There was always going to be a certain degree of Americanization when Netflix acquired the rights to the Roald Dahl Story Company. However, with their latest adaptation, The Twits, they've taken that trend to the extreme, turning a beloved children's classic into a not-so-subtle political commentary on the current US administration, which will undoubtedly leave a bad taste in the mouths of many viewers.
As far as adaptations go, The Twits was always going to be a challenge. The original novel is only 95 pages long, which gave director Phil Johnston, known for co-writing Wreck-It Ralph and co-directing Ralph Breaks the Internet, along with co-writer Meg Favreau, plenty of freedom to expand the story. Unfortunately, a number of baffling creative decisions make this version feel more like a disrespect to the source material than a celebration of it.
Directors: Todd Demong, Phil Johnston, Katie Shanahan
Writers: Phil Johnston, Meg Favreau, Roald Dahl
Stars: Johnny Vegas, Margo Martindale, Emilia Clarke
From the very first act, the film leans heavily into the political messaging, ensuring that the Twits are compared to the current US administration. While there are clear similarities, taking an iconic tale from one of the world's most famous authors and transforming it into a modern political satire doesn't feel right, nor does it feel like a fair way to bring the story to life.
The film relocates the action to the fictional town of Triperot, where Mrs. Twit (Margo Martindale), inexplicably reinvented as a Texan in denim cowboy boots, and her husband, Mr. Twit (Johnny Vegas), who retains his thick Lancashire accent, run a makeshift amusement park called Twitland. The park is powered by the tears of magical Muggle-Wump monkeys, voiced by Natalie Portman and Timothy Simons. When the authorities shut down Twitland for health and safety reasons, the couple declares war on the town, setting the chaotic story in motion.
As if that premise wasn't strange enough, the park's closure attracts the attention of two orphans, Beesha (Maitreyi Ramakrishnan) and Busby (Ryan Anderson Lopez), who discover the imprisoned monkeys and their energy-producing tears. The creatures are freed, triggering a frantic chase as the Twits seek revenge.
Traditionally, the Twits are despised by everyone in their town, a sentiment they happily reciprocate. Here, however, the filmmakers make the bizarre decision to have the couple run for mayor after being released from prison by the local citizens. The Twits make a series of outlandish promises to win votes at a local rally, which, once again, could be interpreted as a clear allusion to the current administration. Unsurprisingly, the townspeople support them and turn against the orphans to recapture the Muggle-Wumps, despite the Twits' long history of vile and illegal acts.
Perhaps even more unfortunate, the rest of the film, after that politically charged first half, becomes far more predictable, focusing on the orphans as they try to defeat their grotesque adversaries. The pace slows considerably, and what begins as a sharp, albeit somewhat heavy-handed, political critique transforms into a conventional adventure. The film trudges slowly toward an ending that feels inevitable from the start.
Topical narratives certainly have their place, and addressing political issues through fiction can be powerful when done well. Censorship and the restriction of free speech in the United States are legitimate problems that deserve to be explored in different mediums. However, using a Roald Dahl classic as a vehicle for these ideas seems ill-advised, particularly given the cultural heritage and timelessness of his stories.
The adaptation of The Twits will undoubtedly attract attention from audiences browsing new Netflix releases. The discussion surrounding its message will likely prove more interesting than the film itself. But for fans of Dahl's original novel, this version feels so far removed from the source material that it offers little enjoyment.
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