wonder movie summary essay

by R.J. Palacio

• Wonder Summary

August or "Auggie" Pullman, a ten-year-old boy living in New York City, was born with a facial deformity that has made it difficult for him to make friends. He lives with his parents, his older sister Via, and his dog Daisy. He has been homeschooled up until the fifth grade, but his parents have decided that it is time for him to go to a real school. They enroll him in Beecher Prep, a neighborhood private school, and take him to meet the principal, Mr. Tushman . While August is there, some of the kids who will be in August's grade take him on a tour of the school; one of them, Jack Will , is nice, but another, Julian, is noticeably rude.

Auggie settles into the first few months of school and his classmates slowly get used to the way his face looks. He becomes friends with Jack, and with a girl named Summer who sits with him at lunch on the first day. Apparently, a rumor that touching Auggie will give you the "plague" arises, so his classmates make a point of avoiding touching him, so that Auggie begins to feel alienated. Things get a lot worse on Halloween, typically Auggie's favorite day of the year, when Auggie overhears Jack say to Julian and some other boys that he would kill himself if he looked like Auggie. Jack is completely unaware that Auggie himself is sitting nearby, disguised in a Bleeding Scream costume.

The story switches perspective to Via, Auggie's older sister, who begins high school at the same time that Auggie starts middle school. Via has had to come to terms with the fact that her family's universe revolves around Auggie and his needs; hers often get pushed to the side. The only person who put her first was her grandmother, Grans , who is dead by the time the narrative begins.

Via is also dealing with school issues, since her former best friends, Miranda and Ella , stopped talking to her over the summer. Via feels neglected after the first day of school, since her mother appears more concerned with Auggie's day than with hers. A rift continues to grow between Via and her former friends, and Via settles into new group. On Halloween, Via is confused when Auggie comes home early, claiming to be sick and refusing to go trick or treating. He reveals to her what happened with Jack, and she convinces him that some kids will always be mean. Auggie, according to her, must move past such dilemmas and keep going to school. Auggie surprises Via by telling her that Miranda called to talk to him, and asked about her.

Next comes Summer's point of view. Summer spends time with Auggie because she legitimately wants to be his friend, not because Mr. Tushman asked her to. Since Auggie is mad at Jack, Summer becomes his best friend, and their two families hit it off as well. Summer struggles over whether to keep hanging out with Auggie or to hang out with the popular crowd instead, but ultimately chooses Auggie. When Jack eventually asks Summer why Auggie is mad at him, she gives him one clue: "Bleeding Scream."

The next section is told from Jack's perspective, and he backtracks to when Mr. Tushman first asked him to try to be a friend to the new student. He remembers seeing Auggie when they were both very little: at this earlier time, Jack was disconcerted by Auggie's face. Jack also has some struggles at home, since his family is not wealthy -- a sharp contrast to some other families with children in private schools.

When Jack puts two and two together and figures out what Auggie overheard, he feels terrible. He really does want to be Auggie's friend, but he got caught up in an attempt to be accepted by kids like Julian. When Julian tells him one day that being friends with Auggie is not worth it, Jack gets so angry that he punches Julian in the face. This conflict sets off a series of apology letters involving Jack, Mr. Tushman, and Julian, and Jack and Auggie eventually make up and become friends again. When Jack and Auggie return to school after winter break, though, Jack realizes that Julian has turned most of the boys in their grade against them and that a "war" has begun.

The perspective then switches to Via's new boyfriend, Justin , who has just met Auggie. Justin is good for Via, because he makes her feel important and valued. Since his own parents are divorced, Justin also enjoys spending time with the unified Pullman family. Auditions for the school play at his and Via's high school arrive, and he gets cast as the male lead in Our Town , while Via's old friend Miranda gets cast as the female lead with Via as the understudy.

Auggie's perspective comes back for the first time since the beginning of the novel: the situation has gotten better at school as students grow tired of the "war" between Julian and Jack. The Pullman family gets in a fight one day when Auggie realizes that Via has been hiding her involvement in the school play from him. She does not want him to come, because then she would be known once again as the girl with the deformed brother. During the fight, though, the Pullmans' dog Daisy is discovered to be extremely sick. She must be put to sleep, a choice which devastates the family. This loss also makes Via forget about the fight, and the whole family goes to the school play to see Justin. They expect to see Miranda in the lead female role, but then get a shock: Miranda apparently fell sick right before the show, so instead Via performs the lead role, and she does an amazing job.

