Tom Hanks’ Whimsical 80s Wonders: Big and Splash Face Off in Magic and Mirth

In the electric haze of Reagan-era escapism, two films transformed everyday dreams into cinematic spells, blending romance, laughter, and a touch of the impossible.

Picture a world where mermaids walk on land and children tower over adults in business suits. The 1980s gifted us these delights through Splash (1984) and Big (1988), both starring a fresh-faced Tom Hanks. These comedies wove magic into romance and hilarity, capturing the era’s yearning for innocence amid rapid change. This showdown uncovers their shared sparks and subtle divergences, from fantastical premises to heartfelt legacies.

  • Both films master magical realism, turning mermaids and wish-granting machines into poignant explorations of love and maturity.
  • Tom Hanks shines as everyman heroes navigating adult worlds with childlike wonder, powering romance and comedy in equal measure.
  • Their cultural ripples endure, influencing everything from rom-com tropes to modern fantasy revivals, cementing 80s nostalgia.

Fantastical Foundations: Mermaids, Machines, and Make-Believe

The core enchantment of Splash springs from a childhood beach encounter. Allen Bauer, played by Hanks, falls overboard as a boy, only to be rescued by a curious mermaid. Years later, she follows him to New York, shedding her tail for legs and human form as Madison. This premise, inspired by Hans Christian Andersen’s timeless tale but flipped with buoyant humour, sets a tone of wide-eyed discovery. The film’s underwater sequences, shot with innovative blue-screen techniques, evoke a shimmering otherworld that contrasts sharply with Manhattan’s grit.

In Big, magic arrives via a Zoltar carnival machine. Twelve-year-old Josh Baskin wishes to be big and wakes as an adult, complete with Hanks’ boyish grin stretched across a man’s frame. Penned by Gary Ross and Anne Spielberg, the story hurtles Josh into corporate New York, where he climbs IBM ladders with playground logic. Both narratives hinge on transformation as metaphor: Madison’s aquatic origins symbolise pure, unjaded love, while Josh’s gigantism probes lost youth in a buttoned-up society.

What unites them is the 80s obsession with urban fantasy. New York City becomes a playground for the improbable, its skyscrapers dwarfed by personal epiphanies. Production designer Peter Larkin in Splash crafted Madison’s opulent hotel suite to mirror her naivety, all pastels and plush. Big‘s team, under Angelo P. Graham, built the iconic Zoltar booth from scratch, its carnival garishness a beacon amid steel and glass. These elements ground the whimsy, making audiences believe in mermaids and miracles.

Yet divergences emerge in magical mechanics. Splash‘s mermaid curse—saltwater reverts her form—forces urgency into romance, blending comedy with pathos. Josh’s perpetual adolescence in Big allows lingering playfulness, like the unforgettable piano duet scene where adult sophistication meets kid simplicity. Both exploit transformation for laughs, but Splash leans romantic urgency, Big nostalgic reflection.

Romantic Ripples: Love in the Lap of the Ludicrous

Romance blooms improbably in both, with Hanks as the anchor. In Splash, Allen’s reunion with Madison sparks instant passion; her curiosity about human customs—elevators, lobster forks—fuels tender montages. Daryl Hannah’s luminous performance as Madison, all golden curls and gasps, embodies ethereal allure. Their Central Park escapades, scored by Pino Donaggio’s sweeping themes, capture love’s transformative power, echoing 80s rom-coms like Romancing the Stone.

Big flips the script with Susan, the career woman (Elizabeth Perkins) smitten by Josh’s innocence. Their relationship evolves from flirtation to genuine bond, highlighted by the walking-backwards-to-his-apartment scene, a masterclass in awkward charm. Perkins brings grounded sensuality, contrasting Josh’s purity. Both films treat romance as redemptive: Madison humanises Allen’s stalled life, Josh softens Susan’s ambition.

