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Labyrinth is a 1986 musical fantasy film directed by Jim Henson with George Lucas as executive producer. Based on conceptual designs by Brian Froud, the film was written by Terry Jones, and many of its characters are played by puppets produced by Jim Henson's Creature Shop. The film stars Jennifer Connelly as 16-year-old Sarah and David Bowie as Jareth, the Goblin King. In Labyrinth, Sarah embarks on a quest to reach the center of an enormous, otherworldly maze to rescue her infant half-brother Toby, whom she wished away to Jareth.

The New York Times reported that Labyrinth had a budget of $25 million. The film underperformed at the United States box office, grossing $12.9 million during its US theatrical run. However, it was a success in the United Kingdom and overseas, grossing over $34 million worldwide. Labyrinth was first met with a mixed critical response upon its release, which contributed to a difficult period of Henson's career, according to his son Brian Henson. It was the last feature film that Henson directed, and over the years it has been re-evaluated by many critics. A success on home video and television broadcasts, Labyrinth has gained a large cult following.

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The film has been adapted into a variety of media, including books, video games, boardgames and comics. Tokyopop published a four-volume comic sequel Return to Labyrinth between 2006 and 2010, and Archaia Entertainment published a comic prequel Labyrinth: Coronation between 2018 and 2019. In January 2016, it was announced that a sequel was in development,[4] which screenwriter Nicole Perlman described as more of a "spin-off" in the same fictional universe.[5]

While in the park with her dog Merlin, 16-year-old Sarah recites from a book titled The Labyrinth, but is unable to remember the last line. Realizing that she is late to babysit her infant half-brother Toby, she rushes home and is confronted by her stepmother who leaves for dinner with Sarah's father. Frustrated that Toby was given her treasured teddy bear, Lancelot, and by his constant crying, Sarah rashly wishes that Toby be taken away by the goblins from her book. Toby disappears and the Goblin King Jareth appears, offering Sarah her dreams in exchange for the baby. She refuses, instantly regretting her wish. Jareth reluctantly gives Sarah 13 hours to solve his labyrinth and find Toby before he is turned into a goblin forever. Sarah meets a dwarf named Hoggle who aids her to enter the labyrinth. She has trouble finding her way at first and meets a talking worm who inadvertently sends her in the wrong direction.

Sarah ends up in an oubliette where she reunites with Hoggle. The two are confronted by Jareth, escape one of his traps, and encounter a large beast named Ludo. Hoggle flees in a cowardly fashion, while Sarah befriends Ludo after freeing him from a trap but loses him in a forest. Hoggle encounters Jareth, who instructs him to give an enchanted peach to Sarah, calling his loyalty into question, as he was supposed to take her back to the beginning of the labyrinth. Sarah is harassed by a group of creatures called The Fire Gang, but Hoggle comes to her aid. She kisses him, and they fall through a trapdoor that sends them to a flatulent swamp called the "Bog of Eternal Stench" where they reunite with Ludo. The trio meet the guard of the swamp, the anthropomorphic fox terrier Sir Didymus and his bearded collie "steed" Ambrosius. Ludo summons a trail of rocks to save Sarah from falling into the bog, and Didymus joins the group. The group gets hungry, so Hoggle gives Sarah the peach and runs away as she falls into a trance and forgets her quest. She dreams that Jareth comes to her at a masquerade ball, proclaiming his love for her, but she rebuffs him and escapes, falling into a junkyard outside the Goblin City near Jareth's castle. An old Junk Lady fails to brainwash her and she is rescued by Ludo and Sir Didymus. They are confronted by the humongous robotic gate guard, but Hoggle comes to their rescue. Despite his feeling unworthy of forgiveness for his betrayal, Sarah and the others welcome him back, and they enter the city together.

Realizing how important Toby is to her, Sarah gives him Lancelot and returns to her room as her father and stepmother return home. She sees her friends in the mirror and admits that, even though she has grown up, she still needs them in her life, whereupon the labyrinth characters appear in her room for a raucous reunion party, hugging each other in joy. The movie ends with Jareth in his barn owl form watching their celebration from outside and then flies off into the moonlight.

I think what we are trying to do with this film is kind of harken back to a lot of those classic fantasy adventures that a young girl goes into: The Wizard of Oz, Alice in Wonderland, and the works of Maurice Sendak. I don't mind comparisons. It's not like we are trying to outdo them. We are simply related; The Wizard of Oz and Alice in Wonderland are so much a part of us. This is the fantasy world that she (the Labyrinth heroine) has grown up with. These are the stories that have fascinated her.

