Although the movie is a few years old, I said that I’d be doing a review of The Lion, The Witch and the Wardrobe for this week’s entry, as Prince Caspian is slated to open in a little over two weeks. Regrettably, I wasn’t able to complete it Friday due to a number of circumstances, but here it is, now two days late.
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A few years down the road from the theatrical release of Walden Media’s The Lion, The Witch and the Wardrobe, we’ve seen the release of a four disc extended edition – I haven’t seen it yet, but I’d like to compare at some point – and the long awaited production of Prince Caspian, set for release on May 16. I thought I’d take the opportunity to revisit Narnia on film, and look at some of the important points of the first installment of The Chonicles of Narnia.
The Chronicles of Narnia : The Lion, The Witch and the Wardrobe follows the four Pevensie children, Lucy (Georgie Henley), Edmund (Skandar Keynes), Susan (Anna Popplewell) and Peter (William Moseley) from London after the Blitz to the country estate of Professor Digory Kirke (Jim Broadbent). Playing a game of hide and seek, Lucy stumbles on a wardrobe that opens to the magical land of Narnia. There she meets a faun, Mr. Tumnus (James AcAvoy) and sets in motion a chain of events that promises the fulfillment of a prophecy long present in the land, that two Sons of Adam and two Daughters of Eve will come from a far land and sit in the four empty thornes of Cair Paravel, there to rule Narnia. Determined to stop the prophecy from being fulfilled, Jadis, The White Witch (Tilda Swinton) seeks to capture or kill the children at all costs and ensure her continued dominion of the land.
Arguably the most competently organized and faithfully representative allegory of Christianity aside from John Bunyan’s Pilgrim’s Progress, C.S. Lewis’ children’s story has been given due treatment on the screen by Walden Media and Walt Disney Pictures. While the movie does not enter as deeply in to the Christian story as Lewis’ book does, the key elements and the visual representations of those elements are there. The CG elements of the film – and there are many – do a surprisingly good job of visually focusing one’s attention on important points and subtly cuing audience reception of the message. One of the most prominent examples of visual storytelling here is actually the knighting of Peter Pevensie by Aslan the lion, the rightful ruler of Narnia, as the film builds to its climactic battle scenes. It struck me in theatres and strikes me again every time I watch the film. Here, Aslan is surrounded by a bright golden light, highlighting his colouring and the obvious weight of import that this scene holds.
One other scene to point out is the expertly-filmed self-sacrifice of Aslan at the Stone Table. This scene succeeds as few others have in visually and aurally representing the cruelty of evil when faced with the humility of good. The scene evokes, no matter what religious affiliation, a sense of evil exalting in the defeat of good. We have been carried along a rising tide of emotional response to the film, and this scene succeeds in bringing its audience in to the film as few others do, allowing its audience to truly identify with the story being played out on the screen.
In The Lion, The Witch and the Wardrobe, the performance of the children is everything. For Director Andrew Adamson, it was important to show the audience the wonder of a child in finding a magic world in a wardrobe. Lucy Pevensie was his vehicle for doing this, and the innocence and excitement of her first trip into Narnia is captured extremely well in the film by Georgie Henley. Edmund, the traitor, is well-played by Skandar Keynes, but his performance is lacklustre in a few places. William Moseley’s Peter is well-played as the reluctant leader transformed, and the logical, reasoning Susan is apparent in Anna Popplewell’s rather stiff performance.
The Lion, The Witch and the Wardrobe, releasing on the heels of the Lord of the Rings trilogy as it did, capitalized on the resurgence of the fantasy epic genre but stands on its own as a lovingly translated form of Lewis’ singular story. Watching it now in preparation for Prince Caspian, the magic and the meaning of the story is completely renewed for me. I look forward to Prince Caspian with the eager expectation of Lucy, wanting the fantastic to again make a memorable appearance.
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Blessings;
Christ-bearer.