Miranda gets a chance to tell her story now: she has avoided Via since school started because, during the summer, she told a lot of lies at camp and pretended she had a deformed little brother in order to become popular. She secretly misses Via, though. On the opening night of the play, Miranda has no one there to see her, so after she sees the Pullman family in the audience she fakes an illness so that Via can go onstage instead. This ploy gives Via and Miranda an opportunity to patch up their relationship.

The final section of the novel switches back to Auggie. The fifth grade goes on a retreat at a nature reserve for three days: this is Auggie's first time sleeping away from home. Things go great until the second night, when the students are watching an outdoor movie. Jack and Auggie go into the woods so that Jack can pee; while there, they encounter a bunch of older kids from another school, who make fun of Auggie and try to hurt him. Luckily, three of the boys from Beecher Prep who are usually mean to Auggie -- Henry , Miles , and Amos -- come to Auggie's rescue, although one of the older kids steals Auggie's hearing aids.

This incident makes Auggie extremely popular, however. By the final stages of the novel, almost everyone has at last warmed up to him and wants to be his friend. Things start looking up: the Pullmans get a new puppy, and Auggie learns from Mr. Tushman that Julian will not come back to Beecher Prep the following year. Graduation arrives; Auggie wins a special award for courage and kindness. He realizes how far he has come since the beginning of school, and he now has a solid group of friends and feels comfortable with who he is. The novel ends with his mother whispering in his ear, calling him a "wonder."

Wonder Questions and Answers

The Question and Answer section for Wonder is a great resource to ask questions, find answers, and discuss the novel.

Why does Justin greet the different members of the family in four different ways? from wonder

This is one of the shorter sections, but Justin's segments are extremely important because they give us our first substantial look at Auggie's family from the outside. Summer and Jack only briefly interacted with the rest of Auggie's family, but...

What do you think auggie means by “the only reason I’m not ordinary is that no one else sees me that way”.

Augie wants to be ordinary, he feels he should be ordinary. . His face prevents others from seeing him that way. Really Augie feels that if people can look past his looks, they would find out he is just like them.

What writing assignment did Mr. Browne give the class?

Mr. Browne says that he will give the class a new precept every month. For the month of September, he tells them to consider: “If you have the choice between being right or being kind, choose kind.”

Study Guide for Wonder

Wonder study guide contains a biography of R.J. Palacio, literature essays, quiz questions, major themes, characters, and a full summary and analysis.

• About Wonder
• Wonder Video
• Character List

Lesson Plan for Wonder

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to Wonder
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• Wonder Bibliography

Wikipedia Entries for Wonder

• Introduction

Film Review: ‘Wonder’

Stephen Chbosky's drama of a middle-school kid with a facial deformity proves that a movie that sounds mawkish on paper can earn honest tears.

By Owen Gleiberman

Owen Gleiberman

Chief Film Critic

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Auggie Pullman (Jacob Tremblay), the central character in Stephen Chbosky ’s “ Wonder ,” is a brainy 10-year-old boy with a sweet high voice and a congenital facial deformity, whom numerous corrective surgeries have left looking like a cherub after a car accident. His left eye tugs downward as if a teardrop were falling from it; his ears are bulbs of flesh, and his face is framed by a pinkish ring of scar tissue. That said, he’s not the Phantom of the Opera. He’s just an ordinary kid whose looks take a bit of getting used to.

Auggie is a science geek who loves “Star Wars” and Minecraft, ice cream and X-Box sports games; he’s fueled by all-American fantasies of going to outer space. (He likes to walk around in a toy astronaut helmet that conceals him and feeds his dreams.) His face, which looks youthful and old at the same time, is jarring the first time you see it, but the more you take in his innocent if slightly askew elfin features, the more his soul shines through. Any thoughts that he’s ugly, or odd, are really in the eye of the beholder.

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Movies about people with dramatic disfigurements run a high risk of being mawkish and manipulative. Yet maybe because the dangers of grotesque sentimentality loom so large, a handful of filmmakers, over the years, have made a point of taking on stories like this one and treading carefully around the pitfalls. David Lynch did it in “The Elephant Man” (1980), his shrewdly restrained, underbelly-of-London Gothic horror weeper, which revealed John Merrick, beneath his warped and bubbled flesh, to be a figure of entrancing delicacy. Peter Bogdanovich did it in “Mask” (1985), his straight-up tale of a teenager with a face of scowling strangeness who came to embrace the person he was.

