An Americanisation That Aims To Charm

In viewing many adaptations over the years that have derived from many different levels of literature, there’s a big difference between the books that people read and films that purposefully aim to entertain in terms of the audience. Whereas, arguably, books have distinguishable levels that appropriate towards many different demographics, the whole premise of filmic entertainment is that it’s meant to relate to all age-groups; despite what the particular film might be interpreted as. From the vast array of Disney related titles to the ever-growing expanses of the superhero genre, we can interpret film as a medium that has the capacity to encroach towards a broader scale. Being that books vary in relation to the multitude of differentiating genre’s and specific readers that are metaphysically intertwined, it’s no wonder that, along with superhero re-imaginations, book adaptations are generally hard to be re-worked purposefully for the silver-screen. In observing the more critically acclaimed book franchises of Peter Jackson’s The Lord of the Rings trilogy and the Harry Potter films, it’s easy to assimilate how both of these lauded series excelled in producing thought-out features that were aimed at both the dedicated readers and general viewing audiences. While it may not be the most ‘standout’ of book adaptations that have graced the cinematic scene, due to the fact that it does uphold a few blaring cinematic problems despite the nostalgia that many will bring-along with them, the Americanised re-working of Roald Dahl’s loved tale of Matilda perpetuates charm that the target spectatorship of children, as well as the minute portion of adults, will enjoy. Indeed, director DeVito gleefully preserves Dahl’s dark-tone through subtle contextual changes, but does this off-beat gem hold up-to the cinematic standards of today?…

Based on one of Roald Dahl’s classic children’s books, Danny DeVito’s filmic adaptation centralises its story around Matilda Wormwood, an exquisite and intelligent young girl who grows up with a family that are intensive and are unaware of her unique cleverness. In being ignored by her own parents and having a passionate fondness for books and story-telling, Matilda soon finds happiness when she finally get’s the chance to go to school; where she not only makes good friends, but finds someone who recognises and subsequently understands her remarkable skills through the first-grade teacher of Miss Honey. Aside the fact that she has to put with not only her grouchy parents, but also the undeniably wicked and physically monstrous presence of Miss Agatha Trunchbull, Matilda soon realises that she is far from just being smart and bookish…

In living in an age where film and other artistic forms of entertainment are looking backwards to conceptualisations that encapsulated cinemas ever-encroaching viability and gratified many audiences perspectives, it’s no surprise to state how much we renege and reflect back to things that fuels our subjective stigma or, more simply, our nostalgia. As much as the internet has concentrated our perception of what’s new, it’s become a device that has us seeking the old. No longer is nostalgia something that catches us by surprise, it’s something that we consciously seek out for own pleasure. However, can nostalgia skew our subjectivity regardless of the thing we’re watching isn’t comparable to other better features? Even though watching and writing notes on Matilda, for reviewing, brought about memories of the time when I watched this film for the first time at my grandparents home in the grace days of the 90’s, which also fleshes out some level of affection for the film in question, does it also mean that this said feature also accentuates to a certain level of quality that the younger generation of today can feasibly watch? Despite the affectionate notion that many young adults now, who mainly grew up within the 90’s, might underline with this filmic adaptation of one of Dahl’s popular novels, it has to be mentioned that Matilda, despite mine and a few others subjective reflection of the film, does inhabit incomprehensible aesthetics that arguably inert the films lack of cinematic quality. Although the outlandish performances and persona’s of the Wormwood parents and the macho-esque Trunchbull make up the entirety of what this represents for audiences, both who are young and are familiar with the story, the ‘nostalgia’ that one can input towards DeVito’s adapted-feature can easily be misplaced due to the fact that there are a few moments within the film that take us out of this arguable reflective feeling. This is easily permitted within the first five minutes of the first act, where we’re displayed with an abrupt opening sequence that precipitously outlines narrative details through the quick succession of the hazy editing/cutting and the narration which meticulously summarises Matilda and the Wormwoods needlessly. While the designated running time of 98 minutes is constructed to purposefully underline the younger viewing audiences gaze, so that they can easily understand the story and the events that take place, the exposition that is swiftly spouted out within the beginning is unnecessary; considering how hastily we get to know the specifics of the story from films opening and how these details could have easily been consistently dispersed within the simple structure that DeVito opts for. Following on from the wonky editing, which is unsteadily distributed within little moments of the film that take you out of the films worldview due to the little shot-for-shot inconsistencies, as seen in the scene where Mr. Wormwood confronts Matilda about her reading a book instead of watching the television, it’s fairly jarring how much DeVito indulgences his own presence by not only being the Director and the actor to play Mr. Wormwood, but also being the contrasting and lightly-toned narrator as well. Indeed, with him being so involved with the creative process of the film, which is shown through the varying degree of differentiating camera shots and the gleeful manner in which the narrative proceeds, it’s odd to fathom why DeVito took up so much responsibility in exploiting every aspect of the filming and the performing. I mean, where’s Morgan Freeman when you need him for a narration job? 😏. Aside the faint fall backs that can make many people fall out of the films attempted whimsical authenticity, the directorial affluence’s of DeVito’s Americanisation of the popular children’s book of Matilda not only stays true to the subtly dark-tone of the source material, but it incorporates a welcoming upbeat nature that the target audience of children can attach themselves to. With a blend of buoyant songs, cheery instrumentals and a central character that  not only comprehends the films favourable motif of finding comfort in books and reading, as mentioned by the narration – “these books gave Matilda a hopeful and comforting message: you are not alone”, but also emphasises this stance as a character that is confidentially individualistic in terms of her struggle with the parents and the principle Crunchem Hall, the amalgamation of all these contextual aspects accentuate towards a child’s worldview; it manages to empower and encourage the main viewing audience that even though there may be struggles that you have to comprehend with now, in time, the positives will flourish as well. What is even more intriguing that DeVito carries over from Dahl’s own writing, is the ever-so-subtle emphasis of dark-undertones that are in fact plagued throughout not only Matilda, that compliment the happy tones of the film, but other Dahl novels as well. With it featuring a dynamic surrounding the contradictory nature of children and the apprehensive mindset of adults, explored thoroughly within other Dahl tales of James and the Giant Peach or Charlie and the Chocolate Factory, DeVito doesn’t hesitate in providing oddly disturbing sequences, especially towards the main demographic, that are artfully played out and resolved through a cheerful resolution. The obvious and most famous scene that depicts this, is the sequence in which Trunchbell forces Bruce Bogtrotter to eat an entire chocolate cake in front of the children of Crunchem hall. Even though it’s a scene that is played out to be as sickly as possible, with Bruce enjoying and forcing the cake at will, it ends with a cheerful resolution in which Matilda and the rest of the class-mates cheer him on; in turn, disobeying the authorial figure of the demanding and unknowing adult of Trunchbell. It’s this balanced approach of combining the dark moments with the colourful feeling of the story that makes Matilda a stand-out children’s feature from the 90’s.

