Back in 2005, Walden Media released The Chronicles of Narnia: The Lion, The Witch and the Wardrobe,
the first in a series of adaptations of C. S. Lewis’s classic
seven-book fantasy series. Last year saw the release of the third
installment, The Voyage of the Dawn Treader, which takes place roughly 1300 years Narnia time after the first installment and just a few short years after the second.
Lucy
Pevensie (Georgie Henley), who was the first of her siblings to
discover the magical world of Narnia and whose connection remains the
strongest, returns with her brother Edmund (Skandar Keynes), this time
via a painting instead of a wardrobe. The painting of a magnificent ship
on the high seas hangs on the wall in the bedroom of their younger
cousin Eustace Clarence Scrubb (Will Poulter), an insufferable prat who
finds his cousins’ tales of Narnia tedious. While Lucy and Edmund are
overjoyed to be whisked away to Narnia and revel in the reunion with
several old friends, particularly the youthful King Caspian (Ben Barnes)
and the valiant mouse Reepicheep (Simon Pegg), Eustace, swept up along
with them, feels he has wandered into a nightmare from which he simply
cannot awaken.
Michael Apted, new to the Narnia helm, directs this film, which has a rather episodic feel to it. While I’ve read Dawn Treader
a couple of times, it’s been nearly a decade since the last time, and I
decided to keep my memory fuzzy in order to avoid purist irritation as
much as possible. The movie certainly does deviate from the book in
several significant ways, but since there were several parts I didn’t
remember too clearly, I wasn’t that focused on what was changed.
The
movie does put added emphasis on Lucy’s awakening adolescence – mostly,
it seems, for the purpose of incorporating Anna Popplewell as her older
sister Susan. The film also adds a young stowaway who looks up to Lucy.
There’s a decent message in there about being your own person and not
living in the shadow of an older sibling; Edmund mirrors Lucy’s
struggles to a lesser degree with Peter (William Moseley), who, like
Susan, is not involved in the adventure but appears in a dream sequence.
Another prominent addition is a creepy green mist that follows Caspian and his crew everywhere. It reminds me of the Nothing in The Never-Ending Story,
an evil force that sucks the life and joy out of everything it touches,
but its effects are specific to each person, presenting dark
temptations to otherwise virtuous characters. Its presence adds a
prevalent sense of danger and, along with the search for the seven
swords of the seven lords who sailed away from Narnia years earlier,
serves as a glue holding the separate adventures together, but I’m not
entirely sold on it.
What’s especially disappointing about the
movie is how little involvement Aslan (Liam Neeson) has. Granted, the
great lion always spends a majority of each novel out of sight, but his
presence, or at least his absence, is always deeply felt. Here, one
almost forgets about him for long stretches of time. When he appears, he
makes an impression, but he does so very seldom, and a particularly
powerful scene from the book gets such short shrift that you might
almost blink and miss it in the midst of the epic sea battle with which
the event alternates. While I was pleased with Aslan’s final appearance
in the film and how much of his dialogue from the end of the book
remained intact, I did not like how that crucial earlier scene played
out.
The scene involves Eustace, who, despite all the movie’s
special effects and rollicking adventure, is really the best thing the
movie has going for it. Poulter is deliciously irritating as this stiff,
disagreeable child who has petulance down to a fine art. Yet in the
midst of his obnoxious behavior, one also can’t help feeling sorry for
him. Practical Eustace, an intelligent young man with a mind for
science, can’t wrap his head around the wonders before him. But does
anybody bother to bring him up to speed? Not really. They make gentle
jabs at his confusion and cowardice instead of taking the time to help
him make the transition. Even Lucy, who I adore for her compassionate
spirit, does little to put him at ease. He’s a sheltered, wimpy boy
who’s been thrust into a world that doesn’t make sense full of people
and creatures who don’t much like him. In the movie, he feels more like a
vulnerable victim, and his lashing out feels more understandable.
One
of my favorite elements of the movie is the use of Eustace’s diary as
both narrative device and character exploration. We really get into his
head here through his funny, eloquent journal entries, which Poulter
reads with such fervor in voiceovers. I also loved the slow development
of his relationship with Reepicheep, a character who is at once noble
and comical. Eustace despises the sword-wielding rodent from the first,
but the persistent Reepicheep gradually earns his respect and even
friendship. Pegg brings the perfect balance of humor and depth to the
voice work, and the mouse is well animated so that he seems very
realistic.
The only trouble is that while Eustace’s
transformation is as central to the film as to the book, in the movie it
seems to come about mostly as a result of Reepicheep’s mentorship
rather than Aslan. For the third time, the most compelling relationship
in the movie is with one of the children and an unusual Narnian being –
not with the lion who is central to the series and the only character to
appear in all seven novels. First Tumnus, then Trumpkin and now
Reepicheep steal the show. Moreover, while he does display annoying
behavior, Eustace’s journey seems to be less one of letting go of
self-centeredness and more one of embracing self-confidence. It changes
the dynamic of his character and, again, lessens the emphasis on Aslan’s
transformative power.
As with the previous installments, those
who have read the books will find plenty to grumble about but also a lot
to celebrate. While I don’t agree with all of the decisions made by
Apted and screenwriters Christopher Markus, Stephen McFeely and Michael
Petroni, I still found it an engaging adventure and was encouraged by
the fact that the final moments foreshadow not one but two sequels. That
those sequels will be made is not set in stone, but if the opportunity
arises to visit Narnia on the big screen once again, you can bet I’ll be
on board for the voyage.
Showing posts with label Chronicles of Narnia. Show all posts
Showing posts with label Chronicles of Narnia. Show all posts
Thursday, June 2, 2011
Saturday, March 5, 2011
Explore the Enigmas of Ghost Fish and Trixie's Whining in The Mystery at Bob-White Cave
In The Lion, the Witch and the Wardrobe, the first book in C. S.
Lewis’s Chronicles of Narnia, a relentless rain leaves the stir-crazy
Pevensie children down in the dumps. Little do they know that their
ticket to adventure is not the expansive grounds of the stately home in
which they are staying but the old wardrobe in the spare bedroom. In The Mystery at Bob-White Cave,
rain leads intrepid 14-year-old sleuth Trixie Belden to her next great
challenge as well, since it forces her to sit still long enough to read a
magazine announcing that anyone who brings three particular specimens
of the cave-dwelling ghost fish will receive a reward of $500.
Trixie really wants that money, especially since getting it will be tricky enough that succeeding will bring a real sense of accomplishment. She already knows exactly how she wants to use it. She and her fellow Bob-Whites – her brothers Brian and Mart, her best friend Honey and Honey’s adopted brother Jim, all of whom are with her on this trip to the Ozarks, and her neighbors Di and Dan, who aren’t – have a strong desire to help others, and their latest project is to buy a station wagon to bring disabled children to school back in their hometown of Sleepyside, New York. It’s a noble cause, and Trixie is determined, so even though the other four had hoped for a less goal-oriented vacation, they go along with her plan.
This is the eleventh book in the Trixie Belden series and the fifth written by a ghostwriter under the name Kathryn Kenny. If I had to venture a guess, I’d say that this writer was new to the series, partly because she turns Trixie into a kind of all-American Veruca Salt. That notorious brat from Charlie and the Chocolate Factory kept popping into my head as I read all of Trixie’s interminable foot-stamping “But Uncle Andrew, I want a ghost fish! Now!” moaning. The whining begins with the rain, when she goes into a tirade about the misery of this trip to see her favorite uncle in one of his two (or more?) homes. Uncle Andrew is a wonderful, doting man who clearly thinks the world of his niece and nephews, so such ingratitude is instantly off-putting. Trixie soon apologizes for this outburst, which he fortunately doesn’t hear, but her petulance is almost instantly transferred onto the search for the fish, and anything that gets in the way of her securing that prize is an object of extreme impatience.
A more positive element of this book that seems to distinguish this author from others is her attention to natural detail. For instance, “A wind came up through the silence, a silence more ominous than the rolling thunder which accented it. The sky in the west was a sullen green around the edges.” Clearly, this was written by someone with a great appreciation for the outdoors, as her most colorful writing is reserved for descriptions of the forest, the caves and other aspects of the landscape and weather. Usually this means a paragraph or two at a time, so it never overwhelms the story, and it helped me to get caught up in the setting.
