Where The Wild Things Are

For most of us, Maurice Sendak’s _Where The Wild Things Are_ was an amicable companion of our childhood. It’s forgivable, therefore, to have concern over a potential childhood-assaulting attempt to develop this memory into a full-blown movie, especially from someone so predominantly wrapped in themes of introvert demeanour. But “full blown” is the last term you would be pushed to use to describe Jonze’s adaptation, as instead we are treated to an insight into boyhood like possibly none before, exploring the power of imagination but remaining all the while grounded in real-life dialogue and simplicity.

From the opening minutes of Max terrorising his dog, his sister and his mother, we already appreciate the perfection of casting Max Records. Hiding in his wolf-suit of boyhood, he sets sail to the island where the wild things are, where the brooding atmosphere amongst the fire and noises is enough to terrify the most fearless.

This is no kids’ film. Its pre-release adult-driven marketing should have already given clues of Jonze’s aim to move the story into more dark and poignant territory and the results are testament. With the monsters at first wanting to eat Max, he persuades them otherwise with his assertions of supernatural powers, claiming to have a sadness shield amongst other things. What follows is a wild rumpus like no other, with Max learning that it isn’t so easy to lead the way.

Essentially, Max’s inner turmoil is what this island represents, with each creature corresponding to a part of Max or his environment. Carol, the ringleader of the monsters, imitates Max’s reckless and unruly nature, whilst Ira (Voiced by Forest Whitaker) echoes the feeling of invisibility: “does anybody ever hear me?” And KW, a figure of maternity works on two parallel levels to both Max’s relationship with his mother and his parents’ divorce. It is Max’s unpredictable emotions which relate him to these beasts and which fundamentally allow him to become their king and to eventually observe his own reflection.

Boasting a superb marriage of picture with music, Yeah Yeah Yeahs’ Karen Orzolek’s haunting vocal melodies sail amongst a musical arrangement that could easily be something these creatures orchestrated themselves from bits of woodland. It’s so prominent you keep expecting Karen to be standing just out of focus. However what will receive most attention is the unique screenplay, formulated by Jonze and David Eggers (This is Jonze’s first film without Charlie Kaufman co-manning the screenplay). A blend of animatronics with CGI mouth movements allows the creatures to appear more life-like in their movements, almost human, and producing a visual experience that no complete CGI take could capture. If we can learn anything concrete from _Where The Wild Things Are_, it’s that costume acting shot on-location can still be the best formula.

For managing to transform a storybook that consists of a mere ten sentences into a 111 page script, Jonze should be applauded for creating a translation does not lose any of Sendak’s magic. Instead his translation blooms into a potent reflection on childhood and growing up, indulging himself into Max’s head along the way, but always maintaining the innocence. Self-conscious and often sad, this is not a film for kids, it’s a film for adults about kids, taking so many risks it shouldn’t work, but succeeding by just about balancing very steadily in its own fragility. Style and substance prove another “unfilmable” book filmed: What’s next?

Comments

Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.