Ian MacDonald December 2011

Charlie and the Chocolate Factory: Insights

of a Transactional Analyst

Ian MacDonald November 2011

- 2 -

Foreword

This rather unusual paper was written as a requirement for a course on Cinema and

Media Genres, completed during my PhD studies in Communication at Eötvös

Loránd University1, Budapest. I acknowledge the help and assistance of Dr. Tibor

Hirsch in formulating some of the ideas contained in this paper.

Readers who are interested in the application of Eric Berne‟s theory of transactional

analysis to the fear that presenters often experience before and whilst presenting

may jump ahead to the postscript on page 10 and 11. There they will find a short

discussion of that idea.

Introduction

There is such a striking resonance between the theory and practice of Eric Berne‟s

transactional analysis and some of the ideas embodied in Ronald Dahl‟s novel,

Charlie and the Chocolate Factory, that it is highly tempting to conclude that there is

a definite connection. In this paper, such a „connection‟ will be considered from

different perspectives. In particular, the paper will reflect on the possibility that Dahl

was influenced by the work of Berne and either deliberately or subconsciously,

portrayed some of his ideas in the aforementioned novel. It should be noted here

that, to the best of this author‟s knowledge, in contrast to Mel Stuart‟s musical, Willy

Wonka & the Chocolate Factory and despite expanding on Willie Wonka‟s family

background, Tim Burton‟s 2004 film adaptation is considered to be a reasonably

honest representation of the novel (Salisbury and Burton, 2006). An alternative

hypothesis for the apparent connection between Dahl‟s novel and Berne‟s work will

also be explored; namely that the theories and ideas that are central to transactional

analysis are so universal, that most situations which explore issues pertaining to

relationships between children, adults and parents will convey an impression that Eric

Berne had some hand in writing the „script‟.

1 Faculty of Humanities - Film, Media and Culture

Ian MacDonald November 2011

- 3 -

Background and Analysis

Charlie and the Chocolate Factory (Dahl, 1964) was published in 1964, the same

year in which Berne‟s, Games People Play (Berne, 1964) was printed and became

an instant best seller, ultimately spending more than two years on the New York

Times bestseller list. Games People Play was the follow-up to Transactional Analysis

in Psychotherapy (Berne, 1961). The latter is rather dense and written for

professional practitioners, whilst the former is written in more accessible language.

This perhaps explains why it crossed over to the mainstream public. Although the

precise publication dates are unknown (at least to this author) it is not inconceivable

that Dahl could have read Games People Play either before or whist writing Charlie

and the Chocolate Factory. What „evidence‟ would support such a possibility?

“Charlie and the Chocolate Factory” is considered a somewhat unusual work in the

Dahl literary cannon because the antagonists are children rather than adults or

monsters. However, this may be explained by Dahl‟s childhood experiences. Dahl,

writes that whilst studying as a child at Repton, an English boarding school, the boys

would occasionally receive sample products from the chocolate manufacturer

Cadbury (Dahl, 1984). Apparently the task of providing feedback to the company was

taken very seriously, which is understandable given the promise of future samples. It

was Dahl‟s related dreams of working in Cadbury‟s product development department

that provided the inspiration for his novel. That said, Dahl‟s experience of English

boarding schools like Repton was for the most part deeply disturbing and he writes at

length about the harsh treatment that was dished out to young boys by both the

school‟s teachers and the elder students and prefects (Dahl, 1984). It may therefore

be reasonable in that context to see why the antagonists in the novel are children.

Furthermore, the behaviour of Wonka throughout the novel, and Burton‟s film

adaptation, may reflect Dahl‟s experience at the hands of abusive students and

school masters. In this case, using Berne‟s terminology, it can be argued that this

experience might represent the protocol for the script (Berne, 1961, p. 116: 126,) that

Ian MacDonald November 2011

- 4 -

Willy Wonka plays out, in particular the subjecting of the errant children to severe

punishments.

In Games People Play (1964) and Transactional Analysis (1961), Berne distinguishes

between rituals, pastimes, games and the scripts to which I have referred above.

Berne suggests that rituals are the equivalent of the manners many parents teach

their children whilst pastimes and games are means of passing time. Berne tells us

that one of the more popular versions of pastime is PTA (an abbreviation for Parent-

Teacher Association). In most cases this involves discussion of delinquent juveniles

but can also refer to delinquent husbands, wives, tradesmen, authorities or

celebrities. Is it coincidence that a glaring example of PTA features in Charlie and the

Chocolate Factory? During the following scene we can see Mr Teavee‟s attempt to

engage a television reporter in PTA concerning – his son – Mike‟s delinquent

behaviour:

Man on TV: But wait, this is just in. The fourth golden ticket has been found by a boy called Mike Teavee. Mike: All you had to do was track the manufacturing dates, offset by the weather and the derivative of the Nikkei Index. A retard could figure it out. Mr Teavee: Most of the time I don‟t know what he‟s talking about. You know, kids these days, what with all the technology. . . Mike: Die! Die! Die! Mr Teavee: Doesn‟t seem like they stay kids very long. Mike: In the end, I only had to buy one candy bar.

