As most students know, Roald's novels are strange, pleasant and full of spite. Dal's stories were rarely sentimental hidden for the magic of childhood, instead of describing how terrible children they have. In most Dal novels, adults are shown as horrible and offensive, screaming in children and often physically harming them, all while children live in poverty and abusive (see: "Matilda" in particular, but also "JAMESEMS and Giant Peach" and "Witches"). Children are free only once they are opposed to the wicked adults in their lives and find a way out of their miserable, dicandic environment.

Roald's work -based films rarely catch the flawless sense of the author of childhood misery. Films, often made by a US study, tend to reduce traditional "Hollywood", giving them happier endings, more action scenes and less moments of gentle, unusual whims. Of course, he did not like the films based on his books, mostly stemming from his huge negative reaction to Mel Stewart's film in 1971 "Willie Wonka and the Chocolate Factory", " Based on Dal's novel since 1964, Charlie and the Chocolate Factory. Stewart's film was a bomb when it came out, but was eventually unveiled on a home video, becoming a beloved classic for children since the 1980s. Ein Wilder starred as Willie Wonka, and the famous comedian gave a notorious default performance as a puppy, fitting chocolate. After "Willie Wonka", Dal became incredibly protected with his books and usually refused to licenses them for adaptation during his life (he died in 1990).

Dal had several remarks at "Willie Wonka", from casting to tone, feeling that Stewart does not make his book justice. Thousands of children may love the film and have become a classic for the whole generation, but you will not find it as one of its famous. He would like to just read his book instead.

First, he hated that change of title. His initial book was for a young boy named Charlie, who, thanks to Sweepstakes, is able to visit the mysterious candy factory in his city, a place that rarely sees the outside world. The book is followed by the factory where she meets his eccentric founder and reveals the beautiful and magical assets with which he makes chocolate. Charlie must be of his best behavior, however, as other children on the tour tend to be rejected or accidentally crippled when they break the rules.

Mel Stewart's film starts with Charlie (Peter Ostrum, now in retirement) And his Pipi grandfather (Jackec Albertson), but then sharply changes his focus from Charlie to Willie Wonka after the chocolate tour begins. Ein Wilder elevates Charlie, and most of the film seems to be for him and his reaction to have children at his factory. It is an IMP, which sets a punishment for disobedient children, like Slatkari Krampus. Dal, as reported many times over the years (including in the BBC), he thought Spike Milligan (Gonn Show ") was supposed to play Willy Wonka, as his comics match Dal's vision for the character. Nothing does. Wilder was a larger American starvet, and casting directors chose him instead.

However, Wilder gave the character Sardon quality which can be considered as an American interpretation of Willie Wonka's dirt.

Dal also according to his friend Donald Starch (Quoted by Yahoo!), hated the music of the film. He did not like the new verses written and melodies written by Leslie Brikuse and Anthony Leyuli. He seemed to think that the songs were too saccharin; A strange accusation to be confident, watching the film referring to Candy.

One of the understandings of Dalal's book and Stewart's film is that Willie Wonka's factory is inhabited by Opom-Lompas, a breed of people from a fictional place called Loopand. In Stewart's film, Opom-Lompas all play the actors with a little person (including the fertile rusty goff)Equipped with orange skin and green hair. In the original book and in his script for the film, Dalh described Opom-Lompas as "Pygms of the deepest part of Africa". The "darkest Africa" ​​tropor is a racist idea left by the colonialist fiction of the previous generation, and has given no thoughts on how the modern audience can look like. NAZP went down to Dal for his descriptions, and he felt guilty. Of the indictments of racism, Statir said:

"The objection to the title" Charlie and the Chocolate Factory "is simply that NAAFP does not approve of the book, and therefore does not want the film to encourage sales of the book. (...) The solution is to make an Opa-Lompas white and make the film under a different title. "

The Opom-Lompas version in the film-like orange skin, green hair-stale so popular, has actually returned and again wrote its original text to match them closer, thus getting rid of the racist trops that initially leaned.

In 1996, Dal's widow, Felicity Dal,, gave an interview with the Los Angeles Times and reminded that her late husband also opposed the happy end of the film. The film did not end in the same way as the book, as a cheerful "You won, Charlie!" The narrative, instead of the adventure "mystery continues". Felicity admitted to being confused by the changed. Why, wondering, would the Hollywood studio buy a book and then change it? Isn't it the completion of what has attracted Hollywood to the project in the first place?

Dalal's opinions never stuck, however, because the public was wanted to love his film anyway. After dying, the new films based on his work came quickly, but they can only be theorized for what he might have been thinking about.