Aside from Trixie, who at least apologizes from time to time for being such a pill, none of the characters seem vastly off to me here, except perhaps Honey, who is often excessive in her fretting. However, she still joins in several dangerous expeditions, so her actions speak louder than her words on the fear front, and apart from some chiding for Trixie’s recklessness, her tactful nature is generally evident throughout the book. Aside from brief mentions by the Bob-Whites, Dan and Di don’t appear in the book at all, nor do any of the Sleepyside supporting characters, as the book takes place entirely in the Ozarks. Because of this, it took me a little while to figure out just when the book occurs, though I figured it must have been early summer if they were out of school but the boys were not away at camp.
For the first time, the author introduces a supernatural element into the stories. Well, the seventh book includes some local folk legends, but they don’t really tie into the main plot. Here, Mrs. Moore and her daughter Linnie, who take care of Uncle Andrew’s Missouri fishing lodge, fervently believe in ghosts, and although the Bob-Whites mostly think that all this talk of spirits is a load of hogwash, some mysterious events seem as though they could point to ghostly intervention. Because of that, this particular outing reminded me a bit of a Scooby-Doo adventure, and I just knew that eventually, the “ghost” allegedly wandering around nearby would be revealed as a perfectly normal, living person. I like the revelation there, but Uncle Andrew and the New York bunch seem a little insensitive sometimes as they openly show their disdain for the ghost legends that fill these hills. Mrs. Moore’s constant attribution of incidents to ghosts does get a little silly, but it seems it would be more polite to let her express herself openly instead of always trying to contradict her.
Mostly, though, the Bob-Whites are helpful and friendly during their stay, and even though delays in her fish mission aggravate her, Trixie happily helps sweet-natured Linnie and maternal Mrs. Moore with a variety of tasks, and it is she who mobilizes the group to save a drowning man in one of the book’s best sequences. The rugged terrain means that most of the danger the teens face in this book is natural. A wildcat and a flood pose serious threats. So does a fire, which is set purposefully but is made all the more dangerous by the surrounding woodlands.
However, there are shady characters lurking about, most notably a scowling, drawling young man named Slim whom Uncle Andrew elects to act as the Bob-Whites’ spelunking guide. Is he merely disagreeable, or could this guy be seriously bad news? And what about all that odd activity up at what the locals refer to as the ghost cabin? What’s more, just about anybody in the vicinity could be a contender for the same prize that Trixie seeks, so even those who aren’t willing to stoop to dastardly means to acquire the ghost fish still potentially stand in the way of them achieving their goal. Time is of the essence.
I’ve always found caves fascinating, so I enjoyed all the spelunking expeditions in this novel, as well as the folksy gatherings of neighbors for some old-fashioned mountain music. It was also great to spend so much time in the company of Uncle Andrew, who is such a kind and conscientious caretaker, and his equally upstanding friend Bill Hawkins. While I wish this author hadn’t turned Trixie into such a twerp, this trip to the Ozarks made for a pretty enjoyable outing.
Trixie really wants that money, especially since getting it will be tricky enough that succeeding will bring a real sense of accomplishment. She already knows exactly how she wants to use it. She and her fellow Bob-Whites – her brothers Brian and Mart, her best friend Honey and Honey’s adopted brother Jim, all of whom are with her on this trip to the Ozarks, and her neighbors Di and Dan, who aren’t – have a strong desire to help others, and their latest project is to buy a station wagon to bring disabled children to school back in their hometown of Sleepyside, New York. It’s a noble cause, and Trixie is determined, so even though the other four had hoped for a less goal-oriented vacation, they go along with her plan.
This is the eleventh book in the Trixie Belden series and the fifth written by a ghostwriter under the name Kathryn Kenny. If I had to venture a guess, I’d say that this writer was new to the series, partly because she turns Trixie into a kind of all-American Veruca Salt. That notorious brat from Charlie and the Chocolate Factory kept popping into my head as I read all of Trixie’s interminable foot-stamping “But Uncle Andrew, I want a ghost fish! Now!” moaning. The whining begins with the rain, when she goes into a tirade about the misery of this trip to see her favorite uncle in one of his two (or more?) homes. Uncle Andrew is a wonderful, doting man who clearly thinks the world of his niece and nephews, so such ingratitude is instantly off-putting. Trixie soon apologizes for this outburst, which he fortunately doesn’t hear, but her petulance is almost instantly transferred onto the search for the fish, and anything that gets in the way of her securing that prize is an object of extreme impatience.
A more positive element of this book that seems to distinguish this author from others is her attention to natural detail. For instance, “A wind came up through the silence, a silence more ominous than the rolling thunder which accented it. The sky in the west was a sullen green around the edges.” Clearly, this was written by someone with a great appreciation for the outdoors, as her most colorful writing is reserved for descriptions of the forest, the caves and other aspects of the landscape and weather. Usually this means a paragraph or two at a time, so it never overwhelms the story, and it helped me to get caught up in the setting.
Aside from Trixie, who at least apologizes from time to time for being such a pill, none of the characters seem vastly off to me here, except perhaps Honey, who is often excessive in her fretting. However, she still joins in several dangerous expeditions, so her actions speak louder than her words on the fear front, and apart from some chiding for Trixie’s recklessness, her tactful nature is generally evident throughout the book. Aside from brief mentions by the Bob-Whites, Dan and Di don’t appear in the book at all, nor do any of the Sleepyside supporting characters, as the book takes place entirely in the Ozarks. Because of this, it took me a little while to figure out just when the book occurs, though I figured it must have been early summer if they were out of school but the boys were not away at camp.
For the first time, the author introduces a supernatural element into the stories. Well, the seventh book includes some local folk legends, but they don’t really tie into the main plot. Here, Mrs. Moore and her daughter Linnie, who take care of Uncle Andrew’s Missouri fishing lodge, fervently believe in ghosts, and although the Bob-Whites mostly think that all this talk of spirits is a load of hogwash, some mysterious events seem as though they could point to ghostly intervention. Because of that, this particular outing reminded me a bit of a Scooby-Doo adventure, and I just knew that eventually, the “ghost” allegedly wandering around nearby would be revealed as a perfectly normal, living person. I like the revelation there, but Uncle Andrew and the New York bunch seem a little insensitive sometimes as they openly show their disdain for the ghost legends that fill these hills. Mrs. Moore’s constant attribution of incidents to ghosts does get a little silly, but it seems it would be more polite to let her express herself openly instead of always trying to contradict her.
Mostly, though, the Bob-Whites are helpful and friendly during their stay, and even though delays in her fish mission aggravate her, Trixie happily helps sweet-natured Linnie and maternal Mrs. Moore with a variety of tasks, and it is she who mobilizes the group to save a drowning man in one of the book’s best sequences. The rugged terrain means that most of the danger the teens face in this book is natural. A wildcat and a flood pose serious threats. So does a fire, which is set purposefully but is made all the more dangerous by the surrounding woodlands.
However, there are shady characters lurking about, most notably a scowling, drawling young man named Slim whom Uncle Andrew elects to act as the Bob-Whites’ spelunking guide. Is he merely disagreeable, or could this guy be seriously bad news? And what about all that odd activity up at what the locals refer to as the ghost cabin? What’s more, just about anybody in the vicinity could be a contender for the same prize that Trixie seeks, so even those who aren’t willing to stoop to dastardly means to acquire the ghost fish still potentially stand in the way of them achieving their goal. Time is of the essence.
I’ve always found caves fascinating, so I enjoyed all the spelunking expeditions in this novel, as well as the folksy gatherings of neighbors for some old-fashioned mountain music. It was also great to spend so much time in the company of Uncle Andrew, who is such a kind and conscientious caretaker, and his equally upstanding friend Bill Hawkins. While I wish this author hadn’t turned Trixie into such a twerp, this trip to the Ozarks made for a pretty enjoyable outing.
Wednesday, August 19, 2009
2008's Group of Films Is Dark But Ultimately Uplifting
After watching so many movies in 2007, I lost a bit of momentum in 2008,
but I've still seen more than 20 of last year's movies and was pretty
impressed with most of what I saw. I was disappointed at having to wait
until 2009 for the sixth Harry Potter installment, but the return to
Narnia and further Pixar and Indiana Jones adventures helped make up for
it.
Prince Caspian - One of my most-anticipated moves of the year, this second Chronicle of Narnia transports the Pevensie children to a point more than a thousand years removed from the moment of their departure from Narnia. Their kingdom is in ruins, and few remain who believe the old stories. One of the skeptics is Trumpkin, the dwarf who serves as their guide in this semi-familiar landscape. While I have issues with some of the changes made to plot and character - particular Peter and Caspian - and wish Aslan had been more central, Peter Dinklage's performance as Trumpkin is magnificent, and the cinematography is spectacular.
