Fantasy films create their own logic through magical realism. What reminds audiences of reality are crafted in the laws of fantasy. Myths, legends, and prophecies follow a special line of thinking. The logic of a fantasy film does not need to be explained any more than it needs to be accepted.
The forces of evil and hearts of gold in constant battle over hallowed proving grounds are a reflection of the nightmares man creates for himself in life. How the fantasy begins, where the history first placed its foothold, comes from prequels.
Edward Scissorhands (1990)
Edward Scissorhands is the humanoid creation of the nameless Inventor. Both developed a father-son relationship as the Inventor homeschooled Edward. Later, a heart attack left the Inventor dead and Edward orphaned in their Gothic mansion. Edward was never finished and was given scissor blades for hands instead. The artificial and ageless Edward has a more humane and moral Frankenstein quality, but who the Inventor is, how he became an Inventor, and why the Inventor created Edward in the first place would be worth seeing in a prequel.
Excalibur is inspired by the legends of the medieval literary figure King Arthur. The mythical sword known as Excalibur has been used by Uther Pendragon, the father of King Arthur, who seduces and has his son with Igrayne, the wife of the Duke of Cornwall. The sorcerer Merlin aids Uther, but the illusion wears off, leading to the latter’s death. Before dying, Uther stabs the sword into a stone, with Merlin declaring that whomsoever removes Excalibur from the stone will be king. The origin of Excalibur and its magical powers could be explored in a prequel.
Jason and the Argonauts (1963)
Jason and the Argonauts follows Jason, the son of King Ariston, who is dethroned by Pelias in Iolcus, the ancient city of Thessaly, Greece. Jason is sent on a mission to avenge his father and to remove Pelias from kingship. He constructs the famous ship Argo and gathers his crew of Argonauts in search of the legendary Golden Fleece. Greek mythology is vast and varied enough for a prequel, considering the mysterious or unexplained actions and reasons of characters.
Orpheus is a modern retelling of the Greek myth of Orpheus and Eurydice. At a café in Paris, a poet named Orpheus bears witness to a motorcycle accident. Orpheus accompanies the girlfriend of the man who was hit on a car ride to take him to the hospital. Instead, they reach a château, where everyone disappears into a mirror. The girlfriend and the motorcyclist are suborders of Death, and the mirror is their gateway to the Underworld. Death’s minions unjustly kill Orpheus’ wife Eurydice, forcing Orpheus to descend and save her. A prequel about Death and its arbitrary, abject way of choosing victims would be worth seeing.
Pan’s Labyrinth (2006)
Pan’s Labyrinth is a historical dark fantasy blending the dictatorship of Spain after the Spanish Civil War with a mythical labyrinth garden at the center of it all. Ofelia escapes to the labyrinth that is inspired by the fairy tales she reads. While her stepfather fights guerrillas who oppose the Francoist regime and her mother grows ill, Ofelia meets a faun and other magical creatures who believe she is the reborn Princess Moanna. A prequel could cover the backstories of the labyrinth’s denizens.
Stardust is based on the 1999 Neil Gaiman novel of the same name. A star crash lands in the magical kingdom of Stormhold. Tristan enters the realm from England to deliver the star to Victoria to marry her. Meanwhile, a group of witches and the King of Stormhold’s sons fight for the star, the first to become young and powerful, the latter to become heir to the throne. The star takes on the form of a woman named Yvaine whose origin is never explained, a perfect storyline for a prequel.
The City of Lost Children (1995)
The City of Lost Children is about a machination called Krank that ages due to its inability to dream. Left behind with other creations by a scientist, Krank uses a cult of cyborgs to kidnap children and steal their dreams. One, a strongman, investigates the disappearance of his adopted brother Denree with a little girl named Miette, at an abandoned oil rig. Who this scientist is and why he created a monstrous dream-stealer are needed in a prequel.
Legend involves a mystical land where the Lord of Darkness plots to cast the world into eternal night. He employs goblins to kill unicorns for their horns to bring forth the shadows. A chain reaction occurs as each unicorn is hunted and dehorned; winter comes early for the forest dwellers, some frozen in place. Jack in the Green, a pure being of nature, is thrust into saving his love Princess Lili before she and the world lose their innocence. A prequel about Jack and Lili’s relationship, as well as their origin stories and how they met, would be enchanting.
The Holy Mountain (1973)
The Holy Mountain is a surreal film with cryptic, symbolic characters represented by tarot cards. One man and a handless, footless dwarf entertain tourists for money. The man is mistaken for Jesus Christ, so residents fashion crucifixes in his image. A priest learns that the man is a thief, and the thief eats the face of his wax statue before sending it heavenward with balloons. Gold then descends from a tower, and the thief ascends it to find its source: the alchemist. A prequel needs to make sense of the cryptic life of the alchemist.
Time Bandits (1981)
Time Bandits follows a band of six dwarfish thieves who travel through time and plunder treasure throughout history. The six dwarfs are joined by a history buff and eleven-year-old Kevin as they bend the fabric of spacetime. A prequel detailing the creation of the map and the dwarves’ introduction to it, along with their other escapades would be exciting.
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