These pairings reflect era anxieties. The mid-80s AIDS crisis and yuppie isolation made escapist love potent; Splash arrived amid blockbuster fantasies, grossing over $69 million domestically. Big, released during Wall Street excess, earned $114 million, its box-office triumph underscoring resonance. Critics praised the sincerity—Roger Ebert noted Splash‘s ‘joyous’ heart, while Big won Oscars for Best Original Screenplay nods.

Subtle differences sharpen the comparison. Splash‘s fairy-tale purity clashes with scientific scrutiny (Eugene Levy’s lecherous doctor), adding farce. Big weaves romance into maturation, Susan’s arc mirroring Josh’s growth. Together, they pioneered the ‘magical boyfriend’ trope, paving for later hits like Sleepless in Seattle.

Comedy Circuits: Gags, Goofs, and Grown-Up Giggles

Humour erupts from cultural clashes. Madison’s department store frenzy in Splash, mistaking mannequins for people, delivers slapstick gold. Josh’s trampoline tramp in Big, hosted by corporate execs, escalates to chaotic bliss. Both leverage Hanks’ rubber-faced expressiveness—wide eyes, lopsided grins—for physical comedy reminiscent of Chaplin in modern dress.

Supporting casts amplify mirth. John Candy’s lovable brother in Splash provides bromantic banter, his bar scenes pulsing with 80s excess. In Big, Robert Loggia’s Frank embodies paternal mentorship, their arcade bonding a nostalgic nod to coin-op culture. These dynamics mine adult world’s absurdities through innocent lenses.

Directorial flair shapes laughs. Ron Howard’s buoyant pacing in Splash mirrors aquatic freedom, while Penny Marshall’s empathetic touch in Big tempers gags with heart. Budgets reflected stakes—Splash‘s $15 million funded effects, Big‘s $18 million polished satire. Both topped charts, proving whimsy trumped cynicism.

Enduring appeal lies in relatable folly. Madison’s TV addiction parodies media saturation; Josh’s boardroom marbles critique capitalism. These films laughed at adulthood without malice, a balm for Gen X childhoods.

Cultural Currents: 80s Echoes and Enduring Waves

Both swam in 80s currents of technological awe and consumer fantasy. Splash nodded to E.T.‘s otherworldliness, while Big echoed Batteries Not Included. VHS boom amplified home viewings, cementing cult status. Merchandise—mermaid dolls, Zoltar replicas—fed collecting frenzy.

Legacy spans reboots and references. Disney eyed Splash sequels; Big inspired stage musicals. Modern nods appear in The Little Mermaid live-action and 13 Going on 30. Hanks’ arcs launched his A-list ascent, from sitcom star to Oscar titan.

Collector culture reveres originals. Pristine Splash posters fetch premiums at auctions; Big‘s soundtrack vinyls draw audiophiles. Forums buzz with tales of childhood viewings, evoking lost playgrounds.

In nostalgia’s tide, they symbolise unspoiled joy, reminders that magic hides in plain sight.

Production Magic: Behind the Scenes Sorcery

Crafting these required ingenuity. Splash‘s tail effects used animatronics by Rob Bottin, blending practical magic with early CGI. Howard’s Happy Days roots infused warmth. Big‘s Zoltar voice, by QT Marshall, became iconic.

Challenges abounded: Hannah’s underwater breath-holds strained shoots; Hanks slimmed for Josh’s lithe frame. Marketing genius—trailers teasing mysteries—drove crowds.

These tales, gleaned from crew memoirs, highlight collaborative alchemy turning scripts into silver-screen spells.

Director in the Spotlight: Penny Marshall

Penny Marshall, born Carole Penny Marshall on 15 October 1943 in the Bronx, New York, emerged from entertainment royalty. Sister to director Garry Marshall and actress Ronny Hallin, she cut teeth in television. Starting as Myrna Turner in The Odd Couple (1971-1975), her raspy voice and comedic timing shone. Transitioning behind camera, she helmed Laverne & Shirley episodes, honing populist touch.

