Advertised as a musical for children and families by Paramount Pictures, Willy Wonka and the Chocolate Factory is more like a slapstick movie, defiantly realistic to the character of Roald Dahl's innovative book Charlie and the Chocolate Factory. Mysterious candy maker Willy Wonka played by Gene Wilder sets up a challenge by hiding five golden vouchers in five of his lip smacking chocolate bars. Whoever finds these tickets will be given a complimentary tour of the Wonka plant, in addition to a life span provision of candy. Out of the five winning children four are intolerable brats: the fifth is a pleasing young boy named Charlie Bucket portrayed by Peter Ostrum, who explore in the company of his mutually good-natured grandfather played by Jack Albertson. During the tour, Willy Wonka penalizes the four naughty children in an assortment of diabolical ways -- one kid is puffed up and covered with blueberry coloring, one more ends up as a primary constituent of the chocolate, and so forth -- as these kids have dishonored the code of conduct of Wonka's factory. Eventually Charlie’s grandfather and Charlie are left. Apparently set in England, Willy Wonka and the Chocolate Factory was filmed in Germany. (Stuart; Young, 2002)
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“Willy Wonka and the Chocolate Factory” develops to be a rather amazingly realistic adaptation of its resource material. To some point it’s Wilder’s presentation, partially it’s the evasion of chief narrative variations, but by and large it’s the heart the movie offers. It creates the factory as a place of fantasy, a place where a little gibberish from time to time is appreciated by the wisest people, where accidents can occur but moreover a segment of an incredible magic.
It’s a design that typically exists to establish a twirl finish, but the twist it establishes doesn’t pull the movie away from its descriptive arrangement, and serves to heighten Charlie’s own kindness and the egotism of the other kids. Negligible details, for instance the death of Charlie’s father and the detail that Charlie is actually a paperboy, are unbiased ones that neither adjoin nor detract to the technique the story carried out. (Stuart; Young, 2002)