A big part of the appeal of The Dark Crystal and Labyrinth – aside from the fact that they’re genuinely creative fantasy movies which cut the bullshit and just get on with their plots and demonstrate the genius of Jim Henson and his workshop collaborators in their capacity to make puppets and costumes which seem genuinely alive – is their aesthetic. In both cases, the movies have a cohesive look which is clearly the work of a singular vision and in The Dark Crystal in particular gives the impression of a world with a deep history and ecosystem which we only brush the surface of.
Brian Froud is, famously, the man we have to thank for that, which makes me wonder: what would Jim Henson have produced had he instead decided to call on the talents of some other in-vogue British fantasy artist of the era? Let’s have a play and find out, for each artist proposing one movie in the Dark Crystal slot, one in the Labyrinth slot. The Dark Crystal slot is for a movie steeped in a well-realised secondary world with no apparent connection to Earth after all and a deep lore and backstory implied; the Labyrinth slot is for a movie about someone from our world having a little adventure in a world inspired by the artist in question’s work in which they come away with an appreciation of both the power of imagination and the necessity to harness it purposefully rather than wallowing in daydream or something like that, with a musical score provided by a musician popular in the 1980s who also plays a role in the film.