Jim Hensen’s “The Dark Crystal” Essay

With its animatronics technology, Jim Hensons 1982 film, The benighted Crystal, in both form and theme depicts key elements of David Leemings exposition of the champ apologues rites of passage in The World of altogetheregory An Anthology. As in Leemings rites of passage, in this film the protagonists mavenic experiences lead him to wholeness and full individuation (220). At the pro forma level, by concealing puppet strings, providing puppets with exceptionally life-like and fluid motions, and creating convincingly zippy puppets, Hensons detail-rich and realistic animatronics technology allows his puppet-hero, Jen, to grow both beyond his filmic yield figure, urSu, as well as beyond the confining puppet strings of the traditional puppet master. Thematically, too, Jen experiences the rites of universe innate(p) when . . . needed (218), of organism called to adventure (219), and of being faced with trials and danger (219), that Leeming discusses as making up the passage into individuation.As Leeming describes, heroes are born when the need for them arises this usually happens during a mysterious point in time in the cultures history (218). In The Dark Crystal, Jen, who belongs to a nearly extinct race known as Gelflings, is born after(prenominal) the Crystal is cracked and a shard of it is lost. As with Leemings deplorable period, the heretoforets initiated by the crystals shattering mark the end of a period of light here the thousand years of the green and rightness of the land once maintained by the Crystal become unfairness and ugliness once the crystal is shattered. This dark period is also label by the claiming of the land by the cruel and evil race of Skeksis. reservation this period of the heros emergence in the film even darker, the Skeksis, in their attempt to avoid fulfillment of the prophecy that a Gelfling would remove them, begin to kill all of the Gelflings. Ushering in Jens position as the hero who is called, the Skeksis kill his family. Sole survivor from his family, Jen is kept safe by a race of gentle mystics, known as the urRu. This trajectory of birth, threat, and protective cover like wise to(p) follows Leemings description of the story line of the hero myth because, wherein a further dimension is added by the threat to the young heros life (218-19).Also like the traditional hero myth, Jensons film traces the experience of the heros call to adventure. In this case, typifying the wise old manarchetype (219) Leeming discusses, Jens mystic master, urSu, sends Jen to find the scatty crystal shard and heal the Dark Crystal. As he impart wonder throughout the film, Jen responds to his dying masters assignment by asking, How can I? Im only a Gelfling. In his anxiety and near refusal to find the shard, Jen represents an different element of Leemings description of the heros experiences it the pursual usually begins with a call to adventure. . . . Often the hero refuses the summons. We all resist radical change, and the hero. . . is no exception. Who am I to work out such a task (219). As Leeming indicates, this initial refusal of the adventure is meant to try the heros lack of wisdom, confidence, or, individuation the hero is not up to now a whole, individuated, wiser and more confident adult. Jen decides to go on his quest out-of-door of the valley of the mystics after his master dies.Additionally, Leeming explains that the heros quest is attach by many trials and remainations with evil monsters (219). While Jen never actually has to commove or destroy any monsters in order to complete his questthe common expectation for heroic behaviorhe does fit Leemings definition in his regular escapes from a range of threats, especially the Garthim, beetle-like creatures programmed by the Skeksis to seek out and destroy all Gelflings. Whereas Jen does not actually confront the Garthim, he is much face to face with them before he turns to scarper for his life. Also, when he does come face to face with the Skeksis, it is not until he is somewhat to destroy them by returning the shard to its place in the dark crystal. Leeming goes on to explain that the monsters are balanced by reservoirs of strength. Heroes are often guided by a spirit who takes the form of a poof godmother, a wise old man, or a wise fool. (219). Jen begins his journey alone, but, as the hero myth tradition dictates, he encounters many other beings that alleviate him on his way.Aughra, a wise, witch-like woman who is said to be born from the rocks and trees before time began, in order that they might have an look with which to see the world. Aughra gives Jen the crystal shard that he is in search of. She also, before saving him from an attack by the Garthim, gives him the insight he needs to sustain how important the successful completion of his journey is. Finally, Jen is given an additional source of strength by another surviving Gelfling named Kira. She is joined by adog-like creature named Fizgig, his antics and heroics in the film could place him in the role that Leeming refers to as the wise fool. Kiras qualification to communicate with and receive help from the animals in the story, her tendency to trust her intuition, and her harmonious relationship with the natural environment, all play a pinnacle role in Jens ability to complete his journey.Ultimately, with these rites of being born in a time of need, of being called to adventure, and of experiencing great trials, as well as with the animatronics technology, Hensons Jen, like Gepettos famous puppet, Pinocchio, experiences the process of individuation, becoming both whole and (almost) wholly human.