Weekend Watch - Wonka
Chalamet’s impressive leading performance works with Paul King’s creative prequel narrative and some strong costume and production design to elevate Wonka above the typical prequel fare even if it does stray at times into that territory with some overt fan service and inconsistent CGI.
Welcome back to the Weekend Watch where each week we take a look at a new piece of film or television media and give it a rating, review, and recommendation. This week will be our last Watch of 2023, as I’ll be taking the holiday weekends off. The topic this week, as voted by the blog’s Instagram followers, is Paul King’s prequel to Willy Wonka and the Chocolate Factory that released this week, entitled Wonka. The film stars Timothée Chalamet as the titular chocolate magician, and he is joined by Calah Lane as the orphan Noodle, Olivia Colman as landlady and launderess Mrs. Scrubitt, Paterson Joseph, Matt Lucas, and Mathew Baynton as the chocolate “cartel”, Keegan-Michael Key as the Chief of Police, Jim Carter, Rakhee Thakrar, Natasha Rockwell, and Rich Fulcher as Wonka’s fellow lodgers and workers in town, Sally Hawkins as Wonka’s mother, and Hugh Grant as the Oompa-Loompa. The star-studded musical has thus far landed with a solid splash. Let’s get into it.
Letter Grade: B+, but in a good way; this film feels like a solid, wholesome end to 2023, not necessarily perfect but definitely a much-needed bolt of positivity in December.
Should you Watch This Film? Yes! This film is another example of Paul King making good family fun without feeling saccharine or forced, and it’s always refreshing.
Why?
Wonka delivers everything you might want from an obvious cash-grab of a prequel – an engaging story, fun songs, well-managed fan service, and a fun blend of old and new characters, all of which gives some new perspective to the franchise(?) and the character of Willy Wonka. Chalamet, while initially a questionable pick to take over the mantle of the iconic chocolatier, perfectly slots into his role in the film, bringing the right blend of charisma, madcappery, and heart to the younger, less jaded version of Willy Wonka. King’s direction and writing take this musical to a place of family iconography that should hold a lasting place in the libraries of many movie fans. It’s not a film free from flaws, as some of its more fan-servicey moments and CGI feel a bit on-the-nose, but for a prequel that no one really asked for, those elements remain fairly few and far between.
The film’s story delivers a slightly different plot than the trailers seemed to promise, focusing on an already fairly skilled Willy as he comes to the city to make his fortune selling the whimsical chocolates that he’s learned to make in his adolescent travels. The conflict stems from a lack of funding rather than from a lack of talent, and it becomes a film of class solidarity and the potential to overcome the wealthy and corrupt when working together toward a common goal. After being swindled into owing an inordinate amount of money to his landlords, Willy is forced to work off his debt rather than making his chocolate, which puts him into close contact with other victims of the price gouging of Scrubitt (Olivia Colman) and Bleacher (Tom Davis) – the orphan Noodle (Calah Lane), accountant Abacus Crunch (Jim Carter), telephone operator Lottie Bell (Rakhee Thakrar), plumber Piper Benz (Natasha Rothwell), and aspiring comedian Larry Chucklesworth (Rich Fulcher) – who then become his comrades in arms in his plot to make it big in the Gallery Gourmet, where all the best chocolate in the world is made. The chocolatiers of the gourmet pose the other primary obstacle to Wonka’s rise, with Slugworth (Paterson Joseph), Prodnose (Matt Lucas), and Fickelgruber (Mathew Baynton) holding a veritable oligopoly on the trade of sweets in the Gallery, using their excess of chocolate to bribe city officials, police, and the clergy into helping them maintain their hold on the trade. The escapades of Willy’s little group, which is eventually joined by Hugh Grant’s Oompa-Loompa, comprise the majority of the film’s runtime and make for some solid entertainment along the way. It’s not without a few plot holes and a few convenient deus ex machina’s in the closing act, but overall, it’s a fun story with a positive message of solidarity and companionship that is always welcome in the holiday season (even if this isn’t an explicitly holiday film).
Chalamet’s performance is the driving force of the film, and now that I’ve seen it, I understand his Golden Globe nomination. He sings more than passably in the film’s plethora of upbeat and fun musical numbers, and his personification of the iconic character feels like a healthy homage to Wilder’s and Depp’s other iterations while bringing that youthful flair that the prequel’s story asks for. He’s well-cast, and I’m sorry for any disparaging remarks I may have made after watching the film’s underwhelming trailers. The rest of the film’s ensemble does their jobs decently without any major standouts. Colman seems to be doing her best homage to Mrs. Lovett of Sweeney Todd, but it works as a solid secondary villain. Though they are the film’s antagonists, Slughorn, Prodnose, Fickelgruber, and the Chief of Police also serve as its primary source of comic relief, and the timing and delivery from all four actors manage to elicit some laughs just about every time they’re onscreen.
Chalamet’s impressive leading performance works with Paul King’s creative prequel narrative and some strong costume and production design to elevate Wonka above the typical prequel fare even if it does stray at times into that territory with some overt fan service and inconsistent CGI. It’s a great time at the theaters in this season of celebration, and once again, Paul King has given us a film that the whole family can enjoy without feeling too pandered to. You can check this one out in theaters for the next few weeks, and if you’re looking for something more upbeat, I have to recommend it.