Where the Wild Things Are

When Maurice Sendak’s children’s book Where the Wild Things Are came out in 1963, a whirlwind of controversy overshadowed the soon to be generational classic.  When Spike Jonze decided to create an adaptation of the 10 sentence book, even more controversy surrounded the idea.  However, this time critics will more immediately realize the important statements made by Where the Wild Things Are.

It would seem to be a difficult task to create an entire movie out of ten sentences.  But it is not so much the words that are spoken that create the movie as much as it is the constant flow of sundry emotions.  We, as an audience, are somehow able to tap into the thinking and feeling of a little boy despite being innately blinded by our more adult concerns.  It is obvious from the onset that Max (Max Records) fears being alone – a fear that many of us hold on to even in our more mature years.  Max’s disobedience and wild nature stem from his older sister’s indifference towards his actions and attention pleading (Seriously, all of us with younger siblings can relate to that occasional nagging) and his single mother (Catherine Keener) who struggles to maintain a relationship with her boyfriend and Max at the same time.  While Max is obviously a little terror in Sendak’s version, he appears to be victimized on a certain level in Spike Jonze’s version.

When we are finally taken to the island where Max meets the wild things (in a somewhat awkward transition), the movie (and the book) is really brought to life.  A star cast of voices including James Gandolfini, Forrest Whitaker, Paul Dano, Chris Cooper etc. do an amazing job of encapsulating the broad emotions that each creature stands to represent.  The visual imagery certainly does not disappoint either; not only from the wild things themselves, but to the environment that they live in as well with an unbelievable combination of effects and heightened realism.  Max is made their king (under false pretenses due to his vivid imagination and storytelling abilities – I mean, the kid obviously grew up to be an investment banker) as the group is struggling to stay together causing panic and grief.  Max is able, however, to bring spontaneity and carefree living to the island because of his ‘wild’ nature.

I don’t want to give too much away because, as one of my favorite childhood books, I am obligated to endorse the movie and recommend seeing it in theatres.  Beyond the important message of childhood anxiety and longing for resilient affection, the acting by young Max isn’t half bad either.  In fact, the kid seems really mature and connected with the emotions that are essential for doing justice to the original book.  I will admit that at times the movie can be slow and exceptionally peculiar, but I honestly think it might just be a little misunderstood (Just like Maurice Sendak’s book once was).