Where The Wild Things Are (2009)

Anytime a director makes an attempt to recreate a classic on film, whether the original is a book or movie, many moviegoers and critics always seem to take a harsh stance against the effort. I certainly believe this premise to be the case with Spike Jonze's new film, "Where the Wild Things Are." Jonze has always had a flair for the strange, most notably, his direction of the screenwriter Charlie Kaufman's "Being John Malchovich" and "Adaptation," his involvement with the bawdy, slapstick troupe Jackass, or his wacky music videos which initially brought him into the spotlight. This time, Jonze has attmepted his hand at screenwriting in "Where the Wild Things Are," and has brought his very visual and vivid imagination to the big screen.
"Where the Wild Things Are" is very popular childrens book that was written by Maurice Sendak in 1963. It tells the story of a poorly-behaved boy named Max, who is sent to bed one evening without supper. In anger, Max creates a world of his own and travels to the land of the "wild things," (a mishmash of silly monsters) where he is made king of their rambuncious realm. The book is very short (takes about 1-2 minutes to read) and is illustrated with wonderous and detailed pictures by the author himself. I mention the length of the book, not as a means of criticism to the author, but instead, to help you understand how much artistic liberty was granted to Jonze, and fellow screenwriter Dave Eggers, to fill a 101 minute run time.
I thought that the acting in "Where the Wild Things Are" was terrific. The main character, played by relative newcomer, Max Records was very believable in his role as the chaotic and malcontent Max. At only 12 years-old, Records took one of the most recognizable roles in children's literature and delivered a performance worthy of actors twice his age. What was most impressive is there was no drop off or awkwardness in his performance between the world of the real and imaginary; his interactions with both the actors and the puppets were very consistent. Catherine Keener, one of Jonze's regulars ("Being John Malchovich," "Adaptation"), appeared as the responsible and worn down single parent who sacrifices much of her own happiness for her children. Her role is an intergal part of building the story, since it is her attempt at making herself happy, having a date over, that ultimately causes Max's retreet. Keener is able to tell the family's story with her acting; there is no scene which discusses or flashes back on the family's past. What may go unnoticed and unappreciated by many moviegoers, is a sign of great acting on Ms. Keener's part.
Another important aspect of the film was Spike Jonze use, or should I say lack of use, of computer generated ("CG") characters and scenery. Though some "CG" was used to manipulate the expressions of the "wild things," most of the magic of the film can be attributed to Jonze's insistance on using muppets and his employment of the Jim Henson Company to create the beastly costumes. Not one detail was omitted from Mr. Sedak's book and each character looks strikingly similar to the way it looks in the children's classic. With each monster comes specific physical traits, and with these traits varying forms of movements and motions. While watching the film, I felt as if each movement was natural, no less the result of great effort through tedious trial and error.
The biggest complaint that I have heard about this film is that it isn't a children's movie. And I say to that argument, what characteristics define a "children's movie?" What people mean to suggest is that the problem they have with the film is that the age requirement for the book and that of the movie do not match up (i.e. the book is more age appropriate for younger kids, while the movie requires a slightly older crowd). I don't discount the fact that this film is a bit darker than most and addresses subjects that might not be comfortable to discuss with children of a younger age. However, it seems to me that many of the "children's films" made today are no more made for children than they are for adults. With almost any, if not every Pixar film, there are references that only adults pick up on. I seem to recall the line from the 2006 Pixar hit Cars, (Mater to Lightening McQueen) "Oh, man, you get to work with Bessie! I'd give my left two lug nuts for somethin' like 'at." If your biggest complaint is that the world isn't a happy ending with cars hooking up and riding off into the sunset, rainbows, or unicorns, then maybe a reality check is in order.
Though the film can seem strange at moments, this unease is merely Jonze's attempt to parallel the problems facing Max's family in the real world with the issues that face the creatures in realm of the "wild things." In order to cope, Max has take on the role of his mother ("King of the Wild Things") in an attempt to control the chaos. When his methods fail, Max senses that some things are beyond his capacity to control. Only then, does he understand his mother's plight and the frustration and fear he has unintentionally caused her. Though "Where the Wild Things Are" is may initially appear more abrasive than other "children's movies," the message is one of love and hope in a world where things aren't always so easy.


3.5 out of 4