James and the Giant Peach
Directed by
James Henry Trotter, a child character built on the model of Cinderella, loved and pampered by his parents learns to let his imagination run free in pursuit of his father's tales that magnify New York, the Big Apple city that gradually becomes the center of his desires. His father promises James to take him to that dream city, but a fierce rhinoceros appears out of nowhere and kills his parents. The child is thus raised by two hateful aunts, Cricket and Sponge, who force him to lead a meager life. But one day a peach, which has grown out of all proportion in the garden of their home in Cornwall, attracts numerous tourists, and the aunts arrange to exploit the bargain by forcing poor James to do the most menial jobs. But by a spell, the giant peach is transformed into a kind of airship in which James finds occasional friendly companions to get to New York, the destination of his dreams. With the help and company of the grasshopper, the centipede, the woman/spider, the firefly and the worm, James after a thousand vicissitudes crowns his dream. But as soon as he lands with his big peach in the Big Apple and specifically on the Empire State Building, his nightmares reappear and rearrange themselves in the figures of the aunts and the rhinoceros. But James with the help and imagination and his new friends, will see to overcoming them, becoming the hero of the children of New York.
In-depth analysis
About the Movie James and the Giant Peach
«...James and the Giant Peach is an important film because it shows how the world of animation is going through a very interesting period of evolution. It is a confirmation of how a new look, more in step with the times, is emerging in the world of animation; a look that in the age of the global village is quickly moving away from taken-for-granted themes that sound increasingly false, gradually abandoning the sugary and artifactual atmospheres of the old animated characters, positioning itself more and more on the fringes of that falsely optimistic vision. In this a note of credit must go to the courage shown by Disney, a production house that has always been associated with the concept of the “false life,” as opposed to authors such as Tex Avery who have instead made the full circle, the representation without deception or omission of reality, their manifesto. Thanks to the nightmares and cynicism of Burton and Selik's visions, animation seems to have taken a new, more adult path...» (Fabrizio Liberti in “Cineforum” Year 37 No. 5, June 1997)