Indiana Jones and the Kingdom of the Crystal Skull - Indy rides again! Despite being forever traumatized by Indiana Jones and the Temple of Doom, I was looking forward to the chance to see Harrison Ford don the fedora on the big screen, and it sure was fun to whoop and holler along with the opening night crowd as he wriggled out of all sorts of life-threatening situations, scarcely any less spry than he was in the '80s. While it would have been neat if Sean Connery had agreed to reprise his role as Indy's dad, Shia LeBoeuf made a great sidekick. On a shelf in my room, I still have a couple of commemorative Dr Pepper cans with scenes from the movie staring out at me, and they always make me smile. If Harrison wanted to come back for one more, I wouldn't complain.
Miss Pettigrew Lives for a Day - I've been a fan of Frances McDormand since Almost Famous, and Amy Adams has won me over immediately in every film role I've seen her in since Catch Me If You Can, so when I saw that the two were starring together in a period dramedy about a frumpy English nanny who finds herself in the employ of an elegant American actress, I was immediately intrigued. Throw in the adorable Lee Pace from Pushing Daisies and a glowing recommendation from a friend who tends to be ruthless in his film criticism, and it all adds up to a movie for which I had huge expectations. Happily, this utterly charming film fulfilled them all. Definitely one of the best of the year.
Penelope - This fun, visually appealing modern-day fairy tale boasts a terrific cast that includes Christina Ricci, James McAvoy, Reese Witherspoon and Peter Dinklage. Some of it is a bit over-the-top, but on the whole, this tale of a girl with the snout of a pig hits the right notes, particularly as a family film. Its message about the importance of education and independence is a good one, and even the characters who start out antagonistic end up sympathetic.
Secret Life of Bees - Dakota Fanning, on the verge of no longer being a child actress, portrays a young teen desperate to get away from her borderline abusive father and learn something about the mother she accidentally killed years before. With her is a feisty black housekeeper played by Jennifer Hudson. Before long, they come to stay at a home run by three black sisters, from whom the runaway learns a lot about life, love, prejudice and what home ought to feel like. A sweet romance and a powerful performance by Sophie Okonedo and the anchoring serenity of Queen Latifah help make this coming-of-age story a great movie.
Swing Vote - The election was on everybody's mind in 2008, so this was a very timely movie. Kevin Costner stars as a hapless guy who is more or less being raised by his precocious pre-teen daughter, played by Madeline Carroll. I was excited to see her, as she previously played Annie, Ben Linus's childhood best friend on LOST, and I found her pretty likable, albeit a tad self-righteous, in this role. The movie is far-fetched, as it revolves around the idea that due to a voting glitch, the next President of the United States will be determined by this everyman, but it's an interesting concept. While the two candidates and their advisors do their best to win him over, he eventually comes to appreciate what an important task he has. Fun performances, especially by Kelsey Grammer and Stanley Tucci, make this thought-provoking family film even more likable.
Kit Kittredge: An American Girl - Speaking of Tucci, he has a supporting role in this movie as well, along with several other big names, including Joan Cusack and the always-hilarious Wallace Shawn. Abigail Breslin plays the intrepid would-be reporter who seeks a great story to sell to the newspaper. This Depression-era story feels very timely, with enough excitement and plenty of colorful characters to keep children engaged. This was the first American Girl movie to make it to the big screen, and it feels like the sort of wholesome flick that belongs on The Wonderful World of Disney. A winner all around.
Doubt - This quietly unsettling movie is anchored by three powerful performances, with a fourth that packs an incredible whallop despite the actress's short time on screen. Amy Adams is the naive young nun who thinks she may have seen something fishy; Philip Seymour Hoffman is the forward-thinking priest who stands accused. Both are compelling, but most riveting of all is Meryl Streep as the school's formidable principal, a sister who has long suspected the priest of wrongdoing and is determined to bring him down. By the end of the movie, there's still no clear statement of exactly what happened, and viewers are left to contemplate for themselves which person's testimony is the most gripping.
WALL-E - Pixar just keeps cranking out amazing movies, so it's become pretty much guaranteed that each new year will bring a fantastic new computer-animated film, probably during the summer. I'd been looking forward to this one in particular for quite some time, as my brother had shown me a preview the previous year. Given my love of Short Circuit, I immediately took to the little roving robot with the enormous eyes. I wasn't entirely sure what to expect when I went into this one opening night, as the robot of the title was practically the only character I'd seen mentioned. Would there be any humans? How many other robots would we meet? By the time people did show up, I was startled. The second portion of the film is more action-oriented, providing most of the plot momentum for the movie. But the beginning is absolutely gorgeous and devastating at the same time, a slice of near-silent film in which one stoic little piece of machinery collects bits of beauty in a discarded world. It's a darn shame this didn't score a Best Picture nomination.
In Bruges - It's fairly uncommon for me to list R-rated movies among my favorites - and this one earns its rating more than most - but I couldn't help being amused and profoundly moved by this movie about a pair of hit-men taking a very strange holiday together in Belgium. Brendan Gleeson is the gleeful mentor, Colin Farrell the brooding apprentice, Ralph Fiennes the harsh boss who doesn't turn up until late in the movie. There are scenes of explosive violence, and scarcely a sentence goes by without profanity, yet I think the movie's screenplay nomination was well-deserved, and it has stuck with me more than most of the movies I've seen in the past year.
Interestingly, most of my favorite movies of 2008 had a dark element, but most also left me feeling very positive about the resilience of the human spirit. In times of adversity, that's a very encouraging message to find in the theater.
Prince Caspian - One of my most-anticipated moves of the year, this second Chronicle of Narnia transports the Pevensie children to a point more than a thousand years removed from the moment of their departure from Narnia. Their kingdom is in ruins, and few remain who believe the old stories. One of the skeptics is Trumpkin, the dwarf who serves as their guide in this semi-familiar landscape. While I have issues with some of the changes made to plot and character - particular Peter and Caspian - and wish Aslan had been more central, Peter Dinklage's performance as Trumpkin is magnificent, and the cinematography is spectacular.
Indiana Jones and the Kingdom of the Crystal Skull - Indy rides again! Despite being forever traumatized by Indiana Jones and the Temple of Doom, I was looking forward to the chance to see Harrison Ford don the fedora on the big screen, and it sure was fun to whoop and holler along with the opening night crowd as he wriggled out of all sorts of life-threatening situations, scarcely any less spry than he was in the '80s. While it would have been neat if Sean Connery had agreed to reprise his role as Indy's dad, Shia LeBoeuf made a great sidekick. On a shelf in my room, I still have a couple of commemorative Dr Pepper cans with scenes from the movie staring out at me, and they always make me smile. If Harrison wanted to come back for one more, I wouldn't complain.
Miss Pettigrew Lives for a Day - I've been a fan of Frances McDormand since Almost Famous, and Amy Adams has won me over immediately in every film role I've seen her in since Catch Me If You Can, so when I saw that the two were starring together in a period dramedy about a frumpy English nanny who finds herself in the employ of an elegant American actress, I was immediately intrigued. Throw in the adorable Lee Pace from Pushing Daisies and a glowing recommendation from a friend who tends to be ruthless in his film criticism, and it all adds up to a movie for which I had huge expectations. Happily, this utterly charming film fulfilled them all. Definitely one of the best of the year.
Penelope - This fun, visually appealing modern-day fairy tale boasts a terrific cast that includes Christina Ricci, James McAvoy, Reese Witherspoon and Peter Dinklage. Some of it is a bit over-the-top, but on the whole, this tale of a girl with the snout of a pig hits the right notes, particularly as a family film. Its message about the importance of education and independence is a good one, and even the characters who start out antagonistic end up sympathetic.
Secret Life of Bees - Dakota Fanning, on the verge of no longer being a child actress, portrays a young teen desperate to get away from her borderline abusive father and learn something about the mother she accidentally killed years before. With her is a feisty black housekeeper played by Jennifer Hudson. Before long, they come to stay at a home run by three black sisters, from whom the runaway learns a lot about life, love, prejudice and what home ought to feel like. A sweet romance and a powerful performance by Sophie Okonedo and the anchoring serenity of Queen Latifah help make this coming-of-age story a great movie.
Swing Vote - The election was on everybody's mind in 2008, so this was a very timely movie. Kevin Costner stars as a hapless guy who is more or less being raised by his precocious pre-teen daughter, played by Madeline Carroll. I was excited to see her, as she previously played Annie, Ben Linus's childhood best friend on LOST, and I found her pretty likable, albeit a tad self-righteous, in this role. The movie is far-fetched, as it revolves around the idea that due to a voting glitch, the next President of the United States will be determined by this everyman, but it's an interesting concept. While the two candidates and their advisors do their best to win him over, he eventually comes to appreciate what an important task he has. Fun performances, especially by Kelsey Grammer and Stanley Tucci, make this thought-provoking family film even more likable.
