Fetching it out of the closet and re-viewing Spoonbenders I was surprised to find that my original thoughts about the film were little changed. It has an eternal quality, a feeling of eternal recurrence that it draws from the nature of its subjects: mainly young children and old scientists, almost like the Lion, the Witch and the Wardrope redimensioned as a doc. This feeling is heightened by the magical score of Keith Morris (his last soundtrack, sadly KM was brutally taken away from us in 2005).
At one level Spoonbenders is about innocence but the film also catches the dark side of innocence: its shadow. Is there innocence without a shadow? I don’t know. There are judgements you have to make for yourself. What interested me in making this film and the other films was how people look to make sense and give meaning to their lives and situations. Making sense can be a tricksy business.
Anyway with the help of scientists and children Spoonbenders probes beneath the surface of society’s preconceptions about these paranormal events; and it is this contrast between the world of science and the world of the child that gives the film both its internal dynamic and its sense of poignancy.