The eighties were a golden era of specific, idiosyncratic fantasy films. While they lacked the epic scale and depth of The Lord of the Rings trilogy, they offered unique charm and creativity, and most importantly, personality. Among these, Willow stands out as an oddity: darker than Labyrinth, more coherent than Legend, and less niche than Krull. Though it may not be as iconic as Dragonslayer, Willow deserves far more credit than its reputation suggests.
What marks Willow out from its peers is the protagonist’s humble origins. Willow Ufgood (Warwick Davis) isn’t a warrior, or a prince. He’s a wannabe sorcerer, and not a very good one. Davis is the real star of this film, and he is genuinely great in it, infusing the character with warmth and pathos. In truth his likability is the key reason the film endures, grounding its fantastical elements in real emotion.
In a story choice that wouldn’t be acceptable today, Willow is a Nelwyn (shorthand for a dwarf) who discovers a baby adrift in a river. Unbeknownst to him, this child is central to a prophecy (of course there’s a prophecy) foretelling the downfall of evil Queen Bavmorda (Jean Marsh) whose forces are relentlessly searching the realm for the baby. Willow sets out to deliver the baby to the sorceress Fin Raziel (Patricia Hayes), with the reluctant help of roguish mercenary Madmartigan (Val Kilmer).
While the premise isn’t exactly ground-breaking—the Nelwyns resemble Hobbits, Madmartigan channels Han Solo, and James Horner’s rousing score bears more than a passing resemblance to John Williams’ work on Indiana Jones —it works as a patchwork of familiar fantasy tropes. Much like George Lucas, who conceived the story, borrowed from Flash Gordon and samurai films for Star Wars, director Ron Howard draws from classic fantasy storytelling. The result is a pastiche that, while derivative, remains compelling thanks to its worldbuilding and earnest tone.
On the positive side, Jean Marsh is terrifying as Queen Bavmorda, and quite a unique presence as far as fantasy villains go. Wrapped in bandages, she oozes malevolence and feels like a genuine threat. Her chief henchman, General Kael (Pat Roach) certainly looks the part, with a terrifying skull helm, but suffers from thin characterisation. Roach is an imposing presence, but Darth Vader he is not.
Val Kilmer clearly enjoys shedding his clean-cut image to play the roguish Madmartigan, diving into the role with gusto. His combative camaraderie with Airk (Gavan O’Herlihy), the commander of the “good” forces, adds texture without requiring much exposition. Unfortunately, Joanne Whalley’s Sorsha, Bavmorda’s daughter and Madmartigan’s love interest, is underserved by the script. She is great in the role, but her abrupt shift in allegiance and romance feel underdeveloped, robbing what should be pivotal moments of their emotional weight.
Despite its flaws, Willow compensates with a dark edge rarely seen in children’s fantasy today. The trolls are memorably nasty, and their fate—gruesomely transformed by Willow’s malfunctioning wand—is stomach-churning. Similarly, Bavmorda’s spell to turn an army into pigs dips into body horror, making an unsettling impression on young viewers. These moments give the film a nastiness that elevates the stakes and lingers long after the credits roll.
Howard’s commitment to the genre shines through, creating a fully realized world with genuine stakes and adventure. Structurally, the film benefits from solid pacing and a climax that cleverly subverts conventional fantasy resolutions.
The special effects, ground-breaking for their time, still hold up remarkably well, with clever cinematography masking any dated elements. This 4K release largely improves on the look of these effects, although in some places they are unfortunately exacerbated a little due to the higher resolution.
Yes, Willow can be cheesy, but it’s a film greater than the sum of its parts. We can pick holes in the plot and characterisation, but its charm, heart, and swashbuckling tone more than make up for its derivative nature and occasional missteps. Willow is well worth revisiting, and remains an enduring entry in the pantheon of fantasy cinema.
Special features include:
- Audio Commentary with Warwick Davis
- Deleted scenes
- The Making Of An Adventure – Interview with Ron Howard
- From Morf To Morphing – with Dennis Muren
- Video diary of Warwick Davis
Willow is out now on Blu-ray & 4K Ultra HD