From the script of Charlie and the Chocolate Factory (2005)

Transactional Analysis is deeply concerned with ego states – Child, Adult and

Parent – and the degree to which individuals assume appropriate ego states in

specific situations. We may therefore use the tools of transactional analysis to

examine various characters in Charlie and the Chocolate Factory. If Dahl had

been influenced by the Games People Play, he could have constructed the

characters and their roles using those same tools. If this were the case, we

Ian MacDonald November 2011

- 5 -

should expect to find some evidence in the script and the roles that are played.

This of course is almost impossible to prove but there are some very

interesting contrasts that run throughout the novel and Tim Burton‟s film

adaptation. Let‟s look at some examples, starting with the contrast in the

behaviours of Charlie Bucket‟s Grandpas, Joe and George. On one hand we

have the wise and considerate Grandpa Joe who is consistently objective and

well-meaning and is clearly the role model of Charlie – Grandpa Joe is

predominantly adult throughout. On the other hand we have Grandpa George

who whilst well-meaning, and undoubtedly supportive of Charlie, exudes

pessimism and is in this author‟s opinion mainly in a parent mode, and one

who is invariably addressing a child:

Grandpa George: Balderdash. The kids who‟re going to find the golden tickets are the ones who can afford to buy candy bars every day. Our Charlie gets only one a year. He doesn‟t have a chance. Grandma Josephine: Everyone has a chance, Charlie. Grandpa George: Mark my words, the kid who finds the first ticket will be fat, fat, fat.

_______________________ Grandpa George: [commenting on Augustus Gloop] Told you it‟d be a porker.

_______________________ Grandpa George: [commenting on Veruca Salt] She‟s even worse than the fat boy. Charlie: I don‟t think that was really fair. She didn‟t find the ticket herself. Grandpa Joe: Don‟t worry about it, Charlie. That man spoils his daughter. And no good ever comes from spoiling a child like that.

_______________________ Grandpa George: [commenting on Mike Teavee] Well, it‟s a good thing you‟re going to a chocolate factory, you ungrateful little. . .

_______________________ Grandpa Joe: Charlie. My secret hoard. You and I, are going to have one more fling. . . at finding that last ticket.

Ian MacDonald November 2011

- 6 -

Charlie: Are you sure you want to spend your money on that, Grandpa? Grandpa Joe: Of course I‟m sure. Here. Run down to the nearest store, and buy the first Wonka candy bar you see. Bring it straight back, and we‟ll open it together. Such a good boy, really. Ah, such a good. . .

_______________________

From the script of Charlie and the Chocolate Factory

(2005)

Berne also brings attention to the ego state that is being addressed and here again it

can be argued that whereas Grandpa Joe appears to communicate on an adult-to-

adult basis, Grandpa George is patently parent-to-child.

Of course, the primary comparison made throughout the novel and film is between

Charlie Bucket and the four other winners of the golden tickets. Where Charlie

appropriately adopts adult and child ego states throughout, the remaining children

assume the parent state and often appear to address others in a child state as can

be seen below:

Mike: All you had to do was track the manufacturing dates, offset by the weather and the derivative of the Nikkei Index. A retard could figure it out.

_______________________ Veruca: Daddy, I want a squirrel. Get me one of those squirrels. I want one.

_______________________ Violet: I‟m the Junior World Champion Gum Chewer. This piece of gum, I‟m chewing right at this moment, I‟ve been working on for three months solid. That‟s a record. Mrs Beauregarde: Of course, I did have my share of trophies, mostly baton. Violet: So it says that one kid‟s gonna get this special prize, better than all the rest. I don‟t care who those other four are. That kid, it‟s gonna be me. Mrs Beauregarde: Tell them why, Violet. Violet (on TV): Because I‟m a winner.

_______________________

Ian MacDonald November 2011

- 7 -

Augustus: Would you like some chocolate? Charlie: Sure. Augustus: Then you should have brought some.

_______________________

In the case of Augustus Gloop, there is so little dialogue to analyse that it is

difficult to determine precisely what his obsessive greed for chocolate and

candy might mean in the context of transactional analysis. It is clear however

from the words of his mother, that he enjoys the freedom to indulge his greed

in a way that few ordinary children would. One might say that, like Violet, Mike

and Veruca, Augustus is truly spoiled.

Mrs Gloop: We knew Augustus would find the golden ticket. He eats so many candy bars a day that it was not possible for him not to find one.

