The Chronicles of Narnia: The Lion, the Witch and the Wardrobe

There's little doubt in mind that if the Harry Potter films weren't the mega successes they've proven to be, then we'd never have seen The Chronicles of Narnia on the big screen. At least, we wouldn't have seen it in 2005 and certainly not in the big-budget fashion with all the extras that Buena Vista have lavished over their first entry in film history's newest seven-story fantasy franchise.

The Lion, the Witch and the Wardrobe, was C.S. Lewis' first chapter in his Narnia series. Set second in chronological order, it's the story - that if you're familiar with the franchise at all - will be the one that re-kindles those Narnian childhood memories, be it thanks to the BBC TV series, the books or the radio plays.

For many, Narnia will be a revisiting. The recapturing of magical worlds that once meant more to you than just faint memories, is a rare thing, but it does feel good when it happens. The Lion, the Witch and the Wardrobe is enchantingly faithful to those old memories, certainly enough to fire up a rusty synapses or two. Narnia might not reside as a story of years ago for everyone, but everyone does have those childhood memories, memories of stories that bare fond, if inexplicable attachments. It's rough when you find an old VHS of a cartoon you used to love, but when you whack it on and re-watch an episode, you realise just how poor it was, even if what you remember paints a vastly different picture. While I'm not suggesting the old BBC series was poor, what Narnia needs to be commended for is evoking and staying true to those cherished childhood memories. As a child you see things through different eyes, just a simple idea inside an otherwise bland production might be enough to spark an imagination. Narnia is a full realisation of everything that are both real memories or were perhaps imaginative liberties.

The doesn't say much for the past popularity of franchises like 'Pokemon' or 'Ninja Turtles'. They were properties whose only fans were children (hopefully). While they will be remembered as being highly entertaining for them when fans look back 20 years later, a more discerning or self-aware critic scoffs and might declare 'they don't make children's stories like they used to'. Indeed, perhaps they don't make 'Voltron', 'Astroboy', 'G-Force' or 'The Cities of Gold' anymore, or the way they used to, but imagination was needed to make their cool ideas work. There's perhaps a reason in there as to why a film series like Harry Potter is working so well for children.

However, there's been no expense spared (well, some, according to Mike Newell) on the Potter franchise and it's produced a more sophisticated audience who expect and demand a certain gloss and high production value. Indeed, unloading the studio vault into these films is now crucial if they're to convince a public to provide the financial returns to further a franchise, it's simple economics. Understanding that you can't cheap out on these films is only part of the brew, but The Lion, the Witch and the Wardrobe gets that first part right, passing with flying colours. Indeed, the film is stunningly colourful and beautiful to watch. It boasts some vivid CGI that's rarely hidden by the cloak of rain or night or grey.

The menagerie of creatures that populate the world of Narnia is impressive. Centaurs, Fawns, Gryphons, talking Beavers, Cheetahs, Wolves and a Lion. The prosthetic half of Narnia's creatures don't put a foot wrong, they all look superb, there's been some great care put into bringing everything to life. The only effect that does look a little too CGI is unfortunately, Aslan. His fur retains that dull CGI blur even if everything else about him was done right. But shouldn't that be good enough? It's intended as children's story after all. Well, while King Kong's CGI is largely flawless in comparison, remember that $US180m was spent on this film, and if Pixar can make blue fur look real in 2001, then there's no excuse for yellow fur looking blurry in 2005.

Tilda Swinton as the White Witch owns the movie. While the four kids are well represented and each of the child actors well, it's Swinton who commands the most from her deliciously evil character. Not just looking the part, it appears that she relished the opportunity to play such an emotionally cold and remote character because she does it so well. Georgie Henley as the youngest, Lucy, is superb in her meeting with Mr. Tumnus, particularly while she's having her tea served. The only problem worthy of mention, and it's barely worthy, is in the scenes that require an emotional pitch, it almost appears that she's about to start laughing instead of crying. Each of the kids have their moments, although Susan could have have easily used her bow a bit more.

While an effect could have been improved here, or a line of dialogue delivered differently there, they're only a couple of quibbles in a film that stays true to the wonder it channeled all those years ago. As a child, the concept of a door into another world, a magical world, where you imagine that it's you who's destined to save the land from a 100-year winter is a majestic one, even if Santa or an allegorical Jesus appear to be out of place. The choice to realise any religious subtext that the story may hold is a personal one. My view is that not only is it possible to do so, but it's recommended - although disassociating Lucy and Susan from Mary and Magdalen as they weep over Aslan is kind of difficult.

There's no finer introduction to the world of Narnia, especially if you're taking your children along for the first time. With elements involving loyalty, betrayal, courage and sacrifice, there's more going on in Narnia than most other family fare could ever hope to parallel. While that's its intention, it's also Narnia's limit. With a focus primarily on children (they are the film's stars after all), Narnia's not going to appeal to an adult audience the same way that Rings could, especially if there was no previous familiarity with the property. It does well in trying to be as adult as possible (thanks to Tilda), but bloodless battles and bad guys that get no more threatening than the White Witch's comedic helper dwarf, limit its re-watchability. It's a bit too clean. But if you're returning to the world of Narnia from years ago, then you'll be rewarded on every level. Andrew Adamson's The Lion, the Witch and the Wardrobe has received the care it deserved. A formidable mark to work against for the next Narnia entry, but here's hoping it's an equal.


out of ten

Reviewed by Paul Boschen

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