The saying goes that some films occupy a revered space in culture, and many enthusiasts consider the 1986 movie Labyrinth, directed by Jim Henson and featuring the iconic David Bowie, as one of those cinematic treasures. Nevertheless, Hollywood has a tendency to challenge such notions. So, prepare yourself: a Labyrinth sequel is officially in the pipeline!
This announcement may evoke some understandable concerns. With the passing of Jim Henson in 1990 and David Bowie in 2016, fans might wonder how a sequel can capture the spirit of the original. However, TriStar Pictures is adamant about proceeding with this project. They have enlisted Robert Eggers, known for his work on Nosferatu, The Lighthouse, and The Witch, to both write and direct the film.
Given Eggers’ reputation as a prominent voice in modern horror cinema, questions arise: Are we perhaps misremembering Labyrinth? Can we classify it as a horror film? Or are we mistakenly blending it with Pan’s Labyrinth again?
Rest assured, we are not confusing the two films. Labyrinth is fundamentally a fantasy musical, offering a sprinkle of “spookiness”rather than genuine horror. Yet, this leads to the critical question: why pursue a sequel to a film that debuted forty years ago?
Should We Let a Classic Rest?
TriStar Pictures has been attempting to develop a sequel to Labyrinth since at least 2017, entering what can only be described as pre-production purgatory. The first director involved, Fede Álvarez, known for his work on Evil Dead (2013) and Alien: Romulus, once claimed to have a complete draft of the script by 2018. Following Álvarez, Scott Derrickson, recognized for Doctor Strange and The Black Phone, was attached to the project in 2020.
Both directors have faced creative clashes with the studio concerning script direction and overall tone, which may explain their tenure ending prematurely. Now, with Eggers stepping in to completely restart the script-writing process, one must ponder what criteria TriStar has in mind for this new rendition. Given Eggers’ proficiency in crafting atmospheres steeped in horror, he may not be aligned with the whimsical essence that characterized Henson’s original vision.
While the idea of an Eggers-directed Labyrinth could provide a fresh take, it would undoubtedly contrast sharply with the beloved classic. For this venture to resonate, TriStar needs to grant Eggers the creative freedom to pursue an authentic vision. Unfortunately, past experiences suggest that studio interference might impede this aim. Compounding these challenges is the formidable task of replacing Bowie, as Jennifer Connelly could reprise her role but finding someone to embody the Goblin King is a weighty responsibility.
With nearly eight years of disputes behind the production, it raises significant concerns about the feasibility of a sequel. These ongoing conflicts may hint that Labyrinth was never truly meant to continue beyond its original narrative. Additionally, as terms like “sequel fatigue” gain traction in cultural discussions, perhaps it’s time we reconsider whether classics should remain untouched.
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