Strongly agree with all of these points!
I also think 15s sonic is extremely underrated
3 Likes
It absolutely is! When they showed it for the first time I kept seeing people complaining that it looked like a TV remote instead of a screwdriver, I was like none of the previous models looked like a screwdriver what are you even saying???
5 Likes
Welcome! It’s the little details that get you with this show. I remember beginning to notice that there were differences between the individual dalek props and then finding out that there were people who dedicated their lives to cataloguing which prop was used and when! And, as you say, there are so many variations to the TARDIS prop itself. I loved the old series console, but I used to get annoyed whenever they altered it. Vive the hyper focus!
7 Likes
I read your profile drop-down, and I also love Willy Wonka (Wilder version). He reminds me of Six.
3 Likes
I like Wilder as well, but for me the definitive non-book Wonka would be Douglas Hodge from the West End production of Charlie and the chocolate factory. He is by far the closest to the book both in outfit and personality.
4 Likes
Interesting, I’ve never heard of that version. I looked up the costume and I don’t think I like the facial hair haha. The clothes can stay. How does his personality differ from Wilder’s rendition?
2 Likes
The facial hair is one of the main reason I like his version so much! In the book he is described as having a goatee, which is lacking in most adaptations, it’s probably the closest any live-action adaptation has gotten to the source material. There are a few other instances of productions adding facial hair to their version of Wonka, but changing the rest of the costume so Douglas Hodge remains the closest to the book.
Book Wonka:
First, Wonka in the book is described like a very energetic man, most of the characters complain about not being able to keep up because he seems to be so fast and full of energy and excitement. Several times he states that “he doesn’t allow ugliness” in his factory and he also checks back on the children frequently.
Every time the group enters a room, he makes clear warnings about being careful about certain things, do not get close to the chocolate river, don’t touch anything in the Inventing Room, etc, and shows clear and actual concern for the childrens wellbeing as well as being also preocupied with the damages done to his factory, reasuring the parents and the rest of the group that the children won’t be (seriously) harmed, just changed.
Now, altought his concern may be real, he also messes up with the children and the parents several times, calling Veruca a wart or her mother a fish (in spanish he calls her a huke, I’m not sure if the original english version the its also a huke), calling out to Mike several times for speaking to loudly or to softly.
He shows constantly shows genuine care for his craft and gets defensive whenever a kid or their parents try to correct him about something, but he also doesn’t shy away from explaining things to them albeit in his own weird way.
Gene Wilder
Gene Wilder’s version may be true to many aspects of Wonka’s personality traits described in the book, but he also seems to be way darker.
At times he seems almost apathic and seems like he’s just bored, focusing more on messing with the parents and children than actually showing them around the factory. Every time a child gets in harms way he mostly just stands there making jokes and driving the parents crazy while their children drown or inflate like a blueberry.
He also seems to not care about the children wellbeing before or after the incidents, biding the parents goodbye with a rhyme. There are more instances of his Wonka hitting the children with his cane, answering genuine questions with uncaring nonsense and actually neglecting their safety that moments where he gets excited about showing them his creations.
His Wonka is mostly remember as a ironic asshole with erratic behaviour for a reason.
2 Likes
My Wonka hyperfixation is returning…
4 Likes
I like to call it “Wonkafrenia”
3 Likes
Interesting, thanks for explaining. I have a thing for arsehole characters so I thought Wilder’s rendition was a 10/10, but I’d like to see the Hodge version. It (and the original Wonka) sound just as good in their own way.
2 Likes
Yeah, the problem with Hodge is that apart from the official album recording, the only other way to get a glimpse into his portrayal is by looking for some very low quality bootleg recordings of his tenure in the West End production.
There’s a better quality recording of the show available on YouTube but the actor playing Willy Wonka is Alex Jennings who’s also a very good Wonka, but not as good as Hodge imo.
My personal recommendation would be to first listen to the West End album, then look at the Alex Jennings performance, I believe it’s under the name of “They eat chocolate in London too”.
Or if musical theatre is not your cup of tea, Douglas Hodge made audiobooks of both Charlie and the chocolate factory and Charlie and the Great Glass Elevator. There’s also an Eric Idle audiobook and in a shocking turn of events, the last two audiobooks of both stories were narrated by David Tennant and Sacha Dawhan! (It’s all part of the Doctor Wonka conspiracy)
1 Like
An expected disappointment. I will never understand the rationale behind it being taboo to officially record plays unless it’s being broadcast for TV.
2 Likes
It really is a shame because the West End version had the most budget of all the other productions, the better props and many consider it (myself included) the definitive adaptation.
2 Likes
Well it’s copyright isn’t it. In theory it stops people going to see the live show which in turn affects the income of everyone involved. Also, actors would want control over how their performance and image is distributed; musicians/composers would want control over how their music is distributed.
It would be a whole extra level of contract negotiation.
(And I’ll admit, I missed the ‘officially’ in your post so have added the last sentence to not make myself look like a complete fool…)
8 Likes
Logically, I understand, but emotionally I still think it’s a load of crock. People always bring up contracts, but I don’t see how it’s anything wild and crazy to put a clause that states “For one show, we will record this and sell it for those who want it for posterity and for those who could not attend.” That’s easy money, and having learned that apparently you have to buy playbills in the UK, I don’t see why it can’t be another offering for purchase.
I just think it’s ridiculous how many famous, unique, highly regarded shows are virtually lost to time in the name of tradition. But, hey, what do I know.
6 Likes