One of the many residual effects of the massive success of the Star Wars trilogy was the boom of fantasy films that arrived in theaters in the mid-1980s. Movies such as Legend, Masters of the Universe, The NeverEnding Story, The Princess Bride, and others were all released within the span of a couple of years, and each to some degree featured sprawling sets, evocative atmospheres, and extensive use of prosthetics and puppets. These elements were staples of George Lucas’s storytelling, a quality that proved to be a strong companion to the Star Wars films’ grand visual and narrative design. It wasn’t long after the trilogy had wrapped that even Lucas himself had dipped into the bankable commercial lore of fantasy moviemaking when he produced Jim Henson’s 1986 film Labyrinth. His own contribution to the subgenre followed two years later at a time when fantasy appeared on the decline. With an original story by Lucas, Willow was met with widespread ambivalence upon its release. Retrospectively, however, the film’s graceless hybrid of Star Wars-style mythmaking and leftovers from the short-lived fantasy period in commercial cinema that Lucas inspired offers a pointed reflection and portrait of the filmmaker that has grown more compelling as the full trajectory of Lucas’s career has emerged in view.
Of course, Lucas didn’t direct Willow (we’ll get to that later), but the film bears his authorial stamp almost immediately at the outset. In fact, you don’t even need to see the trademark Lucasfilm logo to sense the filmmaker’s touch. The setting and storytelling influences may diverge from those of Star Wars, but the same propensity for merging age-old legends is evident. Instead of drawing from Joseph Campbell and Akira Kurosawa, Lucas and screenwriter Bob Dolman fold elements of the Grimm brothers and J.R.R. Tolkien into a nakedly bibilical framework. Take the prologue: Willow opens on the evil Queen Bavmorda (Jean Marsh), who orders the slaughter of all newborns for fear of a prophecy predicting the usurping of her power. But the blatant bibilical allusion doesn’t end there. Lucas and Dolman also add a dash of Moses for good measure, when a baby born in secret is placed into a basket and floated down a river. Then, after the baby is discovered by Hobbit-esque folk called Nelwyns, Willow shifts into Star Wars mode, slowing down to allow the larger world to develop.