Wonka

No more kids in chocolate factories or fantastical candy lands. In Wonka, the origin story that is based on Roald Dahl’s iconic character, which has now been played by three actors, including the late Gene Wilder, Johnny Depp, and now Timothée Chalamet. In this film, the writers allow their characters grapple with some distressing themes about grief, poverty, and economic inequalities. Tim Burton’s 2005 Charlie and the Chocolate Factory seemed too creepy and divisive for audiences; the original will always remain a beloved classic of whimsy and charm, but this latest film derived from Dahl’s vision is still a delight in spite of exploring some dark human truths. This is in part due to Chalamet’s charisma and gentle approach to the role, along with a sincere approach from its co-writer and director, Paul King (Paddington, Paddington 2).

It has now been nearly 18 years since Tim Burton released Charlie and the Chocolate Factory in 2005, which was a box-office hit but never held the shelf life of Mel Stuart’s 1971 classic Willy Wonka and the Chocolate Factory that was also written by Dahl and starred Gene Wilder. King now becomes the first British director to take on the material, and his execution shouldn’t let fans of the original film down, as it maintains its wit and spirit.

Courtesy Warner Bros.

Despite not being as offbeat as it could have been, King’s version does seem to have compromised a bit to keep the material safe for families, and it’s kindred but not as kooky as it could have been. One might say, Who wants a family movie about candies and chocolates not to be sweet and innocent? There is no doubt that children and families will be charmed by this. I will always ponder just how cleverer King could have gone with his approach. While King revamps the IP, Wonka stays safe and enjoyable, and it’s a blessing that it never derails.

With some breezy and enduring musical numbers, the film begins with Willy Wonka (Chalamet) entering a wintry, unnamed British city and singing and praising his chocolate creations. He is a traveling salesman, and he is quite confident in his product. His candies bring people joy, and he makes some profits on the first night. He ends up sleeping on a bench but is offered by the innkeeper, Mrs. Schrubit (Oliva Colman), and her henchman, Bleacher (Tom Davis), a room for the night. Willy was conned into signing papers as he couldn’t read due to the agenda set by the local candy CEO’s—Slugworth (Paterson Joseph), Fickelbrube (Matthew Baynton), and Prodnose (Matt Lucas)—who all worked together to eradicate any form of competition that poses a threat to their profits. It’s corporatism at work as they bribe the chief of police with a sweet tooth (Keegan-Michael Key) with chocolate.

The collaborators end up trapping Willie in the inn to do indentured labor work to pay off his debts for the next 20 years, during which he makes a friend at the inn with a young orphan girl named Noodle (an impressive Calah Lane). Chalamet and young Lane have an endearing, older-younger sibling chemistry relationship that remains the highlight of the movie. They deliver some sweet musical numbers, and their exchanges are undeniably tender.

Courtesy Warner Bros.

We are also introduced to some other colorful characters who were conned into indentured labor as well. They include a telephone operator Lottie Bell (Rakhee Thakrar), a comedian Larry Chucklesworth (Rich Fulcher),, a plumber Piper Benz (Natasha Rothwell), and accountant Abacus Crunch (Jim Carter). Willy ends up convincing Noodle to assist him out at night to sell chocolates at night to earn more money to pay off their debts. This includes breaking into a zoo to milk a giraffe to use a secret ingredient to put into the chocolate that can allow them more access to chocolate that is hidden underneath a cathedral that is operated by a chocaholic priest (Rowan Atkinson).

Willy runs into the other challenges as we discover he doesn’t know how to read, has memories of his dead mother (Sally Hawkins) haunt him, and each time Willy makes chocolates, they end up being stolen in late hours by an Oompa Loompa (a hilariously miniaturized, orange-face Hugh Grant). Despite some overplotting with many filler subplots and an unnecessary amount of side characters and villains, the film stays on track, which gives Wonka a sincerity that lifts it out of feeling like routine IP fodder. From the wonderful musical numbers to the terrific performances from Chamolet and Lane, they both rise to the occasion. After appearing in many dramatic roles with some dark material, Chamolet suggests he can shine playing lighter roles just as much as he can in complex roles as well. Even with all the fantasy, he finds an emotional reality to the character, which, until now, has been used more as an offbeat character to showcase peculiarities and wonder.

Courtesy Warner Bros. 

Despite its flaws, Wonka mostly works, and it maintains its narrative momentum throughout. It builds to a satisfying climax and offers many delightful moments where you can easily forgive its shortcomings. We learn Wonka’s origins and understand his passion for making chocolates, and dare I say, I wouldn’t mind seeing this continue on as long as it can keep Dahl’s storytelling sensibilities afloat.

WONKA opens in theaters Friday, December 15th.