From Monica J. Roxburgh ([email protected]) :

Concerning the similarities between "Legend" and "Labyrinth", I read about this in an old Starlog magazine:

When they were originally designing Labyrinth, Brian Froud told his friend & collaborator Alan Lee (remember Faeries?) about the story. It just so happened that Alan Lee was working on Legend at the time, and Brian & Alan realized that their plots were almost identical! The early Labyrinth plot involved a fantasy world and a King & Queen, (the King was actually the one who had to rescue the baby at that point, from an enchantment), although that concept does not really sound as much like Legend as the current Labyrinth movie! Anyway, at that point, Froud & Henson & co. scrapped what they had done and started over. When you think about it though, the king rescuing his baby from an enchantment is rather similar to Jack rescuing Lily (not to mention the rest of the world) from an enchantment.
From Stephanie Massick ([email protected]) :

Sarah's last name is Williams! The name of her real mother, Linda Williams, is in the scrapbook at the beginning of the movie. The fact that Williams is correct is also supported in the script, in which Jareth enters Sarah's house via the front door and asks innocently, "Is this the house of Sarah Williams . . . Sarah Williams, the famous actress?" Also of interest (?), is the name of Sarah's father: Robert. This was mentioned in ACH Smith's novel.
From Dusti :

I know the person who owns the Goblin King pendant - she's in Portland, and the pendant sporatically is used in photo art or she'll wear it from time to time...
From Walter Pullen ([email protected]) :

Here's something that could count as a Labyrinth blooper. You know when Jareth sends the Cleaners/slashing machine after Sarah and Hoggle in the subterranean passage? Sarah and Hoggle entered the large passage from that smaller side passage that had the rock face phony warnings. Instead of running down the large passage in front of the Cleaners, why didn't they just duck back inside the side passage and let it pass? When Hoggle says "oh no the Cleaners", you can clearly see the entrance archway to the side. Jareth could have made it disappear, but they could have made that clearer.
From Caillean Greywolf ([email protected]) :

Here's a notable fact that a friend pointed out:
"How is it that Sarah is soaking wet when she gets home, and minutes later, when her father goes to talk to her, her hair is dry, her *jeans* are dry, and her clothes are perfect? This is supposed to be in a few *seconds*?"
From Caillean Greywolf ([email protected]) :

When Sarah and her friends are at the door to Jareth's castle, notice, to the left, the two milk bottles. So, Jareth had planned on taking good care of Toby at least...
From Stephanie Massick ([email protected]) :

Here's a couple of neat little facts that I've picked up in my Labyrinth fact-finding quests. Did anybody know that . . .

From Caillean Greywolf ([email protected]) :

Okay, you all know that "medalion" thing Jareth wears? Well get this... it changes just as often as his clothes! In the first scenes, including Magic Dance, it's a gold disc on a silver whatever it is, horns... whatever we decided it is... Then, during within you, when he's wearing black and that crushed velvet thing, it's not only a part of his outfit, but it's horns facing "up". Then in the final scene, when he's in the Owl look ;), it totally switches color, from gold on silver to silver on gold!
From Stephanie Massick ([email protected]) :

Okay, more trivia.

I have a copy of the script as written by Terry Jones and Laura Somebody-or-other. It has some odd differences:
Anybody caught any film bloopers? Here are some I've spotted:

From Walter Pullen ([email protected]) :

[The following is from the Labyrinth computer game Player's Guide. This of course should be read by anybody who's going to be playing the game emulation.]

You! You there! Yes, you. The one getting dirty fingerprints all over this nice, clean book.

I am Jareth, the Goblin King, and you are mine. From the moment you began reading this, my grip upon your soul has tightened. Test me. Try to stop reading. You can't, can you? You are my subject, and you are destined to bow to my will for the rest of your days. The only way you can escape is to find me in the center of my Labyrinth and destroy me. Ha! Not only will you be unable to navigate the Labyrinth, I doubt you'll even be able to find your way in!

And if by some chance you do manage to get inside, I will easily defeat you. I have many ways to do this. There are rules in my Labyrinth, and woe to those who do not follow them.

I will give you only thirteen hours to solve the Labyrinth. And I can assure you... it isn't enough time.

I will set my army of goblins upon you. Each of my goblins was once in the same position you are in now... and each failed to solve the many puzzles of my Labyrinth. Now they work for me. They will throw you into dark, dank prisons I like to call my *oubliettes*... and forget about you. You will never find you way out.