In contrast, Charlie is demurring, considerate, objective:

Charlie: I don‟t think that was really fair. She didn‟t find the ticket herself [in referring to Veruca Salt‟s acquisition of a golden ticket with the assistance of her father‟s entire factory of workers]

_______________________ Mr Bucket: Charlie, your Mum and I thought. . . maybe you wanna open your birthday present tonight. Mrs Bucket: Here you are. Charlie: Maybe I should wait till morning. Grandpa George: Like hell. Mr Bucket: Pop. Grandpa Joe: All together, we‟re three hundred and eighty-one years old. We don‟t wait. Mrs Bucket: Now, Charlie, you mustn‟t feel too disappointed, you know, if you don‟t get the. . .

Mr Bucket: Whatever happens, you‟ll still have the candy. Grandpa Joe: Ah, well. That‟s that. Charlie: We‟ll share it.

Ian MacDonald November 2011

- 8 -

Grandpa Joe: Oh, no, Charlie. Not your birthday present. Charlie: It‟s my candy bar, and I‟ll do what I want with it.

_______________________

Charlie repeatedly questions Willie Wonka throughout the factory tour, again in an

adult-to-adult state. But at no stage does one ever forget that Charlie is a child

because he continuously expresses wonder and awe as any child would in Wonka‟s

chocolate factory. In fact, it is this reaction, contrasted with the pessimism and lack of

wonder expressed by the others, that most set‟s Charlie apart from Augustus, Violet,

Veruca and Mike.

This brings us to the one major addition in Tim Burton‟s film, the added history of

Willie Wonka and his dentist father Wilbur. Here we not only locate the beginning of

Willie Wonka‟s fascination with chocolate but also the breach in his relationship to his

father. However, it is in one of the closing scenes, where we witness the reunion of

father and son, that we witness what may be the strongest association with

transactional analysis theories. The awkward embrace between Wilbur and his boy

betrays an emotional deficit and inability to deal with intimacy. At this moment in the

film it becomes clear that it was not strictly Wilbur‟s prohibition of eating chocolate

and candy that represents his worst crime, for that after all is very adult given the

damage is does to one‟s teeth. By forbidding Willie to indulge Wilbur was robbing

Willie of one of the most enjoyable moments of childhood but by doing so without the

slightest compassion, he was depriving his son of the expression of love and caring

that Berne indicates his essential to our well-being and development. In fact, Wilbur

is seen to be harsh and zealous, traits one might level at Willie in his treatment of

Augustus, Violet, Veruca and Mike. It is entirely consistent with this interpretation that

Burton (Salisbury and Burton, 2006) likened Willie Wonka to “somebody who was

brilliant but then was traumatized and then retreats into their own world."

Ian MacDonald November 2011

- 9 -

Conclusions

That the clearest association between transactional analysis and Dahl‟s Charlie and

the Chocolate Factory is arguably Tim Burton‟s addition to the 2005 film version may

serve to cast some doubt on whether Dahl had any exposure to Berne‟s writing and

ideas. Such a connection is further undermined if one accepts unattributed reports

(Wikia, 2011) that the first manuscript for the novel was written in 1961 (coincidentally

when Transactional Analysis was published) and was revised considerably prior to

publication in 1964. We may never know if Berne worked his way into Dahl‟s

consciousness but it is certain that the former‟s ideas help us greatly in developing a

deeper understanding of Dahl‟s work.

Depth is a useful word with which to conclude this short essay. On the surface, Tim

Burton‟s Charlie and the Chocolate Factory shares many of the features one might

associate with the children‟s film genre, a genre in which the adult world is often

portrayed through the eyes of children. However, on another level it is infinitely

darker, posing numerous questions for adult viewers whilst lavishing wild

entertainment upon child audiences. Burton himself remarked that one of his

attractions to Charlie and the Chocolate Factory was that the children behaved like

adults (Salisbury and Burton, 2006). Intentionally or not, Dahl‟ and Burton‟s work

echo the lessons of Transactional Analysis.

Ian MacDonald November 2011

- 10 -

Postscript

Clearly an experienced Transactional Analyst would be able to extract a great deal

from an analysis of the Charlie and the Chocolate Factory book and/or film. For

example, I would imagine that some of the interactions (or transactions) can be found

amongst recognizable „games that people play‟. In fact, it occurred to me during the

writing of this paper that the subject probably has enough scope to occupy an entire

doctoral thesis and that a short essay like the one that I have written can do little

more than scratch the surface.

