CHARLIE AND THE CHOCOLATE FACTORY proves that it's hard to keep a good story down. In an effort to be more faithful to Roald Dahl's classic novel, director Tim Burton only proves that there was nothing truly wrong with the 1971 Gene Wilder musical. In fact, except for some design flourishes, Depp's performance and an extraneous back story, this remake is practically the same... but no less entertaining.
The story still revolves around a reclusive candy man named Willy Wonka. Five children (4 rotten, 1 nice) win golden tickets to see Wonka's factory firsthand. For Charlie (the nice one), this tour is a dream come true and may even help his poor family.
There are still Oompa Loompas (Wonka's little workers are all played by the sublimely funny Deep Roy). Contrary to reports, there are even musical numbers (composer Danny Elfman uses Roald Dahl's original lyrics - not as catchy as Anthony Newley's tunes, but they'll do).
The four spoiled kids are also the same with a few updates. Gum chewing Violet Beauregarde (Annasophia Robb), for instance, is more of a competitor with a black belt in karate to back up her attitude. Augustus Gloop, Veruca Salt and Mike Teavee (Philip Wiegratz, Julia Winter, and Jordon Fry respectively) are unchanged in their misbehavior. Their eventual
The major change is in the character of Willy Wonka himself. CHARLIE's Wonka is much more in the tradition of Burton's demented outsiders (EDWARD SCISSORHANDS, ED WOOD... both, not so coincidentally, played by Johnny Depp).
Depp plays Wonka as a fey socio-phobe. He's more inept than wise with just a dash of malevolence (a quality that never gets explored thoroughly). This portrayal may be more accurate as far as Roald Dahl is concerned, but it fails to erase the memory of Gene Wilder's strict educator. Depp's Wonka doesn't know how to deal with people at all. Wilder's Wonka was all too familiar with people's failings which is why he was so disappointed in the children.(I know it may seem unfair to keep comparing CHARLIE AND THE CHOCOLATE FACTORY to WILLY WONKA AND THE CHOCOLATE FACTORY, but the filmmakers asked for it. You don't remake a classic and expect to be taken on your own merits, especially when those merits are the same as the original. That would be like remaking CASABLANCA and whining every time someone mentions that Bogart guy.)
Such is Burton's fixation with Wonka that the titular character of Charlie has little to do once the chocolate maestro enters the film. Charlie has no defining moment of character except in the film's opening and final moments. In between, he's more of a bystander. The old title of WILLY WONKA AND THE CHOCOLATE FACTORY would better apply this time around.
Since Wonka is such a fascinating character, you don't mind Burton's focus. In fact, some of the background stories we get lend a Baron Munchausen-like mythos to Wonka. Depp's performance is also a boon. His eccentricities are bizarrely tickling.
What doesn't quite work is the addition of Wonka's father issues. Screenwriter John August has grafted this back story on supposedly at Burton's insistence. It only betrays Burton's desire to be faithful to Dahl's book. By making Wonka the one who needs to change, the film lessens the importance of what the children go through in the factory. Their growth is made unimportant. The only saving grace of these flashbacks is yet another august performance by Christopher Lee as Mr. Wonka.
In general, the other performances are just as solid, but only when the actors have a clear purpose for being there. Freddie Highmore, brought to this project by his FINDING NEVERLAND co-star, carries all of CHARLIE's emotion. His portrayal of Charlie is the only significant improvement over the 1971 film. Others performers, like Helena Bonham Carter and NoahIn the design department, CHARLIE dazzles as expected. Willy Wonka's factory is much more of a fantasyland, complete with a creepy IT'S A SMALL WORLD exhibit that greets the five ticket winners. Production Designer Alex McDowell's sets are lush, even the grey part of town Charlie lives in. Cinematographer Philippe Rousselot lights these sets with elegance and magic. The visual effects and sight gags are equally flawless (look for a naughty explanation of whipped cream - fun for kids and
In spite of CHARLIE AND THE CHOCOLATE FACTORY's many confections, you're still left with the question, "Why did they bother?" The film is a fine piece of fun, but, like many of Burton's "fixes", hardly necessary.
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