I mean I don’t know that I agree with him entirely on his analysis of Jareth’s villainy, but he is right that Jareth is - on the most basic level - most definitely preying on a teenage girl, and that he has very obvious sexual desire for her.
However, if we take up the very valid interpretation that the whole adventure is a dream or a fantasy (and moreover her way of working through her feelings about her mother’s death, her father’s remarriage, and her departure from childhood), it’s also clear that Jareth represents a lot of Sarah’s anxiety about sexuality. She has recently gone through puberty. We are also told that she doesn’t date, and where is she on a weekend evening? Playing dress-up/pretend in the park by herself.*
Then Jareth shows up with his seductive voice and his extremely tight pants and begins making overtures. Moreover, we need to remember the overall context that he was played by David Bowie in 1986, a time when David Bowie’s face was almost definitely plastered over many a teen girl’s bedroom wall. He was, at the time, an absolute beacon of male sexuality for many girls and women.
Moreover, despite his creepy actions, I would argue that Jareth is still very obviously presented within the female gaze. He is lithe and elegant, he’s royalty, he’s magical, his clothes are tailored to show off his body in an erotic-but-not-too-erotic way, he’s self-controlled up until the point that he throws aside his dignity to beg her for love (Mr Darcy vibes, anyone?), his idea of a hot date is a fairy-tale ball and he even magics her a dress that every young preteen/teen girl dreams of, and on top of that, he’s shown being cute with kids! That is 100% female gaze material right there.
So basically, you have a story of an isolated girl who is clinging to her own childhood in order to maintain a sense of normalcy as her life falls apart, but who is also being faced with the unavoidable changes that come with adolescence - including sexuality. At the start of the film, we are shown that she is threatened by her step-mother assuming the role of her father’s wife and sexual partner. She is saddled with the very proof of that sexuality - her baby step-brother - who she obviously resents, partially because he is the embodiment of her step-mother’s entrance into the family, and perhaps partially because he is a symbol of something that very frequently comes along with adult womanhood (fertility and babies).
So she fantasises/dreams of a world where everything is confusing, with no clear answers, and life is unfair. In other words, adulthood. She also fantasises/dreams of a man who absolutely drips with a teenage girl’s version of eroticism, but who is also threatening and frightening at the same time - because guess what? Those desires and feelings can be very frightening and confusing when they first show up! And they can feel extremely demanding, too - just like Jareth.
Anyway, all that said, I disagree with @prokopetz that Jareth symbolises predatory male sexuality, because it is very clear that he was written to simultaneously represent young girls’ desires and anxieties about the unfamiliar world of sex and adulthood. And for young teen girls like myself who watched that movie…yeah, it damn well worked. There’s a reason a lot of us remember that movie fondly, and why it continues to fuel a lot of fantasies today. I would also disagree that he is the villain. He’s an antagonist, surely, but the real villain is Sarah’s own uncertainty and fear.
Of course, obviously, if you want to take a literalist interpretation of the story, then yeah, Jareth is a predatory villain, but I would argue that a literalist interpretation is missing the point of the film entirely. And I’m not surprised that radfems are missing that point by a country mile.
* Personally, as a ND woman who can very distinctly remember the experience of being a ND teenage girl…yeah, this movie really resonated with me at the time for obvious reasons, and I’d say that it’s very safe to also read Sarah as a ND girl who has been traumatised by the death of her mother.
