
In Cult Of Criterion, The A.V. Club highlights a new release from The Criterion Collection each month, examining the films entering an increasingly accessible film canon.
Capturing what it means to be a child doesn’t just mean blaring a zippy soundtrack over some fast-paced antics. Being a kid isn’t just about goofy energy, or naivety, or wonder. Petulance and rage simmer under the silliness, the emotional consequences to a self-involved young person’s friction with the established ways of the world. Every wide-eyed moment of discovery is matched by a narrow-eyed moment of disdain. It’s this balance of whimsy and snot, of gleeful mania and furious hysteria, of Bugs Bunny and Daffy Duck, that makes Pee-wee Herman such a perfect grown child—and makes Pee-wee’s Big Adventure such a perfect idea for the kind of journey he might dream up.
By the time Paul Reubens gave 26-year-old filmmaker Tim Burton his big break with Pee-wee’s Big Adventure, his character Pee-wee Herman had already become a comedy fixture through Reubens’ stage show, HBO special, and talk-show drop-ins. He was on The Dating Game three times! But it took Burton’s Disney-trained, Disney-rejected sensibility to fully bring Pee-wee’s world to life—and to encourage the edgy streak that pushed Big Adventure away from Reubens’ planned remake of Pollyanna. After working on The Fox And The Hound and The Black Cauldron, Burton had made a few of his own live-action shorts, pouring his fully formed, Hot Topic-defining aesthetic into a Disney Channel version of Hansel And Gretel and the project that got him fired from Disney: Frankenweenie.
The latter is what caught Reubens’ eye, despite the former’s Witch living in what looks like an evil version of Pee-wee’s Playhouse. But all of Burton’s early projects proved that their sensibilities were aligned—they wanted to play in the gray area between kid and adult, between safety and danger, between camp and sincerity, between cutting-edge hip and retro uncool.


