The post from which this was excerpted was originally published on Swampflix.com as part of that site’s “Movie of the Month” feature, in which one contributor makes the rest of the crew watch a movie they’ve never seen before, and the staff discusses it afterwards. For April 2018, Britnee made me, Alli, and Brandon watch Magic in the Mirror (1996).
(Brandon:) Boomer, we seem to be painting two portraits of Magic in the Mirror here. One is a thoughtful expression of childhood frustration with being ignored by the adults who lord over you. The other is a subliminal nightmare that lingers only as a fear of cheaply costumed duck-people who boil children alive for the pleasure of the taste. Did either of these qualities overpower the other in your viewing of the film or did they work perfectly in tandem, like two realms on opposite sides of the same magic mirror?
Boomer: Unlike you, Brandon, I didn’t find the ducks–excuse me, Drakes–all that scary. Maybe if I were a child the first time I saw it, I would have had a different experience, but as it is, the flappy mouths and glug-glug-glug drinking sounds were too similar to the intentionally comical appearance of the eagle-headed colonel from Danger 5 to elicit anything other than laughter from me (which it did, every time). If anything, their sped-up waddling and the terrible flying effects render them adorably pathetic in spite of their menacing tea habits. Had I been a child during my first viewing, I would have found the Mirror Minders the far creepier creatures, as the thought of an oversized manchild in drab motley watching me from the other side of my mirror is a much more disturbing thought in its abstract than being boiled alive for a mere sixty seconds. I know that they’re supposed to be charming in a Mr. Tumnus way, but their high pitched voices and the “I used to be a birthday clown but now I live in the woods” color palette aren’t exactly virtues to me. I, too, am a longtime fan of Full Moon Entertainment, and frequently find myself extolling its virtues, like the fact that it was one of the first studios to have an interconnected film universe, with the eponymous main characters from their respective films coming to blows in the crossover Dollman vs. The Demonic Toys (which also featured a shrunken nurse from one of my personal favorites, Bad Channels, as Dollman’s love interest). That doesn’t mean I’m going to give a pass to just anything that Band put his hands on (I submit my review of Dungeonmaster as evidence), but I found this film more charming than alarming, despite the Mirror Minders. There is a bit of a creep factor, but it does, as you say, work in tandem with its more traditional fantasy fare.
The way that the film steals (or “pays homage to,” if you’re feeling generous) images from other dark children’s films of the 80s and early 90s really contributes to its overall charm. The influences of Lewis Carroll’s Alice duology are obvious (and explicitly pointed out in the film’s trailer), but Magic in the Mirror carves out a place in that same rhetorical space as 80s kid flicks with a dark undertones and anchors itself there. The visual of Mary Margaret approaching her great-grandmother’s herbiary could be from any number of films, but there’s a definite NeverEnding Story vibe as the framing calls to mind the moment that Bastian finds the book with the Auryn on the cover in Mr. Coriander’s book shop. Further, although Return to Oz hews closer L. Frank Baum’s Oz novels than the 1932 musical to which it is supposedly a sequel, it carries over the same “Oz is a hallucination/dream” conceit as the Judy Garland film. Once our heroine crosses back over into Oz, she meets the witch Mombi, who is played by the same actress as the cruel woman who runs the sanitarium in Kansas; her imagined mechanical man Tik-tok is influenced by the “face” in the machine that the woman intends to use to electrocute poor little Dorothy’s brain. This wasn’t a new idea even at the time (for instance, Captain Hook is traditionally played on stage by the same actor who portrays Mr. Darling, dating back to the earliest theatrical presentations of Peter Pan), but the similar dark tone to Return works to give Magic in the Mirror perhaps more gravitas than it rightly deserves. Dragora is played by the same actress as Mary Margaret’s principal, her vizier is the same actor as her mother’s douchey assistant, and all of the characters on the other side of the mirror have names that are similar to the scientific nomenclature in the herbiary. There’s no implication that the mirror world is a fantasy in the psychological sense (especially once Dr. Dennis crosses over and meets her royal doppelganger), but if the director were to claim he’d never seen Return to Oz, his pants would likely burst into flame.
Perhaps the most important commonalities in all of these works are the dual themes of grappling with and overcoming parental alienation coupled with a desire for the retention of the comforts of childhood, which bears some inspection. Dorothy Gale is an orphan being raised by her elderly aunt and uncle, who don’t understand her worldview or imagination. Bastian Balthazar Bux is the son of a widower father who keeps his child at arm’s length due to his grief over the loss of his wife. Jennifer Connelly’s character in Labyrinth feels overlooked by her family in lieu of the attention lavished upon new baby Tobey, and isn’t ready to forsake her LARPing to fall into the role of caregiver for her little brother. Alice’s parents are never mentioned, but readers can infer her relationship with her sister to be one of guardianship, and much academic ink has been spilled over this interpretation. In every instance the fantasy otherworld seems to be an escape but ultimately proves to be a crucible that causes each character to grow and have a better understanding of both themselves and their parents, and return home to find that, in their absence, the parental figures have learned to be more accepting of the child character as well. Dorothy realizes that there’s no place like home, and is moved by Uncle Henry and Aunt Em’s concern for her. Bastian learns that he can’t live entirely in his fantasies, and Mr. Bux sweeps his son into a long overdue hug after realizing that his blind grief over his wife nearly cost him his son as well. Sarah returns home with a newfound love for her brother and realizes that her fantasy world will always be there if she needs it, but shouldn’t consume her entirely; she has a pleasant interaction with her step-mother and realizes that being a big sister is an adventure all its own. The narrative of Mary Margaret and her parents follow this model so slavishly it’s almost paint-by-numbers, but that’s not necessarily a bad thing. The fact that these stories continue to be created and continue to be popular speaks to a near-universality of this metaphorical journey, and likely will as long as there are children whose budding maturity arouses confusing feelings of the dual but opposed desires for independence and attention, for individuality and community (so . . . forever).
My roommate has, of late, developed a fascination with soap operas. One of the reasons for this is that he loves anything that he feels like he, an amateur, could make himself. The Bold and the Beautiful so cheaply and poorly made that it captivates him, and I understand that, because that’s often how I feel about Full Moon (and Moonbeam) flicks. Other than the generally well-made puppets, there’s a pall of cheapness permeated with earnestness that lends these endeavors a charm that isn’t fully earned. As an example, I’d like to point to the scene where Mary Margaret finally meets the queen after escaping from the Drakes; you as the viewer should feel an air of majesty and magic around her, but that intended effect is completely undercut by the drabness of the dead grass all around her throne. Like, you couldn’t have sent someone out there the day before to spray paint the grass to make it uniformly, magically green? But no: this scene plays out in a field that is perfectly manicured but very, very brown. Alli, were there other parts of the film where it was obvious to you that the filmmaker’s reach exceeded their grasp? Did you find that endearing like I do, or no? What worked and what didn’t for you?
Read Alli’s response, and the full discussion, on Swampflix.