In sticking with a artistic-filmic sense, as mentioned and seen in the way in which events play out in this feature, DeVito employs formal tactics within Matilda that further exemplify’s the outlandish essence that this adaptation is trying to achieve in enabling the younger demographic to be comfortable with what they have in their own lives. From the varying degree of experimental cinematography, as seen through the few dutch-angled shots that are dispersed through the structure of the story to convey an unpleasant yet surreal aesthetic to the narrative, to the expressive editing techniques that add to the narratives attempted sense of wonderment, it’s clear DeVito wanted to further capture the subtle charm of the book’s literature that would in turn engage the audience towards the central character of the story.  

If there’s one aspect of Matilda that many will remember in fondness, it’s the outlandish characterisation that perfectly cements the contextual themes that were previously discussed. Even though it’s questionable to notice how much DeVito is involved in this filmic adaptation of Matilda, being that he directs and narrates the feature his performance as the vial and self-centred Harry Wormwood is convincing right through the run-time. In accordance with the way in which the film opens, with him snarling at his new daughter and consistently talking about how much money he’s made from selling dismantled cars for ridiculously high-prices, we automatically believe DeVito’s performance and he provides this welcoming contrast of parenting vs childhood, whenever he maliciously confronts Matilda for something that she did nothing wrong. As much as many will look back at this film and highlight Mara Wilson’s convincing enactment as the intelligent and spry younger central character that fulfils the films light-hearted construct, it’s the performance that Pam Farris provides as the wickedly monstrous and extravagant Agatha Trunchbell who steals the screen with her bullish appearance and oddly funny wit that seemingly, and expectantly, contrasts the graceful and pure personality that the character of Miss Honey expresses. If this comes across as an absurd statement, considering that there are many unique and distinctive characters throughout cinema history that graced the silver-screen with their appearance alone, an apology will be issued. However, with the hectic antics she was in being a shot-put aficionado, locking school children in ‘the chokey’ and responding to characters in a manic yet oddly funny way, “I’m gonna take that no-good jalopy you sold me and shove it up your bazooga! When I’m finished with you, you’re gonna look like roadkill!” 😐… how can anyone agree in saying that Farris’ portrayal as Trunchbell is one the most despicable yet believable and convincing portrayals of an adversary that’s ever been seen. 

As much as many who grew-up within the 90’s will, perhaps, naturally look at the Disney animations as their main source of nostalgia of their own upbringing, it would be hard to fathom into seeing someone say that Danny DeVito’s Matilda wasn’t a great filmic source that provided an all-round viewing entertainment that is pleasantly accessible to the people watching. In amalgamating the over-indulgence that the varying degree of actors portray within their own characters, especially that of Farris with Trunchbell since she’s a character that children will enjoy due to her ridiculous nature, with the the expressive and artistic use the editing and cinematography, DeVito immaculately touches on not only the sometimes constrained viewpoint of children and a fantastical and imaginative fashion, but colourful implements Roald Dahl’s themes and motifs in an over-the-top yet authentic way that audiences would relate with. This might be my nostalgia clouding this point of view, but they really don’t make these sought of children’s films anymore…

On that note, it’s time for me to end this week’s review. As always everyone, thank you for reading my latest retro film review of DeVito’s Matilda and I hope you’ve all enjoyed the read!! 😉. If anyone has an opinion on either my review or on the film itself, feel free to drop a comment down below. As this review marked the start of my new series, where I go back and review the films that I grew up within the 90’s, I honestly can’t wait to do more reviews like these. It’s so refreshing just to go back to films that I haven’t watched since I was about 4 or 5 years old!! 😂. Anywho, next week I will try and bring you a new film review in the form of the latest Guardians of the Galaxy Vol.2 which I can’t wait to watch!!😁 Once again, thank you to everyone for reading this week’s Blog Post, and I’ll see you all soon!! Have a nice weekend/Bank Holiday!! Adieu!! 😁😎✌

★ ★ ★ ★ ☆ – Alex Rabbitte