A Visual Splendour

When the four Pevensie siblings (Peter, Susan, Edmund and Lucy) are sent to the country to escape the bombing of war-torn London, little did they realise that they were about to be catapulted into an epic adventure in another dimension—-the strange yet charming world of Narnia. Their entry into this magical world might seem accidental—Lucy, the youngest, all but fell into it from the back of a wardrobe where she was playing hide-and-seek—but soon the children learn that they are part of a prophecy that would not only place them in physical jeopardy and demand from them courage and honour, but would determine the very fate of Narnia itself.

For Narnia languishes in the icy grip of an everlasting winter--a spell cast by the White Witch, Jadis. When she kidnaps the not-so-innocent Edmund, the other children, with the help of a pair of talking beavers, a wily fox, and a gift-bearer who brings them weapons, try to save their errant brother. With the prophecy hanging over their heads, they join the army led by the lion Aslan. But when the White Witch comes for Edmund, Aslan makes a noble sacrifice in exchange for Edmund’s life. A climactic battle ensues, where the forces of Aslan (led by Peter) and those of Jadis clash, and the fate of Narnia and that of the children are determined in all-out battle once and for all.

This stunning movie adaptation of THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE, would doubtless have earned the approval of its creator. Make no mistake, this is one faithful adaptation. Not only has Hollywood left C.S. Lewis’ story (plot and characters) intact, it has left the English background alone, instead of doing a dreaded cultural makeover. The cast and setting are as English as could be, right down to little Lucy’s plummy accent. The novel (and its sequels—-there are 7 in all, praise be!) was written in more innocent times, and the movie is utterly faithful in the depiction of a time period where setting, costume, mores and speech are concerned. As for the fantasy sequences in Narnia, they, of course, are of timeless appeal.

Director New Zealander Andrew Adamson co-wrote the screenplay adaptation with Emmy Award-winner Ann Peacock with help from Christopher Markus and Stephen McFeely. Cinematographer Donald M. McAlpine brought the film to life, and the CGI expertise (Rhythm & Hues and Sony Pictures Imageworks) is nothing short of astounding, as indeed are the sets and props built by Weta Workshops. The animals talking and walking with the live actors are amazing enough, but the battle scene, with its charging armies of humans, centaurs, giants, dwarves, and animals both real and imagined, has to be seen to be believed.

The casting is perfect, and the four Pevensie children (17-year-old William Moseley as Peter, 15-year-old Anna Popplewell as Susan, 13-year-old Skandar Keynes as Edmund, 9-year-old Georgie Henley as Lucy) turn in performances of depth and utter believability, all the more amazing considering that all save Popplewell are novice actors. Tilda Swinton, with her strange appearance and eccentric demeanour, is born to play the part of the White Witch. Supporting actors are well represented by James McAvoy as Mr Tumnus, Jim Broadbent as Professor Kirke, and of course, the voices of Liam Neeson as Aslan, Ray Winstone and Dawn French as Mr and Mrs Beaver, and Rupert Everett as the Fox, among others.

This is a treat for the whole family, and while the Christians might like to claim it as their own by virtue of Lewis’ allegorical imagery, people of all faiths (or none, for that matter) should enjoy the wonderful imaginative story. There are lessons (secular ones, oh yes!) to be learnt, and all children should watch (and read) The Chronicles of Narnia. Highly recommended.

There is an interesting debate on the order (publishing vs chronological) of the 7 books in the series. Do take the time to read Andrew’s Rilstone’s excellent article on this topic:
http://www.aslan.demon.co.uk/narnia.htm