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Director: Henry Selick
Release Date: April 12, 1996
Rating: ★★★½
Review:

Based on the children’s book by Roald Dahl from 1961 ‘James and the Giant Peach’ is, in fact, a hybrid, starting and ending as a live action movie, with the middle forty minutes (ca. half the movie) being done entirely in stop-motion.

The opening scenes set ‘James and the Giant Peach’ as one of the great fantasy films of the nineties. The sets and atmosphere are magical and dreamlike, with no attempt at reality. James’s horrific aunts, too, are grotesque and deeply rooted in caricature. They are excellently played by British actresses Miriam Margolyes and Joanna Lumley, who are allowed to play their personas as broadly as possible. Young James, in contrast, remains perfectly normal, and Paul Terry’s performance is on the brink of boring.

Despite the great opening scenes, the real fun starts when James descends into the giant peach. During this scene he transforms into his puppet self, and inside he meets a sextet of giant ‘insects’ (in fact, three of them are insects, the others being a myriapod, an arachnid and an annelid), with whom he decides to fly to New York, cleverly using sea gulls to propel the peach into the air.

Except for the all too bland glowworm, the arthropods are delightful characters: there is a very American sounding boastful and bragging centipede (Richard Dreyfuss), a motherly ladybug (Jane Leeves), an aristocratic and knowledgeable grasshopper (Simon Callow), an anxious and gloomy earth worm (David Thewlis), and a femme fatale-like but friendly French female spider (Susan Sarandon). The design of these is less eccentric than that of the protagonists in ‘The Nightmare Before Christmas’, but still have some freaky touches, most notably Miss. Spider’s eyes, which each consist of two yellow eyeballs. Moreover, they all have the correct number of legs, with Miss Spider’s eight legs all ending in elegant boots. The animation, too, retains some creepy-crawly quality, and Miss Spider remains a little scary, despite her friendliness.

The voice cast is excellent, and most of the humor originates from the interplay between these characters, but there is plenty of action anyway, with the bugs having to battle a mechanical shark, defend themselves against a ghost ship, and fight starvation.

Unfortunately, after 59 minutes we return to live action, when James and his friends land in New York. True, this New York remains a fantasy-product, with very stagy and crooked sets, but lasting a staggering 30 minutes this finale turns out to be overlong and weak. It does not really help that the film makers decide to make the aunts survive the crushing of their car and to follow James into New York, an idea not in the book. Believability is certainly breached in these scenes, because of the fake character of the sets, some wooden action of the crowds, and the strange interplay between the grotesque aunts and the more down-played Americans. Moreover, the insects are mostly absent from these scenes, which only show that young actor Paul Terry cannot carry these scenes on his own, which seem to drag without inspiration.

Another letdown of this film are the four songs by Randy Newman. All four are weak and forgettable. Even worse, they are clearly superfluous, and they threaten to stall the action instead of helping the story forward. Luckily, there are only four of them, making ‘James and the Giant Peach’ much more tolerable as a film than ‘The Nightmare Before Christmas’ was, but nevertheless I regard this film yet another victim of the unwritten rule that every animation film should be a musical, which was prevalent in the 1980s and 1990s.

The overlong finale and unwelcome songs prevent ‘James and the Giant Peach’ to become an all-time classic, and certainly it was not well received back then, becoming a box office bomb. With this the short Disney adventure into stop motion ended. This is pity because the stop motion animation is excellent and delightful to watch throughout.

There is also a fair deal of computer animation, surprisingly executed by Sony Pictures Image works, who did an excellent job on the rhinoceros, some dancing clouds, and the mechanical shark. The latter, especially, is a great piece of computer animation, as it blends surprisingly well with the stop-motion and never loses its fantastical character.

Disney thus may have stopped making stop motion films, but both Tim Burton and Henry Selick continued to follow this path, with Tim Burton making ‘Corpse Bride’ in 2005 and ‘Frankenweenie’ (again for Disney) in 2012, while Henry Selick joined Will Vinton’s LAIKA studio in 2005 to make the widely acclaimed ‘Coraline’ (2009).

Watch the trailer for ‘James and the Giant Peach’ yourself and tell me what you think:

‘James and the Giant Peach’ is available on Blu-Ray and DVD

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