Ian MacDonald December 2011

Charlie and the Chocolate Factory: Insights

of a Transactional Analyst
Ian MacDonald November 2011

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Foreword
This rather unusual paper was written as a requirement for a course on Cinema and
Media Genres, completed during my PhD studies in Communication at Etvs
Lornd University
1
, Budapest. I acknowledge the help and assistance of Dr. Tibor
Hirsch in formulating some of the ideas contained in this paper.
Readers who are interested in the application of Eric Bernes theory of transactional
analysis to the fear that presenters often experience before and whilst presenting
may jump ahead to the postscript on page 10 and 11. There they will find a short
discussion of that idea.


Introduction
There is such a striking resonance between the theory and practice of Eric Bernes
transactional analysis and some of the ideas embodied in Ronald Dahls novel,
Charlie and the Chocolate Factory, that it is highly tempting to conclude that there is
a definite connection. In this paper, such a connection will be considered from
different perspectives. In particular, the paper will reflect on the possibility that Dahl
was influenced by the work of Berne and either deliberately or subconsciously,
portrayed some of his ideas in the aforementioned novel. It should be noted here
that, to the best of this authors knowledge, in contrast to Mel Stuarts musical, Willy
Wonka & the Chocolate Factory and despite expanding on Willie Wonkas family
background, Tim Burtons 2004 film adaptation is considered to be a reasonably
honest representation of the novel (Salisbury and Burton, 2006). An alternative
hypothesis for the apparent connection between Dahls novel and Bernes work will
also be explored; namely that the theories and ideas that are central to transactional
analysis are so universal, that most situations which explore issues pertaining to
relationships between children, adults and parents will convey an impression that Eric
Berne had some hand in writing the script.

1
Faculty of Humanities - Film, Media and Culture
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Background and Analysis
Charlie and the Chocolate Factory (Dahl, 1964) was published in 1964, the same
year in which Bernes, Games People Play (Berne, 1964) was printed and became
an instant best seller, ultimately spending more than two years on the New York
Times bestseller list. Games People Play was the follow-up to Transactional Analysis
in Psychotherapy (Berne, 1961). The latter is rather dense and written for
professional practitioners, whilst the former is written in more accessible language.
This perhaps explains why it crossed over to the mainstream public. Although the
precise publication dates are unknown (at least to this author) it is not inconceivable
that Dahl could have read Games People Play either before or whist writing Charlie
and the Chocolate Factory. What evidence would support such a possibility?

Charlie and the Chocolate Factory is considered a somewhat unusual work in the
Dahl literary cannon because the antagonists are children rather than adults or
monsters. However, this may be explained by Dahls childhood experiences. Dahl,
writes that whilst studying as a child at Repton, an English boarding school, the boys
would occasionally receive sample products from the chocolate manufacturer
Cadbury (Dahl, 1984). Apparently the task of providing feedback to the company was
taken very seriously, which is understandable given the promise of future samples. It
was Dahls related dreams of working in Cadburys product development department
that provided the inspiration for his novel. That said, Dahls experience of English
boarding schools like Repton was for the most part deeply disturbing and he writes at
length about the harsh treatment that was dished out to young boys by both the
schools teachers and the elder students and prefects (Dahl, 1984). It may therefore
be reasonable in that context to see why the antagonists in the novel are children.
Furthermore, the behaviour of Wonka throughout the novel, and Burtons film
adaptation, may reflect Dahls experience at the hands of abusive students and
school masters. In this case, using Bernes terminology, it can be argued that this
experience might represent the protocol for the script (Berne, 1961, p. 116: 126,) that
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Willy Wonka plays out, in particular the subjecting of the errant children to severe
punishments.

In Games People Play (1964) and Transactional Analysis (1961), Berne distinguishes
between rituals, pastimes, games and the scripts to which I have referred above.
Berne suggests that rituals are the equivalent of the manners many parents teach
their children whilst pastimes and games are means of passing time. Berne tells us
that one of the more popular versions of pastime is PTA (an abbreviation for Parent-
Teacher Association). In most cases this involves discussion of delinquent juveniles
but can also refer to delinquent husbands, wives, tradesmen, authorities or
celebrities. Is it coincidence that a glaring example of PTA features in Charlie and the
Chocolate Factory? During the following scene we can see Mr Teavees attempt to
engage a television reporter in PTA concerning his son Mikes delinquent
behaviour:

Man on TV: But wait, this is just in. The fourth golden ticket has been found by a boy called
Mike Teavee.

Mike: All you had to do was track the manufacturing dates, offset by the weather and the
derivative of the Nikkei Index. A retard could figure it out.