Kit Kittredge: An American Girl - Speaking of Tucci, he has a supporting role in this movie as well, along with several other big names, including Joan Cusack and the always-hilarious Wallace Shawn. Abigail Breslin plays the intrepid would-be reporter who seeks a great story to sell to the newspaper. This Depression-era story feels very timely, with enough excitement and plenty of colorful characters to keep children engaged. This was the first American Girl movie to make it to the big screen, and it feels like the sort of wholesome flick that belongs on The Wonderful World of Disney. A winner all around.
Doubt - This quietly unsettling movie is anchored by three powerful performances, with a fourth that packs an incredible whallop despite the actress's short time on screen. Amy Adams is the naive young nun who thinks she may have seen something fishy; Philip Seymour Hoffman is the forward-thinking priest who stands accused. Both are compelling, but most riveting of all is Meryl Streep as the school's formidable principal, a sister who has long suspected the priest of wrongdoing and is determined to bring him down. By the end of the movie, there's still no clear statement of exactly what happened, and viewers are left to contemplate for themselves which person's testimony is the most gripping.
WALL-E - Pixar just keeps cranking out amazing movies, so it's become pretty much guaranteed that each new year will bring a fantastic new computer-animated film, probably during the summer. I'd been looking forward to this one in particular for quite some time, as my brother had shown me a preview the previous year. Given my love of Short Circuit, I immediately took to the little roving robot with the enormous eyes. I wasn't entirely sure what to expect when I went into this one opening night, as the robot of the title was practically the only character I'd seen mentioned. Would there be any humans? How many other robots would we meet? By the time people did show up, I was startled. The second portion of the film is more action-oriented, providing most of the plot momentum for the movie. But the beginning is absolutely gorgeous and devastating at the same time, a slice of near-silent film in which one stoic little piece of machinery collects bits of beauty in a discarded world. It's a darn shame this didn't score a Best Picture nomination.
In Bruges - It's fairly uncommon for me to list R-rated movies among my favorites - and this one earns its rating more than most - but I couldn't help being amused and profoundly moved by this movie about a pair of hit-men taking a very strange holiday together in Belgium. Brendan Gleeson is the gleeful mentor, Colin Farrell the brooding apprentice, Ralph Fiennes the harsh boss who doesn't turn up until late in the movie. There are scenes of explosive violence, and scarcely a sentence goes by without profanity, yet I think the movie's screenplay nomination was well-deserved, and it has stuck with me more than most of the movies I've seen in the past year.
Interestingly, most of my favorite movies of 2008 had a dark element, but most also left me feeling very positive about the resilience of the human spirit. In times of adversity, that's a very encouraging message to find in the theater.
Monday, August 17, 2009
The Chronicles of Narnia and Other Old Friends Fill 2005 With Nostalgia
Two years after the final installment in Peter Jackson's Lord of the Rings
trilogy came out, the first of Walden Media's adaptations of the
Chronicles of Narnia hit theaters. I'd been looking forward to it for
months, and it capped off a year in which the movies allowed me to
revisit pleasantly familiar territory time and again.
The Lion, the Witch and the Wardrobe - I'd seen the BBC version of this C. S. Lewis classic several times. As much as I enjoyed it, I was anxious to see how it would fare with the big-budget treatment. I saw it opening night, and while the BBC version is inarguably the more faithful adaptation, there was a lot I loved about this edition, starting with the adorable Georgie Henley as Lucy and the thoroughly endearing James McAvoy as the faun Mr. Tumnus. The special effects are gorgeous, as is the cinematography, and some of the key moments from the book leap to life on the big screen. Plus, this movie is responsible for Lazy Sunday, one of my all-time favorite Saturday Night Live sketches.
Charlie and the Chocolate Factory - I read the book, and of course I saw Willy Wonka and the Chocolate Factory, so again I was interested in seeing how this update would compare. Tim Burton struck me as being an ideal director for a film taking place in such a skewered world, and he delivered a techni-color treat emphasizing the importance of family. While I missed Veruca's bumbling dad and Charlie's ludicrous teacher, in some ways, I preferred Johnny Depp's vulnerable, Michael Jackson-like Willy to Gene Wilder's manipulative version, and I definitely preferred irresistible Freddie Highmore as Charlie.
Dear Frankie - This little gem of a Scottish film stars Gerard Butler as a mysterious stranger who poses as the father who has walked out of young Frankie's life. It's the only way his mother, played by Emily Mortimer, can think of to painlessly deal with the ruse she's kept going; she's been writing to Frankie for years, posing as his father. The seeds of romance that blossom between her and the pseudo-dad are sweet, but it's the man's growing fondness for the open-hearted deaf child that really makes the film endearing.
Harry Potter and the Goblet of Fire - Another great installment in the Harry Potter series. Though Michael Gambon is harder to take as Dumbledore in this film than the others, Brendan Gleeson's outstanding performance as Mad-Eye Moody makes up for it. Meanwhile, the visual spectacle of the Quidditch World Cup and the Tri-Wizard Tournament is dazzling, and there's lots of humor to be found as Harry and his friends begin to navigate those dangerous waters of teenage romance.
Hitch - Will Smith and Kevin James are a winning team in this film about a man who makes a living secretly helping schlubs win over the women of their dreams. Each has his own romance to pursue throughout the film, but it's their buddy movie chemistry with each other that's really endearing. They are hilarious together, and James is one of the most lovable losers ever to hit the big screen.
March of the Penguins - Documentaries rarely go far in the theater, and it's pretty unusual for me to go see one there. But this one had been getting so much good buzz that I, like so many others, couldn't resist. The cinematography of those penguins making their perilous journey is breathtaking, and Morgan Freeman narrates with all the warmth of a grandfather telling a bedtime story.
Pooh's Heffalump Movie - My appreciation for Winnie-the-Pooh is one of the first things most people learn about me. I'm a huge fan of the Silly Old Bear, so I was determined to catch this film in the theater. My friend Libbie and I ended up with the theater all to ourselves, so I was able to combine the big-screen experience with the privacy of a home viewing. I loved the quietness of the movie, the lovely animation and the introduction of the adorable Lumpy to help teach the Hundred-Acre Wood gang that different doesn't have to mean scary.
Sisterhood of the Traveling Pants - I hadn't read the novel on which this film is based, but Libbie had, and she was the one who recommended the movie to me. All four of its young leading ladies have starred in television shows, though two hadn't yet at the time this movie came out. I was especially interested in Amber Tamblyn, who starred in the sadly short-lived Joan of Arcadia, and her storyline ended up being my favorite. Meanwhile, America Ferrera, who would go on to star as the plucky heroine in ABC's Ugly Betty, won me over in her storyline, which came in a close second.
Star Wars: Episode III - Revenge of the Sith - At long last, this film made Star Wars a pair of trilogies - though of course, the original trilogy is the far superior one. Still, I think this third installment was probably the best of the three, albeit not as much fun as The Phantom Menace.
Wallace and Gromit: The Curse of the Were-Rabbit - This pair of claymated buddies finally got a full-length adventure. Though the chatty, addled inventor and his silent, brainy pooch might be better suited to shorter outings, this is a very fun adventure, especially for Anglophiles. And as a big fan of Art Garfunkel, the inclusion of a clip from the song Bright Eyes was a nice bonus for me.
A good year for fantasy and adaptations. Not too many surprises in 2005, but much of this year's crop felt pleasantly nostalgic.
The Lion, the Witch and the Wardrobe - I'd seen the BBC version of this C. S. Lewis classic several times. As much as I enjoyed it, I was anxious to see how it would fare with the big-budget treatment. I saw it opening night, and while the BBC version is inarguably the more faithful adaptation, there was a lot I loved about this edition, starting with the adorable Georgie Henley as Lucy and the thoroughly endearing James McAvoy as the faun Mr. Tumnus. The special effects are gorgeous, as is the cinematography, and some of the key moments from the book leap to life on the big screen. Plus, this movie is responsible for Lazy Sunday, one of my all-time favorite Saturday Night Live sketches.
Charlie and the Chocolate Factory - I read the book, and of course I saw Willy Wonka and the Chocolate Factory, so again I was interested in seeing how this update would compare. Tim Burton struck me as being an ideal director for a film taking place in such a skewered world, and he delivered a techni-color treat emphasizing the importance of family. While I missed Veruca's bumbling dad and Charlie's ludicrous teacher, in some ways, I preferred Johnny Depp's vulnerable, Michael Jackson-like Willy to Gene Wilder's manipulative version, and I definitely preferred irresistible Freddie Highmore as Charlie.
