|
|
|
| |
|
Vol.
I No. 8 An Inspired Masterpiece The Rumpled Critic
Peter, the eldest child, itches to join in the defeat of Nazi Germany despite his young years; the adventure into Narnia gives him the opportunity to fight evil in a land where his age is not an issue. Edmund, the most impressionable of the four, must tread a delicate trail through disloyalty and salvation without appearing contradictory, while Susan provides a voice of reason that finds it hard to fathom woodland critters talking to them.
Indeed, the rest of The Lion, the Witch and the Wardrobe nimbly follows his example, finding the right tone and sticking to it. Though quick moving and exhilarating, it's not too intense for younger viewers, nor will it sedate older audience members by dumbing up the dialogue. Adamson keeps the story's religious overtones without force feeding them, and provides a nice transition from 20th Century England to medieval Narnia with a few subtle touches of the pastoral.
Grade: A |
|
|
|
|
|
|
Copyright © 2005-06, Humboldt Sentinel. All rights reserved. |
Andrew
Adamson, famed for his work in both Shrek films, presents us with the
magical land of Narnia, populated by mythic creatures and ruled
by Aslan (the lion of the title, voiced by Liam Neeson). Adamson, who
has a strong background in visual effects, hurtles courageously forward
in bringing Narnia to life, and while many of the details are obviously
CGI, they retain the sense of awe that they held in the book. Talking
animals, for example, is routine in this world, from Aslan down to the
smallest mouse . They are major players on screen, relating with the human
actors throughout the film. There are apparent artificial life: Aslan
looks like a well drawn animation rather than a real lion, while figures
such as Mr. and Mrs. Beaver (voiced by Ray Winstone and Dawn French) show
pixated glimmers on there slick fur. Still, we believe in them; their
character and individuality are expertly acquired, and while the tools
used to bring them to life leave a mark, the film's unwavering devotion
to their quintessence overcomes any opposition.
All
off Narnia was created on sets and blue screens that nonetheless invoke
the powerful embers of Lewis' burning imagination. The frosty castle of
the White Witch (Tilda Swinton), who has incarcerated Narnia in Aslan's
absence, captures a tangible sense of trepidation, while the frosty forest
around it turns slowly but distinctly green with the lion's return. Such
rudiments are inspirational, partially for their technical expertise,
but primarily because they perfectly summarize the significant moments
of the book. We believe in them because Adamson and his crew do, not because
the effects have tricked us.
The
direction of the human actors is less stable; here, his inexperience surfaces
occasionally, and the literal approach to Lewis' text results in occasional
patches of choppy dialogue. But the cast enthusiastically pursue their
work so, that it scarcely matters. The four Pevensie children -- Peter
(William Moseley), Susan (Anna Popplewell), Edmund (Skandar Keynes), and
Lucy (Georgie Henley) -- who have been sent to the English countryside
to avoid the Bombing of London discover Narnia through a magic wardrobe
on their host's, the Professor (Jim Broadbent) estate. The script gives
personal insight into the true nature of the characters‘ personalities.
The
toughest role is perhaps Lucy's, the youngest and most astute of the four,
who must give unassailable advice and unfaltering morals while avoiding
appearing overtly superior. Henley exemplifies the character as if she
was born to it, making hers the most memorable performance in the film.
But the other three children are well trained in the theater, creating
sound characters that will pave the way for more quality childrens’
cinematography.
As
an accomplishment, the film suffers from only the slightest of letdowns,
emphasizing accuracy over true transcendence. For example, the scene on
the icy river with the wolves was never in the book. There have been too
many comparisons to Lord of the Rings. I won’t do that because this
was an original masterpiece that wasn’t trying to do anything but
tell the story and suspend our belief in the moment of fantasy. If you
want to see a film that will entertain you without attempting to be perfect,
this would be my pick of the year. It holds me in more ways that I can
elaborate upon. Do yourself a favor and go see it while it is still on
the big screen. After you have done that, go buy the DVD when it is released,
for this will be a Modern Classic.