Mr Teavee: Most of the time I dont know what hes talking about. You know, kids these days,
what with all the technology. . .

Mike: Die! Die! Die!

Mr Teavee: Doesnt seem like they stay kids very long.

Mike: In the end, I only had to buy one candy bar.

From the script of Charlie and the Chocolate Factory
(2005)

Transactional Analysis is deeply concerned with ego states Child, Adult and
Parent and the degree to which individuals assume appropriate ego states in
specific situations. We may therefore use the tools of transactional analysis to
examine various characters in Charlie and the Chocolate Factory. If Dahl had
been influenced by the Games People Play, he could have constructed the
characters and their roles using those same tools. If this were the case, we
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should expect to find some evidence in the script and the roles that are played.
This of course is almost impossible to prove but there are some very
interesting contrasts that run throughout the novel and Tim Burtons film
adaptation. Lets look at some examples, starting with the contrast in the
behaviours of Charlie Buckets Grandpas, Joe and George. On one hand we
have the wise and considerate Grandpa Joe who is consistently objective and
well-meaning and is clearly the role model of Charlie Grandpa Joe is
predominantly adult throughout. On the other hand we have Grandpa George
who whilst well-meaning, and undoubtedly supportive of Charlie, exudes
pessimism and is in this authors opinion mainly in a parent mode, and one
who is invariably addressing a child:

Grandpa George: Balderdash. The kids whore going to find the golden tickets are the ones
who can afford to buy candy bars every day. Our Charlie gets only one a year. He doesnt have
a chance.

Grandma Josephine: Everyone has a chance, Charlie.

Grandpa George: Mark my words, the kid who finds the first ticket will be fat, fat, fat.

_______________________

Grandpa George: [commenting on Augustus Gloop] Told you itd be a porker.

_______________________


Grandpa George: [commenting on Veruca Salt] Shes even worse than the fat boy.

Charlie: I dont think that was really fair. She didnt find the ticket herself.

Grandpa Joe: Dont worry about it, Charlie. That man spoils his daughter. And no good ever
comes from spoiling a child like that.

_______________________


Grandpa George: [commenting on Mike Teavee] Well, its a good thing youre going to a
chocolate factory, you ungrateful little. . .


_______________________


Grandpa Joe: Charlie. My secret hoard. You and I, are going to have one more fling. . . at
finding that last ticket.
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Charlie: Are you sure you want to spend your money on that, Grandpa?

Grandpa Joe: Of course Im sure. Here. Run down to the nearest store, and buy the first
Wonka candy bar you see. Bring it straight back, and well open it together. Such a good boy,
really. Ah, such a good. . .

_______________________

From the script of Charlie and the Chocolate Factory
(2005)

Berne also brings attention to the ego state that is being addressed and here again it
can be argued that whereas Grandpa Joe appears to communicate on an adult-to-
adult basis, Grandpa George is patently parent-to-child.

Of course, the primary comparison made throughout the novel and film is between
Charlie Bucket and the four other winners of the golden tickets. Where Charlie
appropriately adopts adult and child ego states throughout, the remaining children
assume the parent state and often appear to address others in a child state as can
be seen below:

Mike: All you had to do was track the manufacturing dates, offset by the weather and the
derivative of the Nikkei Index. A retard could figure it out.

_______________________


Veruca: Daddy, I want a squirrel. Get me one of those squirrels. I want one.

_______________________


Violet: Im the Junior World Champion Gum Chewer. This piece of gum, Im chewing right at
this moment, Ive been working on for three months solid. Thats a record.

Mrs Beauregarde: Of course, I did have my share of trophies, mostly baton.

Violet: So it says that one kids gonna get this special prize, better than all the rest. I dont care
who those other four are. That kid, its gonna be me.

Mrs Beauregarde: Tell them why, Violet.

Violet (on TV): Because Im a winner.

_______________________


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Augustus: Would you like some chocolate?

Charlie: Sure.

Augustus: Then you should have brought some.

_______________________


In the case of Augustus Gloop, there is so little dialogue to analyse that it is
difficult to determine precisely what his obsessive greed for chocolate and
candy might mean in the context of transactional analysis. It is clear however
from the words of his mother, that he enjoys the freedom to indulge his greed
in a way that few ordinary children would. One might say that, like Violet, Mike
and Veruca, Augustus is truly spoiled.

Mrs Gloop: We knew Augustus would find the golden ticket. He eats so many candy bars a day
that it was not possible for him not to find one.