Dear Frankie - This little gem of a Scottish film stars Gerard Butler as a mysterious stranger who poses as the father who has walked out of young Frankie's life. It's the only way his mother, played by Emily Mortimer, can think of to painlessly deal with the ruse she's kept going; she's been writing to Frankie for years, posing as his father. The seeds of romance that blossom between her and the pseudo-dad are sweet, but it's the man's growing fondness for the open-hearted deaf child that really makes the film endearing.
Harry Potter and the Goblet of Fire - Another great installment in the Harry Potter series. Though Michael Gambon is harder to take as Dumbledore in this film than the others, Brendan Gleeson's outstanding performance as Mad-Eye Moody makes up for it. Meanwhile, the visual spectacle of the Quidditch World Cup and the Tri-Wizard Tournament is dazzling, and there's lots of humor to be found as Harry and his friends begin to navigate those dangerous waters of teenage romance.
Hitch - Will Smith and Kevin James are a winning team in this film about a man who makes a living secretly helping schlubs win over the women of their dreams. Each has his own romance to pursue throughout the film, but it's their buddy movie chemistry with each other that's really endearing. They are hilarious together, and James is one of the most lovable losers ever to hit the big screen.
March of the Penguins - Documentaries rarely go far in the theater, and it's pretty unusual for me to go see one there. But this one had been getting so much good buzz that I, like so many others, couldn't resist. The cinematography of those penguins making their perilous journey is breathtaking, and Morgan Freeman narrates with all the warmth of a grandfather telling a bedtime story.
Pooh's Heffalump Movie - My appreciation for Winnie-the-Pooh is one of the first things most people learn about me. I'm a huge fan of the Silly Old Bear, so I was determined to catch this film in the theater. My friend Libbie and I ended up with the theater all to ourselves, so I was able to combine the big-screen experience with the privacy of a home viewing. I loved the quietness of the movie, the lovely animation and the introduction of the adorable Lumpy to help teach the Hundred-Acre Wood gang that different doesn't have to mean scary.
Sisterhood of the Traveling Pants - I hadn't read the novel on which this film is based, but Libbie had, and she was the one who recommended the movie to me. All four of its young leading ladies have starred in television shows, though two hadn't yet at the time this movie came out. I was especially interested in Amber Tamblyn, who starred in the sadly short-lived Joan of Arcadia, and her storyline ended up being my favorite. Meanwhile, America Ferrera, who would go on to star as the plucky heroine in ABC's Ugly Betty, won me over in her storyline, which came in a close second.
Star Wars: Episode III - Revenge of the Sith - At long last, this film made Star Wars a pair of trilogies - though of course, the original trilogy is the far superior one. Still, I think this third installment was probably the best of the three, albeit not as much fun as The Phantom Menace.
Wallace and Gromit: The Curse of the Were-Rabbit - This pair of claymated buddies finally got a full-length adventure. Though the chatty, addled inventor and his silent, brainy pooch might be better suited to shorter outings, this is a very fun adventure, especially for Anglophiles. And as a big fan of Art Garfunkel, the inclusion of a clip from the song Bright Eyes was a nice bonus for me.
A good year for fantasy and adaptations. Not too many surprises in 2005, but much of this year's crop felt pleasantly nostalgic.
Monday, February 19, 2007
Bridge to Terabithia is About Much More Than Special Effects
When I first learned that Walden Media, the Disney-owned production company behind The Chronicles of Narnia: The Lion, the Witch and the Wardrobe, Charlotte's Web and several other big-screen adaptations of classic children's books, was taking on Bridge to Terabithia,
one of my all-time favorite novels, I was excited. And then I was
nervous, especially when I saw the trailers. They were fantastical, full
of highly imaginative CGI creatures and the promise of an epic battle.
They were pulse-poundingly exciting. And they seemed to be an indication
that the movie was not going to be very much like the book.
That's not to say, of course, that the book isn't exciting. But it's not another Chronicles of Narnia - much as author Katherine Paterson may have been influenced by C. S. Lewis in her writing. Leslie Burke, the lively, warm-hearted, creative girl who moves in next door to sullen, friendless, secretly artistic Jess Aarons, teaches him how to open his mind to the farthest reaches of imagination. She helps him find a place where the two of them are safe from the drudgery and travails of the everyday world, yet it is ultimately to his everyday, ordinary life that Jesse must apply those gently drawn-out skills. Bridge to Terabithia is about friendship and family and finding your place in the world. It's not about knocking down giants with acorn grenades.
So I was much relieved when I discovered the special effects-drenched trailer was grossly misleading. There is CGI, but in small doses, and done in such a way as to show us that Jesse is growing into an ability to witness such visions. Over the course of several Terabithian sojourns, we observe fierce fights with monsters derived from squirrels, birds and even trees. The latter, an enormous giant, becomes representative of a threat that looms large back in the real world: Janice Avery (Lauren Clinton), an aggressive eighth-grader who delights in throwing other students' sandwiches at unsuspecting victims, eating other students' Twinkies and charging even the kindergarteners a dollar to use the bathroom. Interestingly, while Leslie mentions Narnia several times in the book, all references are excised here despite the convenient opportunity for self-promotion. The visual similarities are striking, however; one can't help but think of Narnia as Leslie (AnnaSophia Robb) and Jesse (Josh Hutcherson) gaze out over the treetops to overlook their kingdom with its majestic mountains and shimmering rivers, or when its subjects gather from all corners of that magical land for a culminating regal scene.
Across the creek from Terabithia, just a rope swing away, is harsh reality, where everything seems to be stacked against Jesse. The kids at school, especially Janice and equally ill-tempered Scott Hoager (Cameron Wakefield), shove him around; his rigid fifth-grade teacher, "Monster" Myers (Jen Wolfe), barks at him in class; his quarrelsome teenage sisters Brenda (Devon Wood) and Ellie (Emma Fenton) yap endlessly about inane topics; and worst of all, his gruff, no-nonsense father (Robert Patrick) rarely has a kind word for him. Leslie, too, faces the derision of classmates, and although her parents work at home, she doesn't get to spend much time with them. Still, she keeps a positive outlook, and it's her cheerful persistence, coupled with Jesse's blooming empathy, that brings the two of them together after a false start when she outruns him in a race he's been training for all summer.
The novel is set in the 1970s, and although the film is transported to modern times, the setting changes little. The cars are newer-looking, Ellie and Brenda watch VH-1 all day (which is odd, considering how dirt-poor the Aaronses are), Mrs. Myers issues a grave warning against downloading essays from the Internet. Oh, and in the wake of all the recent scandals, Ms Edmunds (Zooey Deschanel), the luminous music teacher with whom Jesse is smitten, offering to take Jesse on a trip to a Washington, D.C. art museum could raise an eyebrow among more jaded audience members. Actually, though, she brings a definite 70s vibe to the film with her offbeat style and the mellow songs she has the class sing. Moreover, aside from those offhand references to modern technology, the town feels like it's much the same as it has been for decades, and certainly the year matters little once Jesse and Leslie are in Terabithia.
The acting is good all around, if not remarkable. Hutcherson's performance is understated, while Robb's role calls for a touch of the overdramatic. Leslie is perky and fun, smiling throughout most of the film, as opposed to Jesse, who is mostly stony-faced, though we are sometimes privileged to see the thought processes behind his eyes. As much as his time with Leslie awakens his imagination, I thought his best and most revealing scenes were those he shared with his father and his little sister May Belle (Bailee Madison). Having just seen Patrick in a small but effective role in We Are Marshall, I paid extra attention to his part in this film, and I found his portrayal of Jesse's father to be quite moving. He doesn't seem to know how to interact with his son and snaps at him out of frustration that he always seems to have his head in the clouds. This contrasts with his tender, affectionate treatment of May Belle, to whom the adorable Madison brings an irresistible charm. May Belle worships the ground her brother walks on, and she tags along after him all the time, often to his annoyance. Shortly before the film ends, Jesse enjoys reparative scenes with each of them that I found to be the most touching in the movie. Also of great impact is a brief scene in which he gets an unexpected glimpse at Mrs. Myers' softer side.
The cinematography is well done, especially in Terabithia, and the opening and closing credits, which feature animated drawings of Jesse's, are clever. The film does delve into the darkness of life, but in such a way as to show that light is never out of grasp. It grapples delicately with difficult topics, opening the door for such discussions amongst families. Bridge to Terabithia marks yet another successful chapter in Walden Media's history. If they take as much care with all their adaptations as they have with this, Charlotte's Web and Narnia, I'd say the children's literature canon is in pretty good hands.
