Giant strides for Spielberg
Roald Dahl’s typically creative tale of giants, snozzcumbers and captured dreams was a long way off my favourite childhood reads from the Welsh-born author – I was more of a Charlie and the Chocolate Factory and The Witches fan.
But I remember sitting wide-eyed with wonder when the animated version of The BFG – with David Jason voicing the titular hero – hit TV screens back in 1989.
The Big Friendly Giant now stomps into cinemas – with Steven Spielberg, no-less, at the helm – for the very first time, 34 years after Dahl’s book was originally published.
Spielberg’s Bridge of Spies Oscar winner Mark Rylance provides the motion-capture and voice of the BFG, a kind-hearted soul who stumbles across orphan Sophie (Ruby Barnhill) while blowing bottled dreams into children’s bedrooms.
The pair’s subsequent partnership and adventure was adapted from Dahl’s source material by Spielberg’s E.T. collaborator Melissa Mathison, who sadly passed away last November.
The BFG leaves an impressive lasting legacy for the writer as it just beats Fantastic Mr Fox to the best cinematic take on Dahl’s work thus far.
The main thing driving it to such lofty heights is the wonderful relationship between the central duo. The BFG himself is the latest awe-inspiring creation from Weta Digital and Rylance brings so much to his motion-captured role, he could go one further than Andy Serkis’ Gollum and Caesar the ape and garner Academy Award acting recognition.
His flapping ears and bushy hair and sideburns leap from the screen and Rylance speaks his “squiggly” language in an endearing West Country accent.
Like an incredibly agile – jumping through the air in more immense strides than The Hulk – kindly grandfather, The BFG is as lovable as he is captivating.
He’s almost matched, though, by his young co-star. Making her big screen debut, 12-yearold Barnhill’s spiky, inquisitive orphan is child acting at its best as we see the magic and wonder through her innocent eyes.
And it’s magic that Spielberg does a grand job of bringing to gorgeous life. A delightful opening sees his camera pan through a beautifully lit orphanage adorned with shadows and from there, he delivers lush greenery in Giant Country and the colourful sugar rush of Dream Country.
Cars are used as rollerskates, coffee served in watering cans and Sophie hides inside food as the size difference is expertly shot.
With its wholesome themes – friendship, standing up to bullies – and fart jokes, kids will love The BFG.
Admittedly there’s a lack of true drama and pulsequickening moments, but this is cosy, touching, inventive filmmaking befitting the great Dahl.