In contrast, Charlie is demurring, considerate, objective:

Charlie: I dont think that was really fair. She didnt find the ticket herself [in referring to Veruca
Salts acquisition of a golden ticket with the assistance of her fathers entire factory of workers]


_______________________


Mr Bucket: Charlie, your Mum and I thought. . . maybe you wanna open your birthday present
tonight.

Mrs Bucket: Here you are.

Charlie: Maybe I should wait till morning.

Grandpa George: Like hell.

Mr Bucket: Pop.

Grandpa Joe: All together, were three hundred and eighty-one years old. We dont wait.

Mrs Bucket: Now, Charlie, you mustnt feel too disappointed, you know, if you dont get the. . .

Mr Bucket: Whatever happens, youll still have the candy.

Grandpa Joe: Ah, well. Thats that.

Charlie: Well share it.
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Grandpa Joe: Oh, no, Charlie. Not your birthday present.

Charlie: Its my candy bar, and Ill do what I want with it.


_______________________


Charlie repeatedly questions Willie Wonka throughout the factory tour, again in an
adult-to-adult state. But at no stage does one ever forget that Charlie is a child
because he continuously expresses wonder and awe as any child would in Wonkas
chocolate factory. In fact, it is this reaction, contrasted with the pessimism and lack of
wonder expressed by the others, that most sets Charlie apart from Augustus, Violet,
Veruca and Mike.

This brings us to the one major addition in Tim Burtons film, the added history of
Willie Wonka and his dentist father Wilbur. Here we not only locate the beginning of
Willie Wonkas fascination with chocolate but also the breach in his relationship to his
father. However, it is in one of the closing scenes, where we witness the reunion of
father and son, that we witness what may be the strongest association with
transactional analysis theories. The awkward embrace between Wilbur and his boy
betrays an emotional deficit and inability to deal with intimacy. At this moment in the
film it becomes clear that it was not strictly Wilburs prohibition of eating chocolate
and candy that represents his worst crime, for that after all is very adult given the
damage is does to ones teeth. By forbidding Willie to indulge Wilbur was robbing
Willie of one of the most enjoyable moments of childhood but by doing so without the
slightest compassion, he was depriving his son of the expression of love and caring
that Berne indicates his essential to our well-being and development. In fact, Wilbur
is seen to be harsh and zealous, traits one might level at Willie in his treatment of
Augustus, Violet, Veruca and Mike. It is entirely consistent with this interpretation that
Burton (Salisbury and Burton, 2006) likened Willie Wonka to somebody who was
brilliant but then was traumatized and then retreats into their own world."

Ian MacDonald November 2011

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Conclusions
That the clearest association between transactional analysis and Dahls Charlie and
the Chocolate Factory is arguably Tim Burtons addition to the 2005 film version may
serve to cast some doubt on whether Dahl had any exposure to Bernes writing and
ideas. Such a connection is further undermined if one accepts unattributed reports
(Wikia, 2011) that the first manuscript for the novel was written in 1961 (coincidentally
when Transactional Analysis was published) and was revised considerably prior to
publication in 1964. We may never know if Berne worked his way into Dahls
consciousness but it is certain that the formers ideas help us greatly in developing a
deeper understanding of Dahls work.

Depth is a useful word with which to conclude this short essay. On the surface, Tim
Burtons Charlie and the Chocolate Factory shares many of the features one might
associate with the childrens film genre, a genre in which the adult world is often
portrayed through the eyes of children. However, on another level it is infinitely
darker, posing numerous questions for adult viewers whilst lavishing wild
entertainment upon child audiences. Burton himself remarked that one of his
attractions to Charlie and the Chocolate Factory was that the children behaved like
adults (Salisbury and Burton, 2006). Intentionally or not, Dahl and Burtons work
echo the lessons of Transactional Analysis.
Ian MacDonald November 2011

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Postscript
Clearly an experienced Transactional Analyst would be able to extract a great deal
from an analysis of the Charlie and the Chocolate Factory book and/or film. For
example, I would imagine that some of the interactions (or transactions) can be found
amongst recognizable games that people play. In fact, it occurred to me during the
writing of this paper that the subject probably has enough scope to occupy an entire
doctoral thesis and that a short essay like the one that I have written can do little
more than scratch the surface.

