If you can get through anger, denial, bargaining, and depression, acceptance is a wonderful thing.
It can allow you to find 1993’s Super Mario Bros. endearing in its earnest goofiness. It doesn’t forgive the lost potential of what could have been a touchstone moment in legitimizing video game source material in the medium of film, but it allows you to take the ashes of this pop cultural train wreck on its own terms, and have a little straightforward fun with it. Yes, certain elements of the movie cross the event horizon of silly and enter the realm of the absurd, and yes, the aesthetic choice of portraying the Mushroom Kingdom as a sub-Total Recall dystopia is… disappointing for those expecting Mario actor Bob Hoskins to have another jolly old Who Framed Roger Rabbit romp, but going with the flow of Super Mario Bros. is not a miserable experience. It’s an oddly diverting one.
It’s an understatement to say that Super Mario Bros. has gotten flack as an adaptation of the video game franchise. And sure, the contrast between bright, colorful, fantastical Mushroom Kingdom from the games and neo-noir, steamy, dystopian Mushroom Kingdom from the film is one of the biggest communal punching bags in the history of fandom. But I think there are successful, or at least entertaining, translations of game elements.
It makes a twisted kind of sense to take goombas back to their roots as actual “goombahs” (emphasis on the “bah”) in the Mafioso connotation of the word. Daisy, not Peach, is the female lead, and is given passion, agency, and strength of character while also growing into her role as Princess. Iggy and Spike’s shift from buffoonish henchmen to Rosencrantz and Guildenstern-alike free agents is too bold a choice to write off. The bob-ombs are great. And when a voice in the crowd shouts “It’s a bob-omb!!!”, it’s one of the movie’s best absurdist jokes – in our world, “It’s a bomb!” is one of the last things you would ever want to hear, but just adding that one syllable makes it hilarious. And best of all, the running joke about Mario being frightening of jumping is kind of wonderful.
The outside-the-box spirit of the movie means it goes for crazy abandon. Fiona Shaw’s gangster’s moll character is electrocuted and gains the Bride of Frankenstein’s hairstyle, for… reasons? Dennis Hopper’s King Koopa makes his lair the top floor of a World Trade Center tower, making those scenes an odd watch nowadays. And this is a movie where the day is saved by blaring “Somewhere My Love” by Frankie Yankovic. (Yes, that weirdo’s father.) It’s all a carefree level of odd that’s consistently watchable. As the postscript section below lines out, Super Mario Bros. foreshadows elements of other films. One film it fails to foreshadow, despite its best efforts, is its own sequel. This movie has the sheer nerve to end on a cliffhanger! Of course, an ongoing story was not to be. Making less than half your posted budget will do that to you.
This way, Super Mario Bros. can live on as a curiosity, a one-off that blog posts like this can put under the microscope for some arcane purpose. But as the Mario license expands – cue marquee for Nintendo Land, coming to Universal Studios in 2019 – another movie must be on the cards. Now for all my advocacy, I can’t say the 1993 effort is a good film. I have fun with it and will stick up for certain aspects, but it seems extremely unlikely that any future Super Mario movie won’t clear this bar of quality. (Double negatives are where it’s at!) The 1993 Super Mario Bros. movie is flawed, an occasionally embarrassing patchwork of off-the-wall ideas, but it’s got heart, kid and a spirit of adventure. It’s certainly better than a piece of garbage like Resident Evil: The Final Chapter.
P.S.: Super Mario Bros. has a line in anticipating aspects of other movies. Predating the mighty Jurassic Park by a mere two weeks, Super Mario Bros. also features a primitively animated sequence voiced by a cheesily accented narrator explaining how dinosaurs can live in the present. Also, lovable Yoshi is in line with JP’s popularization of the velociraptor as iconic design. The reptilian goombahs swaying to music in an elevator foreshadows the celebrated (relative term) scene in 2014’s Teenage Mutant Ninja Turtles where the Turtles improvise music during a long elevator ride. And well before the days of Harry Potter, future Aunt Petunia Fiona Shaw tells Daisy, “You have your mother’s eyes”.