It was 1986. Jim Henson was already the king of the Muppets, but he wanted something darker. Something... medieval but with hairspray? Honestly, that is the only way to describe the birth of the Goblin King Labyrinth, a fever dream of practical effects, Escher-style architecture, and David Bowie’s legendary screen presence. People didn't get it at first. The movie actually flopped at the box office, making only $12.9 million against a $25 million budget. Critics were confused. They saw a weird puppet movie with a rock star in spandex and didn't know where to put it.
But then the VHS era happened.
Suddenly, every kid who felt like an outsider or wanted to wish their annoying baby brother away found a home in that sprawling, shifting maze. The Goblin King Labyrinth isn't just a movie set; it’s a psychological landscape. It’s about the messy transition from childhood to adulthood. You’ve got Sarah, played by a very young Jennifer Connelly, who is basically all of us—clinging to toys while facing the terrifying reality that time is running out.
The Architecture of the Goblin King Labyrinth: More Than Just Hedges
When you think of the Goblin King Labyrinth, you probably picture those endless stone walls and the "Ouch" of the False Alarms. But look closer. The design was heavily influenced by the conceptual artist Brian Froud. He didn't want a clean, Disney-style castle. He wanted dirt. He wanted moss. He wanted creatures that looked like they grew out of the ground.
Most people don't realize how much of the Labyrinth was a physical, tangible space. We’re talking about massive soundstages at Elstree Studios in London. There was no CGI to save them back then. If Sarah had to fall into a pit of "Helping Hands," those were actual human hands. Over 100 performers were stuffed into a rig, wearing latex gloves, grabbing at Jennifer Connelly. It’s tactile. It’s gross. It’s perfect.
The maze itself is a series of tests. It starts with the "Stone World," which feels infinite and boring—much like being a teenager. Then it shifts into the "Brick World," where the rules change. You have the Bog of Eternal Stench, which used a combination of mineral oil and sulfur to get that look (and apparently, the smell on set was genuinely wretched). Finally, you reach the City of Goblins.
Why the M.C. Escher Room Broke Everyone's Brain
The climax happens in a room based on Escher’s "Relativity" print. This is the heart of the Goblin King Labyrinth. It’s a physical manifestation of Jareth’s power. Gravity doesn't work. Up is down. Left is nowhere. To film this, the crew built a massive rotating set. Bowie and the stunt doubles had to be strapped in while the entire room spun.
There's a specific shot where Jareth walks "underneath" a bridge while Sarah is "above" it. That wasn't a trick of the lens. It was a masterpiece of perspective and carpentry. It represents the moment Sarah finally understands that her perspective is the only thing that matters. "You have no power over me" isn't just a cool line. It's the solution to the maze.
David Bowie wasn't the first choice (but he was the only choice)
Can you imagine anyone else as the Goblin King? Because the production team did. Before Bowie signed on, they were looking at Michael Jackson and Sting. Seriously. Mick Jagger was even in the mix for a minute.
Jim Henson eventually realized he needed someone with a "dangerous" edge who could also be weirdly paternal and theatrical. Bowie brought his own wardrobe ideas, his own charisma, and those crystal balls.
Wait. Those crystal balls?
Bowie didn't actually do those tricks. That was Michael Moschen, a world-class contact juggler. Moschen was literally crouched behind Bowie, sticking his arms through Bowie’s armpits to perform those moves blindly. If you watch the movie again, look at how still Bowie’s head stays while his "hands" are doing impossible things. It’s a bizarre, beautiful bit of physical choreography that adds to the otherworldly vibe of the Goblin King Labyrinth.
The Real-World Legacy and Why We Still Care
We live in a world of flat, digital backgrounds now. Everything is green screen. That’s why the Goblin King Labyrinth feels so heavy and real when you watch it today. You can feel the weight of the puppets. When Hoggle moves, you know there’s Shari Weiser inside that suit and a team of radio-control operators moving his face.
The film explores themes that most "kids' movies" are too scared to touch:
- The loss of innocence: Sarah’s room at the beginning is full of junk, but by the end, she realizes she has to let it go.
- Gaslighting: Jareth spends the whole movie telling Sarah he's doing her a favor. "I've reordered time, I've turned the world upside down, and I've done it all for you." That’s classic manipulator behavior.
- Fairness: The Labyrinth is unfair. The doors lie. The paths change. Life is unfair. Henson was trying to tell us that.
The Goblin King Labyrinth has birthed a massive subculture. There’s the Labyrinth Masquerade Ball in Los Angeles, which has been running for decades. People spend thousands of dollars on costumes just to live in that world for a night. There are graphic novels, sequels in book form, and endless theories about whether Hoggle is actually a representation of Sarah’s father or just a grumpy dwarf who likes jewelry.
👉 See also: Peabo Bryson and Roberta Flack: What Really Happened with the 80s' Greatest Duet
Moving Beyond the Screen
If you’re looking to dive deeper into the lore of the Goblin King Labyrinth, you shouldn't just stop at the movie.
- Check out the Brian Froud concept art books. They show the "discarded" parts of the maze that were too expensive or weird to film.
- Listen to the soundtrack on vinyl. Bowie wrote five original songs for the film, and "Underground" is legitimately one of the best things he did in the 80s.
- Visit the Center for Puppetry Arts in Atlanta. They house many of the original puppets from the film, including Ludo and some of the Fireys. Seeing them in person is a reminder of how small and fragile these "monsters" actually are.
The Goblin King Labyrinth reminds us that the way out isn't always a straight line. Sometimes you have to go through a hole in a wall that isn't really there. Sometimes you have to ignore a talking worm. And sometimes, you just have to realize that the person holding the keys only has as much power as you give them.
Practical Next Steps for Fans and Researchers
👉 See also: Regal Broward & RPX: Why This Plantation Movie Theater Still Draws a Crowd
If you want to experience the Labyrinth today, start by tracking down the 35th Anniversary 4K Ultra HD release. It includes the "Henson’s Place" documentary, which gives the best look at the actual construction of the sets. For those interested in the artistic side, look for the "The Ultimate Visual History" book by Paula M. Block—it's the definitive record of the production. Finally, if you're a gamer, there's a tabletop RPG by River Horse that uses a clever "book-as-the-board" mechanic to simulate the shifting nature of the maze. It's the closest you can get to being trapped in the 13th hour without actually losing your baby brother.