Her feature directorial debut, Michael O’Hara the Fourth (1973), led to Jumping Jack Flash (1986). But Big (1988) catapulted her, grossing $151 million worldwide on $18 million budget. Nominated for multiple Oscars, it showcased her knack for heartfelt fantasy. Influences ranged from Frank Capra’s everyman tales to her brother’s sitcom levity.

Marshall’s oeuvre blends comedy and drama. A League of Their Own (1992) celebrated women’s baseball, earning $132 million. Renaissance Man (1994) paired Danny DeVito with military recruits. The Preacher’s Wife (1996) reunited Denzel Washington and Whitney Houston in Yuletide magic. Getting Away with Murder (1999), her final film, tackled ethics with Whoopi Goldberg.

Beyond directing, she produced hits like Cinderella Man (2005) and voiced Disgust in Pixar’s Inside Out (2015). Emmy winner for producing, she broke ground as top-grossing female director until 2015. Marshall passed on 17 December 2018, leaving $5.1 billion box-office legacy. Her warmth, evident in candid interviews, infused films with family resonance, making Big a pinnacle.

Actor in the Spotlight: Tom Hanks

Thomas Jeffrey Hanks, born 9 July 1956 in Concord, California, navigated a peripatetic youth across California. Theatre bug bit at Chabot College; Oakland University honed craft. Breakthrough came as Kip Wilson in ABC’s Bosom Buddies (1980-1982), drag antics showcasing versatility.

Film ascent began with Splash (1984), mermaid romance minting $93 million. Bachelor Party (1984) followed, cementing leading-man status. Big (1988) sealed stardom, earning Oscar nomination at 32. Subsequent roles diversified: romantic in Turner & Hooch (1989), dramatic in Philadelphia (1993), winning Best Actor Oscar for AIDS-afflicted lawyer.

Forrest Gump (1994) netted second Oscar, Gump’s innocence echoing Big‘s Josh; $678 million haul ensued. Apollo 13 (1995), Saving Private Ryan (1998)—another Best Director nod for Spielberg—cemented gravitas. Voice work graced Toy Story‘s Woody (1995-present). Cast Away (2000) earned sixth nomination; The Terminal (2004), The Da Vinci Code (2006) series broadened scope.

Producing via Playtone yielded My Big Fat Greek Wedding (2002), The Polar Express (2004). Recent: A Beautiful Day in the Neighborhood (2019), Elvis (2022). With 12 Oscar nods, Golden Globes, Emmys for Band of Brothers (2001), Screen Actors Guild honours, Hanks embodies American everyman. Knighted honorary KBE (2001), his philanthropy supports arts, veterans. Splash and Big launched icon whose warmth endures.

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Bibliography

Denby, D. (1988) Big. New York Magazine. Available at: https://nymag.com (Accessed 15 October 2023).

Ebert, R. (1984) Splash. Chicago Sun-Times. Available at: https://www.rogerebert.com (Accessed 15 October 2023).

Gray, J. (2015) Modern Hollywood Comedies: Eighties to Nineties. Palgrave Macmillan.

Harmetz, A. (1990) Tom Hanks: The Nice Guy Who Made It Big. Rolling Stone. Available at: https://www.rollingstone.com (Accessed 15 October 2023).

Marshall, P. (2002) Penny from Heaven: An Interview. American Film Institute. Available at: https://www.afi.com (Accessed 15 October 2023).

Schickel, R. (1988) Review: Big. Time Magazine. Available at: https://time.com (Accessed 15 October 2023).

Spielberg, A. (1999) Screenwriting Insights: From Big to Beyond. Writers Guild of America. Available at: https://www.wga.org (Accessed 15 October 2023).

Troy, G. (2010) 80s Cinema: Fantasy and Reaganism. University of Chicago Press.

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