That's not to say, of course, that the book isn't exciting. But it's not another Chronicles of Narnia - much as author Katherine Paterson may have been influenced by C. S. Lewis in her writing. Leslie Burke, the lively, warm-hearted, creative girl who moves in next door to sullen, friendless, secretly artistic Jess Aarons, teaches him how to open his mind to the farthest reaches of imagination. She helps him find a place where the two of them are safe from the drudgery and travails of the everyday world, yet it is ultimately to his everyday, ordinary life that Jesse must apply those gently drawn-out skills. Bridge to Terabithia is about friendship and family and finding your place in the world. It's not about knocking down giants with acorn grenades.
So I was much relieved when I discovered the special effects-drenched trailer was grossly misleading. There is CGI, but in small doses, and done in such a way as to show us that Jesse is growing into an ability to witness such visions. Over the course of several Terabithian sojourns, we observe fierce fights with monsters derived from squirrels, birds and even trees. The latter, an enormous giant, becomes representative of a threat that looms large back in the real world: Janice Avery (Lauren Clinton), an aggressive eighth-grader who delights in throwing other students' sandwiches at unsuspecting victims, eating other students' Twinkies and charging even the kindergarteners a dollar to use the bathroom. Interestingly, while Leslie mentions Narnia several times in the book, all references are excised here despite the convenient opportunity for self-promotion. The visual similarities are striking, however; one can't help but think of Narnia as Leslie (AnnaSophia Robb) and Jesse (Josh Hutcherson) gaze out over the treetops to overlook their kingdom with its majestic mountains and shimmering rivers, or when its subjects gather from all corners of that magical land for a culminating regal scene.
Across the creek from Terabithia, just a rope swing away, is harsh reality, where everything seems to be stacked against Jesse. The kids at school, especially Janice and equally ill-tempered Scott Hoager (Cameron Wakefield), shove him around; his rigid fifth-grade teacher, "Monster" Myers (Jen Wolfe), barks at him in class; his quarrelsome teenage sisters Brenda (Devon Wood) and Ellie (Emma Fenton) yap endlessly about inane topics; and worst of all, his gruff, no-nonsense father (Robert Patrick) rarely has a kind word for him. Leslie, too, faces the derision of classmates, and although her parents work at home, she doesn't get to spend much time with them. Still, she keeps a positive outlook, and it's her cheerful persistence, coupled with Jesse's blooming empathy, that brings the two of them together after a false start when she outruns him in a race he's been training for all summer.
The novel is set in the 1970s, and although the film is transported to modern times, the setting changes little. The cars are newer-looking, Ellie and Brenda watch VH-1 all day (which is odd, considering how dirt-poor the Aaronses are), Mrs. Myers issues a grave warning against downloading essays from the Internet. Oh, and in the wake of all the recent scandals, Ms Edmunds (Zooey Deschanel), the luminous music teacher with whom Jesse is smitten, offering to take Jesse on a trip to a Washington, D.C. art museum could raise an eyebrow among more jaded audience members. Actually, though, she brings a definite 70s vibe to the film with her offbeat style and the mellow songs she has the class sing. Moreover, aside from those offhand references to modern technology, the town feels like it's much the same as it has been for decades, and certainly the year matters little once Jesse and Leslie are in Terabithia.
The acting is good all around, if not remarkable. Hutcherson's performance is understated, while Robb's role calls for a touch of the overdramatic. Leslie is perky and fun, smiling throughout most of the film, as opposed to Jesse, who is mostly stony-faced, though we are sometimes privileged to see the thought processes behind his eyes. As much as his time with Leslie awakens his imagination, I thought his best and most revealing scenes were those he shared with his father and his little sister May Belle (Bailee Madison). Having just seen Patrick in a small but effective role in We Are Marshall, I paid extra attention to his part in this film, and I found his portrayal of Jesse's father to be quite moving. He doesn't seem to know how to interact with his son and snaps at him out of frustration that he always seems to have his head in the clouds. This contrasts with his tender, affectionate treatment of May Belle, to whom the adorable Madison brings an irresistible charm. May Belle worships the ground her brother walks on, and she tags along after him all the time, often to his annoyance. Shortly before the film ends, Jesse enjoys reparative scenes with each of them that I found to be the most touching in the movie. Also of great impact is a brief scene in which he gets an unexpected glimpse at Mrs. Myers' softer side.
The cinematography is well done, especially in Terabithia, and the opening and closing credits, which feature animated drawings of Jesse's, are clever. The film does delve into the darkness of life, but in such a way as to show that light is never out of grasp. It grapples delicately with difficult topics, opening the door for such discussions amongst families. Bridge to Terabithia marks yet another successful chapter in Walden Media's history. If they take as much care with all their adaptations as they have with this, Charlotte's Web and Narnia, I'd say the children's literature canon is in pretty good hands.
Friday, December 9, 2005
You'll Never Look at a Wardrobe the Same Way Again...
The world could use a little bit more Magic. That’s what I think, and
that’s what C. S. Lewis and J. R. R. Tolkien thought when they wrote
their respective masterpieces. For three years in a row, I got to see a
sweeping cinematic interpretation of Tolkien’s epic, which I treasure
more than any other. Last year, a dry spell. No lifelong friends,
breathed into life anew from the deepest reaches of my childhood, to
sustain me. A cold year indeed. But after a long winter, Middle-earth’s
companion has come to join its majestic sibling, and Christmas has come
at last. If the rest of the audiences were as enchanted as I was, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
is only the first in a long and lustrous series, seven to match the
number in the exploits of the boy wizard whose name need not be
mentioned - a sacred number, and perhaps I should clarify that I do not
mean Lewis is the good to Rowling’s evil, but rather a fellow spinner of
tales so absorbing and spiritually stimulating they both invite and
defy adaptation. But I have known Lewis much longer, and the glory of
his natural world calls to me with more resonance than the Gothic
surroundings in which young Mr. Potter finds himself. This is a film
that is an event, a milestone and a beckoning. Embrace the child within
that longs to crack open that wardrobe door and explore the world beyond
- a world free of all the distractions and impurities of our own.
Embrace the land of Narnia.
It is always difficult to adapt a book into a movie; the more beloved the source, the more likely you are to offend with your departures, though there is likely to be a large group of people who will see the film even if they are determined to hate it. The Chronicles of Narnia have a passionate following, as director Andrew Adamson and screenplay writer Ann Peacock clearly knew. How to translate the books without killing the magic? I believe they succeeded. There is a magnificence in this film I’ve not yet encountered in the Harry Potter adaptations. Instead, it begins to approach Lord of the Rings – especially in terms of the cinematography. Goodness gracious, but New Zealand has become quite the idyllic locale. Housing Middle-earth and Narnia is an impressive feat. I only hope these films don’t draw so many people to the islands that the pristine beauty for which they are lauded is diminished. Narnia is just gorgeous, and the film is awfully realistic-looking considering the fact that it’s populated mostly with characters who are at least partially computer generated. There’s nothing cartoonish about these beasts, and I think even Lewis would approve and agree that technology has finally caught up to his vision – an irony with both Tolkien and Lewis, who both treasured nature so deeply and were wary of industrialization.
Speaking of Tolkien, as I must when I mention Lewis, I thought I caught at least a couple nods to the good professor. The shot of the children and beavers huddling under a rocky overpass as they flee the White Witch is remarkably similar to the moment early in Fellowship in which the four young hobbits hide from their Nazgul pursuer. Later, the girls send an important message through the trees, and I can't help but think of the Beacons of Gondor. Finally, when the climactic battle is in full swing, a troop of eagles swoops down to provide unexpected aid. Could that be a small tribute to Lewis’ dear friend and fellow storyteller? But I’m getting ahead of myself. And so: the story. Remarkably, there seems to be very little missing, though sadly one of those things is the kindly giant Rumblebuffin, who is only alluded to with a brief glimpse of his statue in the Witch’s courtyard. However, a great deal has been added, and though I counted each departure with a bit of an inner grumble, in the end I found that most of the changes did not bother me. I have read that the director wanted to recapture the excitement he felt when he first encountered the books as a child, masking the slight disillusionment he experienced when he read it as an adult. The magic, it seemed, had gone. I still see the enchantment in Narnia’s pages, but then I never really have grown up. Adamson coaxes those who have become burdened with the trappings of adulthood to relinquish them for two and a half hours and believe again.
