Directed by Andrew Adamson, Starring Ben Barnes, Georgie Henley, Liam Neeson.
Grade: B+ or 8/10
I came into this second Narnia movie really expecting to dislike it, given my reaction to the first film which, while undeniably stylish and clever, and somewhat redeemed by the amazing Tilda Swinton, was nevertheless a blatant attempt to shove Christian theology down the audience’s throats. That was certainly Lewis’s intent, and The Lion, the Witch, and the Wardrobe was remarkably faithful to it. Shuddering slightly, I expected much the same of Prince Caspian.
I was pleasantly surprised. The theology is there but it’s a lot more subtle, more a subtext that is gently brought up at a couple of points, it’s not nearly so intrusive. The story is allowed to take precedence, and it’s a better film for it. Aslan’s words to the ever-faithful Lucy, that “Things never happen the same way twice,” can be read either as a dig at doubters of miracles, as an invitation to suspend disbelief and revel in the fantastic, or as a hint that this movie won’t be anything like the first.
And it isn’t. From almost the very first frame, this second Narnia film more closely resembles an installment of Peter Jackson’s Lord of the Rings than the shiny, bright The Lion, the Witch and the Wardrobe. It’s visually much darker than its predecessor, and there are plenty of visual references to Jackson’s films, the most obvious being the lone hero on horseback racing across the plains, pursued by an arrowhead of dastardly foes. There’s the sweeping vistas, giant war machines and elaborate battle scenes, topped off with a whole lot of Nature getting angry.
The score was sometimes brilliant and evocative, sometimes a little irritating. The script was actually really good, and the leads were satisfactory in their roles, especially Caspian himself and his wicked uncle Miras. Oldest Pevensie child Peter is just as whiny and boring as he was in the first film, but he does get a brilliantly shot duel scene with the intimidating Miras. He’s completely outshone by younger brother Edmund however, who gets all the best lines and more interesting things to do.
I was more interested in how the film handled the girl’s roles, especially after Wardrobe, where they pretty much just sat on the sidelines and cried a lot. Here, Lucy can be seen to represent either the value of lion-hearted faith or a sense of optimism and wonder at the world, while older sister Susan is a woman of action, front and centre in all the big fight sequences and assertive in her relationships. Particularly refreshingly, there’s no inherently good and bad ‘us’ and ‘them’ of different races and peoples here, a definite improvement on the previous film and the books on which the films are based.
There were a couple of genuinely affecting moments scattered throughout all the action, some pretty frightening scenes that will probably give little kids nightmares for a while to come, and some light humour provided by Eddie Izzard as a talking mouse. I personally loved Adamson’s subtle visual nod to his Shrek films, involving a certain ginger cat. It’s as if with this film Adamson is saying “Watch out people, Narnia is going to be big.” And that might not be such a scary prospect after all.
Danny R.
Grade: B+ or 8/10
I came into this second Narnia movie really expecting to dislike it, given my reaction to the first film which, while undeniably stylish and clever, and somewhat redeemed by the amazing Tilda Swinton, was nevertheless a blatant attempt to shove Christian theology down the audience’s throats. That was certainly Lewis’s intent, and The Lion, the Witch, and the Wardrobe was remarkably faithful to it. Shuddering slightly, I expected much the same of Prince Caspian.
I was pleasantly surprised. The theology is there but it’s a lot more subtle, more a subtext that is gently brought up at a couple of points, it’s not nearly so intrusive. The story is allowed to take precedence, and it’s a better film for it. Aslan’s words to the ever-faithful Lucy, that “Things never happen the same way twice,” can be read either as a dig at doubters of miracles, as an invitation to suspend disbelief and revel in the fantastic, or as a hint that this movie won’t be anything like the first.
And it isn’t. From almost the very first frame, this second Narnia film more closely resembles an installment of Peter Jackson’s Lord of the Rings than the shiny, bright The Lion, the Witch and the Wardrobe. It’s visually much darker than its predecessor, and there are plenty of visual references to Jackson’s films, the most obvious being the lone hero on horseback racing across the plains, pursued by an arrowhead of dastardly foes. There’s the sweeping vistas, giant war machines and elaborate battle scenes, topped off with a whole lot of Nature getting angry.
The score was sometimes brilliant and evocative, sometimes a little irritating. The script was actually really good, and the leads were satisfactory in their roles, especially Caspian himself and his wicked uncle Miras. Oldest Pevensie child Peter is just as whiny and boring as he was in the first film, but he does get a brilliantly shot duel scene with the intimidating Miras. He’s completely outshone by younger brother Edmund however, who gets all the best lines and more interesting things to do.
I was more interested in how the film handled the girl’s roles, especially after Wardrobe, where they pretty much just sat on the sidelines and cried a lot. Here, Lucy can be seen to represent either the value of lion-hearted faith or a sense of optimism and wonder at the world, while older sister Susan is a woman of action, front and centre in all the big fight sequences and assertive in her relationships. Particularly refreshingly, there’s no inherently good and bad ‘us’ and ‘them’ of different races and peoples here, a definite improvement on the previous film and the books on which the films are based.
There were a couple of genuinely affecting moments scattered throughout all the action, some pretty frightening scenes that will probably give little kids nightmares for a while to come, and some light humour provided by Eddie Izzard as a talking mouse. I personally loved Adamson’s subtle visual nod to his Shrek films, involving a certain ginger cat. It’s as if with this film Adamson is saying “Watch out people, Narnia is going to be big.” And that might not be such a scary prospect after all.
Danny R.
I read on a blog the other day that Disney has decided to drop the Narnia franchise, so there's another fantasy saga that we won't see completed, along with His Dark Materials and even perhaps Harry Potter (!!GASP!!)
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