Review: The BFG

The literary imagination of Roald Dahl has yielded classical adventures such as James and the Giant Peach, Matilda and Charlie and the Chocolate Factory. I never had the opportunity to read the books but I watched the films and I enjoyed them all.

As a film lover and blogger, I honestly admit that I have not seen all of Steven Spielberg’s work but I know most of what he has done and his range as a visual storyteller certainly lives up to his lofty and prestigious reputation. Be it a matter of a frightening nature such as Jaws or Jurassic Park, something profound such as Schindler’s List, Lincoln or Bridge of Spies, something playful and adventurous like Hook or Raiders of the Lost Ark, he will find the right aesthetic to highlight the story’s strong suits.

The words and imagination of Roald Dahl, the perspective of Steven Spielberg and the influence of Disney have converged to bring The BFG to the big screen. The film begins with child abduction and ends with the most absurd paramilitary campaign audiences will ever see and yet I for one could not help but to be taken by the most delightfully innocent family feature I have seen in a long time.

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Image by Disney

Little insomniac orphan Sophie glances out her window and sees a wonder beyond imagination and she is whisked away to a magical realm called Giant Country by a 24 feet tall gentle giant, who is dubbed “Runt” by his taller, meaner goliaths who venture into Great Britain, abduct children themselves and eat them. “Runt,” who will be christened “BFG”-abbreviation for Big Friendly Giant-by Sophie, prefers eating vegetables, particularly a rather unpleasant-looking giant cucumber and his pastime is catching dreams-not the type of dreams you’d see in Inception, but rather the essence of dreams-and throughout the film, his good nature, his charming rapport with Sophie and his peculiar grasp of vocabulary is on display and the film simply shines!

Is this Steven Spielberg’s best film to date? No, but this does definitely count as a Spielberg tale that children and adults will love.

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Image By Romain DUBOIS, via Wikimedia Commons

I suppose what makes this film something special, aside from Spielberg’s simplistic approach to the subject, is the rapport between leading performers Mark Rylance and Ruby Barnhill. Rylance is certainly taking advantage of the wondrous opportunity working with Spielberg and his take as the BFG is heartwarming, sincere and funny, while Ruby Barnhill is no slouch herself; for a newcomer, she is captivating, engaging, she doesn’t allow the spotlight to make her feel as small compared to Rylance and as I was watching the two of them interact, whether they are catching dreams, eating breakfast with the Queen, sneaking in-and-out of London during the witching hour, they certainly enjoyed working with each other and I feel as though they brought out the best in each other.

I also credit the writing of this film. The late Melissa Mathison has a history with working with Spielberg and she knew how to get to the meat of Dahl’s story and craft something only Spielberg could breathe life into; watching the story of The BFG unfold, the writing just comes so naturally and it touches on something truly pure.

I also couldn’t help but notice John Williams’ musical contribution to the film and the score was a pure positive for the film as well.

The supporting cast including Jemaine Clement, Penelope Wilton, Rebecca Hall, Rafe Spall, Bill Hader, Ólafur Darri Ólafsson, Adam Godley, Michael Adamthwaite, Daniel Bacon, Jonathan Holmes, Chris Gibbs, Paul Moniz de Sa, all have relatively small roles compared to Rylance and Barnhill but the best is brought out in all of them.

The cinematography of Janusz Kaminski is practically simple but beautiful to behold, Michael Kahn’s editing is smooth and seamless, Rick Carter’s production design is splendid, Elizabeth Wilcox’s set design is marvelous, Joanna Johnston’s costumes are on point, the visual effects are up there with some of the best I’ve seen this year, The BFG is one of the most technically grounded films of 2016.

I didn’t expect to like The BFG as much I did but I couldn’t help it. The charm of these characters, the attention to detail, the craftsmanship put into this film were on full display and surely and steadily I was won over and I encourage readers to see The BFG in theaters because, I reiterate, it is delightfully innocent to behold.

The BFG is just another triumph this year released under Disney’s banner. It is a great change of pace for what is out in theaters now and audiences of all ages will go home happy because of it.

 

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