Director: Paul King
Starring: Timothée Chalamet, Calah Lane, Keegan-Michael Key, Paterson Joseph, Matt Lucas, Matthew Baynton, Sally Hawkins, Rowan Atkinson, Jim Carter, Tom Davis, Olivia Colman, Hugh Grant
Certificate: PG
Run Time: 116 mins

Wonka is a prequel to Roald Dahl’s Charlie and the Chocolate Factory novel, telling the chocolatier’s origin story. There have already been two excellent adaptations of Dahl’s novel – Mel Stuart’s 1973 Willy Wonka and the Chocolate Factory with a scene-stealing turn by Gene Wilder in the lead role and Tim Burton’s more faithful but equally dark 2005 adaptation starring Johnny Depp. While the thought of an origin story may seem like a cynical cash grab (and goes against Dahl’s wishes), it’s written and directed by Paul King, who struck gold with his Paddington films. While I found Paddington overrated, Paddington 2 represents the gold standard of sequels with its infectious energy. 

Timothée Chalamet has big boots to fill in place of Wilder and Depp, and Wonka opens with the young chocolatier arriving at an unnamed European city that feels like a hybrid between Dickensian London and upmarket Paris. He’s hoping to fulfil his dream by opening a chocolate shop at the Galeries Gourmet. However, the Galeries’ main chocolatiers Slugworth, Prodnose and Fickelgruber (Paterson Joseph, Matt Lucas and Matthew Baynton) have a monopoly over the city. Dubbed the ‘Chocolate Cartel’, they even control the Chief-of-Police (Keegan-Michael Key) and their large reserve of chocolate is stashed underneath a parish, run by the corrupt Father Julius (Rowan Atkinson) and his ‘chocoholic’ monks. Wonka also has his own problems to contend with, when he is banished to work 10,000 days performing laundry to repay his debt at a hotel he stays at, run by Mrs Scrubbit (Olivia Colman) and her henchman Bleacher (Tom Davis). There are five other captors who have fallen foul to Scrubbit’s con and Wonka hatches a plan to sell enough chocolate to free them all. 

I went into Wonka with low expectations and while I didn’t come out a changed individual, it’s much better than expected. The film has King’s stamp through and through and while there’s some laughs to be had, it’s combined with a decent story with a lot of heart. While there are some dark undertones to the story, it doesn’t really feel one of Roald Dahl’s creations – there are no Dahlian lessons for children about the consequences of bad behaviour, for instance. 

Chalamet is solid as the titular character and while he doesn’t amaze in the musical numbers, he’s more than good enough but he’s no Wilder or Depp. His Wonka lacks the terrifying element of either of his predecessors but that is partly a limitation of the film’s story. Chalamet’s decision to lead a kids film is also a shrewd move, given his more brooding adult fare with films such as Dune, Bones And All and Call Me By Your Name.

Wonka’s greatest asset are the performances all round. The Boggis, Bunce and Bean-like villains trio are all excellent (there’s a particularly funny gag with Baynton’s Fickelgruber who resents the poor). Paterson Joseph is particularly sinister as Slugworth and although he’s had a long career, I hope his propels him into the limelight. Atkinson is also excellent as the clergyman, albeit underused and Jim Carter is a highlight as Abacus Crunch, who was previously an accountant for the villains. After his terrific turn as the antagonist in Paddington 2, Hugh Grant steals the show as the Oompa Loompa, who is given an entertaining story and gets to revive the 1971 film’s original tune. 

Like the 1973 film (although Tim Burton’s remake also includes some songs), King’s film is a musical. Although there are more musical numbers than the original, King gets the balance of song to story right and although Neil Hannon is no Candyman with the quality of the songs – they’re just not as memorable as any of the creations of Leslie Bricusse or Anthony Newley (although he reprises Oompa Loompa and Pure Imagination) – they’re good enough. A duet between Chalamet and newcomer Calah Lane, who plays Noodle who becomes Wonka’s assistant, is the highlight and helps to really furthers their relationship. Joby Talbot’s supporting original score fares well and also respectfully reprises notes from the original. 

Wonka also looks gorgeous with its eye-popping production design, although its cinematography by Chung-hoon Chung, one of director Park Chan-Wook’s key collaborators, feels uncharacteristic of him considering his back catalogue, lacking a surreal edge. This would have lent well here, considering many of the characters have dreams they’re looking to fulfil. 

Wonka is ultimately a surprising success for what seemed like a misjudged prequel and I admired King’s kind-hearted and amiable tone. Although it occasionally feels a little like a Christmas pantomime with its low stakes and musical numbers, there’s some good chuckles to be had and the sumptuous, sugar-rush production design is worth experiencing in the cinema. I don’t think Roald Dahl would have appreciated it (although he was a tough critic of many adaptations of his literary works) and it feels more Dickensian than Dahl with its workhouse elements and conniving characters. However, as a piece of candy, Wonka more than does the job even if it doesn’t reach the sugary heights of the other adaptations). I’d certainly be game for a sequel that explores how Wonka morphs into the darker character we meet in Dahl’s novel but it wouldn’t feel fitting of King’s directorial style – still one can hope. 

⭐⭐⭐ (Good)