As a matter of course, I try to relate the material I am studying to the subject of my

own doctoral thesis which concerns presentation effectiveness. Needless to say, it

was rather challenging to do so on this occasion. However, in my experience it is

often surprising what one can discover by rummaging in odd places and this

occasion was no different. I was particularly drawn to a comment made by Berne

(1961) in relation to children and openness:

Society frowns upon candidness, except in privacy; good sense knows that it can always be

abused; and the Child fears it because of the unmasking which it involves.

Berne, 1964 p. 172

It occurred to me that this may represent a clue as to why so many people fear giving

presentations – namely that it entails sharing what one believes in a public sphere.

This, in-turn, lead me to think that it may be possible, perhaps even likely, that it is

not the adult ego state in which such fear is experienced but the child ego state.

Technically this would be the adapted child and not the natural child for as we know

most children are relatively fearless. Therefore, can it be that many of those who fear

presenting do so because they are taken over by an adapted child ego that has at

some stage been shaped by the scorn of a Parent, or Parent-figure when previously

expressing ideas and opinions. Such an experience would undoubtedly be traumatic

for many and leave a scar. It should be noted that the direction of the adapted child

ego’s communication is almost certainly to the parent ego of the audience members,

Ian MacDonald November 2011

- 11 -

hence the reason why nervous presenters also tend to be miserably apologetic and

subservient.

The following simple example from Charlie and the Chocolate Factory represents the

type of incident that can cause trauma and consequently lead to less openness:

Augustus: Would you like some chocolate? Charlie: Sure. Augustus: Then you should have brought some.

Should Augustus ask Charlie the same question a day or a week later, he is likely to

obtain a different answer.

At this stage, the above idea is merely a hypothesis but it is one which is supported

by the practise of most teachers who intuitively understand the dangers of being

overly-critical with students. Assuming that there is currency in this interpretation, the

solution to presentation nerves can never be general preparation alone which is

currently the most commonly suggested strategy for dealing with such fears. The

private sharing of the views that one wishes to present in advance with key members

of the audience (for instance, in education this should probably include the teacher)

should serve to avoid the notion that presenter‟s ideas will be scornfully rejected. In

many cases of this nature, this should free the presenter to revert to their objective

adult ego state and to practise regular adult-to-adult communication.

Ian MacDonald November 2011

- 12 -

BIBLIOGRAPHY

Berne, E (1961) Transactional Analysis in Psychotherapy: A Systematic and Individual Social Psychiatry New York, Grove Press

Berne, E (1964) Games People Play: The Psychology of Human Relationships New York, Grove Press

Dahl, R. (1984) Boy: Tales of Childhood New York: Farrar, Straus.

Dahl, R. (1984) Charlie and the Chocolate Factory New York: Farrar, Alfred A. Knopf.

Salisbury, M and Burton, T. (2006). "Charlie and the Chocolate Factory". Burton on Burton. London: Faber and Faber.

Websites Dr. Eric Berne, Psychiatrist and Creator of Transactional Analysis, Author of Games People Play Available at http://www.ericberne.com/ Accessed 28 October 2011

Charlie and the Chocolate Factory: Script post #4767 by Martina on May 5th, 2010, last updated May 5, 2010 http://johnny-depp.org/projects/scripts/charlie-and-the-chocolate-factory/ Accessed 21/10/11

Roald Dahl Wiki: Charlie and the Chocolate Factory Available at: http://roalddahl.wikia.com/wiki/Charlie_and_the_Chocolate_Factory Accessed 29/10/11

Rotten Tomatoes: Charlie and the Chocolate Factory http://www.rottentomatoes.com/m/charlie_and_the_chocolate_factory/ Accessed 29/10/1

Charlie and the Chocolate Factory (film) http://en.wikipedia.org/wiki/Charlie_and_the_Chocolate_Factory_(film) Accessed 31/10/1

Film Dr. Eric Berne – The Theory Part 1 of 2, NET Science presents Spectrum: The Games People Play – The Theory - A psychology information video, with interviews with the author of "Games People Play," Psychiatrist Eric Berne. Here, he talks about the real motives behind the games. 1966 National Educational Television http://www.youtube.com/watch?v=eLQS0IxLYMg&feature=related Accessed 23.10.11 Dr. Eric Berne – The Theory Part 2 of 2, NET Science presents Spectrum: The Games People Play – The Theory 1966 National Educational Television http://www.youtube.com/watch?v=iAhf5_FiGBw&feature=related Accessed 23.10.11 Dr. Eric Berne – The Practice Part 1 of 2, NET Science presents Spectrum: The Games People Play – The Practice 1966 National Educational Television http://www.youtube.com/watch?v=SUkXZ7grMwE&feature=related Accessed 23.10.11 Dr. Eric Berne – The Practice Part 2 of 2, NET Science presents Spectrum: The Games People Play – The Practice 1966 National Educational Television http://www.youtube.com/watch?v=B2GDWfKowGM&feature=related Accessed 23.10.11