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“Wonder” is a movie that belongs in their company. It’s a very tasteful heart-tugger — a drama of disarmingly level-headed empathy that glides along with wit, assurance, and grace, and has something touching and resonant to say about the current climate of American bullying. At the same time, the film never upsets the apple cart of conventionality. “Wonder” is an honest feel-good movie, but it lacks the pricklier edges of art.

Auggie has been home-schooled by his mother, Isabel ( Julia Roberts ), in their cozy Brooklyn brownstone. But now that he’s 10, she and Auggie’s dad, Nate ( Owen Wilson ), have made the decision to send him to middle school. They know they can’t shield him from the world forever, and they have no desire to.

Roberts and Wilson make a compelling team; they play the Pullmans as supremely sensitive, loving parents who have the occasional tug-of-war spat about what’s best for their special son. Yet both want him to stand up for himself, and to be part of a community. Auggie wants that, too, though the kids he meets at Beecher Prep School don’t make it easy. By the end of his first day there, he has already been nicknamed (after one of his favorite “Star Wars” characters) “Barf Hideous,” and he chops off the rat-tail braid that’s his only fashion statement — a testament to the destructive power of peer pressure. Just enough of the kids treat Auggie like a freak to make the belief that he is one tough for him to shake.

This is the third feature directed by Chbosky, the novelist who actually got his start as a filmmaker (with the 1995 indie “The Four Corners of Nowhere”), and it was his second, “ The Perks of Being a Wallflower ” (2012), that established him as a major directorial voice. Adapted from his own first novel, “Perks” was the most remarkable coming-of-age movie in years, a drama that took in, with astonishing authenticity, the pleasures and perils of teenage life. (It also used David Bowie’s “Heroes” in a way that’s so transporting it trumps every musical sequence in “Baby Driver.”) “Wonder” is a movie by the same sharp-eyed, open-hearted, close-to-the-ground filmmaker. Chbosky, working in the tradition of Jonathan Demme, doesn’t hype what he shows you, and he cuts to the humanity of everyone on screen, even those who act badly. (He has a touching refusal to demonize.)

“Wonder,” adapted from R.J. Palacio’s 2012 novel (which took its title from the 1995 Natalie Merchant song about overcoming disfigurement), is a less audacious film than “The Perks of Being a Wallflower.” But Chbosky’s intense understanding of the layered personalities of kids is a rare gift. He lets the movie breathe by refusing to restrict the drama to Auggie’s point of view. It’s built around his gentle sadness and yearning, but it opens up into chapters told from the vantage of Jack (Noah Jupe), his science-class partner, who looks like he might be turning into Auggie’s buddy, only to leave him with a sense that he can’t trust anyone; and Auggie’s high-school sister, Via (Izabela Vidoovic), who’s the most complicated character in the movie. She has grown up in a family so organized around Auggie that her own needs can never come first. She wouldn’t think to question that, but the dynamic has graced her with both compassion and a hidden wound, and Vidovic’s pensive presence lends her scenes a rapt center of gravity.

Chbosky has a sixth sense for how to let a drama flow from anecdote to anecdote. Auggie’s favorite holiday, Halloween, leads to the moment when he overhears Jack, goaded by the smug, fashionable Julian (Bryce Gheisar), snarking to the other kids about him — a devastating betrayal, but one that turns out to be crucial to cementing their friendship. Jack can’t get past his prejudice until he has outed it. “Wonder” is a movie that’s finely attuned to what bullying is actually about: kids walling off their feelings, giving into the dark side of themselves to be superior. Bullies, of course, weren’t born bad, but in “Wonder” the idea is no pious abstraction — it plays out in every encounter between Auggie and those who would treat him meanly. The scenes are really about how his presence is a threat to their too-cool-for-schoolness.

“Wonder,” as effective as it is, is a movie in which everything has a way of working out with tidy benevolence. Via goes from being shunned by her best friend (Danielle Rose Russell), who has joined a hipper clique, to falling for a charismatic kid (Nadji Jeter) from the drama club to trying out for a student production of “Our Town” to winning her friend back to becoming the understudy who knocks ’em dead on opening night. Auggie, over the course of fifth grade, goes from being the school goat to a school hero. Yet Jacob Tremblay, acting from behind his transformative make-up, roots that journey in something real: the fact that who you are, whether you look like Auggie Pullman or someone more “normal,” can be a prison or a liberation, depending on the path you choose. Of all the films this year with “wonder” in the title (“Wonderstruck,” “Wonder Woman,” “Wonder Wheel,” “Professor Marston and the Wonder Women”), this is the one that comes closest to living up to the emotional alchemy of that word.

