(3.5 / 4)
Where the Wild Things Are is a bold film in almost every sense of the word. This film could have easily played it safe and utilized traditional animation ala Disney or Dreamworks pictures and produced a kid focused film with little depth and some moral lessons sprinkled in. However, through director Spike Jonze’s unique vision along with collaborative work from the author of the original 1963 picture book (Maurice Sendak), Where the Wild Things Are instead unflinchingly depicts the ways in which children manage emotions in relation to burgeoning adulthood through the use of their imagination. I can safely say that the film provides a unique viewing experience that is unlike any film I have ever seen, especially for the coming of age film genre.
The story follows Max (Max Records), a young boy who at the onset of the film is seemingly discontent with the fact that his mother (Catherine Keener) and sister are preoccupied with other aspects of their respective lives and therefore spend little time playing imaginative games with him. This frustration escalates until it reaches a head and Max throws a tantrum when his mother has her boyfriend (Mark Ruffalo) over for dinner. Rather than deal with how he is feeling after feuding with his mother, Max runs from his home, and eventually boards a boat at the edge of a lake. At the end of Max’s journey he reaches an island inhabited by seven monstrous creatures, where Max immediately bonds with the monster Carol (voiced by the late James Gandolfini) with whom he shares a common interest of playing all day and preventing internal strife amongst the group. Other notable monsters on the island include Alexander (Paul Dano), Judith (Catherine O’Hara), and KW (Laruen Ambrose) the latter of which is feuding with Carol and has created discord within the tribe prior to Max’s arrival. Max eventually convinces the monsters not to eat him by proclaiming himself to be a king with special abilities that can restore harmony once again to the tribe.
I confess that I wasn’t familiar with Sendak’s classic picture book prior to seeing this film, so I was surprised to learn that much of the tale was formed from embellishments in the story in order to transform the children’s book into a feature length film. I was impressed with many of the additions that the film made such as having the personalities of the monsters mirror Max’s prominent real life relationships. It was clear that Carol is a representation of Max’s efforts to cling to childhood and his yearning for a world where he always gets his way and his family can forever remain in harmony. Additionally, Carol’s feelings towards KW were an effective way to reflect Max’s own frustrations with his sister and mother forming new relationships that cause Max to question whether he has been left behind. By having the monsters on the island imitate Max’s real life circumstances, the film brilliantly goes beyond copying the picture book, and instead fleshes out the profound themes of growing up and how difficult it can be when you realize you are not always in control of the world around you.
While expanding upon the classic picture book is very rewarding, this same process also leads to the film at times feeling like it’s meandering a bit in an attempt to pad the runtime of the film. A little more than halfway through the film I realized that the occurrences on the island were repetitive as the events consisted primarily of Max and his monster friends rampaging through different scenic areas, with each instance ending due to someone’s feelings unintentionally getting hurt. The repetition can be a bit frustrating as it makes the progression of events feel nonsensical as the arising conflict seems rooted in nothing more than a misunderstanding. This could however be Jonze’s intent, as this element further reflects childhood as friends often playing together can quickly denigrate into a petty argument with the vaguest of reasons causing the disagreement.
It should also be noted that once the story transitioned to Max living with the monsters on the island I found the visual style of the film gripping and believe the combination of practical effects and CGI worked as a perfect way of demonstrating that the occurrences with the monster were a byproduct of Max’s imagination. The locations featured in the film were breathtaking as was the unique soundtrack created by Karen O of the band “The Yeah Yeah Yeahs” and the instrumental score composed by Carter Burwell. This combination of stunning scenery coupled with the heartfelt soundtrack might have been enough to sustain the film on its own at times as some of my favorites moments of the film featured no dialogue.
Between the bold stylistic choices and the raw depiction of childhood emotion, I thoroughly enjoyed Where the Wild Things Are and connected with it on a strong emotional level. The film managed to depict the struggles of transitioning away from childhood directly from the child’s perspective. Without the presence of a wise adult in the story to teach Max the error of his ways, it makes it all the more fulfilling when Max comes to the realization that it is not possible to create a land where only the things you want to happen will happen, and realizes that acting out in anger will only serve to further isolate yourself from those you care about. Where the Wild Things Are is a film that cannot be missed and no matter what age you are is worth seeing as you can definitely find a component of the story that is relatable to you.
As an aside, since Where the Wild Things Are was released almost 9 years ago now it can be analyzed how the film managed to connect with audiences during the time of its release. The film was a financial disappointment as it barely recouped its $100 million budget and therefore it can be concluded that the film failed to resonate with mainstream audiences. This doesn’t come as much of a surprise as despite presenting universal themes that are relatable to anyone, Where the Wild Things Are is a difficult film to market.
Warner Bros. decided to market the film to the adult aged demographic and this was reflected by how the advertising budget was utilized to pair the film’s trailer with adult focused films. The film while not a children’s movie, but rather a move about childhood is difficult to convey in a brief 2-minute trailer format, and therefore the movie comes across as if it’s a film for kids. Kids however might be put off by the realistic depiction of monsters in the form of using practical effects and not just CGI, which could have resulted in the film alienating both potential consumers.
It is interesting to note that Sendak’s original book wasn’t well received upon initial release in 1963 either, with many parents condemning the book as overly dark and a bad influence on children. Two years later however, the book found its audience as many children were drawn to it and many critics provided the story with praise. It is possible that a similar effect occurred when the film was released with parents possibly being uneasy about exposing their children to a tale they may have perceived as too frightening and violent. It’s disappointing that many of the film’s best traits are likely what prevented it from financial success, however much like the original book, it is possible that it is only a matter of time before Where the Wild Things Are receives the recognition it deserves as the masterful look into the psyche of childhood that it is.
