’s more, much more. It’s actually a dream come true.

All original content © 1997 to the present by me, Elizabeth A. Allen..
Plagiarists will be suspended head-first in the Bog of Eternal Stench..