The Unseen Hands Behind Labyrinth's Iconic Crystal Ball Magic

Jim Henson's 1986 fantasy epic, Labyrinth, remains a cinematic touchstone for many, especially those of us who grew up captivated by its blend of groundbreaking puppetry, dark fantasy, and the undeniable, electric charisma of David Bowie. As the flamboyant Goblin King Jareth, Bowie commanded not just legions of goblins, but also a mysterious crystal ball, making it dance and glide with seemingly effortless magic in some of the film's most iconic scenes. But as devoted fans have long speculated, and as juggling enthusiasts well know, those mesmerizing manipulations weren't entirely Bowie's own. Forty years after the film's release, we're taking a deep dive into the fascinating story of Michael Moschen, the unsung artist whose hands literally brought Jareth's sorcery to life.

The Genesis of Jareth's Juggling Act

Michael Moschen's journey into the whimsical world of Labyrinth began not with a typical audition, but with a serendipitous encounter. A renowned sculptor friend, John Khan, introduced Moschen to Jim Henson at an art exhibition where Moschen was performing his unique crystal ball routine. Henson, ever the visionary with an eye for the extraordinary, was immediately intrigued. This initial meeting soon led to an invitation for Moschen to perform at Henson's birthday party – a grand ballroom affair where Moschen, despite his nerves, clearly left a lasting impression.

It was after this successful performance that Henson and the film's producer approached Moschen with a proposition: fly to England's fabled Elstree Studios and attempt to teach David Bowie his signature crystal ball maneuvers. The original idea was to have Bowie perform the tricks himself, an ambitious undertaking given the intricate and highly specialized nature of Moschen's art.

To Teach a Star, Or to Become His Hands?

Moschen wasn't a stranger to the challenge of instructing performers without a juggling background. Years prior, he had tried to teach complex fire swinging to dancers for Miloš Forman's film Hair. This prior experience, coupled with the highly specialized nature of his crystal ball work, led him to an honest assessment when meeting with Bowie and Henson. He presented a clear, pragmatic choice: "Look, I'm kind of a specialist, and either David Bowie does it mediocre, or I do it really well, if we can work it out [for the camera]."

Henson, valuing the spectacle and perfection of the on-screen magic above all else, swiftly made the call. Rather than a lengthy and potentially frustrating training period for Bowie to achieve mere competence, Moschen would become Jareth's hands. This pivotal decision set the stage for one of Labyrinth's most iconic behind-the-scenes illusions, where Moschen would hide directly behind Bowie, his arm threading through Bowie's armpit, manipulating the ball in front of the camera, completely blind to his own actions.

The Art of Blind Manipulation

Performing the crystal ball routine was already Moschen's expertly crafted art, born from a deeply personal place. He reveals that the piece was his first truly expressive work, created during a difficult period as his sister was dying of cancer. "It was the first technique I made in my career that was very much an expressive piece, so I wrestled with the idea of the crystal ball stuff going worldwide as David Bowie's thing," Moschen shared, acknowledging the very real fear of his deeply personal art becoming synonymous with such a massive star. The producer's practical, if blunt, response — "Well, we think we're paying you enough money, so you should relax" — highlights the stark realities of commercial filmmaking versus artistic ownership.

The physical demands were immense. The production team needed the ball to fluidly roll up Jareth's arm, circulate around his hand, and then be held steadily as Bowie delivered his lines. Moschen spent hours practicing this complex choreography blindfolded, even wearing a studded leather glove to simulate Bowie's costume. The primary challenge, beyond the incredible technical difficulty, was a very human one: "I didn't want to drop the ball on his foot. I didn't want to smash David Bowie in the face with a crystal ball. I didn't want to be the infamous guy that smashed Bowie's face."

Beyond the Brocade: Bowie's Patience, Henson's Kindness

The initial takes were, understandably, difficult. Moschen admits to holding back, a natural instinct to protect one of the world's biggest music stars from an errant crystal ball. But fueled by courage and a desire to achieve the perfect shot, he pushed through. "I found some courage and loosened up a bit more, and we got it," he recalls, finally achieving the seamless illusion seen on screen.

Much of the success, Moschen emphasizes, was thanks to David Bowie's exceptional patience and unwavering professionalism. Imagine enduring someone else's arm pressed against your back, attempting intricate maneuvers with a weighty prop, take after take. Bowie, in full Goblin King regalia, "gave me no problems, and he was amenable to doing the best work. That's the mark of a real top-notch professional, as far as I'm concerned," Moschen reflects. Beyond the challenges of the set, Moschen also cherishes fond memories of Jim Henson. He recounts a day off where Henson invited him to lunch, followed by an afternoon of flying kites in a nearby park. This glimpse into Henson's generous and down-to-earth nature made the experience even more thrilling for a young artist just beginning his career.

Labyrinth's Lasting Legacy and a Juggler's Impact

Forty years on, Labyrinth continues to charm new generations with its unique blend of fantasy and musical theatre. The intricate puppetry, Jennifer Connelly's compelling performance as Sarah, and of course, David Bowie's iconic portrayal of Jareth, complete with his tight pants and gravity-defying hair, all contribute to its enduring appeal. It's more than just a movie; it's a piece of cultural history that resonates deeply with its audience.

Michael Moschen's unseen contributions are a testament to the magic of filmmaking – often, the most enchanting illusions are born from the ingenuity and dedication of uncredited artists working meticulously behind the scenes. His story offers a rare peek behind the curtain, revealing the meticulous craft and personal sacrifices involved in creating cinematic moments that become etched into pop culture. It's a powerful reminder that sometimes, the true stars are not just those bathed in the spotlight, but also the skilled individuals whose hands, quite literally, bring the impossible to life.

FAQ

Q: How was Michael Moschen able to juggle the crystal ball without seeing it?

A: Moschen performed the crystal ball manipulations while hidden directly behind David Bowie, with his arm inserted through Bowie's armpit. He had to practice extensively for hours, blindfolded and wearing a glove, to perform the intricate moves entirely by feel and muscle memory.

Q: Why didn't David Bowie do the juggling tricks himself?

A: While the initial plan was for Michael Moschen to teach Bowie, it quickly became clear that Moschen's highly specialized and artistic routine would take too long for Bowie to master to the required level of perfection for the film. Jim Henson ultimately decided it was more practical for Moschen to perform the tricks himself to ensure the highest quality on screen.

Q: Did Michael Moschen have any concerns about his work in Labyrinth?

A: Yes, Moschen expressed concern that his deeply personal crystal ball routine, which he crafted during a difficult time, would become widely recognized as "David Bowie's thing." He wrestled with the idea of losing artistic ownership over the piece but ultimately accepted the role, partly due to the financial compensation and the opportunity to work on such a significant project.