I suspect few come to this book without having first seen the film adaptation called The Iron Giant, the 1999 Warner Brothers animation directed by Brad Bird and co-written by him.
The film is a masterpiece and is also one of my *favourite films, to watch again and again whenever it comes on. The book is wonderful but perhaps not a masterpiece. Let us deal first with the book, because I think it is necessary and pleasurable to return to the film.
The charm of the book stems from the central idea of the impact caused by the arrival on Earth of a giant mechanical man. He can deconstruct then reconstruct himself by way of his component parts being handily equipped with homing devices so that they can link up with each other. Simply, the metal man falls down a cliff into the sea, the local famers relax until he returns and starts eating their tractors, so they build a big pit to trap him. When the giant falls in they fill it with earth. Before too long the metal man resurfaces, and is befriended by a small boy called Hogarth, who comes up with the idea of accommodating the visitor’s special needs by putting him in a scrap metal yard. When a space dragon comes to Earth (Australia, wouldn’t you know it), the iron man devises a challenge to outwit the monster and turn him from foe to the beneficiary of all the peoples of the Earth.
The story is in five parts. Or to give the story its proper subtitle: A Children’s Story in Five Nights. This is the other important element of the charm of The Iron Man. The story reads like it is being told to wide-eyed children, sitting enthralled. A child as we know does not always require complete logic and the story of a big metal man from space is a gripping one. So is his developing friendship with Hogarth. The whole dragon sequence is, of course, fantastic in the literal sense but also, very appealing to small children.
While remaining true to the spirit of the book, the animated film The Iron Giant improves the story by giving it a better narrative arc and locating the tale very specifically in a 1950s cold war environment, when the organs of authority (government, security agencies, the army) were perhaps more respected than they are now, certainly powerful, but nevertheless susceptible to paranoia and suspicion. A big metal machine is just the thing to disturb their shaky equilibrium. The threat to the iron giant does not come externally but arises from the paranoia of the time - where does the creature come from? Is it made by the Russians? The Chinese? It represents an unknown danger: it must be destroyed.
This is in stark contrast to Hogarth’s thinking and those close to him. Hogarth understands the nature of the giant and that he is friendly: their relationship is wonderful, witness doing water bombs into the forest pool. In the film, Hogarth has a single mother and he is befriended by the beatnik sculptor who runs the scrap yard, both uncomfortable types in the 1950s. The sculptor in particular with his art, coffee and penchant for jazz represents a disturbing anti-establishment perspective. The soundtrack is superb too.
In this way the story remains integrated and coherent, while maintaining faith with the source material: the ultimate threat comes from the sky, but this time is of their own making. Read the book and see the film!
*To provide some context, current favourites include: Pleasantville, Blast from the Past, Cars and Ben Stiller’s remake of The Secret Life of Walter Mitty.