I will lead you into untold dangers. The Bog of Stench alone will easily defeat you. And if you should happen to fall in - if even one drop should touch you - you smell will warn me of your presence... wherever you may try to hide.

I will recreate the Labyrinth even as you solve potions of it. It will constantly change, twisting around itself like a malevolent serpent.

Learn to love the Labyrinth, for you will be here forever. But take comfort. You will not be here alone. I rule the other poor souls as well. Hoggle might befriend you... if you pay him enough. Maybe you'd like to spend eternity in the forest of the Fireys. They may amuse you as they toss their arms and legs about. Perhaps they can lend you a hand! (Oh, I do love a little joke... especially at your expense.)

Some of the creatures in the Labyrinth are my minions, like Sir Didymus, who gaurds the bridge over the Bog... and always follows my rules. Some of them - like that accursed Ludo and his accursed friends, the rocks - have come close to defeating me. But never *too* close. My faithful goblins take care of that.

They will take care of you, too. And so will I. This is my Labyrinth, and you are mine. Forever.
From Stephanie Massick ([email protected]) :

Here is the People magazine review on Labyrinth from 1986, written by Ralph Novak:

The best children's movies - and this is certainly one of them - challenge kids. *The Wizard of Oz, Bambi, The Black Stallion* all in their way show respect for children's courage, imagination and intelligence, and so does this film about a self-absorbed 13- or 14-year-old girl, who one day gets her wish that the goblins would take away her infant stepbrother.

There's plenty of talent involved. George Lucas was executive producer. The director is Muppet mogul Jim Henson. The writer - with uncredited help from Elain May - is *Monty Python* alumnus Terry Jones, whose affection for the perverse removes any danger that this film will turn treacly. (The Bog of Eternal Stench seems a particularly Pythonesque touch.) The chronically enigmatic David Bowie plays the vain glorious villain, king of the goblins. Jennifer Connelly, 15, comely and determined, is the girl who instantly regrets wishing her sibling away and pursues him into the multilevel maze of the goblins' world. As the baby, Toby Froud, the infant son of conceptual designer Brian Froud, supplies the cuteness that is wisely left out of Connelly's performance.

Henson explicitly acknowledges the inspiration of children's author Maurice Sendak, whose *Where the Wild Things Are* this film resembles. There are also references to, among other things, *Snow White, Alice's Adventures in Wonderland, The Lone Ranger* and the comedian Senor Wences. All these citations occur in the course of a journey in which Connelly meets a succession of clever Henson creatures. When she falls into a bottomless pit, for instance, she is caught by arms growing out of the pit's walls. "Who are you?" she asks. "The helping hands, of course," they answer huffily.

Even Bowie's steadfastly evil allies have an appealing side. When one remarkably inefficient cannonlike device is smashed by a boulder, it lies there in a million pieces, muttering, "No problem." What children will make of the grim music Bowie wrote and performs is a question. But his final confrontation with Connelly, shot using disorienting effects that add to the tension, is scary enough to make the resolution all the more satisfying. The subtext of the movie seems embodied in a line spoken by a number of characters: "Don't take anything for granted." That lesson is taught in the most unselfconscious way, letting the wisdom work its way into the fun as best it can. Imagine a blend of *Sesame Street* and *Hamlet*. And for those of us who can't manage that kind of imagining on our own, Henson and company do it for us beautifully.
From Christine M. Egan ([email protected]) :

I think that the Labyrinth is a modern day version of the Wizard of Oz. (Has anyone else ever thought of this?)

1. Both Dorothy and Sarah are running away from their problems in the
	--Sarah's problems are that: 
		a) the world wants her to grow up, but she doesn't want to
		b) she wants to live in a fantasy world 
	--Dorothy is running away :
		a) from that wicked witch lady who wants to kill her dog,
 		b) from a humdrum life - she wants to live in a fantasy
		   world "Somewhere over the rainbow."