The story involves four children: Lucy (Georgie Henley), Edmund (Skandar Keynes), Susan (Anna Popplewell) and Peter Pevensie (William Mosely). In the film, we see their unnerving exodus from a war-torn English city into the relative safety of the countryside, where they take up residence with a reticent, eccentric professor (Jim Broadbent) and a cranky housekeeper (Elizabeth Hawthorne) in an enormous mansion in which most of the doors are kept locked. One, however, is enticingly open, and Lucy wanders into it during a game of hide and seek and there finds an object of awesome beauty: a wardrobe, ornately carved, drawing her in like a magnet (though she does, of course, remember to leave its door ajar for easy exit). When she stops brushing past fur coats and starts to get pricked by pine needles, it’s clear she’s stepped into a very strange wardrobe indeed, but she has no fear as she embarks upon this strange journey without her siblings into a world she did not know existed. Through this first trip, we see her sense of awe and wonder, her gentleness and emotional openness. For she quickly forges a delightful bond with a jittery but earnest faun named Mr. Tumnus (James McAvoy), a connection that will pave the way for all the adventures that follow.
In Narnia, we soon become accustomed to the sight of talking animals and creatures with features both human and bestial. The pristine snowfall comes to seem less enchanting than sinister, though as its grip weakens, it poses little threat – aside from in a rip-roaring river scene entirely absent in the book that nonetheless is quite exciting to watch. There are allies and enemies, and everyone seems to fall into one camp or another – for Aslan (Liam Neeson), the magnificent Lion who is the rightful king of Narnia, or Jadis (Tilda Swinton), an impostor who fancies herself the Queen and is responsible for the century of winter that has reigned in this magical land. Though this icy monarch refuses to admit it, she fears Aslan and the prophecy involving his return – a prophecy involving four humans. She will do anything to stop them from fulfilling their long foretold destinies, and it seems her job is made much simpler when she manages to woo a petulant Edmund, who encounters her alone before the four children finally make it through to Narnia together, to her side. While the fate of the land is ultimately in Aslan’s paws, the children have a great hand in it; they must battle fierce foes and their own interpersonal disputes before they can hope to save Edmund and, indeed, all of Narnia.
The cast is excellent, with Swinton most striking as the seductive witch. She is pale, beady-eyed and elegant – and as terrifying as Cruella De Vil, who seems cut from the same mold. Neeson gives kingly voice to the beautifully animated Lion, conveying both his warmth and his wrath. McAvoy is incredibly winning as Tumnus, and his relationship with Lucy is one of the most heartwarming aspects of the film. While all the supporting characters are excellent, particular attention must be paid to Ginarrbrik (Kiran Shah), Jadis’ the much-abused right-hand dwarf, and the Beavers (Ray Winstone and Dawn French), who are just as powerful a tribute to decent working-class folks as the Weasleys are in the Harry Potter books. The two bicker frequently, but always in love, and they clearly are two of Aslan’s most faithful followers. But it really is the children at the center of this story, and these four unknowns are marvelous, especially Henley, which makes me particularly happy. Lucy is just as curious and compassionate and connected to this strange new world as I would wish her to be, and Henley has just the right expressive qualities to accentuate the beauty of this character. Lucy is my favorite, and I applaud them for getting her right. Keynes, too, puts in a powerful performance as the outcast of the group. Though Lucy is always perfectly decent to him, Susan and Peter seem to have little affection but plenty of criticism for him, and it's easy to see why he would seek appreciation elsewhere. Peter is pretty much right but, like Aragorn in LotR, is far too reluctant to embrace his kingly destiny. He lacks some of the nobility he possessed in the book, and he’s too argumentative – as is Susan, though she always did strike me as a bit too bossy. In all honesty her overly grown-upness (well-intentioned as it often is) always rather got on my nerves, though Narnia eventually draws out her inherent sweetness. The three eldest children spend a great deal of time cross with one another, and I think they perhaps over-emphasized this, but it perhaps increases its resemblance to reality. In the end, no matter what their differences, the four children are family and they care deeply about each other, and that love can overcome many obstacles.
As I said, a great deal was added to this film in terms of exciting sequences, and there is much more emphasis on the battle with the White Witch than there was in the book, where it occupied a mere few paragraphs. As cinematic battles go, it’s pretty impressive-looking, and I understand the director’s choice in focusing on that, but I still wish we could have spent a bit more time in the courtyard with Aslan summoning the rest of the army. As in LotR, the best scenes are the personal ones, little moments in which the children come to appreciate one another more fully or are able to connect with their true monarch on a very intimate level. As long as these don’t get lost in the shuffle of special effects that are sure to be used liberally in the six sequels, I see no reason why all seven films can’t be equally enchanting. I for one can hardly wait for Prince Caspian. Until then, all I can say is well done and Godspeed. Narnia is just as magical as ever.
It is always difficult to adapt a book into a movie; the more beloved the source, the more likely you are to offend with your departures, though there is likely to be a large group of people who will see the film even if they are determined to hate it. The Chronicles of Narnia have a passionate following, as director Andrew Adamson and screenplay writer Ann Peacock clearly knew. How to translate the books without killing the magic? I believe they succeeded. There is a magnificence in this film I’ve not yet encountered in the Harry Potter adaptations. Instead, it begins to approach Lord of the Rings – especially in terms of the cinematography. Goodness gracious, but New Zealand has become quite the idyllic locale. Housing Middle-earth and Narnia is an impressive feat. I only hope these films don’t draw so many people to the islands that the pristine beauty for which they are lauded is diminished. Narnia is just gorgeous, and the film is awfully realistic-looking considering the fact that it’s populated mostly with characters who are at least partially computer generated. There’s nothing cartoonish about these beasts, and I think even Lewis would approve and agree that technology has finally caught up to his vision – an irony with both Tolkien and Lewis, who both treasured nature so deeply and were wary of industrialization.
Speaking of Tolkien, as I must when I mention Lewis, I thought I caught at least a couple nods to the good professor. The shot of the children and beavers huddling under a rocky overpass as they flee the White Witch is remarkably similar to the moment early in Fellowship in which the four young hobbits hide from their Nazgul pursuer. Later, the girls send an important message through the trees, and I can't help but think of the Beacons of Gondor. Finally, when the climactic battle is in full swing, a troop of eagles swoops down to provide unexpected aid. Could that be a small tribute to Lewis’ dear friend and fellow storyteller? But I’m getting ahead of myself. And so: the story. Remarkably, there seems to be very little missing, though sadly one of those things is the kindly giant Rumblebuffin, who is only alluded to with a brief glimpse of his statue in the Witch’s courtyard. However, a great deal has been added, and though I counted each departure with a bit of an inner grumble, in the end I found that most of the changes did not bother me. I have read that the director wanted to recapture the excitement he felt when he first encountered the books as a child, masking the slight disillusionment he experienced when he read it as an adult. The magic, it seemed, had gone. I still see the enchantment in Narnia’s pages, but then I never really have grown up. Adamson coaxes those who have become burdened with the trappings of adulthood to relinquish them for two and a half hours and believe again.
The story involves four children: Lucy (Georgie Henley), Edmund (Skandar Keynes), Susan (Anna Popplewell) and Peter Pevensie (William Mosely). In the film, we see their unnerving exodus from a war-torn English city into the relative safety of the countryside, where they take up residence with a reticent, eccentric professor (Jim Broadbent) and a cranky housekeeper (Elizabeth Hawthorne) in an enormous mansion in which most of the doors are kept locked. One, however, is enticingly open, and Lucy wanders into it during a game of hide and seek and there finds an object of awesome beauty: a wardrobe, ornately carved, drawing her in like a magnet (though she does, of course, remember to leave its door ajar for easy exit). When she stops brushing past fur coats and starts to get pricked by pine needles, it’s clear she’s stepped into a very strange wardrobe indeed, but she has no fear as she embarks upon this strange journey without her siblings into a world she did not know existed. Through this first trip, we see her sense of awe and wonder, her gentleness and emotional openness. For she quickly forges a delightful bond with a jittery but earnest faun named Mr. Tumnus (James McAvoy), a connection that will pave the way for all the adventures that follow.
In Narnia, we soon become accustomed to the sight of talking animals and creatures with features both human and bestial. The pristine snowfall comes to seem less enchanting than sinister, though as its grip weakens, it poses little threat – aside from in a rip-roaring river scene entirely absent in the book that nonetheless is quite exciting to watch. There are allies and enemies, and everyone seems to fall into one camp or another – for Aslan (Liam Neeson), the magnificent Lion who is the rightful king of Narnia, or Jadis (Tilda Swinton), an impostor who fancies herself the Queen and is responsible for the century of winter that has reigned in this magical land. Though this icy monarch refuses to admit it, she fears Aslan and the prophecy involving his return – a prophecy involving four humans. She will do anything to stop them from fulfilling their long foretold destinies, and it seems her job is made much simpler when she manages to woo a petulant Edmund, who encounters her alone before the four children finally make it through to Narnia together, to her side. While the fate of the land is ultimately in Aslan’s paws, the children have a great hand in it; they must battle fierce foes and their own interpersonal disputes before they can hope to save Edmund and, indeed, all of Narnia.