Richard Corliss noted that the film appeared to have been influenced by The Wizard of Oz and the works of Maurice Sendak, writing that, "Labyrinth lures a modern Dorothy Gale out of the drab Kansas of real life into a land where the wild things are".[9] Nina Darnton of The New York Times wrote that the plot of Labyrinth "is very similar to Outside Over There by Mr. Sendak, in which 9-year-old Ida's baby sister is stolen by the goblins."[10] This almost got the film into legal trouble, as the similarity caused Sendak's lawyers to advise Jim Henson to stop production on the film. However, the legal complaint was eventually settled, with an end credit being added that states that, "Jim Henson acknowledges his debt to the works of Maurice Sendak".[11] Sendak's Outside Over There and Where the Wild Things Are are shown briefly in Sarah's room at the start of the film, along with copies of Alice in Wonderland, The Wizard of Oz, and Grimms' Fairy Tales.

The film's concept designer Brian Froud, who had previously collaborated with Henson on The Dark Crystal, has stated that the character of Jareth was influenced by a diverse range of literary sources. In his afterword to the 20th anniversary edition of The Goblins of Labyrinth, Froud wrote that Jareth references "the romantic figures of Heathcliff in Wuthering Heights and a brooding Rochester from Jane Eyre" and The Scarlet Pimpernel. Bowie's costumes were intentionally eclectic, drawing on the image of Marlon Brando's leather jacket from The Wild One as well as that of a knight "with the worms of death eating through his armor" from Grimms' Fairy Tales.[12] In his audio commentary of Labyrinth, Froud said that Jareth also has influences from Kabuki theatre.[13]

The dialogue starting-with phrase "you remind me of the babe" that occurs between Jareth and the goblins in the Magic Dance sequence in the film is a direct reference to an exchange between Cary Grant and Shirley Temple in the 1947 film The Bachelor and the Bobby-Soxer.[14]

Labyrinth's "Escher scene" features an elaborate staircase set inspired by the art of Dutch artist M. C. Escher.[15] A print of Escher's lithograph Relativity is shown on Sarah's bedroom wall in the film.[16]

Brian Froud says that Labyrinth was first discussed between himself and director Jim Henson.[12] Both agreed to work on another project together, and Froud suggested that the film should feature goblins. On the same journey, Froud "pictured a baby surrounded by goblins" and this strong visual image, along with Froud's insight that goblins traditionally steal babies, provided the basis for the film's plot.[17]

Henson discussed the film's origins to say that he and Froud "wanted to do a lighter weight picture, with more of a sense of comedy since Dark Crystal got kind of heavy, heavier than we had intended. Now, I wanted to do a film with the characters having more personality and interacting more."[17]

Labyrinth was being seriously discussed as early as March 1983, when Henson held a meeting with Froud and children's author Dennis Lee.[18] Lee was tasked with writing a novella on which a script could be based, submitting it at the end of 1983.[19] Henson approached Terry Jones to write the film's script, as "his daughter Lisa had just read Erik the Viking and suggested that he try me as screenwriter".[20] Jones was given Dennis Lee's novella to use as a basis for his script but later told Empire that Lee had produced an unfinished "poetic novella" that he "didn't really get on with". In light of this, Jones "discarded it and sat down with Brian [Froud]'s drawings and sifted through them and found the ones that I really liked, and started creating the story from them".[21]

Jones is credited with writing the screenplay, while the shooting script was actually a collaborative effort that featured contributions from Henson, George Lucas, Laura Phillips, and Elaine May. Jones has said that the finished film differs greatly from his original vision. Jones states that, "I didn't feel that it was very much mine. I always felt it fell between two stories, Jim wanted it to be one thing and I wanted it to be about something else." Jones has said that his version of the script was "about the world, and about people who are more interested in manipulating the world than actually baring themselves at all". In Jones' original script, Jareth merely seems "all powerful to begin with" and is actually using the Labyrinth to "keep people from getting to his heart".[20]

Jones has said that Bowie's involvement in the project had a significant impact on the direction taken with the film. Jones had originally intended for the audience not to see the centre of the Labyrinth, prior to Sarah's reaching it, as he felt that, in doing so, it robbed the film of a significant "hook". Henson decided that he wanted Jareth to sing and appear throughout the film, which was something Jones considered the "wrong" decision, with the thought of Bowie starring in the film in mind. Despite his misgivings, Jones rewrote the script to allow for performing songs throughout the film. This draft of the script "went away for about a year". During this time, it was redrafted first by Phillips and subsequently by Lucas.[17][20] 2351a5e196