Did you see "Labyrinth" as a kid? Have you rewatched it lately?
You might pick up on some deep themes, subtle references, and creepy overtones if you do.
Almost every adult will recognize the voice singing the song over the opening credits
of Labyrinth as that of pop culture icon David Bowie, even before he appears in character as
the Goblin King. Even today, Bowie remains one of the most famous performers in rock
history — although unless they're music buffs, younger kids are unlikely to know much about him.
While he may have been a highly influential figure in music in the 20th century, kids
without an interest in rock and pop probably aren't all that aware of his body of work.
Of course, Labyrinth serves as a fantastic introduction to Bowie as both actor and musician.
His performance as the Goblin King continues to be one of his most beloved, and it's no wonder, given
that the character exemplifies the rock star glam Bowie was so familiar with. Throughout his career,
Bowie played with persona and identity, and although he was clearly playing a specific role
in Labyrinth, he extended that tradition to the film. The end result is an infinitely fascinating
and instantly iconic villain — one whose true appeal only adults will be able to fully grasp.
"Just fear me, love me, do as I say, and I will be your slave."
Jennifer Connelly landed the lead role of Sarah in Labyrinth after an exhaustive search that saw
all sorts of big names audition. In the end, Connelly beat out a bevy of future stars,
including Jane Krakowski, Yasmine Bleeth, Sarah Jessica Parker, Mary Stewart Masterson,
Laura Dern, and Lili Taylor. At the time, Connelly was only 14 years old and new to the entertainment
business, but Labyrinth wasn't her first film. She had already starred in three other movies,
although none of them cemented a legacy as strong as Jim Henson's fantasy tale.
Of course, adults will know that Connelly went on to become a star and respected actor, one
who eventually won an Oscar for Best Supporting Actress for her work in 2001's A Beautiful Mind.
Today, Connelly tends to take roles in mature projects that kids aren't too likely to watch,
so they may not realize just what an impressive career Sarah went on to enjoy. The funny thing is,
of course, that Connelly looks remarkably similar today to the way she did in 1986, making her a
highly recognizable star, even for kids that only know her from this 35-year-old film.
There are some huge names behind the scenes of Labyrinth, from George Lucas to Jim Henson.
But one that many youngsters may not recognize is that of Terry Jones,
who is credited with writing the film's script.
Terry Jones was one of the members of the groundbreaking comedy troupe Monty Python,
and while the group's name may ring a bell with some kids, they're unlikely to be able
to put any faces to the name. Jones, who died in 2020, never had quite as high a public profile
as other Monty Python members. However, he was pivotal in shaping their unique brand of comedy,
and even directed or co-directed many of their movies, including the iconic
Monty Python and the Holy Grail. At the same time, Jones became a noted children's book author,
which is likely why Henson wanted him to tackle the screenplay for Labyrinth.
The irony, however, is that although Jones is the only writer credited with penning the movie,
there were over 25 versions of the script written between 1983 and 1985. Many of them weren't by
Jones, either. In fact, it was a draft with changes by famed screenwriter Elaine May that
was used during production. In the end, due to all the differences from his original screenplay,
Jones believed that the finished product of Labyrinth didn't feel very much like his story.
Sarah is a pretty relatable character for kids who know they've gotta grow up,
but who aren't sure they want to take on the responsibilities of adulthood.
However, grown-ups are more likely to feel that her petulance and lack of consideration
for others are pretty insufferable — as is this little catchphrase.
"Oh, it's not fair!"
"It's not fair!"
"You say that so often. I wonder what your basis for comparison is."
Sure, she has some heroic qualities, including intelligence, grit, and determination,
but her immaturity makes it hard to really like her — especially early on in the film.
It's possible that, if Sarah was younger, it would be easier to forgive her youthful peevishness. But
at 16, Sarah seems a bit old to feel so put-upon. After all, this is a character who gets mad at
her baby brother for taking her teddy bear, and whose room is full of toys and children's books.
It's not that adults would necessarily find Sarah more likable if she acted like a grown-up, but she
might be less frustrating if she actually took on the responsibilities of being a teenager. But hey,
in a sense, Sarah learning to do so is kinda what the whole movie is about.
The mythology behind Labyrinth is clear-cut: when someone wishes the goblins will take
someone else away, they happily grant their wish, removing the unwanted individual
and making them a goblin too. But what's not as clear is why Jareth, as the Goblin King, wants
to add to his already vast legion of goblins. While he may be their king, Jareth seems to be
human — and perpetually annoyed by the goblins he rules. So why would he want to turn Toby into one?
Despite this, Jareth does everything in his power to make sure he can keep baby Toby,
first by offering Sarah everything she wants in exchange for letting Toby go,
and then, when she rejects his offer, by trying to thwart Sarah's rescue attempts.
While kids probably won't question Jareth's motivations, many adults will recognize
something doesn't quite add up here. Of course, Jareth may be bound to uphold the tradition of
turning unwanted people into goblins to expand his kingdom. But since the movie never mentions this,
it ultimately leaves you wondering just why he needs another goblin in the first place.
