Exploring the Child’s Subconscious in A Boy Named Charlie Brown
Most of us have probably outgrown watching “A Charlie Brown Thanksgiving” and “A Charlie Brown Christmas.” I grew up watching TV specials, and I remember the appeal of the art style and personalities of the characters. This past weekend, I watched “A Boy Named Charlie Brown” (1969) for the first time, and it’s a different experience watching Charlie Brown many years later.
Unlike the “Charlie Brown” TV specials, “A Boy Named Charlie Brown” is a longer, feature-length film with a main story plot rather than being a day-in-the-life. As Charlie Brown tries to compete in the Spelling Bee, there are music numbers and scenes that further explore the Peanuts characters and their adventures.
“Charlie Brown” portrays the children characters of the show with a more mature tone. These children emulate the adult world through child’s play; one instance of pretend play that appeals to both children and adults are Charlie’s visits to his “psychiatrist,” Lucy. Some of the characters outright speak and behave like adults, such as Linus’ references to philosophers and biblical figures, as well as Charlie’s feelings of depression and lack of self-confidence. Ironically, Linus’ thumb-sucking and attachment to his blanket make him the most infantile of the Peanuts crew, even though his lines could be considered the most mature.
Yet, their childish mannerisms do not diminish their goals and dreams, but rather seem to enhance them. For example, Lucy takes on leadership roles, offering to be Charlie’s manager when he wins the Spelling Bee, while Schroeder is known for being a piano prodigy who idolizes Beethoven. Perhaps the most imaginative and talented of all the characters is Snoopy, who is personified and becomes the Red Baron, an ice skater, or a musician. “Charlie Brown” focuses on the child’s world with actions that reflect the adult world, while giving more credit to the scope of child imagination that the adult world seems to lack.
To add on to this focus, “Charlie Brown” not only doesn’t give adults a physical presence, but it also literally muffles their voice. While humorous, the famous muffled trombone symbolize the real-world difference in communication between adults and children. Rather than downplaying a naive child’s perspective, Charlie Brown takes the perspective of children seriously. On top of that, he creates a world where only children have clarity.
The scenes where the soundtrack and visuals go off on a sort of psychedelic impromptu distinguish “Charlie Brown” from most children’s movies. These dream-like sequences portray child’s play and imagination with mid-1900s avant-garde art along with jazz and classical music. The viewer is given a surreal experience of the characters’ subconscious that isn’t just childish and playful, but very immersive. In this scene of Schroeder playing the piano, the Beethoven performance transitions into colorful imagery:
Another scene has Snoopy ice skating in Rockefeller Center, then abruptly changing into a fast-paced hockey game:
The portrayal of the child’s subconscious as psychoanalytical and expressive experimental art felt similar to the dream sequences in “Dreams That Money Can Buy,” a 1947 film done in collaboration with surrealist artists. They were the kind of scenes you’d expect to see in a modern art museum and not in a movie for children. I really enjoyed watching them as a visual journey of the characters’ personalities and thoughts while they were engaged in their activities. I saw childhood as depicted in “Charlie Brown” less as being reminiscent of an easier time and more of a time when imagination and aspirations were at their greatest.
As part of the Peanuts series, “A Boy Named Charlie Brown” includes fun moments and songs with the characters that are enjoyable for children to watch. For adults, the movie provides both a nostalgic and introspective visual trip.