Reviewed at Park Avenue Screening Room, New York, Nov. 8, 2017. MPAA Rating: PG. Running time: 113 MIN.

• Production: A Lionsgate release of a Lionsgate, Mandeville Films, Participant Media, Walden Media production. Producers: David Hoberman, Todd Lieberman. Executive producers: Jeff Skoll, Robert Kessel, Michael Beugg, Alexander Young, R.J. Palaco. Director: Stephen Chbosky. Screenplay: Stephen Chbosky, Steven Conrad, Jack Thorne. Camera (color, widescreen): Don Burgess. Editor: Mark Livolsi.
• With: Jacob Tremblay, Julia Roberts, Owen Wilson, Izabela Vidovic, Noah Jupe, Nadji Jeter, Daveed Diggs, Mandy Patinkin, Ali Liebert, Emma Tremblay, Millie Davis.

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Wonder Movie: A Miracle of Family Essay (Movie Review)

Family description, family roles, central challenge, changes in roles, parenting blueprint.

This paper will examine the family structure in the movie Wonder . The film narrates a story of a ten-year-old boy named August, or Auggie, Pullman, a child with a genetic disorder that causes him to have visible facial deformities. As he starts school for the first time, he struggles with making friends and bullying. The film focuses on the reality of living with a disability and the role of family.

The Pullman family consists of a mother, father, older sister called Olivia (Via), and the youngest son, August. Both parents provide support and care for their children, perhaps with more attention to the younger offspring. August is a boy with a genetic condition that, nonetheless, does not stop him from being genuine, kind, and courageous. His sister, Via, is an older sibling who feels alienated from the rest of the family.

August bears the hero’s role, which can be considered untraditional, given his visible condition. As a hero, he overcompensates his disability with academic achievements, such as being the smartest pupil in a science class ( Wonder ). Additionally, he projects the family image on himself, claiming that his sister does not want the classmates to see him, implying that it is his responsibility to represent the family and appear presentable.

In her turn, the mother can be considered a dominant rescuer, which is untraditional in a patriarchal society. Her role is prominent in how she treats August as her priority – she abandons her passion for becoming an illustrator to homeschool him ( Wonder ). In addition, the mother always acts as the peacemaker: during the dinner on the first day of school, she is the one to start the conversation to comfort others.

The father acts as the mediator, which appears to be a traditional yet non-dominative role in the structure. For example, he secretly hides the helmet that Auggie has been using as a shield from the real world, thus urging the son for a necessary transition towards social integration ( Wonder ). He also mediates the conflict by reaching out to Via, the forgotten child. When the mother is comforting Auggie, the father is the only one who checks up on the older daughter.

It can be argued that Via is the lost child since she is the most isolated and distant family member, which can be considered non-traditional for a relatively functional family. For example, she separates her family and school personality, claiming that she is a “single child” when speaking with new acquaintances ( Wonder 29:40-29:49). Furthermore, even when Via tries to get close to her mother by talking about a lost friend, the attention is quickly shifted to her brother.

The main challenge that affects and, ultimately, shapes the family dynamics is the protagonist’s facial deformity. It moves the focus of the family’s attention from the collective efforts to grow and develop as personalities to sustaining August’s quality of life. It makes the parents overprotective of the son; for example, the dad claims that allowing August to go to school is “leading the sheep to the slaughter” ( Wonder 3:25-3:30). The mother also gives up her dissertation and dedicates all of her life to her son.

The course of the movie changed the roles of all the characters. August remains the hero but adopts the needed attitude and skills to navigate the hostile social landscape. Because the parental attention was diverted from Via to August, the older sister distances herself from the family and becomes the lost child to lessen her parents’ burden. However, as the movie unfolds, Via transforms into the nurturer and provides the brother with much-needed advice. Although the dad was originally the clown or mascot of the family due to his constant humor, he transitions into the mediator as he provides gentle parental nudges to help August grow. Lastly, the mother adopts the nurturing role to substitute her rescuing tendencies – instead of overprotecting August, she learns to let him explore.

The parents display some characteristics of authoritative parenting by aiming for a balance between rules and freedom. One example is how the mother approaches the conflict with August on the first day of school. When the boy abruptly leaves the dinner table in the heat of the argument, she gently reminds him that “it is no way to leave the dinner table” ( Wonder 23:36-23:39). Instead of punishing him for not conforming, the mother seeks the source of such behavior and tries to resolve it. Another example would be Via’s lateness from school: although the parent expected her to be home earlier, she accepts the excuse since the mother understands the need to reconnect with the passed grandmother.

