Simply magical

Rating: 8/10 (2 January 2006)

The Lion, the Witch and the Wardrobe is an enchanting tale of magical creatures and places, a battle of good and evil, and of four children coming to terms with both being in a strange new land and their great importance to it. Originally a children's book, there is much for both younger and older viewers to enjoy.
Like many English fans, I grew up with the old BBC television series, which was corny, hammy and wooden in the extreme, yet ultimately endearing and magical. Sunday nights were never the same after it finished. So it was with a slight sense of trepidation that I went to see this sacrilegious new version of one of my favourite books as a child. As it turns out, I needn't have worried, for director Andrew Adamson has blown the Beeb's version out of the water – as was expected by most. While most obviously the film benefits from a mega-budget the BBC could only dream of, the acting of the young leads is also superior. Here, Lucy (Georgia Henley) is even more wide-eyed and innocent, Edmund (Skandar Keynes) even more of a snotty little so-and-so, and Susan (Anna Popplewell) more mother hen-ish and reasoned. But there seems to be also a rather unlikeable quality to Popplewell's Susan; she seems much whinier than many fans will remember from the books – and it is supposed to be Edmund who is the unlikeable one. The best acting of the four however comes from the eldest; William Moseley's Peter here is less assuming or decisive. While he still takes great care of his siblings, the oldest Pevensie is portrayed by Moseley as being a more reluctant hero, taking more seriously his duty to his brother and sisters than that of saviour and King of Narnia – adding previously unseen depth to the character. Liam Neeson is perfectly cast as the voice of Aslan; his regal, dulcet tones perfectly fitting for the magnificent lion. But the show stealer is Tilda Swinton as the White Witch. Many have complained about her hair being blonde rather than black, but that is all that there can possibly be to complain about her performance. Her icy stare and cold demeanour, coupled with a restrained performance (in a role such as this it would be very easy to attempt to echo Barbara Kellerman's over-the-top performance in the TV series) perfectly capture the seductive and later chilling essence of Jadis. Ray Winstone, Dawn French and Rupert Everett provide a (greatly required) slightly lighter side to the film as the voices of Mr and Mrs Beaver, and Fox (a new character). Winstone especially is terrifically funny as the geezer beaver with the cockney accent.
The narrative itself is simple and easy to follow, as befits a film which is primarily a children's story. But still, Adamson handles the action extremely competently, especially considering this is his first live-action film (he is primarily known for directing the Shrek films). Obviously there is a heavy allegorical slant to that of the life of Jesus Christ which some may find distasteful, but if you can get past that then there is a terrific story to enjoy, and visuals for your jaw to truly drop at. One of the most important sequences in the book is when Lucy steps into the wardrobe and emerges into Narnia for the first time. The sheer wonder felt by the young girl at seeing this entire snow-covered world in the back of a piece of furniture in an English country house is shared with the audience. The creatures too are excellent, centaurs and fauns blending seamlessly their human and CGI body parts.
There is a smattering of new material in the film that appeared in neither the book or the TV series that may have die-hard fans spitting feathers, but the added scenes, including a stand-off on a slowly-melting frozen river and a prologue in wartime London, serve to add necessary depth to the characters. The final battle scene is also considerably extended from the two pages it had in C. S. Lewis's book to a battle to nearly rival that of Pelennor Fields (the first of many Rings comparisons).
The score is beautiful; Harry Gregson-Williams has created a musical setting to nearly rival anything produced by Mr Shore. However the lack of anything choral or a stand-out phrasing to serve as a signature for the film means that the soundtrack alone will probably be better suited to background music rather than your full attention. A piece with the drama and power of 'The Bridge of Khazad-Dumb, for example, would have topped off the soundtrack very nicely.
But this is only a minor criticism; Andrew Adamson has created a magical interpretation of the ultimate fantasyland, an accurate translation from page to screen, an exciting and captivating story and enchanting characters. As the original story was rather short, he does not need to get bogged down in detail and can therefore proceed through the film at a brisk pace, picking up speed to reach full throttle in time for the final battle. Although the film is over 2 hours, the time will simply not be noticed.
A useful side-note for cinema-goers – watch through the acting credits for an extra sequence with Lucy and the Professor (an under-used Jim Broadbent – not often you can say that about him!) which may provide teasing hints for the future of the franchise.
Roll on Prince Caspian!