Film Review: The Chronicles of Narnia (2005)
Disney's condensed version of C.S. Lewis' epic stays true to its roots by sticking to a child-friendly narrative. Based most closely on Book 2 of Lewis' 7-part chronicle, The Chronicles of Narnia relates the adventures of 4 children as they enter a wardrobe at their new caretaker's home and are transported into the mystical and icy world of Narnia.
The film's beginning is not unlike a child's short attention span. Although the film starts off starkly with the AXIS bombing of London and the characters are forcefully evacuated away from their mother to the countryside, all that misery and desolation is quickly forgotten as the child adventurers embark on a mission more important than real life.
Deemed the chosen ones, the 4 children overcome their individual weaknesses to embattle evil-personified herself, Queen of Narnia (an underused Tilda Swinton). Their adventure becomes a religious exercise of prophetic-fulfilling with a generous dose of good versus evil, all unfortunately too clearly delineated for the discerning adult.
For the non-Christians, the Lion's sacrificial death which parallels Jesus' own sacrifice and eventual resurrection, is abrutly dealt with and hangs like a misplaced allegory over the rest of the film. While it appeals to the inner child in most of us with its story of good versus evil, it becomes all too easy and convenient to contain the two sides as so contrasting and one-dimensional in nature.
Despite the grand scope of the climatic battle and the lush landscape reminiscent of Lord of the Rings (both are filmed in New Zealand), the Chronicles lacks the emotional depth and character complexity of the Hobbits. The characters' emotional trajectories are linear and simplistic. The transformations from their embittered, self-centred former selves to righteous heroes are too predictable and unconvincing. The younger brother, in allusion to the betraying Judas, offers some emotional turmoil that is unfortunately readily redeemed and washed up before the end of the film.
While the film offers entertainment value to the faithful and to young children, it lacks any convincing emotional depth that gives resonance to the viewer. Its battle is so clearly defined that there is not much work to be done by the viewer except to accept whatever is onscreen. It is escapism at its most simplistic form, where ideological battles are easily fought and won, with minimal duelling and archery practice.
The film's beginning is not unlike a child's short attention span. Although the film starts off starkly with the AXIS bombing of London and the characters are forcefully evacuated away from their mother to the countryside, all that misery and desolation is quickly forgotten as the child adventurers embark on a mission more important than real life.
Deemed the chosen ones, the 4 children overcome their individual weaknesses to embattle evil-personified herself, Queen of Narnia (an underused Tilda Swinton). Their adventure becomes a religious exercise of prophetic-fulfilling with a generous dose of good versus evil, all unfortunately too clearly delineated for the discerning adult.
For the non-Christians, the Lion's sacrificial death which parallels Jesus' own sacrifice and eventual resurrection, is abrutly dealt with and hangs like a misplaced allegory over the rest of the film. While it appeals to the inner child in most of us with its story of good versus evil, it becomes all too easy and convenient to contain the two sides as so contrasting and one-dimensional in nature.
Despite the grand scope of the climatic battle and the lush landscape reminiscent of Lord of the Rings (both are filmed in New Zealand), the Chronicles lacks the emotional depth and character complexity of the Hobbits. The characters' emotional trajectories are linear and simplistic. The transformations from their embittered, self-centred former selves to righteous heroes are too predictable and unconvincing. The younger brother, in allusion to the betraying Judas, offers some emotional turmoil that is unfortunately readily redeemed and washed up before the end of the film.
While the film offers entertainment value to the faithful and to young children, it lacks any convincing emotional depth that gives resonance to the viewer. Its battle is so clearly defined that there is not much work to be done by the viewer except to accept whatever is onscreen. It is escapism at its most simplistic form, where ideological battles are easily fought and won, with minimal duelling and archery practice.
posted by moebius @ 12:06 PM
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