August 2, 1996
Roald Dahl was my favorite author when I was a little kid, but I didn’t know his book Matilda because it didn’t come out until ’88. Watching the movie version again the story seems kinda sweet and wholesome by his standards, even though it envisions the world as a place full of cruel, crude idiots. Its warmth lies in its heroine, a smart girl who finds an angelically supportive teacher to help her through her difficulties. Similar idea, but a little more pure than a poor boy winning a chocolate factory. (I wasn’t that surprised when I read that an editor had to talk Dahl out of his initial version where Matilda uses her psychokinetic powers to torment innocent parents and help her teacher gamble.)
Director Danny DeVito (THROW MOMMA FROM THE TRAIN) must’ve still been concerned about MATILDA (adapted by Nicholas Kazan [MOBSTERS, DREAM LOVER] and Robin Swicord [SHAG]) being a little mean, because he cast himself as the kind-sounding narrator to balance out playing the asshole dad, Harry Wormwood. Harry and his wife Zinnia (Rhea Perlman, CLASS ACT) somehow raised their daughter Matilda (the precocious Mara Wilson, MRS. DOUBTFIRE) to the age of six without noticing – or at least not approving of – her brilliance. She loves to read, but has to sneak out to go to the library. Harry, an unethical used car salesman, forces her to watch TV junk and refuses to let her go to school, because “Who would sign for the packages?”
She’s delighted when he finally enrolls her at Crunchem Hall Elementary, but unfortunately it was just to help sell a car to principal Agatha Trunchbull (Pam Ferris, MEANTIME), an abusive monster who has a dartboard with pictures of students in her office and frequently locks kids in an iron maiden closet she calls “the Chokey.” A former shot putter, hammer and javelin thrower who competed in the 1972 Summer Olympics, she uses those skills to throw children long distances. Somebody should do something about this, but nobody’s up to it. (read the rest of this shit…)
Man, here we are on Sam Raimi’s fifth movie, and I feel like it’s his fourth major breakthrough. 
