Charlie And The Chocolate Factory

Wonka’s Factory is presented as a place of magic and wonder. Particularly for the Buckets, life outside the factory is difficult—typified by cold, hunger, and struggle. In the factory, all real and practical things cease to matter, replaced by unreal and incredible sights, by delicious tastes and smells. The surreal nature of the factory is typified by the underground Chocolate Room, where an enormous meadow and river of candy and chocolate leave the gathered tour “staggered,” “dumbfounded,” “bewildered,” and “dazzled” (64). “‘Isn’t it wonderful!’ whispered Charlie,” illustrating the stunning beauty of their surroundings (66).

The factory is presented as unrealistically extensive, which is part of its magical charm. The glass elevator is filled with buttons which denote every room in the factory; the grand scale of the factory is revealed when Charlie observes that “there were buttons everywhere!” (119). This would indicate up to 5,000 rooms, including rooms as fantastical as “Fizzy Lemonade Swimming Pools” and a room of “coconut ice skating rinks” (120). These two rooms in particular indicate that despite their sweets-related themes, there is a level of utility at play; not all of the rooms are necessarily for eating and inventing new candies and chocolates. Which makes sense, considering the factory is a home to Mr. Willy Wonka, the Oompa-Loompas, and by the end of the novel, the Bucket Family.

Yet, the factory’s operation does not seem to be limited by the rules of science or practicality. Mr. Wonka’s boat is made of “pink boiled-sweet” (81); a team of squirrels shell and sort walnuts, and chocolate bars can be transported via television. The factory’s unrealistic features are what make it so appealing to Dahl’s intended audience of children; it is a dream-like space.

In general, Dahl utilizes exaggeration for the sake of making his stories fun—but also to illustrate his themes from an artistic distance. The same mentality applies to his use of magic and wonder. In Dahl’s later fantasy children’s novel Matilda (1988), he uses magic to both “soften” the reality of his protagonist’s neglect by her family (so as to not disturb young readers) and empower her in creating a better life for herself. In Charlie and the Chocolate Factory, he frames the magical, wonderful factory as a welcome escape and well-earned reward for the impoverished Charlie and his family.