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Introduction

Labyrinth is an astonishingly complex film, teeming with symbols, twisting with themes, weaving a shifting, magical realm where nothing is what it seems – a world that seems to realize the subconscious mind.

Or maybe I've just thought about it too much. But it's not just me: there are other fans out there who have analysed the film as thoroughly and passionately as if it were a classic novel. And why not?

A couple of years ago, I went out with my two best friends, and we stayed the night at one of their houses. The next day, to nurse us through the comedown, we wanted to watch something comforting and familiar, dreamlike and escapist. Labyrinth fitted the bill perfectly.

Afterwards we started talking about it, and the conversation spiralled madly as we spotted ever more symbolism, and argued our different interpretations. I decided it was interesting enough to carry on researching, and write it up properly – so here it is.

The film's creators

The story of Labyrinth's creation is as complex as the film itself. It was born from the ideas of several very different people, each a genius in his own way:


The original concept was Jim Henson's, following his work on The Dark Crystal. Lucas and Jones both commented of Henson that he was receptive to ideas, and indeed, several people brought their influence to bear on Henson's concept throughout the process of making the film. In the words of Elizabeth Allen (another fan), "David Bowie wanted a vehicle for his singing, dancing and bulge. Jones wanted a stage for his zany humour. Henson wanted a Muppet show. Toss into the mix Brian Froud's sly and twisted set and character design, George Lucas's mythical coming-of-age tale and heck, even Michael Moschen's consummate contact juggling, and what do you get? An amazing movie, overflowing with cool music, dry comedy, masterful puppetry, magical design, emotionally engaging themes and nifty balls".

Henson developed a rough storyline with author Dennis Lee (who also, incidentally, wrote the lyrics to the Fraggle Rock theme tune). He then got in contact with Brian Froud, a British artist and designer who is interested in faerie, and with whom Henson had worked on The Dark Crystal, and asked him to produce some drawings of characters.

Henson then approached Terry Jones to write the script. Henson had read Jones's book for children, The Saga of Erik the Viking, and enjoyed its blend of humour, fairytale and fantasy. However, Jones thought that Henson's synopsis "didn't work at all", and "started afresh", using some of Froud's drawings as starting points, and spinning episodes around the characters. The conflict between Jones' and Henson's perspectives on the story is explored in the section on creative input.

George Lucas was enrolled as executive producer. Lucas felt that his contribution was "to keep the storyline focused", and Henson agreed: "He cleaned up the structure so that every scene has a function".

Soon after Jones had written the script, Henson had the idea of casting a rock star as the Goblin King. David Bowie was an obvious choice (Michael Jackson was briefly considered, but not approached – what a different film that would have been!)

The casting of Bowie didn't fit Jones's vision of the Goblin King at all. The character of Jareth in the rough draft of the script is noticeably different from that portrayed in the final film. Perhaps it was Henson who took the character in a different direction; or perhaps some ideas came from Bowie himself – he claims to have had creative involvement with his role (see the section on creative input).

The effect of all these different inputs on the Goblin King was to build a complex, ambiguous and fascinating character, who has enchanted a generation of fans both female and male. In Allen's words: "a dictator, but also a humorous character, not to mention a gyrating rock star, a juggler and a romantic."

The film itself, like the Goblin King, is multifaceted. It can be interpreted in various ways. From a postmodern point of view, though, it doesn't matter what Jones's vision was, or what Henson meant to say. Whatever the intention, there is no 'authority' – various meanings may have been coded into the text by the writer, director, producer or actor, but this places no obligation on the viewer to follow any particular reading.

The text

The text of Labyrinth itself has indefinite boundaries. An early version of the script is available online, and some fans have analysed it on an almost equal footing with the final script. This can be confusing. But it's certainly valid to consider the rough draft, because the director and the actors will have been familiar with it, and it may have influenced their interpretations of the final script.

In addition, a 'novelization' of the film exists, written by A C H Smith in 1986. Whilst remaining faithful to most of the script, the author adds explanations, feelings and flashbacks from the author's own imagination – for example, a back-story about Sarah's mother and her new boyfriend.

This essay will encompass these extra sources where interesting points can be made, but will focus on the film itself.

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