As a matter of course, I try to relate the material I am studying to the subject of my
own doctoral thesis which concerns presentation effectiveness. Needless to say, it
was rather challenging to do so on this occasion. However, in my experience it is
often surprising what one can discover by rummaging in odd places and this
occasion was no different. I was particularly drawn to a comment made by Berne
(1961) in relation to children and openness:

Society frowns upon candidness, except in privacy; good sense knows that it can always be
abused; and the Child fears it because of the unmasking which it involves.
Berne, 1964 p. 172

It occurred to me that this may represent a clue as to why so many people fear giving
presentations namely that it entails sharing what one believes in a public sphere.
This, in-turn, lead me to think that it may be possible, perhaps even likely, that it is
not the adult ego state in which such fear is experienced but the child ego state.
Technically this would be the adapted child and not the natural child for as we know
most children are relatively fearless. Therefore, can it be that many of those who fear
presenting do so because they are taken over by an adapted child ego that has at
some stage been shaped by the scorn of a Parent, or Parent-figure when previously
expressing ideas and opinions. Such an experience would undoubtedly be traumatic
for many and leave a scar. It should be noted that the direction of the adapted child
egos communication is almost certainly to the parent ego of the audience members,
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hence the reason why nervous presenters also tend to be miserably apologetic and
subservient.

The following simple example from Charlie and the Chocolate Factory represents the
type of incident that can cause trauma and consequently lead to less openness:


Augustus: Would you like some chocolate?

Charlie: Sure.

Augustus: Then you should have brought some.


Should Augustus ask Charlie the same question a day or a week later, he is likely to
obtain a different answer.

At this stage, the above idea is merely a hypothesis but it is one which is supported
by the practise of most teachers who intuitively understand the dangers of being
overly-critical with students. Assuming that there is currency in this interpretation, the
solution to presentation nerves can never be general preparation alone which is
currently the most commonly suggested strategy for dealing with such fears. The
private sharing of the views that one wishes to present in advance with key members
of the audience (for instance, in education this should probably include the teacher)
should serve to avoid the notion that presenters ideas will be scornfully rejected. In
many cases of this nature, this should free the presenter to revert to their objective
adult ego state and to practise regular adult-to-adult communication.
Ian MacDonald November 2011

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BIBLIOGRAPHY
Berne, E (1961) Transactional Analysis in Psychotherapy: A Systematic and Individual Social
Psychiatry New York, Grove Press
Berne, E (1964) Games People Play: The Psychology of Human Relationships New York, Grove
Press
Dahl, R. (1984) Boy: Tales of Childhood New York: Farrar, Straus.
Dahl, R. (1984) Charlie and the Chocolate Factory New York: Farrar, Alfred A. Knopf.
Salisbury, M and Burton, T. (2006). "Charlie and the Chocolate Factory". Burton on Burton. London:
Faber and Faber.


Websites
Dr. Eric Berne, Psychiatrist and Creator of Transactional Analysis, Author of Games People Play
Available at http://www.ericberne.com/ Accessed 28 October 2011
Charlie and the Chocolate Factory: Script post #4767 by Martina on May 5th, 2010, last updated May
5, 2010 http://johnny-depp.org/projects/scripts/charlie-and-the-chocolate-factory/ Accessed 21/10/11
Roald Dahl Wiki: Charlie and the Chocolate Factory Available at:
http://roalddahl.wikia.com/wiki/Charlie_and_the_Chocolate_Factory Accessed 29/10/11
Rotten Tomatoes: Charlie and the Chocolate Factory
http://www.rottentomatoes.com/m/charlie_and_the_chocolate_factory/ Accessed 29/10/1
Charlie and the Chocolate Factory (film)
http://en.wikipedia.org/wiki/Charlie_and_the_Chocolate_Factory_(film) Accessed 31/10/1

Film
Dr. Eric Berne The Theory Part 1 of 2, NET Science presents Spectrum: The Games People Play
The Theory - A psychology information video, with interviews with the author of "Games People Play,"
Psychiatrist Eric Berne. Here, he talks about the real motives behind the games. 1966 National
Educational Television
http://www.youtube.com/watch?v=eLQS0IxLYMg&feature=related Accessed 23.10.11

Dr. Eric Berne The Theory Part 2 of 2, NET Science presents Spectrum: The Games People Play
The Theory 1966 National Educational Television
http://www.youtube.com/watch?v=iAhf5_FiGBw&feature=related Accessed 23.10.11

Dr. Eric Berne The Practice Part 1 of 2, NET Science presents Spectrum: The Games People Play
The Practice 1966 National Educational Television
http://www.youtube.com/watch?v=SUkXZ7grMwE&feature=related Accessed 23.10.11

Dr. Eric Berne The Practice Part 2 of 2, NET Science presents Spectrum: The Games People Play
The Practice 1966 National Educational Television
http://www.youtube.com/watch?v=B2GDWfKowGM&feature=related Accessed 23.10.11