2. Both the stories involve short people who help the heroine.
	--The Labyrinth :
		uses goblins
	--The Wizard of Oz :
		uses munchkins

3. Both stories are about long journeys the girls must take in order to
   reach their goals.
	--The Labyrinth: 
		well, it's a big maze
	--The Wizard off Oz :
		 that yellow brick road is very long

4. They are both musicals

5. Each has 3 characters that accompany the heroine to the end
	--The Labyrinth: 
		has Hoggle, Sir Didymus, and Ludo
	--The Wizard of Oz :
		has the Scarecrow, the Tinman, and the Lion

6. Each film has a dog in it
	--The Labyrinth: 
		has Merlin in the beginning (who becomes Ambrosius in the
	--The Wizard of Oz:
		has Toto

7. Each fantasy land is built from things in the heroine's real life
	--The Labyrinth : 
		a) Ambrosius (SirD's dog) = Merlin
		b) The Labyrinth = a labyrinth marble game Sarah owns
		c) The escher/Jareth scene = the escher poster Sarah
		   has in her room
		d) The goblins = come from the book "Where the Wild
		   Things Are" that she owns
		e) the ballroom scene = her dancing ballerina wind up
		   (These are just a few of the things)
	--The Wizard of Oz: 
		the scarecrow, the tinman, the lion, the wicked witch of
		the west, and the Great Oz were her uncles and close
		neighbors in reality

8. Both contain a scene where the heroine is drugged into a deep sleep:
	--The Labyrinth:
		When Sarah eats the peach and dreams about the Ball w/
	--The Wizard of Oz:
		The Wicked Witch of the West poisons the poppies
		"Poppies...poppies will put them to sleep..." and Dorothy
		falls into a deep sleep.

9. Both heroines must pass through castle gates in order to seek
   appearances at their destinations:
	--The Labyrinth:
		The gates into the Goblin city 
	--The Wizard of Oz:
		The door to the Emerald City "Well! That's a horse of a
		different color! Come on in!"

10. Both heroines must defeat their nemesis at the end by standing up to
    them and not cowering
	--The Labyrinth:
		Sarah stands up to Jareth. "You have no power over me."
		and defeats him, turning him into an owl.
	--The Wizard of Oz:
		Dorothy confronts the "Great and Powerful Wizard of Oz."
		"Why, you're nothing but a coward!"

11. Both learn something from their journeys at the end:
	--The Labyrinth:
		Sarah learns that even though she's growing up, she can
		still hang on to parts of her childhood (among other things)
	--The Wizard of Oz:
		Dorothy learns that if she starts searching for things and
		doesn't find it in her own backyard, well, then it was never
		really lost to begin with.
These are just a few observations. I *know* there are tons more similarities.

From Christine M. Egan ([email protected]) :

The story (among other things) is about Sarah growing up. In the beginning, she is still a child. She's still playing make-believe, still cares very much for her toys, whines a lot, and is still irresponsible (like being an hour late for a commitment she had, and wishing her brother into the Labyrinth.). When Jareth takes her brother she, like a child, thinks that just asking politely and sweetly will get him back.

I think the reason Sarah is so resentful towards Toby in the beginning is that he represents to her the way she used to be. She used to be the center of attention, she used to be the baby. But now she is being forced to give up her cherished childhood in order to take care of Toby. He's even taking her precious childhood toys away.

Jareth is a personification of her childhood. He's there, holding her back, hindering her from finishing the Labyrinth and offering her presents that would keep her in a childlike state-of-mind. (The crystals will "let you see your dreams.") He even tells her in the beginning "Go back to your room. Play with your toys. Forget about the baby," which would be a very selfish and childish way for her to behave. And, while she's deciding whether to enter the Labyrinth or not, he tells her, "Turn back. Turn Back while you still can," giving her one last chance to remain a child.

So, in order to conquer Jareth (the part of her wanting to remain a child), she must enter the Labyrinth.

Her adventure through the Labyrinth is a growing period for her. She learns that she *does* need friends, that life is *not* fair, and she learns that there are more important things in life than toys and material possessions (like family.).

After she exits the Labyrinth, she acknowledges her new found "adultness" by giving Toby the doll that represented her childhood. "I want this to belong to you, now," she says.

The final scene in her room is the one that touches me the most. As she puts some of the momentos from her past away, she sees her childhood playmates in the mirror. But when she turns around to look at them, they aren't there. The mirror is allowing her to look behind her, into the past. As long as she is an adult, her friends can exist only in the past. It's only when she realizes that she *does* need to hold on to a part of her childhood, "sometimes, for no reason at all, I need you. All of you," can her friends exist in her life.


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