I was six when I saw Wolfgang Petersen’s The Neverending Story in the mall movie theater in Springfield, Ohio. I can remember asking my parents if we could get some toys from the film as we filed out of the auditorium. I bet the Kay-Bee location down the way would’ve made a mint had they had Falcor plushies on hand during that initial theatrical run. These days, even though some of the animatronic puppetry is showing its age, I’d say it still holds up as a shining example of ‘80s fantasy filmmaking. Let’s take a look back since the cherished childhood classic is celebrating the fortieth anniversary of its release in the US this week (7/20/84).
A boy named Bastian (wounded Barret Oliver) is struggling at school in the aftermath of his mother’s demise. His father (Gerald McRaney) disapproves of Bastian’s preoccupation with fantasy, daydreaming, and all things childlike. He urges his son to grow up. On the way to school, Bastian ducks into a musty old bookstore in an effort to ditch some bullies. It is there that he procures a book called “The Neverending Story” from the wise but crotchety proprietor.
Arriving late to school and a pop math quiz, Bastian elects to skip class and hole up in the school’s musty attic with his new prize. As he reads the story, we are transported to the land of Fantasia. It seems that this magical realm is under siege from some devouring force called The Nothing. A boy warrior named Atreyu (brave Noah Hathaway) is sent on a quest to find a cure for the Childlike Empress (warm Tami Stronach), who is the only one who can save the world from disappearing completely.
Along the way, Atreyu and, by extension, Bastian, meet the fantastic denizens of Fantasia, such as the giant stony Rockbiter (voiced by Alan Oppenheimer), the aforementioned Falcor the Luck Dragon (also Oppenheimer), and the diminutive Professor Engywook (Sydney Bromley). It’s not all light adventure, though, as Atreyu must brave obstacles like the Swamps of Sadness and face off against the servant of The Nothing, the monstrous wolf G’mork (yup, Oppenheimer again). Bastian soon learns that he has a surprising part to play as well, if Fantasia is going to be saved.
Petersen and Herman Weigel’s script (based on Michael Ende’s novel) is exceptionally layered for a kids’ film. The narrative within the narrative structure that weaves in and out of Bastian’s world, Fantasia, and, really, our world, is structured tightly and is easy to follow. It also doesn’t dumb big concepts down. Heavy subjects like death, despair, and grief are handled with aplomb. Just the right amount of darkness is peppered in to not overwhelm children while still allowing for genuine scares. The metaphorical threat of The Nothing is never fully explained, although the symbolism is apparent for those who want to interrogate the subtext. The film asks a lot from its young audience and it’s a compliment to the filmmakers that it never feels like too much.
Art design is top-notch. Evidently, at the time, the West German production was the most expensive film ever produced outside of the US and USSR. It shows, too. The costumes, sets, and locations are absolutely amazing. As I said above, the animatronics are a bit dated now, but one can still be impressed by their craft. DP Jost Vacano also wisely shoots in a manner to disguise the limitations of the creatures. Composers Klaus Doldinger and the legendary Giorgio Moroder create a lush and memorable soundscape, evoking wonder, dread, and all the tender emotions and difficulties of childhood.
Wolfgang Petersen’s The Neverending Story is beloved for a reason. A masterpiece of children’s fantasy filmmaking, it doesn’t shy away from difficult subjects all while providing amazing visuals and authentic thrills. Detailed and smart, I love the film to this day. Highly recommended for fans of mixing raw eggs into their morning glass of OJ, skipping school to read epic fantasy novels and depressed horses.
Michael Cavender