It’s been mentioned a million times before, but it’s worth mentioning a million times more: The Lord of the Rings is the apex of fantasy cinema. Peter Jackson‘s trilogy adapted J. R. R. Tolkien‘s massive literary magnus opus, turning it into a generation-defining epic that almost single-handedly revitalized the fantasy genre on the big screen. At the time, it was a genuine phenomenon, surpassing the big screen to become a cultural event that united everyone, even those who generally didn’t enjoy fantasy. A commercial and critical success, Jackson’s trilogy became one of the franchises that defined the 2000s, influencing most of the subsequent fantasy movies released over the next decade or so.
Now, it would be easy to declare any of the three Lord of the Rings movies the best fantasy effort ever made, and you might be inclined to agree. Why wouldn’t you, considering all we’ve already said? However, there’s a strong argument to be made that this trilogy is not the crowning achievement of the genre. In fact, three movie masterpieces surpass The Lord of the Rings when it comes to capturing the true essence of the fantasy genre. Indeed, you could say Jackson’s movies are equal parts epics and action-adventures, whereas the movies on this list are unabashed representations of pure, undiluted fantasy, making them better representatives of the beloved and seminal genre.
‘The Wizard of Oz’ (1939)
Directed by several men but mostly credited to Victor Fleming, The Wizard of Oz remains the gold standard for cinematic fantasy. Based on Frank L. Baum‘s works, specifically the 1900 novel The Wonderful Wizard of Oz, the film stars Judy Garland as Dorothy, a young girl from Kansas who is transported alongside her dog, Toto, to the magical land of Oz via a tornado. There, she follows the yellow brick road accompanied by a Scarecrow (Ray Bolger), a Tin Man (Jack Haley), and a Cowardly Lion (Bert Lahr) to reach the Wonderful Wizard of Oz, who has the power to send her home. Along the way, the group is pursued by the Wicked Witch of the West (Margaret Hamilton).
Released during the so-called golden year of Hollywood, The Wizard of Oz was a success but not an instant classic per se. Indeed, it wasn’t until the advent of television that the film became the fantasy mainstay it is today. However, by now, its reputation is all but ensured as a giant of the silver screen and one of the pillars upon which modern fantasy rises. In fact, it wouldn’t be an overstatement to say every single post-1939 fantasy movie is directly indebted to The Wizard of Oz; we simply wouldn’t have The Lord of the Rings without Fleming’s masterwork. It proved that fantasy could not only be done in live-action but that it could be a genuine hook for audiences. Garland turned Dorothy into arguably the ultimate fantasy hero, while Hamilton’s portrayal of the Wicked Witch of the West lives on in the pantheon of great movie villains. In terms of depicting the fantasy genre honestly and faithfully, few movies surpass The Wizard of Oz.
‘The Princess Bride’ (1987)
Although many great fantasy movies came out in the nearly fifty years between The Wizard of Oz and The Princess Bride, few represented fantasy so charmingly and unabashedly as Rob Reiner‘s masterpiece. Based on the 1973 novel by William Goldman, who also adapted it for the silver screen, the film begins with the setup of a grandfather (Peter Falk) telling the story to his sick grandson (Fred Savage). The tale itself concerns farmhand Westley (Cary Elwes), who goes on a quest to rescue his love, Buttercup (Robin Wright), from the odious Prince Humperdinck (Chris Sarandon).
Equal parts thrilling, charming, hilarious, and romantic, The Princess Bride is nothing short of a genuine cinematic miracle. Endlessly quotable and featuring unforgettable set piece after unforgettable set piece, the film lives and breathes magic. It’s possibly the ultimate movie fairy tale, which is no easy task considering it has many a Disney movie to compete with. Yet, there’s just no flaw here; the central love story between Westley and Buttercup is enchanting, the villains — Sarandon is perfectly loathsome, but it’s Christopher Guest‘s Count Rugen who is far more effective and memorable — are incredible, and the supporting cast is comprised of consummate scene-stealers. Mandy Patinkin‘s Inigo Montoya is cinema’s best swashbuckler, and his noble quest to avenge his father’s death represents the genre’s ideals of courage, honor, and righteous justice. In short, The Princess Bride is fantasy at its purest, most unabashedly honest.
‘Spirited Away’ (2001)
In the pantheon of brilliant fantasy auteurs, Hayao Miyazaki reigns supreme. In a career spanning over sixty years, Miyazaki has made some of the genre’s most timeless gems through his work in Studio Ghibli. Among his many masterpieces are the likes of My Neighbor Totoro, Princess Mononoke, Howl’s Moving Castle, and The Boy and the Heron, but his best arguably remains 2001’s Spirited Away. The plot follows Chihiro (Daveigh Chase), a young girl whose parents are turned into pigs after accidentally entering the spirit world. To rescue them, Chihiro agrees to work for the witch Yubaba (Suzanne Pleshette) at her bathhouse, tending exclusively to spirits. There, she loses her name and must work hard to reclaim it and save her parents from a cruel destiny.
Spirited Away is perhaps Studio Ghibli’s magnum opus. An ambitious fantasy tale in the guise of a classic coming-of-age story, it’s a fascinating and immersive journey rich in food for thought. Like other Miyazaki efforts, it features a considerable environmental message alongside other themes of self-discovery, purpose, identity, and finding one’s place in the world. Visually, it’s a treat for the eyes: the animation is striking, fluid, slightly off-putting, and vibrant, creating one of cinema’s most whimsical yet eerie realms. The tone is melancholy throughout, capturing the distinct sensation of growing up and leaving behind the carefree, enchanting days of childhood and facing a more uncertain future. Spirited Away is as surreal as it is delightful, offering a more insightful and thought-provoking take on fantasy that’s no less impactful or rewarding. Twenty-five years after its initial release, the film has aged beautifully, ensuring its legacy as one of the animated medium’s greatest triumphs.