Kids could be forgiven for thinking that the costumes and hair of the human characters
in Labyrinth are in keeping with the bizarre fantasy land in which the story is set. Adults,
however, will recognize the film's style as being emblematic of an even stranger time: the 1980s.
The '80s had a distinct look and sound, and the movie fully commits to it.
Consequently, the costumes involve a lot of vests, flowy shirts, puffy sleeves,
sparkles, and color. While Sarah's costumes are relatively understated for the time,
the Goblin King's are consistently over the top — something that's especially obvious in his
hair and make-up. With elaborate eye shadow and gravity-defying hair, Bowie's look in the film
is both iconic and a perfect encapsulation of the stylistic excesses of the decade.
The movie's '80s aesthetic extends to its music, too,
including the score by Trevor Jones and the songs, which were written and performed by Bowie.
Featuring a whole lot of electric guitar and synthesizer, the music may seem dated to younger
ears, but Bowie's songs are undeniably earworms. "Magic Dance," in particular, is a silly yet
hugely memorable part of the movie — one that will have even modern-day kids dancing along.
From the movie's opening moments, Sarah's strong attachment to fairy tales and fantasy is obvious.
And while kids may miss it, the play Sarah is rehearsing at the beginning of the film
is called The Labyrinth. This would indicate that the plot of the movie is Sarah's fantasy
come to life, informed by the play she's spent her time memorizing. Yet, the film slips so
seamlessly from the real world of babysitting and responsibilities to that of goblins and mazes,
that the land of Labyrinth comes across more like a real place than a fantasy.
Of course, that may be by design. For someone who's as imaginative as Sarah,
the line between fantasy and reality might not be all that strong. Nonetheless, that lack of
clarity leaves a lot for adults to interpret that kids are likely to overlook — including
how each of the characters exemplifies Sarah's various fears and desires, and how
the story itself is a metaphor for learning to accept your more adult responsibilities.
At one point, as Sarah makes her way through the labyrinth, she falls down a hole. The scene is
reminisc–ent of Alice falling down the rabbit hole at the beginning of Alice in Wonderland,
but in this case, the hole is lined with living, stony hands that catch Sarah before she hits the
bottom. The hundreds of hands lining the hole and their penchant for coming together to form faces
and talk is undeniably compelling. In fact, the sequence is generally a remarkable feat
of creativity, one of the many moments that make Labyrinth so captivating for both kids and adults.
At the same time, though, it's hard not to look at all those
hands gripping the teenage Sarah and think about the matter of consent.
Given that those hands appear to be conscious — and not particularly worried about where they're
grabbing her — adults may find the sequence a little more disturbing than the kids.
There's a lot to love about Labyrinth, but the relationship between the Goblin King and Sarah
shades into unsettling at times. Essayist Alison Stine noted in The Atlantic that,
from the movie's outset, Jareth clearly doesn't just want Toby. As she wrote:
"He wants Sarah. He wants her to love him, and his longing increases, becoming more and more creepily
clear, as the movie progresses. There 's both a paternal appeal and stranger-danger in Jareth."
As an adult, this is more than a little disconcerting,
and no sequence in the movie is more troublesome than the scene in which Sarah imagines attending
a masquerade ball. Over a song about falling in love, the masked Goblin King makes a beeline
for Sarah. And as they dance, the charge between them doesn't feel at all appropriate. Of course,
for kids and even teenagers, the Goblin King's menacing magnetism may make him
compelling — even attractive. Adults, though, will be more likely to recognize the disturbing
undertones this evokes and see Jareth for the genuinely creepy villain that he is.
When Sarah finally makes it to the Goblin King's castle, she finds herself trying to get to both
Toby and Jareth in a room right out of Relativity, one of M.C. Escher's most famous works.
The black and white lithograph depicts a room full of staircases, but only some seem to obey gravity,
while others go up or to the side. Meanwhile, the people walking along the staircases and standing
on the landings all seem to conform to different gravitational pulls. The idea Escher so vividly
brought to life in his art is envisioned in live action in the scene in Labyrinth.
This is something adults and possibly even some kids will notice instantly,
although younger children who aren't familiar with the art world won't understand the reference.
Still, there are clues in the movie that this is a deliberate homage.
Not only does a print of Relativity hang on the wall of Sarah's room,
the closing credits of the film include a special entry thanking the estate of M.C. Escher.
Sarah may not be the easiest character to like, but she learns some valuable
lessons during her adventures in the labyrinth. These are lessons that kids may appreciate too,
even if they won't be nearly as aware of them as adults will. Much of what Sarah learns centers
on the realities of life when an adult isn't there to save you. For example, Sarah frequently
complains that what she experiences isn't fair. But when Hoggle makes a similar complaint,
Sarah realizes that he's right — sometimes life isn't fair and that's just the way it is.
"It's not fair!"
"No, it isn't. But that's the way it is."
After that, she stops complaining about fairness
and faces the challenges of the labyrinth head-on, fair or not.
By the end of the film, Sarah is able to recognize that, even though her journey has
left her more mature and capable, she still needs the friends she made along the way,
who are able to bring enjoyment and whimsy into her life.
It's a smart but subtle lesson about the need to balance the responsibilities of adulthood with
freewheeling fun every now and then… something even the most serious adult needs to remember.
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