The cast is excellent, with Swinton most striking as the seductive witch. She is pale, beady-eyed and elegant – and as terrifying as Cruella De Vil, who seems cut from the same mold. Neeson gives kingly voice to the beautifully animated Lion, conveying both his warmth and his wrath. McAvoy is incredibly winning as Tumnus, and his relationship with Lucy is one of the most heartwarming aspects of the film. While all the supporting characters are excellent, particular attention must be paid to Ginarrbrik (Kiran Shah), Jadis’ the much-abused right-hand dwarf, and the Beavers (Ray Winstone and Dawn French), who are just as powerful a tribute to decent working-class folks as the Weasleys are in the Harry Potter books. The two bicker frequently, but always in love, and they clearly are two of Aslan’s most faithful followers. But it really is the children at the center of this story, and these four unknowns are marvelous, especially Henley, which makes me particularly happy. Lucy is just as curious and compassionate and connected to this strange new world as I would wish her to be, and Henley has just the right expressive qualities to accentuate the beauty of this character. Lucy is my favorite, and I applaud them for getting her right. Keynes, too, puts in a powerful performance as the outcast of the group. Though Lucy is always perfectly decent to him, Susan and Peter seem to have little affection but plenty of criticism for him, and it's easy to see why he would seek appreciation elsewhere. Peter is pretty much right but, like Aragorn in LotR, is far too reluctant to embrace his kingly destiny. He lacks some of the nobility he possessed in the book, and he’s too argumentative – as is Susan, though she always did strike me as a bit too bossy. In all honesty her overly grown-upness (well-intentioned as it often is) always rather got on my nerves, though Narnia eventually draws out her inherent sweetness. The three eldest children spend a great deal of time cross with one another, and I think they perhaps over-emphasized this, but it perhaps increases its resemblance to reality. In the end, no matter what their differences, the four children are family and they care deeply about each other, and that love can overcome many obstacles.
As I said, a great deal was added to this film in terms of exciting sequences, and there is much more emphasis on the battle with the White Witch than there was in the book, where it occupied a mere few paragraphs. As cinematic battles go, it’s pretty impressive-looking, and I understand the director’s choice in focusing on that, but I still wish we could have spent a bit more time in the courtyard with Aslan summoning the rest of the army. As in LotR, the best scenes are the personal ones, little moments in which the children come to appreciate one another more fully or are able to connect with their true monarch on a very intimate level. As long as these don’t get lost in the shuffle of special effects that are sure to be used liberally in the six sequels, I see no reason why all seven films can’t be equally enchanting. I for one can hardly wait for Prince Caspian. Until then, all I can say is well done and Godspeed. Narnia is just as magical as ever.
Tuesday, March 28, 2000
The Great Story
The Last Battle, the last volume of The Chronicles of Narnia, is one of the most
moving books I have ever read. In order to be properly impacted by it,
you should first read the other six volumes so that you truly care about
Narnia, Aslan, and the British children before you pick this up. It is
clear from the beginning that this will be the last book -- the events
are described as being "in the last days of Narnia". For those who have
come to know and love Narnia, this is a disturbing prospect indeed.
The trouble begins when a shifty ape finds a lion skin and convinces Puzzle, a slow-witted but kindly donkey, to wear it, thereby impersonating Aslan, the Great Lion who is Ruler of Narnia. Soon Narnia is thrown into an uproar as the Ape tells its citizens that he is Aslan's spokesman and insists they do as he says. The warlike citizens of the country Calormene are brought in to aid the Ape in his attempt to take over.
By the time King Tirian discovers the atrocities which have been occurring in Aslan's name, he is too late to stop it. He turns himself in after killing a Calormene guard and is tied to a tree, where he begs for help in restoring his country. Help arrives in the form of two British children, Jill and Eustace, who have made the journey to Narnia before. They free Tirian and his friend the unicorn, and Jill discovers Puzzle huddling in the barn and insists upon taking him along.
Together, they plan a counter-attack, but confusion and fear run rampant in Narnia and the good creatures of the forest are afraid to lash out against someone who claims to speak for Aslan. A fierce battle ensues, and Tirian and his allies cringe at the thought of the evil being they know is inside the stable. They are hopelessly outnumbered, and it is only a matter of time before each of them goes to face the fearsome beast.
But each is shocked to discover that inside the stable, instead of a fiery foe sure to tear them to shreds, is a beautiful land as calm and peaceful as the most idyllic summer moment in Narnia. More amazing still, Tirian finds himself surrounded by Narnia's High Kings and one of the High Queens -- legendary figures who had ruled during Narnia's Golden Age. Along with them are Digory and Polly, who witnessed the creation of Narnia.
From their new vantage point, the young people watch in awe as the true Aslan destroys Narnia before their very eyes. The stars come down from the sky, the earth is ripped apart, blackness consumes everything -- but those who love Aslan join King Tirian and his friends in the wonderful new land. And as they mourn together the death of the wonderful country they had all loved so much, they realize that it has not truly been destroyed after all. Indeed, the Narnia they loved was really only a shadow; their true home lies before them.
The imagery in this book is absolutely fantastic. Aslan's Country offers a clear and convincing vision of Heaven, and the ending will leave most readers with a deep sense of peace. The ties between this book and "Revelation" are unmistakable, and I would heartily recommend it to anyone doing an in-depth study of that final book of "The Bible". Especially interesting is who Aslan allows into His Country...it may give you a new way of looking at things.
All Biblical references aside, this is a grand finale to a truly wonderful work of literature. Lewis' writing style is accessible to children without being too simplistic for adults, and this is one of the only books you can read which has a truly happy ending.
The trouble begins when a shifty ape finds a lion skin and convinces Puzzle, a slow-witted but kindly donkey, to wear it, thereby impersonating Aslan, the Great Lion who is Ruler of Narnia. Soon Narnia is thrown into an uproar as the Ape tells its citizens that he is Aslan's spokesman and insists they do as he says. The warlike citizens of the country Calormene are brought in to aid the Ape in his attempt to take over.
By the time King Tirian discovers the atrocities which have been occurring in Aslan's name, he is too late to stop it. He turns himself in after killing a Calormene guard and is tied to a tree, where he begs for help in restoring his country. Help arrives in the form of two British children, Jill and Eustace, who have made the journey to Narnia before. They free Tirian and his friend the unicorn, and Jill discovers Puzzle huddling in the barn and insists upon taking him along.
Together, they plan a counter-attack, but confusion and fear run rampant in Narnia and the good creatures of the forest are afraid to lash out against someone who claims to speak for Aslan. A fierce battle ensues, and Tirian and his allies cringe at the thought of the evil being they know is inside the stable. They are hopelessly outnumbered, and it is only a matter of time before each of them goes to face the fearsome beast.
But each is shocked to discover that inside the stable, instead of a fiery foe sure to tear them to shreds, is a beautiful land as calm and peaceful as the most idyllic summer moment in Narnia. More amazing still, Tirian finds himself surrounded by Narnia's High Kings and one of the High Queens -- legendary figures who had ruled during Narnia's Golden Age. Along with them are Digory and Polly, who witnessed the creation of Narnia.
From their new vantage point, the young people watch in awe as the true Aslan destroys Narnia before their very eyes. The stars come down from the sky, the earth is ripped apart, blackness consumes everything -- but those who love Aslan join King Tirian and his friends in the wonderful new land. And as they mourn together the death of the wonderful country they had all loved so much, they realize that it has not truly been destroyed after all. Indeed, the Narnia they loved was really only a shadow; their true home lies before them.
The imagery in this book is absolutely fantastic. Aslan's Country offers a clear and convincing vision of Heaven, and the ending will leave most readers with a deep sense of peace. The ties between this book and "Revelation" are unmistakable, and I would heartily recommend it to anyone doing an in-depth study of that final book of "The Bible". Especially interesting is who Aslan allows into His Country...it may give you a new way of looking at things.
All Biblical references aside, this is a grand finale to a truly wonderful work of literature. Lewis' writing style is accessible to children without being too simplistic for adults, and this is one of the only books you can read which has a truly happy ending.
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