63. Pee-wee's Big Adventure (1985) - Dir. Tim Burton
“A-a-a-a-nd knitting, A-a-a-a-nd knitting, A-a-a-a-nd knitting, A-a-a-a-nd knitting...”
Tim Burton's first major motion picture is still his best. It is sly, witty, irreverent, and totally freaking hilarious. It's got the vigor of an old screwball comedy, the charm of an antiquated amusement park, and the unhinged exuberance of a young kid all hopped up on goofballs and gobstoppers. It also features one of my favorite comedic characters of all time: the bow tie, white creepers, gray suit, crew cut-wearing, bike-riding, wunderboy, Pee-wee Herman.
Pee-wee's Big Adventure is a hyper road-movie filtered through the eyes of the luckiest man-child on the planet. It is the ultimate childhood fantasy, and taps into the undying desire to hit the road and flee away from the world's real problems; the pavement is the only true psychologist anyone ever needed, and the open air and vast stretches of highways and byways can seemingly cure almost any difficulty. However, because Pee Wee Herman is an adult, he is able to actually afford and do all of the things that kids can only dream about. How does he make all this money to afford such radical toys and stuff? I don't know, and I don't care, it's all part of the ultimate fantasy man!
As kids, we only see the good parts about being grown up, mainly the freedom and the money. Moms and dads don't have bed times; they can watch what they want on television; they can eat what they want; they can buy what they want. Pee-wee, quite simply, has it all. He somehow, magically, enjoys the benefits only money can buy, but doesn't suffer the hardships of a boring job. He has all the freedoms of an adult, and all the energy of a ten year old at summer camp; neither Youth nor wealth is wasted here. However, most of all, he has a heart unphased by the cynical, modern, world. He is the ultimate romantic and an incredible dreamer. He sees the good in all people, and follows his heart's desires. He also has an extraordinary self-esteem, and doesn't give a flying rip about what anyone thinks.
The story, written by Paul Reubens and the late Phil Hartman, is simple and expertly crafted. The theft of Pee-wee's most-excellent bike is a wonderful catalyst to trigger such an exciting and personal adventure. I remember when I was young and my own bike was stolen. To have been able to go all James Bond, all top-secret'n stuff, and track down the dirty thieves who snagged it would have been awesome. Again, the film expertly taps into a certain childhood fantasy. As a kid, when my bike was stolen, I lacked the necessary funds and means to be able to track it down. On top of this, my parents sure as hell wouldn't let me, and I still had to go to school and do my stupid homework and lame chores. Life is unfair.
However, Pee-wee is not shackled by such trivial matters! At the drop of a shrunken or giant head and a boomerang bow-tie, he's off to find his bike and bring his baby back home. Along the way, Pee-wee meets a host of interesting characters, and befriends even the scariest of individuals. Pee-wee has the vision of a child unaffected by prejudice and bigotry. Everyone he meets is a potential friend, regardless of socio-economic status, gender, nationality, or criminal status. He also visits a ton of awesome places on his journey. Places like the Alamo in Texas, some giant dinosaurs in the desert, and a Hollywood movie studio where a kick-ass Godzilla film is being made. Each place he visits could easily be found on any child's checklist of awesome places to visit.
Adding to the overall senses of mirth and quirk is Danny Elfman's illustrious score. Both Elfman and Burton made their feature film debuts with Pee-wee, and both struck creative-gold. While Elfman would go on to compose scores for dozens of more films, on Pee-wee he achieved something quite amazing - his music shares a perfect symbiotic relationship with the film's visuals. Together, the sights and sounds of the film combine to create a kaleidoscopic carnival of eerie delight. Like a strange and fantastic circus side-show that is both entertaining, and kind of creepy, Burton and Elfman, together, create a film that is fun and strangely haunting. Again, the film taps into a child-like realm of creative verve as it preys upon the desire children have to be grossed out, a little scared, and entertained, all at the same time.
Pee-wee's Big Adventure is simply a grand and glorious comedy. It is the ultimate road movie made for the child found in everyone. Pee-wee's journey on the twisted highways of America, through strange places brimming with curiosities, into the hearts and lives of everyone he meets is expertly captured by Tim Burton, a young director experimenting with cinema as a way to tell a totally fantastic story. While Burton would go on to make more technically accomplished films, none of his subsequent films possess the same kind of unhinged creative energy of his first.
