NARRATIVE (Representation)

Edward Scissorhands

            In his 1990 classic Edward Scissorhands director Tim Burton explores the idea of being an outsider in a very unique way. Presented as a fairytale with his classic aesthetic, Burton channels memories from his adolescence to show what it feels to be different. Throughout the film the title character struggles to live in a slightly exaggerated suburbia and proves the age-old expression that looks can be deceiving. While Edward may look like a monster with pale, scarred skin, gothic apparel, and dangerous scissors for hands, he reveals himself to be the most human and admirable character in the film.

            We are first introduced directly to Edward when Avon lady Peg Boggs enters his castle. In this haunting German-Expressionistic setting she finds the equally dark appearing man sitting alone in the corner. As she talks to him he eventually gets up to approach her as a startling silhouette with jagged blades coming from his hands. Naturally frightened by this disturbing image Peg makes her way towards the door until a faint voice simply says, “Don’t go.” She turns to see this obviously damaged being with an innocent expression on his face. She quickly realizes his gentle nature that juxtaposes his horrific appearance. From there on out Peg takes Edward to the colorful world of suburbia, a symbol of conformity and “average” American life. At first welcomed as this new, interesting resident, the neighborhood obsesses over Edward which becomes just as dehumanizing as recognizing him as a monster. Soon he is trimming hedges into a variety of exciting forms and giving wild haircuts, and for this time Edward can express his creativity and feel accepted. However, after getting tricked into some unfortunate situations, gossip ensues, and his reputation destroyed. People quickly accept these rumors as the truth because of his monstrous appearance and a series of misunderstandings.

            Though there are no people with scissors for hands, Edward represents anyone who feels like an outsider whether that person is gay, black, female, disabled, etc. The character resonates with anyone who feels that he or she doesn’t belong. He tries to go beyond his gothic appearance and communicate through dinosaur-shaped hedges and extravagant hairstyles. Burton goes against the idea that the “monster” has to be the antagonist, because to some people the “monster” is more relatable. What if Frankenstein’s monster, the creature from the Black Lagoon, and Godzilla are just misunderstood? Edward is a symbol of that. The monster isn’t always the one who looks different or deformed. Sometimes the real monster is the angry mob, society, and the ones who restrict and shun the one who is different. In that way Edward is simultaneously representative of the portrayal of movie monsters and, on a larger note, individuals who don’t feel they fit into defined norms.