Respond to these rapid questions in our The Bfg quiz and we will tell you which The Bfg character you are. Play it now.
“The BFG” recalls what it was like to see the world through the eyes of a small child. The ideal age for it is somewhere between five and nine years old—a period during which children ask basic, very practical questions about the stories that adults tell them before bedtime, such as “Are Sophie’s glasses okay?” or “Are Sophie’s glasses broken?”
“The BFG,” a Steven Spielberg film based on Roald Dahl’s novel, features Sophie (newcomer Ruby Barnhill) as the title character. The story revolves around a young orphan from London who is abducted by The Big Friendly Giant, or BFG (Mark Rylance, in the first motion-capture performance to rival Andy Serkis’ best), and taken away to the land of the giants. The BFG is, in fact, friendly—if a little befuddled and a little sad at times. However, there are other colossal figures in this place. They’re terrifying, stupid bullies who are so large that they tower over the BFG in the same way that he towers over Sophie in the film. They are particularly fond of eating people, whom they refer to as “human beans” or simply “beans.” As soon as Sophie manages to get away from the larger giants and they begin stomping around looking for her, the BFG finds Sophie’s glasses and stuffs them into his pocket. In order for the larger giants not to see them and know for certain that he is hiding a child, but there is also another more fundamental motivation: to keep them from being crushed. Later in the film, during another action scene, she inquires of him, “Do you happen to have my glasses?” “Of course,” he responds emphatically.
The film is full of heartfelt gestures that make you think. Similar to the BFG, it has a concern for the minor details and moves with a grace that belies its enormous size. Dreaming and storytelling, parenting and childhood, nostalgia and pragmatism are all themes that run through the film. It also explores the importance of standing up for oneself even when one knows that one cannot win. But, above all, it is a film about two unlikely friends who become friends.
But you shouldn’t waste any more time and start this The Bfg quiz.
Despite the fact that there is a smidgeon of plot, it is resolved so quickly that it’s as if the story realized it was late and the kids needed to get to bed. The plot revolves mostly around how the BFG will deal with the really big giants who scare him and call him “runt.” The film is less concerned with plot twists and turns than it is with the interaction between the giant and Sophie. There are pauses in the film to allow characters to tell each other stories, and the film recounts a dream by casting shadows on a wall, among other things. There are fart jokes, but they are not as desperate as most movie fart jokes, which is a welcome change. In that Roald Dahl way, they’re delightfully strange, and they don’t just happen when a scene needs, well, gas; the movie builds up to them patiently, the better to keep kids on the edge of their seats as they wait for that first flap-flap sound.
The Bfg Quiz
Adults, I imagine, will find the film to be uninteresting; “Nothing happens,” they will complain. “On top of that, it’s too nice.” Others may enjoy the film because it reminds them of what it was like to be young enough to run away from a monster movie because it was big and weird-looking, then laugh because it was kind of silly, or to wish a conversation between the BFG and Sophie could go on a little longer because the giant has a funny voice and walks with his legs lifted as though they are heavier than they are—as if he were really a giant and not a runt.
Also, you will find out which character are you in this The Bfg quiz.
Dreams are kept in jars by the giant. Some of them are pleasant dreams. Others are downright terrifying. The giant does not want Sophie to have scary dreams, not because there are monsters in them (although there are occasionally monsters in them), but because the dreams say hurtful things to the person having them. A large part of the giant’s speech is lyrical and inspiring, particularly when he speaks of his love for the land and his attempts to listen to its wisdom. “The trees themselves tell the funniest stories,” he tells Sophie, referring to the source of his amusement. “All of the world’s whispered secrets are here.” Nevertheless, he frequently transforms ordinary words into malapropisms, as in “Feature of habit.” “De-lumptious.”
About the quiz
The meanings of the characters in the film are never too specific; they are fluid and change depending on the situation. In other words, the giant could be an adult who has brought a child into his world and is concerned that she will perish as a result of something he has done or failed to do on his part. It’s also possible for him to be a child who allows himself to be mothered by Sophie, a child who has been forced to grow up too quickly. When viewed from a distance, the shambling, silver-haired BFG often appears to be a devoted but disorganized grandfather. The more powerful giants in the land of the giants stalk the landscape like irresponsible, petty, volatile parents who have no idea how to give or accept love because they never learned how to do so as children. In the episode, the BFG informs Sophie that giants do not have parents.
Also, you must try to play this The Bfg quiz.
The majority of the scenes in “The BFG” take their time to develop. Many of them consist of Sophie and the BFG conversing as if they were real friends. A few have the default “Isn’t this a marvelous adventure?” music by John Williams playing in the background, which can take away a little of their sense of wonder, while others are so quiet that you can hear insects whirring and wind blowing through the grass. If you’re watching an action scene, Spielberg doesn’t hammer your eyesballs with fast cuts to keep you interested; instead, he stages many of the conversations in long takes and keeps the camera at a distance, so that you can appreciate how each character moves through the frame, how they carry themselves, and what they do with their hands. Close-ups are used sparingly, to amplify emotional moments or deliver the punchlines to comic scenes. For example, when the giant eats a meal prepared by humans, Spielberg cuts to a shot of the utensils they’ve provided: a sword, a pitchfork, and a shovel, to amplify the emotion of the moment.
A new image that delights simply for its own sake appears every few seconds, such as the way the giant, while sneaking out of London at night with Sophie hidden in his satchel, uses his cunning and the wings of his long coat to camouflage himself: assuming the silhouetted shape of a tree; leaning back into the dark hollows of a building while covering an overhead streetlight bulb with his hand. Steven Spielberg and his regular cinematographer, Janusz Kaminski, have a keen eye for striking visual effects: the giant’s reflection appearing to stand upside-down on the bank of a lake into which he’s just dived; one of the larger giants shielding himself from rain by hoisting up a human-sized umbrella; the BFG striding through a “gate” that marks the border of the land of giants: a zigzag rock formation that’s cro
This is a film about kind souls, and it is a film about kind souls. Sophie’s glasses are able to make it through without a hitch.
For more personality quizzes check this: Jack Reacher Never Go Back Quiz.
