Willow

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To sum things up, this was really a George Lucus film-with the then relatively inexperienced Ron Howard hired to direct-under the watchful eye of Lucus. Lucus wrote the screenplay, raiding his bookshelf for Tolkein (especially "The Hobbit") and Lewis ("Narnia"). Then he simply transferred the hero/heroine romance from his "Star Wars" screenplay. Not necessarily a bad thing, it was a simple way for him to build a feature length screenplay targeting younger viewers but sophisticated enough to entertain the entire family. "Willow" has some scary stuff but should not be a problem for the average grade school viewer. My rating is based on comparisons to other films with a similar target audience. I must confess up-front to a positive bias. My favorite part of "Star Wars" is the caustic romance between Han Solo and Princess Leia; and in "Willow" Lucus has refined his technique and actually improved something that was already close to perfection. Sorsha (Joanne Whalley) and Madmartigan (Val Kilmer) substitute nicely for Carrie Fisher and Harrison Ford, with the added dimension of having them begin the story on opposite sides. The romantic elements are efficiently and subtly inserted into the film. Even though these characters are part of the main storyline, the romance is separate enough to serve as the film's main parallel story. The only downside is that this side story soon becomes more interesting than the main one, so much so that its climatic kiss (occurring about 20 minutes before the ending) unintentionally turns into the film's climax (at least energy wise). The actual resolution of the main story then plays out rather anti-climatically. "Willow" is a delivery quest story, much like "The Hobbit" where a reluctant Nelwyn (small person) is required to set out on a perilous journey to return a lost baby (even smaller) to a Daikini (tall person). Along the way he is assisted by a couple of Brownies (yet smaller guys who speak with outrageous French accents). The size differentials are the main theme of the film and are especially intriguing to young viewers who easily identify with having to deal with people who tower above them. Howard encourages this identification process by shooting most of the action at child level. If you watch the film with young children you will be amazed at its ability to draw them into the story, this happens because the camera angles intentionally match a child's point-of-view of the world. The viewing child's surrogate is the title character (Warwick Davis-who does a commentary on the DVD), a unlikely hero who inspires audience sympathy as he bravely faces the dangers of his journey while gamely putting up with an ever-changing group of irritating companions. There are frequent cutaways to Elora Danan (the baby), mostly for reaction shots. As in "Raising Arizona", the producers took enough stock clips to match her expressions to almost any situation. Willow learns early on from Cherlindrea (a dazzling fairy) that Elora Danan is a princess who (it has been foretold) will one day vanquish the evil Queen Baymorda (a fun role for Jean Marsh). Things get a bit Biblical/Narnia here as the Queen is seeking to eliminate the Princess before she becomes a threat. The DVD features: "Willow:The Making of an Adventure" (made during production in 1988) and "Willow: Morf to Morphing" (made in 2001 for the DVD release), really put the film in historical context relative to its place in the evolution of special effects. It was really the transitional point where photochemical (film) effects were subordinated to digital effects. This gave "Willow" a significant place in film history and these two featurettes taken together nicely illustrate the continuing challenge to those involved with special effects; any new development is soon overused and no longer an audience draw. Meaning that effects people have to stay on the cutting edge to simply justify their existence. Then again, what do I know? I'm only a child.

The word "Tolkienesque" popped up a lot in the other reviews, I would like to inject, if I may, that ALL contemporary fantasy is Tolkienesque. The whole concept of the fantasy genre is blatant plagery of Tolkien with the names changed to protect the guilty. Not that I'm a huge Tolkien fan, and I've read and enjoyed not a few fantasy books, it's just that I feel the word Fantasy can be easily switched with Tolkienesque with no loss of meaning. Now on to the midgets. Willow is a pretty kickass movie. Val Kilmer is a drunken, lecherous, arrogant brawler, and Madmartigan is a fun character too. There are some great one liners in this movie, I find it to be endlessy quotable. Also, it's got multi-generational appeal. Kids and adults can watch and enjoy this, for completely different reasons. I have to say I love midgets. After Rainbow Motel, this is the best midget movie I've ever seen. It beat out Jedi because the midgets had to wear little bear suits. I asked a midget if he preferred to be called a Nellwyn, and, boy did I get a fierce shin-thrashing. A lot of people thought the Brownies were annoying...they are, but Kevin Pollack makes it funny at the same time. Billy Barty! Billy Barty is in it. Women were represented a lot stronger here than in the normal fantasy movie genre. The evil heavy Bavmorda is a chick, (I think), the baby savior, the possum-crow-goat lady, and Joanne Whalley all have a strong presence in the film. However the goat-possum-anteater lady had an annoying voice as an animal, but that added to the quotability of anything she said. "Willowwww use the waaaandd." Sadly we also have baby-puke and troll-poop, images I don't need to see in movies, but it's a minor complaint. All in all, Willow is a movie that holds up, thanks to midgets. Peace.