“Wonka,” the latest cinematic foray into the world of Roald Dahl’s celebrated chocolatier, embarks on an origin journey that seems both unnecessary and underwhelming. Starring Timothée Chalamet, this film attempts to weave the backstory of the mysterious candy maker, but ends up falling into a pit of creative redundancy. Paul King, known for his work on the Paddington movies, directs this quasi-musical which, despite its attempts at enchantment, comes across as a muddled pastiche of better films.
From the onset, Wonka struggles to find its unique voice. Chalamet’s portrayal of the young chocolatier, while earnest, lacks the enigmatic charisma that Gene Wilder brought to the character in 1971’s Willy Wonka & the Chocolate Factory. The film draws heavily from various cinematic influences, ranging from Tim Burton’s adaptations to classic tales like Peter Pan and Harry Potter, but fails to synthesize these elements into something original. The result is a visually extravagant but soulless narrative that seems more like a patchwork of references rather than a coherent story.
Set against the backdrop of an unnamed, whimsically designed city, Wonka introduces us to its protagonist, who arrives with dreams of conquering the chocolate world. The city, with its elaborate set pieces and décor, feels like a cross between Amélie and Babe: Pig in the City, but lacks the charm and heart of either. Wonka’s ambition leads him to cross paths with the confectionery magnates Slugworth (Paterson Joseph), Ficklegruber (Mathew Baynton), and Prodnose (Matt Lucas). This trio, reminiscent of the antagonists from Fantastic Mr. Fox, view Wonka as a threat to their sweet empire.
As the narrative unfolds, we see Wonka face various challenges and adversaries, including a contrived subplot involving a contract with the nefarious Mrs. Scrubbit (Olivia Colman) and her partner. This part of the story, along with others, feels rushed and underdeveloped. The film also introduces an array of quirky characters, such as Noodle (newcomer Calah Lane), an orphan girl, and a group of individuals enslaved by Mrs. Scrubbit, each adding to the film’s already crowded narrative landscape.
Wonka starts as a musical but abandons its musical ambitions midway, sparing the audience from more uninspired tunes. The film also awkwardly handles its subplots, like Wonka learning to read from Noodle, only to drop them abruptly. The humor and whimsy, which are constant themes, fall flat, overshadowed by the film’s heavy reliance on visual effects and set design.
Chalamet’s performance, while committed, feels out of sync with the film’s overall tone. His Wonka is neither convincingly naive nor intriguingly eccentric, making it hard to connect with his journey. This dissonance is further amplified by the film’s other performances, which range from cartoonish to forgettable. The musical numbers, a crucial element of any musical, suffer from lackluster vocal performances and forgettable melodies.
In its attempt to provide depth to a character shrouded in mystery, Wonka loses sight of what made the character enchanting in the first place. Its heavy-handed sentimentality and lack of narrative focus make it a tiresome watch. Hugh Grant’s brief appearance as a CGI Oompa-Loompa offers a glimmer of intrigue, but it’s too little too late. The film’s overdependence on CGI, especially in scenes featuring fantastical animals and landscapes, adds to its artificial feel.
Ultimately, Wonka serves as a reminder of the pitfalls of prequels and the challenges of capturing the magic of original classics. The film, despite its high ambitions and visual flair, fails to leave a lasting impact. It becomes clear that in trying to unravel the mystery of Willy Wonka, the film loses the essence of what makes the character so enduringly appealing. Like a forgotten box of chocolates, Wonka is likely to be remembered not for its sweetness, but for its failure to captivate.
