Edward Scissorhands (1990)

 

Could this very well be the most quintessential Tim Burton out there?

Yes, it bloody well might. 

Not to knock a lot of his other work. I mean, 'Beetlejuice' is great, 'Sleepy Hollow' suitably gothic and then there's 'Batman' of course, but this is the one where Burton's quirks come to fruition the best. 

Near a suburban American town that is - when you think about it - creepily mediocre in every way -  stands a massive mansion on top of a hill, home to an aged inventor. When a plucky Avon consultant named Peg strikes out with the neighbours, she decides to head up there and see if there's still someone around. She discovers Edward, a shy young man who was actually invented by the old man who has since passed away and Edward has been alone all this time. He also isn't finished, as he does not have actual hands but scissors and blades. 

Peg takes an immediate liking to the boy and takes him home, hoping to give him something akin to family. The neighbours all flock to Edward, as he is a curiosity in their incredibly boring lives. You know: novelty. 

You also know this will wear off sooner rather than later. 

Things look up at first, as Edward is incredibly kind and creates inventive and beautiful hedgework (animals and the like) and even gives most of the ladies flashy new haircuts, but then when people tire of him, things go south rapidly. It doesn't help that he falls in love with Peg's daughter and her jock boyfriend is none too pleased about this... 

Yes, this is all about the outsider, something that Burton has always done. Edward is the kindest and best person around, but because he doesn't fit in into the regular world which is bland, curiosity and adoration soon turns into hatred, as he simply is too different and too pure for the world. You know this is coming yet it always hits like a ton of bricks, as Burton expertly builds up to this final act. 

The visuals make it all doubly appealing. There's Edward and his mansion that are suitably gothic in every way. Not kidding: too many goth kids dressed/dress up as spitting images of Edward. Then there's the boring suburban setting. All the houses are pastel-coloured, as are their clothes and cars. All husbands leave for the same type of work at the same time every day and the ladies do nothing except gossip and hang around. It truly is every cliché of 1950s America to a T and it is a brilliant and biting look at the mundane society that thinks it's special, yet balks at the idea that something or someone truly special should enter this safe world. 

Because most people here are slightly exaggerated versions of real humans, it's satire and bite hits harder, because funnily enough everyone knows someone that is exactly like the portrayals here. Peg means well, but doesn't make right decisions; the religious neighbour is an absolute zealot to whom people eventually turn when they tire of Edward; the nosy/horny neighbour doesn't get her way and is at heart a real bitch; ... It just keeps on going with stereotypes that work. 

Being a fairytale of sorts, there is a lot of beauty to be found and Danny Elfman's ethereal score helps a great deal in achieving this goal, but being a Burton film, the end is not what one would expect. No "Happily ever after", yet something a lot more poignant. 

'Edward Scissorhands' is great. But have handkerchiefs at the ready.