James and the Giant Peach is still (mostly) for young children
Despite a single pre-metoo joke and it's uncanny-ish artstyle that's a serious make-or-break-you factor on if you like it, James and the Giant Peach is aggressively a movie for young children. I personally like it as I never find it a patronizing sit for little kids, like Don Bluth's movies from the 90s so often were, but that really is what I think alienates people; the intended audience may be a bit too scared of the visuals (NOT like how they are with TNBC, which kids go in expecting to be scary) where the adult audience who is here for the 'creepy stop-motion' feel like the movie is lacking for not being Nightmare or Coraline, which is unfair. It absolutely scared me as a little little kid but upon finally facing it at, like ten or whenever it was on Cartoon Network's movie show, I realized there was nothing to fear. And that, in turn, was exhilarating. It's such good symmetry that the film is about facing your fears and standing up for yourself because that's exactly what my relationship with it was. It's such a comfort film for me. My og Bluey. JatGP, Courage the Cowardly Dog, Many Adventures of Winnie the Pooh, Ernest and Celestine = perfect comfort after I watch something serious and/or disturbing.
Half my reason for trying to pied-piper everyone else towards it as it's own merit is I think James and the Giant Peach would hit hard for lovers of weirdcore and dreamcore ala Jack Stauber or @samsketchbook's 'Welcome to Our Dimensional Party'.
That "looks unsettling/potentially disturbing but actually cute or gentle" vibe pairs perfectly with dreamcore aesthetic. We're coming up on it's 30 year anniversary I hope to see a genuine resurgence. If I had it my way and I was Dan Olson I'd make an hour-long look at the movie, the original book and Henry Selick's filmography as a surrealist the way Dan made an hour-lookback at Bakshi's Lord of the Rings. But I'm not. Cause I'm not Dan Olson and I can't build up the nerve to either show my face or figure out how to make videos in two years.
But anyway, about the title of this post (content warning: downer nsfl stuff; mentioning of real life child ab*se cases):
James' life with his aunts hits VERY different when you're an adult and you've watched too much true crime.
It's not intentional on the part of Dahl or Henry Selick. Selick had Mariam and Joanna ham up the screen and they clearly loved every minute of it and Dahl I think was just trying to tell an 'authentic' type fairytale story where the main character has to escape their evil family. Point being- Spiker and Sponge are supposed to be 'evil for the sake of evil' villains who could only exist as hammy caricatures in an already weird story. They aren't supposed to be like the parents in Matilda or the Twits who I'd argue are a little more 'realistic' depiction of awful people...except for the fact that legal guardians like Spiker and Sponge DO actually exist.
There's a heavy implication in the film that no one else in their county even knows James lives with Spiker and Sponge (literally the only people around to recognize James' existence are the bugs when they first meet him!). His aunts seem to make James work out of frustration for having to take him in, like he's a burden and they're making him pay for being one by being their slave. They actively don't feed him except for rotting fish and then shame him for not eating it. The Lane Smith picture book implies that James' parents weren't killed by a rhino but rather it's Spiker and Sponge who put that idea in James' head and use it to control him. And all that BEFORE the beatings which you know are happening off screen.
After the horrifying cases of Ruby Franke, Sylvia Likens and the Turpins, the "every child deserves a parent but not every parent deserves children" reality of it all makes you realize that James probably would have died if he lived with his aunts. Considering how they flip out on him in New York- that boy REALLY needed to escape, giant peach or no.
This is absolutely another reason for why JatGP is a comfort movie for grownups. You have this horrific childhood rescued by loving in-human parents who will kill everyone in the room and then themselves if you touch their human boy. It's like Opal but if Claire found a happier family. Of bugs. None of that was intentional, ftr, but it's what sticks out to me.
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The scene is an underground crypt. It’s dusty, no-one has been down here in a long time. On the wall are chains, a bloody and beaten body hangs. It looks up, the scarred face of Tyler glares outwards. He grunts and growls, unable to form words around his broken jaw.
Wednesday stares at him from the doorway, face impassive. Her hand rests on the handle of the thick stone door. “For what it’s worth, I’m sorry it had to come to this.” She goes to close the door.
A hand touches hers, multicoloured nails contrasting against the pale skin.
“Wait-” “Enid.” “Please... just a moment.”
Wendesday sighs and steps back, hand slipping from the door. Enid gives her a small smile, gratitude in her eyes.
She steps into the room, eyes hardening as she turns to look at Tyler. Dust billows with every step, until they’re face to face. She drags her eyes over his, searching. For a moment she feels a kinship to him, how could she not. Their twin scars, their shitty home lives, their... connection... with Wednesday. Wednesday.
She leans forward, and whispers,
“What does it feel like?” A pause. “To lose.”
Her lips twitch upwards as the words enrage the boy, snarling and thrashing in his chains despite the broken bones.
She allows herself this satisfaction, after all he had done to her, after all he had done to her.
Enid spins on her heel, a bounce to her step as she leaves the room, dragging the door closed behind her.
Wednesday fastens the lock and turns to her, her unblinking eyes peer deep into her soul, or so it feels like.
“What did you say to him?”
“Nothing important,” Enid replies, reaching out for Wednesday’s hand.
“C’mon, let’s get home and get cleaned up.”
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while I do wish that they'd focused a little more on what would have been incredible sadness for the rest of the party over kristens death (<- guy who is obsessed with grief) I do understand that the players probably know she's not permanently dead, and that them and their characters were hyperfocused on bringing her back, so the sadness of the moment wasn't dwelt on. I am however obsessed with everybody immediately being 100% down to face their deepest, most horrifying fears in a place where dreams are real if it means even the slightest chance that they can bring kristen back from the dead (<- guy who is obsessed with friendship. and resurrection. which sometimes are the same thing.)
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