As a child raised by Gen X parents, I am one of many in my generation that have been given second-hand nostalgia for the ’80s and ’90s.
It should come as no surprise then, that one of my top picks for a rainy Saturday night rewatch is Jim Henson’s cult classic film: Labyrinth.
2026 marks its 40th anniversary, and despite being born almost 20 years after its release, this film is one of my absolute favourites.
Unlike many other films from that era that have aged rather poorly, Labyrinth‘s craftsmanship, narrative themes and overall charm have established it as a timeless masterpiece.
The story
The story of Labyrinth follows the 16 year old Sarah (Jennifer Connelly) as she navigates a dark and treacherous labyrinth (as the title would suggest) in search of her baby brother, who has been taken by the mysterious Goblin King (David Bowie).
It is filled with bizarre creatures and unsettling places, with Sarah making it through several obstacles thanks to the help of an unlikely group of friends she makes along the way.
Labyrinth is a coming of age story, with our main character’s physical journey through the labyrinth being an allegory for her emotional one.
Sarah’s growth throughout the film from a naïve girl to an empowered young woman is demonstrated well, both in its writing and in Connelly’s performance.
Practical effects
Being Jim Henson’s creation, there is one thing this film has in spades: puppets!
His expert craftsmanship is on full display in the sheer amount of unique and detailed creatures he created for Labyrinth.
The iconic ‘Magic Dance’ scene alone featured almost 50 unique goblin puppets, and the size of his creatures range from a tiny worm to a massive robot that stands at around 15 feet tall.
Labyrinth is a rather unusual diversion from Henson’s iconic style seen in shows like the Muppet Show, Sesame Street or Fraggle Rock. He is really able to let loose with his creativity in this film, and the product is absolutely incredible.
The wonderful thing about practical effects and puppetry is that it can create a suspension of disbelief when done well, an effect that is usually only achievable in live theatre.
Because of this, Henson’s films don’t suffer the fate of many poorly aged CGI movies that are a staple of 2000s era movies.
Performances
In terms of on screen performances, Labyrinth is unique in the fact that it only features two ‘human’ leads (this is of course disregarding the 1 year old Toby, whose acting skills I graciously won’t judge too harshly).
With the audience’s reception of the film weighing heavily on both their shoulders, it is a great thing that Connelly and Bowie both really deliver in their time on screen.
Although Connelly’s facial expressions can be lacking intensity at times, it works for the wistful naïvety of Sarah’s character and fits right into the dreamlike nature of the film.
Where she really shines is in her interactions with the puppet characters, which she makes feel natural and easy, helping to ease the audience into the fantasy setting as they follow along with her character.
Bowie’s on screen presence is absolutely captivating, bringing energy and tension to all his scenes with both Connelly and the puppets alike.
The mystique of the Goblin King is heightened further by his fabulous costuming.
His outfits feature flowing, layered and bejeweled fabrics, tights (although perhaps a little too tight), and an eccentric wig that I can only describe as the most 80s thing I’ve ever seen.
Put all together, they create the wardrobe of an intimidating yet alluring royal.
Music
One cannot simply cast David Bowie in a movie and not have him sing.
It will come as no surprise then, that Labyrinth features no less than five original pop songs written by him.
Although its not strictly a ‘musical’ movie, Bowie’s on screen performances of ‘Magic Dance’ and ‘Within You’ somehow just make sense for this fantasy world, and today are some of the most iconic scenes in the film.
Combined with an equally memorable synth-heavy score by Trevor Jones, the music in Labyrinth is as essential as Henson’s puppets to bringing this magical world to life, and it does its job perfectly.
The tracks are as haunting and eerie as they are beautiful.
Problems
As one can probably gather by now, there is not much that I dislike about Labyrinth.
However, something I do find a little unsettling is the dynamic between Sarah and the Goblin King, especially when viewing the movie today.
Although nothing even remotely explicit happens between the two, the Goblin King’s intense and almost predatory feelings towards Sarah are palpable whenever he is on screen.
The power dynamic between them is made even more uncomfortable by the actors’ age gap. At the time of filming, Connelly was 14 and Bowie was 39.
However, the Goblin King is designed to be a manipulative villain, and the film ends in his satisfying defeat.
Labyrinth serves as a cautionary fairy tale and an allegory for navigating adulthood, and so the uncomfortable power dynamic is essentially the whole narrative purpose of Bowie’s character.
Final thoughts
Small issues aside, Labyrinth is all around an incredible film thanks to its artistry, writing and score.
It is a one-of-a-kind blend of detailed puppetry, practical effects, pop music and fantastical costuming. Not unlike the labyrinth itself, this film exists in a sort of liminal space, being both a distinct product of the 80s and a timeless masterpiece.
40 years on, and this film is still an incredible display of innovation and craftsmanship from Jim Henson, and lives up to its title as absolute classic cinema.
Original photos by Abigail Graham