After weeks of bland sequels and over-indulgent remakes, we finally get a golden ticket. “Charlie and the Chocolate Factory,” an imaginative adaptation of Roald Dahl’s children’s novel flavored by director Tim Burton’s (“Beetlejuice,” “Edward Scissorhands”) signature quirky aestheticism, is the scrumptious treat we’ve been craving.
Johnny Depp stars as eccentric chocolatier Willy Wonka, a role perfected by Gene Wilder in the 1971 musical version, “Willy Wonka and the Chocolate Factory.” Depp plays Wonka, a glamorous recluse who dismisses the drab outside world in favor of his whimsical candy land, with childish glee. And who wouldn’t? Burton and his production team create a magical Technicolor paradise, complete with a chocolate waterfall, cotton-candy sheep and an army of neon-suited Oompa Loompas (all played by actor Deep Roy).
While the film remains faithful to the novel, a modern sensibility has been added to the plot. This refreshing update will appeal to both older fans and younger viewers, who will appreciate the timeless message within a familiar context. After unwrapping prize chocolate bars, five children are summoned to Wonka’s imposing factory (think the Trump Towers) for a reality show-like elimination and reward challenge. The contestants have contemporary vices and backgrounds. Whereas the Mike Teevee of the earlier film suffered from an obsession with “cowboys and Indians” TV programs, Mike (Jordan Fry) is now the product of violent video games.
Champion gum chewer Violet Beauregarde (Annasophia Robb) has transformed into a suburban overachiever pressured by her Stepford wife mother. Wonka himself has his own parent issues, trembling at the very mention of his estranged family. Interestingly, the character of Charlie Bucket (Freddie Highmore), the impoverished youngster with a heart of gold, has stayed the same.
Charlie remains in a dilapidated shack where four disabled grandparents share a bed and cabbage soup is served at every meal. This socioeconomic stasis further separates Charlie from the changing world.
While the wide-eyed Highmore and the precocious children do a fine job, they can’t compete with the cinematic power of Burton’s visuals or the eclectic medley of Oompa Loompa tunes, ranging from techno-pop to Bollywood. But the kids carry the film’s air of self-awareness. As they critique the singing midgets and the practicality of Wonka’s bizarre inventions, they assume the role of today’s audience member, bored by convention yet critical of extravagance. But Burton succeeds in creating a confection that delights without overfilling.
— Lindsay Meck
