In what might seem like the least promising concept on paper—a musical prequel detailing the early years of Willy Wonka, the enigmatic chocolatier from Roald Dahl’s timeless tale “Charlie and the Chocolate Factory”—emerges an absolute Christmas delight. Penned by the comedic talents of Simon Farnaby and directed by Paul King, known for their success with Paddington, this prelude to Wonka’s tale is a visual spectacle that combines imagination, sweetness, and humor in equal measure.
Timothée Chalamet takes center stage as the young Wonka, arriving in prewar Paris with dreams of making a fortune using the chocolate recipes passed down from his mother, portrayed by Sally Hawkins. Chalamet portrays the character as an elfin and puckish figure, navigating a cocoa-based destiny with heroism, overcoming challenges with the support of newfound friends. His portrayal brings forth a Paddingtonian innocence and charm, complemented by a delightful singing voice.
Despite the cocoa-centric narrative, Chalamet’s Wonka refrains from indulging in his own creations, choosing not to get “high on his own supply.” The storyline sees Wonka challenging the conventions of the chocolate industry, facing adversity, and triumphing against villains who threaten him with the ominous “Death by Chocolate.” It leaves one wondering, with anticipation, about Farnaby and King’s next creative venture—perhaps a prequel for CS Lewis’s White Witch?
Hugh Grant steals scenes as the original Oompa-Loompa, digitally reduced to a mere 12 inches, delivering a haughty and tribal-musical display. The cast includes formidable performances from Olivia Colman and Tom Davis as the Sweeney Todd-ish oppressors, Matt Lucas, Paterson Joseph, and Matthew Baynton as the trio of chocolate overlords, and Rowan Atkinson in yet another inscrutable role.
Yet, amid the enchanting narrative, the film leaves one craving answers about the transformation of Wonka from a young, optimistic figure to the somewhat sinister and Dahlian adult portrayed in the original story. The film, however, sidesteps this question, presenting Wonka as undeniably nice, leaving his mysterious evolution unexplored.
While the possibility of a sequel looms, exploring the darker facets of Wonka’s character, one can’t help but savor the sweetness of this cinematic treat. In a surprising admission, this reviewer confesses to enjoying this prequel more than its predecessors from 1971 and 2005, finding it to be a delightful source of cinematic chocolate-endorphins.