Another factor of the parenting blueprint is the free-range style, which allows children to explore their talents and skills in a free environment with little supervision. Firstly, it can be seen in the fact that the parents encourage August to attend school. Instead of continuous involvement to aid Auggie’s integration, the parents let their child connect to peers independently. Secondly, through free-range parenting, they allowed Via to navigate her romantic life. The mother and father abstain from controlling her connections and allow an uninterrupted exploration of the relationship.

The movie profoundly changed my understanding of the family systems theory. When thinking about dysfunctional families, one tends to picture a drinking mother or a sibling with an addiction problem. However, the movie has shown that some unhealthy family structures can be adopted even in a seemingly perfect family. For example, the central conflict is a son’s condition that makes him socially unaccepted. This biological factor did not only influence his psyche but also determined the way family dynamics operated, which provided me with evidence of the complex nature of the family conflict. However, another aspect that changed my understanding of the theory was the roles’ fluidity, which indicates a healthy development. More specifically, Via adopted duties such as supporting August with advice and relating to the family more. This showed me that even when faced with challenges, family structures can unconsciously resolve the issue by assigning roles.

I believe that the cultural depiction of the family system was accurate. Firstly, the fact that the family leader is the mother reinforces the common notion of women being more family-oriented. For example, children always seek their parental advice and support. Secondly, giving up a career for the family is also a common cultural peculiarity that the movie managed to depict, making it a genuine portrayal of disability in a family setting.

While watching the movie, I was able to relate to some of the characters’ experiences. To elaborate, I have a younger sister who is not as academically gifted and socially adapted as I was at her age. As a result, parents focused all of their attention on her, leaving me with the role of the lost child. Like Via, I distanced myself from the family by not letting them know about my problems to free them of additional concerns. However, I have also experienced the positive influence of free-range parenting since my father allowed me to choose any extracurriculars I liked, enabling me to find passions in a safe environment. Similar to August, I struggled while trying different sports, which eventually led me to find a hobby of art that makes me feel welcomed and gifted.

Wonder. Directed by Stephen Chbosky, performance by Jacob Tremblay, Lionsgate, 2017.

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IvyPanda. (2022, February 24). Wonder Movie: A Miracle of Family. https://ivypanda.com/essays/wonder-movie-a-miracle-of-family/

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Home — Essay Samples — Entertainment — Film Analysis — Investigation of the Main Themes in the Movie “Wonder”

Investigation of The Main Themes in The Movie "Wonder"

• Categories: Film Analysis Movie Review

About this sample

Words: 1050 |

Published: Apr 15, 2020

Words: 1050 | Pages: 2 | 6 min read

Works Cited

• Henly, S. (2017). Wonder review – thoughtful teen drama with a charming cast. The Guardian. https://www.theguardian.com/film/2017/dec/02/wonder-review-julia-roberts-jacob-tremblay
• Jones, J. (2017). ‘Wonder’ movie review: A relentlessly sentimental feel-good tearjerker. The Chicago Tribune. https://www.chicagotribune.com/entertainment/movies/sc-mov-wonder-rev-1128-story.html
• Gino, F., Ashburn-Nardo, L., & Mucchi-Faina, A. (2019). Vicarious embarrassment: A framework for understanding observers’ emotional responses to ostracism. Journal of Personality and Social Psychology, 116(1), 31–54.
• Baumeister, R. F., & Leary, M. R. (1995). The need to belong: Desire for interpersonal attachments as a fundamental human motivation. Psychological Bulletin, 117(3), 497–529.
• Fabes, R. A., & Martin, C. L. (1991). Gender and age stereotypes of emotionality. Personality and Social Psychology Bulletin, 17(5), 532–540.
• Leary, M. R., & Baumeister, R. F. (2000). The nature and function of self-esteem: Sociometer theory. Advances in Experimental Social Psychology, 32, 1–62. https://doi.org/10.1016/S0065-2601(00)80003-9
• Twenge, J. M., & Campbell, W. K. (2009). The Narcissism Epidemic: Living in the Age of Entitlement. Free Press.
• Keltner, D. (2016). The power paradox: How we gain and lose influence. Penguin.
• Deci, E. L., & Ryan, R. M. (2000). The “what” and “why” of goal pursuits: Human needs and the self-determination of behavior. Psychological Inquiry, 11(4), 227–268.
• Seligman, M. E. P., & Csikszentmihalyi, M. (2000). Positive psychology: An introduction. American Psychologist, 55(1), 5–14.

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